This photo is the process of making a work in the relationship between the movements that occur by connecting a long red string to the two bodies (waist) and

the contradictions of two bodies and limit between us.

Misako and I were both Japanese, studied and lived in Germany. Misako studied the Japanology at FU Berlin and I studied Fine arts at UdK Berlin. In fact, we both had partners (heterosexual), however, our relationship was very intensive in our private lives, due to transformation of the transcultural procedure on the individual level.

At that time, in Berlin, it was bi-sexual procedure and questioning for free will and authentic love. Just after this phase came out "queer" culture in Berlin. So, we were across the gender in Berlin culturality and culturaly.

Misako's partner was American Jewishi from NY (Exil from Germany to the USA, during the German Nazi Regime), a doctoral candidate in the research of Benjamin's at FU Berlin, my partner was a German, they had a friendship, due to his research. Misko's research subject was Mesianism in Kensaburo Oe's work. My research subject was on Body in the context of sexual abuse (Artistic Social Advertising towards the sexual violence against women amd girls.).

This work is one of practical exploring "two bodies and two mind(s)".

I concepted this dance piece together with Misako from our subjectivites of plural bodies. I did not have much problem with the new type of male in Berlin such as my partner and her partner, but Misako had problem with new type of male like her partner. In the 90's, the new type  of male suddenly became aware of heterosexual soceity and hetero-feminism in the industrial society in post-war and questioned "relationship between the social female image and the heterosexuality" for heterosexual women. Thereby the new type of male has broken up the common sense of heterosexual women in Berlin.

It is an example of my artwork characteristically. I work the topics as well as subjects subjectivity, and people look at my work objectivity, at the same time, it affects subjective in their own for the recognition or it might be an intervention artistically. In German, its artistic activity expresses and formulate with "sich mit (subject) auseinanderzusetzen." practically.

When I was married him, he was a student on the way of his doctoral and I was already a professional artist, not a dependent of him. He was dependent on my family health insurance. After the divorce, I have received the permanent residency in Germany. I always try to give all my best.

-> My interpretation of works by Félix González-Torres is in this aspect, however, his work expressed limit of time in life strongly. His two coocks object is the question for the "everlasting love" that was made up artificially. It could work with digital, maybe with digital watch is more precise. It was from the aspect of critical theoris by him. So, his artwork charastically is the communication of love in everyday life. This aspect is a common with the Korean-American  curator Miwon Kwon in my artistic research. From my side is, which relates to Dogen's.

According to two coocks object  by Félix González-Torres, At that time, I would like to consider in the  intervention for HIV positive infectious diseases patients in their private through the social system in the United States. 

The critical theories in culture and art are like a cultural osteopath.

-> Queer is the reason why the children we raised have less homosexuality. Their reconciliation is neutrality. They have not much Gender-Role. They are very individual, and their are "matey" with all people, with their father, mother family and teachers. Even, my Lieber R marraiged with his girlfriend two years ago, with whom he has been the relashionship since high-school. Gender and Sexuality are not main subject for them, due to the free will and many options, and its self-decision making. He (my Lieber R.) lives and works in Japan currently. They are both German. He (my Lieber R.) speaks Japanese, he is bilingal German-Japanese. He is a grandson of German Feminist-Theologist Dr. E.G. and her cooleague was my great aunt Japanese Feminist Dr. in Natural science H.F. (So came from an idea, my name is Erika/えりか. R's second name is Japanese name "Izumi" which name is for both of male and female. My generation was "transculturality", and R's generation was "gender and cultural neutrality".) R's mother is one of my good friends like my great aunt H and Dr. E. They have died in the last few years. 

My life phase is a happy second life phase, and I care for my mother in Japan via telecommunication between Germany and Japan, and live and work in Germany.

My lieber R has two fathers, and unknown which is his genetic father. Both fathers are the same age as me. I know both. One has a baby with his third life-patner (He has daughter with his second life-partner, who is a medicine doctor.), she is the same age of R. Ohter father of him, he has many children with his second life-partner, she is a Finn. I see him and his kids on the street sometimes. Both are German. When we met in Berlin, at that time, we were all students (Medicine, Law, Architecture, Sociology, German literature, Philosophy, Political science, Psychology, Art, etc) at the Universitiy in Berlin. R's mother is 10 years older than me and a feminist. She did not know her sexuality if she is hetero, homo or bi, finaly she found a life-partner, he is 10 years older than us. 

So, the cultural evolution is ongoing together with our real Lives.

In Arts, as well as in Museum generally, that is conservative more than society. In the culture as well as in arts-scene, there are also more right-wings than general society, however, they are rather intellecutuell right-wings in arts-scene (art and humanity) more than underground right-wings, that is the same in every countries.