[syndicate] Valdimir Bulat: Interview with Ulay, Bucharest 2000

[Auriea Harvey]

ok you made me look and

http://web.ukonline.co.uk/n.paradoxa/abramov.htm
Then I got an invitation from 5 young artists in Poland to come and
see a performance called Marina Positions - at first I was really
angry but when I was watching the piece I thought it was fantastic
and I understood that the idea of originality as 'my-ego-my art' is
completely an obstacle to the essence of performance. A performance
should be like a musical score - like Mozart, subject to
interperetation and it can be performend as you want. I want to
promote this idea at the ICA's 50th Anniversary next year and to do a
performance based on the performances of the 70s - a historical view
of 6 pieces - 5 by other artists I like and the last my own. I am
interesting in reperforming Chris Burden's work on Crucifixion with
gold nails. I really want to do this with the permission of the
artists because I want to honour their work and how it was with my
interpretation. I hope that this will open up the idea of performance
as a free concept and demystify the 70s. Instead of the photo and all
this projection on events where you were not there. I want to perform
in this series, three I did not see - one from each continent. I
actually want to do these performances. I think it would be
interesting to have a woman on the cross in Burden's crucifixion.

(did she do ever do it?)    and

http://www.vanabbemuseum.nl/archief/1997/972-1_en.html
When Abramovic and Ulay decided to work together, after each doing
several performances separately, their individual quests for identity
merged. Two persons working as one artist. This working in dualitys
can be compared with the antitheses found in Eastern thought and
classical philosophy. There the poles are usually quite concretely
formulated: light - dark, positive - negative, silence - sound,
motionless - motion, calm - energy. Ulay and Abramovic often employed
these ancient concepts in their work. The first performances were
very physical. In 'Expansion in space', performed in Kassel during
the 1977 Documenta, they moved a heavy column bit by bit by bumping
into it with their bodies. In 'Light/Dark' dating from the same year
they slapped each other in the face until one of them stopped.
Enduring such protracted physical pain was a part of their work.



yesyesyes
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