Marina Abramovic: The Artist is Present
Matthew Akers
Dogwoof
In what is ostensibly a record of the queen of alternative performance art鈥檚 2010 retrospective at New York鈥檚 Museum of Modern Art, Matthew Akers actually delivers a living portrait of Marina Abramovi膰, one of the most radical, provocative, uncompromising and extreme figures of the last 40 years.
Capturing on film the third act of a remarkable life, and revealing Abramovi膰 to be a magnificently alluring Pied Piper, Akers presents her recent work as a 1960s-style 鈥渉appening鈥 in which three-quarters of a million people connect with her as she reconnects with her past. This is Abramovi膰 laid bare 鈥 literally. Akers is a witness to her trademark courageous approach to the art of physicality, which is seen evolving over the decades as she moves into theatrics.
The film鈥檚 heart-in-the-mouth moment is the wondrous reunion of Abramovi膰 with former collaborator and lover, Ulay. Her silent tears, like the crowd鈥檚 warm applause, are genuine. Here Abramovi膰 becomes the beating heart of her own show. ‘Twas ever thus.
Tony Earnshaw