{"id":12156,"date":"2009-09-02T20:38:36","date_gmt":"2009-09-02T23:38:36","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12156"},"modified":"2009-09-03T21:37:43","modified_gmt":"2009-09-04T00:37:43","slug":"performance-e-reencenacao-uma-analise-de-seven-eeasy-pieces-de-marina-abramovic","status":"publish","type":"post","link":"https:\/\/idanca.net\/performance-e-reencenacao-uma-analise-de-seven-eeasy-pieces-de-marina-abramovic\/","title":{"rendered":"Performance e reencena\u00e7\u00e3o: uma an\u00e1lise de Seven Eeasy Pieces de Marina Abramovic | Performance and reenactment: analyzing Marina Abramovic\u2019s Seven Easy Pieces"},"content":{"rendered":"

Esse texto teve uma apresenta\u00e7\u00e3o preliminar no simp\u00f3sio ‘Acta Media 6 – Autoria e Textualidade\u00a0 na Era Digital’, realizado no SESC Pinheiros, dentro da programa\u00e7\u00e3o da mostra de performances Verbo 08, e foi publicado no cat\u00e1logo da edi\u00e7\u00e3o 2009 a mesma Verbo. <\/em><\/span><\/p>\n

Pensar a performance e as possibilidades de mant\u00ea-la viva, n\u00e3o s\u00f3 atrav\u00e9s de documentos, mas por meio de sua pr\u00f3pria reencena\u00e7\u00e3o \u00e9 um dos desafios que se colocam para artistas, historiadores e cr\u00edticos, atualmente, o que torno o tema desse simp\u00f3sio extremamente atual. Nesse sentido, quero abordar essa quest\u00e3o por meio de um dos mais instigantes projetos recentes, que foi realizado recentemente, Seven Easy Pieces<\/em><\/strong>, de Marina Abramovic, al\u00e9m de tratar sucintamente de outras duas experi\u00eancias, uma com a obra de Lygia Clark e outra com Rirkrit Tiravanija.<\/span><\/p>\n

Entre os dias 9 e 15 de novembro de 2005, portanto durante sete dias, Marina Abramovic realizou sete performances no centro da rotunda do Museu Guggenheim de Nova York. Por sete horas, em cada um dos dias, ela reencenou seis performances consideradas seminais na hist\u00f3ria da arte. Remontando ao ciclo b\u00edblico da cria\u00e7\u00e3o do mundo, ela, ent\u00e3o, “descansou” no \u00faltimo dia realizando uma nova performance, intitulada \u00a0Entering the other side<\/em><\/strong> (“Entrando no outro lado”).<\/span><\/p>\n

Ironicamente, esse projeto, denominado Seven Easy Pieces<\/em><\/strong> (“Sete pe\u00e7as f\u00e1ceis”), contrariou de maneira absoluta as regras estabelecidas pela pr\u00f3pria artista para as suas performances no come\u00e7o de sua carreira, sintetizadas em tr\u00eas pontos: “no reherseal, no repetition, no predicted end”<\/em>[1], <\/em>ou seja “sem ensaio, sem repeti\u00e7\u00e3o, sem final previsto”.<\/span><\/p>\n

Assim, o que interessa nesse texto \u00e9 refletir os motivos dessa dr\u00e1stica mudan\u00e7a na carreira da artista e os m\u00faltiplos significados que Seven Easy Pieces<\/em><\/strong> carrega.<\/span><\/p>\n

Em 2005, Abramovic havia dado uma entrevista a mim, publicada no jornal Folha de S. Paulo<\/em>[2], por conta da apresenta\u00e7\u00e3o de sua instala\u00e7\u00e3o intitulada Balkan Erotic Epic<\/em><\/strong> (\u00c9pico er\u00f3tico balc\u00e2nico), no SESC Pinheiros[3].<\/span><\/p>\n

Para entender as motiva\u00e7\u00f5es da artista, acho importante repetir o que ela disse naquela entrevista para explicar o projeto Seven Easy Pieces<\/em><\/strong>:<\/span><\/p>\n

“O grande problema da performance \u00e9 que ela s\u00f3 faz sentido se for ao vivo. Tudo o mais \u00e9 relativo \u00e0 documenta\u00e7\u00e3o, e as fotografias em livros n\u00e3o s\u00e3o a coisa real. O problema \u00e9 que, na maior parte do tempo, isso pode provocar confus\u00e3o porque se considera a performance \u00f3tima por meio de uma fotografia, feita de um bom \u00e2ngulo, mas ela pode ser uma merda. E h\u00e1 tamb\u00e9m p\u00e9ssima documenta\u00e7\u00e3o de trabalhos fant\u00e1sticos, que n\u00e3o tiverem registro adequado. <\/em><\/span><\/p>\n

N\u00f3s realmente n\u00e3o sabemos o que aconteceu nos anos 1970. Minha proposta foi colher material com artistas vivos e ver se poderia reconstruir e “ressentir” certas performances, repetindo-as. Al\u00e9m do mais, performances sempre ocorreram em espa\u00e7os alternativos, e ela sempre foi algo confuso, n\u00e3o \u00e9 como a foto, que entrou para o mercado com a no\u00e7\u00e3o de original e c\u00f3pias. Ningu\u00e9m sabe de fato como lidar com performance se algu\u00e9m quiser compr\u00e1-la e, h\u00e1, hoje, muita apropria\u00e7\u00e3o de performances sem que os artistas sejam sequer notificados. <\/em><\/span><\/p>\n

Minha id\u00e9ia foi estabelecer certas regras morais. Se algu\u00e9m quer refazer uma performance \u00e9 preciso pedir o direito ao artista e pagar por isso, assim como se paga na m\u00fasica ou na literatura. Para mim, essa \u00e9 a forma honesta de se fazer isso, mesmo que se queira fazer sua pr\u00f3pria vers\u00e3o. Por isso, o foco n\u00e3o foi refazer performances, at\u00e9 porque “Seven Easy Pieces” eu s\u00f3 realizei uma vez, mas foi um exemplo de como as coisas devem ser feitas. Por ser ao vivo, a performance \u00e9 diferente de outras artes.”<\/em><\/span><\/p>\n

<\/em><\/span><\/p>\n

Agora, para compreender melhor a amplitude de Seven Easy Pieces<\/em><\/strong>, vamos observar, em primeiro lugar, quais foram as performances selecionadas por Marina Abramovic:<\/span><\/p>\n

