In a career spanning more
than half a century,
Marina Abramović
has turned performance
art into an art
art into an art
form that has become
a global phenomenon.
ABRAMOVIC
MARINA
"I believe that if you have
a rough childhood,
it can make you a better artist,
a rough childhood,
it can make you a better artist,
But if you're too happy, you might not be able to create anything worthwhile"
ABRAMOVIC
But if you're too happy, you might not be able to create anything worthwhile"
"I believe that if you have a rough childhood,
it can make
you a better
artist,
it can make
you a better
artist,
famous expert
Wordwide
in the
field
art
of modern
During her early years, Marina was often disciplined by her mother and aunt for minor offences. She was even locked in the
by communists
fanatics
Part of her family was deeply religious
and hated
the "Red regime".
The Serbian patriarch was her great-uncle.
being married.
She lived almost to the age of 30 with a dominant mother, the last five
pantry.
I was raised both
and religious
her entire life.
It seems to have defined who she is and
with horns
suit
A pathetic, miserable kid
up as a devil for a holiday.
When Marina was four, her mother dressed her
in a black
Когда Марине было 4 года,
мама нарядила её на праздник
мама нарядила её на праздник
Кажется
это определило
это определило
всю
ее
жизнь
ее
жизнь
First
performance
having been put in a pocket
of clothes beforehand.
After that, the surgeons would have to make the girl a new nose - like the one in the photo of Brigitte Bardot,
she fell and bumped her nose on its sharp edge.
When she was a teenager, she was really worried about her big nose and one day
decided to spin around near her parents' bed until
of Fine Arts
and soon began her
and soon began her
first performances.
Marina entered
the Belgrade Academy
In the 1970s, Abramović's
first solo works
included a series called "Rhythms,"
included a series called "Rhythms,"
where she explored
the possibilities of the human body, sometimes using
the possibilities of the human body, sometimes using
quite violent methods.
rhythm
tenth
The performance, called Rhythm 10
involved the artist, using twenty
knivesand two tape recorders,
to rhythmically stab the knife
at the spaces between
the artist spread
fingers.
involved the artist, using twenty
knivesand two tape recorders,
to rhythmically stab the knife
at the spaces between
the artist spread
fingers.
The artist's first high-profile performance
was in 1973. Abramović explored elements of ritual and gesture.
was in 1973. Abramović explored elements of ritual and gesture.
Every time she cut herself, she took a new knife from the row that she had prepared in advance
the past and present.
thereby combining
The sound of the knives
she recorded on a tape recorder.
After changing the knife for the twentieth time, Abramović rewound the tape
and listened to it. She was trying to do the same movesand make
she recorded on a tape recorder.
After changing the knife for the twentieth time, Abramović rewound the tape
and listened to it. She was trying to do the same movesand make
the same mistakes,
The artist's first high-profile
performance was in 1973. Abramović explored elements of ritual and gesture.
performance was in 1973. Abramović explored elements of ritual and gesture.
The performance, called
Rhythm 10 involved the artist, using twenty knivesand two
tape recorders,to rhythmically stab the knife at the spaces
between the artist spread fingers.
Rhythm 10 involved the artist, using twenty knivesand two
tape recorders,to rhythmically stab the knife at the spaces
between the artist spread fingers.
fifth
rhythm
On the floor of the room
made a five-pointed star out of wood,
doused it with oil
and set it on fire.
doused it with oil
and set it on fire.
a young artist
otherwise it loses its meaning.
in art,
allowed
which is not
because she had misjudged her own strength and went beyond the limits of her own physical abilities,
Abramovic
later said
that she considered the performance a failure
that she considered the performance a failure
When the fire reached her leg,
the audience realised that
the artist was unfazed and carried her out of the burning star.
the audience realised that
the artist was unfazed and carried her out of the burning star.
of air.
One of Abramović's first known
and most dangerous
performances
First she threw pieces of her cut-off
hair into the fire. Then went inside
the structure and lay on the floor.
Abramović was lying on her back
and the audience did not notice
she lost consciousness
from lack
rhythm
zero
There were 72 objects on the table
The viewers could use them as they
wished.
at the Morra Gallery in Naples
The performance started off well:
lots of participants were cuddling Marina, trying to make her feel good.
lots of participants were cuddling Marina, trying to make her feel good.
At the end of the performance Marina stood up and slowly walked towards the audience who had been torturing
her for six hours. They ran out of the gallery in horror.
