Related
The Green Line
In the summer of 1995 I performed a walk with a leaking can of blue paint in the city of São Paulo. The walk was then read as a poetic gesture of sorts. In June 2004, I re-enacted that same performance with a leaking can of green paint by tracing a line following the portion of the ‘Green Line’ that runs through the municipality of Jerusalem.
The Mourning After: Duration’s Wisdom II
Duration’s Wisdom II is a meditative walking performance on a 20-ft canvas, depicting the final stage of mourning. Using circular, continuous movements, Erika Knerr processed grief, revisiting loss and reflection, performed in Zaragoza, Spain after the Madrid attacks.
Related
The Green Line
In the summer of 1995 I performed a walk with a leaking can of blue paint in the city of São Paulo. The walk was then read as a poetic gesture of sorts. In June 2004, I re-enacted that same performance with a leaking can of green paint by tracing a line following the portion of the ‘Green Line’ that runs through the municipality of Jerusalem.
The Mourning After: Duration’s Wisdom II
Duration’s Wisdom II is a meditative walking performance on a 20-ft canvas, depicting the final stage of mourning. Using circular, continuous movements, Erika Knerr processed grief, revisiting loss and reflection, performed in Zaragoza, Spain after the Madrid attacks.
Kazuo Shiraga’s paintings are defined by his radical use of his feet as the primary instrument of creation. Rejecting the traditional easel and brush, he laid canvases on the floor and suspended himself from a rope, allowing his body to swing, spin, and stomp across the surface. With his bare feet, he pushed, kicked, and dragged thick oil paint, producing bold arcs, smeared streaks, and dense impasto that record the force and rhythm of his movements. This method transforms painting into a performative act, where the canvas becomes a direct site of bodily expression, capturing the immediacy of gesture and the physicality of color. Through this approach, Shiraga dissolves the boundary between artist and artwork: the paint is not simply applied, it is activated and animated by the body itself. His foot-painted works embody raw energy, intensity, and visceral presence, conveying both the explosive dynamism of motion and a deeply personal engagement with material, space, and gravity.
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Based on information provided by the White Cube website.
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