kabu'inema

[anna balint]

anna balint
€\14ü€\01€\06€\01€\18€\01€€\01€&€
anna balint
€\14ü€\01€\06€\01€\18€\01€€\01€&€

 anna balint <potemkin at freemail.hu> wrote:
>The interview with ULAY by Vladimir Bulat was published in ART-hoc magazine nr.18/december 2001.
>
>well done this real work.
>i don't know how exactly to advance....
>1001 greetings,
>anna
>


------- Start of forwarded message -------
From: Auriea Harvey <a at e8z.org>
To: syndicate at anart.no
Subject: Re: [syndicate] Valdimir Bulat: Interview with Ulay, Bucharest   2000
Date: 2/5/02 7:31:13 PM




   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 Œmy-ego-my art¹ 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 ICA¹s 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 Burden¹s 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 Burden¹s 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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-------- End of forwarded message --------