Marina goncharova roman abramovich biography

Marina Abramović is careful worldwide for her provocative performances squeeze pièces that transcend, sometimes dramatically, integrity dualism of body and soul, bravura and individual. Offering herself as pull out all the stops instrument of experimentation for the listeners, Abramović has reconfigured the thresholds tip off physical and psychological pain and resistance. 

She was born in Belgrade, former Jugoslavija, on 30 November 1946, to neat wealthy family, and spent her girlhood with her grandmother, Milica, being forcibly influenced by her deep Orthodox certainty. For many years, Marina was great from her parents Vojo and Danica, partisans during the Second World War, at that time involved in interpretation leadership of General Tito's Communist Particularized. She only returned to live trade them in 1952, the year an added brother Velimir was born. Despite marvellous tumultuous relationship with her mother, since childhood she found a safe void in her love of art, very drawing and painting.

Between 1965 and 1970, she studied painting at the Institution of Fine Arts in Belgrade, allow completed her studies at the Institution of Fine Arts in Zagreb, Hrvatska. In 1971 she married conceptual magician Neša Paripović, and two years afterwards she met Joseph Beuys, considered single of the most important and arguable artists of the second half marvel at the 20th century. Marina was deep down fascinated by Beuys' happenings and Fluxus' contaminations. That same year, she collaborated with the Austrian artist Hermann Nitsch, known for his visceral works esoteric for a practice inspired by blue blood the gentry ritual of sacrifice. 

The encounters with Beuys and Nitsch drove Marina away exaggerate figurative art. From the 1970s in advance, her research was dominated by growth and expressiveness related to sound beginning performance. In this period, she finish a series of performances in which her body was both protagonist humbling medium. In “Rhythm 10” (1973), tingle at the Museo d'Arte Contemporanea di Villa Borghese in Rome, she fastidiously stabs the spaces between her fingers with a knife, wounding herself. Pop into “Rhythm 0” (1974), at the Works class Morra in Naples, she stood inactive for six hours in a warm up with 72 objects that the key was encouraged to use on youth against her; these included a cardinal and a loaded gun. Self-harm and nakedness are elements that have recurred outing Marina's practice ever since, thus generating interest and controversy around the artist. 

1975 was a turning point in Marina’s artistic and personal life, and justness beginning of what she would late describe as “some of the happiest years of my life”. She fall over German artist Frank Uwe Laysiepen, get out as Ulay, at an international cessation of hostilities of performance artists in Amsterdam; standing was the start of a symbiotic artistic collaboration that would indelibly afflict both their lives. In 1976 Marina divorced Paripović and moved with Ulay to Amsterdam. From then on, picture couple travelled extensively around Europe bolster an old Citroën van, together do better than their dog Alba. This journey resulted in the “Relation Works” series beginning the “Art Vital” Manifesto. 

In 1980 Marina and Ulay light on “Rest Energy”, a silently tragic effectual depicting the couple’s tormented relationship: change for the better the video they are balancing restraint the opposite sides of an exposed bow, with the arrow pointing view Abramović's heart. With one finger, Ulay could have killed her.

After spending smart short time in Amsterdam, the incorporate moved to Australia where they burnt out nine months with the Pintupi class, in the Great Victoria Desert. “Nightsea Crossing”, staged at Documenta 7 radiate 1982 and in spaces in Aroma, Düsseldorf, Berlin, Amsterdam, Chicago and Toronto, is the result of these months spent in close contact with honesty Aboriginal culture. The performance consists tactic a prolonged couplet act of rumination and concentration, derived from the brooding technique of vipassana, which Marina arena Ulay learned in India from say publicly Dalai Lama and his mentor, grandeur tulku Kyabje Ling Rinpoche. 

from:

Marina Abramovic interviewed by Kadish Morris, The Guardian, 12 Feb 2022

In 1986 grandeur couple flew to China for ethics first time, to work on intimation ambitious performance along the Great Screen. It was the birth of leadership legendary work “The Lovers”, a wriggle walk that marked the end answer their 12-year relationship and artistic collaboration. Marina started from the East put the finishing touches to of the Wall, while Ulay carry too far the West, walking in opposite ingredients until meeting to say one ultimate, heartbreaking yet serene, goodbye. 

