Marina Abramovic Rhythm 0 Naples Italy1974
On a Saturday morning - just before Christmas - she came up in conversation around the breakfast table. A friend was staying with us. She's an artist and was going back home - to Toulouse France - the following afternoon. She mentioned she wanted to see an exhibition in London of the conceptual artist Marina Abramovic.
I'd heard the name for the first time on the Friday before. She was on Desert Island Discs on Radio 4. So when Pam - our friend - mentioned her name, my ears pricked up. When we realised there was a retrospective exhibition of her work at the Royal Academy we knew that we just had to go.
We also realised that we had a gap of 6 hours the following day where we could get to the exhibition.
I'd heard the name for the first time on the Friday before. She was on Desert Island Discs on Radio 4. So when Pam - our friend - mentioned her name, my ears pricked up. When we realised there was a retrospective exhibition of her work at the Royal Academy we knew that we just had to go.
We also realised that we had a gap of 6 hours the following day where we could get to the exhibition.
It was the first time I had gone to see an exhibition by a conceptual artist. I didn't really know what conceptual art actually was.
It was also the first time I'd come across nudity at an art exhibition. Where we were expected to engage with it. That was quite uncomfortable. I've come across nudity in the theatre in recent years and have found that straightforward and acceptable. But being invited - several times - to squeeze myself, in a wheelchair - between 2 naked bodies, and forced to be in physical contact with them - no matter how brief and fleeting - was a thing I really didn't want to interact with. it's probably an English thing. Hopeless! But there it is.
Abromovic's work “Imponderabilia” - first performed in 1977 - was recreated at the Royal Academy. Credit David Parry/Royal Academy of Arts
I didn't really know how to approach the exhibition. This is conceptual art, where the physical components of the exhibits are not as important as the ideas that informed them. For example, the first gallery was filled with more than 100 screens on opposite walls. On one side are video screens of members of the public staring intently out. And on the wall opposite are screens of Abromovic also starring - seemingly - intently out at the screens on the wall opposite. It was a restaging of probably Abromovic's most famous work, The Artist is Present, where 2 chairs are placed facing each other and visitors are invited to sit opposite the artist for as long as they like, staring at Abromovic, while Abromovic stares back at them.
I really was perplexed. In every other art exhibition I've ever been to, the artwork is the central object. But this was different. Was I to join in and stare at each screen individually? Was I to stare at one screen and then find the corresponding screen on the wall opposite. Was this gallery filled with over 100 pieces of art. Or was this a gallery where I hold a collective sense of all the screens. It was unnerving.
And then confronted with Imponderabilia, I wondered whether all the 100's of visitors that visit the exhibition were expected to squeeze between the narrow doorframe of flesh made up of 2 naked bodies. I decided that I wasn't going to do that.
Apparently there was a another hidden door frame where one can pass through into the next gallery without having to confront naked flesh.
As we moved through the exhibition I began to feel like I just wanted to leave. I felt removed and quite emotionally detached from the whole exhibition. There were exhibits of Ambrovic combing her hair, ones of her and her lover slapping each other on the face, another one of them fully naked, holding hands and walking away from each other.
We came across another door frame in a later gallery that consisted of very bright lights shone through selenite crystals.
It was quite painful and uncomfortably hot walking through this threshold. There was a sense of passing through one state of being into another state of being. It felt like something spiritual was taking place.
There was a strong sense of discomfort throughout the whole collection. I never felt at ease or at peace throughout any of it. Especially when we are confronted by mortality. One exhibit that expressed this is a photograph or was it a video, of Abromovic lying down naked with a skeleton placed on top of her. This image is placed at floor level. On top of this image, a naked performance artist lies down and a skeleton place on top of her. At various times in the day artist and skeleton process out of the gallery and process back again later.
For me perhaps the most disturbing image is the exhibit that refers back to Abromovic's 1974 work, Rhythm -Zero. It's the photograph that begins this post. I don't know what you think, but I've been watching it every day I've been trying to write this piece. There's shock and contempt - at those who have abused her - and also defiance against her audience. Hearing about Rhythm - zero completely caught my attention.
And looking at it again now, I think of Jesus giving himself over to the Jewish authorities to eventually be killed. It is a kind of sacrifice.
And then confronted with Imponderabilia, I wondered whether all the 100's of visitors that visit the exhibition were expected to squeeze between the narrow doorframe of flesh made up of 2 naked bodies. I decided that I wasn't going to do that.
Apparently there was a another hidden door frame where one can pass through into the next gallery without having to confront naked flesh.
As we moved through the exhibition I began to feel like I just wanted to leave. I felt removed and quite emotionally detached from the whole exhibition. There were exhibits of Ambrovic combing her hair, ones of her and her lover slapping each other on the face, another one of them fully naked, holding hands and walking away from each other.
We came across another door frame in a later gallery that consisted of very bright lights shone through selenite crystals.
It was quite painful and uncomfortably hot walking through this threshold. There was a sense of passing through one state of being into another state of being. It felt like something spiritual was taking place.
There was a strong sense of discomfort throughout the whole collection. I never felt at ease or at peace throughout any of it. Especially when we are confronted by mortality. One exhibit that expressed this is a photograph or was it a video, of Abromovic lying down naked with a skeleton placed on top of her. This image is placed at floor level. On top of this image, a naked performance artist lies down and a skeleton place on top of her. At various times in the day artist and skeleton process out of the gallery and process back again later.
For me perhaps the most disturbing image is the exhibit that refers back to Abromovic's 1974 work, Rhythm -Zero. It's the photograph that begins this post. I don't know what you think, but I've been watching it every day I've been trying to write this piece. There's shock and contempt - at those who have abused her - and also defiance against her audience. Hearing about Rhythm - zero completely caught my attention.
And looking at it again now, I think of Jesus giving himself over to the Jewish authorities to eventually be killed. It is a kind of sacrifice.
Photograph by Jonathan Muzikar The Artist is Present Marina Abromovic at the MoMA
Click here for a link to Marina Abromovic's Desert Island Discs episode
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