Performance art is a difficult art media to understand — one which people may be less comfortable with or familiar with, than say visual art. Marina Abramovic, perhaps one of the most well-known performance artists who began her work with the emergence of the form in the 1970’s and ’80’s, is exhibiting at MoMA in a work entitled “The Artist is Present”.
In this work, she simply sits in a chair. Across from her is an empty chair in which viewers can sit for as long as they like. Some viewers sit for 5 minutes, some sit all day. A camera crew is present to photograph these viewers, many of whom are very emotional; some cry and others show extreme anguish). This is striking. What can possibly be so interesting about Marina’s face, her hair, her body, her expression?
It appears that she takes on a luminescence, that she somehow is able to look through the viewer. In interacting with others, we usually have their full attention — there is engagement. This performance art seems to keep the art on display and the viewer distanced, yet I wonder if Marina’s movements or changing facial expressions reflect the viewer’s response? After all, aren’t they also reacting to the piece and being photographed as the art? In essence, is the viewer actually part of the art? And is the title of her show “The Artist is Present” yet another clue that may allude to the viewer also being the artist?
The photos that the photographer has taken of these viewers are surely fascinating to look at, and cause me to wonder if indeed they will, in the future, be an accompanying piece to any writeup or essay on this exhibition, where the viewer is artist…