Latest news with #conceptualArt
The Guardian
05-07-2025
- Entertainment
- The Guardian
My cultural awakening: a Marina Abramović show helped me to stop hating my abusive father
On an unseasonably warm day in October 2023, I arrived, ahead of the queues, at London's Southbank Centre for a conceptual art takeover by the world-famous Marina Abramović Institute. I had recently read Marina's memoir Walk Through Walls, which had resonated. So, when I'd seen the event advertised – hours-long performances by artists she'd invited, curated and introduced by Marina – I bought a £60 ticket and waited for my time slot to enter the Queen Elizabeth Hall. I hadn't seen performance art before, and this was due to include her well-known work The Artist Is Present with an artist sitting, static and silent, in a chair all day, as Marina once did for an accumulated 736 hours and 30 minutes at the Museum of Modern Art. I felt certain that it would affect me, I just wasn't sure how. It came at an interesting time in my life. I was raised in a fundamentalist Christian family, the daughter of a priest who was physically abusive. I'd been in therapy for years, but my experiences still affected me and I'd recently cut contact with my father with my family. So, when I entered the first room at the Southbank where Marina was to spoke and introduce around a dozen artists, I was still coming to terms with this new way of dealing with my past. I was immediately drawn to one of the artists, a man from Myanmar who was to perform the chair piece with a cloth sack over his head. We heard how he'd been part of an organisation in Myanmar that opposed violence and therefore risked death if he was publicly identified. I was moved by what he was risking for his art. I also knew it was a hard piece; Marina wasn't going to give it to just anyone. As people moved between performers, I saw him, seated in the atrium, with a large crowd; I waited for a quieter moment to return. When I finally stood before him, I was overcome. I felt an urge to sit down in front of him and didn't care what others thought. I was compelled to do it for myself. I can't say how long I sat there, maybe an hour. In that time, I rewrote my definition of 'strength'. I used to think my father's aggression made him strong but now I saw someone using his muscular arms and legs to be still, for peaceful protest. I imagined the loss he must have experienced in war and the mental strength to sit there. I thought of what I'd read in Marina's book; how pain set in three hours into sitting still. I cried: the good tears, where you let part of your past go. It felt cleansing. When I left, I felt lighter. I decided that this would be my father figure now: this person who had strength but did not hurt me, who had reasons to be aggressive but did not direct his anger towards a six-year-old whispering in her brother's ear or disturbing his preaching, as my father had. It unlocked something in me. It gave me a positive male figure to replace what had gone before and helped me not to hate my father or men. It also unblocked the creativity that had laid dormant within me, an artistic side that had reminded me too much of my father's similar creative charisma. I started drawing: comic-books and illustrations. I'm an atheist but I believe there are spiritual moments you can choose to embrace: this, for me, was one. I think of it often. I even have the poster from the takeover in my toilet, serving as a daily reminder. I'm 41 and throughout life I've learned to expect the unexpected. Usually, when I go to see art it's to learn something new, and this was a big one. This changed me as a woman, as a soul, an immigrant, a creative, a child. That man gave himself to us as an artist and I accepted his gift. You can tell us how a cultural moment has prompted you to make a major life change by filling in the form below or emailing us on Please include as much detail as possible Please note, the maximum file size is 5.7 MB. Your contact details are helpful so we can contact you for more information. They will only be seen by the Guardian. Your contact details are helpful so we can contact you for more information. They will only be seen by the Guardian. If you include other people's names please ask them first.
The Guardian
05-07-2025
- Entertainment
- The Guardian
My cultural awakening: a Marina Abramović show helped me to stop hating my abusive father
On an unseasonably warm day in October 2023, I arrived, ahead of the queues, at London's Southbank Centre for a conceptual art takeover by the world-famous Marina Abramović Institute. I had recently read Marina's memoir Walk Through Walls, which had resonated. So, when I'd seen the event advertised – hours-long performances by artists she'd invited, curated and introduced by Marina – I bought a £60 ticket and waited for my time slot to enter the Queen Elizabeth Hall. I hadn't seen performance art before, and this was due to include her well-known work The Artist Is Present with an artist sitting, static and silent, in a chair all day, as Marina once did for an accumulated 736 hours and 30 minutes at the Museum of Modern Art. I felt certain that it would affect me, I just wasn't sure how. It came at an interesting time in my life. I was raised in a fundamentalist Christian family, the daughter of a priest who was physically abusive. I'd been in therapy for years, but my experiences still affected me and I'd recently cut contact with my father with my family. So, when I entered the first room at the Southbank where Marina was to spoke and introduce around a dozen artists, I was still coming to terms with this new way of dealing with my past. I was immediately drawn to one of the artists, a man from Myanmar who was to perform the chair piece with a cloth sack over his head. We heard how he'd been part of an organisation in Myanmar that opposed violence and therefore risked death if he was publicly identified. I was moved by what he was risking for his art. I also knew it was a hard piece; Marina wasn't going to give it to just anyone. As people moved between performers, I saw him, seated in the atrium, with a large crowd; I waited for a quieter moment to return. When I finally stood before him, I