Performance art pioneer Marina Abramovic discussed her newly opened exhibition in Venice and urged visitors to disconnect from their phones [1].
The call for digital disconnection highlights a growing tension between immersive artistic experiences and the pervasive nature of smartphone documentation in public galleries.
Abramovic, who was born in Serbia, aims to bring audiences inside the art [1, 2]. By removing the barrier of a screen, she intends to foster a deeper, more direct engagement between the viewer and the installation [1]. The artist said that the constant distraction of smartphones prevents a true connection with the work [1].
This approach to audience interaction is a central theme of the Venice showcase [1, 2]. The exhibition is designed to pull the viewer into the environment, creating a space where the observer becomes part of the art itself [1].
In an interview with Reuters on May 9, Abramovic focused on the necessity of presence [1]. She said that the goal is to bring audiences inside the art [1]. This strategy seeks to reverse the trend of viewing art through a lens rather than with the naked eye [1].
Venice has become a focal point for these international works, providing a backdrop for Abramovic's exploration of physical and mental presence [2]. The exhibition challenges the modern habit of recording an event rather than experiencing it in real time [1].
“Marina Abramovic aims to bring audiences inside the art.”
Abramovic's insistence on a phone-free environment reflects a broader movement within the contemporary art world to reclaim 'deep attention.' As museums and galleries struggle with the 'Instagrammability' of exhibits, this push toward immersion suggests a shift back toward the visceral, physical presence that defined early performance art.
