Marina Abramović believes that performance art requires the artist to invest their time and energy, while the audience must also contribute their attention and time. This mutual exchange creates a genuine connection and makes the performance effective. She stated, 'I gave my time and my energy, and you, as participants, gave me your time and attention.' This is why her exhibition is titled 'Energy Transfer,' highlighting the exchange of energy between the artist and the audience.
The immersive experience at Marina Abramović's exhibition in China was designed to slow down time and heighten sensory awareness. Participants had to store their phones and wear noise-canceling headphones. The space was filled with white-clad 'pharmacist' guides who moved slowly and spoke in a monotone voice. The experience included walking through a series of doors, lying in a bathtub filled with rose petals, and interacting with various installations. The goal was to create a meditative, almost surreal environment where participants could disconnect from the outside world and focus on their inner sensations.
In 'Rhythm 0,' Marina Abramović placed herself in a passive role, allowing the audience to interact with her using various objects, including a gun, a whip, and roses. The performance revealed how people behave when given absolute power without consequences. Initially, the audience was hesitant, but as the performance progressed, they became increasingly aggressive, culminating in someone pointing a gun at her. The performance ended with Abramović walking toward the audience, who then fled, unable to face her. This piece highlighted the darker aspects of human nature and the potential for violence when power is unchecked.
In 'Balkan Baroque,' Marina Abramović sat in a pile of bloody cow bones, washing them while singing a sorrowful Yugoslavian children's song. The performance was a commentary on the atrocities of war, particularly in the Balkans, and served as a memorial to the victims. The visual and sensory impact of the blood and bones created a powerful and haunting experience, emphasizing the futility and horror of violence. This piece is considered one of her most profound works, blending personal and collective grief.
Marina Abramović argues that reading a book or hearing a theory can inspire or impress, but true change only occurs through direct experience and action. She stated, 'Books cannot truly change a person. Only actions can.' Her performance art is designed to create immersive experiences that force participants to confront their emotions and thoughts, leading to personal transformation. This belief underscores the core of her work, which relies on the physical and emotional presence of both the artist and the audience.
每次行为艺术都话题拉满,这次阿布时隔36年再来中国做个展,网络评论也呈现两极化
“跌落神坛”“不知所云” 都算轻的
本次展览叫能量转换,更有人说去了之后回家睡不好觉,感觉能量被偷
本期你将听到主播在行为艺术之母阿布拉莫维奇今年大展上的体验报告,以及追“星”实录,谁说艺术家不追星,除非她是阿布拉莫维奇,来听听看她如何在喧嚣繁华的上海用几吨水晶打造了一个“疯人院”,如何驯服了这些不羁的灵魂和如何和这城市的浮华唱反调
这是一个用自己的热爱做了四十多年行为艺术并改写艺术史的女人,来感受这位活着的传奇身上强悍的精神和巨大的能量
【About】
聊天的人:雨尘swanheart(小红书:万雨尘SWan,微博:@万雨尘)
@罗依尔Roy (视频号:罗依尔的艺术陪伴)
文案:雨尘
后期剪辑制作:Swan Choice 工作室
小助手:Msswanheart (添加微信并备注听友群)
shownotes,
02:15 做了五十年行为艺术没有通过它赚到过钱
03:55 一个喧嚣里安静地缓慢到显得荒唐的空间
10:10 关掉一些感官来强化其他感官的感受
17:40 到底谁看谁是疯子
21:30 艺术家也追星?当然!只会更狂热
29:35 “书是没法让人发生改变的,只有行为能真正让人改变”
35:27 行为艺术和戏剧表演的不同,阿布有惊人的洞察力和演技
38:50 怎样的才是艺术,和炒作的艺术有何不同
41:55 【节奏0】为什么能成为这么多人的心头好
51:30 最适合播客的作品【巴尔干巴洛克】
【REF】
(能量转换展览现场)
(Rhythm 0 ,1974)
(The Artist Is Present,Mar 14–May 31, 2010)
(Marina Abramović. Balkan Baroque. 1997)
(Balkan Baroque later version)
【音乐】
Amerigo -- Patti Smith
【 订阅】
推荐使用小宇宙app订阅“真空世界”,同时也可以在苹果播客,pockets cast ;喜马拉雅;QQ音乐,网易云音乐、抖音、小红书找到我们哦