This extraordinary essay in human connection, lasting over three months, reduced many of the 850,000 participants to tears.Ĭreated almost a decade later, The Life extends the fundamental spirit of this performance. Elsewhere, she has simply sought to induce a state of quiet reflection: in her legendary 2010 performance The Artist Is Present at the Museum of Modern Art, New York, she invited visitors to sit opposite her one by one, meeting their gaze in silent communion. Abramovic has often used her practice to address socio-political issues: her 1997 performance Balkan Baroque, which won the Golden Lion at the Venice Biennale, offered a visceral response to the ethnic cleansing that took place during the Bosnian War. Between 19, she collaborated with the West German performance artist Ulay, creating performances that frequently brought each other to the brink of expiration. In her seminal Rhythm O of 1974, she invited audience members to do whatever they wanted to her using a selection of objects – among them a loaded gun. Using her own body and mind as tools, she began to explore thresholds of human endurance, dicing with sharp knives, fire, medication and loss of consciousness. Eckert, quoted in conversation with Christie’s, January 2020).īorn in Belgrade in 1946, Abramovic withstood a troubled and abusive childhood before discovering performance art. We want to take advantage of something that has never been possible before, which is the ability to convey the truth of a human being in the room’ (T. As Tin Drum’s founder Todd Eckert explains, ‘ trying to create something that feels absolute, that feels human, that feels real. Unlike Virtual Reality, Mixed Reality allows the surrounding environment to remain visible, thus creating a unique fusion of lived and projected experience. Indeed, when viewed through the headset, the artist’s movements transcend their recorded status, appearing as a sequence of events unfolding in the present. Jane Dickson, ‘A New Reality’, Christie’s Magazine, July 2020, p. And when you capture the energy of an artist like that, you capture the soul, you actually stop time’ (M. ‘You can imagine how much energy you capture with that,’ she explains, ‘it’s every molecule of your being. Abramovic was filmed using 32 moving cameras linked by a sophisticated algorithmic system. Produced in collaboration with Tin Drum, The Life was created using volumetric capture: a complex imaging process currently possible in only a few studios worldwide. It is a poignant landmark for an artist who, for over half a century, has sought to show her audiences what it means to be alive. Here, she broaches the dream of immortality, creating a real-time simulacrum in which her body and spirit are preserved for eternity. Since the 1970s, her performances have often brought her within inches of her own death. The subject of a major upcoming retrospective at the Royal Academy of Arts in 2021, where she will become the first woman to mount a solo exhibition in its main galleries, Abramovic has repeatedly exposed the limits of the human condition. A dimensional photographic capture of the artist – like a hologram – appears before the viewer, performing a unique, meditative and altogether entrancing piece within a roped off five-metre circle, before evaporating into thin air. Premiered at the Serpentine Gallery in 2019, it offers a 19-minute digital encounter with the artist, taking her celebrated performance practice into thrilling uncharted territory. The world’s first Mixed Reality artwork – and the first of its kind to be presented at auction – Marina Abramovic’s The Life marks an extraordinary new chapter in the history of art.
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