Sometimes in life we have to trust that everything happens for the right reason, that it is all meant to be, these beliefs do not stop us having regrets though! I have lost contact with many loved ones over the years, it would be wonderful to have an opportunity to just sit with them a while and meet on a heartfelt level, either to say hello again or sorry for what I may of done that caused them pain.Īs years slip by we have time to reflect on what once was and what is left now, on our behaviour and the lessons life has taught us, it is called maturity! For whatever reasons, they went there separate ways – how lovely to meet someone you once loved/lived with, to make that connection albeit briefly, almost like a soulful hello. ĭespite the cynical comments about this meeting, I found it to be very touching and moving. Ilia Blinderman is a Montreal-based culture and science writer. Jackson Pollock 51: Short Film Captures the Painter Creating Abstract Expressionist Artįree: The Guggenheim Puts 65 Modern Art Books Online John Waters: The Point of Contemporary Art Ulay approaches, and Abramović, a veteran of such difficult performances, looks up to what may have been the single most unexpected sight of the night, jolting her dignified composure. The video above shows Abramović, sitting and steeling herself for her next silent interlocutor. On the opening night of Abramović’s retrospective in 2010, the erstwhile lovers were reunited. By 1988, their romance had run its course in typically atypical fashion, the pair decided to part by walking from opposing ends of the Great Wall of China until they met in the middle, and then said goodbye. The duo fell into an impersonal abyss, losing their selfhoods and attempting to become a single entity through arresting performances such as Breathing In/Breathing Out, where they locked mouths and breathed each other’s exhaled breath, eventually filling their lungs with carbon monoxide and falling unconscious. In 1976, Abramović met Ulay, a West German artist who would become her lover and collaborator for the next twelve years. Subsequent performances included her explorations of consciousness through the ingestion of pills for catatonia and depression another comprised a 1974 incarnation of her MoMA performance, where Abramović sat passively before a table littered with objects for six hours, inviting the audience to put them to use on her person (of this piece, Abramović says, “What I learned was that… if you leave it up to the audience, they can kill you… I felt really violated: they cut up my clothes, stuck rose thorns in my stomach…”) In her first performance at 27, Abramović explored the idea of ritual by playing a knife game on camera, stabbing the surface between her splayed fingers with a knife and occasionally hurting herself she would then watch a video recording of the violence, and attempt to replicate it.
0 kommentar(er)
