Marina Abramovich: "Now The Audience Can Cry Without Me"
Marina Abramovich: "Now The Audience Can Cry Without Me"

Video: Marina Abramovich: "Now The Audience Can Cry Without Me"

Video: История Марины Абрамович и Улая (интервью) 2022, December
Anonim

The art of Marina Abramovic, known for her radical and physically risky performances, is in a constant process of transformation. In the new and most ambitious since the famous retrospective "In the presence of the artist" in New York, she works with classical music, and for the first time. “Music passes through your body, through the molecules of your skin, nothing passes between you,” Marina shares her feelings. "Music is at the top of the pyramid of immaterial art." However, we know what an indirect, full of tangible thorns road that led to her new approach to music and rethinking the boundaries of performance.

"Goldberg" (Bach Variations for Piano) Abramovich created in a creative union with the Russian-German pianist Igor Levit, who for the first time performed this work in its compositional completeness - all 30 variations. For this show in New York's "Armory Park Avenue", which we managed to get to, Abramovich created in her own style a whole list of rules for the audience (we are sure that any museum in the world would give a lot for them).

The first point is to leave cell phones, clocks and any electronic devices in individually lockable booths located in the lobby especially for the event. Second: put on soundproof headphones, and then sit in complete silence and twilight, or rather, recline on exclusive designer sun loungers. How long it was necessary to stay in this position was not disclosed - because of this, at first, we were slightly uncomfortable. But this only continued until we lost track of time and finally resigned ourselves to Abramovich's ideas. Only then everything begins …

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“It takes discipline to get any experience. Any ceremony in any culture - ask any advanced Buddhist - involves a kind of competition with yourself. You will not experience something you are looking for until you make the appropriate effort,”Marina rubs her hands, laughing (metaphorically, of course).

It was, perhaps, a one-of-a-kind concert, unsullied by check-ins and intagrams, and for us, the audience, it cost a lot of moral investment. The first stage of co-creation consisted in reflections on the topic "What is it like for me without confiscated (as if in Domodedovo) gadgets and other personal belongings?" Alone with yourself and deafening, sterile silence in your ears, completely devoid of coughs and sighs, in a kind of audible gas mask? With this "audio track

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Time at the performance at Abramovich does anything, but does not rush forward: the viewer tries in parallel to cope with his cranium, which becomes uncomfortable without access to obsessive-compulsive calls to a smartphone. At some point, you conclude: it's time to look around too, it's not for nothing that the artists built a light installation! - and everywhere a subtle audiovisual catch awaits. A ticket girl sitting on an ordinary chair against the wall at a distance looks either like a giant doll, or like a ballerina who will now give out an extravagant plie. The whiteness of the lamps and beach chairs even reminds of aliens. When Igor Levit slowly emerges from the darkness with the piano, you are hardly mentally prepared.

“The first 10 minutes of this silence is a real hell,” Marina confesses to us. - Imagine, I don’t even offer the audience to look through the program, I don’t give them anything at all! They have to be alone with themselves, and this is unusual, but in the end they have no choice but to learn: ok, now I'm just on my own."

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Then, finding yourself without headphones, you understand: Igor is nothing more than an attachment to his instrument, and his sedentary journey (as well as the imperceptible, but ultimately, obvious clockwise rotation inherent in the piano during a two-hour concert) is not a product of your imagination. And Marina Abramovich, who appeared in the finale, did not dream about you (and that neighbor guy) either.

“It takes me two or three years to create a new project. I will never stop performing, because at this stage I see the result, I am more and more fascinated by the fact that the audience becomes the object of my work."

The Abramovich Method, which the artist began to apply to the perception of music, was created with an eye to the peculiarities of the modern viewer: it includes special methods of concentrating attention, as well as being present “here and now”. Abramovich has his own ways of eating from a glass of water, standing still, counting grains of rice for several hours … “We are very restless creatures now,” notes Marina. - We are unable to fully devote ourselves to anything. I understood: if you want to delve into something, you must first of all find a certain center in yourself. I also have a stigma in the cannon on this score! I could not prepare for the performance in 5 minutes, it took me much longer. I realized that the audience needed even more time to reach the same level of readiness.”

This “method” seems to be in demand - the Marina Abramovich Institute (MAI), which recently opened in New York State, is the premier space for immaterial performative arts. He has successfully raised $ 600,000 on Kickstarter. Marina will conclude an agreement with visitors to the museum, according to which they undertake to spend at least 6 hours in it - they will give their word in writing! All this demonstrates not only the artist's firmly established emotional connection with her fans, but also says a lot about the deepest needs of the viewer.

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So, if Goldberg refers to Abramovich's recent practice of lengthy performances, then her early work was much more rebellious and life-threatening. Even her work with sound (which later brought Abramovich to performance) was at first purely conceptual in nature. “Imagine: I placed the speakers playing a record of the collapsing buildings, right where you (the viewer) are standing,” says Marina, “that is, inside one of the buildings in Belgrade. You can see that it is whole, despite the fact that the sound perception suggests otherwise. An interesting split in consciousness is a thing that was then very close to me. " Scandalous performances are also widely known in which she had to cut a pentagonal star on her stomach with a blade, lie on pieces of ice laid out in the shape of a cross, or stand motionless for hours with an arrow.aimed directly at the chest by none other than his beloved and fellow artist Ulay, who all this time held the bowstring in a taut position.

Even though the fans of Abramovich's radical and shocking works are not yet old, and her transcendental performances like “In the presence of an artist” cause massive tears, Marina Abramovich is still somewhere ahead - she is preparing a new challenge for her viewers, and we cannot keep up with her.

“My ideas come without demand. And when that happens, I have to sit still. That is why I am now going to India to hide from distractions. I’ll stay there in one place where they give you three pajamas and you’re doing nothing for a month. This is the basis of everything."

During the interview, Abramovich educated us with stories about the innovations of virtual reality, hinting that this may be the next art form. So upon Marina's return from India, we do not deny the opportunity to hear about an art project with artificial intelligence! At the same time, "Goldberg" surprised and even shocked me a little with its sophistication. After all, the main task was to stage harmony and induce the viewer to direct attention inward. Considering how difficult this is to achieve these days, you can probably understand the whole excitement.

“It's funny how people still enjoy seeing blood spatter and watching me injure myself. This is already boring for me, I am not interested in repeating myself. To show the viewer oneself is a creative task. If before the audience cried at my performances, now they can cry without me."

  • Art
  • New York

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