Relevant bibliographies by topics / Marina Abramović / Journal articles
To see the other types of publications on this topic, follow the link: Marina Abramović.

Journal articles on the topic 'Marina Abramović'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 June 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Marina Abramović.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Balkin, Sarah, and Sandra D’Urso. "“My relationship to the public is changing”: Marina Abramović: In Residence." TDR/The Drama Review 61, no. 3 (2017): 94–111. http://dx.doi.org/10.1162/dram_a_00675.

Full text
Abstract:
Marina Abramović: In Residence (2015) was a participatory public art project that relied on “facilitators” trained in the Abramović Method. As in other later works of Abramović’s performance practice, the artist’s presence is implied in the bodies of facilitators and participants. Situating In Residence in a longer history of institutional performance takes into account Abramović’s self-positioning as the charismatic undead.
APA, Harvard, Vancouver, ISO, and other styles
2

Abramović, Marina, and Chrissie Iles. "Marina Abramović Untitled." Grand Street, no. 63 (1998): 186. http://dx.doi.org/10.2307/25008276.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Racanović, Svetlana. "Will Marina Abramović die?" SAJ - Serbian Architectural Journal 9, no. 2 (2017): 163–70. http://dx.doi.org/10.5937/saj1702163r.

Full text
Abstract:
The gradual and then ecstatic acceleration and diversification of Marina Abramović's choices in life and art are the result of her commitment to install and introduce into her performance-machine the power of perpetual mobility. That final line of end/ ings of the horizon disappearing into Nothingness, the line of Death which she touched and invoked in her life and work on many occasions, is neither to be melancholically accepted, nor desperately tamed or fiercely denied. Abramović activates this line of the last horizon, turning it around so that it becomes vital rather than fatal, cyclic rather than liminal, (re)turning - aspace that gives birth to (hyper)productivity. There is a relentless striving to disturb, slow down, curb, disable the work of Time, to change the path of Time's arrow. She endeavours to reconstruct, revitalise, rejuvenate, to extend the duration of the body of her art, the body of performance art and, consequently, of her biological body. A number of methods and mechanisms are used for this purpose - starting from documentation, technical multiplication, substitution, extension and virtualisation and even spectacularisation of her body and the body of her art.
APA, Harvard, Vancouver, ISO, and other styles
4

Castro, Tomás N. "Um Corpo em Presença. Uma Aproximação a Marina Abramović." Philosophica: International Journal for the History of Philosophy 21, no. 42 (2013): 189–98. http://dx.doi.org/10.5840/philosophica2013214232.

Full text
Abstract:
Describing some of Marina Abramović’s performances, this essay aims to provide one possible philosophical framework in what concerns this form of art. The scope of presence in Abramović is enlightened by employing some vocabulary from a certain body poetics into the embodiment reflection, and ontological issues in performance come out when thinking about re-performance possibilities.
APA, Harvard, Vancouver, ISO, and other styles
5

Ljudi, Dejan. "Halfway Tradition: Transition, Nation, Sex, and Death in the Work of Marina Abramović and Mladen Miljanović." ENDLESS : International Journal of Future Studies 4, no. 1 (2021): 132–47. http://dx.doi.org/10.54783/endless.v4i1.50.

Full text
Abstract:
This article examines how the artists Marina Abramović and Mladen Miljanović appre-hend the terms Balkan and Europe as frameworks for understanding the post-communist transition in the countries of the former Yugoslavia. Abramović’s representations of pagan sex rituals in Balkan Erotic Epic (2005) and tombstone engravings in Miljanović’s The Garden of Earthly Delights (2013) capture what I describe as “halfway traditions”: cultural practices that simultaneously problematize the normative teleology of the Balkans moving away from primitivism and toward the civilization of Europe, and act as parodies of the nationalist reinvention of tradition. By highlighting “halfway tradition” as the symbol of the post-communist transitional state and a disruptive by-product of transition, Abramović and Miljanović critique ethno-nationalist politics of death and sex, and articulate an “in between” temporality that disrupts the teleology of transition.
APA, Harvard, Vancouver, ISO, and other styles
6

Marzano, Francesco. "Performing death: Marina Abramović’s 7 Deaths of Maria Callas." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 161–90. http://dx.doi.org/10.18778/1505-9057.59.10.

Full text
Abstract:
This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art.
APA, Harvard, Vancouver, ISO, and other styles
7

Demaria, Cristina. "The Performative Body of Marina Abramović." European Journal of Women's Studies 11, no. 3 (2004): 295–307. http://dx.doi.org/10.1177/1350506804044464.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bénichou, Anne. "Marina Abramović : The Artist Is [Tele]Present." reproduire, no. 17 (September 8, 2011): 147–67. http://dx.doi.org/10.7202/1005754ar.

