正在同步电影信息
AbramovićhascreatedSevenDeaths,anew,immersivecinematicexperienceforthemaingalleryatLissonStreet,basedonsevenuntimelydemisessheundergoesonscreen,settothemovingsoundtrackofsevenCallassolos.InCorkStreet,Abramovićexhibitssevenalabastersculpturesrelatingtotheselethalvignettes,whicharealsoself-portraitsoftheartistinhabitingdifferentpersonae–herself,Callas,thejiltedbrideorthesacrificialparamour,amongothers–eachfacingtheirownemotional,operaticendings. AbramovićhasbeenobsessedwiththefamousGreeksoprano’smusicandmythsinceayouthfulencounterwithhervoiceprovedculturallyformativefortheartist,whileshealsocitesCallas’sheart-rendingpersonallifeandlonelydeathaschillingechoesofherownlostlovesandnear-deathexperiences.ForalloftheSevenDeathsinthisimmersivefilminstallation,AbramovićhaspairedafamousoriginalCallassoloorariaandillustrateditwiththetheatricalmomentoftheprotagonist’sgrislyend,albeitaddinganewtwistorsomefreshinterpretationineachcase. Forexample,insteadofbeingstrangledbythehandsofOthello,Abramović’sDesdemonaisthrottledbyasnakeinonescene;Tosca’sleapfromthecastleparapetsisrelocatedtotheroofofaskyscraper;andtheritualsuicideofMadameButterflyisreplacedwiththeartistrippingoffahazmatsuitandexposingherselftoradiationpoisoning.ThejealousmurderofCarmenoutsidethebullring–fromGeorgesBizet’sfamousoperaofthesamename–isrecreatedwithlong-termcollaborator,theactorWillemDafoe,whostabsAbramovićviolently,despiteherappearanceinafulltrajedeluces(‘suitoflights’)normallywornbythemalebull-fighterandCarmen’sloveinterest.Thismomentofcross-dressingduplicityisalsodepictedinoneoftheback-litself-portraitsculpturescarvedfromalabaster,entitledTheKnife,exhibitedatCorkStreet. Everydramatickillingistransmittedthroughtheimageryencapsulatedintheseetherealalabasterpieces,thephoto-realisticformsofwhichseemtodissolveintoabstractpeaksandtroughsuponcloserinspection.Theyareinfactintricatelymilledfromsingle,naturalblocksofstone,thelightsuffusingthetranslucentinteriorswithdistinct,internal,performativelivesoftheirown.TheBreathsignifiestheslowsuffocationoftheheroineinVerdi’sLaTraviata;TheMirrorrepresentstheall-consumingmadnessofthehauntedandfragileLuciadiLammermoorand,finally,TheFirerecallstheclimacticmomentsasthehighpriestessNormasubmitstotheflames,herewalkinghand-in-handwithDafoedressedasadiva.Inplacingherselfatthecentreofthesetraumatic,theatricaloutpouringsofloss,loveandlonging,AbramovićhonoursandinhabitsthespiritofthevirtuososoloistCallas,alsosuggestingthattheserolescanbereversed,re-imaginedandrenewedbyfuturegenerationsofperformers.