Marina Abramović, Max Richter and Adorno

I went to see Marina Abramović: The Artist Is Present at the ICA yesterday. Before watching the film, I associated Abramović with confrontational performance art, often involving nakedness and cutting. A retrospective of her 2010 performance at MoMA, the film briefly traces Abramović’s artistic trajectory but is centred on her remarkable solo performance performed daily over three months. If you made it to MoMA for the exhibition I am envious, but, if not, I urge you to watch this extraordinary film.

On the drive home, about an hour, I listened, at full volume, to Max Richter’s The Blue Notebooks, his exquisitely beautiful piano composition, interspersed with ambient sounds and words from Kafka’s journals. With the Abramović film on my mind, together with Adorno’s artlessly wonderful Minima Moralia, which I have been slowly reading, I could have driven all night.