Lin Yilin’s contribution to the Kunsthalle exhibition comprises four parts. One part consists of a wall build to block off the straightest path to the main venue, and featuring a blank space in the shape of the artist’s silhouette. Chinese bank notes have been squeezed between the wall’s brick stones, graphically conveying the idea that vast amounts of capital have been invested in southern China’s frenetic building spree. A further allusion concerns the fact that the flow of money in china has been blocked as a result of this state of affairs. The artist reappears, but this time in the positive – as a life size, cut out, and mounted on cardboard self-portrait. The accompanying photo documentation provides visual proof that Lin Yilin’s portrait image, covered with “security checked” adhesive taping, partakes of a dual performance by having cleared various checkpoints, border controls andcustoms offices from Guangzhou to the Zurich airport, and on to the Kunsthalle. The artist involves himself directly in his