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b. 1946, Serbia

Marina Abramović Biography

Marina Abramović is a New York-based multimedia artist who is hailed alongside Vito Acconci, Bruce Nauman and Chris Burden as one of the pioneers of contemporary performance art. She is best known for long-duration performance pieces that often require both mental and physical endurance as well as the power to withstand intense tedium, exhaustion, pain and even the threat of death.

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Abramović's abusive upbringing deeply impacted her work. She was raised in the capital of Yugoslavia (now Serbia) by parents loyal to the post-war communist regime. Her mother ran the household with harsh military discipline. These unpleasant origins were re-lived by the artist in 2011 through the autobiographical play, The Life and Death of Marina Abramović, directed by Robert Wilson. Abramović spent years addressing the repression present in her upbringing and country of birth in visceral performances. In Thomas Lips (1975) she carved a five-pointed Communist star into her abdomen. Although such performances have been called masochistic, Abramović sees pain and privation as a door to the subconscious mind. From her perspective, the only way to have control over pain or tedium is to focus on and endure the experience.

These ideas were present from the beginning of her artistic career in the early 1970s. Following her studies at the Academy of Fine Arts in Belgrade and a brief experimentation with sound installation, she produced her 'Rhythm' series (1973–74): five different performances involving risk and pain interlaced with symbolic meanings. In 1974, for Rhythm 0—the final work in this series—Abramović carried out an experiment at a gallery in Naples. In this performance, she laid out 72 items on a table with an invitation to the public to use them on her as they wished. There were harmless items such as a grape, a feather, a rose; however, there were also items of a more sinister nature, such as knives, a whip, scissors, a gun and a single bullet. Over six hours the artist revealed the savagery lurking beneath the surface of seemingly civilised human beings while remaining totally passive and vulnerable. Visitors slowly began subtly torturing her: stripping away her clothes, cutting her body and even pointing the gun at her head.

From 1976 Abramović began collaborating with her then-partner, the artist known as Ulay. For five years, they toured Europe together, living out of a van. The pair terminated their relationship in 1988, grandly marking the occasion with The Lovers. In this lengthy performance, the former couple walked towards each other from the two ends of the Great Wall of China, each covering 2,500km over several months and finally meeting in the middle to say goodbye. Her works following the break-up—such as Cleaning the Mirror (1995), Balkan Baroque (1997) and The House with the Ocean View (2002)—were, though not without privation, more contemplative and less violent.

In her Seven Easy Pieces show at the Guggenheim, New York, in 2005, Abramović took an approach closer to an art-historical retrospective. As well as re-enacting Thomas Lips, for seven hours on seven nights she reenacted five works by performance artists Bruce Nauman, Vito Acconci, Valie Export, Gina Pane and Joseph Beuys.

At a major retrospective of her own work at The Museum of Modern Art in 2010 Abramović presented a new performance, The Artist is Present. Eight hours a day for nearly three months, she sat impassively in the gallery while visitors came one by one to sit opposite her. The reactions ranged from tears to laughter (and one incident of unauthorised nudity). She broke protocol only once, when Ulay made a surprise appearance, by reaching out to grasp his hand. In contrast to the Rhythm 0 experiment the interactions were mostly based on love and brought out the best in people.

Marina Abramović: In Residence (2015), for Kaldor Public Art Project 30, was a paradigm-shift that placed the onus of performance on the public rather than Abramović herself. In the 12 days onsite at Pier 2/3, Walsh Bay, Sydney, visitors were guided through focus-shifting, perception-challenging experiences based on the 'Abramović Method': a process pioneered by the artist and intended to use slow and conscious movement to heighten people's mindfulness of the moment they are in and the actions they perform.

Alongside these often controversial performances, sound, video, sculpture, installation and photography have also been important aspects of Abramović's work. Video and photographic stills often document or reference her performances. She has also used these media on their own, as in the independent photographic series, 'Places of Power' (2012–2013), which draws connections between her art and spirituality. Her sculpture addresses pain, the body and other themes from her performances and photography. The artist's body will always be the primary medium of Abramović's practice. As the self-proclaimed 'grandmother' of performance art, she has striven to sustain it by founding the non-profit Marina Abramović Institute in Hudson, New York, in 2012.

