{"id":52991,"date":"2023-01-31T09:11:18","date_gmt":"2023-01-31T09:11:18","guid":{"rendered":"https:\/\/modernartoxford.org.uk\/cms\/?p=52991"},"modified":"2025-01-29T10:15:11","modified_gmt":"2025-01-29T10:15:11","slug":"in-the-museum-with-marina","status":"publish","type":"post","link":"https:\/\/www.modernartoxford.org.uk\/cms\/in-the-museum-with-marina\/","title":{"rendered":"In the museum with Marina Abramovi\u0107"},"content":{"rendered":"\n

Go behind-the-scenes of Marina Abramovi\u0107’s 2021 museum residency, inspiring her exhibition Gates and Portals<\/em> at Modern Art Oxford. This post was written by Hannah Healey, PhD student and Abramovi\u0107’s research assistant during the residency.<\/strong><\/p>\n\n\n\n

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In August 2021 Marina Abramovi\u0107 arrived in Oxford. Invited by Modern Art Oxford and hosted by the University of Oxford\u2019s Pitt Rivers Museum, she spent a month in the museum undertaking a period of research in preparation for an exhibition at Modern Art Oxford the following year. <\/p>\n\n\n\n

During the residency, I worked as Marina\u2019s assistant. <\/p>\n\n\n

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Hannah Healey, Marina Abramovi\u0107 and Nicholas Crowe, Pitt Rivers Museum, August 2021. Photo by Todd Eckert.<\/figcaption><\/figure>\n<\/div>\n\n\n
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The city and the museum were quiet. Students hadn\u2019t yet returned for the next academic year, and the flow of tourists to the city that had been halted by the pandemic had not yet picked back up. <\/p>\n\n\n\n

The Pitt Rivers Museum<\/a> sits behind the Museum of Natural History, and both are monuments to the Victorian impulse for categorisation. While the Museum of Natural History classifies the wonders of the natural world \u2013 fossils, skeletons and stones \u2013 the Pitt Rivers classifies the artefacts of a vast array of cultural worlds. Objects are displayed by type \u2013 vessels, instruments, weapons, amulets \u2013 in wooden cases that bring together huge numbers of objects from far afield, and just a few miles down the road.<\/p>\n\n\n\n

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Pitt Rivers Museum. Photo by John Cairns. <\/figcaption><\/figure>\n<\/div>\n\n\n
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Each morning began with Yorkshire<\/em> tea, a quiet moment to discuss the plan for the day, and a walk through the galleries. <\/p>\n\n\n\n

We peered into display cases, opened the many drawers each cabinet holds, examined their contents. We tried to read the handwritten notes that sat around the objects, partly obscured labels and tags inscribed by curators from the museum\u2019s past.  Marina would pick a section or theme to focus on, and sometimes we would be joined by curators or professors whose specialty was represented in the museum.<\/p>\n\n\n\n

We sat with curator Julia Nicholson in front of tall cases holding objects from Siberia as she told us about shamanistic practices from the region, and the pioneering early women anthropologists<\/a> that trained in Oxford.<\/p>\n\n\n\n

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Bronze amulet box and its contents (1954.6.116.1-16). Photo by Hannah Healey<\/figcaption><\/figure>\n<\/div>\n\n\n
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Marina has a long engagement with Tibetan Buddhism, seeing in it a reflection of the long-durational embodied practices that have informed her performance work. And so we spent an afternoon with objects from Tibet, guided by curator and professor Clare Harris and PhD candidate Thupten Kelsang. <\/p>\n\n\n\n

In the afternoon, objects for closer examination were gathered from the museum displays by curator Nicholas Crowe and brought to the study room. This backstage area of the museum, unseen by the public, is encircled by the curators\u2019 offices and the museum library. During our month at the museum, there were few others in this part of the building.<\/p>\n\n\n\n

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Nicholas Crowe and Marina Abramovi\u0107, Pitt Rivers Museum, August 2021. Photo by Hannah Healey.<\/figcaption><\/figure>\n<\/div>\n\n\n
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A layer of white polystyrene protected the objects from the hard surface of the tables they were placed upon, and around the room were boxes of gloves for handling the objects. Marina chose not to use them. Instead, she hovered above the objects, observed them from a short distance, and moved through the space around them. <\/p>\n\n\n\n

Working with Nicholas, I sourced texts on the objects that held Marina\u2019s interest. Some, written by the historic collectors, gave insight into how they came to be in the museum. Others, by more contemporary academics, reflected on the loss or persistence of the objects in the cultures and communities they originate from.<\/p>\n\n\n\n

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Agu-‘nsi (PRM1916.45.115), Monitor lizard skin on cane stretching-frame (PRM1938.36.291), Photo by Hannah Healey<\/figcaption><\/figure>\n<\/div>\n\n\n
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I tried to find the stories of the objects.<\/p>\n\n\n\n

Where they came from
who made them
how they were used
why they were important.

