
ao kim ngân

Birgit Jürgenssen, Untitled (Improvisation), 1976, black and white photograph.

Renate Bertlmann
Zärtliche Berührungen (Tender Touches), 1976

Johnny Damm
Constructed out of illustrations from 19th century science textbooks and manuals, these diagrams are pieces from a larger series, Science of Familiar Things. The works offer a fragmented view of a relationship and together form a type of clear-eyed love poem.
In 1988, Ulay and Abramovic decided to end their relationship and to mark this with a performance, which became the legendary endpoint of their collaboration. After years of negotiations with the Chinese authorities, the artists got the permission to carry out ‘The Lovers: The Great Wall Walk’, in which they started to walk from different ends of the Chinese Wall in order to meet in the middle and say good-bye to each other. Abramovic started walking at the eastern end of the Wall, at Shan Hai Guan, on the shores of the Yellow Sea, Gulf of Bohai, walking westward. Ulay started at the western end of the Wall, at Jai Yu Guan, the south-western periphery of the Gobi Desert, walking eastward. After they both continuously walked for 90 says, they met at Er Lang Shn, in Shen Mu, Shaanxi province. Here, they embraced each other to go on with their life and work separately from then on. As their work had often employed ritualized actions, mythology and Eastern thought, ‘The Lovers: The Great Wall Walk’ has to be considered the perfect end of the common oeuvre – also due to the Wall’s mythological and philosophical connotations. The performance was recorded by Murray Grigor for the BBC (16mm film, transferred to video), which resulted in the documentary ‘The Great Wall: Lovers at the Brink’, of which there exist a long screening-version and a shorter VHS-version

Allan Kaprow, ‘Comfort Zones’, 1975, Performance Art.
Carolee Schneemann, From The Infinity Kisses II,1990-98, 1990-1998, The Merchant House


Rebecca Horn, High Noon 1991
:My machines are not washing machines. They have almost human characteristics and must change as well. They are nervous and sometimes have to stop too. (…) The tragic or melancholy aspect of the machines is important to me. “(Horn, in: Cat.No., New York 1993)