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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Marina Abramović

b. 1946, Serbia

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.

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 | 2017
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Featured Artworks

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Black Dragon by Marina Abramović contemporary artwork
Marina AbramovićBlack Dragon, 1994 Rose Quartz, metal brackets, wood box, lucite plaque
9.8 x 18.7 x 8.3 cm
Sean Kelly
Dozing Consciousness (Body) by Marina Abramović contemporary artwork
Marina AbramovićDozing Consciousness (Body), 2016 Dye sublimation print on aluminium
229.1 x 115.3 cm
Lisson Gallery
Miracle 1 by Marina Abramović contemporary artwork
Marina AbramovićMiracle 1, 2018 Chromogenic print, LED light box, wooden frame
136 x 182 x 19 cm
Galerie Krinzinger
Artist Portrait with a Candle by Marina Abramović contemporary artwork
Marina AbramovićArtist Portrait with a Candle, 2012 Framed fine art pigment print
163 x 163 cm (incl frame)
Sean Kelly
The Levitation of Saint Therese by Marina Abramović contemporary artwork
Marina AbramovićThe Levitation of Saint Therese, 2009 Single flatscreen video installation, colour, no sound, 11 min 21 sec loop
Sean Kelly
Lips of Thomas by Marina Abramović contemporary artwork
Marina AbramovićLips of Thomas, 1975/2005 Two channel video installation, 96 mins (synchronized loop)
Sean Kelly

Recent Exhibitions

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 Gallery, Shanghai
Contemporary art exhibition, Marina Abramović, Early Works at Sean Kelly, New York
10 February–17 March 2018 Marina Abramović Early Works Sean Kelly, New York
Contemporary art exhibition, Marina Abramović, George Condo, Keith Tyson, Xu Zhen, Geomantic Intervention (no.3) at Duddell's, Hong Kong
22 October 2016–10 March 2017 Marina Abramović, George Condo, Keith Tyson, Xu Zhen Geomantic Intervention (no.3) Duddell's, Hong Kong

Represented By

In Related Press

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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 lagoon,...

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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 The Vinyl Factory : 8 September 2017

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 Apollo Magazine : 17 February 2017

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 The Creators Project : 15 December 2016

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 In...

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