Marina Abramović on the Enduring Power of Photography in Performance Art at Foam Fotografiemuseum Amsterdam
A recent conversation with renowned performance artist Marina Abramović, featured in Foam Magazine, delves into her profound relationship with photography and its critical role in preserving her ephemeral works. Conducted by Foam Magazine's Managing Editor Katy Hundertmark, the interview explores how the camera acts as both a collaborator and a vital documentarian in her half-century-long career.
Abramović recalls an earlier period when the prevailing artistic view discouraged recording performance art, deeming it an immaterial form meant to exist only in the moment. However, she quickly recognized the limitations of this approach. With only a small audience witnessing her performances, the experiences were at risk of being lost to memory. This realization spurred her to begin documenting her work, dedicating the same meticulous attention to the preservation process as to the art itself.
Capturing Performance: The Artist's Controlled Vision
From the 1970s, Abramović began to consider the future perception of her work, making her one of the few artists from that era to possess extensive documentation. Her approach to filming and photography is highly controlled, with the artist conceptualizing how the camera should function during a piece. She views the camera not just as a recording device, but as an integral part of the performance, sometimes even imagining it as her audience. This precise direction ensures the photographic and video records maintain the integrity of the original artistic intent.
For works like a performance involving a comb in her hair in 1975, or a piece planned over 17 hours where each hour yields an image, the documentation is deeply embedded in the concept. This collaboration between performance and camera allows a wider audience to engage with her pieces, extending their lifespan beyond the immediate moment.
Social Reflection in Art: Marina Abramović's Perspective
Abramović's work often challenges audiences by holding up a mirror to societal behaviors and human nature. In her iconic piece, Rhythm 0, she stood passively, offering objects including a pistol and a bullet, allowing the audience to interact with her body as they wished. She notes that women, historically, tended not to harm or protect her but sometimes offered comfort, while men exhibited more aggression. This, she believes, was an accurate reflection of society at the time.
The interview also highlights how photography can capture the "stillness" inherent in some of her performances. In moments where nothing explicitly "happens," the photograph freezes that profound quiet, allowing viewers to perceive the tension and presence. This interplay demonstrates how photography can simultaneously document an event and embody its core artistic statement.
This insightful discussion with Marina Abramović provides valuable context for understanding her influential work. The full interview is available in Foam Magazine 67, titled Test of Time, published in 2025. You can order FM#67 to read more.
To discover more about exhibitions and events at Foam Fotografiemuseum Amsterdam and other cultural institutions, explore Musemap (musemap.art). You can browse other museums in Amsterdam or search for more cultural stories that shape the city's vibrant scene.
