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Serbian operation artist

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

Marina Abramović (Serbian Cyrillic: Марина Абрамовић, pronounced [marǐːna abrǎːmoʋitɕ]; born November 30, 1946) is a Serbian conceptual and performance creative person, philanthropist,^[i] writer, and filmmaker.^[2] Her work explores body fine art, endurance art and feminist art, the relationship between the performer and audience, the limits of the torso, and the possibilities of the mind.^[3] Existence active for over four decades, Abramović refers to herself equally the "grandmother of performance art".^[iv] She pioneered a new notion of identity by bringing in the participation of observers, focusing on "confronting pain, blood, and concrete limits of the body".^[5] In 2007, she founded the Marina Abramović Establish (MAI), a non-profit foundation for operation art.^{[6] [7]}

Early life, instruction and teaching

Abramović was born in Belgrade, Serbia, and then part of Yugoslavia, on Nov thirty, 1946. In an interview, Abramović described her family unit as having been "Crimson bourgeoisie."^[8] Her corking-uncle was Varnava, Serbian Patriarch of the Serbian Orthodox Church.^{[9] [x]} Both of her Montenegrin-built-in parents, Danica Rosić and Vojin Abramović^[viii] were Yugoslav Partisans^[xi] during World War Ii. Later the war, Abramović'due south parents were awarded Order of the People's Heroes and were given positions in the postwar Yugoslavian authorities.^[8]

Abramović was raised by her grandparents until she was vi years one-time.^[12] Her grandmother was deeply religious and Abramović "spent [her] childhood in a church building following [her] grandmother's rituals – candles in the morning, the priest coming for different occasions".^[12] At the age of half-dozen, when Abramović'south brother was built-in, she began living with her parents and took piano, French, and English lessons.^[12] While she did not take fine art lessons, she took an early interest in art^[12] and enjoyed painting as a kid.^[8]

Life in Abramović's parental home under her mother's strict supervision was hard.^[13] When Abramović was a child, her mother beat her for "supposedly showing off".^[8] In an interview published in 1998, Abramović described how her "mother took complete military machine-style control of me and my brother. I was not immune to get out the firm after ten o'clock at night until I was 29 years old. ... [A]ll the performances in Yugoslavia I did before 10 o'clock in the evening because I had to be domicile and so. It's completely insane, but all of my cutting myself, whipping myself, called-for myself, about losing my life in 'The Firestar' – everything was done earlier 10 in the evening."^[xiv]

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

She was a student 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 Sad, while implementing her first solo performances.^[sixteen]

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 day of her birthday)^[17] then decided to move 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-fine art at the Hochschule für bildende Künste Braunschweig.^{[eighteen] [19]}

Abramović claims she feels "neither similar a Serb, nor a Montenegrin", but an ex-Yugoslav.^[20] "When people inquire me where I am from," she says, "I never say Serbia. I ever 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 work."^{[21] [22]}

Career

Rhythm 10, 1973

In her first performance in Edinburgh in 1973,^[23] Abramović explored elements of ritual and gesture. Making use of twenty knives and 2 tape recorders, the artist played the Russian game, in which rhythmic pocketknife jabs are aimed between the splayed fingers of ane's paw. Each time she cut herself, she would choice upward a new pocketknife from the row of twenty she had set upwards, and tape the operation. Later 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 nowadays. She ready out to explore the physical and mental limitations of the torso – the pain and the sounds of the stabbing; the double sounds from the history and the replication. With this slice, Abramović began to consider the land of consciousness of the performer. "One time yous enter into the operation state y'all tin can push your body to practise things you admittedly could never normally do."^[24]

Rhythm 5, 1974

In this operation, 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 start 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 lite each time. Called-for the communist 5-pointed star represented a physical and mental purification, while also addressing the political traditions of her past. In the final human activity of purification, Abramović leapt across the flames into the center of the big star. At starting time, due to the light and fume given off by the fire, the observing audition did non realize that the creative person had lost consciousness from lack of oxygen inside the star. However, when the flames came very near to her trunk and she nevertheless remained inert, a physician and others intervened and extricated her from the star.