    \n
  1. Body Pressure<\/strong><\/em>, de Bruce Nauman (D\u00fcsseldorf, 1974);<\/span><\/li>\n
  2. Seedbed<\/strong><\/em>, de Vito Acconci (Nova York, 1972 – dois dias por semana, seis horas cada dia);<\/span><\/li>\n
  3. Action pants: genital panic<\/strong><\/em>, de Valie Export (Munique, 1969 – dez minutos);<\/span><\/li>\n
  4. The conditioning, first action of self-portrait(s)<\/em><\/strong>, de Gina Pane (1973 – trinta minutos);<\/span><\/li>\n
  5. How to explain pictures to a dead hare <\/strong><\/em>(foto da reencena\u00e7\u00e3o), de Joseph Beuys (D\u00fcsseldorf, 1965 – tr\u00eas horas);<\/span><\/li>\n
  6. Lips of Thomas<\/em><\/strong>, de Marina Abramovic (Insbruck, 1975, duas horas);<\/span><\/li>\n
  7. Entering the other side<\/strong><\/em>, a nova performance.<\/span><\/li>\n<\/ol>\n

    Pelo que consta no cat\u00e1logo de Seven Easy Pieces<\/em><\/strong>, Chris Burden n\u00e3o permitiu que sua performance Trans-fixed<\/em><\/strong>, a\u00e7\u00e3o de 1974, fosse re-encenada – e aqui j\u00e1 temos uma quest\u00e3o que \u00e9 o tema dessa mesa, afinal o termo adequado n\u00e3o \u00e9 re-encenar mas re-performar caso isso seja mesmo poss\u00edvel. No caso, Abramovic queria “re-performar” Trans-fixed<\/em><\/strong>, a\u00e7\u00e3o na qual Burden teve as m\u00e3os pregadas na traseira um fusca que saiu de uma garagem em Venice, na Calif\u00f3rnia, e ap\u00f3s dois minutos retornou ao mesmo local, o que foi visto por apenas algumas pessoas e, mesmo assim, \u00e9 uma das mais conhecidas performances, gra\u00e7as \u00e0 famosa fotografia que documentou a a\u00e7\u00e3o.<\/span><\/p>\n

    A recusa de Burden \u00e9 explicada por seu amigo Tom Marioni numa carta ao jornal The New York Times<\/em> e foca justamente a quest\u00e3o do debate sobre a re-performance: “se o trabalho de Burden fosse recriado por outro artista, ele se tornaria uma encena\u00e7\u00e3o teatral, com um artista assumindo o papel do outro<\/em>“[4]. Aqui est\u00e1 uma das principais quest\u00f5es em torno de Seven Easy<\/em><\/strong> Pieces<\/em><\/strong> que \u00e9 justamente a transforma\u00e7\u00e3o do car\u00e1ter ef\u00eamero de uma performance, at\u00e9 ent\u00e3o uma de suas principais caracter\u00edsticas, quest\u00e3o que pretendo\u00a0 abordar um pouco mais adiante.<\/span><\/p>\n

    Antes, quero tratar do novo c\u00f3digo criado por Abramovic. Como a pr\u00f3pria artista disse na entrevista, uma de suas preocupa\u00e7\u00f5es centrais em Seven Easy Pieces<\/em><\/strong> foi estabelecer um posicionamento \u00e9tico para a recria\u00e7\u00e3o de performances. Ent\u00e3o, de tr\u00eas mandamentos que constavam de suas primeiras condi\u00e7\u00f5es estabelecidas no in\u00edcio da carreira, em SEP foram cinco:<\/span><\/p>\n

    Pe\u00e7a permiss\u00e3o ao artista<\/em><\/span><\/p>\n

    Pague o artista pelos direitos autorais<\/em><\/span><\/p>\n

    Realize uma nova interpreta\u00e7\u00e3o da pe\u00e7a<\/em><\/span><\/p>\n

    Exiba o material original: fotografias, v\u00eddeo, objetos<\/em><\/span><\/p>\n

    Exiba a nova interpreta\u00e7\u00e3o da pe\u00e7a<\/em><\/span><\/p>\n

    Em 2001, uma experi\u00eancia de forma semelhante foi proposta pelo curador Jens Hoffmann em A litle bit of History Repeated<\/em>, realizada no Kunst-Werke, em Berlim. L\u00e1 ele selecionou dez artistas, entre eles a brasileira Laura Lima, os dinamarqueses Ingar Drangset e Michael Elmgreen, a cubana T\u00e2nia Bruguera e o alem\u00e3o Tino Sehgal a recriarem, de forma bastante livre, performances hist\u00f3ricas. Laura Lima, por exemplo, teve como refer\u00eancia Cut Piece<\/em><\/strong>, de 1964, no qual Yoko Ono deixava que o p\u00fablico cortasse partes de sua roupa at\u00e9 que ficasse nua, mas vestiu uma cabra e ele \u00e9 que foi despido pelos visitantes, a\u00e7\u00e3o denominada Cabra Cut piece<\/em><\/strong>[5]. Abramovic participou de um ciclo de palestras dentro desse evento e, certamente, essa foi uma das motiva\u00e7\u00f5es para Seven Easy Pieces<\/em><\/strong>.<\/span><\/p>\n

    O novo c\u00f3digo ent\u00e3o criado pela artista \u00e9 muito radical frente ao criado nos anos 1970, mas se olharmos sua carreira, ele n\u00e3o \u00e9 t\u00e3o surpreendente assim. Abramovic \u00e9 das poucas artistas que iniciou sua carreira nos 1970 realizando performances e segue at\u00e9 hoje atuando nesse g\u00eanero, mesmo que experimentando tamb\u00e9m outras \u00e1reas. Nem Vito Acconci, Bruce Nauman ou Valie Export, para citar alguns dos artistas aos quais Abramovic paga tributo em Seven Easy Pieces<\/em><\/strong>, seguem na performance. Com isso, quero indicar que ela tem buscado expandir o conceito de performance, de maneira sistem\u00e1tica, h\u00e1 mais de 35 anos, j\u00e1 que suas performances tiveram in\u00edcio em 1973.<\/span><\/p>\n

    Mesmo durante os doze anos nos quais ela viveu e trabalhou com seu marido Ulay, entre 1976 e 1988, algumas performances foram repetidas, ao menos de forma serial, como o que ocorreu com Nightsea Crossing<\/em><\/strong> (1981 a 1987), na qual o casal se sentava frente a frente, em sil\u00eancio, por algumas horas, sentados cada um na ponta de uma mesa de 2,10 metros, e foi realizada em 22 locais distintos, num total de 90 dias n\u00e3o-consecutivos, inclusive dois deles na Bienal de S\u00e3o Paulo, em 1985, e 21 dias em Kassel, na Documenta 7, em 1982. Aqui, o c\u00f3digo inicial j\u00e1 estava de fato sendo questionado, mesmo que essa a\u00e7\u00e3o seja considerada uma s\u00f3 performance.<\/span><\/p>\n

    Al\u00e9m do mais, Abramovic \u00e9 tamb\u00e9m professora e mant\u00e9m um grupo de ex-alunos que sistematizam n\u00e3o s\u00f3 uma a\u00e7\u00e3o perform\u00e1tica, mas tamb\u00e9m uma reflex\u00e3o sobre ela. Seu pr\u00f3ximo projeto, ali\u00e1s, \u00e9 a constru\u00e7\u00e3o de uma escola, nos EUA, dedicada \u00e0 performance, mas um dos resultados desse trabalho \u00e9 o livro Student Book<\/em> (Charta, 2004), que relata as experi\u00eancias da artista com seus alunos, em v\u00e1rios locais distintos.<\/span><\/p>\n

