Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. She created some of the most important early works in this practice, including Rhythm 0 (1974), in which she offered herself as an object of experimentation for the audience, as well as Rhythm 5 (1974), where she lay in the center of a burning five-point star to the point of losing consciousness. These performances married concept with physicality, endurance with empathy, complicity with loss of control, passivity with danger. They pushed the boundaries of self-discovery, both of herself and her audience. They also marked her first engagements with time, stillness, energy, pain, and the resulting heightened consciousness generated by long durational performance.Read More
The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualise the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation. From 1975-88, Abramović and the German artist Ulay performed together, dealing with relations of duality. She returned to solo performances in 1989 and for The Artist Is Present (2010) she sat motionless for at least eight hours per day over three months, engaged in silent eye-contact with hundreds of strangers one by one.
Marina Abramović was one of the first performance artists to become formally accepted by the institutional museum world with major solo shows taking place throughout Europe and the US over a period of more than 25 years. These include the Stedelijk Van Abbemuseum, Eindhoven,1985; Centre Georges Pompidou, Paris, 1990; Neue National Galerie, Berlin, 1993, and the Museum of Modern Art, Oxford,1995. She has also participated in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII and IX, Kassel (1977, 1982 and 1992). Recent performances include Seven Easy Pieces at the Guggenheim Museum, New York in 2005. In 2010, the Museum of Modern Art, New York held the major retrospective, The Artist Is Present. Marina Abramović is establishing the MAI (Marina Abramović Institute) to support the future exploration and promotion of performance art.
Text courtesy Lisson Gallery.
RoseLee Goldberg discusses the history of performance art and her ongoing support of artists in realising ambitious live performance work through the Performa Biennial, which is set to launch its eighth edition in New York on 1 November.
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At an Austrian gallery in 1975, Marina Abramović staged the performance Thomas Lips, in which she cut a five-pointed star into her stomach using a razor blade. According to Abramović: 'The pain was like a wall I had walked through and come out the other side.' The artist's capacity to overcome limits, be they physical or psychological, is at the...
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