130919: A Portrait Of Marina Abramović | MATTHEW PLACEK

Upcoming 3D moving portrait installation in New York June 10-26th, “130919: A Portrait Of Marina Abramović” by photographer and artist, Matthew Placek in association with Second Ward Foundation, Basilica Hudson and VISIONAIRE FILM.

Upcoming 3D moving portrait installation in New York June 10-26th, "130919: A Portrait Of Marina Abramović" by photographer and artist, Matthew Placek in association with Second Ward Foundation, Basilica Hudson and VISIONAIRE FILM. Via news.upperplayground.com (2)
Marina Abramović is one of the greatest performing artists of our time. She has explored the limitations of body and mind for over 30 years with controversial and inciting works that challenge the relationship of performer and audience. She has created performance art that brought out the worst in people, as in Rhythm 0 1974 where audience members were asked to take an active role while Abramović remained passive, surrounded by an array of violent and pleasurable tools (including a loaded gun) and use them on her. Members of the audience were kind at first, using a feather to stroke her, then turned aggressive, using razor blades to cut her.

She has also brought out the best in people, like 2010’s The Artist is Present at MoMa, where she sat in silence, immobilized and held eye contact with visitors for 736 hours and 30 minutes. Her intention was to create a space of presence which naturally reverberated into channeling deep emotional pain, leading to tears, connection and healing.

Whatever it was, Abramović remained a fearless explorer of the depths of the conscious and unconscious in humanity.

This time around, Abramović is the subject, and not the artist. A Portrait of Marina Abramović highlights Placek’s ongoing pursuit to immortalize his subject’s past, present and future in a single composition. These short films are shot in one take, without dialogue, and offer uninterrupted moments with artists as they interact with surroundings meaningful to each of them. 3D cinematography enhances the intimacy of the vignettes, collapsing the space between viewer and the subject’s essential nature.

The work originated in Hudson, New York, but will be installed in the Second Ward Foundation’s ground floor at 71 North 3rd St. The exhibition runs every 15 minutes and is free of charge. For more information, click here.

 

Upcoming 3D moving portrait installation in New York June 10-26th, "130919: A Portrait Of Marina Abramović" by photographer and artist, Matthew Placek in association with Second Ward Foundation, Basilica Hudson and VISIONAIRE FILM. Via news.upperplayground.com (1)

Marina Abramović: “How we in the Balkans kill rats”

From “The Star” movie (1999). This video was a piece of “Balkan Baroque” installation in the Venice Biennale 1997, where Marina Abramović was awarded the Gold Lion Award. (via)

“I´ d like to tell you a story of how we in the Balkans kill rats.
We have a method of transforming the rat into a wolf; we make a wolf rat.
But before I explain this method I´ d like to tell you something about rats themselves.
First of all, rats consume large quantities of food, sometimes double the weight of their own bodies.
Their front teeth never stop growing and they have to be ground constantly otherwise they risk suffocation.

Rats take good care of their families.
They will never kill or eat the members of their own family.
They are extremely intelligent.
Einstein once said: “If the rat were 20 kilos heavier it would definitely be the ruler of the world”.
If you put a plate of food and poison in front of a hole the rat will sense it and not eat.

To catch the rats you have to fill all their holes with water, leaving only one open. In this way you can catch 35 to 45 rats.
You have to make sure that you choose only the males.
You put them in a cage and give them only water to drink.
After a while they start to get hungry, their front teeth start growing and even though, normally, they would not kill members of their own tribe, since they risk suffocation they are forced to kill the weak one in the cage.
And then another weak one, another weak one, and another weak one.
They go on until only the strongest and most superior rat of them all is left in the cage.
Now the rat catcher continues to give the rat water.
At this point timing is extremely important.
The rat´ s teeth are growing. When the rat catcher sees that there is only half an hour left before the rat will suffocate he opens the cage, takes a knife, removes the rat´ s eyes and lets it go.
Now the rat is nervous, outraged and in a panic. He faces his own death and runs into the rat hole and kills every rat that comes his way. Until he comes across the rat who is stronger and superior to him.
This rat kills him.

This is how we make the wolf rat in the Balkans.”

From The Citrus Report

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“For a Long Time…” at Roberts & Tilton Gallery

552 For a Long Time... at Roberts & Tilton Gallery Whitney Hubbs Vito Acconci Roberts & Tilton raymond pettibon Marina Abramovic Kehinde Wiley Hamish Fulton Erica Love

After the great Kehinde Wiley World Stage: Israel show, Roberts & Tilton will open “For a Long Time…”, a group show featuring works from Marina Abramović, Vito Acconci, Hamish Fulton, Whitney Hubbs, Erica Love, Raymond Pettibon, and Kehinde Wiley. You know, HEAVYWEIGHTS. The show will feature works that “examine varying periods of duration in which stamina is physically and psychologically confronted. Combining performative works by performance-based and nonperformance-based artists, the exhibition includes video, photography, text and docu-works.”

We endorse.

From The Citrus Report

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Remember when Marina Abramovic was on Sex and the City?

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It was weird, but we have to say, it was the single scene from that silly, silly show that has stayed with us. That and when Berger leaves Carrie the “I’m Sorry, I can’t, Don’t Hate Me” post it note and Carrie knocks over a vase.

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Marina Abramovic to enact her own funeral in new show

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She sat silent for 700 hours, and now Marina Abramovic’s newest installation/performance piece has her enacting her own funeral. When Abramovic did her 700 silent hours at the MoMA this summer, she said of the piece:

To be a performance artist, you have to hate theatre,” she replied. “Theatre is fake… The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.”

Her next piece, The Life and Death of Marina Abramovic, showing at the Manchester International Festival next year, and the Guardian has a brilliant profile on her that you can read here.

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