:03:13. > :03:23.This looks so beautiful! Everyone into position. Come closer to
:03:23. > :03:55.
:03:55. > :03:59.You know what is interesting, after 40 years of people thinking you are
:03:59. > :04:05.insane and you should be put in mental hospital, you finally
:04:05. > :04:15.actually get all this acknowledgements. Takes such a long
:04:15. > :04:18.
:04:18. > :04:24.time to take you seriously. Right there, don't move. Welcome to the
:04:24. > :04:29.arts portion of our programme. It is the Museum of Modern Art.
:04:29. > :04:34.might raise your eyebrows, in addition to being high brow.
:04:34. > :04:40.three pieces in particular that are nude, here is the first one, called
:04:40. > :04:50.Imponderabillia, my Marina Abramovic. The name of the artist
:04:50. > :04:50.
:04:50. > :06:51.Apology for the loss of subtitles for 121 seconds
:06:51. > :06:55.Marina, her last name, Abramovic. My mother dressed me as a devil
:06:55. > :07:03.when I was four-years-old for my first party ever. Everybody was
:07:03. > :07:07.dressed very happy, princesses and cowboys, and I was looking so
:07:07. > :07:15.miserable. A little kit with a very sad black devil dress with two
:07:15. > :07:24.horns. I have no idea why she dressed me as a devil. I think that
:07:24. > :07:28.marked my life. We recreated this image. Only 60 years later. After
:07:28. > :07:33.this show, I literally put more attention to sex in my life. I have
:07:33. > :07:42.to really look for T if I put advertising like that, do you think
:07:42. > :07:51.that will attract some guys?! Semi-intellectual artist at the top
:07:51. > :07:57.of her career, looking for a single male. So basically you are looking
:07:57. > :08:02.at many Marinas. You are looking at the Marina who is product of the
:08:02. > :08:07.two partisan parents, two national heroes, will power, any aim she put
:08:07. > :08:12.in the front of her, and then right next to this one, you have the
:08:12. > :08:19.other one, who is like a little girl, mother never gave her enough
:08:19. > :08:23.love and very vulnerable, and unbelievably disappointed and sad.
:08:23. > :08:33.And then there is another one, who has this kind of spiritual wisdom
:08:33. > :08:52.
:08:53. > :09:02.and can go above all that. This is He's there, hello! Now we have to
:09:03. > :09:26.
:09:26. > :09:36.Who is writing the text? That would be Klaus and his team. I like Times,
:09:36. > :09:41.
:09:41. > :09:47.just to tell you and I like Russian, What we talked about making it
:09:47. > :09:52.black and white yesterday. It will be colour actually. One time in my
:09:52. > :09:55.life I like to show everything, what takes you to make art, how
:09:55. > :10:02.much e-mails, how much correspondence, how much letters,
:10:02. > :10:12.how much plane tickets, all the structure is enormous. What is
:10:12. > :10:17.
:10:17. > :10:27.I have all six floors, which is a big deal. I feel pain in my back
:10:27. > :10:28.
:10:28. > :10:33.already. This is the beginning. My early work. This work, it is
:10:33. > :10:39.focusing on performance where Artist Is Present. It doesn't
:10:39. > :10:48.include my sound pieces or objects with crystals, just performance,
:10:48. > :10:51.pure performance. It's very radical. For me it's why this show in MoMA
:10:51. > :10:55.is historical, to put the things in the right place. Because
:10:55. > :11:00.performance has never been a regular form of art. It's been
:11:00. > :11:10.alternative since I was born. I want to be a real form of art in
:11:10. > :11:10.
:11:10. > :11:16.retrospect before I die. Let's start with the exhibition. You are
:11:16. > :11:25.reperforming your own? No, I am making a new piece. One new piece?
:11:25. > :11:35.One new piece, Artist Is Present. So I think your first performance
:11:35. > :11:38.
:11:38. > :11:42.was also in museum in Belgrade, is that right? No, it's actually...
:11:42. > :11:46.The element of sound is imminent in relation in movement when you were
:11:46. > :11:51.driving a van around a square for 16 16 hours and shouting numbers
:11:51. > :11:59.through a megaphone. Yes. substituted your persona with that
:11:59. > :12:05.of a prostitute. You took psychoactive drugs to challenge
:12:05. > :12:09.attitudes. You lay inside a wooden five-pointed star, set on fire and
:12:09. > :12:13.fainted from the lack of oxygen. These pieces you have often been
:12:13. > :12:17.threatened and threatened your own body. I know you are probably sick
:12:17. > :12:21.of these questions, but I want to touch on it quickly. There is only
:12:21. > :12:27.one question I didn't hear since ten years, why is this art. This
:12:27. > :12:31.was the main question since I start this performance. I am now missing
:12:32. > :12:36.it. Nobody asks me why it is not art. Maybe it is my age. Maybe they
:12:36. > :12:41.finally get it. If you are alternative when you are young, 18
:12:41. > :12:48.or 19, 20, and you are still alternative at 29 and alternative
:12:48. > :12:55.at 30 and 40, and alternative at 50, excuse me, I am 63, I don't want to
:12:55. > :13:05.be alternative any more. Many people think of her as The
:13:05. > :13:11.
:13:11. > :13:21.Performance emerged in the '60s as a result of a challenge to painting.
:13:21. > :13:28.
:13:28. > :13:35.Whatever it was, it was not A form of art where the medium is
:13:35. > :13:39.the body. In the case of Marina, she used the human body to make
:13:39. > :13:49.statements and sometimes be quite violent, can sometimes be
:13:49. > :13:49.
:13:49. > :13:58.provocative. She is directly and boldly challenging an audience.
:13:58. > :14:06.What is at the heart of her art works is the shared experience of
:14:06. > :14:12.the audience and the performer. Many of Marina's works are
:14:12. > :14:18.interventions. When she did rhythm 0 in Naples and people could use
:14:18. > :14:24.the objects against her, it is like a Stanford Experiment, a scientific
:14:24. > :14:28.experiment that reveals human nature. But what is odd is
:14:28. > :14:34.revealing human nature. It is like a murder-mystery, like a Hitchcock
:14:34. > :14:40.s she going to get murdered there, who is going in, who is walking out.
:14:40. > :14:48.The veneer of civilisation is very thin. What's absolutely terrifying
:14:48. > :14:52.is how quickly a group of people will become bestial if you give
:14:52. > :14:58.them permission to do so. Some of Marina's early performances were
:14:58. > :15:02.about that. It's playing with that edge of the knife, that allows her
:15:02. > :15:12.to create the intensity of the performances that makes them
:15:12. > :15:42.
:15:42. > :15:52.Basically, it is the work shop in the house and there's preparation
:15:52. > :15:54.
:15:54. > :15:59.for the show in MoMA. My generation art is not performing any more.
:15:59. > :16:03.Maybe one or two still left. It is my task to make history straight.
:16:03. > :16:08.When I am asked to make a perspective on the performance work
:16:08. > :16:13.in MoMA, I was thinking it would be important for me to let it go also
:16:13. > :16:23.from my own ego and give five historical pieces to younger
:16:23. > :16:53.
