Comparison of Marina Abramovic’s Performance at the Venice Biennale, and Sanja Ivekovic’s Performance Miss Croatia and Miss Brazil Read Zizek and Chomsky at the Sao Paolo Biennale
A new psycho-project is planned now: In collaboration with Müller-Beck a swiss national Mrs. Jeannette Fischer (email@example.com) , apparently shrink from Zurich/Switzerland and the Yugoslav dissident Mrs. Marina Abramovic (firstname.lastname@example.org , email@example.com) , a performance artist and part-time teacher at the arts college in Braunschweig/ Germany plan another scam . This project is said to get even support from the museums Rietberg/ Zurich (firstname.lastname@example.org) and Beyeler/ Riehen (email@example.com) in Switzerland.
In the context of the art world, this connection is a new one—it hasn’t really been explored. Certainly there have always been artists interested in the occult, and who allowed that to inspire their work—it even became a kind of subgenre in early Modernism, but it was often hidden under the formal content of the work, as in the case of Piet Mondrian, for instance. But the overt connection, with the performance of ritual magick as art, is something new. I think it is a step towards a more intimate relationship between artist and audience—I am reminded of something that Marina Abramovic elucidated to me about the occult in the context of performance, that the future will be one of a non-objective world without art in the sense that we have it now. She foresees us attaining a mental state and level of consciousness enabling us to transmit thoughts to other people. “There will not be sculptures, or paintings, or installations,” she once said, “there will just be the artist standing in front of a public, which is developed enough to receive a message or energy.” I think the fusion of art and ritual is a step toward that kind of connectivity and that kind of intimacy.
In 1974, Marina Abramović did a terrifying experiment. At a gallery in her native Belgrade, Serbia, she laid out 72 items on a trestle table and invited the public to use them on her in any way they saw fit. Some of the items were benign; a feather boa, some olive oil, roses. Others were not. “I had a pistol with bullets in it, my dear. I was ready to die.” At the end of six hours, she walked away, dripping with blood and tears, but alive. “How lucky I am,” she says in her still heavy accent, and laughs.
Abramovic uses her own body as a medium in often radical ways for her performance art. Because most of her pieces are interactive, she is often both the subject and object of her pieces, many of which explore the ideas of suffering, endurance, transcendence, daily living and human nature through the juxtaposition of calm, “daily-life”, ritualistic actions with gruesome and unthinkable violent acts.
Originally posted on Salle09:
Présentation de l’œuvre. Nature : Performance et installation vidéo. Titre : Balkan Baroque. Date : 1997 Auteur : Marina Abramovic Lieu : Sous-sol du Pavillon International à la Biennale de Venise. Période historique : Epoque contemporaine. Contexte historique : Marina Abramovic dénonce les massacres perpétrés pendant les guerres de Yougoslavie, série de conflits qui eurent lieu entre 1991 et 2001 dans les Balkans, impliquant…