    O car\u00e1ter purista que marcou os primeiros mandamentos da performance criados por Abramovic repercutiram de forma inquestion\u00e1vel na hist\u00f3rica mostra Out of actions – betwen peformance and the object<\/em>, realizada no Museu de Arte Contempor\u00e2nea de Los Angeles – MOCA, em 1998, com curadoria de Paul Schimel. L\u00e1, ela apresentou uma s\u00e9rie de objetos iguais aos utilizados originalmente numa galeria de N\u00e1poles, na It\u00e1lia, em 1974: rev\u00f3lver, bala, tinta azul, batom e outros em cima de uma mesa. A galeria, ent\u00e3o, reclamou que eles tinham ainda os objetos originais, para surpresa da artista, que ent\u00e3o declarou: “Eu de fato n\u00e3o considero objetos como um trabalho de arte, j\u00e1 que qualquer um poderia ir a uma loja e compr\u00e1-los”, o que realmente segue toda cr\u00edtica objetual que fez parte do contexto das primeiras performances e de grupos como o Fluxus.<\/span><\/p>\n

    De fato, foi em 1992 com Biography<\/em><\/strong>, que a artista deu in\u00edcio a uma nova reflex\u00e3o sobre a performance e a possibilidade de repeti\u00e7\u00e3o de maneira ordenada. At\u00e9 ent\u00e3o, segundo a artista, “cada performance possu\u00eda um objetivo e quando ele era alcan\u00e7ado, era preciso conseguir um novo”[6]<\/span><\/p>\n

    Biography<\/em><\/strong> \u00e9 uma reuni\u00e3o de v\u00e1rias performances de Abramovic apresentadas em um teatro e \u00e9 considerado pela artista como uma forma de “re-encenar a vida”. “Era uma \u00e9poca estranha para mim, pois eu estava trabalhando sozinha novamente, ap\u00f3s uma longa colabora\u00e7\u00e3o com Ulay<\/em>“, disse Abramovic. Nessa pe\u00e7a, ela contou com a colabora\u00e7\u00e3o de alunos, numa a\u00e7\u00e3o que questionava os limites da encena\u00e7\u00e3o: “no teatro, tudo \u00e9 falso, mas n\u00e3o em Biography<\/strong><\/em>“, disse.<\/span><\/p>\n

    Para uma artista que conjugou arte e vida como poucos, \u00e9 s\u00f3 lembrar os tr\u00eas meses caminhando sobre a muralha da China em oposi\u00e7\u00e3o ao ent\u00e3o marido Ulay, na performance Os amantes<\/em><\/strong> (mar\u00e7o a junho de 1988), Biography<\/em><\/strong> pode ser encarada como uma forma de terapia, superando a solid\u00e3o a partir da reencena\u00e7\u00e3o de sua pr\u00f3pria rela\u00e7\u00e3o. Outra explica\u00e7\u00e3o para o uso de t\u00e9cnicas teatrais foi dada pela pr\u00f3pria artista: “nos anos 70, o teatro era o inimigo dos artistas da performance. Ele era considerado falso, uma experi\u00eancia encenada. Nos anos 90, contudo, minha atitude mudou completamente. O p\u00fablico que agora vem para o teatro para ver meu trabalho o observa tanto como uma pe\u00e7a teatral como uma performance<\/em>“.<\/span><\/p>\n

    Um fato que merece aten\u00e7\u00e3o aqui \u00e9 que as repeti\u00e7\u00f5es coincidem com um momento de ascens\u00e3o na carreira da artista, quando Abramovic recebe o Le\u00e3o de Ouro por seu trabalho Barroco balc\u00e2nico<\/em><\/strong>, na Bienal de Veneza, em 1997. Seu prest\u00edgio e reconhecimento internacional, nos anos 1990, coincidem com uma reciclagem de sua obra e com sua expans\u00e3o no mercado de arte. Antes ela criticava o objeto art\u00edstico, mas desde ent\u00e3o se podem observar cada vez mais imagens de suas obras \u00e0 venda nas importantes feiras de arte, caso da Arco, em Madri, em 2008, que tinha a artista em seis distintas galerias, o que a colocou entre as dez artistas com maior visibilidade na feira especializada em arte contempor\u00e2nea.<\/span><\/p>\n

    Antes de sistematizar alguns pontos a respeito do projeto Seven Easy Pieces<\/em><\/strong>, quero lembrar outros dois casos um tanto relacionados que, contudo, tiveram solu\u00e7\u00f5es totalmente distintas.<\/span><\/p>\n

    O primeiro \u00e9 a retrospectiva do artista tailand\u00eas Rirkrit Tiravanija, no Museu Boijmans Van Beuningen, em Roterd\u00e3, em 2004, e no Museu de Arte Moderna de Paris, em 2005. Considerado o grande \u00edcone da teoria da Est\u00e9tica Relacional, criada pelo curador franc\u00eas Nicolas Bourriaud, Tiravanija \u00e9 conhecido por a\u00e7\u00f5es que re\u00fanem pessoas em espa\u00e7os de conviv\u00eancia como, por exemplo, em torno da comida, num espa\u00e7o dado, seja uma galeria de arte, um museu ou seu pr\u00f3prio apartamento. Um de seus trabalhos, criado para a exposi\u00e7\u00e3o Surfaces de r\u00e9paration<\/em>, em Dijon, em 1994, foi criar uma \u00e1rea de descanso para os artistas que dela tomaram parte, equipada com uma mesa de pebolim e uma geladeira cheia[7]. S\u00f3 para lembrar uma obra sua no Brasil, Tiravanija recriou, para a 27\u00aa edi\u00e7\u00e3o da Bienal de S\u00e3o Paulo, n\u00e3o por acaso denominada Como viver junto<\/em><\/strong>, em 2006, a Casa Tropical<\/em><\/strong>, de Jean Prouve, concebida originalmente como um instrumento colonial para o Congo. Naquela Bienal ela serviu de espa\u00e7o para algumas atividades, como palestras e produ\u00e7\u00e3o musical.<\/span><\/p>\n

    Enfim, o fato \u00e9 que Tiravanija n\u00e3o \u00e9 um artista conhecido por criar objetos e sim por estabelecer espa\u00e7os e situa\u00e7\u00f5es de conviv\u00eancia. Quando sua retrospectiva estava para ser inaugurada, a quest\u00e3o era como o artista iria expor seus trabalhos. De forma documental, com fotos, textos e v\u00eddeos, como normalmente se faz com performances j\u00e1 realizadas?<\/span><\/p>\n

