On an unseasonably warm day in October 2023, I arrived, ahead of the queues, at London’s Southbank Centre for a conceptual art takeover by the world-famous Marina Abramović Institute.
I had recently read Marina’s memoir Walk Through Walls, which had resonated. So, when I’d seen the event advertised – hours-long performances by artists she’d invited, curated and introduced by Marina – I bought a £60 ticket and waited for my time slot to enter the Queen Elizabeth Hall. I hadn’t seen performance art before, and this was due to include her well-known work The Artist Is Present with an artist sitting, static and silent, in a chair all day, as Marina once did for an accumulated 736 hours and 30 minutes at the Museum of Modern Art. I felt certain that it would affect me, I just wasn’t sure how.
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