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behind You and me

The Serbian artist Marina Abramovic has worked for years using his own body as artistic material and tool around its performance. She is engaged and a constantly renewed experience of his own limitations, and examines the relationship between men and women or, more simply, relations that unite and separate human bodies.

In 1988, with The Walk, she and her partner Ulay traverse the Great Wall of China, each foot from each end and for 2000 kilometers, until they meet in the middle to "say goodbye and never work together. "

For many of her performances, she puts her own body at risk and seeks to involve the viewer: this link the public and the world is an essential component of his approach.

Today, she repeats this process at MoMA in New York with The Artist IS features.

From March 14 until May 31, the artist is sitting on a chair to the museum during all hours. All those who want you, I can come and sit facing her as long as they want. Some come to laugh, others cry too sometimes.

whole performance was filmed and broadcast live on the website of the MoMA. It there.

You will also see a photo gallery of all the "faces" come stand opposite to the artist. They are funny, sad, famous, anonymous, inspired, bored, excited, pretentious, uncomfortable, multiple.

short is good.

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Text # 4

The regular line is easily recognizable to the economy and natural elegance of its approach, like an old sea dog who is descended from a calm at dawn to his canoe and appreciates to a look at the billowing waves at the output port, measuring the wind without seeming to touch, but also less histrionic applied a taster of wine, listening without appearing to pay attention to the lapping of waves against the dock and the cry of seagulls still gathered on the shore or the sea already scattered in small herds greedy, the seasoned traveler, especially if it is in the prime of life and do not yield easily to the desire of a sudden start on the stairs for fun, is distinguished by the mastery of his movements in the corridor that leads to the dock, he walks without laziness but without haste, without anything lets see his senses are awakened. When

, looming walls of earthenware, the sound of a train is heard, maddening most passengers hand, he knows he must force the pace or not, whether he appreciates fully informed Because of the distance between the pier and decided to try his luck or not, whether he has identified the source of the din or recognized in this provocative lure (specific stations where lines and spend more than French for this reason called correspondence while Italian, more precise and evocative talk to them about coincidences) a call from elsewhere, echoing misleading to another train, the temptation of the error and the promise of wandering.

Arrived on the platform where he can not stop and its location, which allows him to effortlessly access the door of a car, also corresponds exactly to the nearest point of "his" exit to the arrival platform.

Thus we can see the old regulars meticulously choose their starting positions, making their marks in a way, like a high jumper, before you rush to their destination. The more scrupulous zeal grow up to choose the best location of the car that they can leave as quickly as possible once they arrive. More tired or older some try to balance this need with the tactical need of rest and gladly seized the last remaining free jump seat with a mixture of discretion and speed, which translates, too, man of experience.

Marc Augé, An anthropologist in the subway, Hachette Literatures.