was overcome. I felt an urge to sit down in front of him and didn't care what others thought. I was compelled to do it for myself. I can't say how long I sat there, maybe an hour. In that time, I rewrote my definition of 'strength'. I used to think my father's aggression made him strong but now I saw someone using his muscular arms and legs to be still, for peaceful protest. I imagined the loss he must have experienced in war and the mental strength to sit there. I thought of what I'd read in Marina's book; how pain set in three hours into sitting still. I cried: the good tears, where you let part of your past go. It felt cleansing. When I left, I felt lighter. I decided that this would be my father figure now: this person who had strength but did not hurt me, who had reasons to be aggressive but did not direct his anger towards a six-year-old whispering in her brother's ear or disturbing his preaching, as my father had. It unlocked something in me. It gave me a positive male figure to replace what had gone before and helped me not to hate my father or men. It also unblocked the creativity that had laid dormant within me, an artistic side that had reminded me too much of my father's similar creative charisma. I started drawing: comic-books and illustrations. I'm an atheist but I believe there are spiritual moments you can choose to embrace: this, for me, was one. I think of it often. I even have the poster from the takeover in my toilet, serving as a daily reminder. I'm 41 and throughout life I've learned to expect the unexpected. Usually, when I go to see art it's to learn something new, and this was a big one. This changed me as a woman, as a soul, an immigrant, a creative, a child. That man gave himself to us as an artist and I accepted his gift. You can tell us how a cultural moment has prompted you to make a major life change by filling in the form below or emailing us on Please include as much detail as possible Please note, the maximum file size is 5.7 MB. Your contact details are helpful so we can contact you for more information. They will only be seen by the Guardian. Your contact details are helpful so we can contact you for more information. They will only be seen by the Guardian. If you include other people's names please ask them first.
New York Times
14-06-2025
- Entertainment
- New York Times
The '70s Performance Artist Who Became a Hero to ‘Garbage Men'
The New York City Sanitation Department in the late 1970s was not an obvious place to find a warm welcome for feminist conceptual art. But the newly appointed sanitation commissioner, Norman Steisel, had arrived as an outlier in the world of municipal waste. Before he began his career in city government, first working in budget offices, he had been a graduate student in chemical engineering and applied mathematics at Yale, where he fell in with a crowd of M.F.A. students. He understood the avant-garde 'at least at a rudimentary level,' he told me recently, just as the art scene in SoHo was exploding. So when he was introduced to Mierle Laderman Ukeles — who had an idea for a project that would involve thousands of members of his work force and an effort to radically alter the perception of garbage men, as they were then known — he was eager to hear what she had to say. Second-wave feminism produced a roster of writers, artists and intellectuals whose influence and celebrity has endured, but Ms. Ukeles had never stood among them. Nine years ago, her profile rose considerably when the Queens Museum made her the subject of a comprehensive retrospective, her first. She was well into her 70s. As it happened, Toby Perl Freilich, a filmmaker who had just finished a documentary about Senator Daniel Patrick Moynihan, caught the exhibit on its last day. Inspired by the artist's vision, Ms. Freilich spent the subsequent years making her latest documentary, 'Maintenance Artist,' which has been screening this week at the Tribeca Film Festival. Forty-six years after she embedded with the Sanitation Department, Ms. Ukeles's populist convictions, her belief in the dignity of labor, her wariness of feminist art committed narrowly to liberating women from the male gaze speak with a power to the tensions between class and gender politics roiling the country right now. Want all of The Times? Subscribe.
South China Morning Post
01-06-2025
- Entertainment
- South China Morning Post
Enter the serial world of Japan-born conceptual artist On Kawara at Hong Kong exhibition
On Kawara was part of a cohort of 20th century conceptual artists, including his friends Sol LeWitt and Carl Andre, who adopted a minimalist visual language that left a great deal of room for interpretation. Advertisement Born in Japan, Kawara produced abstract, radically obscure art, including: a 47-year series of paintings of random dates; a 12-year typed ledger, filed in office binders, of people he met called 'I Met'; a similar series called 'I Went' in which he traced his daily itineraries on photocopied maps and filed them; thousands of postcards sent from all over the world stating the time he woke up the day he sent each one, and; bare-bone telegrams with a single message: 'I am still alive.' Kawara was remarkably prescient in recording his life in a way so reminiscent of how people today constantly check in on social media and share moments that will become an archive of their lives, says Ying Kwok, co-curator of an exhibition of his work at Tai Kwun heritage and arts centre in Hong Kong's Central district. It is the first major exhibition of the artist's work sanctioned by his One Million Years Foundation since his death in 2014, and focuses on his best-known mature works. The backs of postcards from Japan-born conceptual artist On Kawara's series 'I Got Up' (1968-1979), He posted them to friends with a simple message noting the time he got up that day. They form part of the exhibition 'On Kawara: Rules of Freedom, Freedom of Rules' at Tai Kwun Contemporary, Hong Kong. Photo: Kitmin Lee Among the items that will be of most interest to Hong Kong visitors to the exhibition are two faded photos of the artist shot from behind as he worked in his room at the Mandarin Oriental hotel during a four-day stay over Christmas in 1978.
