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Ethics Religion; Health; Politics Society; Science Tech; Podcasts; Courtesy the Marina Abramovic Archives J The mystical stillness of Marina Abramovic in Sydney. Who are you, Marina Abramovic? It was a time marked by sacrifices to religion and communism. Her grandfather was an Archbishop of the Serbian Orthodox Church, who was murdered by the king

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- Source: CNN " data-fave-thumbnails="{"big": { "uri": " }, "small": { "uri": " } }" data-vr-video="false" data-show-html=" Amanpour " data-byline-html="" data-timestamp-html="" data-check-event-based-preview="" data-is-vertical-video-embed="false" data-network-id="" data-publish-date="2023-12-12T20:01:06Z" data-video-section="style" data-canonical-url=" data-branding-key="amanpour" data-video-slug="intv-amanpour-marina-abramovic-royal-academy" data-first-publish-slug="intv-amanpour-marina-abramovic-royal-academy" data-video-tags="art festivals and exhibitions,arts and entertainment,christiane amanpour,continents and regions,england,europe,london,marina abramovic,misc people,northern europe,serbia,southern europe,united kingdom,visual arts" data-breakpoints="{"video-resource--media-extra-large": 660}" data-display-video-cover="true" data-details="" data-freewheel-lede="true"> Marina Abramović on a life in art, love, and overcoming fear 17:35 - Source: CNN Marina Abramović on a life in art, love, and overcoming fear 17:35 Editor’s Note: See highlights from CNN Chief International Anchor Christiane Amanpour’s interview, which aired Tuesday on “Amanpour,” above. London, UK (CNN) — For an artist whose work focuses so heavily on mortality, Marina Abramović’s joie de vivre may come as something of a surprise. She appeared giddy as she roamed the main galleries at London’s Royal Academy of Arts, which is hosting a major retrospective of her five-decade career. Speaking to CNN’s Christiane Amanpour, the Serbian artist sometimes known as “the godmother of performance art” said she is “hilarious in real life.” “I’m honestly ready to (do) stand-up comedy,” she joked, explaining how her outlook was shaped by an embolism that nearly killed her earlier this year: “I need to laugh.” But a jovial disposition doesn’t stop Abramović from thinking about death “all the time,” she said while contemplating a video of herself in “Nude with Skeleton,” a 2002 performance in which she laid naked with a skeleton on top of her. The piece is one of four being reperformed live at the exhibition, which runs until January. “I just want to know how it feels,” she remarked peacefully, referring to the “transition” from life to death. Abramović, who has just turned 77, describes her body as her tool. She has tested it in almost every way possible in the name of art, enduring vast amounts of pain and once even losing consciousness during a performance. She told Amanpour her work is all about daring to do things that scare her and showing “you can overcome the fear of pain, the fear of dying, the fear of suffering.” Her creations also encourage — demand, even — viewers to engage with them, producing fleeting, liminal moments that erode the distinction between artist and audience. For a 1974 performance piece titled “Rhythm 0,” Abramović placed dozens of objects on a table in a gallery in Naples, Italy and instructed the audience to use them on her “as desired.” “(In) the first one or two hours nothing really happened,” she said. But it soon turned violent, with people ripping off her shirt, cutting her skin and even pointing a loaded gun at her neck. She realizes now that she could have been killed. “Imponderabilia,” first staged in 1977, is another exploration of the body and human relations. In its original iteration, Abramović and her then-lover Frank Uwe Laysiepen (the late German artist known as Ulay) faced each other naked in the doorway of a museum, requiring visitors to squeeze between them to enter. The work was

