Arquivo da tag: performance

MARINA ABRAMOVIC e seu manifesto

 

 

Marina Abramovic. An artist’s life Manifesto

 

 

1. An artist’s conduct in his life:

 

– An artist should not lie to himself or others

– An artist should not steal ideas from other artists

– An artist should not compromise for themselves or in regards to the art market

– An artist should not kill other human beings

– An artist should not make themselves into an idol

– An artist should not make themselves into an idol

– An artist should not make themselves into an idol

 

 

2. An artist’s relation to his love life:

 

– An artist should avoid falling in love with another artist

– An artist should avoid falling in love with another artist

– An artist should avoid falling in love with another artist

 

 

3. An artist’s relation to the erotic:

 

– An artist should develop an erotic point of view on the world

– An artist should be erotic

– An artist should be erotic

– An artist should be erotic

 

 

4. An artist’s relation to suffering:

 

– An artist should suffer

– From the suffering comes the best work

– Suffering brings transformation

– Through the suffering an artist transcends their spirit

– Through the suffering an artist transcends their spirit

– Through the suffering an artist transcends their spirit

 

 

5. An artist’s relation to depression:

 

– An artist should not be depressed

– Depression is a disease and should be cured

– Depression is not productive for an artist

– Depression is not productive for an artist

– Depression is not productive for an artist

 

 

6. An artist’s relation to suicide:

 

– Suicide is a crime against life

– An artist should not commit suicide

– An artist should not commit suicide

– An artist should not commit suicide

 

 

7. An artist’s relation to inspiration:

 

– An artist should look deep inside themselves for inspiration

– The deeper they look inside themselves, the more universal they become

– The artist is universe

– The artist is universe

– The artist is universe

 

 

8. An artist’s relation to self-control:

 

– The artist should not have self-control about his life

– The artist should have total self-control about his work

– The artist should not have self-control about his life

– The artist should have total self-control about his work

 

 

9. An artist’s relation with transparency:

 

– The artist should give and receive at the same time

– Transparency means receptive

– Transparency means to give

– Transparency means to receive

– Transparency means receptive

– Transparency means to give

– Transparency means to receive

– Transparency means receptive

– Transparency means to give

– Transparency means to receive

 

 

10. An artist’s relation to symbols:

 

– An artist creates his own symbols

– Symbols are an artist’s language

– The language must then be translated

– Sometimes it is difficult to find the key

– Sometimes it is difficult to find the key

– Sometimes it is difficult to find the key

 

 

11. An artist’s relation to silence:

 

– An artist has to understand silence

– An artist has to create a space for silence to enter his work

– Silence is like an island in the middle of a turbulent ocean

– Silence is like an island in the middle of a turbulent ocean

– Silence is like an island in the middle of a turbulent ocean

 

 

12. An artist’s relation to solitude:

 

 

– An artist must make time for the long periods of solitude

– Solitude is extremely important

– Away from home

– Away from the studio

– Away from family

– Away from friends

– An artist should stay for long periods of time at waterfalls

– An artist should stay for long periods of time at exploding volcanoes

– An artist should stay for long periods of time looking at the fast running rivers

– An artist should stay for long periods of time looking at the horizon where the ocean and sky meet

– An artist should stay for long periods of time looking at the stars in the night sky

 

 

13. An artist’s conduct in relation to work:

 

– An artist should avoid going to the studio every day

– An artist should not treat his work schedule as a bank employee does

– An artist should explore life and work only when an idea comes to him in a dream or during the day as a vision that arises as a surprise

– An artist should not repeat himself

– An artist should not overproduce

– An artist should avoid his own art pollution

– An artist should avoid his own art pollution

– An artist should avoid his own art pollution

 

 

14. An artist’s possessions:

 

– Buddhist monks advise that it is best to have nine possessions in their life:

 

1 robe for the summer, 1 robe for the winter, 1 pair of shoes,

1 begging bowl for food, 1 mosquito net, 1 prayer book, 1 umbrella,

1 mat to sleep on, 1 pair of glasses if needed

 

– An artist should decide for himself the minimum personal possessions they should have