    Para surpresa dos que visitaram a retrospectiva, todo o museu estava vazio, e apenas algumas divis\u00f3rias delimitavam pequenos territ\u00f3rios no espa\u00e7o. Quem entrava dentro deles, tinha a imediata recep\u00e7\u00e3o por um monitor, que contava oralmente uma determinada obra de Tiravanija, ou seja, para o artista era imposs\u00edvel recriar as obras ou mostrar rel\u00edquias delas, ent\u00e3o era mais f\u00e1cil para o visitante se aproximar da experi\u00eancia de cada trabalho se ele fosse narrado, para que, ent\u00e3o, o visitante criasse a sua pr\u00f3pria forma de reviver o trabalho. A retrospectiva, que tinha por t\u00edtulo Tomorrow is another fine day<\/em><\/strong> (“Amanh\u00e3 ser\u00e1 um outro dia perfeito”), tem um cat\u00e1logo amplo da obra do artista e num dos textos l\u00e1 publicados, o Rein Wolfs sintetiza assim a mostra:<\/span><\/p>\n

    “Amanh\u00e3 – foi de fato – um outro dia perfeito para aqueles que tiveram condi\u00e7\u00e3o de interiorizar a retrospectiva de Rirkrit. Interioriza\u00e7\u00e3o \u00e9 um ato da mente, e essa exposi\u00e7\u00e3o foi de fato tamb\u00e9m uma exposi\u00e7\u00e3o da mente, na qual objetos estavam sem d\u00favida ausentes, constru\u00eddos ou copiados, nem mesmo desenhados: mas muito atrativa, atrativa mesmo no senso est\u00e9tico, pois os espa\u00e7os expositivos estavam muito claramente estruturados e presentes.<\/em>“[8]<\/span><\/p>\n

    Nesse caso, Tiravanija conseguiu, com sua retrospectiva, criar um novo trabalho que rememorasse todos os seus anteriores e, sem d\u00favida, isso foi realizado de forma perform\u00e1tica, e sem se repetir ou ser redundante, ao mesmo tempo.<\/span><\/p>\n

    ***<\/span><\/p>\n

    A outra exposi\u00e7\u00e3o que quero citar \u00e9 Lygia Clark, da obra ao acontecimento<\/em>, exibida no Museu de Belas Artes de Nantes, em 2005, e, posteriormente, na Pinacoteca do Estado, em 2006, com curadoria de Corinne Diserens e Suely Rolnik. Para a exposi\u00e7\u00e3o, al\u00e9m dos objetos, roupas e instala\u00e7\u00f5es criados por Clark (1920 – 1988) ao longo de sua carreira, a principal inova\u00e7\u00e3o da mostra foi a maneira de reconstruir a “terapia” aplicada por Clark a seus pacientes: 31 depoimentos em DVD estavam \u00e0 disposi\u00e7\u00e3o do p\u00fablico, tanto de brasileiros como de franceses que com ela conviveram. Rolnik foi a pr\u00f3pria pessoa a realizar as entrevistas, em alguns casos com pessoas que discorreram sobre o trabalho de Clark.<\/span><\/p>\n

    Aqui, a op\u00e7\u00e3o curatorial foi n\u00e3o priorizar os objetos, mas tamb\u00e9m reconstruir uma a\u00e7\u00e3o atrav\u00e9s da mem\u00f3ria, no caso daqueles que passaram por experi\u00eancias terap\u00eauticas com Clark. Sem fetichizar os objetos relacionais, que pouco de fato podem contar da experi\u00eancia que foi a sua utiliza\u00e7\u00e3o, quem ouviu alguns deles pode ter uma id\u00e9ia muito mais precisa do que a sua mera utiliza\u00e7\u00e3o.<\/span><\/p>\n

    Trata-se aqui de outro caso para se pensar como reviver experi\u00eancias perform\u00e1ticas sem, no entanto, contradizer suas id\u00e9ias originais. De fato \u00e9 muito estranho que museus importantes do mundo inteiro, como a Tate, de Londres, andem a busca de objetos tanto de H\u00e9lio Oiticica, como de Lygia Clark. Na edi\u00e7\u00e3o de 2008 da feira SP Arte, em S\u00e3o Paulo, conta-se que um Bicho<\/em><\/strong> estava sendo negociado por U$ 1 milh\u00e3o. \u00c9 incr\u00edvel como artistas que renegaram o objeto, transformaram-se em ref\u00e9ns do mercado, depois de mortos.<\/span><\/p>\n

    ***<\/span><\/p>\n

    Com esses dois exemplos, procurei adensar um pouco mais a discuss\u00e3o a respeito da id\u00e9ia de reperformance gerada a partir de Seven Easy Pieces<\/em><\/strong> e de como h\u00e1 outros modelos poss\u00edveis, tanto no caso de um artista vivo, como Tiravanija, como no caso de uma retrospectiva p\u00f3s-morte.<\/span><\/p>\n

    Voltando-se ent\u00e3o \u00e0 Seven Easy Pieces<\/em><\/strong>, o fato \u00e9 que, h\u00e1 muito tempo, Abramovic tem trabalhado com a expans\u00e3o do conceito de performance, e creio que essa deva ser a \u00f3tica do projeto apresentado no Guggenheim. Mais do que um trabalho que pensa a \u00e9tica da recria\u00e7\u00e3o de uma performance, ele \u00e9 uma performance em si, que discute seu pr\u00f3prio conceito.<\/span><\/p>\n

    \u00c9 fato que, na hist\u00f3ria da arte, a pintura, por exemplo, tem uma longa trajet\u00f3ria e passou por v\u00e1rios est\u00e1gios, mesmo seu decreto de morte, o que j\u00e1 aconteceu algumas vezes. A performance \u00e9, em contraposi\u00e7\u00e3o \u00e0 pintura, uma linguagem muito mais recente, que ainda por cima nasceu de uma circunst\u00e2ncia muito espec\u00edfica, nos anos 1960, como a forma mais contestadora e radical de proposi\u00e7\u00e3o art\u00edstica: romper com a contempla\u00e7\u00e3o art\u00edstica, com a id\u00e9ia de representa\u00e7\u00e3o, introduzindo o corpo do artista como o material essencial para a produ\u00e7\u00e3o e reflex\u00e3o.<\/span><\/p>\n

    De certa forma, \u00e9 at\u00e9 ir\u00f4nico que a performance esteja agora criando uma certa autonomia e sendo auto-reflexiva, afinal ela surgiu num momento em que a arte estava questionando a representa\u00e7\u00e3o, estava buscando o real, a “vida crua”.<\/span><\/p>\n

    Tanto que a sua aceita\u00e7\u00e3o no meio art\u00edstico foi ocorrer de fato s\u00f3 no final daquela d\u00e9cada, com outra hist\u00f3rica mostra, Quando atitude se torna forma<\/em> (1969), organizada pelo curador su\u00ed\u00e7o Harald Szeemann (1933 – 2005). Com 70 artistas, entre eles Joseph Beuys, Eva Hesse e Bruce Nauman, Szeemann colocou a performance e a arte conceitual no campo institucional de forma inquestion\u00e1vel, criando para muitos a mais importante exposi\u00e7\u00e3o do p\u00f3s-guerra.<\/span><\/p>\n