:16:53. > :16:56.Now they are coming and cooking the soup. She said something like we
:16:56. > :17:01.are not going to eat or speak for three days. She said you will hate
:17:01. > :17:06.me at the time but love me forever after and do what I want. Everybody
:17:06. > :17:10.looks so worried. She wants us to fast for three days and she's
:17:10. > :17:16.mentioned some other exercises that we will be doing. I am going with
:17:16. > :17:21.my instincts on this, and it feels right to trust her. You can make
:17:21. > :17:26.your last phone call. Last phone call. You will be free for three
:17:26. > :17:30.days, it is amazing. What's happening. We will let you know
:17:30. > :17:33.later. It is just a little bit different. They can take this
:17:33. > :17:38.experience and do everything they want with their own life. But
:17:38. > :17:42.probably they will hate me anyway. At least at the beginning. It is a
:17:42. > :17:48.very simple structure. The whole idea is to slow down, to slow down
:17:48. > :17:53.with your body and your mind, zero gravity, if possible. The first
:17:53. > :17:57.ritual will be to wake up and do some simple exercises, like a
:17:57. > :18:02.little jumping and a bit of the energy releasing. It is very simple.
:18:02. > :18:07.Then we go to the river. Anybody who has a problem with nudity, take
:18:07. > :18:11.a swimming suit, whatever you want, or naked, I don't care.
:18:11. > :18:17.The purpose of this thing is that they have to perform three months,
:18:17. > :18:21.which is very big kind of obligation. They have to create
:18:21. > :18:31.their own charismatic space. For that you have to consider some
:18:31. > :18:41.training. The proposition here is just empty yourself. Be able to be
:18:41. > :18:46.in the present time. Put your mind here and now. There is something
:18:46. > :18:51.emotional will happen. That is what we are looking for in this work. In
:18:51. > :19:01.performance, you have to have emotional approach. It is a kind of
:19:01. > :19:06.direct energy with the public and performer. If you are performing in
:19:06. > :19:15.that way, that you are there in 100%, there is emotional moment
:19:15. > :19:19.arrive to everybody. This is no way out. Everybody feels it. Artists
:19:19. > :19:25.have to be warrior, have to have this determination and have to have
:19:25. > :19:32.the stamina to conquer, not just new territory, but also to conquer
:19:32. > :19:36.himself. And his weaknesses. So it doesn't matter what work you are
:19:36. > :19:44.doing as an artist, the most important is from which state of
:19:44. > :19:54.mind you are doing what you are doing. Performance is all about
:19:54. > :19:54.
:19:54. > :20:36.Apology for the loss of subtitles for 121 seconds
:20:36. > :20:46.Marina Abramovic The Artist Is Present means that from March 9th
:20:46. > :20:54.to May 31st whenever you enter the mu Saddam Hussein during opening --
:20:54. > :21:03.mu - museum, no matter what time, she will be present. I imagine more
:21:03. > :21:08.like a film set. There is a human square of light. In the middle of
:21:08. > :21:13.the square is placed a table and two chairs. It is so simple. It is
:21:13. > :21:19.like nothing there, like artists sitting like a mountain, I want to
:21:19. > :21:25.be like a rock there. And looking you in the eyes, you are talking
:21:25. > :21:31.three months, every single day. If you are performing three months, it
:21:31. > :21:36.is really performance become life itself. People don't understand the
:21:36. > :21:41.hardest thing is to actually do something which is close to nothing.
:21:41. > :21:44.It is demanding all of you, because there is no story to tell, no
:21:44. > :21:50.objects to behind behind. There's nothing. Just your presence. You
:21:50. > :22:00.have to rely on your own energy and nothing else. Seven-and-a-half
:22:00. > :22:07.hours, six days a week, motionless. Wow. I have nothing to say. No
:22:07. > :22:12.comment. Only respect. I could imagine it
:22:13. > :22:19.being unbearable to sit there. She's going to try. I don't know
:22:19. > :22:24.whether it's going to work. When she had this idea, I thought she's
:22:24. > :22:30.going to kill herself. I said Marina, I don't know what I want to
:22:30. > :22:34.have the responsibility of having given you the permission to do that.
:22:34. > :22:40.Think about it for two days, and then she called me the next morning
:22:40. > :22:44.and said "I can do that ". In the moment moment Klaus Biesenbach came
:22:44. > :22:54.with the title of the show, The Artist Is Present, it was like a
:22:54. > :23:04.
:23:04. > :23:11.Maybe I don't use it at all. count on you never using it. It's
:23:11. > :23:16.like the whole idea of... Men don't get it. He doesn't want to deal
:23:16. > :23:21.with reality. I think it's a brilliant solution. I have no idea
:23:21. > :23:30.why I have to do it harder and harder. I can perfectly make
:23:30. > :23:34.retrospective to people performing my piece. But why I have to do this,
:23:34. > :23:44.this is my cross I am carrying. It is insane. God help me to finish
:23:44. > :23:46.
:23:46. > :23:51.this one. When you are watching a Marina Abramovic performance, you
:23:51. > :23:55.are engaging with her physical presence, which is very striking.
:23:55. > :24:02.The clear evidence that she has a lot of physical stamina and
:24:02. > :24:06.strength, which the public and its presence gives her, but clearly
:24:06. > :24:10.physically, it is enate, she can take sitting still or doing very
:24:10. > :24:20.little or whatever she's doing in the performance, for long periods
:24:20. > :24:26.
:24:26. > :24:29.of time, which most people cannot. My parents were from the Tito time
:24:29. > :24:33.in ex-Yugoslavia. I had such a terrible, real control at home,
:24:33. > :24:38.which I hated. Everything was like discipline, schedule. I was trained
:24:38. > :24:42.to be a soldier, literally. My mother would make me in the middle
:24:42. > :24:47.of the night if my bed was not straight, I was sleeping too messy.
:24:47. > :24:52.There was no love there. I never remember my mother kissing me or
:24:52. > :24:57.holding me in any way. Later in my life I asked her why, she was so
:24:57. > :25:01.surprised. She said "I didn't kiss you not to spoil you ". She really
:25:01. > :25:03.didn't spoil me. But on the other side, it was the grandmother who
:25:03. > :25:10.was loving and always there, and spiritual and spending all the time
:25:10. > :25:15.in the church. I was with her as a child because most of them were who
:25:15. > :25:17.had a career never had time for me. There is a mixture between
:25:17. > :25:27.spirituality and discipline. Looking back it was very important
:25:27. > :25:37.
:25:37. > :25:43.to me, and actually this is what I went to this bathroom in the
:25:44. > :25:50.airport, and there was a fantastic discovery, the two pages with
:25:50. > :25:58.illustrations, how to wash the hands by water and soap. "Come
:25:58. > :26:04.lavare i mani con acqua e sapone". Brilliant.
