Home  ›  Artists Lets Strangers Finger Her Touch Breasts in Bizarre Piece of ââëœperformance Art

Artists Lets Strangers Finger Her Touch Breasts in Bizarre Piece of ââëœperformance Art

Written By Monday, May 9, 2022 Add Comment Edit

Serbian performance artist

Marina Abramović

Марина Абрамовић
Marina Abramović. The Cleaner (45524492341).jpg

Marina Abramović – The Cleaner at Palazzo Strozzi in Florence, Italy, in September 2018
Born (1946-xi-30) November xxx, 1946 (age 75)

Belgrade, PR Serbia, FPR Yugoslavia
Teaching
  • Academy of Fine Arts, Belgrade (1970)
  • Academy of Fine Arts, Zagreb (1972)
Known for
  • Performance fine art
  • body art
  • feminist art
  • shock art
  • art picture
  • endurance art

Notable work
  • Rhythm Series (1973–1974)
  • Works with Ulay (1976–1988)
  • Cleaning the Mirror (1995)
  • Spirit Cooking (1996)
  • Balkan Bizarre (1997)
  • Seven Like shooting fish in a barrel Pieces (2005)
  • The Creative person Is Nowadays (2010)
Movement Conceptual art
Spouse(south)

Neša Paripović

​

​

(m. 1971; div. 1976)​

Paolo Canevari

​

​

(m. 2005; div. 2009)​
Parent(southward)
  • Vojin Abramović
  • Danica Rosić
Relatives Varnava, Serbian Patriarch (bully-uncle)
Website mai.art

Marina Abramović (Serbian Cyrillic: Марина Абрамовић, pronounced [marǐːna abrǎːmoʋitɕ]; born November xxx, 1946) is a Serbian conceptual and performance creative person, philanthropist,[ane] writer, and filmmaker.[2] Her work explores body art, endurance art and feminist art, the relationship between the performer and audience, the limits of the body, and the possibilities of the mind.[3] Being active for over four decades, Abramović refers to herself equally the "grandmother of functioning art".[4] She pioneered a new notion of identity past bringing in the participation of observers, focusing on "confronting pain, claret, and physical limits of the torso".[5] In 2007, she founded the Marina Abramović Constitute (MAI), a non-profit foundation for operation art.[6] [7]

Early life, education and teaching

Abramović was born in Belgrade, Serbia, so part of Yugoslavia, on November xxx, 1946. In an interview, Abramović described her family as having been "Ruby bourgeoisie."[8] Her great-uncle was Varnava, Serbian Patriarch of the Serbian Orthodox Church.[9] [ten] 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 authorities.[viii]

Abramović was raised by her grandparents until she was six years old.[12] Her grandmother was deeply religious and Abramović "spent [her] childhood in a church post-obit [her] grandmother'south rituals – candles in the morning, the priest coming for different occasions".[12] At the age of half-dozen, when Abramović's brother was born, she began living with her parents and took pianoforte, French, and English lessons.[12] While she did not have fine art lessons, she took an early involvement in art[12] and enjoyed painting every bit a child.[8]

Life in Abramović'southward parental home under her mother's strict supervision was difficult.[xiii] When Abramović was a child, her female parent trounce her for "supposedly showing off".[eight] In an interview published in 1998, Abramović described how her "female parent took complete military-mode control of me and my blood brother. I was not allowed to leave the business firm afterwards x o'clock at night until I was 29 years old. ... [A]ll the performances in Yugoslavia I did earlier x o'clock in the evening because I had to be dwelling house and then. Information technology's completely insane, but all of my cutting myself, whipping myself, called-for myself, almost losing my life in 'The Firestar' – everything was done earlier x in the evening."[14]

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

She was a student at the Academy of Fine Arts in Belgrade from 1965 to 1970. She completed her mail-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 Sorry, while implementing her showtime 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 mean solar day of her birthday)[17] and then decided to motility there permanently.

From 1990 to 1995 Abramović was a visiting professor at the Académie des Beaux-Arts in Paris and at the Berlin University 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 like a Serb, nor a Montenegrin", only an ex-Yugoslav.[xx] "When people ask me where I am from," she says, "I never say Serbia. I always say I come from a country that no longer exists."[eight] In 2016, Abramović stated that she has had three abortions throughout her life, calculation that having children would take been a "disaster for her work."[21] [22]

Career

Rhythm x, 1973

In her start performance in Edinburgh in 1973,[23] Abramović explored elements of ritual and gesture. Making utilise of twenty knives and two tape recorders, the artist played the Russian game, in which rhythmic knife jabs are aimed between the splayed fingers of i's hand. Each time she cut herself, she would choice up a new knife from the row of 20 she had ready upward, and record the performance. After cutting herself twenty times, she replayed the record, listened to the sounds, and tried to echo the aforementioned movements, attempting to replicate the mistakes, merging past and present. She set 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 slice, Abramović began to consider the country of consciousness of the performer. "One time you enter into the performance land you lot tin can push button your body to do things you lot absolutely could never normally do."[24]

Rhythm v, 1974

In this functioning, Abramović sought to re-evoke the free energy of extreme actual hurting, using a large petroleum-drenched star, which the artist lit on burn down at the start of the performance. Standing exterior the star, Abramović cut her nails, toenails, and hair. When finished with each, she threw the clippings into the flames, creating a outburst of light each time. Called-for the communist five-pointed star represented a concrete and mental purification, while also addressing the political traditions of her past. In the terminal deed of purification, Abramović leapt across the flames into the centre of the large star. At first, due to the light and smoke given off by the fire, the observing audience did not realize that the artist had lost consciousness from lack of oxygen inside the star. All the same, when the flames came very near to her trunk and she nonetheless remained inert, a physician and others intervened and extricated her from the star.

