Breasts A Fantastic Exploration of Art and Identity Public Works April 27

Serbian functioning artist

Marina Abramović
Марина Абрамовић
Marina Abramović – The Cleaner at Palazzo Strozzi in Florence, Italy, in September 2018
Born	(1946-11-30) November 30, 1946 (age 75) Belgrade, PR Serbia, FPR Yugoslavia
Education	Academy of Fine Arts, Belgrade (1970) Academy of Fine Arts, Zagreb (1972)
Known for	Performance art trunk art feminist art shock art art film endurance fine art
Notable work	Rhythm Series (1973–1974) Works with Ulay (1976–1988) Cleaning the Mirror (1995) Spirit Cooking (1996) Balkan Baroque (1997) Seven Like shooting fish in a barrel Pieces (2005) The Creative person Is Nowadays (2010)
Movement	Conceptual art
Spouse(s)	Neša Paripović ​ ​ (m. 1971; div. 1976)​ Paolo Canevari ​ ​ (m. 2005; div. 2009)​
Parent(s)	Vojin Abramović Danica Rosić
Relatives	Varnava, Serbian Patriarch (great-uncle)
Website	mai.art

Marina Abramović (Serbian Cyrillic: Марина Абрамовић, pronounced [marǐːna abrǎːmoʋitɕ]; built-in Nov thirty, 1946) is a Serbian conceptual and performance artist, philanthropist,^[ane] writer, and filmmaker.^[two] Her work explores body art, endurance art and feminist art, the relationship betwixt the performer and audition, the limits of the body, and the possibilities of the listen.^[3] Existence active for over iv decades, Abramović refers to herself as the "grandmother of performance art".^[4] She pioneered a new notion of identity by bringing in the participation of observers, focusing on "confronting pain, blood, and physical limits of the body".^[5] In 2007, she founded the Marina Abramović Found (MAI), a non-turn a profit foundation for functioning art.^{[half dozen] [7]}

Early life, education and educational activity

Abramović was born in Belgrade, Serbia, so part of Yugoslavia, on November 30, 1946. In an interview, Abramović described her family every bit having been "Cerise bourgeoisie."^[viii] Her slap-up-uncle was Varnava, Serbian Patriarch of the Serbian Orthodox Church building.^{[9] [10]} Both of her Montenegrin-born parents, Danica Rosić and Vojin Abramović^[viii] were Yugoslav Partisans^[eleven] during World War Ii. Later on the war, Abramović's parents were awarded Order of the People's Heroes and were given positions in the postwar Yugoslavian government.^[8]

Abramović was raised by her grandparents until she was 6 years onetime.^[12] Her grandmother was deeply religious and Abramović "spent [her] childhood in a church building post-obit [her] grandmother'south rituals – candles in the morning time, the priest coming for unlike occasions".^[12] At the age of six, when Abramović's brother was born, she began living with her parents and took piano, French, and English lessons.^[12] While she did non take art lessons, she took an early interest in fine art^[12] and enjoyed painting as a child.^[eight]

Life in Abramović's parental home under her mother'due south strict supervision was difficult.^[thirteen] When Abramović was a child, her mother beat her for "supposedly showing off".^[viii] In an interview published in 1998, Abramović described how her "mother took complete military-style control of me and my brother. I was not immune to leave the house afterwards x o'clock at night until I was 29 years old. ... [A]ll the performances in Yugoslavia I did before ten o'clock in the evening considering I had to be domicile then. Information technology'due south completely insane, only all of my cut myself, whipping myself, burning myself, almost losing my life in 'The Firestar' – everything was done earlier ten in the evening."^[14]

In an interview published in 2013, Abramović said, "My female parent and father had a terrible marriage."^[15] Describing an incident when her father smashed 12 champagne glasses and left the business firm, she said, "It was the almost horrible moment of my childhood."^[15]

She was a pupil at the Academy of Fine Arts in Belgrade from 1965 to 1970. She completed her post-graduate studies at the Academy of Fine Arts in Zagreb, SR Croatia in 1972. Then she returned to SR Serbia and, from 1973 to 1975, she taught at the Academy of Fine Arts at Novi Pitiful, while implementing her first solo performances.^[16]

After Abramović was married to Neša Paripović between 1971 and 1976, in 1976, she went to Amsterdam to perform a piece (later claiming on the mean solar day of her birthday)^[17] then decided to motility in that location permanently.