:26:04. > :26:13.Today we are here for the important Lorenzo Magnifico award, to Marina
:26:13. > :26:18.Abramovic. Thank you. I need a microphone. And now you know I was
:26:18. > :26:22.thinking to give a lecture and I don't feel on this occasion to give
:26:22. > :26:30.a lecture. I would like to have a dialogue with the public and before
:26:30. > :26:35.I do this, I I would like to read you my manifest. So my manifest, I
:26:35. > :26:42.think I wrote really out of my heart, and it is also is actually
:26:42. > :26:51.funny at the same time. But it's true. An artist should not lie to
:26:51. > :26:57.himself or to others. An artist should not steal ideas from the
:26:57. > :27:07.other artists. An artist should not compromise for themselves or in
:27:07. > :27:07.
:27:07. > :27:12.regard to the art market. An artist should not kill another human being.
:27:12. > :27:22.An artist should not make themselves into an idol. An artist
:27:22. > :27:32.
:27:32. > :27:36.in relation to his love life. Love, amore. An artist should avoid
:27:36. > :27:41.falling in love with another artist. An artist should avoid falling in
:27:41. > :27:51.love with another artist. An artist should avoid falling in love with
:27:51. > :27:56.
:27:56. > :28:04.The very first moment we met was when she came to Amsterdam. She was
:28:04. > :28:09.to do a performance. I met her just before and said wow, the
:28:09. > :28:17.performance was called Tomas Lips. It came down to she would cut a
:28:17. > :28:21.pentagram in her stomach and must whip herself. I said no, maybe not.
:28:21. > :28:26.Afterwards I started nursing her wounds. I didn't lick her wounds,
:28:26. > :28:34.but I cared for the wounds and cleaned it and put something on it.
:28:34. > :28:39.I think that was the crucial point. At the time we met, there was
:28:39. > :28:46.immediately a fascination. Type- wise, personality-wise, the work we
:28:46. > :28:50.had been doing, singularly, she and me. There was a recognition like
:28:50. > :28:54.you have found a lost brother or sister. We were born on the same
:28:54. > :29:03.day, November 30th, both Sagittarius, obvious. Destiny
:29:03. > :29:07.brought us together. I really loved him, more than myself. For me, it
:29:07. > :29:11.was when we started working together, this was forever, I was
:29:12. > :29:20.thinking this is work and it will never stop. It was like two twins
:29:20. > :29:29.connected with a body together. were lovers, we were friends, we
:29:29. > :29:32.were performers, all at once. Our love was always on top of it.
:29:32. > :29:36.I think Marina and Ulay's relationship is one of the great
:29:36. > :29:41.love stories. Marina is very hard- core and she had met someone who
:29:41. > :29:49.was equally prepared to go to any lengths for his art. That must have
:29:49. > :29:54.impressed her enormously because she had met her equal.
:29:54. > :30:01.When Marina and Ulay came together, they started their group of works
:30:01. > :30:06.called the Relation Works. We would engage our bodies in a
:30:06. > :30:11.confrontational way. We wanted to get to the point about male-female
:30:11. > :30:21.conflicts, traumatic experiences about relations. Afterwards we were
:30:21. > :30:37.
:30:37. > :30:43.Our 12 years that was intensive and as heavy and powerful as other
:30:43. > :30:47.people's whole life, I guess. went through so many stages,
:30:47. > :30:51.falling in love, having this relationship of 12 years. Now we
:30:51. > :31:01.are talking 23 years that we were able first time ever to be under
:31:01. > :31:02.
:31:02. > :31:06.the same roof. Ulay should be here at 2.00. The first time Ulay comes
:31:06. > :31:16.in this specific apartment in New York, never upstate. They have been
:31:16. > :31:23.
:31:23. > :31:33.separated for many years. We are Hello. How are you doing? Doing
:31:33. > :31:34.
:31:35. > :31:41.fine. Dr Gilmour is a very special lady, psychoanalyst, she is very
:31:41. > :31:46.strict. She told me emotionally I am not doing so bad. I should go
:31:47. > :31:51.more into my childhood, looking into the patterns so not to repeat
:31:51. > :32:00.the next relationship. I told her about Ulay and she thinks maybe it
:32:00. > :32:07.is going to be easy. Let me have a glass of water. We both are in the
:32:07. > :32:12.third act of our life. There's no other moment, to get closer and
:32:12. > :32:15.somehow forgive each other, to really peacefully find OK, it was
:32:15. > :32:18.really horrible and painful and hateful and everything else
:32:19. > :32:28.together, but it was creative at the same time and we should just
:32:29. > :32:29.
:32:29. > :32:34.forgive each other. Are you in the wrong building. This is my building.
:32:34. > :32:44.What shall I call you, the grandmother of performance or the
:32:44. > :32:51.
:32:51. > :33:01.diva of performance. I think I You are the one who sends the e-
:33:01. > :33:03.
:33:03. > :33:09.mails. He is a young artist and a good one, too, from Torino, Davide.
:33:09. > :33:16.If I can be of help, pleasure. If I can do something for her, pleasure.
:33:16. > :33:22.Depends what, but speaking now, of course.
:33:22. > :33:27.It is an amazing amazing place, are you often here? Pretty often, yes.
:33:27. > :33:36.I would try to do the same. Maybe she still loves me, I don't know.
:33:36. > :33:46.We will figure out tomorrow something. Maybe put a thing round
:33:46. > :33:54.
:33:54. > :34:03.her teeth. That means to make Are you nervous about this show?
:34:03. > :34:08.Incredibly nervous. If I am not nervous nervous I am nervous why I
:34:08. > :34:12.am not nervous. Yoo are you going to move on the chair a bit, leaning
:34:12. > :34:19.backwards and forwards? Or are you planning in staying in the same
:34:19. > :34:25.position? The same position. Anybody who sits in front of me,
:34:25. > :34:35.anybody from the audience can sit as long as they want. Between 11
:34:35. > :34:36.
:34:36. > :34:40.and 15,000 people in the MoMA. It is just the gaze. Marina seduces
:34:40. > :34:44.everybody she ever meets. That is not the case for me because I went
:34:44. > :34:49.through that process and now we are divorced. We are great friends but
:34:49. > :34:58.we are divorced. She would never try to seduce me because we are
:34:58. > :35:01.divorced. With Marina I always try to sub stract the performer from
:35:01. > :35:11.the person I have a working relationship with. I try to deal
:35:11. > :35:14.
:35:14. > :35:18.with her as if she was a sculpture. I try to be -- I I don't want her
:35:18. > :35:28.performance persona to get in the way. Because with Marina she's
:35:28. > :35:37.
:35:37. > :35:47.You don't need this, are you sure? He makes the wine disappear. I can
:35:47. > :35:53.
:35:53. > :35:59.Oh no! I met recently somebody that so many people told me I should
:35:59. > :36:08.meet. It happened in MoMA. So we came here and had a little drink
:36:08. > :36:13.and it is quite interesting, he is a magician, David Blaine. He was
:36:13. > :36:17.thinking we could do something during my performance in MoMA.
