The Great Wall of China has inspired countless works of art in its more than 2,000-year history. Among the most famous is “The Great Wall Walk,” a dramatic 90-day performance that saw lovers Marina Abramović and Frank Uwe Laysiepen (the late German artist known as Ulay) trek towards each other from opposite ends of the landmark. Abramović began in the east at the so-called “dragon’s head” — where the Great Wall dips into the Bohai Bay like a dragon drinking from the sea — while Ulay started at the “tail,” more than 3,000 miles to her west, in the Gobi Desert. When the idea was initially conceived, under a full moon in Australia’s outback, the pair had planned to meet and get married in the middle. But obtaining permission from Chinese authorities would take over eight years, by which time their romantic relationship, despite having achieved global fame and success as a performance art duo, had fallen apart amid infidelity, jealousy and a failed threesome. Still, neither wanted to give up on the project and, in March 1988, they embarked on their respective journeys. “We both decided that we have to address new circumstances, which means our separation… (We would) say goodbye,” Abramović told CNN on a video call from the Modern Art Museum (MAM) Shanghai, where she opens her first ever museum exhibition in China this week. “Great love,” she added, encompasses everything: “Love, hate, disappointment, and forgiveness. We explore all of it.” The 77-year-old Serbian artist’s new show, “Marina Abramović: Transforming Energy,” features interactive artworks inspired by the Great Wall journey, as well as over 1,200 never-before-seen images taken along the way. The photos, which will be projected onto the museum’s walls, are divided into four categories that curator and MAM’s artistic director Shai Baitel grouped as “the preparation and beginning walk, encounters with locals, walking the wall and meeting Ulay, and staged experiments and landscapes.” Baitel said he was “blown away” by the trove of unpublished film negatives Abramović held in storage. “It is a treasure for a curator, for anyone that is in the business of art, or art history research, (to) document (what has) not been digitized yet but exists there in large quantities.” Abramović is shown traversing through some of the most stunning, wild parts of the wall against a backdrop of mountains, crumbling ruins and varied terrain. There’s a clear sense of isolation — but this loneliness provided space for contemplation and reflection, the artist said, admitting she must have been a “very strange” sight to everyone she encountered. “I was a woman, walking alone… without a husband, without children, not speaking the language,” she recalled. “What am I doing there?” Since planning the exhibition and trawling through her photo archive, the artist has been flooded with memories of the support and hospitality she experienced along the way. “(Local people) were always giving more food… But I couldn’t carry it all. I was given goose eggs, but they are so big, so I would have one in my left pocket and one in my right pocket, to keep balance.” Abramović was prohibited from camping on the wall, so she instead stayed in small villages along the way. In each one, she would try to meet the oldest resident — some well into their 100s — and through a translator who accompanied her, ask them to share their stories about the wall. The Great Wall, which stretches across northern China, was built to keep out invaders, but for the locals Abramović spoke to, its winding shape was less about military history and more to do with an earthly representation of dragons and the Milky Way, she said. The quest became as much spiritual as it was physical. “I realized the old stories are related directly to the minerals that I had been walking on,” the artist said at a press conference in Shanghai. “If I was walking on a ‘black dragon’ that would be on (iron-rich) hematite… a ‘red dragon’ would be clay, it was completely different ground,” she added, explaining that as she walked on various minerals and crystals, she was able to feel different “energies.” The artist’s expansive Shanghai exhibition offers visitors a chance to hold crystal-based objects, a reference to this aspect of her Great Wall journey. The three-floor show also features “durational” installations — like a custom-built metronome that only takes a beat every 24 seconds, and an interactive artwork that invites visitors to repeatedly, and very slowly, open and close a door without entering or exiting. “The works are all contemplative and (are intended) to bring you to another state of mind, and to lift your spirit in a certain way,” Abramović told CNN, adding that she is also challenging the way people experience art in the digital age. “(It’s) so much about technological detox. We never spend time with anything, with ourselves. We are going to immediately take a photograph or something before we even experience what it is, and then go home and look at it.” Three months after they set off, the pair’s paths finally crossed at Shenmu in Shaanxi province. According to Abramović, Ulay had stumbled upon an “unbelievable, meaningful” spot located between two temples and waited for her there. It would take Abramović an additional three days to reach him. “I wanted to kill him,” she joked. “For me… I absolutely dedicated myself to this concept… you meet in the exact middle, no matter if it is a better photogenic spot or not. After embracing, the couple parted ways (not before Abramović learned that Ulay had impregnated his Chinese translator during the trip) and did not see each other for another 22 years. That was until 2010, when Ulay surprised Abramović at the Museum of Modern Art in New York during her performance “The Artist is Present,” in which she sat in front of visitors, one at a time, and held their gaze in silence. “I didn’t know he was going to sit with me,” she said, recalling the moment she opened her eyes to find Ulay across the table. “My whole life went to the front of my eyes and I started crying. It was a very strong moment.” Breaking her own rule, she reached across the table and held his hands, an emotional reunion that went viral. The pair’s story didn’t end there — six years later, Ulay sued Abramović for works they created together. But although he died in 2020, their relationship had ended peacefully: In a twist of fate, the ex-lovers wound up at the same silent mediation retreat in India. “You see, the universe has its own ways,” Abramović said, adding that they found space there to truly forgive one another. “He’s not here anymore; I miss him terribly, because it would have been incredible if he was also here to celebrate this show and this reminder of that epic work.” “Marina Abramović: Transforming Energy” is showing at MAM Shanghai until February 28, 2025.
