lips of thomas

performance art . research: intheshadowplay

[abramovicinstitute]

Marina Abramović, Crystal Cinema I, 1990.

clear quartz, wooden stool.

more here

[abramovicinstitute]

Marina Abramović, Waiting Room, 1994.

iron, black quartz, clear quartz, lapis lazuli, chrysocolla.

more here

[intheshadowplay]

"I believe the 21st century will be a world without art in the sense that we have it now. It will be a world without objects, where the human being can be on such a high level of consciousness and has such a strong mental state that he or she can transmit thoughts and energy to other people, without needing objects in between. So there will not be sculptures, or paintings, or installations. There will just be the artist standing in front of a public, which is developed enough to receive a message or energy. They will just sit or stand , like the Samurai in old Japan, looking at each other and transmitting energy. This is the future world I see as an artist: a non-objective world."

Marina Abramović. Interview with Louwrien Wijers and Johan Pijnappel. 1990 (via intheshadowplay)

[arteperformativa]

HUMAN NEST, 2001

PERFORMANCE AND INSTALLATION

NMAC FOUNDATION, CADÍZ. SPAIN

[abramovicinstitute]

THE METHOD - SCANDEBERGS+

styling: Nicola Baratto shot at Pac (Contemporary Art Pavillion), Milan.

Inspired by The Abramovic Method held at PAC in 2012. check the full story here

[arteperformativa]

CHECK OUR STORY ON MARINA ABRAMOVIC INSTITUTE BLOG

[scandebergs]

[arteperformativa]

THE METHOD - SCANDEBERGS+

styling: Nicola Baratto  shot at Pac (Contemporary Art Pavillion), Milan. 

Inspired by The Abramovic Method held at PAC in 2012. check the full story here and donate for the MAI Institute here.

[arteperformativa]

Marina Abramovic Institute: The Founders

HELP TO CREATE MAI: Interdisciplinary performance and education center, home to long durational work and the Abramovic Method

I'm a Backer of MAI Institute, please donate a bit!

[arteperformativa]

IMPONDERABILIA (WITH ULAY), 1977 PERFORMANCE 90 MIN. GALLERIA COMUNALE D'ARTE MODERNA, BOLOGNA

In a chosen space.

We are standing naked in the main entrance of the museum, facing each other.

The public entering the museum have to pass sideways through the small space between us.

Each person passing has to choose which one of us to face.

[arteperformativa]

THE LOVERS (WITH ULAY), 1988 PERFORMANCE 90 DAYS THE GREAT WALL OF CHINA

At a chosen location.

We walked the entire length  of the Great Wall of China.

We started on 30 March 1988.

I started walking at the eastern end of the Wall, at Shai Hai Guan, on the shores of the Yellow Sea, Gulf of Bohai, walking westward.

Ulay started walking at the western end of the Wall, at Jai Yu Guan, the south-western periphery of the Gobi Desert, walking eastward.

We walked until we met.

After we both continuously walked for 90 days, we met at Er Lang Shan, in Shen Mu, Shaanxi province.

We each took a 2,000 kilometre walk to say goodbye.

[arteperformativa]

REST ENERGY (WITH ULAY), 1980 PERFORMANCE 4 MIN. 10 SEC.  ROSE ‘80,  DUBLIN

Together we hold a taut bow and a poised arrow.

The weight of our bodies puts tension on the bow.

The arrow is pointed at Marina’s heart.

Small microphones are attached to both our hearts recording the increasing number of heartbeats. 

[arteperformativa]

RHYTHM 0, 1974 PERFORMANCE 6 HR. STUDIO MORRA, NAPLES

Instructions.

There are 72 objects on the table that one can use on me as desired.

I am the object.

During this period I take full responsibility. 

[arteperformativa]

POINT OF CONTACT (WITH ULAY), 1980 VIDEO DOCUMENTATION OF A PERFORMANCE 1 HR. FILMSTUDIO, AMSTERDAM

We are standing opposite each other, looking into each other's eyes.

We are pointing at each other, avoiding touching.

The tops of our fingers may be level.

This performance was performed twice. 

[arteperformativa]

BREATHING IN BREATHING OUT (WITH ULAY), 1978 PERFORMANCE 15 MIN. STEDELIJK MUSEUM, AMSTERDAM

In a given space.

We are kneeling face to face, pressing our mouths together. Our noses are blocked with filtertips.

Ulay is breathing in oxygen.

Ulay is breathing out carbon dioxide.

I am breathing in carbon dioxide.

I am breathing out carbon dioxide.

Ulay is breathing in carbon dioxide.

Ulay is breathing out carbon dioxide.

This performance was performed twice. The first time Ulay started the performance by breathing in oxygen. The second time Ulay started the performance by breathing out carbon dioxide.  

[arteperformativa]

BALANCE PROOF (WITH ULAY), 1977 PERFORMANCE 30 MIN. MUSÉE D'ART ET HISTOIRE, GENEVA

In a given space.

We are standing holding a double- sided mirror between our bodies.

I am leaving.

Ulay is leaving. 

[arteperformativa]

RELATION IN TIME (WITH ULAY), 1977 PHOTOGRAPHIC DOCUMENTATION OF A PERFORMANCE 17 HR. STUDIO G7, BOLOGNA

In a given space.

First part.

Without public.

We are sitting back to back, tied together by our hair not moving.

Second part.

The public come in.

We continue sitting for one more hour.

[arteperformativa]

RELATION IN SPACE (WITH ULAY), 1976 PERFORMANCE 58 MIN. VENICE BIENNALE

In a given space.

Two bodies repeatedly pass, touching each other.

After gaining a higher speed, they collide. 

[arteperformativa]

SPIRIT HOUSE -  DISSOLUTION, 1997 VIDEO DOCUMENTATION OF A PERFORMANCE 15 MIN. AMSTERDAM

I whip myself to the point where I don't feel the pain anymore.