The Marina Abramovic Method by Katya Tylevich, Marina Abramovic

Fuente de la imagen, Getty ImagesPie de foto, Aunque en su día se autodenominó "la abuela del performance", hoy Marina Abramovic prefiere decirse "la guerrera del performance".Autor, Leire VentasTítulo del autor, BBC News Mundo24 enero 2021"¿Has escuchado el discurso de Biden?", pregunta Marina Abramovic (Belgrado, 1946), ícono del arte contemporáneo y pionera del performance, al mediodía de Nueva York el día de la toma de posesión del nuevo presidente de Estados Unidos. "La luz del sol está volviendo a este país, después de haber estado sumido en la oscuridad por cuatro años". La artista que en los años 70 se plantó impasible frente a una audiencia que le cortó la ropa con tijeras, le clavó espinas en el estómago y le apuntó con una pistola cargada (Rhythm 0), recorrió en 1988 media Gran Muralla china para despedirse de su ya expareja, el también performer Ulay, o se sentó inmóvil y callada durante ocho hora ininterrumpidas en el atrio del MoMA (The Artist is Present) en 2021 está contenta.La mujer que hizo de su cuerpo una obra de artePuede, pues, que ya no necesite las zapatillas de casa que solía ponerse nada más levantarse de la cama "para empezar el día con una sonrisa". Fuck, se leía en la del pie izquierdo, negativity en la del derecho.— ¿Le funciona usarlas últimamente?Se ríe. "Ahora estoy usando otras, porque está haciendo frío". Acerca una de ellas a la cámara de la computadora. Son negras, de pelo sintético, con un beso bordado en rojo.Así comienza la entrevista por zoom con BBC Mundo, que tiene lugar con la excusa de su participación en el festival Santiago a Mil* de Chile, y durante la cual habla de cómo el fin de la pandemia traerá una explosión de contacto humano, de que "limpiar la casa" no tiene

Psychoanalyst Meets Marina Abramovic by Marina Abramović

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Marina Abramovic on the Ledge - JSTOR

Los ojos". Aprendió la lección…A mis 30 años les había dado varias posibilidades, entre ellas una pistola cargada. Les di la oportunidad de ser agresivos. Ahora solo les ofrecía una silla, solo les permitía la mirada.Es interesante el hecho de que las dos piezas son complementarias, pero me tomó mucho tiempo llegar a esa conclusión: que fuera solo un diálogo de energía, sin objetos mediante.Fuente de la imagen, Getty ImagesPie de foto, Marina Abramovic recuerda que en los 70 fue "crucificada" por la crítica.Es lo que hizo luego en la galería Serpentine de Londres con 512 Hours, en 2014. Allí, por no haber, no había ni silla.No había absolutamente nada. A algunos visitantes los agarré de la mano y los puse mirando a una pared blanca. Pero fue poderoso.Ahora está planeado que vuelva a Londres, con una retrospectiva en la Royal Academy of Arts (RA) a inaugurarse en septiembre. Es la primera vez que este centro organiza algo así sobre una artista mujer.Sí, la primera vez en sus 250 años de historia. Sus espacios menores sí (han albergado exposiciones dedicada a mujeres artistas), de Tracey Emin por ejemplo. Pero el espacio principal ha sido solo para los tipos grandes.Fuente de la imagen, Indi FilmPie de foto, Marina Abramovic, en 2019, en una imagen de 'Body of Truth', © Indi FilmCuando empecé a estudiar en la academia de arte de Belgrado, éramos solo tres mujeres. Durante la primera lección, el viejo profesor se nos acercó, nos miró y nos dijo: "Si no tienes bolas, no puedes ser artista".Fui a casa llorando. No tengo bolas, soy mujer. Ahora creo que las mujeres sí pueden tener bolas, no físicas pero metafóricas. Durante siglos, ¿cuántas artistas magníficas habrá habido de las que no sabemos nada? Yo soy como un bulldozer, como un tanque. Quiero