From 1990 to 1995 Abramović was a visiting professor at the Académie des Beaux-Arts in Paris and at the Berlin Academy of the Arts. From 1992 to 1996 she was a visiting professor at the Hochschule für bildende Künste Hamburg and from 1997 to 2004 she was a professor for performance-art at the Hochschule für bildende Künste Braunschweig.^{[xviii] [19]}

Abramović claims she feels "neither like a Serb, nor a Montenegrin", but an ex-Yugoslav.^[20] "When people ask me where I am from," she says, "I never say Serbia. I always say I come from a state that no longer exists."^[8] In 2016, Abramović stated that she has had three abortions throughout her life, adding that having children would have been a "disaster for her piece of work."^{[21] [22]}

Career

Rhythm 10, 1973

In her offset operation in Edinburgh in 1973,^[23] Abramović explored elements of ritual and gesture. Making apply of 20 knives and two tape recorders, the artist played the Russian game, in which rhythmic knife jabs are aimed between the splayed fingers of 1's paw. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the functioning. Subsequently cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging past and present. She fix out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing; the double sounds from the history and the replication. With this piece, Abramović began to consider the country of consciousness of the performer. "In one case you enter into the operation state you can button your body to do things you lot absolutely could never commonly do."^[24]

Rhythm 5, 1974

In this performance, Abramović sought to re-evoke the energy of extreme bodily pain, using a large petroleum-drenched star, which the artist lit on fire at the kickoff of the performance. Standing outside the star, Abramović cut her nails, toenails, and hair. When finished with each, she threw the clippings into the flames, creating a burst of light each time. Burning the communist five-pointed star represented a physical and mental purification, while also addressing the political traditions of her past. In the final act of purification, Abramović leapt across the flames into the eye of the large star. At starting time, due to the light and smoke given off by the fire, the observing audience did non realize that the artist had lost consciousness from lack of oxygen inside the star. Notwithstanding, when the flames came very near to her body and she notwithstanding remained inert, a physician and others intervened and extricated her from the star.

Abramović later commented upon this feel: "I was very angry considering I understood there is a concrete limit. When y'all lose consciousness you can't be present, you lot can't perform."^[25]

Rhythm 2, 1974

Prompted by her loss of consciousness during Rhythm 5, Abramović devised the two-part Rhythm 2 to comprise a country of unconsciousness in a operation. She performed the work at the Gallery of Contemporary Art in Zagreb, in 1974. In Part I, which had a elapsing of l minutes, she ingested a medication she describes as 'given to patients who endure from catatonia, to forcefulness them to change the positions of their bodies.' The medication caused her muscles to contract violently, and she lost complete control over her body while remaining aware of what was going on. After a ten-infinitesimal pause, she took a 2d medication 'given to schizophrenic patients with violent behavior disorders to calm them down.' The performance ended after five hours when the medication wore off.^{[26] [27] [28]}

Rhythm 4, 1974

Rhythm iv was performed at the Galleria Diagramma in Milan. In this slice, Abramović kneeled alone and naked in a room with a loftier-ability industrial fan. She approached the fan slowly, attempting to exhale in as much air as possible to push the limits of her lungs. Before long after she lost consciousness.^[29]

Abramović'due south previous experience in Rhythm 5, when the audition interfered in the performance, led to her devising specific plans and so that her loss of consciousness would not interrupt the functioning earlier it was complete. Before the kickoff of her functioning, Abramović asked the cameraman to focus only on her face, disregarding the fan. This was so the audition would exist oblivious to her unconscious state, and therefore unlikely to interfere. Ironically, after several minutes of Abramović'due south unconsciousness, the cameraman refused to proceed and sent for help.^[29]

Rhythm 0, 1974

To exam the limits of the human relationship between performer and audience, Abramović developed 1 of her most challenging and all-time-known performances. She assigned a passive role to herself, with the public beingness the force that would human activity on her. Abramović placed on a table 72 objects that people were immune to utilize in any style that they chose; a sign informed them that they held no responsibility for whatsoever of their deportment. Some of the objects could give pleasure, while others could be wielded to inflict pain, or to impairment her. Among them were a rose, a feather, love, a whip, olive oil, scissors, a scalpel, a gun and a single bullet. For vi hours the artist immune audition members to manipulate her body and deportment without consequences. This tested how vulnerable and ambitious human being subjects could exist when actions have no social consequences.^[v] At first the audition did not do much and was extremely passive. Notwithstanding, as the realization began to fix in that at that place was no limit to their actions, the slice became brutal. By the stop of the operation, her body was stripped, attacked, and devalued into an image that Abramović described as the "Madonna, female parent, and whore."^[5] Additionally, markings of aggression were written on the artist'due south trunk. In that location were cuts on her cervix made past audience members, and her clothes were cut off her trunk. With an initial determination to discover out how the public acts with no consequences tied to their actions, she realized past the stop that the public might very well have killed her for their own personal enjoyment.