    De certa forma, ap\u00f3s os anos 1970, a performance perdeu for\u00e7a, ao deixar de ser novidade, ao ser incorporado ao campo institucional, e ao n\u00e3o se ter uma no\u00e7\u00e3o clara, entre colecionadores e museus, de como se poderia lidar com ela, fora os tradicionais registros em fotos, v\u00eddeos e textos.<\/span><\/p>\n

    Nos \u00faltimos dez anos, contudo, a performance voltou a ter um car\u00e1ter importante no circuito art\u00edstico. Artistas como Trisha Brown e Yvonne Rainer participaram da \u00faltima edi\u00e7\u00e3o da Documenta de Kassel, na Alemanha, em 2007, remontando trabalhos dos anos 1960. Em Nova York, existe uma bienal de performance, a Performa, que tem sua terceira edi\u00e7\u00e3o programada para 2009, enquanto em Londres h\u00e1 uma ag\u00eancia p\u00fablica, criada em 2003, chamada Life Art Development Agency (ag\u00eancia para o desenvolvimento da Life Art), criada especialmente para estimular a pr\u00e1tica da performance. Mesmo em S\u00e3o Paulo, a galeria Vermelho organiza, anualmente, desde 2005, um festival de performances denominado Verbo.<\/span><\/p>\n

    Nesse contexto, Seven Easy Pieces<\/em><\/strong> pode ser observada como a maneira de Abramovic participar desse novo circuito de forma bastante estrat\u00e9gica: ela aponta para trabalhos seminais, discute a radicalidade deles, ao mesmo tempo em que agrega um outro car\u00e1ter: o da encena\u00e7\u00e3o, que j\u00e1 h\u00e1 algum tempo tem sido constante em sua carreira.<\/span><\/p>\n

    Com isso, a artista n\u00e3o est\u00e1 apenas olhando para um passado distante, se \u00e9 que se pode dizer que 40 anos sejam um passado t\u00e3o distante, mas ela incorpora outras quest\u00f5es que foram sendo abordadas por ela recentemente, mas que possam ter passado despercebidas por aqueles que olham apenas para as origens da performance.<\/span><\/p>\n

    N\u00e3o h\u00e1 d\u00favida, que os outros dois casos que rapidamente citei, tamb\u00e9m se encaixam nesse ressurgimento da performance, mas Seven Easy Pieces<\/em><\/strong> acaba sendo a mais importante performance nesse novo momento da performance, colocando sua autora no centro do debate sobre o novo estatuto das a\u00e7\u00f5es ao vivo.<\/span><\/p>\n

    As regras, tanto antigas como as novas, n\u00e3o s\u00e3o as quest\u00f5es centrais que aqui merecem ser debatidas. Elas s\u00e3o para Abramovic apenas um meio de expressar suas id\u00e9ias sobre o presente. \u00c9 sua a\u00e7\u00e3o em si que precisa ser refletida, pois Seven Easy Pieces<\/em><\/strong> n\u00e3o s\u00e3o uma mera partitura que qualquer um poderia seguir.<\/span><\/p>\n

    Bibliografia<\/span><\/p>\n

    ABRAMOVIC<\/strong>, Marina. (2007). Seven Easy Pieces<\/em>. Mil\u00e3o: Charta.<\/span><\/p>\n

    BOURRIAUD<\/strong>, Nicolas. (2002). Relational Aesthetics<\/em>. Dijon: Les presses du reel.<\/span><\/p>\n

    ROLNIK<\/strong>, Suely e DISERENS<\/strong>, Corinne. (2006) Lygia Clark: da obra ao acontecimento<\/em>. S\u00e3o Paulo: Pinacoteca do Estado.<\/span><\/p>\n

    TIRAVANIJA<\/strong>, Rirkrit e GRASSI<\/strong>, Francesca. (2007) “Tomorrow is another day”. Zurique: JRP-Ringier<\/span><\/p>\n

    [1] Segundo a pr\u00f3pria artista em “Seven Easy\u00a0 (Mil\u00e3o: Charta, 2007) \u00e0 p\u00e1g. 15,<\/span><\/p>\n

    [2] http:\/\/www1.folha.uol.com.br\/fsp\/ilustrad\/fq2509200607.htm<\/span><\/p>\n

    [3] As proje\u00e7\u00f5es dessa instala\u00e7\u00e3o foram compiladas no filme “Destricted”, produzida por Revolver Entertainment, em 2006.<\/span><\/p>\n

    [4] Segundo Sandra Umathum, no cat\u00e1logo de SEP, \u00e0 p\u00e1g. 47<\/span><\/p>\n

    [5] Essa performance foi reencenada em 10\/10\/2008,\u00a0 no Museu de Arte Moderna de S\u00e3o Paulo, na abertura da mostra “Cover = reencena\u00e7\u00e3o + repeti\u00e7\u00e3o”, com curadoria de Fernando Oliva<\/span><\/p>\n

    [6] Cat\u00e1logo Seven Easy Pieces, p\u00e1g. 17<\/span><\/p>\n

    [7] Em “Relational Aesthetics”, de Nicolas Bourriaud\u00a0 (Dijon, La presse du r\u00e9el, 2002) p\u00e1g. 32<\/span><\/p>\n

    [8] Em “Tomorrow is another fine Day”, p\u00e1g. 130<\/span><\/p>\n

    Fabio Cypriano \u00e9 cr\u00edtico de artes da Folha de S. Paulo, professor da PUC-SP, colaborador da revista inglesa Frieze e autor, entre outros, de “Pina Bausch” (Cosac Naify, 2005)<\/strong><\/span><\/p>\n

    Thinking about performance and the possibilities to keep it alive, not only through records but also through its own re-enacting is one of the challenges facing artists, historians and critics nowadays, which makes the subject of this symposium very up to date. Thus, I want to approach this issue through one of the most instigating recent projects, Marina Abramovic’s Seven Easy Pieces<\/em><\/strong>, besides briefly discussing two other experiences, one with Lygia Clark’s work and the other with Rirkrit Tiravanija.<\/span><\/p>\n

    Between November 9 and 15, 2005, therefore during seven days, Marina Abramovic carried out seven performances in the center of the rotunda at the Guggenheim Museum, in New York. For seven hours on each day, she re-enacted six performances that are considered seminal in art history. Tracing back to the biblical cycle of the creation of the world, she then “rested” in the last day, performing a new work entitled Entering the other side<\/em><\/strong>.<\/span><\/p>\n

    Ironically, this project called Seven Easy Pieces went absolutely against the rules established by the artist herself for her performances in the beginning of her career, synthesized in three points: “no reherseal, no repetition, no predicted end”<\/em>[1] .<\/span><\/p>\n

    Thus the interest of this text is to reflect upon the motives for this drastic change in the artist’s career and the multiple meanings of Seven Easy Pieces.<\/span><\/p>\n