Abramović after commented upon this experience: "I was very angry because I understood there is a physical limit. When yous lose consciousness yous can't exist nowadays, yous tin can't perform."[25]

Rhythm 2, 1974

Prompted by her loss of consciousness during Rhythm 5, Abramović devised the two-part Rhythm ii to contain a land of unconsciousness in a performance. She performed the piece of work at the Gallery of Contemporary Art in Zagreb, in 1974. In Part I, which had a duration of l minutes, she ingested a medication she describes every bit 'given to patients who suffer from catatonia, to force them to change the positions of their bodies.' The medication caused her muscles to contract violently, and she lost consummate control over her body while remaining enlightened of what was going on. Afterward a ten-minute break, she took a second medication 'given to schizophrenic patients with trigger-happy behavior disorders to calm them downwardly.' The functioning ended after v hours when the medication wore off.[26] [27] [28]

Rhythm 4, 1974

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

Abramović's previous experience in Rhythm 5, when the audience interfered in the performance, led to her devising specific plans so that her loss of consciousness would not interrupt the operation earlier information technology was complete. Before the beginning of her performance, Abramović asked the cameraman to focus only on her confront, 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's unconsciousness, the cameraman refused to keep and sent for assist.[29]

Rhythm 0, 1974

To examination the limits of the human relationship betwixt performer and audience, Abramović adult one of her well-nigh challenging and best-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 tabular array 72 objects that people were allowed to use in any manner that they chose; a sign informed them that they held no responsibleness for any of their actions. Some of the objects could give pleasure, while others could exist wielded to inflict hurting, or to harm her. Among them were a rose, a feather, honey, a whip, olive oil, pair of scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed audience members to dispense her body and deportment without consequences. This tested how vulnerable and aggressive man subjects could be when deportment take no social consequences.[5] At outset the audition did not do much and was extremely passive. Nevertheless, every bit the realization began to fix in that there was no limit to their actions, the piece became brutal. By the end of the performance, her body was stripped, attacked, and devalued into an image that Abramović described every bit the "Madonna, mother, and whore."[v] Additionally, markings of aggression were written on the artist's body. There were cuts on her cervix made by audition members, and her dress were cutting off her torso. With an initial decision to detect out how the public acts with no consequences tied to their deportment, she realized past the end that the public might very well accept killed her for their own personal enjoyment.

In her works, Abramović affirms her identity through the perspective of others, however, more importantly by irresolute the roles of each role player, the identity and nature of humanity at large is unraveled and showcased. Past doing then, the individual experience morphs into a collective ane and creates a powerful message.[5] Abramović's fine art also represents the objectification of the female body, as she remains motionless and allows spectators to do every bit they please with her body; the audience pushes the limits of what 1 would consider acceptable. By presenting her body as an object, she explores the elements of danger and concrete exhaustion.[5]

Initially, members of the audience reacted with caution and modesty, only as fourth dimension passed (and the artist remained passive) people began to human activity more aggressively. Every bit Abramović described information technology later: "What I learned was that ... if you lot leave it up to the audience, they can kill you. ... I felt really violated: they cut upward my clothes, stuck rose thorns in my tum, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. Subsequently exactly half-dozen hours, as planned, I stood up and started walking toward the audience. Anybody ran abroad, to escape an bodily confrontation."[xxx]

Works with Ulay (Uwe Laysiepen)

Chief article: Ulay

Marina Abramović and Uwe Laysiepen 1978

In 1976, subsequently moving to Amsterdam, Abramović met the West German language performance artist Uwe Laysiepen, who went by the single name Ulay. They began living and performing together that twelvemonth. 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 motion, change, process and "art vital".[31] This was the start 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 beingness called "The Other", and spoke of themselves as parts of a "ii-headed body".[32] They dressed and behaved like twins and created a relationship of complete trust. Every bit they divers this phantom identity, their individual identities became less accessible. In an assay of phantom artistic identities, Charles Dark-green has noted that this allowed a deeper understanding of the creative person equally performer, for it revealed a way of "having the artistic self fabricated available for self-scrutiny".[33]

The piece of work of Abramović and Ulay tested the concrete limits of the body and explored male person and female principles, psychic energy, transcendental meditation and nonverbal communication.[31] While some critics take explored the thought of a hermaphroditic state of beingness every bit a feminist argument, Abramović herself denies considering this as a conscious concept. Her trunk studies, she insists, have always been concerned primarily with the torso as the unit of an individual, a trend she traces to her parents' armed services pasts. Rather than apropos themselves with gender ideologies, Abramović/Ulay explored extreme states of consciousness and their human relationship to architectural infinite. They devised a series of works in which their bodies created boosted spaces for audience interaction. In discussing this stage of her performance history, she has said: "The main problem in this relationship was what to practice with the 2 artists' egos. I had to find out how to put my ego down, equally did he, to create something like a hermaphroditic state of being that nosotros called the death self."[34]

  • In Relation in Space (1976) they ran into each other repeatedly for an hour – mixing male and female energy into the tertiary component called "that cocky".[17]
  • Relation in Motion (1977) had the pair driving their machine within of a museum for 365 laps; a blackness liquid oozed from the car, forming a kind of sculpture, each lap representing a yr. (After 365 laps the thought was that they entered the New Millennium.)
  • In Relation in Time (1977) they sat back to back, tied together past their ponytails for sixteen hours. They and so immune the public to enter the room to see if they could utilise the energy of the public to push their limits even further.[35]
  • To create Breathing In/Animate Out the two artists devised a slice in which they connected their mouths and took in each other'south exhaled breaths until they had used upward all of the available oxygen. Nineteen minutes after the first of the performance they pulled abroad from each other, their lungs having filled with carbon dioxide. This personal slice explored the idea of an individual's power to blot the life of another person, exchanging and destroying it.
  • In Imponderabilia (1977, reenacted in 2010) ii performers of reverse sexes, both completely nude, stand in a narrow doorway. The public must squeeze between them in order to pass, and in doing so choose which one of them to face.[17]
  • In AAA-AAA (1978) the two artists stood reverse 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's mouths.[35] This piece demonstrated their interest in endurance and duration.[35]
  • In 1980, they performed Rest Free energy, in an fine 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 eye. With nearly no effort, Ulay could easily kill Abramović with 1 finger. This seems to symbolize the potency of men and what kind of upperhand they accept in gild over women. In improver, the handle of the bow is held past Abramović and is pointed at herself. The handle of the bow is the near significant part of a bow. This would exist a whole different slice if it were a Ulay aiming a bow at an Abramović, but by having her concur the bow, it is nigh 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 beyond from each other in chairs for seven hours a day.[35]