Abramović afterwards commented upon this feel: "I was very angry because I understood at that place is a physical limit. When you lose consciousness you can't exist nowadays, you tin can't perform."^[25]

Rhythm two, 1974

Prompted past her loss of consciousness during Rhythm five, Abramović devised the two-role Rhythm two to incorporate a land of unconsciousness in a performance. She performed the piece of work at the Gallery of Gimmicky Fine art in Zagreb, in 1974. In Part I, which had a duration of 50 minutes, she ingested a medication she describes equally 'given to patients who suffer from catatonia, to force them to change the positions of their bodies.' The medication acquired her muscles to contract violently, and she lost complete command over her body while remaining aware of what was going on. After a ten-minute suspension, she took a second medication 'given to schizophrenic patients with vehement beliefs disorders to calm them downwards.' The operation ended after five hours when the medication wore off.^{[26] [27] [28]}

Rhythm 4, 1974

Rhythm 4 was performed at the Galleria Diagramma in Milan. In this piece, Abramović kneeled alone and naked in a room with a high-ability industrial fan. She approached the fan slowly, attempting to breathe in every bit much air equally possible to push the limits of her lungs. Presently afterwards she lost consciousness.^[29]

Abramović's previous experience in Rhythm 5, when the audition interfered in the performance, led to her devising specific plans and then that her loss of consciousness would non interrupt the operation earlier information technology was consummate. Earlier the offset of her functioning, Abramović asked the cameraman to focus only on her face, disregarding the fan. This was so the audience would be oblivious to her unconscious country, and therefore unlikely to interfere. Ironically, after several minutes of Abramović'due south unconsciousness, the cameraman refused to go along and sent for assistance.^[29]

Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her nearly challenging and best-known performances. She assigned a passive part to herself, with the public being the strength that would human activity on her. Abramović placed on a table 72 objects that people were immune to use in whatever way that they chose; a sign informed them that they held no responsibility for any of their actions. Some of the objects could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, olive oil, scissors, a scalpel, a gun and a unmarried bullet. For vi hours the artist immune audience members to manipulate her body and actions without consequences. This tested how vulnerable and ambitious human subjects could exist when deportment have no social consequences.^[five] At kickoff the audience did not do much and was extremely passive. However, every bit the realization began to set in that there was no limit to their actions, the piece became savage. By the end of the functioning, her body was stripped, attacked, and devalued into an image that Abramović described every bit the "Madonna, mother, and whore."^[5] Additionally, markings of assailment were written on the artist'south trunk. In that location were cuts on her neck made by audition members, and her clothes were cutting off her torso. With an initial determination to find out how the public acts with no consequences tied to their actions, she realized by 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, nonetheless, more than importantly by changing the roles of each role player, the identity and nature of humanity at large is unraveled and showcased. Past doing so, the individual experience morphs into a collective ane and creates a powerful bulletin.^[5] Abramović'due south art besides represents the objectification of the female person body, as she remains motionless and allows spectators to do as they delight with her torso; the audience pushes the limits of what one would consider adequate. By presenting her body equally an object, she explores the elements of danger and physical exhaustion.^[5]

Initially, members of the audience reacted with caution and modesty, but as time passed (and the creative person remained passive) people began to human action more aggressively. As Abramović described it subsequently: "What I learned was that ... if you leave it upwards to the audience, they tin kill yous. ... I felt really violated: they cutting upward my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and some other took it away. It created an ambitious atmosphere. Subsequently exactly 6 hours, equally planned, I stood up and started walking toward the audience. Anybody ran abroad, to escape an actual confrontation."^[thirty]

Works with Ulay (Uwe Laysiepen)

