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Obras
Marina Abramovic
97 Pisama / 97 Letters, 2008Cartas datilografadas sobre papel | Typed letters on paper207,9 x 336 cm / 29,7 x 21 cm cada
82.55 x 132.28 in / 11.69 x 8.26 in eachEd 1/3Further images
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It has been over forty years since the first performance of Serbian Artist Marina Abramovic, in 1973. Known worldwide for an art that investigates the limits of body and the...It has been over forty years since the first performance of Serbian Artist Marina Abramovic, in 1973. Known worldwide for an art that investigates the limits of body and the relationship with the public, in Brazil the artist carried on the research on the potentials of mind, body and spirit, through the connection with nature and the sacredness. Since her first visit to the country, in 1989, Abramovic went through many regions to investigate the power of crystals, healing places and rituals, in addition to religious syncretism. This interest in spirituality in Brazil culminated in the “Places of Power” (2012-2013) project, which brought together a series of works, such as photographs, videos and a documentary, released in several countries around the globe.
Literature
SOBRE ENVIAR E RECEBER CARTAS
Desde muito nova, até meus trinta e poucos anos, eu tinha sérias dificuldades em abrir e ler as cartas que recebia. As cartas ficavam sobre minha mesa durante semanas até que reunisse coragem para abri-las, e durante este tempo minha sensação de culpa só crescia.
Na maior parte das vezes, quando eu finalmente abria as cartas, já era tarde demais para respondê-las, e minha sensação de culpa piorava ainda mais.
Eu guardei todas as cartas, desde os primeiros bilhetes recebidos de minha mãe, em 1965, até o momento em que deixei Belgrado para sempre, em 1979. Decidi escrever cronologicamente a primeira frase de cada uma dessas cartas, sem anotar o nome dos remetentes. Quando acabei, fiquei espantada ao perceber como era possível traçar minha vida inteira apenas pela leitura do texto criado por estas primeiras frases.
Mais tarde, soube que Marcel Duchamp, ao receber uma carta, abria, respondia e imediatamente queimava a carta que havia recebido.
Jean Tinguely nunca abria ou respondia nenhuma carta, e todo Natal fazia um ritual de queimar envelopes fechados, que às vezes incluíam informações importantes e até cheques. M. A.
ALL ABOUT SENDING AND RECEIVING LETTERS
Since I was very young, until my early thirties, I had serious problems in opening and reading any letters I received. Letters would stay on my table for weeks before I found the courage to open them, and during this time my sense of guilt would grow and grow.
Most of the time, when I finally opened the letters, it was too late to answer them and my sense of guilt was worse than ever.
I kept every single letter, from the first notes received from my mother, in 1965, up to the time I left Belgrade for ever in 1979. I decided to chronologically write down the first sentence from all of these letters, without noting the name of the senders. When finished, I was astonished to see how it was possible to trace all my life just by reading the text created by all these first lines.
Later I heard that Marcel Duchamp, on receiving a letter, opened, answered, and immediately burnt the letter he’d received.
Jean Tinguely never opened or answered any letter, and every Christmas he made a ritual of burning unopened envelopes, which sometimes included important information and even checks.
M.A.
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