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Become a Superhuman via Art Exercises (and Marina Abramović)

Part I: The Background

Over the course of her performance art career, Marina Abramović developed a signature method of techniques that would allow her to reach a higher plane of consciousness required for grueling, endurance-based work. She researched various spiritual and cultural realms, oftentimes spending time with people such as the aboriginal tribes of Australia or Chinese Buddhists. Her learning lent Marina a superhuman sensibility that included the ability to sit for hours on end without moving, to conjure laser sharp focus while spending extended periods of time in repetitive action, or to withstand intense self-inflicted pain.

In The Artist is Present, 2013, she employed the culmination of a career’s worth of her method to be able to sit physically present over many days while still intimately connecting with each and every person who came to sit with her. Although she was physically exhausted and mentally depleted by the end of the performance, viewers had no visible hint of her suffering throughout the piece.

Marina coined her practices the Abramović Method, an exploration of being present in both time and space, incorporating exercises that center on breath, motion, stillness and concentration. She has since shared it via workshops with both aspiring artists and non-artists looking to reach a higher plane of existence.

Part II: The Logic of The Method

Abramović has described the steps as follows: For each workshop, I would take between twelve and twenty-five students outdoors, always to a place that was neither too cold nor too hot, never uncomfortable, and, while we fasted for three to five days, drinking only water and herbal teas, and refraining from speaking, we would do various exercises.

Some examples:

  • BLINDFOLD: Leave home and go to the forest, where you are blindfolded, then try to find your way back home. Like a blind person, an artist needs to learn to see with his or her whole body.
  • LONG WALK IN LANDSCAPE: Start walking from a given point, proceeding in a straight line through the landscape for four hours. Rest, then return along the same route.
  • WALKING BACKWARD: Walk backwards for four hours, while holding a mirror in your hand. Observe reality as a reflection.
  • FEELING ENERGY: With your eyes closed, extend your hands in front of you toward another participant. Never touching the other person, move you hands around different areas of their body for one hour, feeling their energy.
  • SLOW-MOTION EXERCISE: For the entire day, do everything very slowly: walking, drinking water, showering. Peeing in slow motion is very difficult, but try.
    Toward Our Center:

Part III: Toward Our Center:
Abramović Discusses Presence and Purpose


Part IV: The Abramović Method in Action

Abramović has held workshops from Athens to Sydney, called Marina Abramović: In Residence where she mentors young artists in an intensive two-week program, which culminates in a group show where the artists use what they learned in the Abramović Method.

Here is Abramović describing her method at the Australian workshop: link

A Sample Lesson For You:


By creating her signature method and sharing it with the public, Marina has evolved her work as a performance artist into one of a great teacher. She has spent a career using her body as a medium and now she asks others to consider using theirs to become fully present in their own lives and to embrace the empowerment that results both on an individual level and as part of a connected humanity at large.

Through her MAI Institute, Abramović continues to spread these principles through collaborations with artists and cultural organizations and to groups and individuals looking to benefit personally from her knowledge.

Further Info:
More on The Marina Abramović Institute
The life and art of Marina Abramović  (on The Art Story)

Yoko Ono and John Lennon: Creativity and Love – The Highlights

At its inception Ono and Lennon’s relationship was both romantic and artistic. In a meet cute worthy of a romantic comedy, Lennon and Ono met at a gallery where Ono’s work was being exhibited. Their first conversation centered on art; Lennon asked to participate in her piece, “Hammer in a Nail” and she said no. She didn’t know who the Beatles were, but the two eventually came to an agreement: Lennon would hammer in an invisible nail in exchange for an invisible five shillings.

Thus, one can easily say that artistic collaboration was at the core of Lennon and Ono’s connection, a companionship that materialized itself in art performances, album records, and a dedication to the promotion of global peace. Here are the highlights of their creativity:

“A dream you dream alone is only a dream. A dream you dream together is reality.” — Yoko Ono.

Smile: August 1968


Smiling is special to Ono; she believes that smiling “is the simplest thing to make yourself healthy and make others feel good.” Ono suggests smiling in the mirror everyday and actually has a goal of taking a picture of every single person in this world wearing a smile.

She began working towards this dream by shooting SMILE (also known as Number 5), a 52 minute film, which records Lennon’s facial expressions in the garden of his English home. Funnily enough, although this film focuses entirely on one of the most famous men ever, when it was originally shown half of the audience walked out after the first half hour.

A few decades later, Ono has waded into the millennial generation with #smilesfilm, a participatory art project where people around the world upload a picture of themselves smiling. Anyone can tweet or instagram a photo of themselves smiling, add the hashtag, and become part of the project.

Watch all 52 glorious minutes of SMILE here.