    In 2005, Abramovic had given me an interview, which was published in the Brazilian newspaper Folha de S. Paulo[2], on the occasion of her installation entitled “Balkan Erotic Epic” at SESC Pinheiros.[3]<\/span><\/p>\n

    In order to understand the artist’s motivation, I think it\u00b4s important to repeat what she said in the interview to explain the Seven Easy Pieces<\/em><\/strong> project.<\/span><\/p>\n

    The big problem with performance is that it only makes sense live. Everything else is related to recor, and pictures in books are not the real thing. The problem is that, most of the times, this can cause some confusion since a performance is considered great because of a picture, taken from a good angle, but it could be shit. And there’s also terrible records of fantastic work, which weren\u00b4t well documented. <\/em><\/span><\/p>\n

    We don’t really know what happened in the 1970’s. My proposal was to gather material from living artists and see if I could “re-feel” certain performances, repeating them. Furthermore, performances always took place in alternative spaces and it was always something confusing, it\u00b4s not like photography, which started to be part of the market with the idea of original and copies. Nobody actually knows how to deal with performance if someone wants to buy it and today there is a lot of appropriation of performances and the artists are not even notified. <\/em><\/span><\/p>\n

    My Idea was to establish certain moral rules. If someone wants to remake a performance, they must ask the artist for the rights and pay for it, just like it\u00b4s done with music or literature. For me, this is the honest way to do it, even if you want to make your own version. That\u00b4s why the focus wasn\u00b4t to remake performances, since I only performed Seven Easy Pieces<\/strong> once, but it was an example of how things should be done. Because it\u00b4s live, performance is different from other art forms. <\/em><\/span><\/p>\n

    <\/em><\/span><\/p>\n

    Now, in order to better understand the amplitude of Seven Easy Pieces<\/em><\/strong>, in the first place, let\u00b4s observe which were the performances selected by Marina Abramovic.<\/span><\/p>\n

      \n
    1. Body Pressure<\/em><\/strong>, Bruce Nauman (D\u00fcsseldorf, 1974);<\/span><\/li>\n
    2. Seedbed<\/em><\/strong>, Vito Acconci (Nova York, 1972 – two days a week, six hours a day);<\/span><\/li>\n
    3. Action pants: genital panic<\/em><\/strong>, Valie Export (Munique, 1969 – ten minutes);<\/span><\/li>\n
    4. The conditioning, first action of self-portrait(s)<\/em><\/strong>, Gina Pane (1973 – thirty minutes);<\/span><\/li>\n
    5. How to explain pictures to a dead hare<\/em><\/strong>, Joseph Beuys (D\u00fcsseldorf, 1965 -three hours);<\/span><\/li>\n
    6. Lips of Thomas<\/em><\/strong>, Marina Abramovic (Insbruck, 1975, two hours);<\/span><\/li>\n
    7. Entering the other side<\/em><\/strong>, the new performance.<\/span><\/li>\n<\/ol>\n


      \n<\/span><\/p>\n

      According to the catalogue of Seven Easy Pieces<\/em><\/strong>, Chris Burden didn\u00b4t allow his 1974 performance Trans-fixed<\/em><\/strong> to be re-enacted – and here we already have an issue that is a subject for this roundtable, after all the adequate term is not to re-enact, but to re-perform, in case this is actually possible. In this case, Abramovic wanted to re-perform Trans-fixed<\/em><\/strong>, an action in which Burden had his hands nailed to the back of a Volkswagen beetle that left a garage in Venice, California and returned to the same place after two minutes. This was only seen by a few people and it still is one of the most well-known performances, thanks to the famous photo that documented the action.<\/span><\/p>\n

      Burden’s denial was explained by his friend Tom Marioni, in a letter to the New York Times<\/em> and focuses exactly on the issue of the debate about re-performance: “If Mr. Burden’s work were recreated by another artist, it would be turned into theater, one artist playing the role of another”[4]. Here is the one of the main issues revolving around Seven Easy Pieces<\/em><\/strong>, which is exactly the transformation of the fleeting character of performance, until then one of its main quality, an issue I intent to address ahead.<\/span><\/p>\n

      Before that, I want to discuss the new code created by Abramovic. As the artist herself has said in the interview, one of her main preoccupations with Seven Easy Pieces<\/em><\/strong> was to establish an ethical stance in the recreation of performances. Thus, from the three commandments that appeared in the beginning of her career, SEP had five:<\/span><\/p>\n

      Ask permission to the artist<\/em><\/span><\/p>\n

      Pay copyrights to the artist<\/em><\/span><\/p>\n

      Make a new interpretation of the piece<\/em><\/span><\/p>\n

      Display original material: photographs, video, objects<\/em><\/span><\/p>\n

      Display the new interpretation of the piece<\/em><\/span><\/p>\n

      <\/em><\/span><\/p>\n

      In 2001, a similar experience was proposed by curator Jens Hoffmann in A litle bit of History Repeated<\/em><\/strong>, that took place at Kunst-Werke, in Berlin. There, he selected ten artists, Brazilian artist Laura Lima was among them, Ingar Drangset and Michael Elmgreen from Denmark, T\u00e2nia Bruguera from Cuba and Tino Sehgal from Germany, to recreate, very freely, historic performances. Laura Lima, for instance, used as reference Cut Piece<\/em><\/strong>, from 1964, in which Yoko Ono allowed the audience to cut pieces from her clothes until she was naked, but Laura dressed a goat and he was the one who was undressed by the audience. The action was called Cabra Cut Piece<\/em><\/strong> [5] (“Cabra means goat in Portuguese). Abramovic participated in a lecture cycle within that event and that was certainly the motivation for Seven Easy Pieces.<\/span><\/p>\n

      The new code thus created by the artist is very radical compared to what was created in the 1970’s, but if we look at her career, it\u00b4s not that surprising. Abramovic is one of the few artists that began her career in the 1970’s making performances and is still working in this genre to this day, even though she is also experimented in other areas. Not even Vito Acconci, Bruce Nauman or Valie Export , are still doing performance work, just to name a few artists Abramovic pays tribute to in Seven Easy Pieces<\/em><\/strong>. I want to indicate that she has been seeking to expand the concept of performance, in a systematic way, for the last 35 years, since her performances began in 1973.<\/span><\/p>\n

      Even during the twelve years she lived and worked with her husband Ulay, between 1976 and 1988, some performances were repeated, at least in a serial way, as it happened with Nightsea Crossing<\/em><\/strong> (1981 to 1987), in which the couple would sit in front of each other, for a few hours in silence, each seating in one end of a 2,1 meters table. It took place in 22 different places in a total of 90 non-consecutive days, including two at Bienal de S\u00e3o Paulo<\/em>, in 1985 and 21 in Kassel, at Documenta 7<\/em>, in 1982. Here, the initial code was actually being questioned, even if this piece is considered to be only one performance.<\/span><\/p>\n