In her works, Abramović affirms her identity through the perspective of others, all the same, more importantly past changing the roles of each player, the identity and nature of humanity at large is unraveled and showcased. By doing and so, the individual experience morphs into a collective one and creates a powerful message.^[5] Abramović'southward art also represents the objectification of the female person body, equally she remains motionless and allows spectators to do as they please with her body; the audience pushes the limits of what one would consider acceptable. By presenting her torso as an object, she explores the elements of danger and concrete exhaustion.^[5]

Initially, members of the audition reacted with caution and modesty, but as fourth dimension passed (and the creative person remained passive) people began to human action more aggressively. As Abramović described it later: "What I learned was that ... if y'all go out it up to the audition, they can kill you. ... I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, ane person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly vi hours, as planned, I stood upwardly and started walking toward the audience. Everyone ran abroad, to escape an actual confrontation."^[xxx]

Works with Ulay (Uwe Laysiepen)

Chief article: Ulay

Marina Abramović and Uwe Laysiepen 1978

In 1976, after moving to Amsterdam, Abramović met the West German performance artist Uwe Laysiepen, who went past the single name Ulay. They began living and performing together that year. When Abramović and Ulay began their collaboration,^[17] the main concepts they explored were the ego and creative identity. They created "relation works" characterized past abiding movement, change, process and "art vital".^[31] This was the beginning of a decade of influential collaborative work. Each performer was interested in the traditions of their cultural heritage and the individual's want for ritual. Consequently, they decided to form a collective being called "The Other", and spoke of themselves equally parts of a "two-headed torso".^[32] They dressed and behaved similar twins and created a human relationship of complete trust. Every bit they defined this phantom identity, their individual identities became less accessible. In an analysis of phantom artistic identities, Charles Green has noted that this immune a deeper understanding of the artist as performer, for it revealed a manner of "having the artistic self fabricated available for self-scrutiny".^[33]

The work of Abramović and Ulay tested the physical limits of the body and explored male and female principles, psychic energy, transcendental meditation and nonverbal communication.^[31] While some critics have explored the idea of a hermaphroditic state of existence as a feminist argument, Abramović herself denies because this as a conscious concept. Her body studies, she insists, have always been concerned primarily with the body as the unit of an private, a tendency she traces to her parents' military pasts. Rather than concerning themselves with gender ideologies, Abramović/Ulay explored extreme states of consciousness and their relationship to architectural space. They devised a serial of works in which their bodies created boosted spaces for audience interaction. In discussing this phase of her performance history, she has said: "The main problem in this relationship was what to do with the 2 artists' egos. I had to observe out how to put my ego downwardly, equally did he, to create something like a hermaphroditic state of existence that we called the death cocky."^[34]

• In Relation in Space (1976) they ran into each other repeatedly for an hour – mixing male person and female energy into the 3rd component chosen "that self".^[17]
• Relation in Motion (1977) had the pair driving their car within of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a twelvemonth. (After 365 laps the idea was that they entered the New Millennium.)
• In Relation in Time (1977) they sat dorsum to back, tied together by their ponytails for xvi hours. They then allowed the public to enter the room to run into if they could utilise the energy of the public to push button their limits fifty-fifty further.^[35]
• To create Animate In/Breathing Out the two artists devised a piece in which they connected their mouths and took in each other'due south exhaled breaths until they had used up all of the bachelor oxygen. Nineteen minutes later on the offset of the performance they pulled away from each other, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual's ability to absorb the life of another person, exchanging and destroying it.
• In Imponderabilia (1977, reenacted in 2010) 2 performers of opposite sexes, both completely nude, stand in a narrow doorway. The public must squeeze between them in order to laissez passer, and in doing so choose which one of them to face.^[17]
• In AAA-AAA (1978) the two artists stood opposite each other and made long sounds with their mouths open. They gradually moved closer and closer, until they were eventually yelling straight into each other's mouths.^[35] This piece demonstrated their interest in endurance and duration.^[35]
• In 1980, they performed Rest Energy, in an art exhibition in Dublin, where both balanced each other on reverse sides of a drawn bow and arrow, with the arrow pointed at Abramović's heart. With almost no effort, Ulay could hands kill Abramović with one finger. This seems to symbolize the authorization of men and what kind of upperhand they accept in society over women. In add-on, the handle of the bow is held past Abramović and is pointed at herself. The handle of the bow is the most significant part of a bow. This would exist a whole different piece if it were a Ulay aiming a bow at an Abramović, just by having her concur the bow, information technology is almost as if the she is supporting him while taking her own life.^{[17] [36]}

Between 1981 and 1987, the pair performed Nightsea Crossing in twenty-two performances. They sabbatum silently across from each other in chairs for vii hours a mean solar day.^[35]

