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A fascinating career overview of performance artist Marina Abramovic, published to accompany the opening of the MAI - Marina Abramovic Institute for the Preservation of Performance Art in Hudson, New York.
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12
This piece started without the public. Marina and Ulay tied their hair together, sitting back to back for 16 hours in the gallery, with only the gallery staff present. Each hour, three minutes of video was taken and they were photographed. After 16 hours, when their bodies were close to total exhaustion, the public was invited to enter. Marina and Ulay wanted to know how they could use the energy of the public to push their limits even further. They performed for the public for one more hour, for a total performance time of 17 hours.
For the duration of her retrospective at MoMA, Marina Abramovic performed The Artist is Present, a 716-hour and 30-minute silent piece, in which she sat immobile in the museum’s atrium, while spectators were invited to take turns sitting opposite her.
In his third one year performance piece, from September 26, 1981 through September 26, 1982, Hsieh spent the year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents. He moved around New York City with a backpack and a sleeping bag.
In this performance, Hsieh and Linda Montano spent one year between July 4 1983 and July 4 1984 tied to each other with an 8-foot-long (2.4 m) rope. They had to stay in a same room while not allowed to touch each other until the end of the one year period. Both of them shaved their hair in the beginning of the year, and the performance was notarized initially by Paul Grassfield and later by Pauline Oliveros.
perFOrMANCe
Tehching Hsieh,One YearPerformance1981-1982
1 year
perFOrMANCe
Tehching Hsiehand Linda Montano,Art/Life One Year Performance1983-1984
1 year
perFOrMANCe
Marina Abramovicand Ulay,Relation in Time1977
17 hours
perFOrMANCe
Marina Abramovic,The Artist Is Present2010
716 hours
History of Long Duration Works 13
12
This piece started without the public. Marina and Ulay tied their hair together, sitting back to back for 16 hours in the gallery, with only the gallery staff present. Each hour, three minutes of video was taken and they were photographed. After 16 hours, when their bodies were close to total exhaustion, the public was invited to enter. Marina and Ulay wanted to know how they could use the energy of the public to push their limits even further. They performed for the public for one more hour, for a total performance time of 17 hours.
For the duration of her retrospective at MoMA, Marina Abramovic performed The Artist is Present, a 716-hour and 30-minute silent piece, in which she sat immobile in the museum’s atrium, while spectators were invited to take turns sitting opposite her.
In his third one year performance piece, from September 26, 1981 through September 26, 1982, Hsieh spent the year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents. He moved around New York City with a backpack and a sleeping bag.
In this performance, Hsieh and Linda Montano spent one year between July 4 1983 and July 4 1984 tied to each other with an 8-foot-long (2.4 m) rope. They had to stay in a same room while not allowed to touch each other until the end of the one year period. Both of them shaved their hair in the beginning of the year, and the performance was notarized initially by Paul Grassfield and later by Pauline Oliveros.
perFOrMANCe
Tehching Hsieh,One YearPerformance1981-1982
1 year
perFOrMANCe
Tehching Hsiehand Linda Montano,Art/Life One Year Performance1983-1984
1 year
perFOrMANCe
Marina Abramovicand Ulay,Relation in Time1977
17 hours
perFOrMANCe
Marina Abramovic,The Artist Is Present2010
716 hours
History of Long Duration Works 13
28
BREATHINGNo. 1Sitting on the ground.Close the left nostril with a finger and breathe in air deeply through the right nostril nine times.Repeat the same exercise with the leftnostril, and then breathe in air nine times with both nostrils open.
No. 2Lying on the ground, press your body against the floor, as forcefully as possible without breathing. Keep this position as long as you can, then breathe deeply and relax.
Repeat 12 times
No. 3Standing,Breathe through your mouth only,Suck in the air as forcefully as possible.1 time in 1 time out2 times in 2 times out3 times in 3 times out4 times in 4 times out5 times in 5 times out6 times in 6 times out7 times in 7 times out8 times in 8 times out9 times in 9 times out10 times in 10 times out
Grenoble, France, 1992
WATER DRINKINGWith your hand, hold a glass of pure water. Wait and look at the water. In slow motion, bring the glass to your lips. Drink in small sips as long as you can. Put the glass down and repeat this activity throughout the day a minimum of 21 times.
21 times
Kerguéhennec, France, 1997
Cleaning the House 29
28
BREATHINGNo. 1Sitting on the ground.Close the left nostril with a finger and breathe in air deeply through the right nostril nine times.Repeat the same exercise with the leftnostril, and then breathe in air nine times with both nostrils open.
No. 2Lying on the ground, press your body against the floor, as forcefully as possible without breathing. Keep this position as long as you can, then breathe deeply and relax.
