Page 1


12

History of Long Duration Works  13

PERFORMANCE

PERFORMANCE

Tehching Hsieh, One Year Performance 1981-1982

Marina Abramovic´ and Ulay, Relation in Time 1977

1 year

17 hours

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.

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.

PERFORMANCE

PERFORMANCE

Tehching Hsieh and Linda Montano, Art/Life One Year Performance 1983-1984

Marina Abramovic´, The Artist Is Present 2010

716 hours

1 year

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.

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.


12

History of Long Duration Works  13

PERFORMANCE

PERFORMANCE

Tehching Hsieh, One Year Performance 1981-1982

Marina Abramovic´ and Ulay, Relation in Time 1977

1 year

17 hours

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.

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.

PERFORMANCE

PERFORMANCE

Tehching Hsieh and Linda Montano, Art/Life One Year Performance 1983-1984

Marina Abramovic´, The Artist Is Present 2010

716 hours

1 year

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.

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.


28

Cleaning the House  29

water drinking

breathing

With 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.

No. 1 Sitting 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 left nostril, and then breathe in air nine times with both nostrils open.

21 times

No. 2 Lying 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. 3 Standing, Breathe through your mouth only, Suck in the air as forcefully as possible. 1 time in 1 time out 2 times in 2 times out 3 times in 3 times out 4 times in 4 times out 5 times in 5 times out 6 times in 6 times out 7 times in 7 times out 8 times in 8 times out 9 times in 9 times out 10 times in 10 times out

KerguĂŠhennec, France, 1997

Grenoble, France, 1992


28

Cleaning the House  29

water drinking

breathing

With 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.

No. 1 Sitting 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 left nostril, and then breathe in air nine times with both nostrils open.

21 times

No. 2 Lying 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. 3 Standing, Breathe through your mouth only, Suck in the air as forcefully as possible. 1 time in 1 time out 2 times in 2 times out 3 times in 3 times out 4 times in 4 times out 5 times in 5 times out 6 times in 6 times out 7 times in 7 times out 8 times in 8 times out 9 times in 9 times out 10 times in 10 times out

KerguĂŠhennec, France, 1997

Grenoble, France, 1992


42

The ´ AbramoviC Method 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

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´


42

The ´ AbramoviC Method 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

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´


50

Exercise no. 2

eyes Place your hands together in front of you. Rub your hands together vigorously for a few seconds to create energy and heat. Place your hands on your eyes. Let the heat and energy go into your eyes. Gently rub your eyes to relax the eyeballs and the muscles around the eyes. Take your hands away from your eyes.

The Abramović Method  51


50

Exercise no. 2

eyes Place your hands together in front of you. Rub your hands together vigorously for a few seconds to create energy and heat. Place your hands on your eyes. Let the heat and energy go into your eyes. Gently rub your eyes to relax the eyeballs 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

Hudson  95

MASS MoCA + WILLIAMS COLLEGE

MARINA ABRAMOVIC INSTITUTE

20 M ILE

S

HUDSON, NY

S

5

160 MILES

HARVARD

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.

2 hours b

120 MILES

DIA BEACON

y train

60 MI

LES

BARD COLLEGE

E IL M 0

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.

MANHATTAN

Aerial View of MAI and the city of Hudson

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.


94

Hudson  95

MASS MoCA + WILLIAMS COLLEGE

MARINA ABRAMOVIC INSTITUTE

20 M ILE

S

HUDSON, NY

S

5

160 MILES

HARVARD

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.

2 hours b

120 MILES

DIA BEACON

y train

60 MI

LES

BARD COLLEGE

E IL M 0

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.

MANHATTAN

Aerial View of MAI and the city of Hudson

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.


125

MISSION THE

MARINA

ABRAMOVIC´

INSTITUTE WAS FOUNDED BY MARINA ABRAMOVIC´ AND WILL SERVE AS HER LEGACY AND HOMAGE TO TIMEBASED 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 WORKSHOPS, PUBLIC LECTURES, AND RESIDENCIES.


125

MISSION THE

MARINA

ABRAMOVIC´

INSTITUTE WAS FOUNDED BY MARINA ABRAMOVIC´ AND WILL SERVE AS HER LEGACY AND HOMAGE TO TIMEBASED 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 WORKSHOPS, PUBLIC LECTURES, AND RESIDENCIES.


166

Intimate Performance Space

Marina Abramović Institute  167

The artist’s overlook creates an intimate, confessional platform for the performer.


166

Intimate Performance Space

Marina Abramović Institute  167

The artist’s overlook creates an intimate, confessional platform for the performer.


Marina Abramovic MAI  

A fascinating career overview of performance artist Marina Abramovic, published to accompany the opening of the MAI - Marina Abramovic Insti...

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