The Performance Art of Marina Abramovic as a

Aportar algo nuevo, distinto, que traiga energía positiva y emocione. El arte debe emocionar y tener un propósito. Al principio el propósito era religioso, luego servir a los reyes, en Rusia estaba al servicio del sistema político. Hoy el arte debe estar al servicio del ser humano.Fuente de la imagen, Getty ImagesPie de foto, El arte debe emocionar y tener un propósito, y estar al servicio del ser humano, dice Marina Abramovic.¿Es esta la filosofía que promueve en los talleres que lleva a cabo con el llamado Método Abramovic?El Método Abramovic es el resultado de una gran investigación llevada a cabo a partir de mi propio crecimiento personal, tras acudir a tantos retiros y a culturas ancestrales.En la cultura occidental usamos tanto la mente que apenas tenemos relación con nuestro lado espiritual, con nuestro lado físico. Así que empecé a pensar cómo podía hacer para combinar todo esto.Fui a vivir con los aborígenes del desierto central de Australia, recorrí la mitad de la Gran Muralla china, viví con chamanes en Brasil, fui tantas veces a la India, pero no como turista. Y de estos procesos de aprendizaje regresé con unos ejercicios muy sencillos que primero probé yo misma, y al ver que podían ser útiles para la gente, creé el Método.¿En qué consiste exactamente?Empieza con algo muy sencillo: "limpiando la casa". La verdadera y única casa que tenemos es nuestro propio cuerpo, así que comenzamos limpiándolo y luego seguimos en otras direcciones. Se trata de pasar entre tres y cinco días sin comer, sin hablar, sin leer, así que al principio (los participantes) te odian. Pero después, cuando ven los beneficios, recibo mensajes en los que me preguntan cuándo va a ser la siguiente.Y es que la gente no quiere hacer cosas incómodas. Sabemos que la comida chatarra no es

Marina Abramovic: A Visual Biography

The almost shocking part of this painting though. Manet’s painting style and his refusal to make subtle gradations between the light and dark part of the painting, as well as his deliberately shallow depth and perspective, were also considered avant-garde.Nude Beauty (1912) by YOROZU, TetsugoroThe National Museum of Modern Art, Tokyo8. Nudity and Japanese modernismThe nude body was mainly absent from Japanese art for centuries. Although male and female nakedness was a routine part of life, specifically within bathhouse culture, Japanese artists didn’t develop an interest in representing the naked body until the nineteenth century, when their work became influenced by Western art. Laws in Japan allowed painters to depict nudes if they were allegorical, although painters often bypassed this rule.Tetsugoro Yorozu’s Nude Beauty (1912) is important because it showed Japanese audiences a non-idealized, ‘Japanese’ body rather than that of the idealized Western woman typically featured in nineteenth-century Japanese art. The woman wears a red koshimaki, or traditional Japanese female underwear, and is shown reclining against a Japanese landscape. Yorozu’s refusal to ‘justify’ the nudity of his woman by putting her in Western surroundings was radical for its time.Kaldor Public Art Project 12: Vanessa Beecroft 1999 (1999) by Vanessa BeecroftKaldor Public Art Projects9 . The Female GazeSince most artists documented in art history are male, the female nude has often been associated with the “male gaze” - the idea that women (both within and outside of art) are meant to be passively ‘looked at’, while men are in the active position of viewer. The rise of female artists in modern and contemporary art allowed women to explore this issue in their own work. Contemporary women artists such as Marina Abramovic, Yoko Ono, Nan Goldin, and Vanessa Beecroft are known for using their own nude bodies or bodies of other women to make statements against sexism within art history as well as society at large.For this 1999 performance for the Kaldor Public Art Project, the 40th in Beecroft’s series of works, 20 models stood in formation for periods of two and a half hours. Dressed in red Wolford tights and Prada heels, the models were given a sheet of papers with 54 rules such as “hold position; look plain, boyish, quiet.” As Beecroft explained in the exhibition statement, “The practice is to stand, not talking, and to wait until it ends, being watched as a picture and photographed as though on a photo shoot.” Beecroft turns the ‘male gaze’ on its head, and interrogates femininity and desire within modern consumer culture.The birth of Venus (1483 - 1485) by Sandro BotticelliUffizi GalleryFrom Egyptian deities, to classical Greek ideals, through Peruvian erotic art, and up to Kim Kardashian’s naked selfies, the history of nudity in art has a long and interesting trajectory. The biggest change of the past one hundred years has been the inclusion of female artists in the mix. Yet, the basic reason for wanting to depict unclothed figures has remained constant over time: the human body is a wonderful sight. Ethics Religion; Health; Politics Society; Science Tech; Podcasts; Courtesy the Marina Abramovic Archives J The mystical stillness of Marina Abramovic in Sydney. Who are you, Marina Abramovic? It was a time marked by sacrifices to religion and communism. Her grandfather was an Archbishop of the Serbian Orthodox Church, who was murdered by the king