In 1988, later on several years of tense relations, Abramović and Ulay decided to make a spiritual journey that would end their human relationship. They each walked the Great Wall of China, in a piece chosen Lovers, starting from the two opposite ends and coming together in the middle. Every bit Abramović described information technology: "That walk became a complete personal drama. Ulay started from the Gobi Desert and I from the Yellow Bounding main. After each of us walked 2500 km, we met in the heart and said adept-bye."^[37] She has said that she conceived this walk in a dream, and it provided what she idea was an appropriate, romantic ending to a human relationship total of mysticism, energy, and attraction. She later described the process: "We needed a sure form of ending, after this huge distance walking towards each other. It is very human. Information technology is in a fashion more dramatic, more similar a motion-picture show ending ... Because in the end, y'all are really alone, whatever you lot practice."^[37] She reported that during her walk she was reinterpreting her connection to the physical world and to nature. She felt that the metals in the basis influenced her mood and country of beingness; she besides pondered the Chinese myths in which the Great Wall has been described as a "dragon of energy." It took the couple eight years to larn permission from the Chinese government to perform the work, by the fourth dimension of which their relationship had completely dissolved.

At her 2010 MoMA retrospective, Abramović performed The Artist Is Nowadays, in which she shared a menstruation of silence with each stranger who sat in forepart of her. Although "they met and talked the morning of the opening",^[38] Abramović had a deeply emotional reaction to Ulay when he arrived at her performance, reaching out to him across the table between them; the video of the event went viral.^[39]

In November 2015, Ulay took Abramović to court, claiming she had paid him bereft royalties according to the terms of a 1999 contract covering sales of their joint works^{[twoscore] [41]} and a twelvemonth later, in September 2016, Abramović was order to pay Ulay €250,000. In its ruling, the courtroom in Amsterdam found that Ulay was entitled to royalties of twenty% cyberspace on the sales of their works, as specified in the original 1999 contract, and ordered Abramović to backdate royalties of more than €250,000, every bit well as more than than €23,000 in legal costs.^[42] Additionally, she was ordered to provide full accreditation to joint works listed as by "Ulay/Abramović" covering the period from 1976 to 1980, and "Abramović/Ulay" for those from 1981 to 1988.

Cleaning the Mirror, 1995

Cleaning the Mirror consisted of 5 monitors playing footage in which Abramović scrubs a grimy human skeleton in her lap. She vigorously brushes the different parts of the skeleton with soapy water. Each monitor is dedicated to one role of the skeleton: the head, the pelvis, the ribs, the hands, and the feet. Each video is filmed with its own audio, creating an overlap. As the skeleton becomes cleaner, Abramović becomes covered in the grayish dirt that was once covering the skeleton. This three-hour functioning is filled with metaphors of the Tibetan death rites that prepare disciples to get one with their ain bloodshed. The piece consists of a three-piece serial. Cleaning the Mirror #1 was performed at the Museum of Mod Art, consisting of three hours. Cleaning the Mirror #2 consists of 90 minutes performed at Oxford University. Cleaning the Mirror #3 was performed at Pitt Rivers Museum for five hours.^[43]

Spirit Cooking, 1996

Abramović worked with Jacob Samuel to produce a cookbook of "aphrodisiac recipes" called Spirit Cooking in 1996. These "recipes" were meant to be "evocative instructions for actions or for thoughts".^[44] For example, ane of the recipes calls for "13,000 grams of jealousy," while another says to "mix fresh chest milk with fresh sperm milk."^[45] The work was inspired by the popular conventionalities that ghosts feed off intangible things like low-cal, sound, and emotions.^[46]

In 1997, Abramović created a multimedia Spirit Cooking installation. This was originally installed in the Zerynthia Associazione per l'Arte Contemporanea in Rome, Italy and included white gallery walls with "enigmatically fierce recipe instructions" painted in pig'southward blood.^[47] According to Alexxa Gotthardt, the work is "a comment on humanity'south reliance on ritual to organize and legitimize our lives and incorporate our bodies".^[48]

Abramovic as well published a Spirit Cooking cookbook, containing comico-mystical, cocky-help instructions that are meant to be but poetry. Spirit Cooking later evolved into a form of dinner party entertainment that Abramovic occasionally lays on for collectors, donors, and friends.^[49]

Balkan Baroque, 1997

In this piece, Abramović vigorously scrubbed thousands of bloody moo-cow basic over a period of four days, in reference to the indigenous cleansing that had taken identify in the Balkans during the 1990s. This functioning piece earned Abramović the Golden Lion honour at the Venice Biennale.^[l]

Abramović created Balkan Baroque as a response to the state of war in Bosnia. She remembers other artists reacting immediately, creating work and protesting near the effects and horrors of the state of war. Abramović could not bring herself to create work on the matter so soon, equally information technology was too close to habitation for her. Eventually, Abramović returned to Belgrade, where she interviewed her mother, father, and a rat-catcher. She so incorporated these interviews into her piece, as well as clips of the easily of her father, her father holding a pistol and her mother showing empty hands then crossed hands. Abramović is dressed as a doctor recounting the story of the rat-catcher. While this is happening, Abramović sits amid a large pile of bones and tries to wash them.