Repeat 12 times
No. 3Standing,Breathe through your mouth only,Suck in the air as forcefully as possible.1 time in 1 time out2 times in 2 times out3 times in 3 times out4 times in 4 times out5 times in 5 times out6 times in 6 times out7 times in 7 times out8 times in 8 times out9 times in 9 times out10 times in 10 times out
Grenoble, France, 1992
WATER DRINKINGWith your hand, hold a glass of pure water. Wait and look at the water. In slow motion, bring the glass to your lips. Drink in small sips as long as you can. Put the glass down and repeat this activity throughout the day a minimum of 21 times.
21 times
Kerguéhennec, France, 1997
Cleaning the House 29
42
we Are lIvINg IN A DIFFICulT perIOD wHere TIMe Is wOrTH MOre AND MOre beCAuse we HAve less AND less OF IT.
lONg DurATION perFOrMANCe HAs THe pOwer TO CreATe MeNTAl AND pHysICAl TrANsFOrMATION FOr THe perFOrMer As well As FOr THe vIewer.
FOr THIs reAsON, I wOulD lIKe TO gIve THe publIC THe pOssIbIlITy TO eXperIeNCe AND TO reFleCT upON eMpTINess, TIMe, spACe, luMINOsITy, AND vOID. I HAve CreATeD AN INsTAllATION OF ObjeCTs FOr HuMAN AND spIrIT use THe publIC CAN INTerACT wITH IN THree bAsIC pOsITIONs: sTANDINg, sITTINg, AND lyINg DOwN. IN DOINg sO, THe publIC beCOMes pArT OF THe wOrK.
THe vIewer wIll FuNCTION As A MIrrOr TO THe publIC, pArTICIpATINg IN THe INsTAllATION. DurINg THIs eXperIeNCe, I HOpe THAT THe Observer AND THe ObserveD wIll CONNeCT wITH THeMselves AND wITH THe preseNT – THe elusIve MOMeNT OF THe Here AND NOw.
MArINA AbrAMOvIC
THeAbrAMOvICMeTHOD
The Abramovic Method trains the audience with the skills to observe long duration performance.The method exposes the mind-set of the performer to the public and involves a series of exercises to heighten the physical and mental experience of the participant.
The Abramović Method 43
42
we Are lIvINg IN A DIFFICulT perIOD wHere TIMe Is wOrTH MOre AND MOre beCAuse we HAve less AND less OF IT.
lONg DurATION perFOrMANCe HAs THe pOwer TO CreATe MeNTAl AND pHysICAl TrANsFOrMATION FOr THe perFOrMer As well As FOr THe vIewer.
FOr THIs reAsON, I wOulD lIKe TO gIve THe publIC THe pOssIbIlITy TO eXperIeNCe AND TO reFleCT upON eMpTINess, TIMe, spACe, luMINOsITy, AND vOID. I HAve CreATeD AN INsTAllATION OF ObjeCTs FOr HuMAN AND spIrIT use THe publIC CAN INTerACT wITH IN THree bAsIC pOsITIONs: sTANDINg, sITTINg, AND lyINg DOwN. IN DOINg sO, THe publIC beCOMes pArT OF THe wOrK.
THe vIewer wIll FuNCTION As A MIrrOr TO THe publIC, pArTICIpATINg IN THe INsTAllATION. DurINg THIs eXperIeNCe, I HOpe THAT THe Observer AND THe ObserveD wIll CONNeCT wITH THeMselves AND wITH THe preseNT – THe elusIve MOMeNT OF THe Here AND NOw.
MArINA AbrAMOvIC
THeAbrAMOvICMeTHOD
The Abramovic Method trains the audience with the skills to observe long duration performance.The method exposes the mind-set of the performer to the public and involves a series of exercises to heighten the physical and mental experience of the participant.
The Abramović Method 43
50
exercise no. 2
EYESPlace your hands together in frontof you. Rub your hands togethervigorously for a few seconds to createenergy and heat.Place your hands on your eyes.Let the heat and energy go into youreyes. Gently rub your eyes to relax theeyeballs and the muscles around the eyes.Take your hands away from your eyes.
The Abramović Method 51
50
exercise no. 2
EYESPlace your hands together in frontof you. Rub your hands togethervigorously for a few seconds to createenergy and heat.Place your hands on your eyes.Let the heat and energy go into youreyes. Gently rub your eyes to relax theeyeballs and the muscles around the eyes.Take your hands away from your eyes.
