Galeria Horrach Moya
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Press Release

Marina Abramović

Works by Marina Abramović presented in LIFE DEATH INBETWEEN highlight the mysticism of survival, painful realities of existence and find liberation in the vastness of the unknown. The collection of these works together, attempt an exhibition space that articulates the confronting nature and juxtaposition of living, dying and everything inbetween. Works on view animate the tension and dualities of these themes, inviting viewers to seek personal reflection and signification in the motifs and tableaus created by Abramović.

Marina Abramović’s performances for video and photography, as presented at galeria horrach moyà, are tangible representations of Abramović's own discovery of existence and non-existence within her artistic practice. LIFE, DEATH, INBETWEEN are consistent themes realized within her work that have continued to be present and evolve throughout her long standing career.

In Cleaning the Mirror II, a performance for video from 1995, Abramović toils with an illusion of death, laying directly under a skeleton. The skeleton moves to the rhythm of her breath - a mundane gesture that demonstrates the most fundamental act of life - breathing. The most contemporary work in the show, The Jump, taken during the filming of Abramović’s artwork Seven Deaths , freezes the sensation of falling, or floating, leaving viewers unable to feel the relief of safe landing, forced to surrender to the imagined outcome. In Dozing Consciousness (Body) it is not clear what manifestation of existence Abramović is proposing. While her body appears nearly lifeless, buried beneath the weight of crystals, her eyes are energized and captivating, with indication that she is anything but completely alert and in control. In The Family XI, from the series 8 Lessons on Emptiness, Abramovic is powerful in stance and stature, cradling a bouquet of guns just as one would flowers, articulating the tension of life and death within the same capture.

Each artwork holds the magnitude of existence, and its contradictions - there is stillness in falling, calmness in danger, breath in suffocation, power in fear, light in dark and life within death. Abramović challenges the rational mind to wonder at the grandeur of the unknown and to surrender control. The works are brought together by the public’s individual interpretations and connections made, and it is here, where we realize the collective and anonymous nature of being alive, and even find comfort in despair. Marina Abramović’s exhibition LIFE DEATH INBETWEEN, is a space to allow oneself to discover collective connection and empowerment to grasp what comes next.