19 posts tagged "Marina Abramovic"
It’s friends and family at Givenchy this season. For the Spring ’13 campaign, shot by Mert & Marcus and styled by Carine Roitfeld and Katy England, Riccardo Tisci got intimate. “They are the people I love and who love me. It’s about family,” he said in a statement. “Something that is difficult to find in today’s world.” The Givenchy family (and now campaign) includes Kate Moss and Marina Abramović, among others, but it also includes a flesh-and-blood mini-family of its own: longtime Tisci muse Mariacarla Boscono and her own baby daughter, Marialucas. “When I look at this photo, I feel blessed with all the magic that surrounds me—my loves, my affections,” Boscono told Style.com. “Something very strong that embraces the love I feel for my daughter, so special and overwhelming that words would not be enough…and the concept of family that ties my soul with that of Riccardo, which stands in my life as something very, very special.” The campaign shot at left debuts exclusively on Style.com. A behind-the-scenes video debuts below. Continue Reading “The Holy Mother And Child—Mariacarla Edition” »
“There comes a moment in every artist’s life when it is important to ask, what is going to be my legacy,” said Marina Abramovic this morning. She announced one answer to her own question at a private presentation and breakfast: with plans for her namesake institute in Hudson, New York, slated to open in 2014. Despite being early Monday morning, post-Frieze, a crowd of art-philes—including gallerist Serge Le Borgne, architect Shohei Shigematsu, and Milan city councilor Stefano Boeri—assembled inside the Performance Dome at MoMA PS1 for a first glimpse at the long-anticipated Marina Abramovic Institute, dedicated to the preservation of performance art.
After espresso and quiche, MoMA chief curator at large Klaus Biesenbach introduced Abramovic, who described the mission of the institute. “After my three-month performance at MoMA, I realized that only long-duration works have serious potential to change the viewer, because there is no division between normal daily activity and performance,” she explained. “I wanted to create a laboratory where the public can learn how to view performance work in a comfortable, no-stress space.” Helmed by architect Rem Koolhaas, the former cinema-turned-tennis club will feature a theater with surrounding classrooms, a library, and a gym as well as crystal chambers and “levitation rooms” for viewers to “regenerate.” According to Abramovic, visitors will be asked to sign contracts, giving their “word of honor” that they will stay for at least two and a half hours in the exhibit, and wear lab coats with noise-canceling headphones to experience her long-duration oeuvres, which can last from six hours to a whopping 365 days. (Fret not—Abramovic is creating recliner-cum-wheelchair devices, in which guests can sleep and be rolled in and out of performances at their leisure, or they can retreat to nearby hotels, which she eventually hopes to build for the influx of visitors.) With a fundraising target of $8 million, Abramovic has certainly set her sights high. Her ultimate goal? “To become a brand like Coca Cola, but for hard-core performance art.”
The Life and Death of Marina Abramović, a new opera by Abramović and Robert Wilson, opened in Madrid this week. Also involved in the “autobiography-cum-eulogy” are Willem Dafoe, who’s the narrator, and Antony Hegarty, who co-wrote the score. [WSJ]
Jimmy Choo has a capsule collection in the works with contemporary artist Rob Pruitt. The footwear label’s creative directors, Sandra Choi and Simon Holloway, explain, “We were captivated by Pruitt’s energy, his computer screen use of colour and the festive exuberance of his prints and materials; there were elements in his work that reminded us in subtle ways of the Jimmy Choo design iconography.” [Vogue U.K.]
Hedi Slimane is the new YSL designer, but he has not put aside his photography projects just yet. Marilyn Manson is his latest subject, and Hintmag.com
Jean Paul Gaultier is confirmed to be designing Madonna’s costumes for her upcoming world tour. The two originally worked together on costumes for her iconic 1990 Blond Ambition tour. [Grazia Daily]
It takes a particular kind of person to stage not only their life, but also their death. But performance artist Marina Abramović is that special kind. She had already created her biography twice—first staged by herself, ten years ago, then by theater director Michael Laub—but for the third iteration of The Life and Death of Marina Abramovic, the artist put herself entirely in the hands of another artist: avant-garde legend Bob Wilson. Wilson accepted, and his The Life and Death of Marina Abramovic debuted in Manchester last year. To add yet another level of scrutiny to the process, Wilson invited photographer Tim Hailand to photograph a day in the creation of the piece, now published as One Day in the Life of Robert Wilson’s The Life and Death of Marina Abramovic. The piece had grown to include an original score, performed by musician Antony of Antony and the Johnsons, and starred Abramović herself along with Antony and Willem Dafoe. Last night, Abramović’s longtime friend Ennio Capasa of Costume National hosted a party for the book and introduced a related film installation by Giada Colagrande. To celebrate the occasions, Style.com spoke with Abramović about the process.
Tell me a little bit about the creation of The Life and Death of Marina Abramovic. How did you and Bob Wilson come together? Had you collaborated in the past? How did you work together?
I met Bob Wilson for the first time in 1971 in Belgrade. At that moment, I didn’t meet him personally but saw his play. It left a very strong impression on me. During the late seventies, I met him personally and we became friends. For me, Bob Wilson invented a new language of theater, introducing a new sense of time, and this is very connected to my work. When I was having the idea of making The Life and Death of Marina Abramovic, I asked him to direct it. He was the only person I had in mind. Working together was an exercise in giving up control. I gave him all of my material and just became a tool for him to work with.
Antony, I met six years ago when I saw him sing at Rufus Wainwright’s Carnegie Hall Christmas concert. It was a mesmerizing experience, and he was the only person I wanted to create the new music for this piece.
Were there moments from your own life that you particularly wanted to revisit for the performance? Any that you considered but chose not to?
No, it was all Bob’s choice and all his editing.
How does fashion play a role in your performances?
Fashion plays a big part of my private life, not at all in my performance. I don’t use designer clothes for my work—I make them myself, or they’re just very simple. In my private life it’s different.
I’ve heard that you recently purchased a house in New York with Riccardo Tisci. Is this correct? Will you both be spending more time in the city? Will you be collaborating at any point in the future?
I don’t want to speak about Riccardo’s plans without his permission, but he is a close friend, and we have already collaborated on a piece together in Visionaire, called “The Contract.” I think we will continue to inspire one another creatively far into the future.