Marina Abramović - Wikipedia
Marina Abramović is a Serbian performance artist, writer and art film director and producer. Her work explores body art, endurance art and feminist art, the relationship .. In , after several years of tense relations, Abramović and Ulay decided to .. "Lady Gaga and Jay-Z help Marina Abramovic reach Kickstarter goal". Aug 9, Marina Abramović and Ulay, Performance Artist Icons, Are Finally Over who dated for over a decade, is not back together romantically, but. Aug 8, Marina Abramović and Ulay had a year romantic and artistic partnership. But their tumultuous relationship has turned a corner with a heartfelt reunion and archival footage, the film features such highlights as an excerpt.
Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation. After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging past and present. She set out to explore the physical and mental limitations of the body — the pain and the sounds of the stabbing; the double sounds from the history and the replication.
When finished with each, she threw the clippings into the flames, creating a burst of light each time. Burning the communist five-pointed star represented a physical and mental purification, while also addressing the political traditions of her past. Due to the light and smoke given off by the fire, the observing audience did not realize that, once inside the star, the artist had lost consciousness from lack of oxygen.
Some members of the audience realized what had occurred only when the flames came very near to her body and she remained inert. A doctor and several members of the audience intervened and extricated her from the star.
When you lose consciousness you can't be present, you can't perform. She performed the work at the Gallery of Contemporary Art in Zagreb, in In Part I, which had a duration of 50 minutes, she ingested a medication she describes as 'given to patients who suffer from catatoniato force them to change the positions of their bodies.
After a ten-minute break, she took a second medication 'given to schizophrenic patients with violent behavior disorders to calm them down.
She approached the fan slowly, attempting to breathe in as much air as possible to push the limits of her lungs.
Soon after she lost consciousness. She assigned a passive role to herself, with the public being the force which would act on her.
Marina Abramović and Ulay reconcile in new interview | Dazed
Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, olive oil, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.
This tested how vulnerable and aggressive the human subject could be when hidden from social consequences. There were cuts on her neck made by audience members, and her clothes were cut off her body. By doing so, the individual experience morphs into a collective one and creates a powerful message. This type of representation also reflects key political issues such as BDSM [ clarification needed ], which complicates and questions the relation between art versus sexuality and public discourse.
Initially, members of the audience reacted with caution and modesty, but as time passed and the artist remained passive people began to act more aggressively.
I felt really violated: It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation. She vigorously brushes the different parts of the skeleton with soapy water. Each monitor is dedicated to one part of the skeleton: Each video is filmed with its own sound, creating an overlap.
Marina Abramović and Ulay reconcile in new interview
This three-hour performance is filled with metaphors of the Tibetan death rites that prepare disciples to become one with their own mortality. The piece consists of a three-piece series. Cleaning the Mirror 1 was performed at the Museum of Modern Artconsisting of three hours. Cleaning the Mirror 2 consists of 90 minutes performed at Oxford University. She offers two pieces that examine the aspects of theatrical performance: Taking this into consideration, Abramovic stares at strangers for seven hours a day for three months, and the audience often participates for long periods at a time.
Moreover, the vulnerability created by Abramovic in her audience allows her to reveal suppressed sadness within the participant. According to Butler, a woman in this case Abramovic is seen by society as having maternal characteristics: Bogart uses an anecdote in which a Swiss geologist examined the mental states of several people who had experienced near-death falls in the Alps.
Normally, people fail to think at this pace; however, the context of the situation causes time to be perceived as expanded because an abundance of thought takes place relative to a short time span. Taking this into consideration, the opposite is true: This scenario can be true in non-near-death experiences, but on an intentional artistic level. Director Robert Wilson can relate: But what happens to with my awareness of my body as I do it?
Picking up a spoon normally takes a short moment, but stretching this action out to five minutes exponentially increases your awareness of the action. Abramovic controls her audience in this manner by contrasting time length with size of interaction. Later on, we will directly examine to what extent this time scale elicits an emotional response in the participant. Let us first examine the length of the performance.
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The audience members ultimately decide how long to stay, because they can walk away whenever they please; however, more people decide to sit for a long time. Abramovic never asks anyone to stay for any length of time, but we can see that this audience member believes so; because of this, we see an established connection between Abramovic and her audience.
After a while, the audience enters this state of mind where thoughts at ten-fold velocity occur. According to Bogart, because of the shared humanity between performer and audience, vulnerability surrounds the performance; the audience member begins to carry out self-reflection when she sees this commonality in the performance. The act is so simple that the audience has the time to analyze its simplicity: The performance creates vulnerability because hiding behind anything is impossible, especially physically.How I Became The Bomb - Ulay, Oh - Love Never Dies
In fact, set design removed the table that was originally present between Abramovic and her audience to increase this vulnerability factor. The woeful reactions of sobbing audience members elucidate this seriousness and severe nature. Humans avoid eye contact, but this performance is based around it, thus causing the audience to become vulnerable.
The audience as well as Abramovic accept this vulnerability.
The unavoidable silent examination then creates the window for an emotional response to occur. Abramovic offers another point of view: The audience members subconsciously analyze their own thoughts and feelings the metacognitive process that Bogart mentions, expressed earlier all while having to maintain the stare of vulnerability. As a result, people often become overwhelmed by their own painful feelings.