Full text
Abstract:
Depuis le début du millénaire, les institutions muséales se lancent dans des entreprises controversées de reconstitutions d’oeuvres performatives des années 60 et 70. Le phénomène est paradoxal car le reenactment, associé aux modes de transmission oraux, est souvent considéré comme une voie alternative à la culture de l’image, de l’archive et du musée. À partir de la rétrospective Marina Abramović. The Artist Is Present présentée au Museum of Modern Art de New York en 2010, ce texte démontre les liens étroits qui se tissent entre le reenactment et l’image. Les photographies historiques sont interprétées en tant que scripts permettant de réactualiser les performances passées. Conçus pour la caméra, les reenactments engendrent des phénomènes de remédiation des images, selon des chaînes complexes d’opérations intermédiales. Enfin, dans le contexte d’une mutation institutionnelle de la performance, l’image devient l’instrument de l’exercice de l’autorité de l’artiste, parce que, en tant que fixation d’une oeuvre éphémère, elle permet la protection du copyright.
APA, Harvard, Vancouver, ISO, and other styles
9

Marcus, Sharon. "Celebrity 2.0: The Case of Marina Abramović." Public Culture 27, no. 1 75 (2015): 21–52. http://dx.doi.org/10.1215/08992363-2798331.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Eades, Quinn, and Anna Poletti. "DystopiAbramović: Marina Abramović: In Residence: Sydney 2015." a/b: Auto/Biography Studies 33, no. 2 (2018): 279–84. http://dx.doi.org/10.1080/08989575.2018.1445502.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Skimin, Eleanor. "Reproducing the White Bourgeois: The Sitting-Room Drama of Marina Abramović." TDR/The Drama Review 62, no. 1 (2018): 79–97. http://dx.doi.org/10.1162/dram_a_00720.

Full text
Abstract:
In the late-19th-century Euro-American theatre of domestic realism, the tête-à-tête on the sitting room set was the signature convention for the staging of intimate relational exchange. Since the 1980s Marina Abramović has been reproducing this sedentary bodily arrangement in much of her work. While Abramović has sought to position her performance art in counterpoint to white bourgeois theatre, her sedentary dramas are haunted by the ghosts of this seemingly unrelated genealogy of performance.
APA, Harvard, Vancouver, ISO, and other styles
12

Carvalho, Carla, Leomar Peruzzo, and Pedro Gottardi. "Poéticas do Corpo na Criação Artística em Marina Abramović e Elke Hering." Revista Brasileira de Estudos da Presença 8, no. 4 (2018): 763–87. http://dx.doi.org/10.1590/2237-266076111.

Full text
Abstract:
Resumo: O estudo parte do corpo como local reflexivo para observar criações artísticas, tendo como perspectiva inspiradora duas artistas: Marina Abramović e Elke Hering. O objetivo geral foi investigar os diálogos estabelecidos pelas obras dessas artistas e o corpo como potência estética. A observação analítica da performance de Abramović e a obra de Hering permitiram um mergulho no espaço do corpo como campo de potencialidades sensíveis e possíveis relações com saberes em arte. Ao final, congruências, semelhanças, distanciamentos do corpo em arte como temática e suporte possibilitam discussões no campo da experiência estética em arte.
APA, Harvard, Vancouver, ISO, and other styles
13

Stoch, Magdalena. "Istnieje jedynie dzisiaj." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 11, no. 2 (2019): 167–68. http://dx.doi.org/10.24917/20837275.11.2.13.

Full text
Abstract:
Istnieje jedynie dzisiaj [Marina Abramović, James Kaplan, Pokonać mur. Wspomnienia, przeł. Anna Bernaczyk, Magdalena Hermanowska, Wydawnictwo Rebis, Poznań 2019, ss. 432; tytuł oryginalny: Walk Through Walls: A Memoir]
APA, Harvard, Vancouver, ISO, and other styles
14

Chalmers, Jessica. "Marina Abramović and the Re-performance of Authenticity." Journal of Dramatic Theory and Criticism 22, no. 2 (2008): 23–40. http://dx.doi.org/10.1353/dtc.2008.0006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Metlenga, Weronika. "Sztuka performansu po "The Artist Is Present". Kontynuacja działań Mariny Abramović w twórczości jej uczniów." Panoptikum, no. 21 (December 18, 2019): 149–62. http://dx.doi.org/10.26881/pan.2019.21.09.

Full text
Abstract:
Performance art, recognized in the second half of the 20th century as niche and alternative, is currently perceived as one of the most popular genres of contemporary art. The difference that has raised due to the development of performance art is evident not only in the way a performance is created, but mainly in changing the perception of the work of art. The opening of the Marina Abramović Institute and the performance The Artist Is Present, became the main turning point showing this change. The aim of this article is to present how the art of Marina Abramović, which she consistently created for more than four decades, evolves in the works of the new generations of performers. Qualitative research based on film, interviews, exhibitions and publications related to the subject is the base for these considerations.
APA, Harvard, Vancouver, ISO, and other styles
16

Jones, Amelia. "“The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence." TDR/The Drama Review 55, no. 1 (2011): 16–45. http://dx.doi.org/10.1162/dram_a_00046.

Full text
Abstract:
Springing off from the recent obsession over performance histories in the performance and art domains, “The Artist is Present” takes on claims for authenticity and “presence” by examining the series of recent re-enactments and events featuring Marina Abramović.
APA, Harvard, Vancouver, ISO, and other styles
17

Carlson, Marla. "When Marina Abramović Dies: A Biography by James Westcott." Contemporary Theatre Review 21, no. 4 (2011): 538–39. http://dx.doi.org/10.1080/10486801.2011.610672.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

Introvigne, Massimo. "Review: Walk Through Walls: A Memoir by Marina Abramović." Nova Religio 21, no. 4 (2018): 105–9. http://dx.doi.org/10.1525/nr.2018.21.4.105.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Schnepf, J. D. "Collaborative Futures: Arts Funding and Speculative Fictions." Review of International American Studies 13, no. 2 (2020): 145–57. http://dx.doi.org/10.31261/rias.9995.

