{"id":18538,"date":"2026-06-19T15:51:41","date_gmt":"2026-06-19T13:51:41","guid":{"rendered":"https:\/\/www.marsilioarte.it\/?post_type=magazine&#038;p=18538"},"modified":"2026-06-19T15:51:41","modified_gmt":"2026-06-19T13:51:41","slug":"marina-abramovic-interview-exhibition-venice","status":"publish","type":"magazine","link":"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-abramovic-interview-exhibition-venice\/","title":{"rendered":"Marina Abramovi\u0107 in Venice: interview with the artist and the exhibition curator"},"content":{"rendered":"Entitled <em>Transforming Energy<\/em>, the exhibition at the Gallerie dell\u2019Accademia in Venice focuses on Marina Abramovi\u0107\u2019s artistic practice. Curated by Shai Baitel, the exhibition is based on the involvement of the audience, who are invited to set aside all distractions and interact silently with the works.<br \/>\r\n<br \/>\r\n<strong>Venice is a city made of stone and water, permeated by a tangible energy, and it is also a city you are very connected to. What does it mean to you to have returned here with an exhibition in which energy plays a fundamental role?<\/strong><br \/>\r\n<br \/>\r\n<strong>Marina Abramovi\u0107<\/strong>: When you are in Venice you feel its elements immediately in the body. Stone, water, light, salt, air. It is also a city where history is both distant and completely present. For me, this is very important because energy is always connected to place, to the body, and to time.<br \/>\r\n<br \/>\r\nI have returned to Venice many times in my life, especially through the Biennale, but this exhibition allowed me to look at the city in a different way. We were not only thinking about Venice as a historical city, or as a city of art, but as a city with its own energetic field. The <em>Transitory Objects<\/em> are made with crystals, minerals, copper, and other materials that carry energy, and in Venice these materials enter into dialogue with the atmosphere of the city itself. So the exhibition becomes about exchange: between the body and the object, between the object and the city, between the past and the present. Venice is the perfect place for this because it is never still. It is always changing.<br \/>\r\n<br \/>\r\n<strong>The connection between time and experience has always been at the heart of your practice. How has this approach changed over time, particularly in response to shifts in the public\u2019s attention span?<\/strong><br \/>\r\n<br \/>\r\n<strong>Marina Abramovi\u0107<\/strong>: I have often said, if you give me your time, I give you experience. If you don\u2019t give me time, there is no experience. This is even more important today because our attention is so fragmented. Much is consumed and forgotten immediately. But performance cannot exist in that way. Performance asks for presence.<br \/>\r\n<br \/>\r\nMuch of my work is concerned with how to create conditions for that presence. In the beginning, I used my own body and duration. With the <em>Transitory Objects<\/em>, I ask how the public can enter this experience themselves. Minerals are very important in this sense because they carry another kind of time. I see them almost as time computers, or time capsules. They come from the earth, and they contain the memory of the planet. When you connect with a crystal or a mineral, you are connecting with something that has existed for hundreds of millions of years. This completely changes your relation to time. It slows you down. It brings you out of ordinary time and into a deeper experience of being present.<br \/>\r\n<br \/>\r\n<strong>The exhibition\u2019s display and the way it is experienced are unique. Silence and sensory stimulation are two key elements. From a curatorial perspective, what are the strengths and limits of an exhibition of this kind?<\/strong><br \/>\r\n<br \/>\r\n<strong>Shai Baitel<\/strong>: The strength and the challenge are very close to one another. We are not only curating physical objects, but energy, silence, and conditions of attention. The objects have a strong visual language, but they are ultimately set up for the audience. They are made to be entered, activated, and experienced.<br \/>\r\n<br \/>\r\nThis also marks an important shift in how Marina\u2019s work is encountered. In this exhibition, Marina is not performing. The audience performs. The <em>Transitory Objects<\/em> become fully manifest only when a visitor stands, sits, lies down, closes their eyes, listens, waits, or follows the instructions of the work. Participation is what completes the exhibition.