The functioning occurred in Venice in 1997. Abramović remembers worms emerging from the bones and the horrible smell, as information technology was extremely hot in Venice during the summer.^[51] Abramović explains that the idea of scrubbing the bones clean, trying to remove the blood, is incommunicable. The point Abramović is trying to brand is that blood tin't be washed from bones and hands, just as the war can't exist cleansed of shame. She wanted to allow the images from the performance to speak for not only the state of war in Bosnia, but for any war, anywhere in the world.^[51]

7 Piece of cake Pieces, 2005

Offset on November ix, 2005, Abramović presented Seven Easy Pieces at the Guggenheim Museum in New York City. On seven consecutive nights for 7 hours she recreated the works of v artists first performed in the '60s and '70s, in improver to re-performing her own Lips of Thomas and introducing a new performance on the final nighttime. The performances were arduous, requiring both the physical and the mental concentration of the creative person. Included in Abramović'southward performances were recreations of Gina Pane's The Conditioning, which required lying on a bed frame suspended over a filigree of lit candles, and of Vito Acconci'southward 1972 performance in which the artist masturbated under the floorboards of a gallery every bit visitors walked overhead. It is argued that Abramović re-performed these works as a series of homages to the past, though many of the performances were altered from their originals.^[52]

A full list of the works performed is equally follows:

• Bruce Nauman's Body Force per unit area (1974)
• Vito Acconci'southward Seedbed (1972)
• Valie Export's Action Pants: Genital Panic (1969)
• Gina Pane'south The Workout (1973)
• Joseph Beuys's How to Explain Pictures to a Expressionless Hare (1965)
• Abramović'south ain Thomas Lips (1975)
• Abramović's own Inbound the Other Side (2005)

The Artist Is Nowadays: March–May 2010

From March 14 to May 31, 2010, the Museum of Modernistic Art held a major retrospective and operation recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history, curated by Klaus Biesenbach.^[53] Biesenbach also provided the title for the performance, which referred to the fact that during the entire performance "the artist would be right in that location in the gallery or the museum."^[54]

During the run of the exhibition, Abramović performed The Artist Is Nowadays,^[55] a 736-hour and 30-minute static, silent slice, in which she saturday immobile in the museum'due south atrium while spectators were invited to take turns sitting opposite her.^[56] Ulay made a surprise appearance at the opening dark of the show.^[57]

Abramović sat in a rectangle drawn with tape in the floor of the second floor atrium of the MoMA; theater lights shone on her sitting in a chair and a chair opposite her.^[58] Visitors waiting in line were invited to sit down individually across from the artist while she maintained eye contact with them. Visitors began crowding the atrium inside days of the show opening, some gathering before the exhibit opened each morning to rush for a more preferable place in the line to sit with Abramović. Most visitors sat with the artist for v minutes or less, a few sat with her for an unabridged 24-hour interval.^[59] The line attracted no attention from museum security until the last day of the exhibition, when a visitor vomited in line and another began to disrobe. Tensions amidst visitors in line could have arisen from an understanding that for every infinitesimal each person in line spent with Abramović, there would be that many fewer minutes in the day for those further back in line to spend with the artist. Due to the strenuous nature of sitting for hours at a time, art-enthusiasts accept speculated as to whether Abramović wore an adult diaper to eliminate the demand to move to urinate. Others have highlighted the movements she made in between sitters as a focus of analysis, equally the but variations in the artist between sitters were when she would weep if a sitter cried and her moment of physical contact with Ulay, one of the primeval visitors to the exhibition. Abramović sat across from one,545 sitters, including Klaus Biesenbach, James Franco, Lou Reed, Alan Rickman, Jemima Kirke, Jennifer Carpenter and Björk; sitters were asked not to touch or speak to the artist. By the stop of the exhibit, hundreds of visitors were lining up exterior the museum overnight to secure a spot in line the side by side morning. Abramović concluded the operation by slipping from the chair where she was seated and rising to a cheering oversupply more than ten people deep.