Main article: Ulay

Marina Abramović and Uwe Laysiepen 1978

In 1976, afterward moving to Amsterdam, Abramović met the West High german performance artist Uwe Laysiepen, who went past the single name Ulay. They began living and performing together that yr. When Abramović and Ulay began their collaboration,^[17] the main concepts they explored were the ego and artistic identity. They created "relation works" characterized by constant movement, alter, process and "art vital".^[31] This was the kickoff of a decade of influential collaborative work. Each performer was interested in the traditions of their cultural heritage and the individual's desire for ritual. Consequently, they decided to form a collective being called "The Other", and spoke of themselves as parts of a "two-headed body".^[32] They dressed and behaved like twins and created a relationship of consummate trust. Equally they defined this phantom identity, their private identities became less attainable. In an assay of phantom artistic identities, Charles Dark-green has noted that this allowed a deeper understanding of the creative person every bit performer, for information technology revealed a style of "having the artistic self made available for self-scrutiny".^[33]

The work of Abramović and Ulay tested the concrete limits of the body and explored male and female principles, psychic energy, transcendental meditation and nonverbal communication.^[31] While some critics have explored the thought of a hermaphroditic state of being as a feminist statement, Abramović herself denies because this equally a conscious concept. Her trunk studies, she insists, have e'er been concerned primarily with the body equally the unit of measurement of an individual, 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 additional spaces for audience interaction. In discussing this phase of her functioning history, she has said: "The chief trouble in this relationship was what to do with the two artists' egos. I had to find out how to put my ego downwards, as did he, to create something like a hermaphroditic state of beingness that we called the death self."^[34]

• In Relation in Space (1976) they ran into each other repeatedly for an hour – mixing male and female person energy into the third component called "that self".^[17]
• Relation in Movement (1977) had the pair driving their car inside of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a year. (Afterwards 365 laps the idea was that they entered the New Millennium.)
• In Relation in Fourth dimension (1977) they sat back to back, tied together by their ponytails for sixteen hours. They then immune the public to enter the room to see if they could use the energy of the public to button their limits even further.^[35]
• To create Breathing In/Breathing Out the ii artists devised a piece in which they connected their mouths and took in each other's exhaled breaths until they had used up all of the bachelor oxygen. Seventeen minutes after the beginning of the performance they both savage to the floor unconscious, their lungs having filled with carbon dioxide. This personal slice explored the idea of an individual's ability to blot the life of another person, exchanging and destroying it.
• In Imponderabilia (1977, reenacted in 2010) two 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 cull which i of them to confront.^[17]
• In AAA-AAA (1978) the ii artists stood opposite each other and made long sounds with their mouths open. They gradually moved closer and closer, until they were eventually yelling directly into each other'south mouths.^[35] This slice demonstrated their interest in endurance and duration.^[35]
• In 1980, they performed Rest Energy, in an fine art exhibition in Dublin, where both balanced each other on contrary sides of a drawn bow and arrow, with the arrow pointed at Abramović'due south center. With almost no attempt, Ulay could easily kill Abramović with one finger. This seems to symbolize the authority of men and what kind of upperhand they have in society over women. In addition, the handle of the bow is held by Abramović and is pointed at herself. The handle of the bow is the about pregnant part of a bow. This would exist a whole different piece if it were a Ulay aiming a bow at an Abramović, but by having her concord 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 sat silently beyond from each other in chairs for 7 hours a day.^[35]

In 1988, after several years of tense relations, Abramović and Ulay decided to make a spiritual journeying that would end their relationship. They each walked the Smashing Wall of China, in a slice called Lovers, starting from the two reverse ends and meeting in the heart. As Abramović described it: "That walk became a consummate personal drama. Ulay started from the Gobi Desert and I from the Yellow Sea. Later each of us walked 2500 km, nosotros met in the center and said proficient-bye."^[37] She has said that she conceived this walk in a dream, and information technology provided what she thought was an appropriate, romantic ending to a relationship full of mysticism, energy, and attraction. She afterward described the process: "We needed a certain form of catastrophe, after this huge distance walking towards each other. It is very homo. It is in a way more dramatic, more than like a film ending ... Because in the stop, you are actually alone, whatever y'all do."^[37] She reported that during her walk she was reinterpreting her connection to the physical globe and to nature. She felt that the metals in the ground influenced her mood and country of being; she also pondered the Chinese myths in which the Great Wall has been described equally a "dragon of energy." It took the couple viii years to larn permission from the Chinese government to perform the work, by the time of which their relationship had completely dissolved.