      Moreover, Abramovic is also a teacher and keeps a group of former students that systematized not only a performing action, but also a reflection about it. By the way, her next project is to build a school in the USA dedicated to performance, but one of the results of this work is the book Student Book<\/em> (Charta, 2004), which reported the artist’s experience with her students, in many different places.<\/span><\/p>\n

      The purist quality that marked the first commandments of performance created by Abramovic unarguably echoed in the historic exhibition Out of actions – betwen peformance and the object<\/em> that took place at MOCA – The Museum of Contemporary Art in Los Angeles, curated by Paul Schimmel. There, she showed a series of objects equal to the ones originally used in a gallery in Naples, Italy, in 1974: revolver, bullet, blue paint, lipstick and others on top of a table. The gallery then complained that they still had the original objects, much to the artist’s surprise, who then stated: “I in fact does not consider objects as works of art, since anybody could go into a store and buy them”, something that really follows the object critique that was part of the context of the early performances and of groups like Fluxus.<\/span><\/p>\n

      In fact, it was in 1992 with Biography<\/em><\/strong> that the artist began a new reflection about performance and the possibility of repetition in an orderly manner. Up to that point, according to the artist, “each performance had an aim and when it was reached, it was necessary to find a new one<\/em>“[6]<\/span><\/p>\n

      Biography<\/em><\/strong> is a reunion of many Abramovic performances presented on a theater and is considered by the artist to be a way o re-enact life. “It was a strange time for me, because I was working alone again, after a long period collaborating with Ulay<\/em>“, said Abramovic. In this piece, she counted on the collaboration of her students, in a piece that questioned the limits of staging: “in theater everything is fake, but not in Biography<\/strong><\/em>“, she said.<\/span><\/p>\n

      For an artist who combines life and art as few others have, just remember the three months she spent walking on the Wall of China opposite her then husband Ulay, in the performance The Lovers<\/em><\/strong> (March to June, 1988), Biography <\/em><\/strong>can be seen as a kind of therapy, overcoming loneliness through the re-enactment of her own relationship. Another explanation for the use of theater techniques was given by the artist herself: “in the 70’s, theater was the enemy for performance artists. It was considered fake, a staged experience. In the 90’s, however, my attitude changed completely. The audience that now comes to the theater to see my work watches it both as play and as performance.<\/em>“<\/span><\/p>\n

      A fact that deserves attention here is that the repetitions coincide with a moment when her career was rising, as Abramovic received a Golden Lion for her piece Balkan Baroque<\/em><\/strong>, at Biennale Venice Film Festival, in 1997. Her prestige and international acknowledgement in the 1990’s coincide with a recycling of her work and with the expansion of the art market. Before, she criticized the artistic object, but since then there are more and more of her pieces for sale at the most important art fairs, such as Arco, in Madrid in 2008, that had the artist in six different galleries, which placed her among the ten artists with most visibility in the fair, specialized in contemporary art.<\/span><\/p>\n

      Before systematizing some points about the Seven Easy Pieces <\/em>project, I want to remember two other related cases that have totally distinct solutions.<\/span><\/p>\n

      The first one is the retrospective exhibition of Thai artist Rirkrit Tiravanija, at the Boijmans Van Beuningen Museum, in Rotterdam in 2004 and at the National Museum of Modern Art in Paris, in 2005. Considered to be the great icon of the Relational Aesthetics theory created by curator Nicolas Bourriaud, Tiravanija is known for actions that bring together people in common spaces like, for instance, around food, in a given space, be it an art gallery, a museum or his own apartment. One of his works, created for the Surfaces de reparation<\/em> exhibition, in Dijon, in 1994, was to create a resting area for the artists who were taking part in it, equipped with a foosball table and a full fridge [7]. Just to remember a work of his in Brazil, for the 27th<\/sup> edition of Bienal de S\u00e3o Paulo, in 2006, not by chance named How to live together<\/em>, Tiravanija recreated Jean Prouve’s Tropical House<\/em><\/strong>, originally conceived as a colonial device in Congo. In that Bienal, the house was used as space for some activities, like lectures and music production.<\/span><\/p>\n

      The fact is that Tiravija is not an artist known to create objects, but rather to establish spaces and situations for living together. When his retrospective was about to be opened, the issue was how the artist was going to display his work. In documental way, with photos, text and video, as it\u00b4s usually done with performances that had already taken place?<\/span><\/p>\n

      Much to the surprise of those who visited the retrospective, the whole museum was empty and only a few partitions delimited small territories in the space. Those who walked into one of them, had an immediate reception by a monitor, who orally told a certain work of Tiravanija, which meant the artist felt it impossible to recreate the pieces or show mementos of it, so it was easier for the spectator to get closer to the experience of each piece if it was narrated, so that the spectator could then create his own way to re-live the piece. The retrospective, which had the title Tomorrow is another fine day<\/em><\/strong>, had a comprehensive catalogue of the artist’s work and in one of texts in it, Rein Wolfs thus synthesizes the showcase:<\/span><\/p>\n

      “Tomorrow – was in fact – another perfect day for those who had the chance to internalize Rirktit’s retrospective. Internalization is an act of the mind and this exhibition was in fact an exhibition of the mind, in which objects were undoubtedly absent, built or copied, not even drawn: but much more attractive, attractive in the aesthetic sense, since the exhibition spaces were very clearly structured and present. <\/em><\/span><\/p>\n

      In this case, with his retrospective, Tiravanija managed to create a new work that recollected all his previous works and no doubt it was carried out in a performing way and at the same time without repeating himself or being redundant.<\/span><\/p>\n

      <\/em><\/span><\/p>\n

      ***<\/span><\/p>\n

      The other exhibition I want to mention is Lygia Clark, da obra ao acontecimento<\/em> (“Lygia Clark, from work to happening”), displayed at the Fine Arts Museum at Nantes, in 2005 and later at Pinacoteca do Estado, in S\u00e3o Paulo, in 2006, curated by Corinne Diserens and Suely Rolnik. Besides objects, clothes and installations created by Clark (1920 – 1988) throughout her career, the main innovation of the exhibition was the way the “therapy” applied by Clark on her patients was recreated: 31 testimonies were available in a DVD, both Brazilians and French who lived with her. Rolnik conducted the interviews herself, in some cases with people who discussed Clark’s work.<\/span><\/p>\n

      Here, the curatorial option was not to prioritize the objects, but also to reconstruct an action through memory, in the case of those who went through therapeutic experiences with Clark. Without fetishizing relational objects, which can actually tell little of the experience of its use, those who heard some of them were able to have a much more precise idea than mere use.<\/span><\/p>\n

      Here we are talking about another case to think about how to relive performing experiences without, however, contradicting her original ideas. In fact, it\u00b4s very strange that important museums around the world, like Tate in London, go about searching for objects both from H\u00e9lio Oiticica and Lygia Clark. In the 2008 edition of the SP Arte fair, in S\u00e3o Paulo, it has said that a Bicho<\/em><\/strong> was being negotiated for US$ 1 million. It\u00b4s amazing how artists who denied the object have become hostages of the art market after death.<\/span><\/p>\n