:36:18. > :36:22.There's always those axes in the glass in case of emergency. So I
:36:22. > :36:27.was thinking of somehow I got into using this substance that she has
:36:27. > :36:31.and gagging her face with it and people would think it was pretty
:36:31. > :36:37.strange and then breaking the glass open and taking an axe and gutting
:36:37. > :36:41.her. Then emergency, they put a blanket over me, blood all over the
:36:41. > :36:44.place, and the police come and take him to prison. She is laying there
:36:44. > :36:51.and the whole exhibition is over. People don't know what happened, if
:36:51. > :37:01.it was an accident or not an zebt. -- accident. I will just hack her
:37:01. > :37:08.violently. Have you done this before? No. When you do it one time,
:37:08. > :37:16.it's crazy. It is going to be at MoMA. Those people are the perfect
:37:16. > :37:20.people to do it to. Absolutely. What do you think? It is a really
:37:20. > :37:26.bad idea. Why? Because he is a really interesting guy and he does
:37:26. > :37:30.amazing things, but the fact of the matter is, some people call people
:37:30. > :37:34.like that magicians but he would be prefer to be called an illusionist
:37:34. > :37:38.and that tells you all you need to know. Your work doesn't have
:37:38. > :37:43.anything to do with illusionism, it is all real. To make the connection
:37:43. > :37:46.between those two bodies of work on the occasion on the most important
:37:46. > :37:51.show you have made to date would be a disaster. I think it is totally
:37:51. > :37:58.wrong. I would oppose it with every fibre of my being. Done, you are
:37:58. > :38:04.right. I accept it. We work with frontline galleries now and Marina
:38:04. > :38:10.is such a giant, but Sean is the one that came when no-one wanted to
:38:10. > :38:20.deal with all the problems of having a performance artist in a
:38:20. > :38:27.
:38:27. > :38:33.Blue or red, first feeling you have? Red. Klaus was about to
:38:33. > :38:38.choose blue. What we did was carefully selected one photograph
:38:38. > :38:44.to represent each performance and made those into editions and sold
:38:44. > :38:50.them. We did them in very small editions. You have to remember it
:38:50. > :38:55.is 20-odd years ago, so we were selling them for between 2,000 and
:38:55. > :39:01.5,000 dollars each and now they are very sought after and if you could
:39:01. > :39:05.find them they would be up to $50,000 each. The model we created
:39:05. > :39:15.for Marina and the way we created the market for her has become
:39:15. > :39:26.
:39:26. > :39:31.something of a standard. The other In the '70s, we took a radical
:39:31. > :39:33.decision to live in a car. You don't need to pay electricity,
:39:33. > :39:39.telephone bills, rent bills and we didn't have any money, but we
:39:39. > :39:49.didn't want to do anything else but performing. This is the van where I
:39:49. > :39:49.
:39:49. > :39:55.lived. I lived all this time. Two days ago, there was a queue in the
:39:55. > :40:01.museum. It was a tough life. I didn't see this car for more than
:40:02. > :40:07.30 years. When it arrived in the mu same, it hits me in my stomach. It
:40:07. > :40:13.was something like a past life rushing to me. We have to go in the
:40:13. > :40:18.countryside. We have to live with shepherds, milk the goats, we have
:40:18. > :40:22.to go to get water and borrow gas from the stations. I knew every
:40:22. > :40:29.shower in every gas station in Europe. I am very sentimental about
:40:29. > :40:34.this van. Oh God, it really breaks my heart looking at this car inside
:40:34. > :40:40.and how much belief and hope and innocent our life was dealing with
:40:40. > :40:44.at that time. It is an incredible happy time of my life in this place.
:40:44. > :40:53.It was everything I always wanted, the man I loved and work together
:40:53. > :40:59.and be radical and not making any compromise. Two of us and the dog
:40:59. > :41:07.and the universe. Show me that incredible road from living there
:41:07. > :41:16.to here, it's been a long way. I have to go and put the show
:41:16. > :41:21.together. I have no time. Marina was knitting sweaters for us. I was
:41:21. > :41:27.preparing the car, I drove the car all the time, Marina couldn't drive.
:41:27. > :41:37.So it was really basic, basic, basic, like modern nomads, but it
:41:37. > :41:39.
:41:39. > :41:49.was the best time. We got a lot of energy and a lot of power. This is
:41:49. > :41:50.
:41:50. > :41:55.Hudson, yeah, straight ahead. Let's stop here somewhere, because I
:41:55. > :42:05.would like to drive now. It is my historical moment, I am going to
:42:05. > :42:07.
:42:07. > :42:17.drive you for the first time in my life. Wow, Ulay, you will never
:42:17. > :42:23.
:42:23. > :42:30.think it would come to this point, I put the lights on already. Is the
:42:30. > :42:40.brake down or up? The The brake is up. I knew something was wrong!
:42:40. > :42:57.
:42:57. > :43:07.That's perfect. Go further. Well, I am a little shaky, but shaken but
:43:07. > :43:08.
:43:08. > :43:18.very much taken. From one to ten, what do you think? Five, six.
:43:18. > :43:29.
:43:29. > :43:33.We go for seven. Well done. You work like hell.
:43:33. > :43:40.going to make a zucchini sauce for the pasta. Our relationship was
:43:40. > :43:43.very much to do with male-female separation in duties. He would do
:43:43. > :43:48.everything with his external world, finding the money, going to the
:43:48. > :43:52.bank and I would do do cleaning, washing, taking care of the dog.
:43:52. > :44:01.When we split, I didn't have a bank account. I had no idea how that all
:44:01. > :44:06.worked. It took me a long time to learn everything from zero. After
:44:07. > :44:16.our simplistic life, she became very ambitious, both in her work
:44:16. > :44:21.and her ambition, image, and wealth. I maybe went in a more stable
:44:21. > :44:29.straight line after separation and she climbed a huge mountain with a
:44:29. > :44:37.lot of success. I don't have the time to do this effort to make this
:44:37. > :44:45.possible for myself. I don't have to make it possible for myself, I
:44:45. > :44:50.was just going to marry her. this OK, I make it a bit spicy.
:44:50. > :45:00.There are not so many artists, I believe, who are working so hard
:45:00. > :45:01.
:45:01. > :45:05.like Marina does. But she's always very elegant. I look like a worker
:45:05. > :45:15.in a field. Of course I am a worker in the field of art, but I look
:45:15. > :45:23.
:45:23. > :45:28.like a worker but do much less work. Nightsea Crossing consisted of a
:45:28. > :45:36.man and woman sitting opposite on two chairs, sitting motionless,
:45:36. > :45:43.silent, fasting. Mainly what it was about tremendous dislikes in
:45:43. > :45:47.western society. Inactivity, inaction is discredited. Silence is
:45:47. > :45:52.discredited and fasting is discredited, those are the three
:45:52. > :46:02.things that could obsess people, especially when you went for four,
:46:02. > :46:02.
:46:02. > :46:12.five, six, seven, eight nine ten, 11, 12, 13, 16 days. Absolutely
:46:12. > :46:13.