In 1988, later on several years of tense relations, Abramović and Ulay decided to brand a spiritual journey that would terminate their human relationship. They each walked the Great Wall of Red china, in a piece called Lovers, starting from the ii reverse ends and meeting in the middle. Equally Abramović described it: "That walk became a complete personal drama. Ulay started from the Gobi Desert and I from the Yellow Sea. Afterward each of us walked 2500 km, we met in the middle and said good-bye."[37] She has said that she conceived this walk in a dream, and information technology provided what she idea was an appropriate, romantic ending to a relationship total of mysticism, energy, and allure. She later described the process: "We needed a sure form of ending, afterwards this huge distance walking towards each other. It is very man. Information technology is in a fashion more dramatic, more like a film ending ... Because in the end, you are really alone, whatever y'all 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 ground influenced her mood and state of being; she as well pondered the Chinese myths in which the Dandy Wall has been described as a "dragon of free energy." Information technology took the couple 8 years to larn permission from the Chinese regime to perform the piece of work, past the time of which their relationship had completely dissolved.

At her 2010 MoMA retrospective, Abramović performed The Creative person Is Present, in which she shared a period of silence with each stranger who saturday 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 between them; the video of the issue went viral.[39]

In November 2015, Ulay took Abramović to courtroom, claiming she had paid him insufficient royalties according to the terms of a 1999 contract covering sales of their joint works[40] [41] and a yr later, in September 2016, Abramović was social club to pay Ulay €250,000. In its ruling, the court in Amsterdam found that Ulay was entitled to royalties of xx% net on the sales of their works, as specified in the original 1999 contract, and ordered Abramović to backdate royalties of more than €250,000, also 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

photograph

Cleaning the Mirror consisted of five monitors playing footage in which Abramović scrubs a grimy man skeleton in her lap. She vigorously brushes the different parts of the skeleton with soapy water. Each monitor is dedicated to one part of the skeleton: the head, the pelvis, the ribs, the easily, and the anxiety. 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 performance is filled with metaphors of the Tibetan decease rites that gear up disciples to go ane with their own mortality. The piece consists of a three-piece series. Cleaning the Mirror #1 was performed at the Museum of Modern Fine art, consisting of three hours. Cleaning the Mirror #2 consists of 90 minutes performed at Oxford University. Cleaning the Mirror #iii was performed at Pitt Rivers Museum for v 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 exist "evocative instructions for actions or for thoughts".[44] For instance, one of the recipes calls for "xiii,000 grams of jealousy," while another says to "mix fresh chest milk with fresh sperm milk."[45] The piece of work was inspired by the popular belief that ghosts feed off intangible things like calorie-free, audio, and emotions.[46]

In 1997, Abramović created a multimedia Spirit Cooking installation. This was originally installed in the Zerynthia Associazione per 50'Arte Contemporanea in Rome, Italy and included white gallery walls with "enigmatically violent recipe instructions" painted in pig'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 too published a Spirit Cooking cookbook, containing comico-mystical, self-aid instructions that are meant to be simply verse. 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 cow bones over a period of four days, in reference to the ethnic cleansing that had taken place in the Balkans during the 1990s. This performance piece earned Abramović the Golden Lion award at the Venice Biennale.[50]

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

The performance occurred in Venice in 1997. Abramović remembers worms emerging from the bones and the horrible olfactory property, as information technology was extremely hot in Venice during the summer.[51] Abramović explains that the thought of scrubbing the basic clean, trying to remove the blood, is impossible. The bespeak Abramović is trying to brand is that blood can't be washed from bones and hands, just as the war can't be cleansed of shame. She wanted to allow the images from the performance to speak for not simply the war in Bosnia, but for whatsoever war, anywhere in the world.[51]

Seven Easy Pieces, 2005

photograph

Commencement on Nov 9, 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 5 artists start performed in the '60s and '70s, in addition to re-performing her own Lips of Thomas and introducing a new performance on the final night. 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 grid 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 every bit 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 as follows:

  • Bruce Nauman's Torso Pressure level (1974)
  • Vito Acconci's Seedbed (1972)
  • Valie Export'due south Action Pants: Genital Panic (1969)
  • Gina Pane's The Conditioning (1973)
  • Joseph Beuys's How to Explain Pictures to a Dead Hare (1965)
  • Abramović's ain 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's work, the biggest exhibition of performance art in MoMA's history, curated past Klaus Biesenbach.[53] Biesenbach besides provided the title for the functioning, which referred to the fact that during the unabridged performance "the creative person would exist right at that place in the gallery or the museum."[54]

During the run of the exhibition, Abramović performed The Artist Is Present,[55] a 736-60 minutes and 30-minute static, silent piece, in which she sat immobile in the museum's atrium while spectators were invited to take turns sitting reverse her.[56] Ulay fabricated a surprise appearance at the opening nighttime of the prove.[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 individually across from the artist while she maintained eye contact with them. Visitors began crowding the atrium within days of the show opening, some gathering before the exhibit opened each morning to rush for a more than preferable place in the line to sit with Abramović. Near visitors sat with the creative person for five minutes or less, a few sat with her for an entire day.[59] The line attracted no attending from museum security until the final day of the exhibition, when a visitor vomited in line and some other began to disrobe. Tensions among visitors in line could have arisen from an agreement that for every infinitesimal each person in line spent with Abramović, there would be that many fewer minutes in the solar day for those farther back in line to spend with the artist. Due to the strenuous nature of sitting for hours at a fourth dimension, art-enthusiasts have speculated as to whether Abramović wore an adult diaper to eliminate the demand to movement to urinate. Others have highlighted the movements she made in betwixt sitters as a focus of assay, as 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 1,545 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 creative person. By the end of the exhibit, hundreds of visitors were lining upwards exterior the museum overnight to secure a spot in line the side by side morning. Abramović ended the performance by slipping from the chair where she was seated and rising to a auspicious crowd more than ten people deep.

