IMPONDERABILIA
(WITH ULAY), 1977
PERFORMANCE
90 MIN.
GALLERIA COMUNALE D’ARTE
MODERNA, BOLOGNA
In a chosen space.
We are standing naked in the
main entrance of the museum,
facing each other.
The public entering the museum
have to pass sideways through
the small space between us.
Each person passing has to
choose which one of us to face.
IMPONDERABILIA
(WITH ULAY), 1977
PERFORMANCE
90 MIN.
GALLERIA COMUNALE D’ARTE
MODERNA, BOLOGNA
In a chosen space.
We are standing naked in the
main entrance of the museum,
facing each other.
The public entering the museum
have to pass sideways through
the small space between us.
Each person passing has to
choose which one of us to face.
THE LOVERS (WITH ULAY), 1988
PERFORMANCE
90 DAYS
THE GREAT WALL OF CHINA
At a chosen location.
We walked the entire length
of the Great Wall of China.
We started on 30 March 1988.
I started walking at the eastern
end of the Wall, at Shai Hai Guan,
on the shores of the Yellow Sea,
Gulf of Bohai, walking westward.
Ulay started walking at the
western end of the Wall, at Jai Yu
Guan, the south-western
periphery of the Gobi Desert,
walking eastward.
We walked until we met.
After we both continuously
walked for 90 days, we met at
Er Lang Shan, in Shen Mu,
Shaanxi province.
We each took a 2,000 kilometre
walk to say goodbye.
REST ENERGY (WITH ULAY), 1980
PERFORMANCE
4 MIN. 10 SEC.
ROSE ‘80, DUBLIN
Together we hold a taut bow
and a poised arrow.
The weight of our bodies
puts tension on the bow.
The arrow is pointed at
Marina’s heart.
Small microphones are attached
to both our hearts recording the
increasing number of heartbeats.
RHYTHM 0, 1974
PERFORMANCE
6 HR.
STUDIO MORRA, NAPLES
Instructions.
There are 72 objects
on the table that one
can use on me as desired.
I am the object.
During this period I
take full responsibility.
INTERRUPTION IN SPACE
(WITH ULAY), 1977
PERFORMANCE
46 MIN.
KUNSTAKADEMIE ‘RINKE
KLASSE’, DÜSSELDORF
The given space is divided by a
wall into two equal parts.
We walk towards the wall.
We walk towards the wall
touching it with our body.
We run towards the wall hitting it
with our body.
POINT OF CONTACT
(WITH ULAY), 1980
VIDEO DOCUMENTATION
OF A PERFORMANCE
1 HR.
FILMSTUDIO, AMSTERDAM
We are standing opposite
each other, looking into
each other’s eyes.
We are pointing at each
other, avoiding touching.
The tops of our fingers
may be level.
This performance was
performed twice.
BREATHING IN BREATHING OUT
(WITH ULAY), 1978
PERFORMANCE
15 MIN.
STEDELIJK MUSEUM, AMSTERDAM
In a given space.
We are kneeling face to face,
pressing our mouths together.
Our noses are blocked with filtertips.
Ulay is breathing in oxygen.
Ulay is breathing out carbon dioxide.
I am breathing in carbon dioxide.
I am breathing out carbon dioxide.
Ulay is breathing in carbon dioxide.
Ulay is breathing out carbon dioxide.
This performance was performed
twice. The first time Ulay started the
performance by breathing in oxygen.
The second time Ulay started the
performance by breathing out
carbon dioxide.
BALANCE PROOF
(WITH ULAY), 1977
PERFORMANCE
30 MIN.
MUSÉE D’ART ET
HISTOIRE, GENEVA
In a given space.
We are standing holding a double-
sided mirror between our bodies.
I am leaving.
Ulay is leaving.
RELATION IN TIME (WITH ULAY), 1977
PHOTOGRAPHIC DOCUMENTATION
OF A PERFORMANCE
17 HR.
STUDIO G7, BOLOGNA
In a given space.
First part.
Without public.
We are sitting back to back,
tied together by our hair
not moving.
Second part.
The public come in.
We continue sitting for
one more hour.
