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80 Installation View of Marina Abramovi´C's Retrospective The Installation view of Marina Abramo vi´c’s retrospective The Artist Is Present, with slide installation Freeing the Horizon , 1973. Digital image © 2012 The Museum of Modern Art, New York/Scala, Florence. Photo: Jonathan Muzikar. 80 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00071 by guest on 23 September 2021 Process and Authority: Marina Abramovi ´c’s Freeing the Horizon and Documentarity MECHTILD WIDRICH Marina Abramovi c´’s 2010 retrospective The Artist Is Present at the Museum of Modern Art (MoMA) in New York has rightfully been discussed as a milestone in the canonization of performance art. 1 Firsthand experience coexisted with a seemingly aggressive media orchestration of live events and their dissemination in the press. This volatile balance was achieved through the artist’s apparently unshakable sense of her own historicity. The live staging of this historicity left spectators and readers with varying but surely related impressions that Abramovic ’s “authoritative” approach to regulating audience experience was a fulfillment, betrayal, or refutation of the utopian promises of performance art. 2 The aim of the present essay is to broaden the debate by narrowing the object of investigation: I examine Abramovi c´’s Freeing the Horizon , an overlooked slide installation based on modified color photographs and shown in Belgrade on June 7, 1973, two months before she began using her own body in performance. The work was effectively lost for thirty-seven years and re-created for the MoMA exhibition, an occasion that first brought its material character and historical specificity under scrutiny. The work raises questions about the use of docu - ments, about the status of documentary photography, and about “documentarity” in general. With my examination of Freeing the Horizon , I hope to introduce a novel, processual definition of the documentary that evades unproductive juxtapositions of the real and the fictional. This understanding of the docu - mentary concerns the politics of dissent in much contemporary art that pro - ceeds by the manipulation of documents. The tension between freedom and constraint in Yugoslavia under the regime of Josip Broz Tito in the wake of the 1968 unrest is the historical precondition for Freeing the Horizon , which takes as its subject urban space and as its means the ambivalence of censorship and authority in every document. 3 Freeing the Horizon consisted of manipulated color photographs screened as Grey Room 47, Spring 2012, pp. 80–97. © 2012 Grey Room, Inc. and Massachusetts Institute of Technology 81 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00071 by guest on 23 September 2021 slides on eight projectors set up in the rotunda of the Student Cultural Center (Studentski Kulturni Centar, SKC), the central venue of the Belgrade avant- garde community of the 1970s. Abramovi c´ shot the images herself in late spring 1973 while on a stroll along the main axis of Belgrade’s historic center, Prince Michael Street (Ulica Knez Mihailova), which leads to what was then Marshall Tito Street (Ulica Maršala Tita). 4 After developing the prints, she covered parts of them with white and blue acrylic paint, reshot them using slide film, and pro - jected the results in color. 5 An archival photograph in the SKC archive shows Abramovi c´ in a preparatory stage before the projection begins. In the photograph she sits in the center of the oval gallery space, operating a slide projector by hand. The installation reinforced the experience of architecture as lived space. 6 Each projector showed one slide for the duration of the evening, turning the hall into a photographic panorama. Just what was projected on those gallery walls? Because of the long-standing absence of the slides, scholars have tended to assume that the piece was projected in black and white, although black-and- white slide film was comparatively rare at the time, even in Eastern Europe. 7 Their assumption may be traced to a black-and-white photocopy Abramovic produced for the occasion to distribute to the audience. This handout, which the artist describes as an “invitation card,” has also stood in for the work in sev - eral exhibitions prior to the 2010 retrospective. 8 This documentary remainder of the event (but not of the projection) has determined the work’s reception, col - oring scholars’ assumptions about both medium and live experience circa 1973. The slender yet complex reception history of Freeing the Horizon took another turn at MoMA in 2010. After the war and bombardment of Belgrade in the late 1990s, the historical resonance of the work’s subject had shifted, and this was met by a formal change in presentation: the work was screened on a single projector in a room dedicated to documenting Abramovi c´’s life, a room filled with exhibition posters, snapshots, and mementos such as Abramovi c´’s art diploma and her parents’ war medals. 