The Abramović Method 51
78
SEvEN CHAIRS FOR HUMAN USE AND SEvEN CHAIRS FOR SPIRIT USE
The Abramović Method 79
78
SEvEN CHAIRS FOR HUMAN USE AND SEvEN CHAIRS FOR SPIRIT USE
The Abramović Method 79
94
MASS MoCA +WILLIAMS COLLEGE
MANHATTAN
BARDCOLLEGE
DIABEACON
HUDSON, NYHARVARD
160 MILES
50 MIL
ES20
MIL
ES
60 M
ILE
S
120
MIL
ES
MARINA ABRAMOVIC INSTITUTE
2 ho
urs
by tr
ain
As a city, Hudson is unique in its reputation both for serving rural communities in surrounding areas, as well as embracing the arts, design, and music.
Hudson sits on the banks of the Hudson River with a population of approximately 6,500.The MAI building is right in the center of town, a block away from the“main street” of the town, Warren Street, and faces an appealing public square with grass and a fountain.
Hudson is only two hours from New York City, but it is also surrounded by wonderful nature. It has a rich history, both as a thriving commercial center in the 19th century, and as one of the centralized points of America’s first art movement, the Hudson River School of painting.
Hudson is a hub between already existing arts organizations and schools, including Dia:Beacon, Mass MoCA, Storm King Arts Center, Olana Arts, Bard College, Cornell University, Williams College, and Harvard University.
Aerial View of MAI and the city of Hudson
Hudson 95
94
MASS MoCA +WILLIAMS COLLEGE
MANHATTAN
BARDCOLLEGE
DIABEACON
HUDSON, NYHARVARD
160 MILES
50 MIL
ES
20 M
ILE
S
60 M
ILE
S
120
MIL
ES
MARINA ABRAMOVIC INSTITUTE
2 ho
urs
by tr
ain
As a city, Hudson is unique in its reputation both for serving rural communities in surrounding areas, as well as embracing the arts, design, and music.
Hudson sits on the banks of the Hudson River with a population of approximately 6,500.The MAI building is right in the center of town, a block away from the“main street” of the town, Warren Street, and faces an appealing public square with grass and a fountain.
Hudson is only two hours from New York City, but it is also surrounded by wonderful nature. It has a rich history, both as a thriving commercial center in the 19th century, and as one of the centralized points of America’s first art movement, the Hudson River School of painting.
Hudson is a hub between already existing arts organizations and schools, including Dia:Beacon, Mass MoCA, Storm King Arts Center, Olana Arts, Bard College, Cornell University, Williams College, and Harvard University.
Aerial View of MAI and the city of Hudson
Hudson 95
125
MIssION
THe MArINA AbrAMOvIC INsTITuTe wAs
FOuNDeD by MArINA AbrAMOvIC AND wIll
serve As Her legACy AND HOMAge TO TIMe-
bAseD AND IMMATerIAl ArT.
THe INsTITuTe wIll FOCus ON lONg DurATION
perFOrMANCe: DANCe, THeATre, FIlM, vIDeO,
OperA, MusIC, AND ANy OTHer perFOrMATIve
FOrMs OF ArT wHICH MIgHT DevelOp IN THe
FuTure.
THe INsTITuTe wIll pursue A rOle IN CulTure
AND wIll seeK prODuCTIve uNIONs beTweeN
ArT, sCIeNCe, TeCHNOlOgy, spIrITuAlITy AND
eDuCATION.
THe INsTITuTe wIll prOvIDe AN eXperIMeNTAl
spACe TO CONDuCT reseArCH AND HOsT wOrK-
sHOps, publIC leCTures, AND resIDeNCIes.
125
MIssION
THe MArINA AbrAMOvIC INsTITuTe wAs
FOuNDeD by MArINA AbrAMOvIC AND wIll
serve As Her legACy AND HOMAge TO TIMe-
bAseD AND IMMATerIAl ArT.
THe INsTITuTe wIll FOCus ON lONg DurATION
perFOrMANCe: DANCe, THeATre, FIlM, vIDeO,
OperA, MusIC, AND ANy OTHer perFOrMATIve
FOrMs OF ArT wHICH MIgHT DevelOp IN THe
FuTure.
THe INsTITuTe wIll pursue A rOle IN CulTure
AND wIll seeK prODuCTIve uNIONs beTweeN
ArT, sCIeNCe, TeCHNOlOgy, spIrITuAlITy AND
eDuCATION.
THe INsTITuTe wIll prOvIDe AN eXperIMeNTAl
spACe TO CONDuCT reseArCH AND HOsT wOrK-
sHOps, publIC leCTures, AND resIDeNCIes.
166
The artist’s overlook creates an intimate, confessional platform for the performer.INTIMATe perFOrMANCe spACe
Marina Abramović Institute 167
166
The artist’s overlook creates an intimate, confessional platform for the performer.INTIMATe perFOrMANCe spACe
Marina Abramović Institute 167
