21 posts tagged "Marina Abramovic"
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.
Comme Des Garçons Gets To Work, Marina Abramović Stages Her Own Demise, Mourning Becomes Accessories, And More…-------
Comme des Garçons is having a Rosie the Riveter moment right now, thanks to their new collaboration with French uniform maker Bleu de Paname. The collection, available for pre-order now, is just for women at the moment, but a menswear collaboration is reportedly on its way for Spring 2012. [Hint]
Now you can get your vintage at Target. On Sunday, the brand is set to launch a Vintage Varsity collection of 90 items for men, women, children, and juniors, inspired by “timeless” locations like the Hamilton Wood Type & Printing Museum in Two Rivers, Wis. [WWD]
As for bizarre trends, mortality seems to be a fashionable subject these days. First Daphne Guinness is “laid in state”, and now performance artist Marina Abramović is attending her own funeral in The Life and Death of Marina Abramović. Before the show’s Manchester Festival debut, Nowness gets a sneak peak at her new production. [Nowness]
And speaking of death, no reason not to accessorize the inevitable. T stumbles upon a Red Hook, Brooklyn, shop that carries a selection of Victorian mourning jewelry—much of it braided with the dead beloved’s hair. [T]
The Webster co-founder Laure Heriard Dubreuil and her boyfriend, artist Aaron Young, hit Venice this week for the legendary Biennale di Venezia. For those farther than a vaporetto away from the action, she’s sending back updates on the sights and the sounds (and a few parties, too).
Today, Aaron and I went to the opening at the Palazzo Grassi, the art-filled manse owned by the Pinault family. I met Shala Monroque in front of Joana Vasconcelos’ sculpture Contamination, a patchwork sprawl of brightly colored forms that invades every nook and cranny of the Palazzo (above). Contamination is huge, and it’s growing—Vasconcelos uses materials she either makes or finds, and she adds new elements each time she installs it. It really spreads like a virus, taking over the whole Palazzo. She makes a strong case for so-called “female” crafts like sewing, knitting, and crocheting being valid means of artistic expression—not just artisan craftwork.
Later, I stopped in at the shop of my favorite Venetian jewelry designer, Antonia Miletto, who is doing little cocktail parties every day to offer some festival relief. Couldn’t resist trying a few pieces on. I loved her thick chain ring in sterling silver with a tiny peridot (left), as well as diamond-encrusted bracelets in yellow gold and skull pendants in gold and sapphire—very Venetian.
After dinner with friends—where I discovered a new (but very old in Venice) drink, the Sgroppino, vodka with Prosecco and lemon sorbet!—we headed to the Maurizio Cattelan party for his magazine, Toilet Paper, at the military fortress San Sereolo. Everybody was wondering if Maurizio is going to continue working after his joke that he’d quit—but it doesn’t seem to be true. He installed a series of sculptures called Tourists all around the city—they’re pigeons, just like the real ones that wander all through Venice (below). Continue Reading “Postcard From Venice: Laure Heriard Dubreuil Reports From The Biennale” »