Marina Abramoviċ is putting forward her “method”

New York, 16 March 2012, Art Media Agency (AMA).

The Huffington Post’s American webpage published a lengthy interview with the Serbian performer Marina Abramoviċ on 15 of March. In this interview, made on the occasion of her participation in the TV show Art in the 21st Century on PBS, an American public channel, she stated she was worried about the future of performance as an artistic practice.

She insisted particularly on the recuperation of the principle of performance and of the happening by the mass culture (television, cinema, theatre, fashion, publicity…) and the fact that these designers never deign to pay tribute to the innovators on this artistic medium, let alone respect the copyrights that performers never receive. She declared to feel responsible for the image of performance as an art, in a kind of mission whose purpose is to have this art recognized and respected. Abramovic has stated that she wants to introduce an “Abramoviċ method”, akin to the “Stanislavski method”, named after a famous Russian professor of the dramatic arts. This method would be mainly meant to spectators so as to teach them to understand the art of performing. The major aim of this method would be to help the public better understand the art of performance

This declaration followed the “artist manifesto” which she disclosed at the MOCA gala of New York in December 2011, a gala to which she was invited. For this dinner, she gathered bit players who were positioned in the middle of the tables, with only their heads visible, and who stared fixedly at the guests while they were eating. Other bit players were laying naked in the middle of the table, with a skeleton laying on their body.

Born in Yugoslavia in 1946 , Marina Abramoviċ experimented during the 70s with performances exploring the limits of the body, of its resilience and of the most extreme forms of the relation between the artist and the public. She put herself in danger on numerous occasions during her career, consuming psychotropic substances or allowing the public to handle dangerous tools around her. During her retrospective “The Artist Is Present” at the MOMA, she sat on a chair in front of a table for more than 700 consecutive hours, allowing visitors to sit in front of her. The experience induced strong emotional reactions from some visitors.