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Marina Abramovic

As part of my lecture on Monday the 12th of April, I was made to watch level 6 symposium presentations. One presentation caught my attention as it offered detail on Marina Abramovic’s Rhythm 0. I think the symposiums were good to listen too, there were a few topics discussed that really piqued my interest. Yet, following from these presentations I would like to focus on Abramovic’s work, particularly Rhythm 0, and feminists’ readings that can be applied.

Her work is often extremely emotive, eccentric and intense. Despite Rhythm 0 not being produced recently I think her work is particularly iconic and inspiring still to contemporary art. She is still an inspiring artist for performance art and I think that reason alone makes her work extremely captivating.

The performance lasted six hours in Studio Morra Naples. Abramovic remained still for the entirety of the time. The aim of the performance was to allow the audience to have complete control and autonomy over Abramovic’s body. In this sense it is easy to recognise that her body becomes an object to the audience. I found it difficult to connect with some of the actions displayed by the audience because of their innate violence. When searched on the internet one can view how to audience become insensitive to the idea that Abramovic is a person with flesh that can be hurt. It is evident that this performance caused a range of controversy as not only does the performance allow for an insight to how many view women’s body, but also allows one to contemplate on the violence and blood. I think this performance definitely brings up a lot of subconscious animalistic tendencies in individuals.

I should mention some of the objects that were included in this performance. There was a whole scope ranging from a rose and perfume, to scissors, nails, a metal bar, even a loaded gun. There was also food present such as honey, bread, wine and grapes these were just some objects included in a range of 72. To me it is evident that many of the objects had ritualistic associations and I find it interesting meditating on what Abramovic was trying to achieve through this. Reflecting on this piece a lot of the actions caused by the audience are rather shocking, Abramovic cloths were cut, she was undressed, her neck cut, and her blood was drank. The loaded gun was even pointed at her head before the said individual was stopped and the performance paused. This piece of work really pushed Abramovic emotionally and mentally as well as heavily testing the audience’s ethical limits. As a viewer of this piece, I find it shocking how crimes were committed against Abramovic yet because of the pieces performance status these crimes were dismissed.

I think for feminists Abramovic’s work raises the question are women viewed as objects or subjects. It is definitely difficult to navigate this type of reading for Rhythm 0. As a subject Abramovic fully chose to participate in this performance. Bu through this participation she became a passive object devoid of conscious. From this piece feminists may argue that even through Abramovic choosing to become an object demonstrates that the idea of women objectification is never exorcized despite arguments for women’s rights etc. I think often that critics romanticise the objectification that is apparent in body and performance art as the physical body is used as a material. However, this raises the question of what the body actually represents. the artists consciousness is not necessary for body art, yet it is this lack of conscious that allowed for a total manipulation of Abramovic’s body. Without consciousness Abramovic can not be counted as a subject as there is a lack of autonomy. A feminist may conclude that during this performance Abramovic became an “object without subjecthood and a subject who experiences, even owns, pain and bodily harm” (Renzi, 2013, p.122).

 Saberian, Farinaz, Hessami, Mansour (2016) ‘The Process of Performer Presence And Audience Participation Danto Criticism On Marina Abramovic “The Artist Is Present”’, in The Turkish Online Journal of Design, Art and Communication, v.6, August 2016, pp.1211-1220

Renzi, Kristen (2013) ‘Safety in Objects: Discourses of Violence and Value- ‘The Rokeby Venus’ and ‘Rhythm 0’’, in Substance, v.42, 2013, pp.120-145

Image 1 retrieved from Bridgman images

Image 2 retrieved from https://johndopp.com/reality-0-marina-abramovic/

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Liverpool River of Light 2021

Contemporary art often holds correlations to site specific art and an exhibition and event in my immediate surrounds has been the Liverpool River of Light trail. Local, national, and international artists have come together, through Liverpool culture council, to create this communal event. I think just the joyous atmosphere and the buzz of surrounding individuals made the experience exciting. A taste of normality in times where so many are isolated. It is apparent this was the main aim of the light show, despite it being held every year, was to highlight a promise of brighter times ahead of this global pandemic. It has been reported as a “symbolic invitation for residents to rediscover the city once again”. I love the excitement such an adventure brings. Art is this sense is used to help individuals to recover after long periods of isolation and loneliness. This illumination, outdoor gallery is a reminder of hope and community juxtaposing the multiple hardships faced this year. With this comes kindness and I appreciate that these particular installations promote cohesiveness.

