пятница, 24 декабря 2010 г.

Life and Death of Marina Abramovic

... жизнь, боль, насилие и опасность стали протестом искусства против лицемерного оптимизма. люди перестали обманывать себя и верить в добро по инерции. когда уже не могли не видеть. жизнь состоит из проявлений насилия, а человек может быть столь же жестоким, сколь и великодушным. югославская художница, живущая в Амстердаме, с начала 70-х она остается одной из самых активных и скандальных фигур мирового художественного пространства, неутомимо экспериментируя с собственным телом и психикой зрителей ...

Marina Abramovic is a performance artist who investigates and pushes the boundaries of physical and mental potential. In her performances she has lacerated herself, flagellated herself, frozen her body on blocks of ice, taken mind- and muscle-controlling drugs that have caused her to fall unconscious, and almost died from asphyxiation while lying within a curtain of oxygen-devouring flames.

Abramovic's goal is not sensationalism, however. Her performances are a series of experiments aimed at identifying and defining limits: of her control over her own body; of an audience's relationship with a performer; of art and, by extension, of the codes that govern society. Her profound and ambitious project is to discover a method, through art, to make people more free.


Many of Abramovic's performances over the past 30 years have been brutal and unnerving. Some of them reached completion only when a member of the audience intervened. By seeking the point at which an audience reaches the limits of its endurance in witnessing pain or danger, Abramovic creates a point of rupture, radically highlighting the spectator's own sense of the moment. She has said: 'I'm interested in art that disturbs and that pushes that moment of danger; then, the public watching has to be here and now. Let the danger focus you; this is the whole idea - to put you in the focus of now.' 
* early performances with Ulay (Uwe Laysiepen)
 
В 14 лет она просила своего отца, «старого партизана», купить ей масляных красок. Вместе с красками ей достался и первый учитель из числа отцовских друзей: он положил холст на пол, выплеснул на него гремучую смесь из красок и подорвал. Тогда-то юная художница и поняла, что в искусстве „процесс важнее результата
У меня есть теория: чем хуже у тебя детство, тем лучше твое искусство — если ты по-настоящему счастлив, то у тебя не получится создать хорошее произведение. Мои родители были карьеристами, стремились добиться успеха в области политики. Они оба после войны были признаны национальными героями. У них не было желания заниматься ребенком, и они отдали меня бабушке. Однажды, я ждала бабушку, когда она молилась в церкви. Там я увидела купель — емкость, в которую надо было окунуть пальцы перед тем, как перекреститься. Я подумала, что если выпью всю воду, то стану святой. Мне было шесть лет. Я встала на стул и выпила эту воду. Мне только плохо стало. В святую я не превратилась. А вообще все детство я провела на кухне. Кухня была центром моей вселенной. Там я рассказывала бабушке свои сны, а она рассказывала мне разные истории. Там мы посвящали друг друга во все тайны. Это было место встречи и взаимопроникновения повседневного и духовного
— Марина Абрамович, 2009
 

Abramovic has described herself as the 'Grandmother of Performance Art'. Of that generation of artists of the early 70s who chose performance as a means of expression, Abramovic is probably the one still most active today - and the most successful. In 1997 she showed the video installation and performance Balkan Baroque at the Venice Biennale, and received the Golden Lion Award for Best Artist.
 
 Автор получившей известность инсталляции «Отношения в пространстве» (1976). Полностью раздетая художница и её возлюбленный немецкий художник Улай изображали полностью свободные отношения, терзая друг друга на глазах зрителей. Их совместная работа продолжалась с 1976 по 1989 год. Композиция «Коммунистическое тело, Капиталистическое тело» (1980-е) стала протестом против разделения людей идеологическими барьерами. Инсталляции Марины Абрамович иногда вызывали шок у зрителей (в 1988 году один из зрителей упал в обморок на выставке). В 1997 году Марина Абрамович получила престижную премию «Золотой лев» на Венецианской биеннале за работу «Балканское барокко» — художница перемывала гору окровавленных костей в память о жертвах войны в Югославии.
 
more:
interview :


4 Performances by Marina Abramovic (1975-1976)     
Runtime: 54 min
Language: English
Country: Yugoslavia
Color: Black and White
Director: Marina Abramovic

1.Art must be beautiful, Artist must be beautiful.
2.Freeing the voice
3.Freeing the memory
4.Freeing the body.
Galerie Mike Steiner, Berlin, December, 1976
 


"To be a performance artist, you have to hate theatre. Theatre is fake… The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real."
- Marina Abramovic, 2010
 
Marina Abramovic: Seven Easy Pieces (2007)    
Runtime: 92
Language: German & English (with occasional English hardsubs)
Country: International
Color: Color
IMDb Link: http://www.seveneasypieces.com/
Director: Babette Mangolte
Cast:
Marina Abramovic, a rabbit, a gun and the audience

For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960’s and 70’s, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance.