Full text
Abstract:
According to scholars of literary sociology, US arts institutions—from the federal government to the writers’ colony to the creative writing program—have been central to the shaping of US literature for the better part of a century. This paper offers a preliminary investigation of the global crowdfunding platform Kickstarter as an emerging arts institution. Drawing on Kim Stanley Robinson and Marina Abramović’s artistic collaboration as a case study, the paper argues that the appearance of the Marina Abramović Institute (MAI) in Robinson’s novel New York 2140 troubles the author’s stated generic commitments to “realist speculative fiction”—fiction that bases its vision of the future on the state of things in our present. In addition to furnishing uncertain conditions of production for the novel, Kickstarter’s funding model solicits short-form speculative fiction organized around neoliberal selfhood from its artists. With the assistance of Kickstarter’s networked platform, the MAI’s capital campaign reimagined private funding as public performance art, as dutiful civic engagement, and as reward for artists willing to narrate entrepreneurial optimism.
APA, Harvard, Vancouver, ISO, and other styles
20

Schnepf, J. D. "Collaborative Futures: Arts Funding and Speculative Fictions." Review of International American Studies 13, no. 2 (2020): 145–57. http://dx.doi.org/10.31261/rias.9995.

Full text
Abstract:
According to scholars of literary sociology, US arts institutions—from the federal government to the writers’ colony to the creative writing program—have been central to the shaping of US literature for the better part of a century. This paper offers a preliminary investigation of the global crowdfunding platform Kickstarter as an emerging arts institution. Drawing on Kim Stanley Robinson and Marina Abramović’s artistic collaboration as a case study, the paper argues that the appearance of the Marina Abramović Institute (MAI) in Robinson’s novel New York 2140 troubles the author’s stated generic commitments to “realist speculative fiction”—fiction that bases its vision of the future on the state of things in our present. In addition to furnishing uncertain conditions of production for the novel, Kickstarter’s funding model solicits short-form speculative fiction organized around neoliberal selfhood from its artists. With the assistance of Kickstarter’s networked platform, the MAI’s capital campaign reimagined private funding as public performance art, as dutiful civic engagement, and as reward for artists willing to narrate entrepreneurial optimism.
APA, Harvard, Vancouver, ISO, and other styles
21

Goulart, José Ricardo. "Experiência como mercado: rastro e aura na obra de Marina Abramović." outra travessia, no. 24 (January 8, 2019): 127–42. http://dx.doi.org/10.5007/2176-8552.2017n24p127.

Full text
Abstract:
A arte da performance surge, como tal, no entrecruzar das décadas de 60 e 70 do século XX no âmbito de um movimento que buscava romper e transgredir o sistema artístico mercantil vigente, propondo uma arte efêmera que não pudesse ser vendida. Aproximadamente 30 anos depois, a artista sérvia Marina Abramović cunha o termo reperformance, prática que consiste na reapresentação daquele tipo de trabalho, seja pelo próprio autor da obra, ou por outros artistas. No entanto, tal prática vem acompanhada de regras e de um método, que devem ser observados e seguidos pelos artistas interessados em “reperformar”. Neste artigo pretendo refletir sobre as relações que emergem entre as noções de aura, elaborada pelo filósofo alemão Walter Benjamin, e reperformance, esta última pensada paralelamente a um jogo entre a presença física e a ausência do artista que criou a primeira versão da obra reapresentada. A noção benjaminiana de rastro, que remete ao ausente que é tornado presente, será usada para embasar a suposição de que Abramović transpôs a aura de suas obras para seu nome, para sua assinatura.
APA, Harvard, Vancouver, ISO, and other styles
22

Abrams, Joshua. "The Life And Death of Marina Abramović (review)." Theatre Journal 64, no. 2 (2012): 267–69. http://dx.doi.org/10.1353/tj.2012.0040.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Alves, Lindomberto Ferreira. "Notas inferenciais sobre o encargo e as diretrizes poéticas em O Jardim de Rubiane Maia." POIESIS 20, no. 33 (2019): 437. http://dx.doi.org/10.22409/poiesis.2033.437-452.

Full text
Abstract:
A performance O Jardim (2015), da artista multimídia contemporânea brasileira Rubiane Maia, objeto desta resenha crítica, trata-se de um trabalho especificamente concebido por ela, a convite das curadoras Paula Garcia e Lynsey Peisinger, para compor o projeto “Oito performances”, da exposição Terra Comunal – Marina Abramović + MAI, aberta à visitação de março a maio de 2015, no Sesc Pompeia, São Paulo/SP, Brasil.
APA, Harvard, Vancouver, ISO, and other styles
24

Alves, Lindomberto Ferreira. "Notas inferenciais sobre o encargo e as diretrizes poéticas em O Jardim de Rubiane Maia." POIESIS 20, no. 33 (2019): 437. http://dx.doi.org/10.22409/poiesis.v20i33.29021.