A support grouping for the "sitters", "Sitting with Marina", was established on Facebook,^[60] as was the blog "Marina Abramović fabricated me cry".^[61] The Italian photographer Marco Anelli took portraits of every person who sat opposite Abramović, which were published on Flickr,^[62] compiled in a book^[63] and featured in an exhibition at the Danziger Gallery in New York.^[64]

Abramović said the prove changed her life "completely – every possible element, every physical emotion". After Lady Gaga saw the bear witness and publicized it, Abramović found a new audience: "And so the kids from 12 and 14 years old to nearly 18, the public who ordinarily don't go to the museum, who don't give a shit nearly functioning art or don't even know what it is, started coming because of Lady Gaga. And they saw the show and then they started coming dorsum. And that'due south how I get a whole new audition."^[65] In September 2011, a video game version of Abramović's performance was released by Pippin Barr.^[66] In 2013, Dale Eisinger of Circuitous ranked The Artist Is Present ninth (forth with Rhythm 0) in his list of the greatest performance art works.^[67]

Other

Marina Abramović at the 72nd Annual Peabody Awards, 2013

In 2009, Abramović was featured in Chiara Clemente's documentary Our City Dreams and a volume of the aforementioned proper name. The five featured artists – besides including Swoon, Ghada Amer, Kiki Smith, and Nancy Spero – "each possess a passion for making work that is inseparable from their devotion to New York", according to the publisher.^[68] Abramović is also the bailiwick of an independent documentary motion picture entitled Marina Abramović: The Artist Is Present, which is based on her life and functioning at her retrospective "The Artist Is Present" at the Museum of Modernistic Art in 2010. The pic was broadcast in the United States on HBO^[69] and won a Peabody Award in 2012.^[70] In Jan 2011, Abramović was on the encompass of Serbian ELLE, photographed by Dušan Reljin. Kim Stanley Robinson'due south science fiction novel 2312 mentions a mode of performance art pieces known as "abramovics".

A world premiere installation by Abramović was featured at Toronto's Trinity Bellwoods Park as role of the Luminato Festival in June 2013. Abramović is also co-creator, along with Robert Wilson of the theatrical production The Life and Death of Marina Abramović, which had its N American premiere at the festival,^{[ citation needed ]} and at the Park Artery Armory in December.^[71]

Abramović attempted to create the Marina Abramović Institute (MAI), a nonprofit foundation for functioning art, in a 33,000 foursquare-pes space in Hudson, New York.^[72] She as well founded a functioning institute in San Francisco.^[31] She is a patron of the London-based Live Art Development Agency.^[73]

In June 2014 she presented a new piece at London'southward Serpentine Gallery called 512 Hours.^[74] In the Sean Kelly Gallery-hosted Generator, (December half-dozen, 2014)^[75] participants are blindfolded and wear sound-canceling in an exploration of nothingness.

In celebration of her 70th birthday on November 30, 2016, Abramović took over the Guggenheim museum (eleven years after her previous happening there) for her birthday party entitled "Marina seventy". Part one of the evening, titled "Silence," lasted seventy minutes, ending with the crash of a gong struck by the artist. Then came the more conventional part two: "Amusement", during which Abramović took to the stage to make a spoken communication before watching English vocalizer and visual artist ANOHNI perform the song "My Way" while wearing a big blackness hood.^[76]

In March 2015, Abramović presented a TED talk titled, "An art made of trust, vulnerability and connection".^[77]

In 2019, IFC's mockumentary show Documentary Now! parodied Abramović'south work and the documentary picture show Marina Abramović: The Artist Is Present. The episode, titled "Waiting for the Artist", starred Cate Blanchett as Isabella Barta (Abramović) and Fred Armisen equally Dimo (Ulay).

Originally set to open up 26 September 2020, her first major exhibition in the UK at the Royal University of Arts has been rescheduled for autumn 2021 due to the COVID-nineteen pandemic. According to the Academy, the exhibition volition "bring together works spanning her 50-yr career, along with new works conceived especially for these galleries. Equally Abramović approaches her mid-70s, her new work reflects on changes to the artist's body, and explores her perception of the transition between life and decease."^[78]

In 2021, she inaugurates a monument, Crystal wall of crying, at the site of a Holocaust massacre in Ukraine of Babi Yar memorials.^[79]

Refused proposals

Abramović had proposed some solo performances during her career that never were performed. Ane such proposal was titled "Come to Launder with Me". This functioning would take identify in a gallery space that was to be transformed into a laundry with sinks placed all around the walls of the gallery. The public would enter the space and be asked to take off all of their dress and give them to Abramović. The individuals would and then wait around as she would launder, dry out and iron their dress for them, and once she was done, she would give them back their clothing, and they could get dressed and and then leave. She proposed this in 1969 for the Galerija Doma Omladine in Belgrade. The proposal was refused. In 1970 she proposed a similar idea to the same gallery that was also refused. The slice was untitled. Abramović would stand in front of the public dressed in her regular clothing. Nowadays on the side of the phase was a clothes rack adorned with wear that her female parent wanted her to wear. She would accept the clothing one past one and modify into them, then stand up to face the public for a while. "From the right pocket of my skirt I take a gun. From the left pocket of my brim I accept a bullet. I put the bullet into the chamber and turn information technology. I place the gun to my temple. I pull the trigger." The performance had two possible outcomes.^[80]

