Marina Abramović, frequently called the “grandmother of performance art,” just opened her newest controversial work. Dubbed “Balkan Erotic Epic,” it was the first theatre show to open at Aviva Studios in Manchester. At 78, the indomitable artist shows no signs of stopping. She’s still pushing boundaries and making waves, interweaving themes of sexuality, culture and existentialism through her enthralling creations. The world premiere unfolded over just one evening, with 13 acts happening at the same time on 13 unique stages.
The performance launches into an intense play-by-play of President Tito’s funeral in Yugoslavia. This moment lends a sad, haunting weight to the scene that draws in the viewer. Through this opening tableau, Abramović artfully stitches together a rich fabric of cultural and historical aesthetics that pay homage to her Slavic origins.
In a chilling and bizarre scene, one woman sticks a live fish inside her body. By leaving it in full view overnight, she has facilitated a powerful and surreal experience. This act is a prime example of Abramović’s fearless exploration and exploitation of sexuality, yet it challenged societal norms and expectations surrounding the female body.
Connected to these themes, one of the performances features a Belgian woman in a white coat who periodically stands to recount a series of folk tales, including one from 14th-century Bosnia. This particular story involves a groom making three holes in a bridge and penetrating each one while reciting a mantra, further intertwining the historical and erotic elements of the performance.
The piece depicts three women dressed as Tito’s grieving widow, who sit motionless and stare ahead, embodying grief while contrasting sharply with the more explicit acts unfolding around them. A second arresting section features five dancers reclining supine on the asphalt. They fuck the floor with a deep and furious energy, a powerful outpour of body and spirit.
An enormous screen displays an experimental range of artistic imagery that complements the performances. One especially attention-grabbing photo, showing a furry ass flopping up and down, helps add to the event’s suggestive atmosphere. These vignettes are ultimately leading the audience to a place like the classic Yugoslav small town coffee shops, where Abramović herself once graced. She accidentally walked onto the set and plopped down at a vacant judges table. The power of her presence compelled the audience to wrestle with her and the concepts laid out.
In her program notes for “Balkan Erotic Epic,” Abramović revealed her inspiration for this epic undertaking.
“This gives me the chance to go back to my Slavic roots and culture, look back to ancient rituals and deal with sexuality, in relation to the universe and the unanswered questions of our existence.” – Marina Abramović
The simultaneous staging of 13 acts allowed for a multifaceted experience that challenged audiences to confront their perceptions of art and sexuality. Abramović’s knack for mixing historical context with modern day challenges underscored why she’s an icon and pioneer in the art world.
The upcoming presentation of at Aviva Studios marks an important breakthrough for Abramović. It serves as a critical juncture for the field of performance art writ large. She is doing some pretty deep, complicated stuff in her work. Audiences everywhere can justifiably look forward to much more from this legendary creator.