Full text
Abstract:
A performance O Jardim (2015), da artista multimídia contemporânea brasileira Rubiane Maia, objeto desta resenha crítica, trata-se de um trabalho especificamente concebido por ela, a convite das curadoras Paula Garcia e Lynsey Peisinger, para compor o projeto “Oito performances”, da exposição Terra Comunal – Marina Abramović + MAI, aberta à visitação de março a maio de 2015, no Sesc Pompeia, São Paulo/SP, Brasil.
APA, Harvard, Vancouver, ISO, and other styles
25

Rounthwaite, Adair. "Sanja Iveković, Marina Abramović and the Global Politics of Authentic Experience." Third Text 28, no. 6 (2014): 457–74. http://dx.doi.org/10.1080/09528822.2014.970773.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Montijano Cañellas, Marc. "Un juego entre la ficción y la realidad." Antropología Experimental, no. 20 (January 28, 2021): 419–27. http://dx.doi.org/10.17561/rae.v20.31.

Full text
Abstract:
Este artículo tiene como objeto realizar una aproximación al concepto de verdad en la perfomance. Indagar en el juego entre ficción y realidad que se establece en el arte de acción, viendo el lugar que ocupa el espectador en la performance y el artista (el performer) en la sociedad. Contextualizando estos temas, a través de la obra de grandes artistas de la performance como Marina Abramović, Esther Ferrer, Rudolf Schwarzkogler, Bob Flanagan, VALIE EXPORT o Tania Bruguera.
APA, Harvard, Vancouver, ISO, and other styles
27

Schneider, Rebecca. "Remembering Feminist Remimesis: A Riddle in Three Parts." TDR/The Drama Review 58, no. 2 (2014): 14–32. http://dx.doi.org/10.1162/dram_a_00344.

Full text
Abstract:
Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.
APA, Harvard, Vancouver, ISO, and other styles
28

Bonfitto, Matteo. "The Artist is Present: as artimanhas do visível." Revista Brasileira de Estudos da Presença 4, no. 1 (2014): 83–96. http://dx.doi.org/10.1590/2237-266042065.

Full text
Abstract:
RESUMO Este artigo se propõe a refletir sobre uma experiência específica: a minha participação em uma performance de Marina Abramović chamada The Artist is Present, ocorrida em março de 2010, no Museum of Modern Art (MoMA), na cidade de Nova Iorque. A partir dessa reflexão, vários aspectos são abordados, dentre eles, a questão da presença e a sua relação com a visão. Quando o campo em exame é o das artes da cena, muitas vezes, a visão pode ser enganadora, pode funcionar quase como um obstáculo para a instauração de experiências.
APA, Harvard, Vancouver, ISO, and other styles
29

Wu, Yu-Chien. "Who is in Pain? The transforming of symbol in performances of Marina Abramović." Performance Research 14, no. 4 (2009): 69–73. http://dx.doi.org/10.1080/13528160903552972.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

Coonfield, Gordon. "“Marina Abramović Made Me Cry”: performance and presence work in the affective economy." Text and Performance Quarterly 39, no. 4 (2019): 305–21. http://dx.doi.org/10.1080/10462937.2019.1658890.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

Araújo, Felipe, and Marissel Marques. "O ROTEIRO NA PERFORMANCE CINEMATOGRÁFICA ESPAÇO ALÉM – MARINA ABRAMOVIĆ E O BRASIL, DE MARCO DEL FIOL." Revista GEMInIS 12, no. 2 (2021): 80–100. http://dx.doi.org/10.53450/2179-1465.rg.2021v12i2p80-100.

Full text
Abstract:
O propósito deste artigo é estabelecer uma concepção interdisciplinar de roteiro para documentário performático. Verificam-se as interfaces entre documentário e performance por meio da análise diegética da performance cinematográfica Espaço Além - Marina Abramović e o Brasil, de Marco Del Fiol. Identifica-se que a imprevisibilidade narrativa é almejada tanto pelo roteiro aberto do documentário quanto pelo acontecimento performático que são os rituais de transformação comunicados ao público. Conclui-se que o processo de atingir o espectador com experiências de notável intensidade corporal se beneficia do arcabouço teórico-prático dos estudos e da arte da performance em torno da noção de corpo-consciência
APA, Harvard, Vancouver, ISO, and other styles
32

Freitas, Artur Correia de. "Reperformance: a presença em questão." Urdimento - Revista de Estudos em Artes Cênicas 1, no. 43 (2022): 1–28. http://dx.doi.org/10.5965/1414573101432022e0203.

Full text
Abstract:
A proposta básica desta pesquisa foi esboçar uma definição possível de reperformance, cotejando-a com a problemática geral da relação entre presença e arquivo no campo das atividades performáticas. Para tanto, considerou-se a eclosão histórica das reperformances, típica dos anos 2000, a partir da exposição Seven Easy Pieces, de Marina Abramović, com ênfase na análise de um caso-exemplar – a obra Seedbed – e nas eventuais aproximações e diferenças que esta manteve com a performance de “origem”, de Vito Acconci. Como resultado, propôs-se a noção de “redução arquival” como uma categoria central para a definição de reperformance, considerando-se suas potencialidades dialógicas, de ordem trans-histórica.
APA, Harvard, Vancouver, ISO, and other styles
33

Gottardi, Pedro, and Carla Carvalho. "A poiésis Dilaporal: formação estética docente e performance art." Revista Digital do LAV 14, no. 1 (2021): 026–46. http://dx.doi.org/10.5902/1983734837888.