A support grouping for the "sitters", "Sitting with Marina", was established on Facebook,[60] as was the web log "Marina Abramović fabricated me cry".[61] The Italian photographer Marco Anelli took portraits of every person who sat reverse 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 bear witness changed her life "completely – every possible element, every physical emotion". After Lady Gaga saw the prove and publicized it, Abramović establish a new audience: "So the kids from 12 and xiv years sometime to nearly 18, the public who normally don't go to the museum, who don't give a shit almost operation fine art or don't even know what it is, started coming considering of Lady Gaga. And they saw the testify and and so they started coming back. And that's how I become a whole new audience."[65] In September 2011, a video game version of Abramović'due south performance was released past Pippin Barr.[66] In 2013, Dale Eisinger of Circuitous ranked The Artist Is Present ninth (along with Rhythm 0) in his listing 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 Metropolis Dreams and a book of the same name. The five featured artists – also including Swoon, Ghada Amer, Kiki Smith, and Nancy Spero – "each possess a passion for making piece of work that is inseparable from their devotion to New York", according to the publisher.[68] Abramović is also the subject field of an contained 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 Modern Art in 2010. The film was broadcast in the The states on HBO[69] and won a Peabody Honour in 2012.[seventy] In Jan 2011, Abramović was on the cover of Serbian ELLE, photographed past Dušan Reljin. Kim Stanley Robinson's science fiction novel 2312 mentions a fashion of functioning fine 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 North American premiere at the festival,[ commendation needed ] and at the Park Avenue Arsenal in December.[71]

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

In June 2014 she presented a new slice at London's 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 altogether on Nov 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 role two: "Entertainment", during which Abramović took to the stage to make a spoken language before watching English singer and visual creative person ANOHNI perform the song "My Way" while wearing a large blackness hood.[76]

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

In 2019, IFC'southward mockumentary show Documentary At present! parodied Abramović'south piece of work and the documentary film Marina Abramović: The Artist Is Present. The episode, titled "Waiting for the Creative person", starred Cate Blanchett as Isabella Barta (Abramović) and Fred Armisen every bit Dimo (Ulay).

Originally set to open up 26 September 2020, her outset major exhibition in the UK at the Royal Academy of Arts has been rescheduled for autumn 2021 due to the COVID-19 pandemic. According to the Academy, the exhibition will "bring together works spanning her 50-year career, along with new works conceived especially for these galleries. As 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 up to Launder with Me". This performance would accept identify 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 around as she would wash, dry out and fe their clothes for them, and once she was done, she would give them back their wear, and they could become dressed 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 piece was untitled. Abramović would stand up in front of the public dressed in her regular clothing. Present on the side of the stage was a clothes rack adorned with clothing that her female parent wanted her to wear. She would take the clothing i by one and change into them, then stand up to face the public for a while. "From the right pocket of my brim I accept a gun. From the left pocket of my brim I take a bullet. I put the bullet into the chamber and turn it. I place the gun to my temple. I pull the trigger." The performance had two possible outcomes.[80]

The list of Female parent's wearing apparel included:

  1. Heavy brown pin for the hair
  2. White cotton blouse with red dots
  3. Low-cal pinkish bra – ii sizes too large
  4. Dark pink heavy flannel slip – three sizes too big
  5. Nighttime bluish 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 made in 2006.[81] In 2008 she directed a segment Unsafe Games in another film compilation Stories on Homo Rights.[82] She also acted in a five-minute curt film Antony and the Johnsons: Cutting the World.[83]

Marina Abramović Institute

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

In its early on phases, it was a proposed multi-functional museum space in Hudson, New York.[85] Abramović purchased the site for the plant in 2007.[86] Located in Hudson, New York, the building was built in 1933 and has been used every bit a theater and community lawn tennis center.[87] The building was to be renovated according to a blueprint by Rem Koolhaas and Shohei Shigematsu of OMA.[88] The early design phase of this project was funded past a Kickstarter campaign.[89] The campaign was funded by more than 4,000 contributors, including Lady Gaga and Jay-Z.[90] [91] [92] [93] The building projection was canceled in October 2017 due to its high predictable toll,[94]

The institute continues to operate as a traveling arrangement. 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 actor James Franco, who interviewed her for the Wall Street Journal in 2009.[97] Franco visited Abramović during The Artist Is Nowadays in 2010.[98] The two also attended the 2012 Metropolitan Costume Institute Gala together.[99]

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

Also in July 2013, Jay-Z showcased an Abramović-inspired slice at Pace Gallery in New York Metropolis. He performed his art-inspired track "Picasso Baby" for half dozen straight hours.[102] During the performance, Abramović and several figures in the fine art earth were invited to dance with him standing face up to face.[103] The footage was later on turned into a music video. She immune Jay-Z to adapt "The Artist Is Nowadays" nether the status that he would donate to the Marina Abramović Institute. Abramović stated that Jay-Z did not alive upwardly to his end of the deal, describing the performance equally a "one-way transaction".[104] Nevertheless, two years after in 2015, Abramović publicly issued an amends stating she was never informed of Jay-Z's sizable donation.[105]