A couple walked from opposite ends of China’s Great Wall and met in the middle. Then they broke up
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"Marina Abramović Reflects on Great Wall Journey and Relationship with Ulay in Shanghai Exhibition"
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TruthLens AI Summary
The Great Wall of China has served as a backdrop for numerous artistic expressions throughout its extensive history, but a particularly dramatic performance took place in 1988 involving artists Marina Abramović and Frank Uwe Laysiepen, known as Ulay. The couple embarked on a 90-day journey from opposite ends of the Great Wall, with Abramović starting at the eastern end and Ulay beginning in the west. Initially, the couple had envisioned this journey as a prelude to their marriage, but by the time they received permission from Chinese authorities to proceed, their romantic relationship had deteriorated due to infidelity and jealousy. Despite the personal challenges they faced, both artists were determined to complete the project, which culminated in a meeting at a significant midpoint along the Wall. This poignant reunion was marked by a mix of emotions, as Abramović humorously recalled her feelings of frustration upon reaching Ulay after an arduous trek. Their embrace was bittersweet, as they parted ways soon after, with the revelation of Ulay's personal life complicating their final moments together.
In conjunction with this journey, Abramović's new exhibition, "Marina Abramović: Transforming Energy," at the Modern Art Museum in Shanghai features interactive artworks and a vast collection of photographs taken during her walk along the Great Wall. The exhibition showcases her reflections on love, loss, and the transformative power of art. Abramović’s journey was not just physical but spiritual, as she engaged with local residents and learned about the cultural significance of the Wall beyond its military history. The artist describes her experience as one of deep connection to the land and its stories, which she captured through her lens. The exhibition also includes installations that encourage visitors to engage in contemplative practices, challenging the fast-paced nature of modern life. Abramović's reflections on her relationship with Ulay, including their emotional reunion years later, add depth to her artistic narrative, emphasizing themes of forgiveness and the enduring impact of shared experiences. The exhibition will remain open until February 28, 2025, inviting audiences to explore the multifaceted nature of love and creativity through Abramović's unique lens.
TruthLens AI Analysis
The story of Marina Abramović and Ulay's journey along the Great Wall of China serves as a poignant reflection on love, art, and the complexities of human relationships. Their planned meeting at the wall, which initially symbolized unity and commitment, ultimately transformed into a narrative of separation and personal growth. This article encapsulates not just a remarkable artistic endeavor but also the emotional and relational dynamics that accompanied it.
Cultural Significance
The Great Wall of China is a powerful and enduring symbol of history and perseverance. By choosing this landmark as the backdrop for their performance, Abramović and Ulay tapped into a rich cultural narrative that resonates globally. Their story intertwines the personal with the historical, highlighting how individual experiences can reflect larger societal themes, such as love, loss, and the passage of time.
Public Perception and Emotional Impact
The article aims to evoke a sense of empathy and contemplation among readers. By depicting the emotional trajectory of Abramović and Ulay's relationship—marked by passion, betrayal, and ultimately, acceptance—it encourages audiences to reflect on their own relationships. The notion that "great love" encompasses a spectrum of feelings speaks to a universal experience that many can relate to, fostering a connection between the artists and the public.
Hidden Agendas
While the article primarily focuses on the relationship and artistic journey of the couple, it subtly promotes the upcoming exhibition of Abramović's work in China. This not only serves to highlight her achievements but also positions her as a significant figure in contemporary art. It is plausible that the article intends to generate interest in her exhibition, blending personal narrative with professional promotion.
Comparison with Other News
In the context of current events, stories that delve into personal relationships and emotional narratives are often used to humanize broader societal issues. This article, while unique in its artistic focus, follows a trend of media narratives that prioritize personal stories to engage audiences, making complex themes more accessible and relatable.
Impact on Society and Economy
The story’s exploration of love and separation may resonate particularly with audiences experiencing similar emotions, potentially leading to increased interest in art that reflects personal narratives. This could drive attendance at Abramović's exhibition, impacting local economies and cultural institutions positively.
Audience Engagement
This narrative is likely to appeal to communities interested in the arts, psychology, and personal development. The emotional depth and artistic significance of the story may attract readers who value introspection and the exploration of human relationships.
Market Influence
While the article itself may not directly influence stock markets or financial sectors, the promotion of Abramović's exhibition could have a favorable effect on the art market, particularly concerning contemporary art pieces inspired by personal narratives. Investors might take interest in artists who explore similar themes, potentially affecting related stocks.
Geopolitical Relevance
Though the article does not directly address geopolitical issues, it reflects the ongoing interest in cultural exchanges between China and the West. Abramović's presence in China highlights a soft power dynamic where art serves as a bridge between cultures, facilitating dialogue and understanding.
Use of AI in Writing
There is no clear indication that AI was used in writing this article. The nuanced exploration of emotional themes and the depth of personal narrative suggest a human touch in the storytelling. If AI had been employed, it might have impacted the tone or structure but would likely struggle to fully capture the emotional intricacies presented.
The article is largely reliable and provides a thorough account of Abramović and Ulay's journey, enriched with context and emotional depth. It reflects a genuine exploration of love and art while simultaneously promoting an upcoming exhibition, balancing personal narrative with professional aspirations.