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by Marina Abramovic
Print : C-print 56.5 x 56.5 cm 22.25 x 22.25 inch
One of the last works available by this artist
Second NOT DISPLAYED BLUR TEXT
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Learn moreAbout the artwork
Numbered and limited to 100 copies
1 copy available
Hand-signed by artist
Sold with certificate of Authenticity from Serpentine
Invoice from the gallery
Artwork sold in perfect condition
Artwork location: United States
Pencil signed and numbered from the limited edition of 100
512 Hours (2014) is taken from Abramović’s seminal exhibition with Serpentine Gallery in 2014. This work serves as an artefact, a testimony of the intangible experiences of those who participated, and the atmosphere of this performance that endured several weeks.
This was the first major performance by Abramović since her monumental piece The Artist is Present, at the Museum of Modern Art, New York in 2010, in which visitors were invited to sit in silence opposite the artist and gaze into her eyes for an unspecified amount of time. Abramović performed this work every day for three months. The pared-down nature of this exhibition corresponded to Abramović’s interest in the historically well established relationship between art and ‘nothingness’; The idea of emptiness – of minimalism, reduction and simplicity, and has increasingly led to ‘more and more of less and less’ in Abramović’s work. It was this journey towards immateriality that led her to this unique moment in her work, where she committed to an unscripted and improvised performance in the gallery space.
A contemporaneous review of this exhibition in Britain's The Guardian newspaper said this:
..."The ultimate value of 512 Hours depends upon each visitor; that is both the challenge and the artist's get-out clause. Of course there are various experiences along the way – witnessing Abramovic's stupendous stamina up close; seeing your fellow beings turning inwards, or outwards, in unconscious response or its opposite, hot self-consciousness; doing it yourself in a pristine white gallery, participating in a cult event – but in essence, this is just an elaborate exercise in mindfulness.."
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Imagine it at home
Serbian artist Marina Abramovic has marked the history of art with her intense and moving performances.
Born in 1946 in Belgrade, she studied at the Academy of Fine Arts in Belgrade and Zagreb. She taught at the Fine Arts in Novi Sad from 1973 until 1975. She first practiced painting then became interested in conceptual art and performance. Like Bruce Nauman, Vito Acconci and Chris Burden, she is one of the artists who introduced performance to the world of art. She will practice body art and body art all her life.
Its performance can reach extreme situations. Her body is both medium and subject, and she uses it to push her physical and mental limits. Pain, fatigue, mutilation, all these actions allow him to face death, to free his mind, to purify himself, to elevate himself, to create a catharsis, while his mind cornered by danger approaches a truth. Her performances also aim to bring body and mind closer to nature in an age ruled by technology. His extreme works do not seek physical performance, but emotional and spiritual transformation. She feeds on the energy of the public, she who nevertheless calls herself introverted.
In her series of works "Rhythm 10", composed of 10 works, she inflicts herself in great suffering. For “Rhythm 0", she provides the public with a wide choice of instruments that they can use against her for 6 hours. The public cuts her, strips her, a man even points a pistol at her. For "Rhythm 5", it lies in the center of a burning star and thus denounces the enslavement of the Serbian people by the Soviet powers. The work “Balkan Baroque", which won the artist the Golden Lion at the Venice Biennale in 1997, also deals with this subject. It is a video-performance installation during which she cleans the bones of bloody oxen 6 hours a day for 4 days in memory of the Serbian people.
For her work "Thomas lips" also, she eats a bowl of honey, drinks a glass of wine that she breaks and then mutilates a star on her body. Between ice and fire, she thus brings into play the conservation of her body and her fear of death.
Her art has nevertheless evolved throughout her life, she turns more and more to new mediums: video, photography, installation… Her performances will be longer but quieter. She notices that her representations are more difficult to do when there is less action. His work then focused more on mental performance than on physical limits.
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Marina Abramovic
512 Hours, 2014
Print
€2,444