Nothing about Brazil as a nation in crisis, and nothing about the way access to shooting had been obtained. However the film carelessly drifts into a narcissistic journey, and everyone and everything in this film is about Marina's self indulgence. She meets many types of healer saints and the film allows us a glimpse into the complex and varied means through which people try to alleviate their pain and despair. Marina 'tours' Brazil, seeking spiritual guidance and healing. Marina Abramovic and Ulay were interviewed by Christian Lund at Sank Petri Hotel in Copenhagen, Denmark, in June 2017 in connection with Marina Abramovi?’s major retrospective exhibition ‘The Cleaner’ at Louisiana Museum of Modern Art.I had a lot of expectations from this film, having been following Abramovic work, and appreciating it, for many years. Ulay’s work, as well as his collaborative work with Marina Abramovi?, is featured in many collections of major art institutions around the world such as Stedelijk Museum in Amsterdam, Centre Pompidou in Paris, Tate Modern in London and Museum of Modern Art in New York. In recent years Ulay’s work has also been on show at the Nederlands Fotomuseum in Rotterdam and GNYP Gallery in Berlin. In 2016 Schirn Kunsthalle in Frankfurt, Germany, held the first major retrospective show of his work ‘Ulay Life-Sized’. His work has continuously dealt with politics, identity and gender. Ulay received international recognition for his work as a photographer, mainly in Polaroid, from the late 1960s, and later as a performance artist, including his collaborative performances with Marina Abramovi? from 1976 to 1988. 2020) is a German artist based in Amsterdam, Holland, and Ljubljana, Slovenia. In 2017 the retrospective ‘The Cleaner’ was shown at Moderna Museet in Stockholm, Sweden, and at Louisiana Museum of Modern Art in Humlebæk, Denmark, among other places. Her work explores the relationship between performer and audience, the limits of the body and the possibilities of the mind. She began her work as a performance artist in the 1970s and is now regarded as one of the most important artists in the field. 1946) was born in Belgrade in former Yugoslavia and is now based in New York, US.
And in Abramovi?’s words: “I think what is left is this really beautiful work that we left behind. That’s a beautiful story actually,” as Ulay explains.
The couple didn’t speak for 20 years, but have now reunited: “Everything naughty, nasty, disagreeable or whatever from the past, we drop, and since we became good friends again. In 1988 their breakup was captured in the epic work ‘The Lovers’, where they walked The Great Wall of China starting from the two opposite ends and meeting after 90 days to say goodbye.
#Marina abramovic in brazil the space in between 2016 series#
So when the anarchist becomes an institute that’s of course ridiculous.” Their interests and passion as artists also began to move in different directions, most notably in the ‘Nightsea Crossing’ series (1981-1987). In the beginning of the 1980s they had become a power couple in the art world, as Ulay comments: “From deep in my heart and in my guts I always had a flirt with anarchy. They’re all historical pieces, and I think that they came out of the amazing mixture of our existence, our love for each other and the incredibly dedicated work …”įor years the couple lived a nomadic life in a Citroën van, driving and working all across Europe. This became the first of the duo’s iconic series of ‘Relation Works’, in which the dynamics between male and female energy were investigated: “We wanted to take the possible conflict of a relation to an extreme,” says Ulay, who emphasizes that “what we did in performance was actually the absolute opposite of how we understood, how we lived and loved each other.” Abramovic adds that, looking back, “this relation was extremely important for the history of performance art. In their first spectacular performance, ‘Relation in Space’, the two nude artists passed each other with increasing speed, resulting in violent collisions.
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