domingo, maio 20, 2012

Marina Abramovic and the future of (HER) Performance:

“To me, when you die, you can’t leave anything physical — it doesn’t make any sense; but an idea can last for a long time,”… Was the statement for the opening reception of what is about to be the future Museum dedicated to the Performance Art – Marina Abramović Institute for the Preservation of Performance Art – quoted in Hyperallergic website.

The paradox between the two posts: Is Marina Abramović Trying to Create a Performance Art Utopia? by Jillian Steinhauer and The End of Performance Art as We Know It. by Thomas Micchelli; makes us think about Performance Art itself and the one that is no less responsible for it stating that “I feel like I have become a brand,” she said, “like Coca-Cola or jeans. When you say Marina Abramović, you know it’s about performance art — hardcore performance art.”.

This project aims in its core to become “a school for the public” where both performers and audience are part of the same experience and as it can be read in the first post about it, where the project is presented, allied to different utopic/ethereal experiences that somehow transform the idea of Performance Art from a body-action-centered experience to a museological spectacle utopically thought to be a on going durational experience.

“Once upon a time, Performance Art was synonymous with shock and danger. In contrast, the control, pedagogy and research embedded in those contracts and white lab coats come off as, to say the least, the tools of predictability.”

The experienceurs of this utopia are invited to learn Performance Art by watching and being watched for the architecture of this project was thought to be like that.
A different group of thinkers on the subject would say that the core of the performance art is in the fact that despite the repetitions and documentation it happens one time ONLY, and that the idea of perpetuing it into this state of confortability is the idea of an Abramovic trying to push forward the boundaries of what is this form of Art that somehow has been transformed throughout the years but not given a lot of importance of how it can happen in our world. Like the Queen of Performance says: “Our life is more and more busy, so our art should be longer.”
To enter this space will be to enter a space of experimentation, where you can be inside the works – those being a song, a sculpture, perhaps a painting… - a laboratory where Performance Art will be a subject of study under the Abramovic Method, and that’s the part where some of us can – or not – agree with. The practice of bringing performance art into a museological spectacle is also one that has been known through the historical strain of such artistic practice.

Although what is being proposed here is a overtaking project focused on a subject that would be odd to address in this Money vs. Art World, it’s more than a book on performance, it’s more than just building theory it’s intrinsically an action and (can we call it?) a performative/installation project focused on not only what the artist wants to say by it’s own body but taking a step to a sensorial experience that is requested nowadays, refusing what is already know of the performance that is to end with the artist.

Isn’t she leaving something physical after her own death? The Abramović Legacy will, for sure, live long before after her own death, and what we’ll have to see it’s not only the documentation of her work and her ideas, but we’ll be able to see what she is now predicting for the Future of Performance Art.

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