For her new performance at London’s Serpentine Gallery, Abramović is taking things one step further, removing the chairs, and simply wandering around among the 160 capacity audience, sometimes touching, sometimes interacting, for a duration of 512 hours.
We spoke to her ahead of the opening about why, for her, presence is so important, what she expects from this long durational performance, and why it leaves her feeling even more vulnerable than her early 1970s Rhythm works.
Serpentine Gallery, London
9 June 2014
Interview by Anna McNay
Filmed by Martin Kennedy
Marina Abramović, 512 Hours, will run at the Serpentine Gallery until 25 August 2014. Entry is free, but on a first-come, first-served basis.
From the work of Bas Jan Ader, who disappeared while crossing the Atlantic in a tiny boat, to the political statements of Ai Weiwei, to Lucy Wood’s improbably dangerous glass trampoline, this exhibition explores risk in art
Chiharu Shiota: Dialogues
Anyone who hasn’t yet heard of Chiharu Shiota soon will have. Taught by Marina Abramović and influenced to such an extent by Ana Mendieta that she believed herself to be an incarnation of the tragic Cuban, her ethereal installations blend Lygia Clark with Christian Boltanski, innocence with experiences of trauma, unbearable weight with the lightness of being.
The Life and Death of Marina Abramović
Marina Abramović, a master of performance art, in collaboration with theatre director Robert Wilson, with musical arrangements and composition by Antony, and outstanding performances by Willem Dafoe and the rest of the cast, packed the Park Avenue Armory at 67th Street for the US premiere of The Life and Death of Marina Abramović.
Our voice as protagonist – a meeting with Tania Bruguera
The chatter of a roomful of museum workers turned to silence the minute Tania Bruguera walked into the auditorium at the Museum of Modern Art in Rio de Janeiro.