footprints intermingles with the specific textures and architectural features of the floor, which result transferred and integrated in the drawing by the frottage of her slipping. This works questions the boundaries of performance and drawing and emphasizes the weakness of limits in contemporary art practices.

The making process of this work is just half controlled. The artist is literally fighting to keep her balance during the performance, and in fact she eventually falls down at some point, but she stands up again and keeps doing her task. This is actually an important feature in M.Lohrum’s practice, which is related to the uncertain nature of artistic creation and the contemporary social context. 'Like water slipping through my fingers'- she has said- ‘I always work with this sentence in my head; with this feeling in my heart’. Or in Herb Shellenberger’s words in his critic about this piece, ‘the artist examines the uncertainty and precarity of life in our neoliberal culture. She interrogates this situation through the site of the body, by engaging in repetitive movements and through simple motifs, to reflect the strained and sometimes desperate relation people have with culture, labour and life in general’.