At first, when I saw the light show I didn’t intend to write about it. Whilst I recognised it was artwork, I didn’t have an understanding of the context of the event or interest in the artists names or in the reasoning behind the work. I was truly captivated by the general aesthetic and the popularity of the show amongst friend and individuals on a whole. It only came to attention to investigate the meanings and the artists after I had seen the show. I feel a sense of contentment with how this happened, I was able to enjoy the lights with a childlike enjoyment without feeling pressured to look deeper into them as well as experience a new wave of interest in the lights and the installation after.

Like many others my absolute favourite installation was All in the Balance. I admit at first, I loved looking at the butterflies and the delicate movement of the piece. It very much reminded me of a carousel as its structure was very complex. It is possible this is a reflection of the complexities of nature. I think its homage to nature as well was extremely captivating, highlighting nature and its most beautiful aspects. The piece created by the Lantern company is a symbol of the admiration of nature and especially how it has been a source of tranquillity for many during this pandemic. This celebration of nature and coming of spring is made of an accumulation of recycled material. I think this is a beautiful reminder that contemporary art often presents worldly issues that need addressing. In this case the illuminated artwork is a request for action against climate change. I think this message is one that challenges many individuals to do better as nature is such a big part of existence.

All in the Balance (below)

Featured piece Futures created by Lucid Creators also intrigued me. Being able to interact and walk through the piece was a lot of fun. Being able to engage with the piece along with other individuals inspired a sense of communal action. I think overall this is what the piece aimed to do, bring people together. Other pieces include Light a Wish created by the OGE Group originating from Israel. The piece depicts dandelion seeds being blown away I the wind. The narrative stems from the idea of making a wish upon the seeds. The aim of the piece was to be a symbol and icon of good intentions going into 2021. This piece was extremely inspiring and quite calming. I loved being able to reflect on my own dreams and really desiring a sort of manifestation from them. This piece to me was such a simple concept that allowed myself and many others to connect to their true passions.

Light a Wish (Above)

Neighbourhood (Above) 

Despite the individual pieces all having different motivations and meanings, I believe that collectively the exhibition tried to promote a sense of community after the pandemic. Acceptance and belonging are so important after the isolation of the pandemic. Neighbourhood by Sercey Kim demonstrates this in an extremely comforting way. The hanging cloths represent the diversity of culture and ethnicity in a city. His work represents a harmonious coexistence despite perceived differences. A sense of fear for isolation is prevalent in this piece yet I think on a deeper level it promotes a society where feeling welcomed is a necessity. Despite not discussing all seven works exhibited at the light show I think ending this post with Neighbourhood is a charming and fascinating summery of what the light show achieved this year.

 https://www.visitliverpool.com/riveroflight

https://www.cultureliverpool.co.uk/river-of-light-trail-faqs-2021/

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The Art of Belonging

Red Maroons, 1962, Rothko

Green and Maroon, 1953, Rothko

Les Fetiches, 1938, Jones

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The Art of Belonging

A sense of belonging is often found in religion. Many people associate belonging with home, family, and friends, but I would like to discuss belonging with regards to art. Particularly contemporary art, where viewers can transcend what they experience in with their physical three-dimensional senses to connect with the artists and the artists narrative to experience a sense of belonging.

Through listening to a Tate podcast this topic of art and belonging was introduced to me. Perhaps before it had not been a part of my immediate thinking but on meditation and reflection, I understand that belonging is huge driving force for the art community. An intriguing aspect of the podcast was how it included not only an artist but also a poet and author. I think its important especially in contemporary society to be reminded that art exists in multiple forms and it shouldn’t be limited to work that is solely displayed in museums. Individuals find comfort and belonging in many ways so I would love to explore the multiple types of contemporary art with you.

