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| Cuenca Rasmussen Lillibeth Born in 1970 in Manila, Philippines. Lives and works in Copenhagen. How to Break the Great Chinese Wall. Part 1 and 2. How to Break the Great Chinese Wall refers to the performance by Marina Abramovic and Ulay: The lovers, the Walk (1988) in 90 days. “Walking each one from their side of the Chinese wall they met in the middle after 3 months”. For 13 years their private and professional life was integrated. This performance was their last collaborative piece signaling the end of their private relationship. This interpretation takes on a theatrical approach. The set up of the selected re-enacted performances is a play about the eternal triangle, with two “Ulays” and one “Marina”. The twelve different pieces is written in a coherent story each lasting between 2-8 minutes. The Chinese Wall is a metaphor to art history. It is impossible to make a piece of art without references from the past. The visual arts have a pressure of having to be avant-garde. In my work I question how can we use history and at the same time leave it behind? In Never Mind Pollock the selection is based on iconic female artists: Orlan, Carolee Schnemann, Yoko Ono, Yayoi Kusama, Ana Mendieta, Helena Almeida, Janine Antoni, Shigeko Kubota, Lynda Benglis, Niki de Saint Phalle. These pieces reflect on or comment on painting. They are simple, conceptual and with an immediate and straightforward language. To recite other artists is giving them recognition. In the interpretation the pieces are slightly twisted and sometimes critical on issues concerning duration, nudity and feminism. The re-enactments inquire copyright issues, originality and authenticity of an art piece. It is an attempt to create an explicit discourse on referential art. The re-enactments are documented and presented in different ways, as part of the installation of the space where they took place. Lilibeth Cuenca Rasmussen  Download CV |  How to Break the Great Chinese Wall, Part 1 & 2 Never Mind Pollock, 2009 |
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