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.
Interpretation
The quote emphasizes the importance of full commitment in performance art, regardless of the outcome.
Marina Abramovic's quote highlights the necessity of complete dedication and effort in the realm of performance art. She conveys that true artistry requires giving everything you have, and despite uncertainties about the final result, the act of fully engaging in the process is what matters most. This reflects a broader philosophy about the value of commitment and authenticity in creative endeavors.
In practice
During a speech at an art festival, one could use this quote to inspire emerging artists to give their all to their craft.
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.
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.
When you have heartbreak, what's important is that you don't go halfway. Go all the way down. Don't take pills that keep you in limbo. Cry out all the feelings. Then your own energy for life will put you up again. You become stronger.
Writing fantasy lets me imagine a great deal more than, say, writing about alligators, and lets me write about places more distant than Florida, but I can tell you things about Florida and alligators, let you make the connection all on your own.
What surprises me most in architecture, as in other techniques, is that a project has one life in its built state but another in its written or drawn state.
I have a vast 'bone pile' of stillborn or abandoned poems along with jottings and wisps from the great beyond that I tend to scan. Sometimes that leads somewhere, and sometimes the Muse is just on sabbatical.
The really magical things are the ones that happen right in front of you. A lot of the time you keep looking for beauty, but it is already there. And if you look with a bit more intention, you see it.
Anyway I feel myself a bit on the edge on the art world, but I don't mind, I'm just pursuing my work in a very excited way. And there isn't really a mainstream anymore, is there?
Every time Jimmy Scott sings, it's the same but slightly different. I don't know how he does that or where he gets that from. I think it's instinct. Nothing he does is by chance; he's in complete control of what he's doing. He's just beautiful and unique.
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