Marina Abramovic and Pierre Huyghe
Marina Abramovic feels that expressing herself through her body gives her unlimited potential, as she explains when talking about painting clouds. A quick Google search of her name an article (https://bit.ly/2wHGvnb) discussing one of her other works. In this work, she stood motionless for six hours while allowing strangers to do anything they wanted, using a table of tools ranging from a rose to a loaded revolver. As she states in an interview, the actions of the strangers quickly turned violent, and by the end of it she had been stripped, photographed, tortured, and one person even cut her neck open and drank her blood. I was, naturally, shocked by reading this at first, but I realized that this proves her point that there truly are no limits on expression via the human body. When we view it as a work of art, it has many different contexts and feels somehow less real. Random strangers had no problem stabbing rose thorns into an innocent woman while she was in a performance, but as soon as it ended and she started moving, they all ran away from her. Once their horrible acts became "reanimated", they could not process what they had done.
Pierre Huyghe also pushes the limits of different mediums, breaking the "rules" of each medium in effective ways. The musical score that is meant to describe Huyghe's island fits perfectly with the geographic representation of it that is revealed at the end of the performance. With the combination of the bright, flashing lights and the score, the audience can gain an accurate vision of this island without ever actually seeing it. This is similar to Huyghe's experience of being told many stories about the island, but as he reveals, who knows if the island is real or just a myth? This is also shown by the doors that move and rotate on a track in his other exhibit. As Huyghe explains, this is meant to blur the line between reality and fiction. Huyghe's neon disclaimers point out the limitations of copyright and the inability to stop ideas from spreading, like trying to stop the doors from moving.
Pierre Huyghe also pushes the limits of different mediums, breaking the "rules" of each medium in effective ways. The musical score that is meant to describe Huyghe's island fits perfectly with the geographic representation of it that is revealed at the end of the performance. With the combination of the bright, flashing lights and the score, the audience can gain an accurate vision of this island without ever actually seeing it. This is similar to Huyghe's experience of being told many stories about the island, but as he reveals, who knows if the island is real or just a myth? This is also shown by the doors that move and rotate on a track in his other exhibit. As Huyghe explains, this is meant to blur the line between reality and fiction. Huyghe's neon disclaimers point out the limitations of copyright and the inability to stop ideas from spreading, like trying to stop the doors from moving.
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