9.3

Senior Years Activity

Performance as Art

Marina ABRAMOVIC - Cleaning the Mirror #1 1995

Marina ABRAMOVIC
Yugoslavian 1946–
Cleaning the Mirror #1 1995
5-channel video installation with stacked monitors, with sound, edition 2/3
284.48 x 62.23 x 48.26 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the International Director’s Council and Executive Committee Members: Edythe Broad, Elaine Terner Cooper, Linda Fischbach, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Peter Norton, Willem Peppler, Alain-Dominique Perrin, David Teiger, Ginny Williams, and Elliot K. Wolk
© Marina Abramovic/VG Bild-Kunst, Bonn. Licensed by VISCOPY, Australia
98.4626

For

Senior Years Students

Curriculum

VCE Art

Aim

To explore the concept of Performance Art.

Preparation

To do this activity you will need:

Research Questions

  • How important is the documentation of the performance? Do you think being present for the performance offers a better or different understanding of the piece? Explain your ideas.
  • Are Abramovic’s performances different from theatre? Give reasons your answer.
  • Do you find the work challenging? Give reasons your answer.
  • Do her performance pieces conflict with your understanding of what art is?

 

Group Task

How is performance an effective method for Marina Abramavic to communicate her ideas and concerns?

What is the role or value of documentation in performance art? Where do you think the value lies: in the performance or in the documentation.

Discussion Questions

Consider this excerpt from the exhibition catalogue:

The body has always been her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation. This particular blend of epic struggle and self-inflicted violence was borne out of the contradictions of her childhood: both parents were high-ranking officials in the government, while her grandmother, with whom she had lived, was a devout Serbian Orthodox. Though personal in origin, the explosive force of Abramovic's art spoke to a generation in Yugoslavia undergoing the tightening control of Communist rule.
Guggenheim Collection: 1940s to Now, National Gallery of Victoria, 2007 p.260

How might Abramavic's heritage have shaped her performances or choices of subject?