9 The sole projector lit up the wall above the display cases, with one slide steadily replacing another in the manner of a long-lost family album, revealing unfamiliar statuary, a cut-up cityscape, 82 Grey Room 47 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00071 by guest on 23 September 2021 and people in bright summer dress. In New York, the projection seemed nostalgic, the evocation of a lost (East) European place and time, the context intimately biographical. “Looking at this piece,” Abramovi c´ notes in the exhibition catalog, “I was struck by the realization that some of the buildings from this project had been bombed and destroyed during the war in 1999.” 10 At MoMA, then, Freeing the Horizon was more than a newly rediscovered, precocious contribution to conceptual art in slide format. Consider, for instance, James Coleman’s Slide Piece (1972) in which an audiotape complicates what we assume is objectively visible for everyone, or Dan Graham’s Homes for America (1966–1967), with images of mass-produced houses in suburban New Jersey that at once resemble and subtly parody the industrial aesthetic of minimalism. Both of these classics of slide conceptualism tackle urban space, playing on the anti- or nonaesthetic implications of the slide lecture in the classroom, the boardroom, or the family den. 11 The resulting irritating “banality” of subject and mode of representa - tion—detached from the biographies of their creators—seemed to reconceive documentary photography as something outside the photojournalistic rhetoric of beautiful images of horrible historical events. By contrast, Freeing the Horizon was staged at MoMA as a grand but muted gesture from a lost culture, a slow- moving slide lecture on war and loss, an experience Abramovi c´excavated from her past and that of her city. My interest in the 2010 MoMA restaging stems from a conviction that the obviously manipulated images carry within them inherent documentary claims that are not context independent but subtly context responsive, producing intel - ligibly divergent effects under different political conditions. Thus I discuss Freeing the Horizon through the relatively autonomous frameworks of urban experience, political documentation, and viewer experience, linking these through the process of document-making invoked by Abramovi c´to endow the work with its documentary status—a status secured not through formal features but embod - ied in a will to documentation, a visualized reflection on the ways documents are made and used. Documentation thus understood is a flexible venture, particularly suited to exploring what cannot be said and done under conditions of political duress; it also has inti - mate bonds to fiction, imagination, and performance that make its sub - sequent incorporation in events Opposite: Marina Abramo vi´c preparing Freeing the Horizon at the Student Cultural Center, June 7, 1973. Courtesy of SKC Archive, Belgrade. This page: Marina Abramo vi´c. Freeing the Horizon , 1973. Handout. SKC Archive, Belgrade. Photo: Mechtild Widrich. Widrich | Process and Authority: Marina Abramo vi´c’s Freeing the Horizon and Documentarity 83 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00071 by guest on 23 September 2021 like The Artist Is Present seem less like a betrayal of 1960s ideas than their log - ical development. In reframing Belgrade inside the walls of the student center as a city whose official buildings are removed, Freeing the Horizon is a complex reconsideration of three topics: (1) truth claims in photography; (2) political censorship––particularly under tightening control in the wake of the events of 1968; and (3) the role photography plays in shaping our experience of the world. The last topic lends the work not only its historical flexibility but also its stub - born claim to report truths that are not entirely visible. In examining the photographs more closely, we find a difficulty in establish - ing the work as a serial piece with definite limits of inclusion. The photocopy shows six images, and several of the corresponding slides were projected in New York. But significantly more than six slides were shot (some of these addi - tional slides were also shown at MoMA), and multiples of the same photo graph had different parts painted over. Moreover, Abramovi c´does not recall precisely which slides she projected at SKC. 12 Despite this, the extant slides are coherent in presentation. They favor significant architectural markers: the National Theater is conspicuous by its absence in one image, starkly isolating the equestrian statue of Prince Mihailo (Michael, 1823–1868), the first ruler of autonomous Serbia. The Dom Sindikata (Trade Union Building) is partially removed in another slide. In yet another, only the Palace Albania is left standing in Terazije Square. This high-rise of 1938–1940 has historical and ideological significance: the planting of the red flag on its roof by the Red Army and Yugoslav partisans announced liberation from Germany in 1944.
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