"Each of them realised something very important
about themselves," Abramović concluded satisfactorily.
her for six hours. They ran out of the gallery in horror.
"Each of them realised something very important
about themselves," Abramović concluded satisfactorily.
Abramović later admitted
that on the evening of that day she discovered she had grey hair.
that on the evening of that day she discovered she had grey hair.
The performance culminated
in a loaded gun forcely held
by one of the participants to the artist's neck by her own hand.
in a loaded gun forcely held
by one of the participants to the artist's neck by her own hand.
Marina was stripped,
the violence intensified:
participants exposed their true animal nature.
The absence
of punishment and the complete freedom for the experiment
of punishment and the complete freedom for the experiment
However, as soon as someone
pushed the artist, the performance turned into something scary.
pushed the artist, the performance turned into something scary.
her skin was cut with blades,
the artist was repeatedly sexually harassed.
After a while
in the history of art.
although now she wasn't alone.
in postmodernist circles
Цикл «Ритмы»
"Rhythms"
The series
Ulay.
Marina moved to Amsterdam
to continue her studies
For the next 12 years
all of her new projects remained
dangerous and controversial,
In all her wild experiments, she was accompanied
by the most significant person in her life,
by the most significant person in her life,
In all her wild experiments,
she was accompanied by the most
famous
made Abramović
significant person in her life,
экспериментах её сопровождал
главный человек в её жизни —
sexuality and marriage.
that explored themes of gender
they developed more than 20 performances
Over the years of their union,
Their life together was like
a performance art piece: they
claimed to be the one, dressed alike
and copied each other's movements.
a performance art piece: they
claimed to be the one, dressed alike
and copied each other's movements.
Marina Abramović
and German artist Uwe Laysiepen met on their shared birthday.
and German artist Uwe Laysiepen met on their shared birthday.
As I got older,
Buddhist approach
to art
I adopted
in space
The nude artists ran towards each other,
and at a certain point they crashed into each
other and did it all over again.
and at a certain point they crashed into each
other and did it all over again.
It is believed that this is a merging of male and female energies
into something third,
as yet undefined....
into something third,
as yet undefined....
Relationships
in time
Relationships
Abramović and Ulay tied their hair up and sat motionless for 17 hours.
The artists made themselves nearly exhausted and only then showed up.
Abramović and Ulay stood facing each other in a narrow doorway and all visitors had to pass between them, while the happenstance participants of the performance had no chance to avoid contact with their naked bodies.
Imponderabilia
An arrow
heart
at her
The performance lasted
4 minutes and 10 seconds
4 minutes and 10 seconds
and was said to be devoted to the "boundless trust".
Both of them
had microphones
had microphones
attached to their chests and the sound of their heartbeats was broadcasted
to the entire gallery.
to the entire gallery.
Standing in front of each other, the artists seemed to fall backwards, holding only
a huge bow that was between them.
a huge bow that was between them.
Standing in front of each other, the artists seemed to fall backwards, holding only a huge bow that was between them.
Abramović held the bow itself, while Ulay held the bowstring and an arrow aimed straight at her heart.
at her
aimed straight
aimed straight
Стоя друг напротив друга, художники как бы падали назад, держась лишь за огромный лук, который находился между ними.
By that time both he and she had already cheated on each other and the Chinese translator they had invited to help with their project ended up pregnant with Ulay's child. In 1988 Abramović and Ulay went almost over the wall, but the final wedding was replaced by a separation.
By that time both he and she had already cheated on each other and the Chinese translator they had invited to help with their project ended up pregnant with Ulay's child. In 1988 Abramović and Ulay went almost over the wall, but the final wedding was replaced by a separation.
Having travelled 5,000 kilometres for two, they were expected
to meet in the middle and got married. But over the course of eight years, their relationship had become complicated and as a result,
when the Chinese side agreed to host the event, the script
had to be changed.
to meet in the middle and got married. But over the course of eight years, their relationship had become complicated and as a result,
when the Chinese side agreed to host the event, the script
had to be changed.
Having travelled 5,000 kilometres for two, they were expected to meet in the middle and got married. But over the course of eight years, their relationship had become complicated and as a result, when the Chinese side agreed to host the event, the script had to be changed.
The Chinese
wall
Marina and Ulay spent 90 days walking towards each other, but only to say goodbye forever...
wall
Cleaning
the mirror
At the end of the process, the viewer can see that the old bones have become much lighter in colour, while the artist's hands are covered with grey dirt.
