In The House with the Ocean View, Abramović spent twelve days in the Sean Kelly Gallery without eating, writing, or speaking. Projections, cow bones, copper sinks and tub filled with black water, bucket, soap, metal brush, white dress The comparison between the inability to scrub away all the blood and the inability to erase the shame of war is a concept she viewed as having universal reach. Transforming her individual performative experiences into universal ideas was also an important concept for Abramović throughout all her work. Instead, she aimed to remember the lives, efforts, and hopes of individuals killed by carefully touching and cleaning "their" physical bones and blood. For Abramović, it was not enough to simply recount the number of people lost in modern-day war. The performance progression was made visceral due to the unbearable heat of the basement room and fetid smell. The accompanying sound included her recorded description of methods used in the Balkans for killing rats and her singing of her native folksongs. Sitting on top of 1,500 cow bones in a white dress, she spent four days, six hours a day, washing each of these bloody bones, surrounded by projected images of her parents and herself. Reminiscent of Cleaning the Mirror #1 (1995), in which she sat on a stool for three hours washing a skeleton, Abramović created Balkan Baroque in response to the innumerable deaths that had taken place in the former Yugoslavia. Ultimately, after she stood motionless for six hours, the protective audience members insisted the performance be stopped, seeing that others were becoming increasingly violent.ħ2 objects including a feather, pen, book, saw, honey, band-aid, salt, rose, gun, bullet, paint, whip, coat and scissors In Rhythm 0, the audience divided itself into those who sought to harm Abramović (holding the loaded gun to her head) and those who tried to protect her (wiping away her tears). Here, they physically directed the actions, while in other performances, Abramović involved the audience through a dynamic exchange of energy. She wanted spectators to become collaborators, rather than passive observers. This work also reflected her interest in performance art as a way to transform both the performer and the audience. Rhythm 0 was exemplary of Abramović's belief that confronting physical pain and exhaustion was important in making a person completely present and aware of his or her self. With a description reading "I am the object," and, "During this period I take full responsibility," Abramović invited spectators to use any of 72 objects on her body in any way they desired, completely giving up control. The performances the pair created during this time often exploited their duality to investigate ideas such as the division between mind and body, nature and culture, active and passive attitudes, and, of course, between male and female. Between 19 she collaborated with the German-born artist known as Ulay.Yet far from conceiving it as simply a surface, she has said that she thinks of the body as the "point of departure for any spiritual development." We might interpret her work as having displaced art from traditional media such as painting and sculpture, and moved it directly on to her body.And the physical ordeals she endures form the basis for exploring such themes as trust, endurance, cleansing, exhaustion, and departure. She views her art almost as a sacrificial and religious rite, performed by herself for a congregation of viewers. It often involves putting herself in grave danger and performing lengthy, harmful routines that result in her being cut or burnt, or enduring some privation. Marina Abramović's work is typical of the ritualistic strain in 1960s performance art.The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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