scholarly journals The Performance Art of Marina Abramovic as a Transformational Experience

Psychology ◽  
2018 ◽  
Vol 09 (06) ◽  
pp. 1329-1339 ◽  
Author(s):  
Lília Simões ◽  
Maria Consuêlo Passos
Keyword(s):  
Performance Art ◽  
Marina Abramovic

Corporeal Architecture

2021 ◽  
pp. 421-439
Author(s):  
Maria da Piedade Ferreira
Keyword(s):  
Interior Design ◽  
Performance Art ◽  
Human Body ◽  
Teaching Method ◽  
Sensory Experience ◽  
Physical Exercises ◽  
Design Build ◽  
Marina Abramovic ◽  
Design Objects ◽  
And Performance

This chapter describes a teaching method, corporeal architecture, which uses performance art and neuroscience to teach interior design and architecture with a focus on embodiment and experience. The method sets new approaches to teach design, as it integrates design, neuroscience, and performance art and brings awareness to the importance of multi-sensory experience. The interaction with design objects at different scales is taken as an opportunity to investigate how the human body relates to space and allow the exploration of affordances through movement. Students are instructed with physical exercises and encouraged to design, build, and perform with objects such as chairs, cabinets and tables, installations, existing buildings, and public spaces. The performances explore narratives which reveal or subvert expectations we have around design objects. The methodology has a background in phenomenology, Maurice Merleau-Ponty and Juhani Pallasmaa; Antonio Damásio in neuroscience; and Oskar Schlemmer, Marina Abramovic, and Stelarc in Performance Art.

Remembering Feminist Remimesis: A Riddle in Three Parts

2014 ◽  
Vol 58 (2) ◽  
pp. 14-32 ◽  
Author(s):  
Rebecca Schneider
Keyword(s):  
Performance Art ◽  
Women Artists ◽  
Cindy Sherman ◽  
Feminist Performance ◽  
Marina Abramovic ◽  
Global Art

Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.

scholarly journals A poiésis Dilaporal: formação estética docente e performance art

2021 ◽  
Vol 14 (1) ◽  
pp. 026-046
Author(s):  
Pedro Gottardi ◽  
Carla Carvalho
Keyword(s):  
Performance Art ◽  
Marina Abramovic ◽  
A Performance

O presente artigo teve por temática a poiésis, a performance art e a formação estética docente. O objetivo foi investigar processos poéticos no qual o corpo do pesquisador também fosse tema e suporte na poiésis, relacionando à/aos artistas Marina Abramović, Hélio Oiticica e Artur Barrio e a suas obras. De abordagem qualitativa, o percurso metodológico abarcou a Pesquisa Educacional Baseada em Arte (DIAS; IRWIN, 2013) e a matriz a/r/tográfica, organizada em levantamento bibliográfico, aprofundamento teórico, percurso poético e visualidades. Barthes (2018) norteou a análise da investigação, em que o studium perpassou a formação docente, garimpando estesias que foram absorvidas na poíesis em forma de punctum. Os resultados apresentam quatro obras que compõem a série Dilaporal. Conclui-se que as visualidades poetizadas são como garimpagens do a/r/tógrafo na formação estética docente.

scholarly journals Razor head

1997 ◽  
Vol 21 (1) ◽  
pp. 53-55
Author(s):  
Sean Spence
Keyword(s):  
Personality Disorders ◽  
Performance Art ◽  
The Self ◽  
Psychiatric Setting ◽  
Marina Abramovic

In psychiatric studies of artists, performance art has been relatively neglected. The work of Marina Abramovic places emphasis upon the crossing of limits: both physical and mental. Here the self-wounding which occurs in such a context is contrasted with that seen in the psychiatric setting, among those diagnosed as having ‘personality disorders'.

scholarly journals Will Marina Abramović die?

2017 ◽  
Vol 9 (2) ◽  
pp. 163-170
Author(s):  
Svetlana Racanović
Keyword(s):  
Performance Art ◽  
The Body ◽  
Marina Abramovic ◽  
Time’S Arrow

The gradual and then ecstatic acceleration and diversification of Marina Abramović's choices in life and art are the result of her commitment to install and introduce into her performance-machine the power of perpetual mobility. That final line of end/ ings of the horizon disappearing into Nothingness, the line of Death which she touched and invoked in her life and work on many occasions, is neither to be melancholically accepted, nor desperately tamed or fiercely denied. Abramović activates this line of the last horizon, turning it around so that it becomes vital rather than fatal, cyclic rather than liminal, (re)turning - aspace that gives birth to (hyper)productivity. There is a relentless striving to disturb, slow down, curb, disable the work of Time, to change the path of Time's arrow. She endeavours to reconstruct, revitalise, rejuvenate, to extend the duration of the body of her art, the body of performance art and, consequently, of her biological body. A number of methods and mechanisms are used for this purpose - starting from documentation, technical multiplication, substitution, extension and virtualisation and even spectacularisation of her body and the body of her art.

Contemporary Perspectives

2019 ◽  
pp. 115-189
Author(s):  
Anne Fuchs
Keyword(s):  
Performance Art ◽  
Art Practice ◽  
Contemporary Culture ◽  
Marina Abramovic ◽  
Aesthetic Practice ◽  
East German ◽  
Digital Or ◽  
Representation Of Time

This chapter examines time in contemporary culture. Slowness as an aesthetic practice and a mode of reception features prominently in much contemporary photography and film, defying the fast-paced entertainment conventions and the capitalist commodification of time, as are evident, for example, in recent blockbusters. While mainstream films favor fast-paced cutting, jerky and unfocused panning, or hectic zooming, slow cinema and slow photography embrace grammars of minimalism to interrupt the cult of speed. Slowness in this sense is more than a binary term in opposition to speed: it is an aesthetic art practice that may include the employment of digital or analogue technologies; slow diegesis and slow narrative; the gallery or cinema as a contemplative exhibition or reception space; and a responsive spectatorship. The chapter then debates the concept of slow art in dialogue with international art practice, as exemplified in the performance art of Lee Lozano and Marina Abramović, before analyzing the representation of time in the works of two prominent German photographers: West German Michael Wesely and East German Ulrich Wüst.

Samuel Beckett and Performance Art

2014 ◽  
Vol 23 (1) ◽  
pp. 34-53 ◽  
Author(s):  
Derval Tubridy
Keyword(s):  
Performance Art ◽  
Samuel Beckett ◽  
The Body ◽  
Marina Abramovic ◽  
And Performance ◽  
Bruce Nauman

‘Samuel Beckett and Performance Art’ explores the interconnections between Performance Art and Samuel Beckett's prose and drama. It analyses the relations between Beckett's work and that of Franz Erhard Walther, Bruce Nauman, Dennis Oppenheim, Vito Acconci, Chris Burden, Marina Abramovic, Alastair MacLennan and Amanda Coogan. It concludes that examining Beckett in the context of Performance Art enables us to reconsider elements vital to his theatre: the experience of the body in space in terms of duration and endurance; the role of repetition, reiteration and rehearsal; and the visceral interplay between language and the body.

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