Marina Abramovic, age 64, is an active performance artist with an impressive history of works and a present exhibition at the MoMA NY called "The Artist is Present" (March 14 - May 31, 2010). The pigeon* represents the history of performance art and her history represents the present of performance art. Wordplay?! Yes, but it makes sense, once you enter her world!
Active for 3 decades, this lady of expressions have affirmed the connections between artist and audience and have pushed her body and mind to the limits of resistance. Her latest work, performed during her "MoMA's days", confirms the willpower of the artist's spirit, describing it as "the longest duration of time that she has performed a single solo piece"
* pigeon refers to: 1. a Serb (Cigan as they call themselves), pertaining to Serbia, its inhabitants, or their language; 2. a native or inhabitant of Serbia
Rhythm 10 (1973)
At the early '70's, Marina presented her first piece, exploring the elements of gesture. The "5 finger fillet"* leaded to 20 cuts on her hand, all recorded on a video tape. After watching it and exploring the reactions of her body to the caused pain, Marina repeated the performance in order to exceed the limitation of physical and mental pain.
*5 finger fillet refers to: a Russian game in which rhythmic knife jabs are aimed between the splayed fingers
The following performances called Rhythm 5, Rhythm 2, Rhythm 0, in 1974, were a high light at her artist statement.
During the performance of Rhythm 5, Marina lost consciousness due to a lack of oxygen while implementing a final act of purification in the middle of burning communist five ray-ed star. She concluded that the physical and mental limit of the artist is the consciousness. One can't be present when passed out.
Rhythm 2 came like a natural result from her previous act and was basically a research over the artist's unconsciousness. Marina took a drug to force her body to pass into series of seizures and uncontrollable muscle contractions. After the first part of the performance, Marina stuffed herself with an opposite-effect drug, causing general immobility. The base line between body and mind grew stronger.
In Rhythm 0 , the artist involved the audience into her act by letting them to manipulate over her body. While playing a passive role, Marina offered the public the opportunity to examine her with 72 random objects among which: whip, knife and a "Russian roulette" gun.
In 1976 Marina Abramovic collaborated with the German performance artist Ulay*.
*Ulay refers to: http://en.wikipedia.org/wiki/Uwe_Laysiepen
She continued the "body and mind" acts through the years. In the '90's her works get even deeper involved with the topic of "physical and mental resistance" only these times the works were more related to the her origins and geographical roots. Adding the flavor of her "Balkan" background, Marina managed to reveal a whole new dimension in a world of modernism.
Right now, she is still in MoMA, New York and she's there for you. How further would you go in order to get to know your own limits?