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

In Nov 2015, Ulay took Abramović to court, claiming she had paid him insufficient royalties according to the terms of a 1999 contract covering sales of their joint works^{[forty] [41]} and a yr later, in September 2016, Abramović was order to pay Ulay €250,000. In its ruling, the court in Amsterdam plant that Ulay was entitled to royalties of twenty% internet on the sales of their works, as specified in the original 1999 contract, and ordered Abramović to backdate royalties of more than €250,000, besides every bit more than €23,000 in legal costs.^[42] Additionally, she was ordered to provide full accreditation to joint works listed as past "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 five monitors playing footage in which Abramović scrubs a grimy homo skeleton in her lap. She vigorously brushes the different parts of the skeleton with soapy water. Each monitor is dedicated to ane part of the skeleton: the caput, the pelvis, the ribs, the hands, and the feet. Each video is filmed with its own sound, creating an overlap. Every bit the skeleton becomes cleaner, Abramović becomes covered in the grayish dirt that was once covering the skeleton. This three-60 minutes performance is filled with metaphors of the Tibetan decease rites that prepare disciples to become one with their ain mortality. The piece consists of a three-piece series. Cleaning the Mirror #one was performed at the Museum of Modernistic Art, consisting of 3 hours. Cleaning the Mirror #2 consists of 90 minutes performed at Oxford University. Cleaning the Mirror #iii 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, i of the recipes calls for "xiii,000 grams of jealousy," while another says to "mix fresh breast milk with fresh sperm milk."^[45] The piece of 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 violent recipe instructions" painted in hog's 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 also published a Spirit Cooking cookbook, containing comico-mystical, self-help instructions that are meant to exist just poetry. Spirit Cooking later evolved into a form of dinner party amusement that Abramovic occasionally lays on for collectors, donors, and friends.^[49]

Balkan Baroque, 1997

In this piece, Abramović vigorously scrubbed thousands of encarmine cow bones over a period of iv days, in reference to the ethnic cleansing that had taken place in the Balkans during the 1990s. This performance piece earned Abramović the Golden King of beasts award at the Venice Biennale.^[50]

Abramović created Balkan Baroque as a response to the state of war in Bosnia. She remembers other artists reacting immediately, creating work and protesting about the furnishings and horrors of the war. Abramović could not bring herself to create work on the matter so soon, as information technology was too close to home for her. Somewhen, Abramović returned to Belgrade, where she interviewed her mother, begetter, and a rat-catcher. She then incorporated these interviews into her piece, as well every bit clips of the hands of her male parent, her begetter belongings a pistol and her mother showing empty hands then crossed hands. Abramović is dressed equally a doc recounting the story of the rat-catcher. While this is happening, Abramović sits amongst a large pile of bones and tries to wash them.

The operation occurred in Venice in 1997. Abramović remembers worms emerging from the bones and the horrible smell, as it 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 betoken Abramović is trying to brand is that blood can't exist washed from basic and easily, simply every bit the war can't be cleansed of shame. She wanted to allow the images from the performance to speak for non only the war in Bosnia, just for any war, anywhere in the world.^[51]