Full text
Abstract:
O presente artigo teve por temática a poiésis, a performance art e a formação estética docente. O objetivo foi investigar processos poéticos no qual o corpo do pesquisador também fosse tema e suporte na poiésis, relacionando à/aos artistas Marina Abramović, Hélio Oiticica e Artur Barrio e a suas obras. De abordagem qualitativa, o percurso metodológico abarcou a Pesquisa Educacional Baseada em Arte (DIAS; IRWIN, 2013) e a matriz a/r/tográfica, organizada em levantamento bibliográfico, aprofundamento teórico, percurso poético e visualidades. Barthes (2018) norteou a análise da investigação, em que o studium perpassou a formação docente, garimpando estesias que foram absorvidas na poíesis em forma de punctum. Os resultados apresentam quatro obras que compõem a série Dilaporal. Conclui-se que as visualidades poetizadas são como garimpagens do a/r/tógrafo na formação estética docente.
APA, Harvard, Vancouver, ISO, and other styles
34

Stern, Michael. "The Face as Fingerprint : Mediation, Silence, and the Question of Identity in Ingmar Bergman’s « Persona »." Konturen 3, no. 1 (2010): 202. http://dx.doi.org/10.5399/uo/konturen.3.1.1421.

Full text
Abstract:
This volume is dedicated to readings of the borderline informed by Psychoanalysis. My essay is an exception to that rule. In it, I analyze Ingmar Bergman’s Persona (1966) with an eye to the dangers of a one-way conversation. Interestingly, Persona dramatizes an inversion of a typical psychoanalytic session, for here the patient says nothing and her nurse confesses. The aftermath of this inversion and its consequences are explored with the help of the Italian feminist, Adrianna Cavarero, the Danish Philosopher, Søren Kierkegaard, and the Serbian performance artist, Marina Abramović. Enjoining a debate within psychoanalysis from the border regions of existential and feminist philosophy, I argue that the silence of an interlocutor creates a mask screening the speaker from the mutual recognition needed for a healthy sense of identity. This essay argues the case for conversation.
APA, Harvard, Vancouver, ISO, and other styles
35

Sofaer, Joanna. "Touching the Body: The Living and the Dead in Osteoarchaeology and the Performance Art of Marina Abramović." Norwegian Archaeological Review 45, no. 2 (2012): 135–50. http://dx.doi.org/10.1080/00293652.2012.703686.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Melgares, Miguel Ángel. "Entre la reiteración y la producción performática. Dos modelos de producción cultural para un nuevo giro performativo." Arte y Políticas de Identidad 23 (December 30, 2020): 80–97. http://dx.doi.org/10.6018/reapi.461011.

Full text
Abstract:
En este artículo se analizan nuevos modelos de producción cultural relacionados con la adaptación de las artes vivas al museo. Centrándonos en el estudio de dos grandes exposiciones retrospectivas dedicadas al trabajo de Marina Abramović y de Tino Sehgal, tratamos de identificar el desarrollo de estrategias de reiteración performativa, mecanismos de exposición de archivos inmateriales, así como nuevos modelos productivos como son la producción de co-presencia y laproducción de intersubjetividad. Si en la segunda mitad del siglo XX el performance surgió como una herramienta subversiva con la que cuestionar el mercado y las instituciones culturales, la absorción y transformación de los performances en un nuevo producto de consumo cultural genera una serie de contradicciones, ya que la segunda oleada del performance —denominado como nuevo giro performativo— ha estado coordinada desde las mismas organizaciones museísticas que los artistas del performance trataron de cuestionar. Los contenedores expositivos se han convertido en puntos de encuentro entre obras vivientes y un público ávido de experiencias directas, donde creadores provenientes de otras disciplinas nutren y expanden los límites de las galerías, reemplazando con cuerpos vivos a los objetos artísticos. This article analyses new models of cultural production rooted in the adaptation of live arts within museum contexts. Focusing on the study of the great retrospective exhibitions of Marina Abramović and Tino Sehgal, we try to identify the development of performative reiteration strategies, exposure mechanisms of these immaterial archives, as well as new productive models such as the production of co-presence and the production of intersubjectivity. If in the second half of the 20th century, performance emerged as a subversive tool through which to question the market and cultural institutions, the absorption and transformation of performances into a new product of cultural consumption generates a series of contradictions affecting its essence, especially since this second performance wave —named as a new performative turn— is driven by the same museums and cultural institutions that performance artist once tried to question. The exhibition containers have become meeting points between artists and an audience eager for direct experiences, where creators from other disciplines nurture and expand the galleries boundaries, replacing artefacts for living bodies.
APA, Harvard, Vancouver, ISO, and other styles
37

Gómez Beltrán, Iván. "Marina Abramović en “The Artist Is Present” (2010): cuerpo, consciencia y performance como agentes para la crítica cultural." Calle 14 revista de investigación en el campo del arte 13, no. 24 (2018): 376–89. http://dx.doi.org/10.14483/21450706.13532.

