Abstract
Based on issues raised by the autobiographical memoirs of the performing artist Marina Abramovic, this article seeks to discuss the transformative potential of her work, based on the analysis of six selected performances in which the artist uses the body as an object of her art, exploring as a means of expression of physical limits, exhaustion of the mind and relationship with the public. Our objective is to investigate how the artist appropriates the performance space to discuss through psychoanalytic theory the ritualistic and transformative dimension of her work. Using the field concepts of Antonino Ferro and transformational object of Cristopher Bollas. Finally we propose an analogy between the space of performance as the analytical field, the performance and the relationship with the public proposing a transformative aesthetic experience.
Highlights
Based on issues raised by the autobiographical memoirs of the performing artist Marina Abramovic, this article seeks to discuss the transformative potential of her work, based on the analysis of six selected performances in which the artist uses the body as an object of her art, exploring as a means of expression of physical limits, exhaustion of the mind and relationship with the public
Our objective is to investigate how the artist appropriates the performance space to discuss through psychoanalytic theory the ritualistic and transformative dimension of her work
The reflections presented in this article were prompted through analyses on the written recollections of the artist Marina Abramovic and her performances Rhythm 5, Rhythm 10, Imponderables, Energy at rest, The artist is present and Life and death of Marina Abramovic
Summary
The reflections presented in this article were prompted through analyses on the written recollections of the artist Marina Abramovic and her performances Rhythm 5, Rhythm 10, Imponderables, Energy at rest, The artist is present and Life and death of Marina Abramovic Through investigation of these elements, a correlation was made with the concept of the esthetic experience of Christopher Bollas (2015) was made. We sought firstly to thoroughly read Abramovic’s (2017) recollections that were published in her book Through the walls: recollections of Marina Abramovic This described her path as an artist: the creation and elaboration of her works, and emotional elements that she brought out in her performances, which help us to understand the connection between the path of her life and her artistic expression. We sought to understand how psychoanalysis might contribute towards the field of interpretation of the visual arts
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