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P. Schimmel, K. Stiles, Carolee Schneemann, Günther Brus, Jackson Pollock (1998)
Out of Actions: Between Performance and the Object, 1949-1979
ART & PERFORMANCE NOTES Marina Abramovic in her performance The House with the Ocean View, 2002. Photo: Courtesy Steven P. Harris and Sean Kelly Gallery, New York. MARINA ABRAMOVIC ON THE LEDGE Johannes Birringer Marina Abramovic, The House with the Ocean View, Sean Kelly Gallery, New York, November 15âDecember 21, 2002; living installation: November 15â26, 2002. or many years, Marina Abramovic has been a prominent practitioner of site-speciï¬c action and performance art, and like some of the other pioneer women in body art (Carolee Schneemann, Yoko Ono, Valie Export, Ana Mendieta, Lygia Clark), she had used her body deliberatelyâto expose it to certain pressures, dangers, and contingencies, or to present it, make it present, as subject and object in speciï¬c relationships to the world. During the 1970s and 1980s, when she performed together with her partner Ulay (Uwe Laysiepen), these actions were both intensely relational and durational. In Nightsea Crossing she sat motionless and silent for seven hours at one end of a long table, facing Ulay. In Relation in Space, performed at the Venice Biennale in 1976, their naked bodies crashed into each other repeatedly for one hour. The catalog described the action bluntly as a task:
PAJ: A Journal of Performance and Art – MIT Press
Published: May 1, 2003
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