No individual has contributed more to the popularization of performance art than Marina Abramović, particularly through her renowned work “The Artist Is Present” showcased at the Museum of Modern Art (MoMA). This retrospective exhibition, held over nearly three months in 2010, featured Abramović sitting in the New York museum for a minimum of seven hours daily, six days a week, inviting members of the public to sit across from her one by one.
The immense success and viral impact of this performance piece, along with the release of a well-received documentary in 2012, transformed the Belgrade-born artist into an unexpected pop culture icon. Subsequently, she engaged in high-profile collaborations with prominent figures like Jay-Z and Givenchy, expanded into merchandise and skincare products, and held numerous solo exhibitions worldwide, including a notable survey at the Museum of Old and New Art in Hobart in 2015.
This week marks the launch of Abramović’s latest project in Australia, a country significant in her artistic journey. In 1980, Abramović and her then-partner Ulay spent five months residing in the central desert with the Pintjantjara and Pintupi communities. This experience inspired their 1981 work, where they sat silently across from each other for seven hours daily over 16 consecutive days at the Art Gallery of New South Wales, shaping Abramović’s artistic evolution profoundly.
Continuing her artistic exploration in Australia, Abramović presents the Marina Abramović Institute Takeover, a four-day event featuring long-durational performance art as part of the Adelaide Festival. The showcase includes eight artists from Australia and Asia selected by Abramović and her Institute members, such as Mike Parr, Dr. Christian Thompson, and SJ Norman.
Abramović, now 77 years old, regrettably will not be physically present at the event due to health concerns following a pulmonary embolism last year. Despite this, her enduring connection with Australia persists, despite past complexities. In 2016, she faced accusations of racism stemming from excerpts in her unpublished memoir, which sparked criticism from Indigenous Australian artists like Thompson and Norman.
Addressing the controversy, Abramović clarified her deep respect for Aboriginal communities and acknowledged the misunderstanding, emphasizing the transformative impact of her encounters with Indigenous Australians. The offending paragraphs were subsequently removed from the published book. Despite the past scrutiny, Abramović remains committed to fostering dialogue and understanding.
The Marina Abramović Institute Takeover promises a diverse array of performances, ranging from silent to musical, static to interactive, offering audiences a chance to engage in their own immersive experiences. The event, happening from 1-4 March, aims to create a transformative and communal space through long durational art, resonating with participants on an emotional level.