The lives they had before becoming museum exhibits.<\/p>\n\n\n\n

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Agu-‘nsi (PRM1916.45.115). Photo by Hannah Healey.<\/figcaption><\/figure>\n<\/div>\n\n\n
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An idea that recurred was gates<\/em>. Transportive and transformative objects.<\/p>\n\n\n\n

Among the objects gathered by Nicholas was a small animal figure from Nigeria, an Agu-‘nsi. It came to the Pitt Rivers via a British colonial district officer named Percy Talbot, who lived in Nigeria from 1902 to 1931. It is recorded as coming from the Niger Delta region of southern Nigeria, from the Etcheor Igbo (also Ibo) peoples, and is said to have been used by a medicine man for divination.<\/p>\n\n\n\n

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Marina Abramovi\u0107, Drawings of an agu-\u2019nsi (figure used for divination), 2021, charcoal on paper, 30 x 21 cm. Translation from the Cyrillic: Dog and its spirits. Accession number: 1916.45.115<\/figcaption><\/figure>\n<\/div>\n\n\n
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Incorporated into Marina\u2019s study process were other methods for understanding the objects. On her first day in the city, we visited the art supply shop on Broad Street and she selected sketchpads, loose sheets of paper, pastels, a few pencils.<\/p>\n\n\n\n

After observing and discussing the objects together, Marina would be left to draw. On pages not larger than A4, she drew the objects that interested her, often several times and from differing angles. She gave them titles, written in the Cyrillic alphabet.<\/p>\n\n\n\n

Marina drew the Agu-‘nsi, the length of its body and its rounded face.<\/p>\n\n\n\n

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Marina Abramovi\u0107, Drawing of an agu-\u2019nsi (figure used for divination), 2021, charcoal on paper, 30 x 21 cm. Translation from the Cyrillic: Mystical dog. Accession number: 1916.45.115\n<\/figcaption><\/figure>\n<\/div>\n\n\n
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With curved ears, four legs, and a tail, the Agu-‘nsi resembles a small dog.<\/p>\n\n\n\n

The figure reminded Marina of her own dog, called Alba, who lived with Marina and her partner and collaborator Ulay as they travelled across Europe in a van working on shared performances.<\/p>\n\n\n\n

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Still from the video \u2018Presence and Absence<\/em>,\u2019 Marina Abramovi\u0107, 2022. Copyright Marina Abramovi\u0107 and Pitt Rivers Museum, University of Oxford.<\/figcaption><\/figure>\n<\/div>\n\n\n
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Still from the video \u2018Presence and Absence<\/em>,\u2019 Marina Abramovi\u0107, 2022. Copyright Marina Abramovi\u0107 and Pitt Rivers Museum, University of Oxford.<\/figcaption><\/figure>\n<\/div>\n\n\n
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In the final week of our time at the Pitt Rivers, Marina made a new piece of work drawing on objects from the museum collections.<\/p>\n\n\n\n

In the study room, Nicholas gathered thirteen objects selected from the vast number we had looked at. While the interactions were filmed, Marina held her hands over each item for several minutes. Then, each one was removed, and she held her hands once again over the space that they had just occupied. Feeling the presence and absence of the objects.<\/p>\n\n\n\n

Here again the Agu-‘nsi appeared.<\/p>\n\n\n\n

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Marina Abramovi\u0107, Private Archaeology in Gates and Portals. Photo by Hannah Healey.<\/figcaption><\/figure>\n<\/div>\n\n\n
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In the year after the residency, as plans were made for the exhibition, Marina, her studio, myself, and staff from Modern Art Oxford and the Pitt Rivers Museum worked on a publication. The small book, entitled Gates and Portals<\/em>, gives an insight into the residency in the context of Marina\u2019s lifelong curiosity and research.<\/p>\n\n\n\n

Included is a series of images of objects that Marina has collected in her many travels. Brought together to form a \u2018private archaeology\u2019, she describes the objects as \u2018materialised memories\u2019.<\/p>\n\n\n\n

Among them is a pair of images: a playing card, the three of diamonds, captioned \u2018in the name of the dog the legend has to begin\u2019, and on the opposite page a drawing of a dog, shaped not unlike the Agu-‘nsi, captioned \u2018My dog Alba \/ 15.5.1977 \u201318.12.1992\u2019.<\/p>\n\n\n\n

An image of a dog recurring through a personal mythology.<\/p>\n\n\n\n

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Marina Abramovi\u0107 in the Pitt Rivers Museum, September 2022. Photo by Hannah Healey.\n<\/figcaption><\/figure>\n<\/div>\n\n\n
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Our time at the Pitt Rivers was a rare opportunity to spend all day, day after day, with the objects of a museum. Together, the book and film present the culmination of a month spent with the objects of the Pitt Rivers, the process of slowing down and observing.<\/p>\n\n\n\n

In these interactions between the object and the artist, connections emerge between objects and the person who approaches them. Shaped by our interests and personal histories, the stories museums tell us, and the stories we tell ourselves.<\/p>\n\n\n\n

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Hannah Healey is an art history researcher and writer. She is currently a PhD candidate at the Courtauld Institute of Art researching Artists for Democracy, experimental art, and radical politics in 1970s London.<\/strong><\/p>\n\n\n\n

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More about Marina Abramovi\u0107 at Modern Art Oxford<\/a><\/div>\n<\/div>\n\n\n\n
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Explore Marina Abramovi\u0107 at the Pitt Rivers Museum<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

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