Marina and Ulay
Their performances followed some form of supernatural between the two. They treated two bodies as one, and gave the audience exactly what they performed in front of them. There was no hidden tricks, they just collaborated and did body art in bizarre scenarios. Continuing Marina’s goal of wanting to push limits of the mind, body, and soul. Ulay explained the performances, “it’s the first time that we’ve experienced that, just as it is for the spectator.” Together they began their series of Relation Works (1976-80). This involved nonverbal communication, challenge of the male and female principles, and psychic energy. There first performance together Relation in Space (1976) involved the two running into each other for an hour. They stated to be creating a third component “that self”.
That same year proceeded to create Relation in Movement where they drove a car in the same circle for about sixteen hours. The circle left an imprint on the ground for over ten years. They considered each lap to represent a year. Following that year Relation in Time (1977) was where they tied their hair together for sixteen hours, Breathing In/Breathing Out the two connected their mouths until nineteen minutes passed and the they passed out from using all available oxygen. This piece explored the idea of a …show more content…
Dragon Heads was her first solo after Ulay and she placed five boas and pythons all around her body. Marina had to be “dependent upon complete calm and relaxation.” Marina has won awards in her life for her performances. In 1997 she performed Balkan Baroque and won the Golden Lion Award for Best Artist. During this performance she filled the gallery with the smell of cattle bones, covered in blood that she disinfected. “This was her attempt to come to grips with a life lived under communism and the recent Balkan war as well as a comment on ethnic
Their performances followed some form of supernatural between the two. They treated two bodies as one, and gave the audience exactly what they performed in front of them. There was no hidden tricks, they just collaborated and did body art in bizarre scenarios. Continuing Marina’s goal of wanting to push limits of the mind, body, and soul. Ulay explained the performances, “it’s the first time that we’ve experienced that, just as it is for the spectator.” Together they began their series of Relation Works (1976-80). This involved nonverbal communication, challenge of the male and female principles, and psychic energy. There first performance together Relation in Space (1976) involved the two running into each other for an hour. They stated to be creating a third component “that self”.
That same year proceeded to create Relation in Movement where they drove a car in the same circle for about sixteen hours. The circle left an imprint on the ground for over ten years. They considered each lap to represent a year. Following that year Relation in Time (1977) was where they tied their hair together for sixteen hours, Breathing In/Breathing Out the two connected their mouths until nineteen minutes passed and the they passed out from using all available oxygen. This piece explored the idea of a …show more content…
Dragon Heads was her first solo after Ulay and she placed five boas and pythons all around her body. Marina had to be “dependent upon complete calm and relaxation.” Marina has won awards in her life for her performances. In 1997 she performed Balkan Baroque and won the Golden Lion Award for Best Artist. During this performance she filled the gallery with the smell of cattle bones, covered in blood that she disinfected. “This was her attempt to come to grips with a life lived under communism and the recent Balkan war as well as a comment on ethnic