Belonging doesn’t require education but is rather an intrinsic experience unique to every individual yet at the same time it is a universal feeling there is universal belonging. The term is so complicated yet so simple. The various definitions of belonging reinforce its complexities, but I think it’s important that this sense is strived for and understood in the art world.  

I think with regards to comfort found in the viewers experience. Mark Rothko is a prominent artist mentioned in the podcast. It is said that his work is so personal as it heavily reflective of deep emotions that one might often suppress. His work seems tranquil, calm but also disturbing and depressing. His work is often embalming and enveloping for the viewer as they have a safe space to understand and develop their own emotions. Rothko’s own mental health is reflected in his work, where he used themes to express tragedy, making his work extremely personal. His work is beautiful as it welcomes individuals into his mental state offering them a sense of belonging especially if the viewer shares struggles with Rothko. Art is seen as a profound form of communication, to see the depths of Rothko’s soul an expression of great loss Red Maroon, the abstract composition and the blurring of colours serves as a reminder that emotions aren’t black and white. Rothko does not simply skim the surface of emotions but realises them and perhaps the techniques used try to demonstrate his ongoing waves of emotion.

On further inspection of the concept of belonging I discovered Tate’s page on black identity sin art. In a world where currently BLM is such a prominent issue it is right to address black artists and how they create art that not only reflects their struggles as a culture in society, but I love that often work created by black artists pay homage to a sense of belonging in their culture. The Harlem renaissance despite being such a prominent park of history is still relevant in contemporary society. A revival of African American music, dance, art in 1920s-1930s and New York cultural expressions due my attention to a prominent black artist of this period, Lois Mailou jones. Her work is so vibrant and impactful as it is replete and energised with various iconographical symbols that illuminate the narrative behind the black community.

 Les Fetiches is one of her most prominent pieces and is a good example of African art and its influence in other societies, such as France. It is possible that she created this piece to enjoy protection that stems from her heritage. She created this piece in Paris where she felt free from the oppressions of race. I think it’s important to remember that in the United States the black community were heavily restricted, including the ability to exhibit work and enter artist competitions. Being in Paris gave her a chance to really develop artistic skills and to present African American art is an appropriate and relevant way. It is possible that this piece of work could also be a response to Picasso’s own cultural appropriation as he often took advantage of treasured African masks in this period in France. The oil painting narrates her experiences in Paris as an individual rather than by her skin colour depicting cultural acceptance and acknowledging differences with prejudice. Therefore, the painting is her own emotional expression of her travels and experiences in Paris. So not only does she enlighten her audience on cultural aspects but relates this to the black community on an emotional level as the different mask (five in total) seems to symbolise different cultures coming together.

Les Fetiches, image retrieved from https://africanamericanartblog.wordpress.com/2016/08/01/untitled/

 Rothko images retrieved from Bridgeman Images

Tate (2018), https://www.tate.org.uk/art/artworks/rothko-red-on-maroon-t01165/art-belonging

Hopkins, John (2016) ‘Lois Mailou Jones’, in Callaloo, v.39, 2016, pp.1017-1101

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Dance of Peace, 1945, Eileen Agar.

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Eileen Agar  Angels of Anarchy

Despite being a prominent artist, I have never encountered Eileen Agar or much of her work.  Her collection off work is extensive and I particularly admire the range of medium she works in. It is surprising to me that her name was initially unrecognisable, however, through engaging with curator Laura smith I enjoyed learning the context of Agars life as well as the process of the white chapels gallery exhibition ‘Eileen Agar: Angle of Anarchy’.

I found Agars life rather compelling, born on the first of December 1899 in Argentina, it is evident that her childhood was rather eccentric. This type of aura followed her much into adult hood possibly being a driving force for her prolific 70-year career. It is evident she experimented with all different types of media devoid of hierarchy.

An attention-grabbing fact is that Agars Mother didn’t want her to be an artist, consequentially Agar rebelled against the contemporary conventions of being a debutant. After her clear refusal to obey societal expectations Agar was often moved around schools by her parents but her sheer persistence and work in the creative field eventually paid off as she was supported by Lucy Kempell as well as Lady Marble Clarke. She was later enrolled at Slade.