Full text
Abstract:
A lo largo de este texto me serviré de la performance The Artist Is Present (2010), realizada por Marina Abramovi , para ahondar en la vinculación entre cuerpo-espacio y artista-audiencia. Me sumergiré en la obra de la artista para evidenciar su comprensión del arte como un “agente de cambio social” que tiene la capacidad de transformar los cuerpos y las consciencias frente a la creciente aceleración del mundo globalizado. A través de The Artist Is Present analizaré, por un lado, la importancia de entender el arte como un dispositivo de critica cultural y, por el otro, exploraré la relevancia que cobra el dolor ritualizado como un mecanismo que permite alcanzar una plena conciencia del presente.
APA, Harvard, Vancouver, ISO, and other styles
38

Volvey, Anne. "À quoi oeuvre l’esthétique relationnelle? Une approche transitionnelle du paradigme relationnel en sciences humaines et sociales fondée sur les propositions artistiques de Lygia Clark et Marina Abramović." Nouvelles perspectives en sciences sociales 14, no. 1 (2019): 229–67. http://dx.doi.org/10.7202/1056437ar.

Full text
Abstract:
Nicolas Bourriaud a défini l’esthétique relationnelle de l’art actuel, comme une « esthétique de la proximité » qui opère dans la sphère intersubjective. Sur le fondement des oeuvres des artistes Lygia Clark et Marina Abramović, ce texte complète non seulement le corpus de cet auteur, mais la typologie qu’il a initiée par la « figure » du care, pour la mettre au principe des phénomènes et jugements que cette esthétique décrit. En appui théorique sur la psychanalyse transitionnelle, le texte revient sur l’esthétique relationnelle, mais montre aussi comment elle oeuvre et ce qu’elle fait oeuvrer, mettant en évidence la part non seulement intersubjective, mais haptique (sens et émotion) de la relationnalité ainsi que son horizon narcissique identitaire. Il propose alors une définition paradigmatique de l’esthétique relationnelle, pour la mettre en perspective critique des développements relationnels et esthétiques des sciences humaines et sociales contemporaines, notamment de la géographie, et dutournantspatial.
APA, Harvard, Vancouver, ISO, and other styles
39

Mojović, Marina. "Serbian reflective citizens and the art of psychosocial listening and dialogue at the caesura." Journal of Psychosocial Studies 12, no. 1 (2019): 81–95. http://dx.doi.org/10.1332/147867319x15608718110934.

Full text
Abstract:
‘Serbian reflective citizens’ is a psychosocial community practice and a new discipline conceived in Belgrade amidst Yugoslavia’s ‘Horrible Nineties’ by Dr Marina Mojović (the author) and Dr Jelica Satarić, both psychiatrists and psychotherapists in various Yugoslav public health psychiatric institutions. The therapeutic communities seemed to open a way for new paradigms to shed light and hope on overwhelming social despair, however, besides the Belgrade therapeutic community, ‘Serbian reflective citizens’ has a multitude of roots and ancestors in professional and wider social communities.The author explains the development of ‘Serbian reflective citizens’ using a metaphor of caesura at birth, discussing the history and methodology, its grassroots style, numerous ancestors, ways (and spaces) of being, its building blocks, names and other identity aspects of this new community practice and discipline, with particular mention of a recent example of a newly-formed reflective citizens branch in Italy. The mentioned caesura of birth is also considered by the author as a transitional space, a place where, as Marina Abramović would say, ‘The artist is present’. The Northfield experiments are seen as transcending the caesura and, as such, particularly mentioned at the 2nd International Belgrade Conference on Reflective Citizens in 2014, ‘Learning through Experience about Inclusion/Exclusion Phenomena in and between Traditions of Bion, Foulkes and Main’.
APA, Harvard, Vancouver, ISO, and other styles
40

Torre-Espinosa, Mario de la. "Política y autoficción performativa en Zonas de dolor, de Diamela Eltit." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (2019): 71–95. http://dx.doi.org/10.5195/ct/2019.385.

Full text
Abstract:
This article uses the concept of autofiction, created by Serge Dubrovsky in the seventies, for interpreting the political implications of the performance Zonas de dolor I, by Diamela Eltit. The author participation in these performances, and the subsequent record and edition of these images in video, reveal a clear intentionality of reflecting her political thinking throughthese aesthetic actions, two dimensions of the art that are inseparable according to the ideas of Jacques Rancière. In these proposals, the body is used as battlefield, and in this sense has to be understood the fact of the self-harm. It will be analyzed the use of the body as political weapon, and putting it in relation with the works The Lips of Thomas, by Marina Abramović,and Anfaegtelse, by Angélica Liddell. In these plays, the blood emanating from the wounds of the body is constituted as a central aesthetic element. This Eltit artistic mechanism will beanalyzed, for letting us to know how it is used for raising awareness and revealing us other dimension of the marginality, whether it is the case of homeless people or brothels.
APA, Harvard, Vancouver, ISO, and other styles
41

Bodea, Cristian. "What Is Visible When Acting? Acting-Out, Passage à l’Acte and the Dialectics of the Gaze in Phenomenology and Psychoanalytic Theory." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (2021): 49–66. http://dx.doi.org/10.24193/subbdrama.2021.1.03.

