Marina Abramovic’s daring performance works envision the human body as a ‘bridge’, breaking down the sacrosanct binaries and distinctions between artworks and audiences, the human body and natural formations, natural processes and human processes- resonating with the idea of the ‘subterranean’ and forging a channel through the earth. The year of Marina and her partner Ulay’s big China project "The Lovers – The Great Wall Walk" saw a hike along the Chinese Wall as their last joint work.
“After six years of calling at the Chinese authorities they were finally able to carry out their ninety-day walk from opposite ends at the east and west of the Wall whose mythological analogy is the dragon, until they would meet in the middle.”
“The Performance, including reflections on the country and intended to mirror an intense encounter of two lovers, turned into a farewell walk – a second cleansing for Marina, walking as a "State of Being", a search for identity for Ulay as he was thrown back on himself – and marked the end of twelve intense years of working and living together as well as the way into a new beginning.”
This conceptualisation of the process of walking relates to Thereaux’s idea of walking and finding oneself, the envisioning of the process of walking as a kind of reading and getting to the core/marrow of life, an essential experience, walking as a transcendental, existential process of unravelling, getting to a kind of zero point.
“To Abramovic, the walk along the Wall was an emptying boat/an entering stream, a departure ("Boat Emptying/Stream Entering", "Departure", titles of her subsequent exhibitions), a putting to see, her exhibition about the China project, while in his photographs, Ulay was dealing with the filled or empty vase as an object of meditation and as an equivalent to the human body.”
This mystic perception of objects relates to Stacy Alaimo's concept of "intra-activity", in which humanity's experience of nature is never singular but inextricably bound to the experiences of other living creatures - both animate and inanimate - who inhabit this planet.
“Her search for a state of emptiness combined with insights from Chinese mythology remains a central experience for Abramovic which she wishes to convey to the visitor of the exhibition in her subsequent objects made of quartz, copper and energy-conducting materials.”
Forging a “bridge” between the human psyche and the mystic power of objects.
“In "Departure" (1991), she designed – in analogy to the position of various dragons – wall-mounted quartz cushions for man's main energy centres positioned in the location of the head, heart and sex for the audience to lean against so they could leave their everyday life behind in a meditative ‘marginal world’ that exists outside of the busy mainstream world. Whether one lies down on a copper couch, sits down on "Transitory Objects" (1992), seats set with pieces of quartz, puts on crystal Druse helmets or stays in a "Mineral Room" (1994), Abramovic's installations are intended to impart a sense of connectedness with the earth and to induce a passive perception, a decrease of tension in the receptive viewer.”
Abramovic creates works that create a link between the human body and natural landscapes- a kind of ‘intra-active’ process. “A passivity balanced with high risks is evident once more in her performance where she has five snakes creep over her relaxed body, allowing them to model it as if she herself were the earth.”
“Abramovic forges an analogous connection between stones and body parts – quartz and crystals as the eyes of the earth, iron as human blood, copper as the nerves, amethyst as the wisdom tooth – drawn by Abramovic when she stayed in Brazil for several months.”
This occult-like vision of the body resonates with notions of breaking down the binaries between humanity and nature.
"Beuys saw himself as a shaman,
Malevich as a step,
and I see myself as a bridge.
On one side,
I receive,
on the other,
I pass on.
To be a true bridge,
one has to be
very pure inside,
otherwise one
is but an obstacle." (1991)