Controversies

Abramović sparked controversy in August 2016 when passages from an early on draft of her memoir were released, in which—based on notes from her 1979 initial run into with Aboriginal Australians—she compared them to dinosaurs and observed that "they accept big torsos (but one bad result of their meet with Western civilization is a high saccharide 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]

Among a tranche of emails leaked from John Podesta and published by WikiLeaks in the run-up to the 2016 Usa presidential ballot was a message from Abramović to Podesta'south blood brother discussing an invitation to a spirit cooking, which was interpreted by conspiracy theorist Alex Jones as an invitation to a satanic ritual, and presented past 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 about occult in gimmicky fine art, she said: "Everything depends on which context you are doing what y'all are doing. If you are doing the occult magic in the context of art or in a gallery, then it is the art. If you are doing it in different context, in spiritual circles or private firm or on TV shows, it 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 system of occult beliefs.[109]

On April 10, 2020, Microsoft released a promotional video for HoloLens 2, which featured Abramović. However, due to accusations past right-wing conspiracy theorists of her having ties to Satanism, Microsoft eventually pulled the advertizement.[110] Abramović responded to the criticism, appealing to people to stop harassing her, arguing that her performances are simply the art that she has been doing for l 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 Clan of Art Critics, Best Show in a Commercial Gallery Accolade, 2003
  • Austrian Decoration for Science and Art (2008)[114]
  • Honorary Doctorate of Arts, Academy of Plymouth UK, September 25, 2009[115]
  • Cultural Leadership Honor, American Federation of Arts, October 26, 2011[116]
  • Honorary Doctorate of Arts, Instituto Superior de Arte, Republic of cuba, May 14, 2012[117]
  • July xiii' Lifetime Accomplishment Awards, Podgorica, Montenegro, Oct 1, 2012[116]
  • The Karić brothers honour (category art and civilisation), 2012
  • Berliner Carry (2012; not to be confused with the Silver and Golden Behave at the Berlin Film Festival; a cultural laurels of the High german tabloid BZ)[ citation needed ]
  • Golden Medal for Claim, Republic of Serbia, 2021[118]
  • Princess of Asturias Honour in the category of Arts, 2021.[119]

Bibliography

Books past Abramović and collaborators

  • Cleaning the House, artist Abramović, author Abramović (Wiley, 1995) ISBN 978-1-85490-399-0
  • Artist Trunk: Performances 1969–1998, creative person, 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, creative person Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-vii.
  • Performing Torso, creative person 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.
  • Pupil Trunk, artist 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 slice of the same name, in which Abramović lived on iii open platforms in a gallery with only water for 12 days, was reenacted in Sexual activity and the City in the HBO series' sixth flavor.[120]
  • Marina Abramović: The Biography of Biographies, creative person Abramović; coauthors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-vi.
  • Balkan Epic, (Skira, 2006).
  • Seven Easy Pieces, artist, 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. Author James Westcott. (MIT, 2010). ISBN 978-0-262-23262-3.
  • Walk Through Walls: A Memoir, author Abramović (Crown Classic, 2016). ISBN 978-1-101-90504-3.
  • The Museum of Modern Love, writer Heather Rose (Allen & Unwin 2016). ISBN 161620852X.[121]