:46:13. > :46:21.motionless. Which is almost impossible. We did Nightsea
:46:21. > :46:28.Crossing for 19 days. I had enough. A woman can sit better than men,
:46:28. > :46:35.because of anatomy. I got up after 13 or 14 days because my ribs were
:46:35. > :46:41.pushing so hard on my spleen that I went to the hospital and I said --
:46:41. > :46:49.they said you should stop fasting. I lost 24 pounds already, so that
:46:49. > :46:53.was just over the limit, on my part. One of the reasons he said he could
:46:53. > :47:00.not sit, he was skinny he was sitting on his bones and it was
:47:00. > :47:03.penetrating through his skin. Then he said you have to stand up
:47:03. > :47:08.because performance can't be without me. I didn't see the reason.
:47:08. > :47:18.That is why in this Nightsea Crossing, I am continuing. But
:47:18. > :47:27.
:47:27. > :47:37.I never have had a relation with a woman, neither with a man, of such
:47:37. > :47:46.
:47:46. > :47:51.a degree of symbiotic quality. 12 The Marina-Ulay collaboration in a
:47:51. > :47:56.simple direct and profound way expressed the male-female dynamic
:47:56. > :48:00.and then reaches this epic conclusion with the walk on the zet
:48:00. > :48:10.wall of China -- great wall of China called The Lovers. It is
:48:10. > :48:15.beyond op ratic in its proportion. The lovers in which Marina and Ulay
:48:15. > :48:23.walked the great wall of China was an epic. It the three months
:48:23. > :48:32.process of walking towards each other, very simple, really pared
:48:32. > :48:41.down and extraordinary in its clarity. This was the last of their
:48:41. > :48:51.Relation Works. Of course, the way the the great wall walk ended was
:48:51. > :48:52.
:48:52. > :48:56.We very soon became this great art couple and everybody was projecting
:48:56. > :49:00.like a perfect image. In reality he was not happy with this position
:49:00. > :49:05.and somehow the more better pieces we were doing in the performance,
:49:05. > :49:09.the worse our relations would get in private. And later on it is like
:49:09. > :49:14.his interest was different from mine and he was experiencing life,
:49:14. > :49:20.going drinking, going for the drugs and then he became unfaithful,
:49:20. > :49:29.which was very hard for me. We were monogamous until a certain point
:49:29. > :49:38.when the tightness of the ideology started to unravel, started to
:49:38. > :49:41.disintegrate a little bit. Then she had a sexual adventure with
:49:42. > :49:51.somebody I had, at the same time. Except she did it with a friend of
:49:52. > :49:52.
:49:52. > :49:57.ours, I didn't. Wow. I shouldn't have said that. It took us eight
:49:58. > :50:02.years of negotiations to get permission to walk the Chinese wall
:50:02. > :50:05.and negotiations many times to take a trip to China and she was a
:50:05. > :50:11.translator and when we finished the Chinese wall, he told me she was
:50:11. > :50:21.pregnant and asked me what he should do. I said I leave and you
:50:21. > :50:24.
:50:24. > :50:31.It ended like you know, like it began. It ended like it began. It
:50:31. > :50:35.began like this and it ended like this. That's all. After I split
:50:35. > :50:42.with Ulay, it was the most dramatic moment of my life. I remember
:50:42. > :50:47.writing in my diary, I was 40, I was fat, ugly and unwanted. And I
:50:47. > :50:51.said, God, I lost man I love and I lost my work because it was working
:50:51. > :50:56.together. There was nothing there. It was empty. I was like new
:50:56. > :51:00.beginning or am I going to totally go down and destroy myself in
:51:00. > :51:04.depression? This was the moment that I went first time get some
:51:04. > :51:10.money in Paris and I bought first designer clothes. And I felt so
:51:10. > :51:20.good. I went to hairdresser. I went to the pedicure, manicure, I was
:51:20. > :51:23.
:51:23. > :51:29.like, wow! What is like price for this kind of jacket? Price? Can go
:51:29. > :51:35.to 400,000 euros. Depends... Depends on the pieces. And all this
:51:35. > :51:43.stuff, you know, I made all this work. I'm fine. Why not feel good
:51:43. > :51:47.and wanted again? And since then, I really say, "Oh God, I really love
:51:47. > :51:57.fashion." And it was a kind of secret desire. I mean this looks
:51:57. > :51:59.
:51:59. > :52:09.amazing. What do you think? Being a performance artist in the '70s to
:52:09. > :52:19.mid-'80s is poverty. After we broke off, she got into theatre
:52:19. > :52:29.productions because there was money. Bye-bye. The new works of her s
:52:29. > :52:30.
:52:30. > :52:37.have a highly formalist aesthetic. So she clearly had made a step to
:52:37. > :52:40.the theatre world. Very much staged. With theatrical touch to it. Marina
:52:40. > :52:49.is a much more theatrical, a much more emotional, a much more
:52:49. > :52:58.dramatic artist than this show shows. The risk at the MoMA
:52:58. > :53:02.Exhibition will be how far it goes into being theatrical. Marina often
:53:02. > :53:05.says there's a difference. When you perform, you have a knife and it's
:53:05. > :53:10.your blood. When you are acting, it's ketchup and you don't cut
:53:10. > :53:20.yourself. If we lose that in the MoMA performance, if it's just a
:53:20. > :53:30.
:53:30. > :53:36.fake knife and ketchup, then we I been in bed six days. In bed
:53:36. > :53:43.that's it. Shit, shit, shit, shit. I didn't leave this bed since six
:53:43. > :53:46.days now. I was so desperate I was taking everything, anything anybody
:53:46. > :53:50.bring me, I take it. But then I discovered this syrup with codeine.
:53:50. > :53:53.This is amazing stuff. I never take drugs but the codeine really makes
:53:53. > :54:02.you happy. I slept like a baby yesterday actually, with a smile
:54:02. > :54:07.through all night on my face. LAUGHTER Like idiot. Anyway, there
:54:07. > :54:10.I am. I think red is very good here, because I always think that red
:54:10. > :54:14.gives strength. So if I have red colour, red bed sheets, red shawl,
:54:14. > :54:24.red pyjama, red oranges, I, I maybe get better soon. OK. That was my
:54:24. > :54:31.
:54:31. > :54:36.How are you doing today? Shit hit the fan, that's how. I'm really
:54:36. > :54:39.freaking out. There's no show. We're, we're getting ready. Is it
:54:39. > :54:45.possible for Marina to see a projection? Let me see one
:54:45. > :54:49.projection. Any kind. We don't have power. Huh? We don't have power.
:54:49. > :54:51.And we don't even have the source to play them on anyway. Or the
:54:51. > :54:55.players. Sorry. Not yet. There's nothing. There's nothing. I mean,
:54:55. > :55:01.it's five days before the show. Looks like there's no show. What
:55:01. > :55:04.makes me most nervous is this room? The walls are not even in place.
:55:04. > :55:12.Can we - can we start rehearsals? Yeah. That's the most important.
:55:12. > :55:17.Let's do it. Can we get everybody there? Please come, hello. How are
:55:17. > :55:27.you? Ahhh, yes, fine. Come. So can we sit down two seconds? I wanted
:55:27. > :55:27.
