It is not an accident that La Monnaie Vivante (The Living Currency), a performance art event after Pierre Klossowski, is being staged, or rather, experienced in Berlin. A bold experiment in deconstructing reality and fiction, the piece finds its place in a time when much of contemporary debate revolves around performance and participation art, as well as the a re-evaluation of the market value of an art object. La Monnaie Vivante, presented by Pierre Bal-Blanc as part of the 6th Berlin Biennial for Contemporary Art at Hebbel am Ufer, is an evolving and infinitely complex project that can be best characterized by its attempt to deconstruct memory as an archive, and in exhibiting content in an open and unstable format. Expanding upon the long tradition of experiential and participation art of Futurism, Dada, The Situationist International, and Fluxus, La Monnaie Vivante aims to establish a dialogue between current and historical investigation of the body in the fine arts and to activate further exploration of the concept of the body within domains of music, dance, and theater. Thus, this particular section of the Biennale becomes an arena for the possible merging and emancipation of form.