New Art Records by Abramović, Peake and Atkins

Marina Abramovic, 512 hours, 2014Marina Abramović, 512 hours, 2014   FavoriteLoadingFavorite
Marina Abramović is a pioneer of performance as an art form, using her own body as subject and object to push the physical and mental limits of her being. 512 Hours is the first major performance by Abramović since her monumental piece The Artist is Present, at the Museum of Modern Art, New York in 2010, in which visitors were invited to sit in silence opposite the artist and gaze into her eyes for an unspecified amount of time. Abramović performed this work every day for three months.

In a unique work created for the Serpentine, Abramović performs in the Gallery for the duration of her exhibition. Creating the simplest of environments in the Gallery spaces, Abramović’s only materials will be herself, the audience and a selection of props that she may or may not use. The public will become the performing body, participating in the delivery of an unprecedented moment in the history of performance art.

The pared-down nature of this exhibition corresponds to Abramovic´’s interest in the historically well established relationship between art and ‘nothingness’; visual artists including Robert Barry, John Cage, Yves Klein, Gustav Metzger and Yoko Ono have all explored the notion of material absence within their practice. The idea of emptiness – of minimalism, reduction and simplicity – plays an intrinsic role in Abramovic´’s own work, and has increasingly led to ‘more and more of less and less’, a longstanding aim that she recorded in her Artist’s Life manifesto of 2009. It is this journey towards immateriality that has led her to this unique moment in her work, where she will commit to an unscripted and improvised performance in the gallery space.

Unique recording of Marina Abramovic performance piece
Captures the artist reading her 'An Artist Life Manifesto'
Recorded live in the Serpentine on 6th June 2014
Pressed on 180-gram white vinyl on the EMI 1400
Bespoke gatefold sleeve, printed on Munken Smooth
Bespoke inner sleeve, printed on red Colorplan
Limited edition of 100 copies worldwide
Hand signed and numbered by Marina Abramovic
Price: £500
Available at The Vinyl Factory here

Ed Atkins, Ribbons, 2014Ed Atkins, Ribbons, 2014
Centred around an augmented and appended version of the new multi-screen video work Ribbons, Atkins’s exhibition transforms the Serpentine Sackler Gallery into a submersive environment of syncopated sounds, bodies and spaces. Sounds from a suite of synchronised projections positioned throughout the Gallery will lead the visitor through the space, with glimpses of song, swells of orchestra, murmuring voices and waves of sub-bass. Ribbons is part musical, part horror, and part melodrama; Bach’s 'Erbarme Dich' and Randy Newman’s 'I think it’s going to rain today' are two of the songs featured. Naked, lonely and misanthropic, the palpable melancholy of Atkins’s Computer Generated avatar hero is ‘rendered’ as HD graphic, troll, voyeur and, perhaps, artist.

“The Sackler exhibition will re-possess some sort of sub-horror genre; the old powder rooms, haunted by the phantom smell of gunpowder, paranoia and anticipation of violence, will emphasise a particularly phantasmatic aspect of Ribbons; the protagonist’s questionable corporeality, their presence, their performance of loss and monstrousness”
– Ed Atkins

Four recordings by one of the most prominent artists of his generation
Comprised from Atkins' new multi-screen video work Ribbons
Pressed on two heavyweight 180-gram white vinyl records
Housed in record sleeves with exclusive Ed Atkins artwork
Limited edition of 100 copies worldwide
Hand signed and numbered by Ed Atkins
Price: £200
Available at The Vinyl Factory here

Eddie Peake, 2014Eddie Peake, 2014
Muscle is the new single from Gwilym Gold, and the first release on  HYMN, a new record label founded by Eddie Peake in collaboration with  The Vinyl Factory. The single comes backed with a remix by Beam.

Fittingly, the seeds of the music that would become Muscle were sown with Gold and Peake working together for the White Cube exhibition, Adjective Machine Gun. Eight hours a day, four days a week for six weeks straight last year, Gold would sit at a piano in the gallery improvising a soundtrack to Peake’s work with five  dancers for a piece entitled Infinite Disparity. Like some fast-tracking of Malcolm Gladwell’s fabled 10,000 hour rule of greatness, from this mammoth 200-hour extemporisation came forth the tender and strange beauty that is Muscle.

As with previous collaborations, Gold has created the music and Peake the visuals, including all of the single artwork and its video.

Eddie Peake’s work encompasses a broad array of media, and in his performances he often draws upon the power of live music and sound as a means to convey, as well as dictate, emotional and  psychological narratives. His recent music projects include last year’s Sing About Me Part 1 with Kendrick Lamar, St John Sessions with Actress, and Infinite Disparity with Gold, Ben Esser and Alexis Nunez.

Limited edition of 100 unique artworks
Individually screen printed by Eddie Peake
Four panel gatefold outer sleeve with exclusive artwork
Two inner sleeves with exclusive artwork
Two 180-gram heavyweight etched records
Hand signed and numbered by the artist
Price: £300
Available at The Vinyl Factory here

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