Please use this identifier to cite or link to this item: http://bura.brunel.ac.uk/handle/2438/16717
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dc.contributor.authorRichards, ME-
dc.coverage.spatialRoyal Holloway University, London-
dc.date.accessioned2018-08-14T10:22:46Z-
dc.date.available2014-09-03-
dc.date.available2018-08-14T10:22:46Z-
dc.date.issued2014-
dc.identifier.citation2014en_US
dc.identifier.urihttp://bura.brunel.ac.uk/handle/2438/16717-
dc.description.abstractFollowing the astounding spectator response Marina Abramović generated for her durational performance The Artist is Present (March-May 2010), performed as part of the large retrospective of her work at the Museum of Modern Art, New York; where the pilgrimage to sit with Abramović as part of that work appeared to elevate her status to something akin to a temporary media /quasi-religious superstar, Abramović will commence 512 Hours at the Serpentine Gallery. For 65 days, 8 hours a day, 6 days a week in June 2014, Abramović will “bring and do nothing” in this famous gallery in the heart of London . This paper will consider to what extent this is a new departure or a reiteration of the announcement she made some 40 years ago in Galleria Studio Morra, Naples “I am an object, you can do anything you want to do with me, I will take responsibility for 6 hours” as the now notorious Rhythm 0 (1974) commenced and audience members were allowed to directly engage with the artist through the 72 objects left at their disposal. I will consider the specifics of place, time and space that marked out this early performance work as a signature piece, before considering how this new work functions to place/misplace/displace the spectator and Abramović as artist. Moreover, I will further consider how 512 Hours reflects something of the wider shifts in perception and functioning of performance art/live art and participatory practice.en_US
dc.language.isoenen_US
dc.sourceTheatre and Performance Research Association (TaPRA)-
dc.sourceTheatre and Performance Research Association (TaPRA)-
dc.title“Bring and Do Nothing”: Abramović’s 512 Hours (2014) in the context of Rhythm 0 (1974)"en_US
dc.typeConference Paperen_US
pubs.finish-date2014-09-05-
pubs.finish-date2014-09-05-
pubs.publication-statusUnpublished-
pubs.start-date2014-09-03-
pubs.start-date2014-09-03-
Appears in Collections:Dept of Arts and Humanities Research Papers

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