Performance artist Marina Abramović is present in more ways than one in intimate documentary
MARINA ABRAMOVIĆ: THE ARTIST IS PRESENT (Matthew Akers, 2012)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Saturday, November 24, 7:30
Series continues through January 12
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk beginning at 9:30 am
212-708-9400
www.moma.org
www.marinafilm.com
For forty years, Belgrade-born performance artist Marina Abramović has been presenting cutting-edge, often controversial live works that redefine what art is. For her highly anticipated major career retrospective at MoMA in 2010, “Marina Abramović: The Artist Is Present,” which was titled and curated by Klaus Biesenbach, the longtime New Yorker had something extraordinary planned: For the run of the show, from March 14 through May 31, she would spend the entire time the museum was open sitting across from strangers, gazing into each other’s eyes for as long as the visitor wanted. Documentary cinematographer Matthew Akers takes viewers behind the scenes of that remarkable show in his directorial feature debut, also called Marina Abramović: The Artist Is Present. Given unlimited access to both Abramović and MoMA, Akers follows the sixty-three-year-old artist as she prepares for the exhibition; heads to a country retreat where she trains several dozen men and women who will “re-perform” some of her older works; and reconnects with former partner and lover Ulay, with whom she first performed many of the pieces in the show. Abramović is seen relaxing in a tub, chopping vegetables, and taking a rare turn behind the wheel of a car, performing relatively menial tasks compared to her art, in which she flagellates herself, carves a star into her stomach, runs into walls, gets slapped by and slaps Ulay, and allows visitors to do whatever they want to her using various objects. The film is at its best when Abramović and Ulay open up about their relationship, get emotional over seeing the old van they used to live in, and discuss their final performance, “The Great Wall Walk,” when they started at opposite ends of the Great Wall of China and walked toward each other over the course of three months, then broke up. While various art critics and curators, including Biesenbach and the Whitney’s Chrissie Iles, sing Abramović’s praises, the film never delves into the more serious meaning behind her art and avoids examining its controversial nature, save for one brief news report decrying its use of nudity. But the long scenes in which Abramović and visitors look into each other’s eyes are absolutely mesmerizing; the elegant Abramović is always steady and stalwart, her concentration intoxicating, inspiring, and more than a little frightening, the opening of her eyes a work of art in and of itself, while the person opposite her tears up, smiles, or pats their heart softly, thanking her for the intense, emotional connection occurring between them, which is essentially what all art is about. Marina Abramović: The Artist Is Present is screening November 24 back where it all took place as part of MoMA’s annual series “The Contenders,” consisting of exemplary films they believe will stand the test of time; upcoming entries include Amy Berg’s West of Memphis, Christopher Nolan’s The Dark Knight Rises, David France’s How to Survive a Plague, and Behn Zeitlin’s Beasts of the Southern Wild.