Vii Easy Pieces, 2005

Commencement on November 9, 2005, Abramović presented Seven Piece of cake Pieces at the Guggenheim Museum in New York City. On seven consecutive nights for vii hours she recreated the works of 5 artists first performed in the '60s and '70s, in addition to re-performing her ain Lips of Thomas and introducing a new performance on the last nighttime. The performances were arduous, requiring both the physical and the mental concentration of the artist. Included in Abramović's 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's 1972 performance in which the artist masturbated under the floorboards of a gallery as visitors walked overhead. It is argued that Abramović re-performed these works as a serial of homages to the past, though many of the performances were altered from their originals.^[52]

A full list of the works performed is as follows:

• Bruce Nauman'due south Torso Pressure (1974)
• Vito Acconci's Seedbed (1972)
• Valie Consign's Action Pants: Genital Panic (1969)
• Gina Pane's The Conditioning (1973)
• Joseph Beuys'south How to Explicate Pictures to a Dead Hare (1965)
• Abramović'south own Thomas Lips (1975)
• Abramović's ain Entering the Other Side (2005)

The Creative person Is Present: March–May 2010

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

During the run of the exhibition, Abramović performed The Artist Is Present,^[55] a 736-hour and xxx-minute static, silent piece, in which she sat immobile in the museum'southward atrium while spectators were invited to have turns sitting contrary her.^[56] Ulay made a surprise appearance at the opening night of the prove.^[57]

Abramović saturday in a rectangle fatigued with tape in the flooring of the second flooring 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 individually across from the artist while she maintained eye contact with them. Visitors began crowding the atrium within days of the testify 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 five minutes or less, a few saturday with her for an entire day.^[59] The line attracted no attention from museum security until the last mean solar day of the exhibition, when a visitor vomited in line and another began to disrobe. Tensions among visitors in line could have arisen from an understanding that for every minute each person in line spent with Abramović, there would be that many fewer minutes in the day for those farther back in line to spend with the creative person. Due to the strenuous nature of sitting for hours at a fourth dimension, fine art-enthusiasts accept speculated as to whether Abramović wore an adult diaper to eliminate the need to move to urinate. Others have highlighted the movements she made in between sitters equally a focus of analysis, equally the just variations in the creative person 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 sabbatum across from 1,545 sitters, including Klaus Biesenbach, James Franco, Lou Reed, Alan Rickman, Jemima Kirke, Jennifer Carpenter and Björk; sitters were asked non to touch or speak to the artist. By the finish of the exhibit, hundreds of visitors were lining upwards outside the museum overnight to secure a spot in line the next morning. Abramović concluded the functioning by slipping from the chair where she was seated and rising to a cheering crowd more than ten people deep.

A support group for the "sitters", "Sitting with Marina", was established on Facebook,^[lx] every bit was the blog "Marina Abramović made me cry".^[61] The Italian lensman 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 evidence changed her life "completely – every possible element, every concrete emotion". After Lady Gaga saw the bear witness and publicized it, Abramović constitute a new audience: "So the kids from 12 and 14 years old to about 18, the public who normally don't go to the museum, who don't give a shit well-nigh performance art or don't even know what it is, started coming because of Lady Gaga. And they saw the show and so they started coming back. And that's how I get a whole new audience."^[65] In September 2011, a video game version of Abramović'due south functioning was released by Pippin Barr.^[66] In 2013, Dale Eisinger of Complex ranked The Creative person Is Present ninth (forth with Rhythm 0) in his list of the greatest operation art works.^[67]

Other

Marina Abramović at the 72nd Annual Peabody Awards, 2013

In 2009, Abramović was featured in Chiara Clemente's documentary Our Urban center Dreams and a book of the aforementioned name. The five featured artists – also 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 film entitled Marina Abramović: The Artist Is Present, which is based on her life and performance at her retrospective "The Artist Is Present" at the Museum of Mod Art in 2010. The film was circulate in the U.s. on HBO^[69] and won a Peabody Award in 2012.^[70] In Jan 2011, Abramović was on the cover of Serbian ELLE, photographed by Dušan Reljin. Kim Stanley Robinson's science fiction novel 2312 mentions a style of functioning art pieces known equally "abramovics".

