Marina Abramović: presencia virtual en “Terra Comunal”
[EN] The establishment of performance as an artistic language in the second half of the 20th century gave birth to a new form of interaction with the public. People being already familiar with traditional arts such as painting, sculpture and drawing, this art introduced a new and different communica...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/88273 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/88273 |
| Access Level: | acceso abierto |
| Palabra clave: | Arte Producción artística Estética Teoría del Arte Gestión cultural Educación artística Investigación artística |
| Sumario: | [EN] The establishment of performance as an artistic language in the second half of the 20th century gave birth to a new form of interaction with the public. People being already familiar with traditional arts such as painting, sculpture and drawing, this art introduced a new and different communicative relationship between artist and audiences. It is an art that is defined as the one in which the artist’s body constitutes the materiality of the work, taking place in a determined time and place in the presence of an audience, intended to be ephemeral. Although being a recent language, we can observe it unfolding into reperformances, works that are not developed by the body of the artist itself, but by the audiences instead. This is what takes place in the exhibition Terra& Comunal (Communal Land) by Marina Abramović, presented at SESC Pompéia in São Paulo between March and May, 2015. The show is divided into three sections: the retrospective of her works, conversations with visitors and students, and a previously unreleased work. This last proposal presents the public executing the Abramović Method which consists of smooth, small and slow movements while interacting with crystals. During the action that takes two hours and a half, the artist is present virtually through a video in which she gives orders to the participants and conducts physical and respiration exercises, before they adventure themselves into the space destined to perform four actions that have been previously planned: sitting beside crystals, walking slowly, laying between crystals and standing in front of crystals. This work makes us think over the transformation of what we know as performance into something new still unnamed, where the presence of the artist is a virtual form and interactions occur among the participants in the collective experience. |
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