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.

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.

scholarly journals Invoking The Spectral Body: A Study of Potential Corporealities in the Work of Marina Abramovic and Francesca Woodman

2019 ◽  
Vol 1 (1) ◽  
pp. 91-101
Author(s):  
Prema Purigali Prabhakar
Keyword(s):  
Performance Art ◽  
Visual Space ◽  
The Body ◽  
Living Body ◽  
Marina Abramovic ◽  
Theory Of History ◽  
Francesca Woodman

At the beginning of his much written about Specters of Marx Derrida writes, “For there is no ghost, there is never any becoming specter of the spirit without at least the appearance of flesh, in a space of invisible visibility like the disappearing of an apparition.  For the ghost, there must be a return to the body, but to a body that is more abstract than ever,”  In Specters, Derrida is not only proposing a theory of history, a theory of hauntology, but in describing and redescribing the very substantive nature of the specter, he is also proposing a theory of corporeality, a theory of what the flesh is and can be.  By using Derrida’s theory of, what I will call, “spectral corporeality” in conjunction with the photographs of Francesca Woodman and the performance art of Marina Abramovic, my paper will ask such questions as: How can the specter return to the body, but not be of the flesh? How can a living fleshly body extend into a spectral body? And, what does it mean to have a theory of the body that is not of the flesh, blood, bone and sinew of the living body?Abramovic’s grappling with bones (in “Cleaning The House” and “Balkan Baroque”) and Woodman’s faceless figure simultaneously going into and escaping from a grave stone , not only  contend with the spectrality of objects (relics), spectral histories inhabiting fleshly bodies and the spectral presence between audience and performer, viewer and artist, but with the gender of the spectral body.  To invoke “a body that is more abstract than ever”, Derrida wrestles with Marx, conjures the ghost of Hamlet’s father and summons Hamlet himself—an all male cast of spectral bodies; by examining Abramovic and Woodman’s art, I hope to understand how a female spectral body might make itself present, inhabit a  visual space of both flesh and ether.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

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.

Dancing in two worlds: Experiencing n/om inside the Ju/’hoan Bushman dance

2020 ◽  
Vol 6 (1-2) ◽  
pp. 7-25
Author(s):  
Hillary Keeney ◽  
Bradford Keeney
Keyword(s):  
Conflict Resolution ◽  
Performance Art ◽  
Southern Africa ◽  
Field Research ◽  
The Body ◽  
Research Interviews ◽  
And Performance ◽  
Spiritual Expression

The Ju/’hoan Bushmen or San of southern Africa host one of the oldest surviving dance forms. Openly conducted in public for the whole community, the dance serves as the primary locus for healing, conflict resolution, wellbeing, rejuvenation, social reunion, spiritual expression and performance art. Central to the dance is awakening n/om, what the Bushmen regard as a vibrational force that resides in the body of the strongest dancers. Often described as an energy or power that makes the body shake, n/om is more accurately a blend of somatic vibration, heightened emotion and sacred song. N/om is also the source of a dancer’s capacity to heal sickness in themselves and others. The following composite account of an insider’s perspective of the n/om dance is based on decades of field research interviews with Ju/’hoan n/om dancers and our own experience as accepted members of several Bushman dance communities. We focus on the experience of n/om in the body and how this enables the dancer to dance between two worlds – that of everyday knowing and the ineffable spiritual realm or what the Ju/’hoansi call second creation and first creation, respectively.

Sign in / Sign up

Export Citation Format

Share Document