During her first marriage Agar became deeply unsatisfied provoking her to destroy the majority of her work. This makes it difficult to art historians who desire to look into much of her earlier stuff. She then married 1926 to Joseph Bard who was a Hungarian writer. Through Laura’s articulation Agars new marriage provided her with artistic liberation. Bard and Agar often travelled; the years 1928-29 were foundational to her style as she travelled to Paris exploring artistic concepts such as cubism and surrealism. Her artistic flair very much synthesises these two styles.

I think that Agars approach to work and life was extremely disorderly. Not only did she destroy work but painted over it too. One thing I admire about her work, however, is her ability to deal with organic natural forms. Her work is often fuelled with symbols and motifs that often relate to shells and fossils. This aspect of her work is rather feminine something which also manifested into her writing particularly a journal article on ‘Womb Magic’.

Her work is distinctive as it adheres to a feminine discourse of nature, this contrasts heavily to patriarch of men who one could say focussed on more stylistic ideals much like cubism. This was very true for artists such as Picasso with whom Agar was friendly. I think her work plays into a sense of escapism; this can also be seen in her life overall, but perhaps it should be noted a reason for this may be because she is female in a male dominated art society. This idea of escapism is highlighted in Dance of Peace 1945 which examines Agars fantasies and hopes for life after the Second World War.  Another beautiful piece by Agar is Bride of the Sea 1979 a tribute to Joseph and their marriage after his death. I think this is extremely special and sentimental, a commemoration of their lives together.  

Agars story is extremely captivating even more so as she was a women artist. Sadly, Agar passed in 1991 but her influence is seen in other artists such as Lucy stein who deals with Roman and Greek mythology as well as Allison Ratz whose work often incorporates a narrative. The exhibition held at the White Chapel Gallery was originally meant for 2023, yet through a dedicated committee of individuals who knew Agar and auction houses who sold Agars work, Laura smith was able to gather 80% of the work two years ahead of schedule. There is a definite spirit of joy surrounding this exhibition not only brought though Agars work but through team efforts to bring the exhibition together.

Whitechapel Gallery, https://www.whitechapelgallery.org/events/, Eileen Agar: Angels of Anarchy

Allmer, Patricia (2009), Angels of Anarchy: Women Artists and Surrealism, The Manchester Art Gallery, Manchester

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Eve Provost Chartrand

Proud Flesh. Hephaestus. 2008. Sally Mann.

It is easy to evaluate the comparison and inspiration between the work of Mann and Chartrand. The study of the human body is prevalent in both of their work yet Chartrand develops a more sensory and tactile approach.

Is There Anybody Home? Anything lived in long enough becomes an orchard. (Detail) 2018. Eve Provost Chartrand.

Icons of Absence: The Body of a Memorial Site. 2021. Eve Provost Chartrand.

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Eve Provost Chartrand

Born in Quebec, Chartrand is of international culture. It is evident that her work often deals with highly natural landscapes which is repeatedly reflected in regard to age. It seems she draws parallels between microbiological substances and the cycle of ageing.

Through meeting the artist over zoom I was allowed to reflect possibly even deeper on Chartrand’s work than I would just through research. Through intently listening to Chartrand’s own description of her work, I discovered that the process and motivations were extremely detailed and intricate where Immersion and incubation are included. In addition, it is evident her work takes the form of that from other artists such as Joel-Peter Witkin and Sally Mann.

Often at times her work was rather complex and the ideas that charged her work were intricately intertwined with one another. This fuels her work with many layers. Chartrand’s work plays with the correlations made between ageing bodies and fungi. The idea of ageing bodies is prevalent in her work, she continually displays the essence of decay and decomposition. Chartrand seems highly focusses on fields surrounding successful ageing and the diversity of age. Whilst Ageing bodies are often associated with “standardised, exaggerated, and often negative judgements on older adults” (Cooke, 2018, p.5) Chartrand presents ageing as a comparison to antrum growth highlighting decay as a process which should be abundant and welcomed.

