This photograph depicts the artist lying down with his face slightly above a frozen lake. Long shadows of the surrounding trees are cast on the lake. This photograph is the second of two that documents Song Dong’s performance Breathing (1996) at Tiananmen Square and at Houhai, a lake close to Tiananmen. On New Year’s Eve, Song lay in the square in sub-zero temperatures and breathed on the ground for forty minutes. He repeated the act at Houhai. While his exhalation produced a thin sheet of ice at Tiananmen Square, a site of momentous political movements, the frozen Houhai Lake remained unchanged. The performance questions the impact an individual has in a political environment and in nature. The artist Yin Xiuzhen, Song’s wife and frequent collaborator, took the photographs. Breathing is one of several performances by Song that uses water as a medium to highlight the impermanent nature of human endeavour.
Song Dong (b. 1966, Beijing) often explores impermanence and memory through his art, a practice that encompasses video, performance, installation, and photography. Emerging as a member of the Beijing avant-garde performing arts community in the 1990s, Song not only addresses China’s profuse social, cultural, and economic changes in his works, but also often references his personal relationships and experiences, as in the works Touching My Father (1997–2011) and Waste Not (2005).