:55:27. > :55:35.to see everybody. OK. Hello. It's so different than our workshop in
:55:35. > :55:38.the countryside, I tell you. I'm going through hell. And you know,
:55:38. > :55:42.one thing is so important to be open about all this shit because
:55:42. > :55:46.it's like I can't pretend now I am in Zen shit but I am not. And also,
:55:46. > :55:49.you know, I didn't even have personal contact with any of you. I
:55:49. > :55:53.have to trust you with my life, for this show, for this three months.
:55:53. > :55:56.There's no other way. Because it's like, you know, I have to be really,
:55:56. > :56:06.have all my energy to make my own piece, knowing that everything is
:56:06. > :56:15.
:56:15. > :56:18.fine upstairs. Thank you very much for coming to MoMA tonight. I'm the
:56:18. > :56:23.curator for the Marina Abramovic retrospective. And that said, I
:56:23. > :56:27.would like to introduce Marina. - Um, thank you very much to Marina.
:56:27. > :56:30.We thought we should open the podium for questions. So, one last
:56:30. > :56:36.chance to ask her something directly, otherwise you have to
:56:36. > :56:40.wait until June. I suggest it's so late, let's hear three real good
:56:40. > :56:50.questions. And at least one personal. How do we know that
:56:50. > :56:51.
:56:51. > :56:55.before? Personal question. You seem happy. Are you? Depends. You know,
:56:55. > :56:58.so what I can say I just, uh - Actually, I'm very happy that I am
:56:58. > :57:04.by myself because who I can live with to do this next three months
:57:04. > :57:07.what I want to do. There's no human being who will stay with me.
:57:07. > :57:12.Because I, because I'm like in a military drill, you know, I'm in
:57:12. > :57:15.this real complete concentration about doing this three months' work.
:57:15. > :57:19.Because it looks like simple, I'm just in Atrium and having one
:57:19. > :57:23.position and a chair. But it's not like that. It's extremely difficult
:57:23. > :57:27.because you have to really be like a mountain. I want to create some
:57:27. > :57:31.kind of stillness in the middle of the - of the - of the hell. And, um
:57:31. > :57:34.- and for that, I have to be in right state of mind, so I have to
:57:34. > :57:44.restrict myself with everything. And it's winter. When I come out,
:57:44. > :57:44.
:57:44. > :57:47.it's going to be summer. Because Marina is one of the most
:57:47. > :57:50.significant artists of the second part of the 20th Century. What is
:57:50. > :57:55.so amazing about Marina is that she's really, you know, invents
:57:55. > :58:01.situations where nobody has been yet. Her practice is extreme.
:58:01. > :58:04.between 5th and 6th, please. In New York, tens if not hundreds of
:58:04. > :58:13.thousands of people will be invited to make an experience they've never
:58:13. > :58:23.made before. MoMA is the most significant context in the world
:58:23. > :58:27.
:58:27. > :58:29.for any living artist to make a show. I really see the chance that
:58:29. > :58:32.the performance art become mainstream art. And with this kind
:58:32. > :58:36.of show in the Museum of Modern Art what never happened before, it's
:58:36. > :58:46.the big chance. That incredible feeling of responsibility for
:58:46. > :58:47.
:58:47. > :58:54.performance in general. It's not just for myself. I'm feeling like
:58:54. > :58:57.Marie Antoinette going to, to cut her head off. The inability to keep
:58:57. > :59:07.going, the potential of giving up will become part of the performance
:59:07. > :59:09.
:59:09. > :59:13.if it occurs. I mean, it could be a fiasco. I mean, there are no rules.
:59:14. > :59:23.The Artist is Present is a hugely courageous piece. Because it's a
:59:24. > :59:24.
:59:24. > :59:34.piece that can fail. Klaus, I love you. Is this OK? You look beautiful.
:59:34. > :59:34.
:59:34. > :00:28.Apology for the loss of subtitles for 121 seconds
:00:28. > :00:38.That was five years living. Five years living. Isn't it great?
:00:38. > :00:38.
:00:38. > :04:46.Apology for the loss of subtitles for 121 seconds
:04:46. > :04:56.it is. Yeah. That's the other one. Now, Ulay is not there, now there
:04:56. > :04:56.
:04:56. > :06:47.Apology for the loss of subtitles for 121 seconds
:06:47. > :06:53.is no life's partner. Now the You've been a very bad girl! That
:06:53. > :07:02.was Beyonce with a new video with Lady Gaga and Sandy Rios does not
:07:02. > :07:05.like Lady Gaga's latest video. should be outlawed. You know, I
:07:05. > :07:08.find it interesting because you've got this Lady Gaga video out now
:07:08. > :07:11.and, and literally, uh, in, in today's New York Post, there's an
:07:11. > :07:13.article about this exhibit at the Metropolitan Museum of Art where
:07:13. > :07:16.daring patrons squeeze through two live nude performers, alternating
:07:16. > :07:22.couples, opposite and same-sex, who stand in a narrow doorway of the
:07:22. > :07:26.new exhibit, uh, which is by some Yugo - Yugoslavian-born provocateur.
:07:26. > :07:35.As you listen to the sound of this woman's constant, guttural
:07:35. > :07:44.screaming and moaning. That they say is art! And it's at MoMA!
:07:44. > :07:48.across. They want to film the galleries. No. Do we have an
:07:48. > :07:51.interview? No. I sent them the statement and our still images,
:07:51. > :07:55.like four images from the exhibition. You know, we're not
:07:56. > :08:05.trying to stop the coverage. We're just not going to have a circus
:08:06. > :08:06.
:08:06. > :09:08.Apology for the loss of subtitles for 121 seconds
:09:08. > :09:14.Friday we had some uh, some, you know, weirdoes but uh, we were
:09:14. > :09:16.expecting it. You know, it's a definite - some people is starting
:09:16. > :09:22.to understand that it's possibly a stage. You know, possibly an
:09:22. > :09:26.important window. The problem of the day was that we established a
:09:26. > :09:29.signal of emergency for Marina. So if she raise her hand, it, it could
:09:29. > :09:34.mean many things, but essentially it means, please ask the person
:09:34. > :09:44.that is sitting with me to leave for some reason. I don't feel well.
:09:44. > :09:47.Many different reasons. Yeah. This thing that she's like sort of
:09:47. > :09:50.cleaning the, cleaning the thing. And then boom. It's like kkkkkhh.
:09:50. > :10:00.It reconnect and it's only for you. So each and every one had like a
:10:00. > :10:10.
:10:10. > :10:13.clean, unique and personal contact with Marina. It's like a magnet.
:10:13. > :10:16.What is so beautiful about the MoMA performance - she's treating
:10:16. > :10:20.actually every human being she is encountered, with, with the same
:10:20. > :10:23.attention and same respect - that's pretty shocking. And some people
:10:23. > :10:29.are shocked by this, and some people anyways think they deserve
:10:29. > :10:39.this attention, and they are finally where they should be. And
:10:39. > :10:42.