There are different ways in which you can read her work. Ageing being a natural cycle is a warmer reading and is established through the decaying effect of fungi. It is a beautiful way to illuminate how ageing is a process which should be looked upon with more admiration. Ageing bodies also decompose like fungi and so by using a natural processor Chartrand highlights the lingering and blooming effects of ageing and fungi alike.

The idea of sorrow is also prevalent in her work. Interpersonal relationships are not a foreign concept and often in her sculptural work she uses donated objects that individuals have strong attachments too. I think this sense of sorrow is reflected well as it helps the viewer to feel the grief of the work and the participants. It is clear you are able to read this as work that plays with the concept of life, death, and ageing all intertwined. I think she uses this further to present the ideas of trauma; emotional and physical. It is possible that Chartrand includes fungi to demonstrate stages of emotional and physical trauma that comes with ageing.

Unageing bodies are objectified bodies. The bodies she replicates are not ones that adhere to societies ideals of beauty It seems that she wants to force a repulsive response from the viewers. This is elicited through her work being extremely tactical and sensory as Chartrand claims that she wanted to reveal how different senses talked to her. I think it is refreshing to see work that is so body inclusive. It relieves a sense of pressure that women may feel they constantly have to look a certain way. It forces the viewer to turn away from societies manifestation of the perfect body image to look upon ageing in a more favourable way.

      Cook, Peta S., Vreugdenhil, Anthea, Macnish, Brienna (2018) Confronting ageism: The potential of intergenerational contemporary art events to increase understandings of older adults and ageing, Wiley-Blackwell, Massachusetts.

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Do Ho Suh

Do ho Suh is a Korean born artists who often meditates on the ideas of public and personal space. His work constantly explores the notion of how humans inhabit and use space and as a result a lot of his work is often very interactive as he encourages viewers to emerge themselves into various spaces that he has created.

Rubbing/Loving is no exception to his practices of recreating space. Created in 2016, it is interesting how Suh took his former apartment and memorialized it using only paper and pencil to begin with. By tracing the inside of his apartment, he was able to fully capture the essence of the details. By producing a two-dimensional visual format of the details, Suh was able to recreate his three-dimensional immersive installation.

Having a tangible copy of the apartment Suh enables viewers to experience one of his own personal spaces. It is compelling to know this particular apartment Is the only place Suh lived during his time in New York. By knowing and understanding that this space was Suhs for 18 years, the viewer is able to understand the sentimental aspects of the piece, such as the start of his career, in a more profound way.

Rubbing/Loving is perhaps Suhs remembrance and homage to the space before it is renovated by its next owns. It is notable that this apartment is meaningful, not only to Suh but to his landlords. The importance of the space can be seen in the process of creating the piece. It seems the act of rubbing brought up layers of memories attached and associated with the details. Therefore, Suh makes it apparent that this piece is an accumulation of energy throughout time.

Suh mentions that his late Landlord was always extremely supportive of his work, and so this work is also a sentimental expression towards him.

Through watching the Art21’s video in the first-person narrative by Suh was extremely personal as it allows you to connect with the artist providing an insight to Suhs intimate response.

As a viewer myself I think this piece is such a beautiful way to commemorate Suhs time spent in that apartment, especially since it has the possibility to be renovated. By recreating the space of the apartment Suh allows the changes of the renovations to continue without losing the essence of the apartment that he continually created in for 18 years. The piece itself is so ethereal, calm, and tranquil. It serves as a reminder that any home should be as safe and loving as this space. His piece also offers the idea that a home goes beyond just the architectural structure and details but to the connections you make with others who also inhabit that space.

I admire the further use of language in the title. Especially the concept that ‘Rubbing’ and the Korean word for ‘Loving’ are intertwined and unified for this piece. Because of Suhs choice of words, the piece embodies a sense of emotional and time fulfilment. It provides the notion that whilst Suh has now moved on from the apartment there is no loss or destruction, only completion.

        Art forum, https://www.artforum.com/interviews/do-ho-suh-discusses-rubbing-loving-66014, 19th January 2017

Art21, https://art21.org/watch/extended-play/do-ho-suh-rubbing-loving-short/, 9th December 2016

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Rubbing/Loving-Do Ho Suh