Films by Abramović and collaborators

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

References

  1. ^ "Marina Abramović | Exhibition | Royal Academy of Arts". www.royalacademy.org.uk . Retrieved Nov 27, 2020.
  2. ^ "РТС :: Марина Абрамовић: Ја сам номадска екс-Југословенка!" (in Serbian). Rts.rs. July 27, 2016. Retrieved March 10, 2017.
  3. ^ Roizman, Ilene (Nov 5, 2018). "Marina Abramovic pushes the limits of performance art". Scene 360 . Retrieved June xxx, 2020.
  4. ^ Christiane., Weidemann (2008). 50 women artists you should know . Larass, Petra., Klier, Melanie, 1970–. Munich: Prestel. ISBN9783791339566. OCLC 195744889.
  5. ^ a b c d e Demaria, Cristina (Baronial 2004). "The Performative Body of Marina Abramovic". European Periodical of Women'south Studies. 11 (iii): 295. doi:10.1177/1350506804044464. S2CID 145363453.
  6. ^ "MAI". Marina Abramovic Institute . Retrieved November 28, 2020.
  7. ^ "MAI: marina abramovic constitute". designboom | architecture & design magazine. August 23, 2013. Retrieved Nov 28, 2020.
  8. ^ a b c d east f O'Hagan, Sean (October 2, 2010). "Interview: Marina Abramović". The Guardian. ISSN 0261-3077. Retrieved April xix, 2016.
  9. ^ Thurman, Judith (March eight, 2010). "Walking Through Walls". The New Yorker. p. 24.
  10. ^ Stated on "The Eye of the Beholder," Flavour v, Episode 9 of Finding Your Roots, April 2, 2019.
  11. ^ "Marina Abramović". Lacan.com. Archived from the original on September 17, 2013. Retrieved Dec 11, 2013.
  12. ^ a b c d "Marina Abramović: The grandmother of performance fine art on her 'make'". The Independent . Retrieved April 19, 2016.
  13. ^ "Biography of Marina Abramović – Moderna Museet i Stockholm". Moderna Museet i Stockholm . Retrieved May 2, 2018.
  14. ^ Quoted in Thomas McEvilley, "Stages of Energy: Functioning Fine art Ground Zero?" in Abramović, Artist Body, [Charta, 1998].
  15. ^ a b Ouzounian, Richard (May 31, 2013). "Famous for The Artist Is Nowadays, Abramovic volition share The Life and Expiry of Marina Abramovic and more with Toronto June 14 to 23". The Toronto Star. ISSN 0319-0781. Retrieved Apr 19, 2016.
  16. ^ "Marina Abramovic". Moderna Museet . Retrieved June 30, 2020.
  17. ^ a b c d e "Marina Abramović". Archived from the original on February 21, 2015. Retrieved February 6, 2015.
  18. ^ "Biografie von Marina Abramović – Marina Abramović auf artnet". world wide web.artnet.de . Retrieved November 28, 2016.
  19. ^ "Marina Abramović CV | Artists | Lisson Gallery". www.lissongallery.com . Retrieved Nov 28, 2016.
  20. ^ "Marina Abramović: Nijesam ni Srpkinja, ni Crnogorka, ja sam eks-Jugoslovenka" [Marina Abramović: I'm neither a Serb, nor a Montenegrin, I am an ex-Yugoslav]. Cafe del Montenegro (in Montenegrin). July 27, 2016. Retrieved April 18, 2022.
  21. ^ "Marina Abramovic had three abortions because children would take been a 'disaster' for her fine art". www.independent.co.united kingdom. July 27, 2016. Retrieved Jan 4, 2021.
  22. ^ "Marina Abramović says having children would have been 'a disaster for my piece of work'". www.theguardian.com. July 26, 2016. Retrieved Jan 4, 2021.
  23. ^ "Media Art Cyberspace – Abramovic, Marina: Rhythm 10". September 20, 2021.
  24. ^ Kaplan, 9
  25. ^ Daneri, 29
  26. ^ Dezeuze, Anna; Ward, Frazer (2012). "Marina Abramovic: Approaching zero". The "Do-Information technology-Yourself" Artwork: Participation from Fluxus to New Media. Manchester: Manchester University Press. pp. 132–144. ISBN978-0-7190-8747-9.
  27. ^ Pejic, Bojana; Abramovic, Marina; McEvilley, Thomas; Stoos, Toni (July 2, 1998). Marina Abramovic: Creative person Body. Milano: Charta. ISBN978-88-8158-175-vii.
  28. ^ Danto, Arthur; Iles, Chrissie; Abramovic, Marina (April xxx, 2010). Marina Abramovic: The Artist is Present. Klaus Biesenbach (ed.) (Second Printing ed.). New York: The Museum of Modern Fine art, New York. ISBN978-0-87070-747-6.
  29. ^ a b "Rhythm Series – Marina Abramović". Blogs.uoregon.edu. February ten, 2015. Retrieved May 14, 2020.
  30. ^ "Audience To Be". The Theatre Times. February 11, 2019. Retrieved March iv, 2020.
  31. ^ a b c Stiles, Kristine (2012). Theories and Documents of Contemporary Fine art, 2nd ed. University of California Press. pp. 808–809.
  32. ^ Quoted in Greenish, 37
  33. ^ Light-green, 41
  34. ^ Kaplan, fourteen
  35. ^ a b c d "Ulay/Abramović – Marina Abramović". Blogs.uoregon.edu. February 12, 2015. Retrieved March 10, 2017.
  36. ^ "Documenting the functioning fine art of Marina Abramović in pictures | Art | Agenda". Phaidon. Archived from the original on February 6, 2015. Retrieved March 10, 2017.
  37. ^ a b "Lovers Abramović & Ulay Walk the Length of the Nifty Wall of Communist china from opposite ends, Meet in the Middle and BreakUp – Kickass Trips". January 14, 2015. Retrieved September 29, 2016.
  38. ^ "Klaus Biesenbach on the AbramovicUlay Reunion". Blouin Artinfo. March 16, 2010. Archived from the original on November xxx, 2018. {{cite web}}: CS1 maint: unfit URL (link)
  39. ^ "Video of Marina Abramović and Ulay at MoMA retrospective". Youtube.com. December xv, 2012. Archived from the original on Nov 2, 2021. Retrieved December 11, 2013.
  40. ^ Esther Addley and Noah Charney. "Marina Abramović sued by one-time lover and collaborator Ulay | Art and design". The Guardian . Retrieved March 10, 2017.
  41. ^ Noah Charney. "Ulay five Marina: how art's power couple went to war | Art and pattern". The Guardian . Retrieved March 10, 2017.
