- 609
Marina Abramovic
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Description
- Marina Abramovic
- The Great China Wall Walk, 1996
Ink on chromogenic print, in 12 parts
- Each: 34 by 41 1/4 in. 86.3 by 104.8 cm.
- Executed in 1996, these works are from an edition of 12 uniquely variated sets plus 3 artist's proofs, and are accompanied by a certificate of authenticity signed by the artist.
Provenance
Acquired by the present owner directly from the artist
Exhibited
Amsterdam, Stedelijk Museum; Antwerp, Museum van Hedendaagse Kunst, Marina Abramovic: The Lovers, 1989 (another example exhibited)
Kunstmuseum Bern; Alicante, Lonja del Pescado; Moderna galerija Ljubljana, Marina Abramovic: Artist Body - Public Body, 1998 (another example exhibited)
Literature
Marina Abramoviæ, Marina Abramovic: The Bridge / El Puente, Milan, 1998, pgs. 172-185 (another example illustrated)
Catalogue Note
In 1973, Abramovic carried out her first performance, Rhythm 10, which explored themes of ritual and gesture through the act of repeatedly jabbing a knife in the spaces between her splayed fingers. This was the first in a series of challenging and often physically brutal performances, culminating in Rhythm 0 during which, among other obloquies, an audience member pointed a loaded gun at the artist’s head.
Three years after Rhythm 10, Marina Abramovic met and began a 12 year collaboration with the West German performance artist, Uwe Laysiepen, or simply, Ulay. For Abramovic, this partnership was vital as she noted that “If I hadn't met Ulay, [her performances] would have destroyed my body." (From Annaela Daneri, et. al. eds., Marina Abramovic, Milan, 2002)
The Great China Wall Walk was the last, and perhaps the most emotionally intense performance of Abramovic’ oeuvre. Conceived in a dream, the present work documents Abramovic’ and Ulay’s journey, beginning at opposite ends of the Great Wall, toward a final meeting in the middle. As the artist reflects, “that walk became a complete personal drama. Ulay started from the Gobi desert and I from the Yellow Sea. After each of us walked 2500 km, we met in the middle and said good-bye.” (Ibid.)
Three years after Rhythm 10, Marina Abramovic met and began a 12 year collaboration with the West German performance artist, Uwe Laysiepen, or simply, Ulay. For Abramovic, this partnership was vital as she noted that “If I hadn't met Ulay, [her performances] would have destroyed my body." (From Annaela Daneri, et. al. eds., Marina Abramovic, Milan, 2002)
The Great China Wall Walk was the last, and perhaps the most emotionally intense performance of Abramovic’ oeuvre. Conceived in a dream, the present work documents Abramovic’ and Ulay’s journey, beginning at opposite ends of the Great Wall, toward a final meeting in the middle. As the artist reflects, “that walk became a complete personal drama. Ulay started from the Gobi desert and I from the Yellow Sea. After each of us walked 2500 km, we met in the middle and said good-bye.” (Ibid.)