Full text
Abstract:
"The paper approaches acting from a phenomenological and psychoanalytic point of view. It sheds light on the intrinsic (i.e., invisible) resorts involved when someone is playing a role – or, better yet, assumes a role. In order to make these mechanisms visible, the paper relies on the premise that acting always involves an act. Using the Lacanian theory of acts, I demonstrate that there is a real process taking place when assuming a role, namely when the subject needs to objectify himself. This process can be traced back as far as the “time” of a pre-existent gaze. The aim of the paper is to substantiate the idea that it is necessary for the gaze to enter a dialectics in order for the subject to find its objective place. For illustration, two works of art are used: the performance The Artist is Present by Marina Abramović and the movie A Woman Under the Influence by John Cassavetes. Keywords: act, desire, gaze, objectify, the Other, presence without assignable present, the Real, (in)visible."
APA, Harvard, Vancouver, ISO, and other styles
42

Mock, Roberta. "When Marina Abramović Dies: A Biography. By James Westcott. Cambridge, MA: The MIT Press, 2010. Pp. xiii + 328. $27.95/£19.95 Hb." Theatre Research International 36, no. 3 (2011): 296–97. http://dx.doi.org/10.1017/s0307883311000307.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

Dixon, Steve. "Cybernetic Sparks and Philosophical Feedback Loops." Journal of Systemics, Cybernetics and Informatics 19, no. 8 (2021): 39–52. http://dx.doi.org/10.54808/jsci.19.08.39.

Full text
Abstract:
Gregory Bateson observed that cybernetics is not essentially about "exchanging information across lines of discipline, but in discovering patterns common to many disciplines" (Bateson, 1971, p. 23). This paper adopts his line of thought to join the dots between cybernetics and the philosophy of Existentialism, and then interconnect both with contemporary art. It demonstrates that while terminologies may differ, many of the three fields' primary concerns closely cohere. The world's most ground-breaking artists are found to apply and fuse cybernetic paradigms and Existentialist themes, from Robert Rauschenberg and Marina Abramović to Damien Hirst, Stelarc and Anish Kapoor. The research offers the first detailed comparison between cybernetics and Existentialism, and reveals surprising commonalities. Feedback loops, circular causality and negative entropy are not only central tenets of cybernetics, but also of Existentialism. Autonomy, autopoiesis and interactivity equally unite both fields, and each is visionary and forward looking in seeking radical change and transformations. Both explored artistic endeavours, with Existentialists Jean-Paul Sartre and Albert Camus equally renowned for their powerful novels and plays as their philosophical works, while cybernetic art became a major phenomenon in the 1960s following the landmark exhibition Cybernetic Serendipity: the Computer in the Arts (1968), and influenced artistic practices thereafter.
APA, Harvard, Vancouver, ISO, and other styles
44

Toporišič, Tomaž. "Performing Touch and Smell: The Liminality of the Senses." Amfiteater 9, no. 2021-2 (2021): 36–52. http://dx.doi.org/10.51937/amfiteater-2021-2/36-52.

Full text
Abstract:
The paper discusses the liminal nature of the sensorial languages in contemporary performing arts. Its starting point will be the following chain of thoughts: during artistic events, a performative action reshaping the performers and the audience takes place, along with the interchange of the roles between the “stage” and “auditorium”, either in the sense of Augusto Boal’s spect-actor or the destruction of the fourth wall and the specific “autopoietic feedback loop” (Erika Fischer-Lichte) between both parties involved. We aim to rethink and re-examine the role of the sensorial language as one of the rarely used yet highly efficient tools of the performative revolutions of the 20th and 21st centuries. These revolutions started with the Futurists, continued with the tactile and sensorial performances and politics of Marina Abramović and Yoko Ono, and culminated with Enrique Vargas and his sensorial theatre in different stages from New York’s La Mama radical 1960s productions to his 1990s new sensorial theatre language of his Teatro de los Sentidos. We will try to answer the following questions: How can and how do we touch and smell … in performative actions? Which kind of liminalities does the act of sensorial produce in a contemporary performance?
APA, Harvard, Vancouver, ISO, and other styles
45

Dixon, Steve. "Discovering Patterns across Disciplines: Cybernetics, Existentialism and Contemporary Arts." Journal of Systemics, Cybernetics and Informatics 19, no. 9 (2021): 18–23. http://dx.doi.org/10.54808/jsci.19.09.18.

Full text
Abstract:
Gregory Bateson observed that cybernetics is not essentially about "exchanging information across lines of discipline, but in discovering patterns common to many disciplines". This paper adopts his line of thought to join the dots between cybernetics and the philosophy of Existentialism, and then interconnect both with contemporary art. It demonstrates that while terminologies may differ, many of the three fields' primary concerns closely cohere. The world's most ground-breaking artists are found to apply and fuse cybernetic paradigms and Existentialist themes, from Robert Rauschenberg and Marina Abramović to Damien Hirst, Stelarc and Anish Kapoor. The research offers the first detailed comparison between cybernetics and Existentialism, and reveals surprising commonalities. Feedback loops, circular causality and negative entropy are not only central tenets of cybernetics, but also of Existentialism. Autonomy, autopoiesis and interactivity equally unite both fields, and each is visionary and forward looking in seeking radical change and transformations. Both explored artistic endeavours, with Existentialists Jean-Paul Sartre and Albert Camus equally renowned for their powerful novels and plays as their philosophical works, while cybernetic art became a major phenomenon in the 1960s following the landmark exhibition <em>Cybernetic Serendipity: the Computer in the Arts</em> (1968), and influenced artistic practices thereafter.
APA, Harvard, Vancouver, ISO, and other styles
46

Kim, Seung-Hwan. "The Analysis of Polysemic Signification of the ‘Masochistic Incision’ of Women’s Performance Art in the Perspective of ‘Performativity’ : Gina Pane and Marina Abramović." Europe Culture Arts Association 12, no. 1 (2021): 1–23. http://dx.doi.org/10.26854/jeca.2021.12.1.1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Rošker, Anja. "Disappearing object?" Maska 30, no. 172 (2015): 174–81. http://dx.doi.org/10.1386/maska.30.172-174.174_5.

