.when I saw this project from d great contemporary artist Miro I was stunned! .. now I saw picture from this project, first time in my stream, pretty tired to write a lot though but you know how it goes. some pieces of art can speak/ say more then thousand words this is this kind of art. respected truly!
Portrait of a Dancer (1928) by Joan Miró.
Miró’s piece was in the exhibit Joan Miró: Painting and Anti-Painting (1927-1937). From his own words regarding it, he said “I want to assassinate painting.”
This project is shared by me one years ago on my first blog for contemporary art, but because I am scorpion in horoscope and It writes me good things about today I decide to keep this project from Marina ABRAMOVIC – Portrait with Scorpion (Closed Eyes – Open Eyes) here also. 😉
.I’m sure u know it, if not voila this is one of d first projects that help Marina become so popular and avant-garde as she is nowadays. she is scorpion also..
here in Macedonia today is Vasilica, or how we say Old New Year. .. and tonight we make fire and we celebrate .. I decide to share with u this stick, that is pretty inspirational for me. made from Johan Eldrotit Gestures, Dialogues Series ::: speak with history inside. all d holes that he carry with make it somehow to show pain or memories. ..leaned gently, wearing his miserable old age. broken, leaving a trace of life into something else. there are mising parts, lost dialogs, although it still has life. maybe ready for d fire tonight? :
:to whom, how and why it was used for? was it used to serve as protection? who knows, u decide! 😉
!for sure I’ll write about this project. U know Marina Abramovic? Do u know what is she doin’? – she is changing d modern history of art like no one before. Every new project is something deeper then d thing before, but they are all somehow connected.
Yes, I already start with my impressions that I get from her works, and I really hope in future to be in her surrounding [somehow] 😉
..so happy that finally my white blog will have story about/ with her. .. and it’s smthing totally new from her, fresh as fish we say here..
I will not speak from my name as regular before about d works, I think only that this is d best performance I saw till now and for sure d best for 2011. she engaged, animate so many people, and d message is clear as always.. don’t worry nobody was crying with her in MoMA this time, this time it was even more bizarre, they all eat human body. .. just kidding 😀
!it is pretty good dinner though, I was part of similar performance actually theater show from d script Father by August Strindberg and d visitors were on same dinner table as d actors and there was action in d middle .. btw it was theater, this here is without words, she is speaking even more then d father with this skeleton on d top of her and under she naked. Music, small “reading flash-mob”, food all at all amazing gala performance. Was it to much theatrical this time, yes it was, I don’t know why so interaction and why so many famous people, probably because of d publicity (hmm.. Marina this is goin in ‘monster’ direction) but still from other side she as personality have something in her that is giving eternal vibration to all of her works.
There were surprised faces, shocked, lost. .. and some who enjoy this weirdly way of showing d evolution of contemporary art and braking d barriers between everything known till now. Conceptual, it was like thousands before, have no idea why some other performance also interactive, engaging haven’t been highlighted till now in d media and promoted as this one but probably she order this place for her. Order from God absolutely. Was there some deeper concept?
AN ARTIST'S LIFE MANIFESTO
– ‘art is oxygen of our society’ as she says in d beginning….
I found about this project via artinfo, happy that I follow them over 2 years already on twitter and this is first time to use their content, but Marina is a world citizen and their words about her works spectacular, so in d next lines u read selected parts from their article or d whole article, it’s up to u! [sorry & 1ox in same time] 😉
Marina Abramovic‘s L.A. MOCA gala, and the outrage inspired by it, was certainly one of the biggest stories of 2011 in art. If you will recall, back in November, legendary avant-garde dancer Yvonne Rainer denounced the spectacle — which was titled “An Artist’s Life Manifesto,” and involved diners eating around nude female models draped with skeletons and other models serving as human centerpieces — in an open letter. Sarah Wookey, a dancer who refused to participate, penned her own open letter explaining why she had opted out: because she saw the event as economic exploitation of hopeful young dancers, who were compensated only minimally for their participation.
At the end of December, L.A. MOCA released a slickly produced black-and-white video about the gala, which, in addition to making the whole thing look strangely like a luxury perfume commercial, will probably do nothing to disperse this controversy. It begins with shots of the rich and famous attendees (Eli Broad, Will Ferrell, Gwen Stefani) on the red carpet, grinning for the paparazzi, as Abramovic’s voice intones that art is the “oxygen of our society.” Then we see guests putting on their white lab coats to eat around the freaky human party decorations, an ominous score giving the decadent imagery an unmistakable “Eyes Wide Shut” vibe. The film ends with Deborah Harry performing “Heart of Glass,” before she and Abramovic cut into a woman-shaped cake. (It leaves out the part where members of the audience chanted “Violence against women!” upon witnessing this spectacle.)
But really, it is Abramovic’s narration, in which she explains her thinking behind “An Artist’s Life Manifesto,” that might throw fresh fuel on the fire. She distances herself from the government art patronage of her native Europe, indicating that she prefers the American way, where “industry” supports art. She points out that the Renaissance was made possible by “Popes, aristocrats, or kings” (um, Marina: patronage by “Popes, aristocrats, or kings” is also government patronage), and then she says that she thinks an artist should be a “servant.” But not just any kind of servant, she goes on to say, but one that who pursues a pure vision who stands above all economic considerations (like paying the participants in your performance?)
So, to sum up: people were mad at Abramovic for economically exploiting her performers, and she’s talking about how much she appreciates the wisdom of the free market and/or the virtues of the pre-modern system of rule by kings. At the very least, you would say that this is pretty tone deaf, given the controversy. We’ve taken the liberty of transcribing her whole narration (preserving her charmingly idiosyncratic English, for the most part):
I see the art as oxygen of our society. I come from Europe and we have a completely different system of sponsoring art. Governments give money for culture. The system here is completely different. Which is quite interesting, to look in the past and think about who actually sponsored the culture. If you look in Renaissance time, any of these great artists — it was Popes, aristocrats, or kings who actually support these kinds of artists and make it possible to support these monumental works.
Today, we don’t have kings but we have industry, we have business, we have banks. The kind of people who actually have a substantial amount of money, who can support culture. I see the function of an artist as a servant. I think that art have to be shared, art have to be disturbing, art have to ask questions, art have to predict the future, in some cases, and have many layers of meaning.
When I was asking to do this kind of gala, I was really concerned with what should be my contribution, that I actually don’t make any compromise to my work and do something which is different. I don’t think that I should only provide entertainment. I have to create situation where we are actually not at ease and you come with an experience that you didn’t have before.
I think that today we have so much concern about art as a commodity, with art market, with the times we are living in. I think that the context of the artist is very important to clarify, so I had the need to write this manifesto.
[Referring to Debby Harry] Both of us are performance artists, and we both work with the public. It a way, offering the body for the public, that is the ultimate gesture. [Apparently referring the audience] They are not just looking into the spectacle, they are part of the spectacle, and that’s a big difference.
?are u happy that finally there is work from Abramovic on my blog, me I’m positively surprised that she done this project and I had d opportunity to mention her here. I have post about her earlier works on other blogs, tumblr etc. .. maybe I’ll transfer them here, but maybe will write some new one. u like this interactive performance, which part is most attractive for u. ..u respect Marina Abrmovic. ..u can leave ur comments below or on :d white b[l]og ::: #facebook page