Renowned Serbian performance artist Marina Abramović, known for pushing the boundaries of art and human experience, is urging audiences to unplug and reconnect with themselves in a world dominated by technology. A major retrospective of Abramović’s 55-year career is currently on display at the Kunsthaus Zurich,featuring a thought-provoking installation titled ”Decompression Chamber.”
in this immersive experience, visitors are invited to shed the shackles of their digital devices, silencing their phones and watches. Donning noise-canceling headphones,they are then guided to lie down on agreeable deck chairs,allowing themselves to drift into a state of relaxation and mindfulness. The goal, Abramović explains, is to encourage a profound disconnection from the external world and a reconnection with one’s inner self.
“This decompression chamber is my response to the overuse of technology,” abramović shared in an email to AFP. “It allows visitors to get in touch with what is happening here and now,and to go inside themselves.”
She further elaborated, “It’s an opportunity to detach yourself from what’s external and connect with what’s internal. In a world where people ‘take photos with their phones before they’ve even done the experience of the work they are seeing,’ this installation offers a powerful antidote to the constant barrage of digital stimulation.”
Abramović’s call for mindful disengagement extends beyond the gallery walls. Earlier this year, at the Glastonbury rock festival in england, she led a silent meditation, urging the massive crowd to pause for seven minutes and reflect on the state of the world. Standing on stage in a white dress shaped like a peace sign, Abramović embodied a powerful message of peace and introspection amidst the festival’s energetic atmosphere.
Abramović’s “Decompression Chamber” serves as a timely reminder in our hyper-connected world to prioritize inner peace and presence. By encouraging us to unplug and reconnect with ourselves, she invites us to experience art and life with renewed depth and meaning.
Marina Abramović, the renowned Serbian performance artist, is captivating audiences at the Kunsthaus Zürich with a powerful exhibition that explores the profound impact of silence. This latest collection stands in stark contrast to some of her earlier, more provocative works, several of which are also on display. Visitors can witness videos of Abramović’s past performances, where she pushed her physical and emotional limits to their extremes. In one particularly jarring piece, she screams until exhaustion sets in.In another, she endures hours of self-flagellation, completely nude. “We see the artist screaming to the point of exhaustion, flogging herself for hours completely naked or frantically washing a pile of bloody cattle bones to illustrate the horror of the war of the 1990s in the former Yugoslavia,” the Kunsthaus notes. Abramović’s work has always been known for its intensity and its willingness to confront viewers with uncomfortable truths. Her performances ofen delve into the darkest recesses of the human psyche,challenging both the artist and the audience. The exhibition highlights Abramović’s groundbreaking 1974 performance, “Rhythm 0,” which catapulted her to international fame.In this piece,she invited the public to interact with her body using 72 objects,ranging from feathers to a loaded gun. “She invited the public to do absolutely whatever they wanted with her, with 72 objects available,” the kunsthaus explains. “Called ‘rhythm 0’,the experience had degenerated,the public ending up increasing the abuse against the artist. One man went so far as to grab a gun, load it and try to force…” The Kunsthaus Zürich exhibition offers a compelling journey through Abramović’s career, showcasing both the evolution of her artistic vision and the enduring power of her work.The Museum of Modern Art (MoMA) in New York City is currently hosting a provocative retrospective of the work of renowned performance artist Marina Abramović. The exhibition, titled “Marina Abramović: The Cleaner,” runs until February 26, 2025, and offers a extensive look at the artist’s groundbreaking career.
One of the exhibition’s most striking elements is a recreation of Abramović’s iconic 1974 performance piece,”Rhythm 0.” Visitors encounter a table laden with 72 objects,ranging from seemingly innocuous items like a rose and a feather to more unsettling tools such as an axe,saw,and knives. Abramović herself originally invited audience members to use these objects on her body, exploring themes of trust, vulnerability, and the limits of human interaction.
The exhibition also features a selection of Abramović’s video recordings and live performances, providing a multifaceted exploration of her artistic vision. Though, MoMA warns visitors that the exhibition contains potentially disturbing scenes.
To enter the exhibition, visitors must first navigate a narrow passage between a naked man and woman, a jarring experience that instantly sets the tone for the challenging and thought-provoking journey ahead.
