Reperformances and participatory works

MARINA ABRAMOVIC

Participatory Work
MUTUAL GAZE, 2018

An exercise with audience participation from the workshop series Cleaning the House. The work is part of a series of participatory exercises following the Abramović Method. Visitors are invited to sit facing each other in twos and to look into each other’s eyes. The exercise is designed to make visitors arrive in the present moment and to feel a connection with their own inner selves and that of the other person. 

Every day during the opening hours

Participatory Work
COUNTING THE RICE, 2018

“We are living in a difficult period where time is worth more and more because we have less and less of it. (…)  I hope that participants will connect with themselves and with the present—the elusive moment of the here and now.” (Marina Abramović, in: The Cleaner, 2017)
Counting the Rice is an exercise for visitors who are invited to take a seat at a long table and to count or sort grains of rice and lentils. The exercise is designed to instill a sense of calm, concentration and attentiveness.

Every day during the opening hours

Reperformance
IMPONDERABILIA, 1977
“Imponderable. Such imponderable human factors as one’s aesthetic sensitivity. The overriding importance of imponderables in determining human conduct.” (In: The Cleaner, 2017)
At the Galleria Communale d’Arte Moderna in Bologna, Marina Abramović and Ulay spent ninety minutes standing facing each other motionless and naked in a narrow entrance passage, forcing visitors wishing to enter the museum to squeeze between them.
In the reperformance two performers will stand naked in a narrow passage so that visitors can only get past them sideways.

Tuesday to Sunday, 11 a.m. – 7 p.m.

Reperformance
ART MUST BE BEAUTIFUL, ARTIST MUST BE BEAUTIFUL, 1975
In the original version, first performed at the Charlottenborg Art Festival in Copenhagen, the artist sat on a chair for roughly one hour with a brush in one hand and a comb in the other, aggressively brushing and combing her hair while constantly repeating the phrase “Art must be beautiful, artist must be beautiful.”

Sundays, 1 p.m. – 3 p.m.

Reperformance
HOUSE WITH THE OCEAN VIEW, 2012
“This performance came from my desire to see if it is possible to use daily discipline, rules and restriction to purify myself.” (Marina Abramović, in: The Biography of Biographies, 2004)
At the Sean Kelly Gallery in New York, the artist inhabited three interconnected, wall-mounted living units for twelve days and nights. During her ritualized daily routine, which included neither speaking nor eating, visitors could watch her sleep, take a shower or use the toilet. Three ladders, their rungs made of carving knives with the sharp side of the blade facing up, separated the artist from the audience.

The work will be exclusively presented as a reperformance from 12–24 June 2018.

Reperformance
LUMINOSITY, 1997
This glaringly lit work shows a female performer perched on a bicycle seat, naked and trying to keep her balance for thirty minutes with her feet off the ground.

On the opening weekend (19–22 April 2018) and at every Wednesday_Late_Art (16 May, 18 July, 8 August)

Reperformance
SIMILAR ILLUSION, 1981
At the Melbourne Sculpture Triennial, Marina Abramović and Ulay held a tango pose for ninety-six minutes in the midst of a rectangular arrangement of tables for the audience. Abramović wore a red dress, Ulay a black suit. The performance was accompanied by extremely loud Argentinean tango music. The work will be reperformed in the exhibition on the opening weekend.

On the opening weekend (19–22 April 2018) and on Wednesday_Late_Art (8 August 2018, 18h–21h)

Reperformance
WORK RELATION, 1978
“We are doing heavy physical work; Transporting stones back and forth in metal buckets. There is no result.” (Marina Abramović/Ulay, in: Relation Work and Detour, 1980)
Marina Abramović and Ulay first performed this work during the Arnhem Festival at the Theater aan Rijn. They carried buckets filled with heavy stones from one end of the room to the other. The initial performance lasted two hours. It was gradually extended and eventually went on for eight hours.

Exclusively on opening weekend (19–22 April 2018)

Show bibliography
Illustrations

    Kunst- und Ausstellungshalle der Bundesrepublik Deutschland

    Museumsmeile Bonn
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