≥ It manipulates the repetition and temporality[1]
≥ It keeps a relationship with body and architecture and performance and photography[2]
≥ It demonstrates that all understanding occurs through embodied acts of attendance, which occur in time and must be repeated.[3]
≥ Abramovic’s body becomes a metonym for the performances that she re-performed[4]
≥ It addresses duration, physical stamina, myth and intensive states of mind, such as attentiveness and focus[5]
≥ It is about re-performance , habits, ritual, deprivation, purification, privacy …[6]
≥ …and exhaustion[7]
[1] Santone, J. (2008) Marina Abramović’s Seven Easy Pieces: Critical Documentation Strategies for Preserving Art’s History. Leonardo. Vol. 41, No. 2, pp. 147–152 [2] ibid [3] Shalshon, L. (2013) Enduring Documents: Re-Documentation in Marina Abramović’s Seven Easy Pieces. Contemporary Theatre Review, London: Routledge, Vol. 23, No. 3, 432–441 [4] Powell, B.D. (2010) Seven Easy Pieces and Performance Document(ation)s. Theatre Annual 63. The College of William and Mary. pp 64-86 [5] Emerling, J. (2010). Marina Abramovic: The Artist Is Present: Museum of Modern Art, New York. X-tra: Contemporary Art Quarterly, Vol. 13, pp.26-35 [6] ibid [7] ibid
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