Visitors Forced To Squeeze Through Nude Models For New Marina Abramović Art Exhibition

Marina Abramović, a renowned Serbian performance artist who is popular among celebrities, recently unveiled an exhibition at the Royal Academy, marking a notable first in the Academy's 255-year history. She is the first female artist to hold a solo exhibition in the principal galleries of the Royal Academy. This exhibition serves as a retrospective of Abramović’s illustrious, half-century career, chronicling her journey from her early performances in the '70s and '80s to her current conceptual installations.

Visitors Forced To Squeeze Through Nude Models To Enter New Marina Abramovic Art Exhibition

A notable feature of the exhibition is an installation where visitors can choose to enter by squeezing between two nude models, recreating Abramović's and her then-partner Ulay's 1977 piece. The installation is meant to be symbolic of a confrontation with nakedness, gender, sexuality, and desire. There’s an alternative entry for visitors uncomfortable with the initial proposition. Some reviews, like those from The Times and The Telegraph, emphasized a perceived decline in the provocative and visceral quality of Abramović's later works, citing them as more sanitized and narcissistic. Other critics discussed the challenges of presenting performance art, especially those involving rigorous, endurance-testing acts from Abramović’s earlier years, in a retrospective format. They also noted that having younger artists reperforming Abramović’s pieces due to her age made the presentations seem more self-conscious and under strain, contrasting sharply with Abramović’s original fearless demeanor.

Despite such criticisms, there were positive appreciations as well. The Guardian described the exhibition as "vital," focusing on the strength of her art and her enduring spirit. The presentation of her previous works through photographs and films was praised for its staging, complementing the live pieces from different phases of Abramović’s career. Ben Luke of the Evening Standard found the display exemplary, appreciating the pacing and how well the large galleries of the Royal Academy accommodated Abramović’s mostly ephemeral work.

This retrospective also casts light on Abramović's evolution as an artist. While her early performances with Ulay were radical and conveyed urgent commentaries on gender roles and relationships, later works, according to some critics, lack the raw, blood-spattered toughness and risk. This shift in approach has sparked debates over the essence and impact of Abramović's body of work. However, the reflective and confronting nature of her work still garners attention and evokes reactions, showing her sustained relevance in the contemporary art scene.

The mixed reviews are indicative of the subjective and diverse interpretations and expectations of performance art. Abramović’s earlier works, which were more corporeal and endurance-focused and contrasted with her subsequent explorations into the mind, have resulted in divided opinions on the authenticity and impact of her recent creations. Despite these contrasting perspectives, Abramović remains a figure of influence and admiration in the art community, with her retrospective serving as a testament to her ongoing commitment to pushing boundaries.

However, throughout all the criticism and praise for the exhibition, it seems as though journalists are completely ignoring the fact that people are pressured into rubbing themselves against two naked people in order to even see the exhibit. That's likely because this is considered quite tame for Abramovic, who has a long history of creating disturbing, even Satanic, art that is meant to make you feel uncomfortable, frightened, and even disgusted. Compared to what she has done before, having someone's genitals rub up against you seems pretty boring.

Marina Abramović Has a History of Creating Disturbing Art

Abramović, a 76-year-old Serbian, has collaborated with high-profile names, like Lady Gaga, and has had connections with political figures like John Podesta. Abramović's work has been criticized and analyzed by many, as some perceive occult, Satanic, and disturbing themes in her creations. A notable example is her 2014 Ukrainian Vogue cover, featuring her in ominous and imposing postures, leading to interpretations related to the occult and sinister depictions. The striking imagery, such as her holding a bloody, skinned goat head, is interpreted by some as a representation of drawing magical power from Baphomet, a figure in the Satanic Church.

This controversial visual theme extends to other photographs involving portrayals of dead bodies, with Abramović making hand signs allegedly related to occultism, further fueling discussions about the unsettling and creepy aura of her artistry. Abramović's relationship with the fashion world, with her appearances in Harper's Bazaar Art, Elle Magazine, and Vogue, draws attention to the acceptance and celebration of her controversial aesthetic in mainstream fashion.

Abramović's affiliations extend beyond the art and fashion spheres into the realms of politics and entertainment. Leaked emails revealed her correspondence with John Podesta, unveiling invitations to a “Spirit Cooking” dinner, a concept associated with the practices within the religion of Thelema, founded by Aleister Crowley. The ritual involves using bodily fluids in a performance, perceived as an occult practice by many.

Abramović's extensive connections, including her relationships with Lady Gaga and notable political figures, underscore her influence and reach within different industries. Her continuous presence in these circles invites questions about the acceptance and normalization of her controversial themes and her seeming fascination with the occult, Satanism, and disturbing imagery.

Her performance art pieces, such as the one in 2005 involving self-harm and exposure to extreme conditions, add another layer to her controversial image. The art piece’s description entailed self-infliction of pain, symbolic representations, and reliance on the audience’s interaction to conclude the performance, illustrating her willingness to push boundaries, physically and mentally. These performances are praised by publications like the New Yorker but are also indicative of the extremes Abramović traverses in her explorations of art. This was a description in the show notes: "I slowly eat 1 kilo of honey with a silver spoon. I slowly drink 1 liter of wine out of a crystal glass. I break the glass with my right hand. I cut a five-pointed star on my stomach with a razor blade. I violently whip myself until I no longer feel any pain. I lay down on a cross made of ice blocks. The heat of a suspended heater pointed at my stomach causes the cut star to bleed. The rest of my body begins to freeze. I remain on the ice cross for 30 minutes until the public interrupts the piece by removing the ice blocks from underneath me."

The discussions about Abramović are not limited to her artistic endeavors; they also encompass her active involvement and influence within political circles. A revelation about her presence on the U.S. Department of State payroll and the descriptive biography on the Art in Embassies section of the department's website highlight her acknowledged status and contribution to performance art. Her depiction as a pioneer in using her body as "subject, object, and medium" underscores the recognition and legitimization of her work at official levels.

These intersections of high fashion, political realms, and the artist’s exploration of disturbing and controversial themes prompt questions about the societal and institutional acceptance of such works. While Abramović’s endeavors in exploring the limitations of body and mind are celebrated in some circles as pioneering, her imagery, relationships, and the themes of her work induce scrutiny and debates about the underlying meanings and the consequences of her influence.

Abramović’s multi-faceted relationships and her perceived role in intertwining the realms of art, politics, and fashion denote a larger conversation about the boundaries of artistic expression, the interpretations of her work, and the reasons behind her widespread acceptance within such diverse and influential circles. The controversies and discussions surrounding Abramović’s work and connections are emblematic of the ongoing dialogue about the role of art in society, the exploration of taboo themes, and the boundaries between artistic expression and societal norms.

Support our cause and help women reclaim their femininity by subscribing today.