  42. ^ Noah Ben Quinn. "Marina Abramović ex-partner Ulay claims victory in case of joint work | Fine art and design". The Guardian . Retrieved March 29, 2017.
  43. ^ Abramovic, Grand., & von Drathen, D. (2002). Marina Abramovic. Fondazione Antonio Ratti.
  44. ^ "Marina Abramović. Spirit Cooking. 1996". The Museum of Modern Fine art. Retrieved December 16, 2016.
  45. ^ Ohlheiser (November 4, 2016). "No, John Podesta didn't beverage bodily fluids at a hush-hush Satanist dinner". Washington Post . Retrieved December 16, 2016.
  46. ^ Sels, Nadia (2011). "From theatre to time capsule: art at Jan Fabre's Troubleyn/Laboratory" (PDF). ISEL Magazine. pp. 77–83.
  47. ^ Lacis, Indra K. (May 2014). "Fame, Celebrity and Performance: Marina Abramović—Contemporary Fine art Star". Instance Western Reserve Academy. pp. 117–118. Archived from the original on December 20, 2016. Retrieved Dec 16, 2016.
  48. ^ Gotthardt, Alexxa (December 22, 2016). "The Story behind the Marina Abramović Performance That Contributed to Pizzagate". Artsy . Retrieved December 23, 2016.
  49. ^ The MIT Press (June 28, 2017). "Marina Abramovic's Spirit Cooking". The MIT Press.
  50. ^ Lacis, Indra Thousand. (2014). Fame, Celebrity and Operation: Marina Abramović--Gimmicky Art Star (Thesis). Example Western Reserve University. Archived from the original on April 4, 2020. Retrieved Apr ii, 2020.
  51. ^ a b "Marina Abramović. Balkan Baroque. 1997". Marina Abramović: The Artist Is Present. The Museum of Modern Fine art. Retrieved December 28, 2020.
  52. ^ Marina Abramović, BLOUINARTINFO, November ix, 2005, retrieved April 23, 2008
  53. ^ Kino, Carol (March 10, 2010). "A Rebel Form Gains Favor. Fights Ensue.", The New York Times. Retrieved April sixteen, 2010.
  54. ^ Abramović, Marina (2016). Walk Through Walls. New York: Crown Archetype. p. 298. ISBN978-1-101-90504-3.
  55. ^ Abramović, Marina (2016). Walk Through Walls. New York: Crown Classic. pp. 298–299. ISBN978-1-101-90504-three.
  56. ^ Arboleda, Yazmany (May 28, 2010). "Bringing Marina Flowers". The Huffington Postal service. Archived from the original on June 25, 2010. Retrieved June 16, 2010.
  57. ^ "Klaus Biesenbach on the AbramovicUlay Reunion". Blouinartinfo. Archived from the original on November 1, 2013. Retrieved March xvi, 2010.
  58. ^ Marcus, S. (2015). "Glory 2.0: The Case of Marina Abramovi". Public Culture. 27 (1 75): 21–52. doi:10.1215/08992363-2798331. ISSN 0899-2363.
  59. ^ de Yampert, Rick (June 11, 2010). "Is it art? Sit down down and think nearly it". Daytona Beach News-Periodical, The (FL).
  60. ^ Elmhurst, Sophie (July 16, 2014). "Marina Abramovic: The Power of Ane". Harpers Bazaar United kingdom . Retrieved August 14, 2018.
  61. ^ "Marina Abramović Fabricated Me Cry".
  62. ^ "Marina Abramović: The Artist Is Present—Portraits". Flickr. March 28, 2010.
  63. ^ Anelli, Marco; Abramović, Marina; Biesenbach, Klaus; Iles, Chrissie (2012). Marco Anelli: Portraits in the Presence of Marina Abramovic: Marina Abramovic, Klaus Biesenbach, Chrissie Iles, Marco Anelli: 9788862082495: Amazon.com: Books. ISBN978-8862082495.
  64. ^ "Marco Anelli – Exhibitions". Danziger Gallery. October 27, 2012. Retrieved March 10, 2017.
  65. ^ "I've Always Been A Soldier", The Talks. Retrieved January 16, 2013.
  66. ^ Gray, Rosie (September 16, 2011). "Pippin Barr, Man Behind the Marina Abramovic Video Game, Weighs in on His Cosmos. Archived May xxx, 2015, at the Wayback Motorcar", The Village Voice'. Retrieved September nineteen, 2011.
  67. ^ Eisinger, Dale (April 9, 2013). "The 25 Best Functioning Art Pieces of All Time". Complex . Retrieved February 28, 2021. {{cite spider web}}: CS1 maint: url-status (link)
  68. ^ Clemente, Chiara, and Dodie Kazanjian, Our Urban center Dreams, Charta webpage. Retrieved April 26, 2011.
  69. ^ Marina Abramović to exist the field of study of a moving picture, "MARINA" the picture show, 2010, archived from the original on February 9, 2010
  70. ^ 72nd Annual Peabody Awards, May 2013.
  71. ^ "'The Life and Death of Marina Abramovic' Opera Arrives At Armory In December". Huffington Post. February xix, 2013. Retrieved December 11, 2013.
  72. ^ Lyall, Sarah (October xix, 2013). "For Her Adjacent Piece, a Performance Artist Volition Build an Institute". The New York Times.
  73. ^ http://world wide web.thisisliveart.co.uk/about_us/patrons.html Archived October 3, 2011, at the Wayback Machine
  74. ^ Savage, Mark (June eleven, 2014). "Marina Abramovic: Audience in tears at 'empty space' show". BBC News . Retrieved June 12, 2014.
  75. ^ "Generator Exhibition". Sean Kelly Gallery. Archived from the original on January 27, 2016.
  76. ^ "Marina Abramović Celebrates 70th Birthday". Artnet News. December 9, 2016. Retrieved May 8, 2021.
  77. ^ "Marina Abramović: An art made of trust, vulnerability and connection | TED Talk". TED.com. Retrieved March 10, 2017.
  78. ^ "Marina Abramović | Exhibition". Royal Academy of Art. Retrieved December 28, 2020.
  79. ^ "Marina Abramovic has healed from her own art, at present she'southward healing visitors to Babi Yar – Life & Culture". Haaretz.com. October 21, 2021. Retrieved March viii, 2022.
  80. ^ Abramovic, Marina (1998). Marina Abramovic Artist Torso. Milano: Charta. pp. 54–55. ISBN8881581752.
  81. ^ "Destricted". IMDB.
  82. ^ "Stories on Human Rights". IMDB.
  83. ^ "Antony and the Johnsons : Cut the Globe". IMDB.
  84. ^ "MAI". Marina Abramovic Institute . Retrieved May 8, 2021.
  85. ^ Ryzik, Melena. "Special Chairs and Lots of Time: Marina Abramovic Plans Her New Center". The New York Times . Retrieved October 18, 2013.
