The Kitchen

Marina Abramovic

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In “The Kitchen,” time stands still, ceases to exist, appears here and now like an imperious necessity of creation, fruit of a sensory experiment that takes shape through the understanding. Marina Abramovic puts into practice the maxim of Roni Horn: “I do not want to make anything without being here. The creation of something takes me away from here. I want to manage to make being here enough in itself.” “The Kitchen” is a simple production; Marina Abramovic does not use an elaborate display of means, rather she works with the essential, inhabits the space, translating it and defining it —making it her own. Each photograph is a photogram of the performance of Marina Abramovic´ inside this immense kitchen which fed, first, young orphans, then young pupils, children from a very concrete period in history, meteorite children, children of pain, children of sperm, children of language and of dreams. Children whom they cure with magical recipes: “breakfast with a glass of liquid gold. Lunch with fresh fig; dinner with a glass of liquid silver.”