In the first performance of the series ("Cleaning the Mirror 1"), Marina Abramović sits on a chair
and washes various parts
of a skeleton in a bucket
of soapy water.
and washes various parts
of a skeleton in a bucket
of soapy water.
In the first performance of the series ("Cleaning the Mirror 1"), Marina Abramović sits on a chair and washes various parts
of a skeleton in a bucket of soapy water.
of a skeleton in a bucket of soapy water.
who try to understand the meaning of death. By the end of the year, it had changed into a series of three related performances
and an installation with the same name.
and an installation with the same name.
In 1995, Marina Abramović presented a project that started out as a copy of the practice
of Buddhist monks,
of Buddhist monks,
After parting with Ulay, Marina found herself interested in the practices of Buddhist monks and performed several works related to the human comprehension of the essence of death
After parting with Ulay, Marina found herself interested in the practices of Buddhist monks and performed several works related to the human comprehension
of the essence
of death
of the essence
of death
It was summer in Venice,
very - very
hot
"Balkan Baroque"
was dedicated to one
of the bloodiest military conflicts in Europe after
the Second World War.
was dedicated to one
of the bloodiest military conflicts in Europe after
the Second World War.
that she is from Yugoslavia, a country that no longer exists.
When talking about the past, Marina says
In the pavilion, the video work is shown with
a performance where Abramović dances, tells
the story of a rat catcher from Belgrade and washes livestock bones.
a performance where Abramović dances, tells
the story of a rat catcher from Belgrade and washes livestock bones.
In the pavilion, the video work
is shown with a performance where Abramović dances, tells
the story of a rat catcher from Belgrade and washes
livestock bones.
is shown with a performance where Abramović dances, tells
the story of a rat catcher from Belgrade and washes
livestock bones.
"Balkan Baroque" was dedicated to one of the bloodiest military conflicts in Europe after
the Second World War.
the Second World War.
It was summer in Venice, very-very hot, and after a few days worms started coming out of the bones.
The smell was unbearable...
The smell was unbearable...
view house
The artist spent 12 days
in an improvised house in full view of the audience.
Ocean
always open to the view, she spent her days drinking only clean water
In three rooms, which depicted
a bathroom, living room and bedroom,
a bathroom, living room and bedroom,
The house was raised on a platform from which it was impossible to descend -
The house was raised
on a platform from
which it was impossible
to descend
on a platform from
which it was impossible
to descend
The house was raised
on a platform from which
it was impossible to descend
on a platform from which
it was impossible to descend
the steps of the stairs were knife points.
and thus performing an act of purification.
of the artist
for six days a week for seven hours,
sit opposite her.
were able to participate directly
nd anyone could
From 14 March to 31 May,
the artist sat silently on a chair
at the Museum of Modern Art in New York
A total of 750,000 people watched
the performance, of whom 1,500
In the presence
IN THE PRESENCE
of the artist
in New York for six days a week for seven hours,
sit opposite her.
were able to participate directly.
and anyone could
From 14 March to 31 May,
the artist sat silently on a chair
at the Museum of Modern Art
A total of 750,000 people watched
the performance, of whom 1,500
In the presence
sometimes even more
than she did in her youth.
younger her years.
Now Abramović, who is almost 80,
the boundaries of art,
at her performance institute
the surrounding space with
her creations.
Website is developed by
A non-profit project created as part of @hodarkovskaya training
mission of pushing
Guseva Elizaveta
looks much
She is still working actively,
She trains new artists
and continues her important
striving to fill
References
All rights belong to their copyright holders
https://www.interior.ru/art/16513-marina-abramovich-strah-smerti-i-nadezhda-v-10-rabotah-babushki-performansa.html
http://contemporary-artists.ru/Marina_Abramovic.html
https://www.interior.ru/art/16513-marina-abramovich-strah-smerti-i-nadezhda-v-10-rabotah-babushki-performansa.html
https://www.theartnewspaper.ru/posts/7624/
https://vk.com/video-23141780_456239752?c=1
http://contemporary-artists.ru/Marina_Abramovic.html
https://www.interior.ru/art/16513-marina-abramovich-strah-smerti-i-nadezhda-v-10-rabotah-babushki-performansa.html
https://www.theartnewspaper.ru/posts/7624/
https://vk.com/video-23141780_456239752?c=1
