Pętla obrazów. Wideo według Mariny Abramović

Słowa kluczowe

performance art
video art
video loop
installation art
Marina Abramović

Jak cytować

Krawczak, M. (2009). Pętla obrazów. Wideo według Mariny Abramović. Images. The International Journal of European Film, Performing Arts and Audiovisual Communication, 7(13-14), 235–241. https://doi.org/10.14746/i.2009.13.14.19


The Loop of Images. Video According to Marina Abramowić

The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.



M. Abramović, Cleaning the Mirror, w: Artist Body,Milan 1998, s. 330.

N. Kaye, Multiplying Media, w: Multi-Media. Video – Installation – Performance, London 2007, s. 163–198.

M. Abramović, Artist Body, s. 330.

M. Abramović, Marina Abramoviç’s Kitchen, http://www.dazeddigital.com/ArtsAndCulture/article/5849/1/Marina_Abramovics_Kitchen (download 2.04.2010).

K. Krzan, Ekstaza w wersji pop. Poszukiwania mistyczne w kulturze popularnej,Warszawa 2008.

M. Merlau-Ponty, Fenomenologia percepcji, przeł. M. Kowalska i J.Migalski, Warszawa 2001.

L. Uspienski, Teologia ikony, przekład i oprac. M. Żurowska, Poznań 1993, s. 148.

M. Abramović, 007 Interwiev, w: Artist Body, s. 25.