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

Abramović attempted to create the Marina Abramović Institute (MAI), a nonprofit foundation for functioning art, in a 33,000 square-foot infinite in Hudson, New York.^[72] She also founded a performance plant in San Francisco.^[31] She is a patron of the London-based Alive Art Development Agency.^[73]

In June 2014 she presented a new piece at London'south 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 xxx, 2016, Abramović took over the Guggenheim museum (xi years after her previous happening there) for her birthday party entitled "Marina 70". Part one of the evening, titled "Silence," lasted 70 minutes, ending with the crash of a gong struck past the creative person. And then came the more conventional part two: "Entertainment", during which Abramović took to the phase to make a speech earlier watching English singer and visual artist ANOHNI perform the song "My Fashion" while wearing a large black hood.^[76]

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

In 2019, IFC'south mockumentary show Documentary Now! parodied Abramović's work and the documentary film 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 fix to open 26 September 2020, her first major exhibition in the UK at the Royal Academy of Arts has been rescheduled for fall 2021 due to the COVID-nineteen pandemic. Co-ordinate to the Academy, the exhibition volition "join works spanning her 50-year career, along with new works conceived especially for these galleries. Every bit Abramović approaches her mid-70s, her new work reflects on changes to the artist's torso, and explores her perception of the transition betwixt life and death."^[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. One such proposal was titled "Come to Wash with Me". This operation would accept place in a gallery space that was to be transformed into a laundry with sinks placed all effectually the walls of the gallery. The public would enter the space and be asked to take off all of their clothes and give them to Abramović. The individuals would then wait effectually as she would wash, dry and atomic number 26 their clothes for them, and once she was done, she would give them dorsum their article of clothing, and they could go dressed so 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 piece was untitled. Abramović would stand up in front of the public dressed in her regular wear. Present on the side of the phase was a clothes rack adorned with clothing that her mother wanted her to wear. She would take the clothing i by one and change into them, so stand to face the public for a while. "From the correct pocket of my skirt I take a gun. From the left pocket of my brim I take 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 ii possible outcomes.^[80]

The list of Mother'south apparel included:

1. Heavy dark-brown pin for the hair
2. White cotton blouse with carmine dots
3. Light pink bra – two sizes too big
4. Dark pink heavy flannel slip – three sizes too large
5. Dark blue skirt – mid-calf
6. Skin color heavy synthetic stockings
7. Heavy orthopedic shoes with laces

Films

Abramović directed a segment, Balkan Erotic Epic, in Destricted, a compilation of erotic films fabricated in 2006.^[81] In 2008 she directed a segment Dangerous Games in another picture compilation Stories on Human Rights.^[82] She likewise acted in a five-minute brusk motion picture Antony and the Johnsons: Cutting the Earth.^[83]

Marina Abramović Institute

The Marina Abramović Institute (MAI) is a functioning fine art organization with a focus on operation, 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 institute in 2007.^[86] Located in Hudson, New York, the edifice was built in 1933 and has been used equally a theater and community tennis centre.^[87] The building was to be renovated according to a design by Rem Koolhaas and Shohei Shigematsu of OMA.^[88] The early pattern phase of this project was funded by a Kickstarter entrada.^[89] The campaign was funded by 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 loftier anticipated cost,^[94]

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

Collaborations

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

In July 2013, Abramović worked with popular singer Lady Gaga on the vocaliser's 3rd album Artpop. Gaga'southward work with Abramović, also as artists Jeff Koons and Robert Wilson, was displayed at an event titled "ArtRave" on November 10.^[100] Furthermore, both have collaborated on projects supporting the Marina Abramović Institute, including Gaga'south participation in an 'Abramović Method' video and a nonstop reading of Stanisław Lem's sci-fi novel, Solaris.^[101]

