At Ying Collosseum the curators make all of their planning decisions in the front passenger carriage of the Ringbahn, an overland train that circles Berlin 24 hours a day and 365 days a year. Leaving to find a suitable space when the talks are done, desending inside the ring. For Ying Colosseum, theirs is a wasteland of quasi accessible markets and open borders, of going anywhere, taking anything, and surface connection. Are these activities the subconscious effects of long-term globalisation; traits based on technical mobility, power and privilege? Their part-interventionist, part-engagement strategy has evolved since the first volumes in 2015: some of their exhibitions appeared without notice, others with a one-night-only host.
In 'My Immortal' Hopper and Hofmann have connected sheets of flame-retardant netting with knots, and themselves to one another with a machine belt twisting around their waists. With the audience under the net the pair start singing while singeing the netting which bursts into liquid, dripping yellow to the ground as they move and spin providing mutual ballasts guided only by their eyes to their fire.
Soon they've pulled themselves into a fountain, stones clean but murkey green water in this manicured sunken space that was first an orange grove. The melodrama resting on bright orange flame suspended in retardant over a wet green surface.