  86. ^ "marina abramović launches kickstarter entrada for the marina abramović institute by OMA". designboom. Baronial 23, 2013.
  87. ^ Genocchio, Benjamin (Apr 6, 2008). "Seeking to Create a Timeless Infinite". The New York Times . Retrieved Baronial 15, 2014.
  88. ^ Ebony, David (August 13, 2012). "Marina Abramovic's New Hudson River School". Retrieved October 18, 2013.
  89. ^ Sulcas, Roslyn (Baronial 26, 2013). "Marina Abramovic Kickstarter Campaign Passes Goal". Retrieved October 18, 2013.
  90. ^ Gibsone, Harriet. "Lady Gaga and Jay-Z help Marina Abramovic reach Kickstarter goal". The Guardian . Retrieved Oct 18, 2013.
  91. ^ Cutter, Kimberly (Oct x, 2013). "Marina Abramović Saves The World". Harper'southward Boutique. Retrieved October 18, 2013.
  92. ^ Farokhmanesh, Megan (Oct 26, 2013). "Digital Marina Abramovic Institute provides a virtual bout". Polygon . Retrieved Feb ane, 2014.
  93. ^ Johnson, Jason. "Pippin Barr wants y'all to experience the pain for a longer Elapsing". Archived from the original on January 17, 2014. Retrieved February 1, 2014.
  94. ^ Rogers, Pat (October 8, 2017). "Marina Abramovic Cancels Programme for Hudson Performance Place". Hamptons Fine art Hub . Retrieved Oct 9, 2017.
  95. ^ https://static1.squarespace.com/static/523328b5e4b0a7c4005929ca/t/5a0b6403e4966b05d3508f41/1510695939512/MAI+%7C+11.07.2017+%7C+Press+Release+%7C+The+Fine art+of+the+Truth.pdf/[ bare URL ]
  96. ^ "Marina Abramovic Constitute". Marina Abramovic Found . Retrieved May viii, 2021.
  97. ^ "James Franco, Marina Abramović Talk Functioning Art, Eating Gilded, And Dessert". Huffington Post. May 11, 2010. Retrieved December 11, 2013.
  98. ^ "James Franco Meets Marina Abramović At MoMA". Huffington Mail. May x, 2010. Retrieved December 11, 2013.
  99. ^ Busacca, Larry (May 7, 2012). "The Met Costume Establish Gala 2012". Omg.yahoo.com. Archived from the original on December 16, 2013. Retrieved December 11, 2013.
  100. ^ "ARTPOP". Lady Gaga. Retrieved Dec xi, 2013.
  101. ^ "Lady Gaga Gets Completely Naked to Back up the Marina Abramovic Constitute". E! Online Great britain. Baronial vii, 2013. Retrieved December 11, 2013.
  102. ^ Minsker, Evan (May 19, 2015). "Marina Abramovic Says 'Fell' Jay Z 'Completely Used' Her for 'Picasso Baby' Stunt | Pitchfork". pitchfork.com . Retrieved October 27, 2016.
  103. ^ Steinhauer, Jillian (July ten, 2013). "Jay-Z Raps at Marina Abramović, or the Day Performance Fine art Died". Hyperallergic . Retrieved Oct 27, 2016.
  104. ^ "Marina Abramovic says Jay Z "but completely used" her". FACT Magazine: Music News, New Music. May 19, 2015. Retrieved Oct 27, 2016.
  105. ^ Muller, Marissa. "Marina Abramović Has Issued An Amends To Jay Z". The FADER . Retrieved October 27, 2016.
  106. ^ Gabriella Paiella (August xv, 2016). "Marina Abramovic Fabricated Some Pretty Racist Statements in Her Memoir". New York . Retrieved August xvi, 2016.
  107. ^ Lee, Benjamin (Nov 4, 2016). "Marina Abramović mention in Podesta emails sparks accusations of satanism". The Guardian . Retrieved August 19, 2018.
  108. ^ "r/IAmA – I am functioning artist Marina Abramovic. Ask me anything". reddit.
  109. ^ Nikola Pešić, Marina Abramović, World Religions and Spirituality Project, January fifteen, 2017.
  110. ^ Kinsella, Eileen (Apr 15, 2020). "Microsoft Just Pulled an Ad Featuring Marina Abramovic After Right-Wing Conspiracy Theorists Accused Her of Satanism". Artnet News . Retrieved April xxx, 2020.
  111. ^ Marshall, Alex (April 21, 2020). "Marina Abramovic Just Wants Conspiracy Theorists to Let Her Be". The New York Times . Retrieved Apr 30, 2020.
  112. ^ "La Biennale di Venezia – Awards since 1986". www.labiennale.org . Retrieved March 5, 2016.
  113. ^ a b Phelan, Peggy. "Marina Abramovic: Witnessing Shadows". Theatre Journal. Vol. 56, Number four. Dec 2004
  114. ^ "Answer to a parliamentary question" (PDF) (in German). p. 1879. Retrieved November 29, 2012.
  115. ^ "Academy of Plymouth unveils 2009 Honorary Degree Awards". My Science. September viii, 2009. Retrieved March v, 2016.
  116. ^ a b 3, Everette Hatcher (January 8, 2015). "FRANCIS SCHAEFFER ANALYZES ART AND Civilization Part 41 Sarvepalli Radhakrishnan (Featured artist is Marina Abramović)". The Daily Hatch . Retrieved March 4, 2020.
  117. ^ Vladimir. "Poemes de Jovan Dučić / Песме Јована Дучића". Serbica Americana . Retrieved March 4, 2020.
  118. ^ "СВЕТОГРЂЕ! Вучић на Сретење доделио орден Марини Абрамовић! Ево свих 170 имена (СПИСАК)". pravda.rs . Retrieved March ii, 2021.
  119. ^ "Marina Abramović, Princess of Asturias Laurels for the Arts". The Princess of Asturias Foundation. May 12, 2020. Retrieved May 12, 2021.
  120. ^ "Gatecrasher" (staff writer), "Kim Cattrall and functioning creative person Marina Abramovic are unlikely 'Sex activity and the City' buddies", New York Daily News, April 18, 2011. Retrieved Apr 26, 2011.
  121. ^ "The Museum of Modern Love · 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 Nowadays at MoMA
  • Marina Abramović: 512 Hours at the Serpentine Galleries
  • Marina Abramović: Communication 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 Fine art:21
  • Marina Abramović on Artnet
  • Marina Abramovic Institute, Hudson, NY.
  • [1] Marina Abramović at the Lisson Gallery
  • [2] Regal University of Arts Marina Abramović

jaquescith1985.blogspot.com

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

0 Response to "Artists Lets Strangers Finger Her Touch Breasts in Bizarre Piece of ââëœperformance Art"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel