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In summer 2015, famous performance artist Marina Abramovic and psychoanalyst Jeannette Fischer spent four days together at Abramovic's house in the Hudson Valley. Associating freely, they took a psychoanalytical perspective for a lengthy exploration of Abramovic's biography and art and their interrelation.
Abramovic went into this discussion in hopes of reaching a better understanding of herself, her personality, and her work. Conversations with artists are widely available, she notes, but a chance to use psychoanalysis to put an artist's life and work in context is much more rare. The
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Produktbeschreibung
In summer 2015, famous performance artist Marina Abramovic and psychoanalyst Jeannette Fischer spent four days together at Abramovic's house in the Hudson Valley. Associating freely, they took a psychoanalytical perspective for a lengthy exploration of Abramovic's biography and art and their interrelation.

Abramovic went into this discussion in hopes of reaching a better understanding of herself, her personality, and her work. Conversations with artists are widely available, she notes, but a chance to use psychoanalysis to put an artist's life and work in context is much more rare. The resulting book is neither a therapist's report nor a Fischer's analysis of Abramovic. Rather, it is a search for understanding conducted by the pair, looking for the structures and dynamics that underlie Abramovic's life and art. The dialogues are presented along with Fischer's comments on them and images of some of Abramovic's performances that are referred to in the discussion.
Autorenporträt
Marina Abramovi¿ ist die zurzeit wohl bekannteste Performance-Künstlerin. Ihre Ausstellung The Artist Is Present im MoMA in New York erregte 2010 weltweites Aufsehen. Jeannette Fischer ist seit 1986 freudsche Psychoanalytikerin in Zürich. Sie beschäftigt sich mit Fragen von Gewalt, Macht und Ohnmacht, kuratierte zu diesen Themen Ausstellungen und drehte zwei Dokumentarfilme. Ihr Buch Angst - vor ihr haben wir uns zu fürchten erscheint 2018.
Rezensionen
«Künstler, wie übrigens aussergewöhnliche Unternehmerinnen auch, scheuen sich üblicherweise, die Höllenmaschine genau anzuschauen, die sie antreibt - geschweige denn, darüber zu sprechen. Darum ist dieses Buch so mutig. Weil es den hochsensiblen Motor offenlegt.» Olivia Kühni, Republik