The main problem of modern art, or Are you ready to squeeze between two naked people to enter an exhibition?

If an exhibition like this were organised by a no-name artist like me, probably only I and my mom would attend. She’d only come to say how embarrassing my show is... But if we’re talking about Marina Abramović, we can be sure that at least her haters would show up.

Marina Abramović: ‘I’m an artist, not a satanist!’ // source

A year ago, she (known for her bold performances) held a retrospective show in London. But to enter the exhibition, you had to squeeze between two nude models at the entrance.

WTF? Why?

If you don’t quickly find the answer to this question, you’ll likely drop the idea of entering the exhibition.

But if you take a moment to look at the performance from the outside, everything changes. At the very least, it’s interesting to ponder whether an older man would dare to turn his back to a naked man or not, and why he made that choice.

Then you start thinking and trying to figure out who you’d be comfortable turning your back to. And finally you realize — you’re already part of the art, and you no longer think the performance is that wild.

“Entering between the two naked performers forces ticket holders into a confrontation with nudity, gender, sexuality, and desire,” said Andrea Tarsia, head of exhibitions at the Royal Academy.

The problem with modern art is that it’s too complex for an unprepared viewer. It’s hard to engage them, which hurts the museum and the entire industry.

Nowadays, it’s incredibly difficult to switch off emotions and start thinking — and that’s the problem.

Art is too complicated for people in these already complicated times. And people, who are becoming harder to understand, are also too complicated for artists.

The world needs simpler art, which can have multiple levels and reveal itself depending on how deep the viewer is willing to go. For some, this experience could even be the motivation for intellectual growth.

- What did you do last weekend?

- Tried to see Marina Abramović’s works by squeezing between two naked people.

- Are you crazy?

- I think I am now.

Here’s an example:

Would you be ready to undress and attend an exhibition about overconsumption, naked? Some people won’t be ready, and the room will be full of conflict — some will be naked, and others clothed. If a fight breaks out in the gallery, as the artist, you’ve only won and secured your place in the hall of fame.

You’re familiar with the problem of overconsumption and its results, so the meaning of this experience is immediately clear for you — you are completely naked (clean) and not part of overconsumption at that moment. You observe the problem from the outside, refusing to associate yourself with it. It is enough to join the exhibition.

Then we could endlessly debate who is the bigger jerk — the one who came clothed and is now trying to look better by being naked, or the one who stayed clothed and is honest with themselves while going deeper.

In the case of Marina Abramović’s exhibition, the difficulty lies in the fact that an uninformed audience won’t understand why naked people are at the entrance or why they should undress to see her works. If you don’t know her previous performances, the answer will be hard to find.

By the way, you should read this newsletter naked, because I wrote it naked.

This is art. Respect the artist.