Relation in Time | angelfirenm.info
Artists Marina Abramovic and Ulay are known in many parts of the world as the lovers whose relationship ended at the Great Wall of China. For over 50 minutes, Marina agressively brushes her hair while repeating "Art must be beautiful; artist must be beautiful." Here Marina test her. Long story short, “Marina Abromovic and Ulay started an intense love story in the 70s, performing When they felt the relationship had run its course, they decided to walk the Great Wall of . Can any one help me please??.
Their personal lives were just as intertwined as their artistic ones.
For a five-year period they even lived out of a black van, traveling across Europe, with no stable home to call their own. The idea of standing naked facing someone—even a lover or partner—staring at each other while strangers brush against you is impossibly scary to me.
The bigger implications fill me with pure terror: I would feel like a totally different person, and that is not a comfortable notion to ponder.
Marina Abramović walks China's Great Wall only to break up
For their piece Relation in Time, the pair were tied together by their hair; they sat like that for 17 hours. When you open yourself up to someone to this degree—when you show them all of your softest, most vulnerable, most human parts—you give them the power to hurt you. This is what makes Rest Energy their most frightening work for me.
In it, Marina holds a bow while Ulay holds the arrow—pointed at her. Each pulls at their half of the weapon until the arrow is tensed to fly. It feels threatening, and very very real. To commemorate their separation, they performed their final, epic work, called The Loversin For this piece, they walked toward each other from opposite ends of the Great Wall of China, met in the middle, and said goodbye.
The Lovers struck me as so ritualistic, dramatic, and wise. For that piece, Marina sat in a chair and invited people to sit in a chair across from her and just stare at her as she stared back at them. On the opening night of the performance, Marina lost her composure for a moment when who showed up in the empty chair but—yes—Ulay. In a perfect balance between the symbolic and the cathartic, each of their performances takes a look at, and redefines, the concept of the alter ego.
The timeless character of Relation Works by Marina Abramovic and Ulay is the contemporary manifesto of the "couple makes art".
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Marina Abramovic met F. Uwe Laysiepen, aka Ulay, in December It was love at first sight. Before meeting, the individual artistic desires of Marina and Ulay were particularly focused on the question of the status of man and woman. Oscillating between desire and the rejection of a primordial unity and fusion, the work of Abramovic and Ulay was to be part of a process of transcendence and referring back to oneself as an individual in the collective.
For nearly an hour, Marina Abramovic and Ulay, ran naked towards each other, brushing each other at first, and then with increasing rapidity and intensity, colliding with one another.
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The first part of a total set of 68 performances, Relation in space defined the operating field of duality discussed here in terms of the magnetic polarities of the body and its impulses. It also set the parameters defining the principle of Relation Works or, in the words of the two artists, "no fixed location, direct contact, taking risks, constant motion, no repetitions or reruns".
Then came performances such as Imponderabiliawhere at the inauguration of an exhibition, they stood naked opposite one another in the doorway overlooking the museum. In order to enter the museum, the members of the public had to face one or the other of the artists.
There was also Relation in timewhich used the concept of duration. In it, Marina Abramovic and Ulay stood back to back, their hair tied together by a bow.