:10:42. > :10:49.others fall in love with her. There's so many different reasons
:10:49. > :10:58.why people come to sit in front of me. Some of them, they're angry.
:10:58. > :11:05.Some of them curious. Some of them just want to know what happen. Some
:11:05. > :11:12.of them, they really open and you feel incredible pain. So many
:11:12. > :11:20.people have so much pain. When they're sitting the front of me,
:11:20. > :11:30.it's not about me anymore. It's very soon, I'm just the mirror of
:11:30. > :11:56.
:11:56. > :12:04.Somebody told me the other day that for most masterpieces, people stand
:12:04. > :12:10.in front of it for 30 seconds. Mona Lee Sis - 30 seconds. People come
:12:10. > :12:14.and sit here all day. -- Mona Lisa - 30 seconds. People come and sit
:12:14. > :12:19.here all day. The world is moving so fast now. People barely have an
:12:19. > :12:24.attention span at all. She slows everybody's brain down. She asks us
:12:24. > :12:34.to stay there for quite a length of time, which we are not used to
:12:34. > :12:44.
:12:44. > :12:54.doing. She transforms us as a result. Marina is an artist that
:12:54. > :13:01.visualises time. Using her body in the space with the audience. By the
:13:01. > :13:05.mere duration she brings time in as a weight. The weight on the
:13:05. > :13:15.performer's shoulders, taking a piece out of the performer's life
:13:15. > :13:18.
:13:18. > :13:23.as a value. Time is not an ephemeral just rushing by. Just
:13:24. > :13:33.imagine time as an unbearibly large object you cannot move and you are
:13:34. > :13:34.
:13:34. > :14:36.Apology for the loss of subtitles for 121 seconds
:14:36. > :14:41.May I have your attention, please? The museum is now closed. Please
:14:41. > :14:47.return your MoMA audio programming units to the desk on the ground
:14:47. > :14:56.floor. The performance is finished. We are closing the space. Thank you.
:14:56. > :15:03.Thank you. We're closed. Thank you. We open at 10.30am tomorrow. Come
:15:03. > :15:13.back tomorrow. OK? You give me a chance? When you come back tomorrow,
:15:13. > :15:19.
:15:20. > :15:27.we'll talk about it. You OK? You want me to get a wheelchair? No, my
:15:27. > :15:37.foot's asleep. It's coming back. Just give me a couple of seconds.
:15:37. > :16:00.
:16:00. > :16:10.OK. I was sitting on the ground a Kids, this is about limit. Even for
:16:10. > :16:21.
:16:21. > :16:26.me. Oh God! Oh... It was strange today. I had this enormous pain but
:16:26. > :16:30.at the same time when announcement arrive, I was thinking it was, it
:16:30. > :16:37.was a mistake. I was expecting another three hours. I was thinking
:16:37. > :16:42.it was so short. I don't know. Today? Yeah. I saw her having pain.
:16:42. > :16:47.I saw and heard the guards saying that they are worried, so I say,
:16:47. > :16:57."If you think you ruin your health, if you think you damage your body,
:16:57. > :16:57.
:16:57. > :17:03.then I offer you officially now to end the performance." So, so
:17:03. > :17:06.painful. She just say, "No, it would never be an option." So she
:17:06. > :17:16.was not even considering it, not listening to the end of my sentence,
:17:16. > :17:35.
:17:35. > :17:39.she was saying, "No, I would never, There is pain but the pain is like
:17:39. > :17:49.a kind of keeping secret. The moment you really go through the
:17:49. > :17:50.
:17:50. > :17:54.door of pain, you enter to another state of mind. This feeling of
:17:54. > :17:59.beauty and unconditional love and this feeling of there is no kind of
:17:59. > :18:05.borders between your body and environment. And you start having
:18:05. > :18:13.this incredible feeling of lightness and harmony with yourself.
:18:13. > :18:18.It is something become like a, like a holy. I can't explain. And that
:18:18. > :18:28.other state of mind is exactly what public start feeling that something
:18:28. > :18:56.
:18:56. > :18:59.Performance is all about state of mind. The public is like a dog.
:19:00. > :19:05.They can feel insecurity, they can feel fear, they can feel you are
:19:06. > :19:15.not there. So the idea is how you can bring performer and the
:19:16. > :19:16.
:19:16. > :20:47.Apology for the loss of subtitles for 121 seconds
:20:47. > :20:57.audience in the same state of Would you... Take this table.
:20:57. > :20:57.
:20:57. > :21:06.you move it with me? What is under the, the feet? What is under it?
:21:06. > :21:14.It's nothing. It is just a little glue to keep it in position. Stay,
:21:14. > :21:18.Marina. Don't move. It's so interesting that I could not do
:21:18. > :21:23.without table in the first two months. I need to have structure. I
:21:23. > :21:27.need to have the table. And the table have to be kept there until I
:21:27. > :21:34.really got to the point that I actually don't need the table.
:21:34. > :21:39.Let's switch it off. And once this table is removed, it is so much
:21:39. > :21:48.more direct. I'm gonna open it for you. What do you think is the
:21:48. > :21:52.difference? The difference is no buffer. From security point of view,
:21:52. > :21:56.there is no buffer between two of them. You know, like if somebody is
:21:56. > :22:00.going to do something, there's nothing preventing someone from
:22:00. > :22:03.doing something, you know. makes herself so much more
:22:03. > :22:08.vulnerable. It's so much more direct. There is no obstacle
:22:08. > :22:18.between her and the audience. She was right. Priest doesn't need the
:22:18. > :22:18.
:22:18. > :23:39.Apology for the loss of subtitles for 121 seconds
:23:39. > :23:46.Put your number out. What is this? This is the self-imposed number
:23:46. > :23:51.system for Marina Abramovic. We are almost done. You said this in April,
:23:51. > :24:01.too. These are details. You cannot grab a few minutes here and there.
:24:01. > :24:03.
:24:03. > :24:11.Few minutes? What's one month, year, one week here, one week there?
:24:11. > :24:21.bastard! Just have a big picture. Keep focused on the big picture.
:24:21. > :24:32.
:24:32. > :24:42.That's right. OK, I'm fine. museum is now open. Walk! Walk!
:24:42. > :24:47.
:24:47. > :24:53.think I'm five. She's five, I'm four. I stand in the line several
:24:53. > :25:03.days and I didn't get in. You have been sitting there? Yeah, yeah.
:25:03. > :25:06.
:25:06. > :25:11.When? Yesterday, I was there at 5.00am in the morning and I didn't
:25:11. > :25:15.make it. People camping out all night and waiting. It throws open
:25:15. > :25:20.the whole kind of rock star question. Performance star.
:25:20. > :25:24.Basically, a groupy question. What is interesting about her work and
:25:24. > :25:27.this work is the blank slate aspect of it, what it brings out in
:25:27. > :25:32.everyone from the art world, people that claim they know the work very
:25:32. > :25:37.well... Which one is she? People that are part of this language and
:25:37. > :25:43.then outright strangers and people that go, "Why is she doing this?"
