We are now on day eight of Marina Abramović's 512 Hours, an art project which will last just over two months: Creating the simplest of environments in the Gallery spaces, Abramović’s only materials will be herself, the audience and a selection of props that she may or may not use. On arrival, visitors will both literally and metaphorically leave their baggage behind in order to enter the exhibition: bags, jackets, electronic equipment, watches and cameras may not accompany them.
Most of us won't make it to London to see this, and that's fine: We have something better! The daily video diaries, which Abramović delivers straight into the [...]
This past Sunday, a crowd of about 200 gathered outside the entrance to a faded-looking building at 7th Street and Columbia in Hudson, New York. They were there for a first public peek at what will be Marina Abramovic's Institute for the Preservation of Performance Art. The building—brick, columned, with "Community Tennis" lettered across its front—seems a long way from what the architectural renderings depict for the future museum, which is a sleek "interactive building" seemingly encased in glass. (The project is led by architects Shohei Shigematsu and Rem Koolhaas.) The institute is projected to open in mid-2014; for now, this open house would give Abramovic the chance to [...]
Thus far into Kraftwerk’s week-long residency at MoMA, not many individuals have popped up on Craigslist offering up their +1 for sale. Maybe it's because people who were lucky enough to purchase two tickets for one of the eight shows during the online sale/debacle must present an ID bearing the same name as the purchaser’s to gain entry into the concert. It’s a really big deal! So presumably they’re taking someone who is equally passionate about the music, or dragging a loved one who they’re trying to convert. (Which is never quite as magical as we hope.)
Whatever the case, it seems that most ticket holders don’t want [...]
"Last week, the artist agreed to begin her performance early, specifically to accommodate BjÃ¶rk, Matthew Barney, and their young daughter. But no more, says a source within MoMA's communications office (who also prefers not to be named). 'It has been a balancing act to accommodate the wishes of the artist with MoMA's responsibility to the public,' this source said. 'In these final days of the performance, no one will be seated with Abramovic before public hours.' Except, it turns out, Marisa Tomei, who was allowed early access to the artist on Sunday morning."
"In addition to the gropers, there have been less extreme but still unnerving encounters. Mr. Rawls, for example, said that standing with his arms at his side he had felt more erections 'across the back of my hand than I can count…'" -It's been rough sledding for the naked performers who are part of the Marina AbramoviÄ‡ retrospective up at MoMA, many of whom have been victimized by inappropriate touching, surreptitious photography, bodysnarking, and, yes, the dreaded "hard cock against the back of the hand." Talk about suffering for art!