Thursday, July 21, 2016

Marina Abramovic, Thomas Lips (1975)

PHOTO: Marina Abramovic, Thomas Lips (1975)
Marina Abramovic undertakes a range of actions that push her physical limits to an extreme and finally result in the transgression of bodily boundaries.
Picture posted by emaze.com
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http://www.thegroundmag.com/wp-content/uploads/MA-ThomasLips-ab108-27x20bw.jpg
https://www.emaze.com/@AFCLOLZO/Marina-Abramovic



Who is in Pain? The transforming of symbol in performances of Marina Abramović.

In the performance 'Thomas Lips', Marina Abramovic undertakes a range of actions that push her physical limits to an extreme and finally result in the transgression of bodily boundaries. She starts off with eating 1 kilo of honey, followed by the consumption of 1 litre of red wine. Then, she breaks the wine glass with her hand. The actions become more violent and masochistic, including, in an image that has become iconic in the history of performance art, cutting a five-pointed star into her stomach with a razor blade.



In the performance 'Thomas Lips', Marina Abramovic starts off with eating 1 kilo of honey, followed by the consumption of 1 litre of red wine.
PHOTO: In the performance 'Thomas Lips', Marina Abramovic starts off with eating 1 kilo of honey, followed by the consumption of 1 litre of red wine.
Marina Abramovic performing Vito Acconci's Seedbed (1972) at Solomon R. Guggenheim Museum, November 2005.
Picture posted by Artist Biography and Exhibition History on 29 October 2015
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http://65.media.tumblr.com/fdf231d03bfb312ec5dd22a1cb00cb9a/tumblr_nwzox0VAjw1uhjk23o6_1280.jpg
http://marinabramoviclifeandwork.tumblr.com/post/132153367109/seven-easy-pieces-marina-abramovic-2005-in



Referring to various Christian themes and rituals of repentance, the live performance also includes Abramovic whipping herself until she eventually lies down on a cross made out of ice blocks. While a heater is pointed towards her stomach, making the cut star bleed, the underside of her body is starting to freeze. In the original 1975 performance, after 30 minutes on the ice blocks, the artist was carried away by members of the audience, who cannot stand the situation any longer.



The live performance includes Abramovic whipping herself in Lips of Thomas (1975).
PHOTO: The live performance includes Abramovic whipping herself in Lips of Thomas (1975).
Marina Abramovic performing Vito Acconci's Seedbed (1972) at Solomon R. Guggenheim Museum, November 2005.
Picture posted by STUDYBLUE

https://4.bp.blogspot.com/-ch2OYp3fLR8/V5Dk2y6sRsI/AAAAAAAAkX0/pNozP_7chZUB-d6vcUsseOfDJG2SPR9dQCLcB/s1600/ma-7easythomli-620-30x30-14D9AC8D1647A09CC02-1.jpg
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https://www.studyblue.com/notes/note/n/body-art/deck/14771808



She whips herself kneeling down, whips her back with the whip.
PHOTO: She whips herself kneeling down, whips her back with the whip.
During the performance of Lips of Thomas, has endured a series of tests which she set for herself. Those were self harmful actions which were not pleasant for the audience to see.
Picture posted by Madi Alpiyev, School of Creative Media (SM1701)
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http://67.media.tumblr.com/6eb46accf0786243279720c18a710005/tumblr_inline_mxd5l0sw1A1sniq01.jpg
http://imad-iart.tumblr.com/



Abramovic whips herself until she eventually lies down on a cross made out of ice blocks.
PHOTO: Abramovic whips herself until she eventually lies down on a cross made out of ice blocks. While a heater is pointed towards her stomach, making the cut star bleed, the underside of her body is starting to freeze.
Picture posted by Moving Images
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http://www.moving-images.eu/wp-content/uploads/2014/07/BB2-Marina-Abramovic_Thomas-Lips-1975-2005.jpeg
http://www.moving-images.eu/kunst/thomas-lips-marina-abramovic/



At this point, it becomes clear that in 'Thomas Lips', Abramovic is not only threatening the integrity of her body and, thus, destabilizing the binary opposition between inside and outside, but is also questioning the distinction between public and performer. As in other performances, like 'Rhythm 5', the members of the audience can no longer hide behind their passive status as observers, but are forced to make the decision to intervene.



The body in pain.

PHOTO: The body in pain.
In 'Thomas Lips', Abramovic is not only threatening the integrity of her body but is also questioning the distinction between public and performer. As in other performances, like 'Rhythm 5', the members of the audience can no longer hide behind their passive status as observers, but are forced to make the decision to intervene.
Without restraint beaten herself, staying on the ice as long as possible. No compromises like: “only a little pain, a small incision, a few strokes”. The audience has witnessed this – this total delivery to pain.
Picture posted by Philosophy of the body
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https://philosophyofthebody.files.wordpress.com/2012/11/deventer-30-mei-09-21.jpg
https://philosophyofthebody.wordpress.com/2012/11/09/body-art/



The performance first took place in 1975 at the Krinzinger Gallery in Innsbruck, Austria, and it was repeated in 1993 as part of a series of performances around Europe and the United States. The only thing visible in this video registration from 1975 is the constantly repeating image of the star that Abramovic is cutting into her stomach. This video and a similar registration from the 1993 performance form the basis of a two-channel sculptural installation 'Thomas Lips', shown on monitors that are placed on top of each other. 'Thomas Lips' was also performed in 2005 in New York at the Guggenheim, and another version of the installation registration was made in 2012.



The performance first took place in 1975 at the Krinzinger Gallery in Innsbruck, Austria, and it was repeated in 1993 as part of a series of performances around Europe and the United States.
PHOTO: The performance first took place in 1975 at the Krinzinger Gallery in Innsbruck, Austria, and it was repeated in 1993 as part of a series of performances around Europe and the United States.
As of the audience, it was clearly a disturbing performance to witness. It would not be very comfortable with seeing anyone to endure such immense amount of pain, even though the medium of performance as a message is very powerful.
Picture posted by Rosebud Cakes taken on 1 January 1980  - This is Marina with her pentagram scar on her abdomen
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https://www.flickr.com/photos/14559934@N04/6345552199/in/photostream/


Posted by li-ma.n


Marina Abramovic, a performance artist in Rhythm 0, 1974
PHOTO: Marina Abramovic, a performance artist in Rhythm 0, 1974
Abramović placed on a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, olive oil, scissors, a scalpel, a gun and a single bullet.

For six hours the artist allowed the audience members to manipulate her body and actions. This tested how vulnerable and aggressive the human subject could be when hidden from social consequences. By the end of the performance, her body was stripped, attacked, and devalued into an image that Abramović described as the "Madonna, mother, and whore".

Additionally, markings of aggression were apparent on the artist's body; there were cuts on her neck made by audience members, and her clothes were cut off of her body.
Texts extracted from Wikipedia, the free encyclopedia, https://en.wikipedia.org/wiki/Marina_Abramovi%C4%87#cite_note-7
Picture posted by Ricardo Martinez
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https://w9y.me/honyaku/page/wp-content/uploads/2016/03/Marina-Abramovic-The-Complete-Performances-1973-1975-Art-Must-Be-Beautiful-Artist-Must-Be-Beautiful-detail-Courtesy-of-Christies-865x577.jpeg
http://www.widewalls.ch/marina-abramovic-public-talk-kaldor-public-art-projects-sydney-residency/
http://veryfatoldman.blogspot.sg/2016/07/marina-abramovic-performance-artist-in.html



Marina Abramovic performance, Luminosity (1997)
PHOTO: Marina Abramovic performance, Luminosity (1997)
Marina Abramović has pioneered performance as a visual art form. In Luminosity, 1997, the work being re-performed for 13 Rooms, a performer sits on a bicycle seat bathed in light high up on the wall. Both physically and mentally demanding, Abramović explains: ‘It’s really a work about loneliness, about pain and about spiritual elevation. About luminosity and about the transcendental (spiritual realm) quality of the human being in general.
Picture posted by Zosia von Bueren on 23 July 2014 - Marina Abramovic - Luminosity
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http://ewawojciechowska.pl/miejsca-i-smaki/art-basel-sztuka-warta-miliony/




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