This chapter narrates the interview between the author and Louwrien Wijers, on her life and experiences within the Fluxus movement. Wijers, as a contemporary of Joseph Beuys, had grown up surrounded by beauty and had learned Beuys’ “soft touch” approach to art, which would later be supplemented by her study of Gelugpa Buddhism and its concepts of nondual thinking and direct perception. During her foray into the contemporary art world, she met the likes of Ben d’Armagnac, who in his final performance introduced his concept of the overgave—a methodical push toward a state of emotional, physical, and intellectual exposure. His death also becomes a sort of avant-garde exhibition, and raises questions of death and silence—which is in itself a death of all other sounds—if there is a perfect ending, or if the ending is yet another beginning.
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