Also in July 2013, Jay-Z showcased an Abramović-inspired piece at Pace Gallery in New York City. He performed his art-inspired track "Picasso Babe" for 6 straight hours.^[102] During the performance, Abramović and several figures in the art world were invited to dance with him standing face to face.^[103] The footage was later turned into a music video. She immune Jay-Z to adapt "The Creative person Is Present" nether the condition that he would donate to the Marina Abramović Plant. Abramović stated that Jay-Z did not live upwards to his stop of the deal, describing the performance as a "i-fashion transaction".^[104] However, two years subsequently in 2015, Abramović publicly issued an apology stating she was never informed of Jay-Z's sizable donation.^[105]

Controversies

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

Amidst a tranche of emails leaked from John Podesta and published by WikiLeaks in the run-upwardly to the 2016 United states presidential election was a message from Abramović to Podesta'southward brother discussing an invitation to a spirit cooking, which was interpreted by conspiracy theorist Alex Jones equally 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 virtually occult in gimmicky art, she said: "Everything depends on which context you are doing what you are doing. If y'all are doing the occult magic in the context of art or in a gallery, and then it is the art. If you are doing it in different context, in spiritual circles or individual house or on Television set shows, it is not art. The intention, the context for what is made, and where information technology is made defines what art is or non".^[108] Sculptor Nikola Pešić says that Abramović has a lifelong interest in esotericism and Spiritualism, simply this should not be confused with Satanism, which is a different system of occult beliefs.^[109]

On April ten, 2020, Microsoft released a promotional video for HoloLens 2, which featured Abramović. However, due to accusations past correct-fly conspiracy theorists of her having ties to Satanism, Microsoft somewhen pulled the advertisement.^[110] Abramović responded to the criticism, appealing to people to stop harassing her, arguing that her performances are only 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 Dance and Performance Awards (The Bessies), 2002^[113]
• International Association of Art Critics, Best Prove in a Commercial Gallery Award, 2003
• Austrian Ornamentation for Science and Art (2008)^[114]
• Honorary Doctorate of Arts, University of Plymouth UK, September 25, 2009^[115]
• Cultural Leadership Award, American Federation of Arts, October 26, 2011^[116]
• Honorary Doctorate of Arts, Instituto Superior de Arte, Republic of cuba, May 14, 2012^[117]
• July 13' Lifetime Achievement Awards, Podgorica, Montenegro, October 1, 2012^[116]
• The Karić brothers honor (category art and culture), 2012
• Berliner Acquit (2012; not to be dislocated with the Silver and Golden Bear at the Berlin Motion-picture show Festival; a cultural award of the German tabloid BZ)^{[ citation needed ]}
• Gold Medal for Merits, Republic of Serbia, 2021^[118]
• Princess of Asturias Award in the category of Arts, 2021.^[119]

Bibliography

Books by Abramović and collaborators

• Cleaning the House, artist Abramović, author Abramović (Wiley, 1995) ISBN 978-1-85490-399-0
• Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, Jan Avgikos, Thomas Wulffen, Velimir Abramović; English ed. (Charta, 1998) ISBN 978-88-8158-175-7.
• The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-7.
• Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
• Public Trunk: 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-ii.
• Student Body, artist Abramović, vari; authors Abramović, Miguel Fernandez-Cid, students; (Charta, 2002) ISBN 978-88-8158-449-9.
• The Business firm 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 three open platforms in a gallery with only h2o for 12 days, was reenacted in Sex and the City 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).
• 7 Easy Pieces, creative person, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.
• Marina Abramović, artist 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 Archetype, 2016). ISBN 978-1-101-90504-iii.
• The Museum of Mod Love, writer Heather Rose (Allen & Unwin 2016). ISBN 161620852X.^[121]

Films by Abramović and collaborators

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

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External links

• Official website
• Hear the creative person speak about her work MoMA Sound: 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 by Louisiana Channel
• Marina Abramović & Ulay: Living Doors of the Museum Video by Louisiana Channel
• 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.
• [1] Marina Abramović at the Lisson Gallery
• [two] Majestic Academy of Arts Marina Abramović

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