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Marina Abramovic

Abramovic and Ulay .for a thriller of a piece called “Rest Energy” they faced each other and together held a large bow and arrow. Abramovic grasped the bow while Mr. Laysiepen pulled the string taut, aiming the arrow at her heart.

marina abramovic

Marina Abramovic, Black Dragon (From the body of work called Transitory Objects), 1994 The work Black Dragon consists of crystal pillows that are installed on the wall usually as an individual pillow.

Marina Abramovic,Rhythm 10,1973        explores the dynamics of pain,violence  self-destruction.Rhythm 10 amplifies the way in which women sometimes engage in self-sabotage. From foot-binding to obsessive dieting, diverse cultural energy has been dedicated to deforming women’s bodies, often with women’s own masochistic consent.

Abramovic's Rhythm 1973 - Performance: I switch on the first cassette recorder. I take the knife and plunge it, as fast as I can, into the flesh between the outstretched fingers of my left hand. After each cut, I change to a different knife.

Marina Abramovic and Ulay had an intense love story in the 70s, performing art out of the van they lived in. When they felt the relationship had run its course, they decided to walk the Great Wall of China, each from one end, meeting for one last big hug in the middle and never seeing each other again. In 2010 at MoMa Marina performed ‘The Artist Is Present’, a minute of silence with each stranger who sat in front of her. Ulay arrived without her knowing it and this is what happened. Click4…

Marina & Ulay

killerstellar: “ gossamer-thoughts: “ Marina & Ulay: “Marina Abramovic and Ulay started an intense love story in the performing art out of the van they lived in. When they felt the relationship.

Marina Abramovic

Marina Abramovic’s career as an independent artist wasn’t solidified until she was 42

Photographs by Ruven Afanador,  Marina Abramovic for New York Magazine

Marina Ambramovic Shoes for Departure 1991 Performance Art Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.

As she funds her new school, here's a 26-letter guide to the heroic performance artist.

The dA-Zed guide to Marina Abramović

Marina Abramovic Presents: Architectural Experience as Critical, Self-reflective Practice