Marina Abramovic Characteristics




The evolution of artistic subject matter as a performance gives Marina Abromovic a distinct pungency, as her abrasive gesticulations conjure a sincere form of meaning and correlation between life and the manner in which it is represented. Her childhood experiences are preserved by her present reincarnation and in a setting that invites an audience. Monologues introduce the observers into an otherwise private sphere, in which many of Marina's penetrates a segment of her life in order to exemplify, and sometimes mock, the relevance of her experience. Finally, the installation artist often uses role exchange to bring her narrative to a living, breathing being in an expression that is never duplicated or experimented prior to presentation, as she's proclaimed, " performance art is not about rehearsal; that's what makes it different from theater" that her art is truly a scientist of the mind and body (Abramovic, 2010).

Installation art is within the expressionist genre, in which there is a, "shift from an artwork's value as an object of commercial exchange to its value as aesthetic and political interchange" (Stankovic, 2009, 565). The relationships between expression, audience, and artist interrelate with past and present experience to create a dynamic spectacle. The concept of risk is a central theme to many of her performances, including her piece Rhythm 0. Marina had a strict upbringing in a communist society, exemplified by objects which the artist presented her audience: a rose, feather, grapes, honey, a whip, a scalpel, gun and bullet. According to a Museum of Modern Art Curator, she stood impassively for six hours as members were allowed to use the objects as they pleased, to the extent where the bullet was placed in the gun and held in her hand, with pressure applied by the audience member (Moma, 2010). Reflecting on her own experimentation, Marina discovered that if given the instruments necessary people can become divisive in order to assert their ability to maintain control, much like the facets of government that determined her young life in Yugoslavia. Stress and limitations on the physical body coincide with psychological barriers, as Marina has described the parasitic fear that built up in her during Rest Energy. Ulay, her partner at the time, is pulling back a bow and arrow aimed directly at Abramovic's heart, in which the tension can only be depicted by her increasing heartbeat magnified through a microphone.

Although Abramovic has transferred 34 of her live performances into two-channel video format, her medium is that of the live stage and her poignancy is intended to be received immediately and without the interruption of space or edited material. Hence, one performance collection entitled Modus Vivendi has over three days of material. Structural elements of contemporary art are defied by a performance artist who has literally put her heart into the art that depicts her experiences and whose insatiable quest to expose truth imitates life's every changing course.

References
About Marina Abramovic. A documentary film about Marina Abramovic. N.p.,( n.d.) Web. 22 Sept. 2010. marinafilm.com/about-marina-abramovic.

Moma (n.d.). Rhythm 0. 1974. (n.d.). MoMA The Museum of Modern Art. Retrieved November 4, 2010, from www.moma.org/explore/multimedia/audios/ 190/1972.

Stankovic, N. (2009). An institutional travesty: Risk as a strategy in Marina Abramovic's performance role exchange. Third Text, 23(5), 565-570.


--Rachel Davenport , 2010.

Marina Abramovic