From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.
Interpretation
Marina Abramovic emphasizes that the essence of performance art lies in the experience itself, not in recorded documentation.
Marina Abramovic's quote reflects the philosophy that performance art is a unique, ephemeral experience that should not rely on documentation. The belief is that capturing the performance diminishes its transient nature and the immediacy of the live experience shared between the artist and the audience.
In practice
In an art critique discussing the role of documentation in live performances.
All the aggressive actions I do to myself I would never dream of doing in my own life - I am not this kind of person. I cry if I cut myself peeling potatoes. I am taking the plane, there is turbulence, I am shaking. In performance, I become, somehow, like not a mortal.
I hate studio. For me, studio is a trap to overproduce and repeat yourself. It is a habit that leads to art pollution.
The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind.
First of all, to do performance art, you really have to give 100 percent. I only know that I have to give 100 percent and then what happens, happens.
Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
I want people to come to me open and vulnerable. When they come to the gallery, they have to leave their watches, their computers, their Blackberrys, iPads, iPhones, because we are so incredibly used to technology, and I wanted to remove that.
A drawing is simply a line going for a walk.
I want to sound like an instrument. I want my voice and my words to marry the beat. I go with the rhythm of it and the words start to come to my mind and those words could be based on things that's been on my mind for the past year, the past month, the past week, whatever; I write it.
I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
I started out in this business in rock and roll bands and stumbled into drag. Drag just happened to be my vehicle for my creativity. So, you know, it's afforded me the opportunity to create new shows, to make music.
In those days, a gay man was made to feel nothing but shame about his feelings and his sexuality. I wanted my drawings to counteract that, to show gay men being happy and positive about who they were. Oh, I didn't sit down to think this all out carefully. But I knew - right from the start - that my men were going to be proud and happy men!
A man paints with his brains and not with his hands.
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