Acclaimed conceptual artist Marina Abramović has spent over 700-hours in silent one-on-ones, stood naked in an art gallery doorway as visitors brushed against her body, and invited strangers to use objects from feathers to knives on her body.
Now, the 77-year-old Serbian artist is set to add another landmark artistic moment – later today she is presenting her largest-ever participatory work, in front of thousands of revellers on the Pyramid Stage at Glastonbury.
At 5.55pm Abramović will take to the Pyramid Stage – where headlining acts Dua Lipa, Coldplay, PJ Harvey, Burna Boy, Shania Twain and SZA will perform over the weekend – and will ask revellers to participate in her piece Seven Minutes of Collective Silence.
“Silence is a powerful tool that allows us to connect with ourselves and each other in ways words cannot,” said Abramović.
“At a festival like Glastonbury, where sound and energy are in constant flux, these Seven Minutes of Collective Silence offer a unique opportunity for unity and introspection. It’s about being present together, experiencing the power of silence as one.”
The public intervention, as she calls it and which is done in collaboration with art platform Circa, is responding to Glastonbury’s 2024 theme, Peace, and aims to encourage audiences to take a quiet moment during the weekend’s high jinks.
This short period of reflection is expected to be enhanced by being experienced in a crowd that may be as large as 100,000 (the number who showed up to watch the Rolling Stones in 2013). And with PJ Harvey set to take to the stage shortly after 18:00, Abramović’s performance promises to be incredibly moving.
“We are honoured to have Marina Abramović bring such a meaningful and profound experience to Glastonbury,” said festival boss Emily Eavis.
“Her work has always pushed boundaries and inspired deep reflection, and we believe this moment of collective silence will be a memorable and impactful addition to the festival.”
Last autumn, Abramović presented a six-years-in-the-making retrospective at the Royal Academy, which made her the first female artist to ever do so.
Described as “terrifying and vital”, “relentless” and “epic”, the survey managed to communicate the power of her astonishing, often ephemeral, works: “I can’t imagine a better display, especially given that much of it exists as documentation of performances,” said the Standard.