“It’s very challenging, but I’m glad to have seen it,” shared Winfried Knust, a 61-year-old visitor. “It opens the mind and asks questions about what we define as art,” he told AFP.
However, not all visitors found the experience equally compelling. “It’s too much for me,” admitted Lilo Mühlemann, a 74-year-old retiree. “She is a engaging woman, but currently there is already so much violence in this world that I need more harmonious things,” she confessed.
Mirjam Varadinis, the exhibition’s curator, acknowledged the diverse range of reactions. “The reactions are very varied,” she noted.
Abramović’s work has long been known for its intensity and its exploration of the boundaries of art and human experience. “Marina Abramović: The Cleaner” offers a rare opportunity to engage with her powerful and frequently enough controversial vision.
A new exhibition at the Musée d’Orsay in Paris is captivating audiences with its immersive exploration of the artist’s world. Curator Cécile Varadinis describes the experience as “unique,” stating that it’s not simply a passive viewing but rather a journey that evokes powerful emotions.
“It is not an exhibition that passes without leaving a trace, it creates strong emotions,” Varadinis explained to AFP. She noted that museum guards have observed a noticeable shift in visitors’ expressions as they move through the exhibition.
“The museum guards told me that people don’t have the same expression on their faces when they enter and leave the exhibition.”
The exhibition promises a profound and unforgettable encounter with the artist’s work, leaving a lasting impression on all who experience it.
Published on December 8 at 2:46 p.m. by AFP
## Unplugged and Present: An Interview with Marina Abramović
**World Today News:** Marina Abramović, your latest exhibition at the Kunsthaus Zürich is generating a lot of buzz. This exploration of silence and introspection seems like a departure from some of your earlier,more confrontational works. Can you elaborate on this shift in focus?
**Marina Abramović:** My art has always been about pushing boundaries – both my own and those of the audience. While my earlier works explored the extremes of the physical and emotional, this exhibition dives into a quieter, perhaps more profound realm – the stillness within. In a world saturated with noise and distraction,silence holds a unique power. Its a space for reflection, for reconnection with ourselves and the present moment.
**World Today News:** Your ”Decompression Chamber” installation, where visitors fully detach from technology, is a particularly powerful example of this concept. What inspired this immersive experience?
**Marina Abramović:** This chamber is my direct response to the constant barrage of digital stimulation we face today. People are so connected to their devices that they’ve lost touch with their own inner landscapes. By offering a space to unplug and simply *be,*
I hope to remind us of the richness and depth that lie within.
**World Today News:** You’ve incorporated elements of mindfulness and meditation into your work, even leading a silent meditation at Glastonbury Festival. Can you speak to the importance of these practices in today’s world?
**Marina Abramović:** In a world filled with chaos and uncertainty,mindfulness and meditation offer a crucial anchor. they allow us to find stillness amidst the storm, to cultivate presence and awareness. this inner peace isn’t selfish; it enables us to engage with the world around us more skillfully and compassionately.
**World Today News:** Looking back on your career,which spans over five decades,what are some of the recurring themes that emerge?
**Marina Abramović:** The human form,the nature of experience,the limits of perception – these are themes that have consistently driven my work. I’ve always been fascinated by the potential of the body as an instrument of expression, and by the transformative power of art to challenge assumptions and expand consciousness.
**World Today News:** Your work hasn’t always been universally embraced. “Rhythm 0,” in which you invited the public to interact with your body using a range of objects, sparked both captivation and controversy.
**Marina Abramović:** Art should provoke, it should challenge. “Rhythm 0″ was about exploring boundaries, both physical and societal – it was a surrender to the unknown, a profound experiment in trust and vulnerability. The reactions it evoked shed light on the complex relationship we have with power, control, and the human body.
**World Today News:** Your career is testament to your unwavering dedication to pushing artistic boundaries. What advice would you give to emerging artists today?
**Marina Abramović:** Be fearless in your exploration. Don’t be afraid to challenge norms, to embrace discomfort. Remember that art is not always meant to be
pleasing; it’s meant to provoke thought, to ignite emotions, to make us question the world around us. And most importantly, listen to your own inner voice.
**World Today News:** Thank you, Marina Abramović, for sharing your insights with us.
**Marina Abramović:** It has been my pleasure.
