Artist Marina Abramovich has been the subject of much focus following her latest, crowd-pulling work at the Serpentine. 512 Hours represented a culmination of the life-long performance works of Abramovich, the pinnacle of her career that saw the art object disguarded and a simple set up of audience, time and three everyday ‘experiences’. The show pulled big crowds eager for the ‘experience’ but many who were new to Abramovich may have wondered how the artist came to this point. Thankfully the Lisson Gallery, who represents the artist in the UK, have a timely exhibition exploring her work, historically, and may hold the answer for anyone curious to know more.
The show will focus on her work in the 1970s, much of which has not been shown before. The exhibition’s title piece White Space, originally installed in the Student Cultural Centre in her hometown of Belgrade in 1972, has not been remade since its first showing. The show will also include two important sound pieces, previously unseen video documentation of seminal performances and a number of newly discovered photographs, all dating from 1971-1975.
Much of her work deals with time and the immaterial, what defines art and how we can experience higher plains, love and openness through art. While its clear Abramovich came up in the ranks alongside the feminist movement and fellow earth mothers such as Ana Mendietta, her work still bears a quiet power to still even the most cynical London minds. A great encore to shed some light on this fascinating artist. (Words: Laura Thornley)
On until 1 November. For more info visit: www.lissongallery.com/exhibitions/marina-abramovic-white-space