Public Body is the third book in a trilogy dedicated to Marina Abramovic, and presents the work ''Transitory Objects for Human and Non-Human Use.'' In this work Abramovic built a series of transitory objects with the objective of engendering active audience participation. Abramovic hit upon the idea while she was walking along the Great Wall of China; she realized that it was the first time that she was doing a performance without an audience. To transmit this experience she constructed a series of objects: for ''human use,'' ''spiritual use,'' and ''use of power.'' These objects--made of iron, wood, minerals, pigs' blood, and human hair--all ''contain a certain kind of energy,'' according to Abramovic. She does not see these works as sculptures, but as ephemeral objects that trigger public experiences through direct interaction. Whereas the first two books in the trilogy, Performing Body and Artist Body, focused on the artist and her oeuvre, Public Body flips the proverbial script, enacting a role reversal between artist and audience. The book features an impassioned essay by Abramovic concerning her thoughts on public performance and her recent trips to China, India, Japan, and Brazil, as well as an interview with the artist by Germano Celant.
|Product dimensions:||9.60(w) x 11.60(h) x 1.60(d)|
About the Author
Marina Abramovic pioneered the use of performance as a visual art form. The body has always been both her subject and medium; exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for transformation. Her career began in Belgrade during the early 1970s, and her work has since appeared at The Museum of Modern Art, P.S.1 Contemporary Art Center and The New Museum in New York; the Hirshhorn Museum in Washington, D.C., the High Museum of Art in Atlanta, and many others. She has won a Bessie, as the New York Dance and Performance Award is called, and the Venice Biennale's Lion D'Or.
Table of Contents
|Towards a Pure Energy||9|
|Sound Installation Objects, 1965-1980||31|
|Objects and Installations with Ulay, 1975-1989||57|
|Transitory Objects for Human Use, 1989-Work in Progress||85|
|Transitory Objects for Non-Human Use, 1991-Work in Progress||343|
|Power Objects, 1996-Work in Progress||379|
|Spirit Cooking, 1995-Work in Progress||389|
|Private Archaeology, 1997-1999||403|