Full text
Abstract:
The Live Art Almanac Volume 3 brings together various genres of texts written on live art in 2011 and 2012. The systematisation of chapters is telling since we are introduced into the book by a selection of contributions on the relation between live art and institutions which, based on works by artists such as Marina Abramović, Tino Sehgal and La Ribot, show the ambivalence of the modern age torn between the tendency to preserve and materialise the transient and the tendency towards constant continued movement. The Almanac continues with a chapter on performance art in mass media and pop culture. It thus raises the question of the influence of capitalism on performance art since the constant attempts at objectivizing disappearing events coincide with the predominating consumerist mentality of the West. This chapter is followed by a series of discussions on politically engaged art that trace the difference between performance in the West and performance in former colonies. The Almanac concludes its dramaturgical arch with essays on death rituals, thus opening the question of the “survival” of the live in the age of consumer products. The Live Art Almanac 3 is a sort of an archive of live art that offers the reader material for further research and thus, in accordance with the Western archive fever, builds the foundations for new beginnings.
APA, Harvard, Vancouver, ISO, and other styles
48

Pefanis, George P. "Is the ‘Animal-Event’ Possible? Animal Precariousness and Moral Indeterminacy in Performance." New Theatre Quarterly 34, no. 2 (2018): 176–85. http://dx.doi.org/10.1017/s0266464x18000076.

Full text
Abstract:
In this article, George P. Pefanis discusses two major aspects of the ‘event’, as formed and developed in late Derridean philosophy – namely, the ‘possibility of the impossible’ and the ‘experience of perhaps’. These aspects are examined in order to reveal the potential for precariousness and uncertainty engendered by performance art, as in the case of the animal-event. With its increased degree of indeterminacy and its projected singular, here-and-now character, performance art could leave open the way to the ‘other’, the unpredictable, and the unexpected that is the ‘animal-event’, since an animal can never be fully controlled or have its behaviour predicted by the theatre mechanism. Two performances are taken as case studies to demonstrate this: the emblematic I Like America and America Likes Me by Joseph Beuys (René Block Gallery, New York, 1974), and Dragon Heads by Marina Abramović (Museum of Modern Art, Oxford, 1990). It is argued that both cases pose certain moral issues around the presence of animals on the stage. George P. Pefanis is Associate Professor in the Department of Theatre Studies at the National and Kapodistreian University of Athens, and also teaches theatre and cinema history at the Open University of Greece and Cyprus. His publications include Adventures of Representation: Scenes of Theory II, Spectres of Theatre: Scenes of Theory III (both 2013) and Theatre Adherents and Philosophers (Athens, 2016). In 2006, he received the award for best book in the study of theatre for The Kingdom of Eugena (2005).
APA, Harvard, Vancouver, ISO, and other styles
49

Ilić, Marko. "“Made in Yugoslavia”: Struggles with Self-Management in the New Art Practice, 1965–71." ARTMargins 8, no. 1 (2019): 6–30. http://dx.doi.org/10.1162/artm_a_00225.

Full text
Abstract:
In September 1978, Zagreb's Gallery of Contemporary Art staged the first survey exhibition of conceptual and performance art in Yugoslavia: The New Art Practice, 1966–78. Forty years on, the phenomenon continues to attract a substantial amount of scholarly and curatorial attention, largely because of its globally-renowned affiliates, such as Marina Abramović, Sanja Iveković and Mladen Stilinović, among others. But academic work has been hesitant to address the deeper political, economic and institutional factors that underpinned the New Art's emergence and secured its prolific development. This article proposes that the New Art both came out of, and responded to, a complex and contradictory moment in Yugoslavia's history, when the country began to integrate itself deeper into the Western capitalist world system. It follows the emergence of the OHO group in Ljubljana and two particular episodes in the youth centers of Zagreb and Novi Sad alongside a brief, but decisive, period of liberalization, which began with a massive economic reform in 1965 and was briefly interrupted by a crisis in federal politics in 1971/2. To this end, it examines how artists addressed the impact of these developments on Yugoslav “self-managing” socialism, and its promises of grassroots participation and a more experimental political culture. While stressing the absolute importance of situating the New Art Practice in its precise historical context, the article seeks to provide a new model for a transnational study with a Pan-Yugoslav focus – by mapping how artistic ideas circulated in the Yugoslav cultural space, it provides a glimpse into the tightly woven networks of exchange that enabled the New Art scenes to thrive.
APA, Harvard, Vancouver, ISO, and other styles
50

Iles, Chrissie. "Marina Abramovic." Performance Research 1, no. 2 (1996): 20–26. http://dx.doi.org/10.1080/13528165.1996.10871486.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography