Δευτέρα, 29 Οκτωβρίου 2012

Rätselhafte Vulgarität vs destruktive Normalität

In Rhythm 0, the last work of the el.fe.m series, she transformed her body into a passive object, almost lethargic, without any reactive impulse and she wrote on a board ”There are 72 objects on the table, which you can use as you please.” The spectators got into contact with her body through those instruments that had a potential. They cut her clothes, they touched her most intimate places and they even attacked her at some point.


For 6 hours, she was a target of flesh and bones. The body supported the actions without acting. Abramović’s aim, through this performance, was the mediation of the violence theatre, by radicalizing the evil from the look and the action. The spectators were the ones that got into the tension of mutilating and of destroying the artist’s body, thus the accent moved from self- injuring to the injury performed by a group. The spectators’ intention, manifested into uncensored actions, proved the imminent need of brutalisation, as if within the human genome is inscribed the temptation of nullifying the other with the help of the entire social instruments that are available. It seem that she wanted to say “You exist to kill and I exist for you to kill me”. Within a theoretical pact with the violence, the spectators radically intervened in the intimate workshop of cruelty.
Rhythm 0 advocated, through what it scenically displayed, debates that the performances that occurred after The Second World War permanently supported: what does the action mean, when you aren’t certain of the exact result of your actions? What blinds us and makes us totally passive? Rhythm 0 represented the conclusion of the research concerning the need of turbulently acting.

Rhythm 0 remains one of the most overwhelming provocations in the history of the performance and one of the most sensually painful conditions of corporeal abandonment. Marina Abramović’s eyes that are filled with tears shine like the intermittent signs of the exhaustion of a body that gives you the impression of watching without watching and that sinks deeper into emptiness.
Abramović is intensely present and at the same time painfully absent. In her cry, contained by each muscle, gathers the hopelessness of a body that receives in the plexus mortal blows. The contact performer – spectator is psychedelic.
For Abramović the limit is only temporary, transitive and provisional. It exists solely to be surpassed.
Abramović provokes her spectators to a direct conclusion regarding her body. The artist’s props test the violent potential of a public that is appalled and hypocritically suffers when they see piles of mutilated bodies, but which brutalize the bodies, when they have the opportunity. The bodies generate both sympathy and repulsion. Neared too much they become the object of an inhibited violence. The body that is assaulted by the publics as if had been a waste of the humanity, a body that comes as a response to the Biblical body that was stoned, proves the temptation of the evil’s completeness. It is an evil practiced by a group that ranges the game, and more defenceless the games is the more ferocious the attack. The performance activated precisely this sacrifice of the weaker one within a systematic and unlimited power abuse. It is the power that animates the primitivism that lacks any rational filter.
On the other had the public shares the convention imposed by Abramović, by explaining what the ideologist of the new media asserts:  the spectators are more violent than the most violent productions and they need the signals of the shock therapy in order to perceive this AND-pulsation.
The body becomes a test of the endurance capacity that she constructs as a text of the increasing of the danger risk. Each organ is deepened in its own maceration.










3 σχόλια:

Vladimiros Vidopoulos είπε...

Epiteloys ena xrisimo post.

Σκορδέλη του Σύριζα είπε...

πάνω που είμαι έτοιμη να σε βρίσω πας και ποστάρεις μαρίνα αμπράμοβικ και σ αγαπώ όλο και πιο πολύ <3

Ανώνυμος είπε...

mwri sapia pali edw eisai?
To kreas to xeis methysmeno ston kanape?

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