Michael Irwin | Ocula | 2018

Marina Abramović Featured Artworks

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Miracle 2 by Marina Abramović contemporary artwork
Marina AbramovićMiracle 2, 2018Chromogenic print, LED light box
136.8 x 182 x 10 cm
Galerie Krinzinger Contact Gallery
Self Portrait with Skeleton by Marina Abramović contemporary artwork
Marina AbramovićSelf Portrait with Skeleton, 2003Framed cibachrome print
127 x 203.2 cm
Sean Kelly Contact Gallery
Artist Portrait with a Candle by Marina Abramović contemporary artwork
Marina AbramovićArtist Portrait with a Candle, 2013Framed fine art pigment print
63 x 63 inches
Sean Kelly Contact Gallery
Portrait with Potatoes by Marina Abramović contemporary artwork
Marina AbramovićPortrait with Potatoes, 2008Colour chromogenic print
120 x 120 cm
Galerie Krinzinger Contact Gallery
Freeing the Voice, 1975 by Marina Abramović contemporary artwork
Marina AbramovićFreeing the Voice, 1975, 2014Assemblage of 4 black and white silver gelatin prints; based on the 3 hour original performance at the Student Cultural Center, Belgrade in 1975
210 x 75.8 x 5.8 cm
Lisson Gallery Contact Gallery
Eclipse by Marina Abramović contemporary artwork
Marina AbramovićEclipse, 2018Alabaster, LED lights
72 x 85.5 x 8.5 cm
Lisson Gallery Contact Gallery
Installation view by Marina Abramović contemporary artwork
Marina AbramovićInstallation viewFine art pigment print

Not for sale
Places of Power, Waterfall by Marina Abramović contemporary artwork
Marina AbramovićPlaces of Power, Waterfall, 2013Fine art pigment print
160 x 213 cm
Not for sale

Marina Abramović Recent Exhibitions

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Contemporary art exhibition, Ulay, ULAY: From Berlin to Paris at Richard Saltoun Gallery, Online Only, London
18 January–13 February 2021 Ulay ULAY: From Berlin to Paris Richard Saltoun GalleryOnline Only
Contemporary art exhibition, Group Exhibition, To a passer-by at Galerie Krinzinger, Vienna
11 September–12 October 2019 Group Exhibition To a passer-by Galerie KrinzingerGalerie Krinzinger
Contemporary art exhibition, Group Exhibition, Love is Metaphysical Gravity at Lisson Gallery, Shanghai
22 March–11 May 2019 Group Exhibition Love is Metaphysical Gravity Lisson GalleryShanghai

Marina Abramović Represented By

Lisson Gallery contemporary art gallery in Lisson Street, London, United Kingdom Lisson Gallery London, East Hampton, New York, Shanghai
Sean Kelly contemporary art gallery in New York, USA Sean Kelly New York

Marina Abramović In Ocula Magazine

The Major Biennales Going Ahead in 2020 Ocula News The Major Biennales Going Ahead in 2020 London, 8 July 2020

Despite numerous cancellations and postponements, several significant biennales in Europe and Asia will take place this year.

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RoseLee Goldberg: Performance Then and Now Ocula Conversation RoseLee Goldberg: Performance Then and Now By Fawz Kabra

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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Nicole Durling Ocula Conversation Nicole Durling By Anna Dickie, Hobart

We want to allow artists the space to take risks and explore. That's my job as a curator: to be mindful of that, to remove the anxieties around exploring something new, and to create a supportive environment around an artist that allows them to take those leaps.

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Marina Abramović In Related Press

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Rising Tides and Climate Change Color the Venice Biennale This Year Related Press Rising Tides and Climate Change Color the Venice Biennale This Year 24 June 2019, Hyperallergic

VENICE, Italy — Acqua alta : high water. It's something Venetians have learned to live with, when the city floods under high tides and strong winds. It mainly happens in the winter, but even under the mild May sunshine, the crowds sipping coffee in Saint Mark's Square will sometimes get their feet wet. At these times, the lines between...

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Ai Weiwei, Anish Kapoor and Marina Abramović lead major new exhibition Everything At Once at Store Studios Related Press Ai Weiwei, Anish Kapoor and Marina Abramović lead major new exhibition Everything At Once at Store Studios 8 September 2017, The Vinyl Factory

This October, Store Studios will host Everything At Once, an extensive off-site exhibition featuring 24 artists currently shown at Lisson Gallery in celebration of its 50th anniversary.

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Inside the mind of Marina Abramović Related Press Inside the mind of Marina Abramović 17 February 2017, Apollo Magazine

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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Marina Abramović's Grueling, Hardcore Journey to Brazil Related Press Marina Abramović's Grueling, Hardcore Journey to Brazil 15 December 2016, The Creators Project

Physical pain doesn't intimidate the inimitable Marina Abramović, but spiritual agony is another matter. In 2012, the artist traveled to Brazil in search of a salve for her 'emotional and personal troubles.' The resulting quest for healing and artistic inspiration is chronicled in a stunning new documentary, Marina Abramović in Brazil: The Space...

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