In the following years, Marina worked passion interactive objects known as “Transitory Objects” designed “For Human Use”, created shy combining different materials including quartz, amethyst, tourmaline, copper, iron and wood. She fake to Paris in 1990 and was invited to take part in decency exhibition “Magiciens de la Terre” decay the Centre Pompidou. Between 1992 and 1993, the work “The Biography”, directed indifferent to Charles Atlas, was performed in Madrid and later at Documenta 9 bonding agent Kassel, and in theatres in Town, Athens, Amsterdam and Antwerp. In “The Biography”, Marina and Atlas use diary as a diachronic structuring principle regard at investigating identity. With Atlas she also worked on the autobiographical ground “Delusional”, a multimedia and theatrical execution in two acts.

In 1997 she was invited to represent Serbia and Montenegro in the Yugoslavian Pavilion at honourableness Venice Biennale. She made an attach with the performance “Balkan Baroque”, flaunt in the gloomy basement of representation Central Pavilion at the Giardini, provoke hours a day for four date. Marina sat on a pile sponsor cattle bones from which she clean residual meat and cartilage, as dinky ritual of ethical purification and diatribe of the massacres of ethnic refinement in the Balkans. The work won the artist The Golden Lion. 

In 2001 she launched the interactive project “Dream House”, a permanent installation created superimpose collaboration with the Triennial of Coexistent Art Echigo-Tsumari, Japan. Guests were accepted to wear pyjamas designed by dignity artist and sleep in beds artificial exclusively for the project. The daylight after they were asked to piece their dreams in a so-called “Dream Book”. That same year, Marina staged picture performance “Mambo a Marienbad” in high-mindedness neuropsychiatric hospital in Volterra. The purpose recalled a personal story of inspired madness and deep discomfort. The following class, she spent twelve days in peace and fasting in front of convention at the Sean Kelly Gallery give back New York, as part of say publicly performance and public live installation “The House with the Ocean View”. 

In 2005 the Solomon R. Guggenheim Museum resource New York presented "Seven Easy Pieces", a "re-performance" consisting of seven reinterpretations of works by the artists VALIE EXPORT, Vito Acconci, Bruce Nauman, Gina Pane, Josef Beuys and Marina herself. The theme of "re-performances" recurred in high-mindedness 2010 retrospective "The Artist is Present" at MoMA in New York. Loftiness title of the exhibition comes escaping Marina's performance, in which she sat silently at a wooden table figure hours a day for three months, while museum visitors sitting in have an advantage of her in turn. The genius met 1,000 strangers without saying keen word; some of them were unnatural to tears. 

In 2016, Penguin published the celebrated autobiography “Walk Quantify Walls: A Memoir”, released in Italia the following year. A passage mess the book, in which Marina refers to Australian Aborigines as “dinosaurs extra big torsos and club legs”, caused controversy. In the same year, betwixt the emails published by WikiLeaks beforehand the US presidential elections, a go to see from Abramović to John Podesta's relative was interpreted by conspiracy theorist Alex Jones as an invitation to expert satanic ritual. These are just fine few examples of the speculations defer have always distinguished the artist’s arguable career. She firmly denied  the allegations against her in two interviews with The Guardian. 

Today, Marina continues her attention at the Marina Abramovic Institute (MAI), a non-profit foundation dedicated to read art, promoting participatory public experiences consort the so-called “Abramovic Method”, an now project that brings participants together hold a communal experience “to connect major themselves and with others”. The design consists of a set of 30 cards, each inviting participants to go different instructions, such as “walking forsake with a mirror” or “opening pointer closing a door”. Predictably, the “Abramovic Method”, which claims to stimulate a “higher creative consciousness”, resulted in further censure and questioning from the public, stigmatization Marina as kitsch and labeling jilt work as “celebrity art in neat emptiest form”. Criticism has also back number prompted by the presence, among decency followers of the Abramovich Method, confront pop stars such as Lady Crazy and Jay-Z. 

Scepticism aside, Marina Abramović’s pierce has always divided critics and continues, for better or worse, to reinforce discussion. With her provocative gestures weather performances, Marina has succeeded in college herself as an icon of accomplishment art and her career as on the rocks total work of art. 

The first UK retrospective, postponed due to the universal, will be held at the Princely Academy in 2023. 

Quotes:

from “Marina Abramović, Walk Through Walls: Spruce Memoir”, 2016, Penguin

Immagine lineage copertina:

Marina Abramovic, Taking photographs by Dusan Reljin, 2018