'These formal layouts, and the content of some of the works themselves, speak of ritual and highly stylized types of interaction. I’m not sure how I feel about this, since it seems to me like religious affect. Of course, you can extrapolate religious or spiritual themes from her interest in the limits of consciousness as perceived through the body when it is pushed to extreme limits through pain or duration. So too her interest in the singularity of the self in relation to another individual or to a group. But I can’t help thinking of flagellantism and various extreme penitent Catholic orders when I see some of Abramović’s work, which for me gives it an uncomfortably pious aspect. This sense of piousness is an effect of the solemn register in which the work exists, its demonstrative gravitas. (This register admits little levity, which seems sad to me, since our bodies and how people interact can be pretty funny – a key part of being human.) There’s also a studied austerity in the work, a kind of quasi-monastic aesthetic: the simple wooden table and chairs in The Artist is Present, for instance, or the hard wooden block that the performer lies on in Nude with Skeleton. It makes me think that this is art made by someone who at some level still believes in the sacred aura of the secular white cube art space.'
Her work makes me think about the complications within a relationship. The law Shomar Nagiah is about removing the complications within a relationship by channeling them in the right direction. Her work has therefore made me think about ways which I can show tension in a relationship without touching, i.e body parts almost touching on two people.
I am also interested in the performance side to art. I like the reality factor within in as well which is something I want to look more into for my final piece.
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