The list of Mother's dress included:

1. Heavy brownish pin for the pilus
2. White cotton wool blouse with red dots
3. Light pinkish bra – 2 sizes besides big
4. Dark pink heavy flannel slip – three sizes too big
5. Dark blue skirt – mid-calf
6. Skin colour heavy constructed stockings
7. Heavy orthopedic shoes with laces

Films

Abramović directed a segment, Balkan Erotic Epic, in Destricted, a compilation of erotic films made in 2006.^[81] In 2008 she directed a segment Dangerous Games in another moving-picture show compilation Stories on Human Rights.^[82] She also acted in a five-minute short film Antony and the Johnsons: Cut the World.^[83]

Marina Abramović Plant

The Marina Abramović Institute (MAI) is a performance art organisation with a focus on performance, long durational works, and the utilise of the "Abramovic Method".^[84]

In its early on phases, information technology was a proposed multi-functional museum space in Hudson, New York.^[85] Abramović purchased the site for the establish in 2007.^[86] Located in Hudson, New York, the building was built in 1933 and has been used as a theater and community tennis center.^[87] The building was to be renovated co-ordinate to a design by Rem Koolhaas and Shohei Shigematsu of OMA.^[88] The early design phase of this project was funded by a Kickstarter entrada.^[89] The entrada was funded past more than 4,000 contributors, including Lady Gaga and Jay-Z.^{[90] [91] [92] [93]} The building project was canceled in October 2017 due to its high anticipated cost,^[94]

The institute continues to operate every bit a traveling organization. To date, MAI has partnered with many institutions and artists internationally, traveling to Brazil, Greece, and Turkey.^{[95] [96]}

Collaborations

Abramović maintains a friendship with histrion James Franco, who interviewed her for the Wall Street Journal in 2009.^[97] Franco visited Abramović during The Artist Is Present in 2010.^[98] The two also attended the 2012 Metropolitan Costume Constitute Gala together.^[99]

In July 2013, Abramović worked with pop vocalist Lady Gaga on the singer'southward third album Artpop. Gaga's piece of work with Abramović, besides as artists Jeff Koons and Robert Wilson, was displayed at an event titled "ArtRave" on November x.^[100] Furthermore, both accept collaborated on projects supporting the Marina Abramović Establish, including Gaga's participation in an 'Abramović Method' video and a nonstop reading of Stanisław Lem'due south sci-fi novel, Solaris.^[101]

Also in July 2013, Jay-Z showcased an Abramović-inspired piece at Stride Gallery in New York City. He performed his art-inspired runway "Picasso Baby" for six straight hours.^[102] During the performance, Abramović and several figures in the art earth were invited to dance with him standing confront to face.^[103] The footage was later turned into a music video. She allowed Jay-Z to accommodate "The Artist Is Present" nether the status that he would donate to the Marina Abramović Institute. Abramović stated that Jay-Z did not alive up to his terminate of the deal, describing the performance equally a "1-way transaction".^[104] Nonetheless, two years afterward in 2015, Abramović publicly issued an amends stating she was never informed of Jay-Z'south sizable donation.^[105]

Controversies

Abramović sparked controversy in August 2016 when passages from an early typhoon of her memoir were released, in which—based on notes from her 1979 initial meet with Ancient Australians—she compared them to dinosaurs and observed that "they have big torsos (just one bad result of their encounter with Western civilization is a high sugar diet that bloats their bodies) and sticklike legs". She responded to the controversy on Facebook, writing, "I take the greatest respect for the Aborigine people, to whom I owe everything."^[106]

Among a tranche of emails leaked from John Podesta and published by WikiLeaks in the run-up to the 2016 The states presidential ballot was a message from Abramović to Podesta's brother discussing an invitation to a spirit cooking, which was interpreted past conspiracy theorist Alex Jones as an invitation to a satanic ritual, and presented by Jones and others as proof that Democratic candidate Hillary Clinton had links with the occult.^[107] In a 2013 Reddit Q&A, in response to question almost occult in contemporary art, she said: "Everything depends on which context yous are doing what yous are doing. If you are doing the occult magic in the context of art or in a gallery, then it is the fine art. If yous are doing information technology in different context, in spiritual circles or private house or on Television receiver shows, information technology is not art. The intention, the context for what is made, and where it is made defines what art is or not".^[108] Sculptor Nikola Pešić says that Abramović has a lifelong interest in esotericism and Spiritualism, but this should not be confused with Satanism, which is a different arrangement of occult beliefs.^[109]

On Apr 10, 2020, Microsoft released a promotional video for HoloLens 2, which featured Abramović. However, due to accusations by right-wing conspiracy theorists of her having ties to Satanism, Microsoft eventually pulled the advertisement.^[110] Abramović responded to the criticism, appealing to people to stop harassing her, arguing that her performances are just the art that she has been doing for 50 years of her life.^[111]