– An artist should have more and more of less and less

– An artist should have more and more of less and less

– An artist should have more and more of less and less

 

 

15. A list of an artist’s friends:

 

 

– An artist should have friends that lift their spirits

– An artist should have friends that lift their spirits

– An artist should have friends that lift their spirits

 

 

16. A list of an artist’s enemies:

 

 

– Enemies are very important

– The Dalai Lama has said that it is easy to have compassion with friends but much more difficult to have compassion with enemies

– An artist has to learn to forgive

– An artist has to learn to forgive

– An artist has to learn to forgive

 

 

17. Different death scenarios:

 

 

– An artist has to be aware of his own mortality

– For an artist, it is not only important how he lives his life but also how he dies

– An artist should look at the symbols of his work for the signs of different death scenarios

– An artist should die consciously without fear

– An artist should die consciously without fear

– An artist should die consciously without fear

 

 

18. Different funeral scenarios:

 

– An artist should give instructions before the funeral so that everything is done the way he wants it

– The funeral is the artist’s last art piece before leaving

– The funeral is the artist’s last art piece before leaving

–The funeral is the artist’s last art piece before leaving

Meu tico-tico no fubá, por Regina Muller

A antropóloga Regina Muller descreve a diversidade de papéis que ocupa num único dia e conta como integrou antropologia e arte.

Meu tico-tico no fubá

Antropóloga Regina Muller

De manhã,  o “suco verde”, ensinado pela filha adepta da “alimentação viva”, uma ação saudável para iniciar o dia de trabalho intenso.

O primeiro turno é dedicado a uma reunião no Napedra- Núcleo de Antropologia, Performance e Drama, da USP, do qual  é coordenadora.Tenta, de maneira mais
intensa do que foi em toda sua carreira na universidade, aliar pesquisa e ensino em Antropologia ao desejo de fazer arte, em performance. No mestrado, até tentou. Deixou a formação acadêmica entrou para os  Dzi Croquettes ( como uma Dzi Croquetta), mas voltou e defendeu mestrado sobre a pintura corporal dos índios Xavante. Sempre arte e antropologia .Com os Asuriní, também foi isso -arte, xamanismo e cosmologia. No Napedra, está organizando um encontro internacional de antropologia da performance e à noite desse dia, com um bom vinho e amigos, estará cuidando da sua própria participação.  À tarde, outro assunto:  reunião sobre  Belo Monte, a usina  no rio Xingu que afeta povos indigenas, dentre

eles, os Asuriní do Xingu, a quem vem dedicando grande parte de sua vida como antropóloga. Terminada a
reunião, segue  ao encontro  do seu “agente promotor”, como denominou o amigo Alberto Camarero, companheiro desde sempre das investidas na performance artística, e João Cláudio, o cineasta que compõe a equipe de seu atual trabalho:  filme e performance ao vivo, inspirada em Carmen Miranda, seu modelo, ícone e inspiração.

Hoje prepara sob a direção de Alberto, a performance que apresentará no Encontro Internacional. Ao lado de mesas com convidados nacionais e internacionais na área da Antropologia, há uma programação de performances e é nesta que se inseriu, culminando sua trajetória de ter saído da USP graduada em Ciências Sociais e chegado à mesma USP, como atriz pesquisadora performática.

Desistiu de se cobrar escolher um ou outro universo e segue se dividindo, multiplicando, somando, rizomando…

 

Regina Müller, doutora em Antropologia pela Universidade de São Paulo, com pós-doutoramento no departamento de Performance Studies/New York University e livre-docente em Antropologia da Dança pela Universidade Estadual de Campinas, onde é professora no Departamento de Artes
Corporais do Instituto de Artes. Coordenadora associada do Napedra-Núcleo de Antropologia, Performance e Drama/Universidade de São Paulo/Unicamp. Desde os anos 70, realiza performances inspiradas em mulheres artistas performáticas como Frida Kahlo, Gilda de Campinas e Carmen Miranda.

Autora do livro“Os Asuriní do Xingu: história e arte” , co-organizadora do livro
“Performance, arte e antropologia” e de vários capítulos de livro e
artigos sobre xamanismo, ritual indígena e performance artística.