Bed-In: March 25-31, 1969

In Amsterdam’s Hilton hotel, surrounded by hand-drawn signs, flowers, and angelic white pajamas and sheets, the couple invited the press to come in to discuss peace, for 12 hours a day. Although having one of the most famous musicians in the world and his famous artist wife lounging in bed all day sounds scandalous, Lennon and Ono were fully covered, and “looked like angels” (in Lennon’s own words.) The lack of sensationalism is even more notable when one remembers that Ono and Lennon were on their honeymoon at this time: in fact using the publicity from their wedding to bring attention to the Bed-In. Lennon was legendary for his dedication to promoting global peace during the Vietnam War era.

Ono released a 70 minute video containing footage of their two bed-ins, which can be watched here.

Double Fantasy: 1980

Double Fantasy, an album released by Lennon and Ono, served as a sort of comeback album for the former Beatle who had taken a break from creative endeavors to take care of their son Sean. Even though it ended up winning a Grammy, Double Fantasy was attacked by critics. Charles Shaar of NME said “sounds like a great life but makes for a lousy record.” Interestingly enough, it was Ono who was lauded for taking the most musical risks and not Lennon, the career musician.

John Lennon Died Tragically in NYC in 1980

After Lennon’s death Ono shut herself off from the world, going into complete seclusion. One of the darkest periods in her life, it took Ono a long time to mourn and recover. She credits smiling with helping her move on from her grief, taking her own advice and smiling in the mirror every day. Ono also dedicated herself to preserving Lennon’s memory. From working with the city of New York to create the Strawberry Fields memorial to John Lennon in Central Park (across the street from their apartment in the Dakota building on 72nd Street), to incorporating their shared passions into her artworks, she has never stopped remembering Lennon and promoting their shared message of peace.

Wish Tree: 1981-Present

Ono’s Wish Tree works are both an ode to Ono’s childhood in Japan and a renewal of the spirit of her and Lennon’s mission to promote peace and world unity through art. The participatory nature of this work is similar to that of “Hammer-in-a-nail,” the installation that brought Ono and Lennon together. Begun some time after 1981 this installation consists of the planting of a tree native to the region and an invitation to write down on paper and tie to the tree your wishes. Wish Trees have been planted all over the world and are still being planted today. After a tree has been filled with wishes Ono takes all the individual pieces of paper and buries them in the earth.

Arising: December 9th, 2013-Present

In Arising, Ono calls attention to the plight of women worldwide. Reminiscent of Bed-In, Ono uses the unusual, even shocking or scandalous, to bring the world’s attention to an important global issue; the reality of being a woman today. Advocating for peace towards women by exposing the harm done to them, Ono solicits contributions, asking women to send her photos of their eyes as “testaments of harm” that have been done to them solely for being female.

IMAGINE PEACE TOWER: October 9, 2007-Present

The Imagine Peace Tower is the culmination of Ono’s decades long work in spreading her and Lennon’s message of peace to the world. It is  an outdoor artwork situated in Viðey Island in Reykjavík, Iceland that “emanates wisdom, healing and joy. It communicates awareness to the whole world that peace & love is what connects all lives on Earth. Not only is the tower a literal beacon of peace, it is also another way in which Ono continues to remember Lennon. When the tower is lit from October 9th (Lennon’s birthday) until December 8th (the date of Lennon’s death) and on February 18th (Ono’s birthday), she and Lennon are joined in a striking beam, bursting from the tower like a Northern Light. Further, Ono uses the tower to synthesize her works into one harmonious creation: all of the wishes tied to her wish trees are buried in front of The Imagine Peace Tower and her newest 2016 installation, Arising, will be exhibited at the Reykjavik Art Museum, near the tower.

 

Learn more about Yoko Ono on The Art Story.

Agents Provocateurs: Ringleaders of the Surrealist Circus

“Without promotion, something terrible happens…. Nothing!” – P.T. Barnum

Tristan Tzara, André Breton, and Salvador Dalí catapulted artists to world fame by whipping up scandal, shock, and subversion. Masterminds of marketing, they fused old style showmanship with modern commercial savvy. Any publicity was good publicity, and their shows were public spectacles – an electrifying theatre of erotic and violent fantasies.

Nothing was taboo at these 10 stunt shows. Ranging from the sublime to the ridiculous, it was just as these masters of spin intended.

#1 THE NON EXISTENT DADA SHOWS, 1920 & 1926 Success for the Dada leader Tristan Tzara was nothing less than a crowd riot. He claimed that Charlie Chaplin (the world’s biggest star) was attending their show at the Grand Palais des Champs-Élysées. Excited crowds raged when Chaplin failed to show, while the delighted Dadaists threw insults back. In 1926 Tzara advertised a Dada Sex Show at the Salle Gavreu. What the crowd got for their money was a large wooden phallus balanced on balloons. The result? More audience rage and more Dada delight. Hear Tzara in his own words here:

#2 THE BATTLE OF THE BEARDED HEART, 1923

A spat between Tzara’s Dada group and Breton’s Surrealists exploded at the famous evening event entitled: Soirée du Coeur à Barbe (The Evening of the Bearded Heart). While Tzara’s Dada play The Gas Heart was being performed people heckled. Breton leapt on stage waving his cane and shouting, allegedly breaking an actor’s arm. A riot broke out, Tzara called the police and the Dada/Surrealist split was settled. The Gas Heart was meant to confuse with a surreal dialogue between a mouth, ear, eye, nose, neck, and eyebrow. You can see one interpretation of it here:

#3 THE SURREALIST BUREAU OF PUBLIC CONFESSIONS, 1929

Breton published the Surrealist manifesto and wanted to promote the Surrealist way of seeing to the world. To this end he instigated a Paris-wide publicity blitz offering the public visits to the Surrealist headquarters. He invited people to record their dreams, nightmares, secret desires, and fears in a confession booth. This generated a lot of buzz, but would anyone heed his call? Watch more on the beginnings of Surrealism on this BBC program.

