The paper focuses on the audience’s participation in Abramović’s The Artist is Present. It will be analysed in terms of its constitution; further as to what extent the audience unknowingly plays in active role in simply being present. The central part of this paper is set on the relationship between artist and viewer. It will deal with how co-subjectivity, embodiment and presence, as well as the audience’s suggestibility work together to create a unique form of community during the performance. An analytical basis for this closer examination will be provided through the 2012 published documentary by the same title Marina Abramović: The Artist is Present.
First, this paper will shortly discuss performativity, embodiment and presence, and will give definitions based on, primarily, Erika-Fischer Lichte’s Ästhetik des Performativen, in order to establish a general understanding of key factors regarding performance art. Secondly, the most important aspects of Abramović’s performance will be presented. The relationship between artist and audience will be analysed and discussed according to the concerns given above. As a result, the unique character of the established community between artist and audience in this specific performance piece will be made clear. Ultimately, it will become apparent as to how the relationship between artist and audience is established through embodiment and presence.
Table of Contents
1. Introduction
2. Performativity: A definition.
2.1. Embodiment
2.2. Presence
3. Marina Abramović
4. The Artist Is Present
4.1 Embodiment and Presence in Abramović’s performance.
4.2 Participation and resulting relationship between artist and visitor.
4.3 Possible interferences with audience’s participation.
5. Conclusion
6. Works Cited
Research Objectives and Core Themes
This paper examines the dynamics of audience participation and the relationship between artist and viewer in Marina Abramović’s performance "The Artist Is Present," focusing on how co-subjectivity and bodily presence create transformative experiences.
- The theoretical application of performativity, embodiment, and presence in contemporary performance art.
- The evolution of the role of the spectator from passive observer to active co-subject.
- The psychoanalytical and aesthetic dimensions of pain and vulnerability as tools for connection.
- The impact of physical space and "active passiveness" on the artist-viewer relationship.
- An analysis of audience behavior and interferences within the performance setting.
Excerpt from the Book
4.2. Participation and resulting relationship between artist and visitor.
The Artist is Present is a performance de facto presupposing an active participation due to its structure: By sitting down opposite of Abramović, the individual visitor is making an active choice to be part of the performance. He or she is therefore already in a cooperative mind-set, making him or her receptive to be affected by the energy Abramović’s presence suggests. This is an important factor for successfully aligning the artist’s and visitor’s states of mind, because only through the willingness to engage in the performance, the visitor is able to make an aesthetic, transforming experience. In this state of consciousness, the visitor and artist alike are highly suggestible to the emotional influence of each other. However, Abramović serves as a blank canvas for every visitor anew as they are able to project their own feelings onto her. They are able to exercise this, because she willingly subjects herself to it. In Abramović’s words: “When they’re sitting in front of me, it’s not about me anymore. Cause very soon I’m just a mirror of their own self.” Every individual sitting opposite of her is thus by no means an innocent spectator, even if in fact they do nothing more than sharing a gaze with the artist. The individual viewer unconsciously but actively (in a psychoanalytical context even aggressively) transfers their emotional state onto Abramović and makes her endure. Granted, the visitor is forced into this position, due to Abramović asking them to sit with her and willingly becoming this kind of container for diverse emotion, positioning herself as a “victim”.
Summary of Chapters
1. Introduction: Outlines the shift in performance art towards active audience engagement and introduces the research focus on "The Artist Is Present."
2. Performativity: A definition.: Defines the core theoretical concepts of performativity, focusing on how bodily actions constitute reality.
2.1. Embodiment: Explores the tension between the artist's physical and semiotic body, arguing for the body's role as an agent rather than a tool.
2.2. Presence: Categorizes three concepts of presence, identifying how physical co-presence fosters a transformative "between" space for artist and viewer.
3. Marina Abramović: Provides a biographical context, linking her history of pain and trauma to her performance art practice.
4. The Artist Is Present: Details the setting and execution of the 2010 MoMA exhibition, noting its unique, silent, and motionless structure.
4.1 Embodiment and Presence in Abramović’s performance.: Analyzes how the artist's "active passiveness" and endurance of pain facilitate a deeper connection with the audience.
4.2 Participation and resulting relationship between artist and visitor.: Investigates the psychological bond and co-subjectivity created by the act of mutual gazing.
4.3 Possible interferences with audience’s participation.: Discusses unconventional visitor behavior and what it reveals about the performance's transformative potential.
5. Conclusion: Summarizes how Abramović utilizes pain and presence to bridge the gap between artist and spectator, offering a critique of modern societal disconnection.
6. Works Cited: Lists the academic literature and primary sources used in the paper.
Keywords
Performance Art, Marina Abramović, The Artist Is Present, Embodiment, Presence, Co-subjectivity, Audience Participation, Performativity, Bodily Presence, Artistic Vulnerability, Psychoanalysis, Aesthetic Experience, Transformative Performance, MoMA, Spectatorship
Frequently Asked Questions
What is the central focus of this research paper?
The paper explores the relationship between the artist and the audience in Marina Abramović's 2010 performance piece "The Artist Is Present," specifically analyzing how bodily presence and co-subjectivity influence the experience.
What is the primary objective of the work?
The aim is to understand how the performance enables a transformative experience for the viewer by dissolving the traditional boundaries between the passive spectator and the active artist.
Which key performance concepts are applied to the analysis?
The author primarily utilizes Erika Fischer-Lichte's concepts of performativity, embodiment, and the three levels of presence (weak, strong, and radical) to frame the discussion.
How is the audience's role characterized?
The audience is redefined from a passive group into active co-subjects, who, by simply being present, share the performative responsibility and influence the artist's emotional state.
What role does physical pain play in this performance?
Pain serves as a core mechanism for Abramović to achieve a state of "active passiveness" and intense mindfulness, allowing her to provide undivided, vulnerable attention to each visitor.
How does the setting influence the performance?
The minimalist setting—a table and chairs in the atrium—isolates the artist and visitor, fostering a concentrated space where social conventions of gaze and connection are challenged.
Does the paper consider the "non-traditional" audience responses?
Yes, the paper discusses "interferences" like visitors using props or stripping naked, arguing that these actions still signal an engagement with the performance's transformative potential.
What is the significance of the "blank canvas" concept?
The author argues that Abramović positions herself as a blank canvas, allowing visitors to project their own emotions and inner states onto her, thereby turning the performance into a mirror for the individual and society.
- Quote paper
- Lucy-Melina Laschewski (Author), 2019, Artist and Audience Relationship in "The Artist is Present" from Marina Abramovic, Munich, GRIN Verlag, https://www.grin.com/document/888888