<br \/>\r\n<br \/>\r\nThe limit is that this kind of presence cannot be forced. Museum directors and curators today are working with an audience that is often highly informed, but also deeply distracted. The smartphone has become almost an extension of the body and the brain. Marina\u2019s fundamental request is that the visitor remove themselves from that constant noise and enter the present moment. Silence and sensory focus are therefore not decorative. They are the conditions that allow the work to happen.<br \/>\r\n<br \/>\r\n<strong>How, in practical terms, did the planning of a guest exhibition at a historic institution such as the Gallerie dell\u2019Accademia unfold? What kind of dialogue did you choose to establish?<\/strong><br \/>\r\n<br \/>\r\n<strong>Shai Baitel<\/strong>: The planning began with the museum itself, and especially with the Accademia\u2019s collection. We did not want to place Marina\u2019s work in the building as a guest intervention. We wanted the exhibition to grow from the specific history of the institution.<br \/>\r\n<br \/>\r\nThe central dialogue is with the Renaissance and early modern history of Venice, and in particular with Titian\u2019s unfinished <em>Piet\u00e0<\/em>. That work became a key point of reference because it brings together the body, mortality, devotion, and transformation. These are also central questions in Marina\u2019s practice, though she approaches them through performance, duration, energy, and direct bodily experience.<br \/>\r\n<br \/>\r\nSo the dialogue we established is very specific. It is between Titian\u2019s <em>Piet\u00e0<\/em> and Marina\u2019s <em>Piet\u00e0 (Anima Mundi)<\/em>, between the Accademia\u2019s historical representations of the body and Marina\u2019s use of the body as material, and between the museum\u2019s devotional and pictorial traditions and the <em>Transitory Objects<\/em>, which ask the public to enter the work physically. The exhibition was planned as a living encounter between the Accademia\u2019s past and Marina\u2019s present.<br \/>\r\n<br \/>\r\n<strong>Interview by Arianna Testino<\/strong>","protected":false},"featured_media":18530,"template":"","meta":{"inline_featured_image":false,"footnotes":""},"categorie_magazine":[343],"class_list":["post-18538","magazine","type-magazine","status-publish","has-post-thumbnail","hentry","categorie_magazine-words-from-marte"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Marina Abramovi\u0107 in Venice: interview with the artist and the exhibition curator - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"On display at the Gallerie dell\u2019Accademia in Venice, Marina Abramovi\u0107 describes her connection with the city and with the public\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-abramovic-interview-exhibition-venice\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marina Abramovi\u0107 in Venice: interview with the artist and the exhibition curator\" \/>\n<meta property=\"og:description\" content=\"On display at the Gallerie dell\u2019Accademia in Venice, Marina Abramovi\u0107 describes her connection with the city and with the public\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.marsilioarte.it\/en\/magazine\/marina-abramovic-interview-exhibition-venice\/\" \/>\n<meta property=\"og:site_name\" content=\"Marsilio Arte\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MarsilioArte\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.marsilioarte.it\/wp-content\/uploads\/2026\/06\/Marina-Abramovic-and-Curator-Shai-Baitel_Marco-Anelli-2025.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1600\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MarsilioArte\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/\",\"url\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/\",\"name\":\"Marina Abramovi\u0107 in Venice: interview with the artist and the exhibition curator - Marsilio Arte\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.marsilioarte.it\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/Marina-Abramovic-and-Curator-Shai-Baitel_Marco-Anelli-2025.jpg\",\"datePublished\":\"2026-06-19T13:51:41+00:00\",\"description\":\"On display at the Gallerie dell\u2019Accademia in Venice, Marina Abramovi\u0107 describes her connection with the city and with the public\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.marsilioarte.it\\\/en\\\/magazine\\\/marina-abramovic-interview-exhibition-venice\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.marsilioarte.it\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/Marina-Abramovic-and-Curator-Shai-Baitel_Marco-Anelli-2025.jpg\",\"contentUrl\":\"https:\\\/\\\/www.marsilioarte.it\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/Marina-Abramovic-and-Curator-Shai-Baitel_Marco-Anelli-2025.jpg\",\"width\":1600,\"height\":1600,\"caption\":\"Marina Abramovi\u0107 e il curatore Shai Baitel. 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