#4 THE FURRY TEA CUP, 1936

When advertising Surrealist exhibitions Breton promised the public that they would be of “a strictly pornographic nature, whose impact will be of particular scandalous significance.” He was always ready to up the ante. Swiss artist Meret Oppenheim had created the above work, titled Object but Breton rebranded it as Breakfast in Fur – linking it to Freud, fur-fetishism and Sacher-Masoch’s S&M book Venus in Fur – rocketing the scandal into the stratosphere. Hear some reactions to this work on MOMA’s website.

#5 DEEP-SEA PARANOIA, 1936

At the London Surrealist Show, Dalí lectured on “Paranoia” from inside a deep-sea diving-suit. The helmet was fixed with metal bolts, but he failed to attach an air supply. As his air ran out, he began to struggle, but the crowd merely applauded – thinking it was part of his act. When the helmet was smashed open with a hammer, he emerged, delighted by his “really deathly pallor.” The Daily Mirror reported attendees “came away shocked, amused, scared, or just bored.” Dalí discusses it in a documentary owned by the University of Texas.

#6 THE DEPARTMENT STORE TANTRUM, 1939

Dalí had created a department store display for Bonwit Teller & Co, New York. The theme was “Night and Day.” “Day” was a hideous mannequin in a fur bathtub, “Night” a mannequin and what Dalí called, “the decapitated head and the savage hoofs of a great somnambulist buffalo extenuated by a thousand years of sleep.” Public outrage meant the store modified it, but when he saw it, Dalí was so enraged that he jumped in the display case and sent the bathtub, buffalo and finally himself through the plate glass window. He was arrested but ultimately let off as the Judge accepted his “artistic temperament,” making worldwide headlines. See more about it here.

#7 DROPPING LEAFLETS FROM THE SKY, 1939

Dalí had proposed building a reproduction of Botticelli’s Venus, with her head replaced by a fish, for the World Fair. Unimpressed, the organizers called it “reckless nonsense” because “a woman with the head of a fish is impossible.” Enraged, Dalí created this Manifesto, and, according to his friend and Surrealist art promoter Julien Levy, allegedly dropped hundreds of copies of it over Manhattan from an airplane. Read more about Dali’s Declaration of Independence at the Victoria and Albert Museum.

#8 THE ‘EXPULSION’ OF DALÍ, 1941

By 1941 Dalí’s attention-seeking and mantra “I AM Surrealism” had angered Breton. But Dalí’s adverts for Alka-Seltzer and chocolate, and his practice of signing blank sheets of paper for $10 were the final straw. Breton expelled him from the Paris group and created the derogatory acronym “AVIDA DOLLARS” from Dalí’s name. Completely unruffled, Dalí retorted it was the only “truly brilliant” idea Breton had ever had. See more about their split here:

#9 SEX & CANNIBALISM, 1959

The front cover of Le Surréalisme, Même used this photograph of Unica Zürn by her lover Hans Bellmer – she was bound up with string, recalling meat trussed up for the oven. The same year, the Surrealist show EROS created public delight and critical outrage with a table on which a naked woman lay covered in fruits, nuts and shellfish. It had been Meret Oppenheim’s idea, and originally titled Fertility Feast, it was intended to celebrate the cycle of life. But once more, Breton gave it a shocking rebrand, renaming it Cannibal Feast, creating an unprecedented sensational art tableau that has been copied ever since. See the show for yourself here.

#10 ROCK & ROLL MEETS SURREALISM, 1973

At the St Moritz Hotel, Alice Cooper and Salvador Dalí, the two arch showmen and ringmasters of mayhem had their iconic meeting. Announcing, in typical egomaniacal style: “The Dalí is here” the older artist promptly decked the rocker Alice Cooper out in $4 million of diamonds and presented him with an artwork titled The Brain of Alice. It was covered in ants and had a chocolate éclair attached. Could it get any more Surreal? See the video here:

The last word, just as he would demand it, should of course go to “the Dalí.” Reflecting on a lifetime of epic attention-seeking, he concluded: “the one thing the world will never have enough of is the outrageous.” And, as long as there is an audience, there will be art impresarios ready to deliver it, by any means necessary.

Learn about Dada and Surrealism on the Art Story.

And visit the individual artists’ insight pages on Salvador Dali, Andre Breton, Hans Bellmer, and Meret Oppenheim.