Perform, Repeat, Record: Adya Zecha

In the reading, Marina Abramovic talks about recreating other people’s work versus recreating her own work and explains the difference between redoing an artist’s work and having to conform to the intentions of the previous artist in order to attain what they had planned, whereas with her own work, she has the freedom to be able to change and edit aspects because regardless, it is still her work. She also enjoys reworking her previous performances because she is able to push boundaries and see “how far can I go with re-enactment?” (pg 548)

Having studied Abramovic’s work before, I know that her performance’s typically cause the audience an emotion or create an atmosphere in which the audience are encouraged to feel a certain way. What is interesting to me is the idea that although Abramovic is able to recreate other artist’s work and her own, each performance is different and original because of external factors like environment, space, audience and one could even take in the artist’s emotions into consideration, at the time of the performance and the effect that that could have on the performance. Based on this, I think that her effort to train young artists to perform her pieces is fascinating because those artists would leave their own mark on the ‘original’ performance, even if they do exactly as they were instructed to. Interestingly, one of Marina Abramovic’s best known performance pieces, Rhythm 0, is not following a predetermined performance plan, and instead relies mainly on audience participation so in this case the ‘performer’ becomes a platform in which the audience performs.

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