The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.

"About the public ... I do not want the public to feel that they are spending time with the performances, I simply want them to forget about time." Marina Abramovic, 2005

Featured in the program:
1) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:09:37
November 9, 2005: Marina Abramovic re-performing: Bruce Nauman, Body Pressure, 1974

2) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:09:42
November 10, 2005: Marina Abramovic re-performing: Vito Acconci, Seedbed, 1972

3) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:02:47
November 11, 2005: Marina Abramovic re-performing: VALIE EXPORT, Action Pants, Genital Panic, 1969

4) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:19:58
November 12, 2005: Marina Abramovic re-performing: Gina Pane, The Conditioning, first action of Self-Portrait(s), 1973

5) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:15:49
November 13, 2005: Marina Abramovic re-performing: Joseph Beuys, How to Explain Pictures to a Dead Hare1965

6) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:28:32
November 14, 2005: Marina Abramovic re-performing: Lips of Thomas, 1975

7) Seven Easy Pieces by Marina Abramovic directed by Babette Mangolte
USA, Art / Artist, 2007, 00:08:01
November 15, 2005: Marina Abramovic Entering the Other Side, 2005


Filmmaker’s Original Statement written in February 2006
The film of Seven Easy Pieces by Marina Abramovic is about the performing body and how it affects viscerally the people who confronts it, looks at it and participates in the transcendental experience that is its primary affect. The ceremonial and meditative are the common responses to the weeklong series of performances that took place in November 2005 in the Guggenheim Museum in New York. From an art event to a social phenomenon, the seven performances became the talk of the town because it created among the visitors a sense of sublimation like prayer. The film attempts to reveal the mechanisms of this transcendental experience by just showing the performer’s body living the events inscribed in each pieces with details that outline the body fragility, versatility, tenacity and unlimited endurance.

The fascination comes from the revelation of the physical transformation of Marina Abramovic'’s exposed body due to the rigorous discipline of being there on display each day for seven hours without any restrictive boundaries. The relentless progress of time is revealed each day by the acoustic of the building with its waves of crowd that roll like an ocean and marvel at the performer’s steadfastness with respectful silence. That the performer’s required discipline had to be so different from one piece to the next is one of the mysteries. How the attentive audience feed into the art and Marina’s aesthetics is what is explored. It is as if a monastic urge attracted the mystic among us viewers that were there to participate. And the film, by focusing on Marina’s minute changes and strains along the long seven hours of each piece, explores in a systematic way a body without limit and increases the awareness of how participatory body art is.

The film will be 90 minutes long and follows the linearity inscribed in the week event, from body pressure, audience participation and confrontation in the first three pieces to the ceremonial in the last four pieces as mapped out by Marina Abramovic'. It is only after the fact that the film viewer will realize how much the project concept enlightens us on aesthetics that privileged physical experience over reason, process over iconography and testifies to the power of audience participation over passive spectatorship.

(Essay by Babette Mangolte.)

http://rapidshare.com/files/399366049/Marina.Abramovic.Seven.Easy.Pieces.2007-SMz.avi.001
http://rapidshare.com/files/399366054/Marina.Abramovic.Seven.Easy.Pieces.2007-SMz.avi.002
http://rapidshare.com/files/399366120/Marina.Abramovic.Seven.Easy.Pieces.2007-SMz.avi.003
http://rapidshare.com/files/399366044/Marina.Abramovic.Seven.Easy.Pieces.2007-SMz.avi.004
http://rapidshare.com/files/399365921/Marina.Abramovic.Seven.Easy.Pieces.2007-SMz.avi.005
trailer:
http://rapidshare.com/files/399365044/Marina.Abramovic.Seven.Easy.Pieces.Trailer-SMz.avi
* my art: Massacre (by Igor Vaganov)

** Всех с католическим Рождеством и началом предновогоднего безумия! 
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