Awards

• Golden Lion, XLVII Venice Biennale, 1997^[112]
• Niedersächsischer Kunstpreis, 2002^[113]
• New York Trip the light fantastic toe and Functioning Awards (The Bessies), 2002^[113]
• International Clan of Art Critics, Best Show in a Commercial Gallery Award, 2003
• Austrian Ornamentation for Science and Art (2008)^[114]
• Honorary Doctorate of Arts, University of Plymouth United kingdom, September 25, 2009^[115]
• Cultural Leadership Laurels, American Federation of Arts, Oct 26, 2011^[116]
• Honorary Doctorate of Arts, Instituto Superior de Arte, Cuba, May fourteen, 2012^[117]
• July 13' Lifetime Achievement Awards, Podgorica, Montenegro, October one, 2012^[116]
• The Karić brothers honor (category art and culture), 2012
• Berliner Bear (2012; not to exist confused with the Silver and Aureate Behave at the Berlin Film Festival; a cultural award of the High german tabloid BZ)^{[ citation needed ]}
• Golden Medal for Claim, Republic of Serbia, 2021^[118]
• Princess of Asturias Award in the category of Arts, 2021.^[119]

Bibliography

Books by Abramović and collaborators

• Cleaning the Firm, artist Abramović, author Abramović (Wiley, 1995) ISBN 978-ane-85490-399-0
• Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, January Avgikos, Thomas Wulffen, Velimir Abramović; English language ed. (Charta, 1998) ISBN 978-88-8158-175-seven.
• The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-vii.
• Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
• Public Body: Installations and Objects 1965–2001, artist Abramović, authors Celant, Germano, Abramović (Charta, 2001) ISBN 978-88-8158-295-2.
• Marina Abramović, fifteen artists, Fondazione Ratti; coauthors Abramović, Anna Daneri, Giacinto Di Pietrantonio, Lóránd Hegyi, Societas Raffaello Sanzio, Angela Vettese (Charta, 2002) ISBN 978-88-8158-365-2.
• Student Torso, creative person Abramović, vari; authors Abramović, Miguel Fernandez-Cid, students; (Charta, 2002) ISBN 978-88-8158-449-9.
• The House with the Ocean View, artist Abramović; authors Abramović, Sean Kelly, Thomas McEvilley, Cindy Carr, Chrissie Iles, RosaLee Goldberg, Peggy Phelan (Charta, 2004) ISBN 978-88-8158-436-9; the 2002 piece of the same name, in which Abramović lived on iii open platforms in a gallery with merely h2o for 12 days, was reenacted in Sex and the Urban center in the HBO series' 6th season.^[120]
• Marina Abramović: The Biography of Biographies, artist Abramović; coauthors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-6.
• Balkan Epic, (Skira, 2006).
• Vii Like shooting fish in a barrel Pieces, creative person, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.
• Marina Abramović, creative person Abramović; authors Kristine Stiles, Klaus Biesenbach, Chrissie Iles, Abramović; (Phaidon, 2008). ISBN 978-0-7148-4802-0.
• When Marina Abramović Dies: A Biography. Writer James Westcott. (MIT, 2010). ISBN 978-0-262-23262-3.
• Walk Through Walls: A Memoir, author Abramović (Crown Classic, 2016). ISBN 978-i-101-90504-iii.
• The Museum of Mod Love, author Heather Rose (Allen & Unwin 2016). ISBN 161620852X.^[121]

Films past Abramović and collaborators

• Balkan Baroque, (Pierre Coulibeuf, 1999)
• Balkan Erotic Epic, as producer and manager, Destricted (Offhollywood Digital, 2006)

References

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121. ^ "The Museum of Modernistic Honey · the Stella Prize".

External links

• Official website
• Hear the artist speak about her work MoMA Audio: Marina Abramović: The Artist Is Present
• Marina Abramović: The Artist Is Present at MoMA
• Marina Abramović: 512 Hours at the Serpentine Galleries
• Marina Abramović: Advice to Young Artists Video past Louisiana Channel
• Marina Abramović & Ulay: Living Doors of the Museum Video by Louisiana Aqueduct
• The Story of Marina Abramović and Ulay Video by Louisiana Channel
• 47-minute in-depth interview – Marina Abramović: Electricity Passing Through Video by Louisiana Channel
• Abramovic SKNY Sean Kelly Gallery
• Marina Abramović at Art:21
• Marina Abramović on Artnet
• Marina Abramovic Institute, Hudson, NY.
• [one] Marina Abramović at the Lisson Gallery
• [2] Imperial Academy of Arts Marina Abramović

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Source: https://en.wikipedia.org/wiki/Marina_Abramovi%C4%87

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