Marina Abramović, the renowned Serbian performance artist, has revealed that a Museum of Modern Art curator warned her that "nobody has time" for what would become one of her most iconic performances. The artist disclosed this surprising behind-the-scenes detail during a recent interview on the Louis Theroux Podcast, shedding new light on the creation of "The Artist Is Present," her landmark 2010 performance that is now widely considered a career-defining moment.
According to Abramović, Klaus Biesenbach, who was then the director of MoMA PS1, expressed serious doubts about her ambitious performance concept during preparations for her 2010 MoMA retrospective. Biesenbach reportedly told her that the idea for "The Artist Is Present" was "totally ridiculous" and warned that "in New York, nobody has time to sit in this chair," referring to the chair where museum visitors would sit facing the artist.
Despite these initial concerns, the performance proved to be extraordinarily successful and drew unprecedented public engagement. Abramović sat silently in the museum's atrium for the entire duration of the exhibition, maintaining her position day after day for three months. More than 1,500 people took turns sitting across from her, creating intimate moments of connection and contemplation. The chair that Biesenbach had worried would remain empty was, according to Abramović, never vacant throughout the performance's run.
During the podcast interview, Abramović also shared her perspectives on the contemporary art market, drawing contrasts between her approach and that of other prominent artists like Damien Hirst. She emphasized that she has never created artwork with commercial considerations in mind, focusing instead on the artistic and emotional impact of her performances. However, she expressed admiration for Hirst's strategic use of market dynamics, praising his business acumen while maintaining her own different artistic philosophy.
The conversation also delved into Abramović's long-standing association with physical endurance and the role of pain in her artistic practice. She clarified a common misconception about her work, explaining that she does not actively seek out pain in her private life. Instead, her performances are designed to confront and challenge cultural fears surrounding pain and suffering. She described her role as serving as "a mirror for audiences," explaining that her message is: "if I can liberate myself from the fear of pain, you can do the same."
Abramović's recent activities demonstrate her continued relevance and innovation in the art world. Earlier this year, she appeared on The Artsy Podcast to discuss her venture into digital art through a new NFT project and her thoughts on maintaining mindfulness in the digital realm. Looking ahead, she has achieved another significant milestone: next year, she will become the first living woman artist to be featured in a solo exhibition at Venice's prestigious Gallerie dell'Accademia.
The upcoming Venice exhibition holds special significance as it is scheduled to coincide with Abramović's 80th birthday celebration. The show will feature several of her endurance-based performances, offering audiences the opportunity to experience the type of challenging, transformative art that has defined her decades-long career. This historic exhibition represents not only a personal achievement for the artist but also a recognition of her groundbreaking contributions to performance art and contemporary culture.