:25:43. > :25:53.That is endlessly interesting. What you are seeing is the giant canvas
:25:53. > :26:29.
:26:29. > :26:37.Marina's connection to the audience comes out of this extraordinary
:26:37. > :26:47.lack that she feels, or she felt as a child. She desires to be loved,
:26:47. > :26:53.
:26:53. > :27:01.she desired to be needed. Marina does have the experience that she
:27:01. > :27:10.needs the audience like air to breathe. That's the gasoline she is
:27:10. > :27:16.running on. She lives for her art. She lives for the audience. When I
:27:17. > :27:22.met her, I thought, "Oh God, she's in love with me." And it took me a
:27:22. > :27:25.while to understand that she is in love with the world. So it's not
:27:26. > :27:32.personal. "Don't take it personal. I'm in love with the world. I'm not
:27:32. > :27:42.in love only with you." I realise she is repeating this
:27:42. > :27:56.
:27:56. > :28:06.misunderstanding with every single person in the Atrium. OK? You OK,
:28:06. > :28:07.
:28:07. > :28:11.mom? What's the matter? I'm OK. I'm proud of you. I don't know if the
:28:11. > :28:15.public idolise me. It is their own thing how they project, but it's
:28:15. > :28:19.not my aim. It is like, you know, if you come to the certain point of
:28:19. > :28:27.your career, you are idolised, you have the money and you are famous,
:28:27. > :28:37.but this is not the aim of the art. It is just a side-effect. It's like
:28:37. > :28:44.
:28:44. > :28:49.In a way, like everybody's around, and you are aware of them, but the
:28:49. > :28:59.connection with Marina is so strong that it doesn't... Really pushes it
:28:59. > :28:59.
:28:59. > :29:04.away. Is she acting, do you feel? No, but the only thing that maybe
:29:04. > :29:08.is similar is that there are people watching you. The sacrifice of
:29:08. > :29:18.oneself for a performance it seems that there's always involved in
:29:18. > :29:21.
:29:21. > :29:27.acting. Maybe. Are you an actor? Yeah, yeah. OK, you have that sense,
:29:27. > :29:32.you have that presence. Yeah, good. May I have your attention please?
:29:32. > :29:42.The museum is now closed. Please return your MoMA audio equipment to
:29:42. > :29:42.
:29:42. > :29:48.the desk on the ground floor. know that Tunji told me 750,000
:29:48. > :29:58.people saw the show? This is like almost a million! I think we should
:29:58. > :30:00.
:30:00. > :30:05.prolong it for some month more so we can get the million. Let's go.
:30:05. > :30:15.This is from the cook? The cook? Yes, yes. He's genius, this guy.
:30:15. > :30:15.
:30:16. > :30:21.Who was this look, look, good- looking Asian man? ALL: Ah! You
:30:21. > :30:28.like him. Huh? Can we get some telephone numbers here? He was
:30:28. > :30:33.really nice. Sexy. We are close to end. After I saw Marina's exhibit,
:30:33. > :30:36.I am really inspired to get into performance art and to do it. Being
:30:36. > :30:46.here is like a piece in itself, like dedicating this much
:30:46. > :30:47.
:30:47. > :30:52.commitment to her. We are there, kids, almost there. Next time
:30:52. > :30:56.Saturday I'm in the country, which is really something. I wish I had a
:30:56. > :31:06.number but I don't have one. I came all the way from Australia to sit
:31:06. > :31:14.
:31:14. > :31:21.with Marina. Do you need a number? I'm sad and happy., altogether.
:31:21. > :31:25.Marina, we're taking you past 53rd so you can see the queue for the
:31:25. > :31:35.last time. They started I think Wednesday night or Thursday night?
:31:35. > :31:40.
:31:40. > :31:44.One girl had a great idea to come at around 10.00pm. What? And then
:31:44. > :31:49.for the day after people just don't, they don't leave the place. People
:31:49. > :31:57.that are like, they are up to sit. They just get out of the museum and
:31:57. > :32:02.sit in front until the morning. God, this is amazing. This is the
:32:02. > :32:12.last day. I don't think anybody imagined this. What time is now?
:32:12. > :32:16.
:32:16. > :32:26.What time? 10.13. Can we do the chairs? Sure. We already, we are
:32:26. > :32:31.
:32:31. > :32:35.already planning. I know what to do. The museum is not over till 10.30.
:32:35. > :32:40.If you are not planning to sit in front of Marina, you don't have to
:32:40. > :32:50.come in now. You can wait until we open the museum so that we can give
:32:50. > :33:07.
:33:07. > :33:12.21 times dealing with Marina, has this powerful meaning. Were you
:33:12. > :33:16.expecting it to be transformed? it was just, when I saw it the
:33:16. > :33:26.first time, I came and you know, wanted to experience it and then,
:33:26. > :33:54.
:33:54. > :33:59.you know, everything, everything Get him out of here. We have come
:33:59. > :34:03.to sit with Marina, Whore of Babylon, and confes. Speech
:34:03. > :34:08.superfluous, pure form against pure form, the reflection of an
:34:08. > :34:15.emptiness full of value. We have come as the last spectators before
:34:15. > :34:20.the Crucifixion. We sit as Apostles at her table. And our nonchalance
:34:20. > :34:27.betrays her. It is like a matter of time before firing someone in the
:34:27. > :34:31.face is gonna be art. You are going to sit across from the artist in
:34:31. > :34:41.silence. There are no distractions of any sort. No gestures, you don't
:34:41. > :34:44.
:34:44. > :34:49.speak to the artist, you don't move your hands. Are you all right?
:34:49. > :34:59.We've been waiting 16 hours. LAUGHTER OK, your moment is coming
:34:59. > :35:35.
:35:35. > :35:43.up shortly. All right, I'll let you OK, we need somebody sitting,
:35:43. > :35:53.please. Come on, let's go. I'm next. I know. OK, we need to get... The
:35:53. > :35:54.
:35:54. > :36:47.Apology for the loss of subtitles for 121 seconds
:36:47. > :36:50.There's maybe still hope that I will get upstairs. I don't know if
:36:50. > :36:55.you should be filming me. I would love to sit across from her. I
:36:55. > :36:59.didn't know it was a rule. I didn't realise. I would have obeyed the
:36:59. > :37:04.rule if I had known. But I wanted it to be spontaneous. I didn't want
:37:04. > :37:08.anybody to know. I wanted it to be my own thing and special with her.
:37:08. > :37:14.I thought in that space, it is like the audience is part of the art,
:37:14. > :37:22.you know, and we bring it to - and I wanted to be as vulnerable to her
:37:22. > :37:29.as she makes herself to everybody else. I think the exhibition is a
:37:29. > :37:35.self-portrait. That's her. There she sits and she gives it all. She
:37:36. > :37:45.always talks about the here and now. But this piece, the title, "Marina
:37:46. > :37:46.
:37:46. > :37:50.Abramovic: The Artist is Present" that's a self-portrait. She did
:37:50. > :37:54.create a charismatic space, a little rent in the fabric of the