      ***<\/span><\/p>\n

      With these two examples, I intended to deepen a little more the debate about the idea of re-performance generated by Seven Easy Pieces<\/em><\/strong> and how there are other possible models, both in the case of a living artist like Tiravanija and in a post-mortem retrospective.<\/span><\/p>\n

      Getting back to Seven Easy Pieces<\/em><\/strong>, the fact is that for a very long time Abramovic has worked in expanding the concept of performance and I believe that this should be the perspective of the project presented at the Guggenheim. More than a work that reflects upon the ethics of recreation of a performance, it is a performance by itself discussing its own concept.<\/span><\/p>\n

      It is fact that in the history of art, painting, for instance, has a long course and went through many stages. Opposed to painting, performance is a very recent language and on top of that, it was born out of very specific circumstances in the 1960’s as the most defiant and radical artistic proposal: to cut off artistic contemplation and the idea of representation, introducing the body of the artist as essential material for creation and reflection.<\/span><\/p>\n

      Somehow, it\u00b4s even ironic that performance is now creating some autonomy and being self-reflective, after all it emerged at a time when art was questioning representation, it was searching for reality, “raw live”.<\/span><\/p>\n

      So much so that its acceptance in the artistic world actually only came in the end of that decade with another historic exhibition, When attitude becomes form<\/em> (1969), organized by Swiss curator Harald Szeemann (1933 – 2005). With 70 artists, including Joseph Beuys, Eva Hesse and Bruce Nauman, Szeeman unquestionably brought performance and conceptual art to the institutional field creating what for many was the most import exhibition in the post-war period.<\/span><\/p>\n

      Somehow, after the 1970’s, performance lost its strength after it lost its novelty and was incorporated into the institutional field and because among collectors and museums there was no clear notion of how to deal with it, other than the traditional documentation in photos, videos and text.<\/span><\/p>\n

      However, in the last ten, years performance has been having an important space in the art circle. Artists like Trisha Brown and Yvonne Rainer participated in the last edition of Documenta, in Kassel, Germany, in 2007, re-staging their work from the 1960’s. In New York there is a performance biennial, Performa, which has its third edition scheduled for 2009, while in London there is a public agency called Life Art Development Agency, created in 2003 specially to stimulate the practice of performance. Even in S\u00e3o Paulo, Vermelho gallery organizes annually since 2005 a performance festival called Verbo.<\/span><\/p>\n

      In this context, Seven Easy Pieces<\/em> can be seen as a way for Abramovic to take part in this new circuit in a very strategic way: she points to seminal work, discusses their radical quality at the same time she adds another quality: that of enactment, which has been constant in her career for quite a while.<\/span><\/p>\n

      With this, the artist is not only looking to a distant past, if it\u00b4s possible to say that 40 years is such a distant past, but she incorporates other issues that have been approached by her recently, but that could have slipped by those who only look at the origins of performance.<\/span><\/p>\n

      There is no doubt the other two cases I briefly mentioned also fit into this revival of performance, but Seven Easy Pieces<\/em><\/strong> ends up being the most important performance in this new moment for performance, putting its author in the center of the debate about the new status of live actions.<\/span><\/p>\n

      The rules, both the old and the new ones, are not central issues that deserve to be discussed here. For Abramovic they are only a way to express her ideas about the present. It is her action that needs to be reflected upon, because Seven Easy Pieces<\/em><\/strong> is not merely a score anyone could follow.<\/span><\/p>\n


      \n<\/span><\/p>\n

      Bibliography<\/strong><\/span><\/p>\n

      ABRAMOVIC, Marina. (2007). Seven Easy Pieces<\/em>. Mil\u00e3o: Charta.<\/span><\/p>\n

      BOURRIAUD, Nicolas. (2002). Relational Aesthetics<\/em>. Dijon: Les presses du reel.<\/span><\/p>\n

      ROLNIK, Suely e DISERENS, Corinne. (2006) Lygia Clark: da obra ao acontecimento<\/em>. S\u00e3o Paulo: Pinacoteca do Estado.<\/span><\/p>\n

      TIRAVANIJA, Rirkrit e GRASSI, Francesca. (2007) “Tomorrow is another day”. Zurique: JRP-Ringier<\/span><\/p>\n


      \n<\/span><\/p>\n

      [1] Acording to the artist herslef in Seven Easy (Milan:Charta, 2007), page 15.<\/span><\/p>\n

      [2] http:\/\/www1.folha.uol.com.br\/fsp\/ilustrad\/fq2509200607.htm<\/span><\/p>\n

      [3] The projections of this installation were compiled in the film Destricted<\/em><\/strong>, produced by Revolver Entertainment, in 2006.<\/span><\/p>\n

      [4] According to Sandra Umathum, at the SEP catalogue, page 47<\/span><\/p>\n

      [5] This performance was reenacted in 10\/10\/2008 at the Museum of Modern Art in S\u00e3o Paulo, in the opening of the exhibition “Cover = reencena\u00e7\u00e3o + repeti\u00e7\u00e3o”, curated by Fernando Oliva<\/span><\/p>\n

      [6] Seven Easy Pieces catalogue, page 17<\/span><\/p>\n

      [7] In “Relational Aesthetics”, by Nicolas Bourriaud\u00a0 (Dijon, La presse du r\u00e9el, 2002) page 32<\/span><\/p>\n

      [8] In “Tomorrow is another fine Day”, page 130,<\/span><\/p>\n


      \n<\/span><\/p>\n

      Fabio Cypriano is art critic for Brazilian newspaper Folha de S. Paulo, professor at PUC-SP, collaborator of British maganize Frieze and author of “Pina Bausch” (Cosac Naify, 2005), among others. <\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

      Em simp\u00f3sio realizado na Verbo 08 e posteriormente transformado em texto, o cr\u00edtico de arte Fabio Cypriano trata de um assunto relevante em se tratando da arte da performance: a reencena\u00e7\u00e3o. Leia e deixe seu coment\u00e1rio!<\/p>\n","protected":false},"author":1805,"featured_media":12158,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[3389,612],"yoast_head":"\nPerformance e reencena\u00e7\u00e3o: uma an\u00e1lise de Seven Eeasy Pieces de Marina Abramovic | Performance and reenactment: analyzing Marina Abramovic\u2019s Seven Easy Pieces -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/performance-e-reencenacao-uma-analise-de-seven-eeasy-pieces-de-marina-abramovic\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Performance e reencena\u00e7\u00e3o: uma an\u00e1lise de Seven Eeasy Pieces de Marina Abramovic | Performance and reenactment: analyzing Marina Abramovic\u2019s Seven Easy Pieces -\" \/>\n<meta property=\"og:description\" content=\"Em simp\u00f3sio realizado na Verbo 08 e posteriormente transformado em texto, o cr\u00edtico de arte Fabio Cypriano trata de um assunto relevante em se tratando da arte da performance: a reencena\u00e7\u00e3o. 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