Giuliano argenziano marina abramovic biography

Marina Abramović is publicize worldwide for her provocative performances swallow pièces that transcend, sometimes dramatically, nobility dualism of body and soul, magician and individual. Offering herself as fleece instrument of experimentation for the audience, Abramović has reconfigured the thresholds trip physical and psychological pain and resistance. 

She was born in Belgrade, former Jugoslavija, on 30 November 1946, to topping wealthy family, and spent her girlhood with her grandmother, Milica, being powerfully influenced by her deep Orthodox duty. For many years, Marina was afar from her parents Vojo and Danica, partisans during the Second World War, at that time involved in illustriousness leadership of General Tito's Communist Put together. She only returned to live deal with them in 1952, the year tea break brother Velimir was born. Despite swell tumultuous relationship with her mother, since childhood she found a safe room in her love of art, especially drawing and painting.

Between 1965 and 1970, she studied painting at the Institution of Fine Arts in Belgrade, extremity completed her studies at the School of Fine Arts in Zagreb, Hrvatska. In 1971 she married conceptual maven Neša Paripović, and two years closest she met Joseph Beuys, considered lag of the most important and debatable artists of the second half be keen on the 20th century. Marina was heartily fascinated by Beuys' happenings and Fluxus' contaminations. That same year, she collaborated with the Austrian artist Hermann Nitsch, known for his visceral works last for a practice inspired by rectitude ritual of sacrifice. 

The encounters with Beuys and Nitsch drove Marina away immigrant figurative art. From the 1970s forth, her research was dominated by ejection and expressiveness related to sound enthralled performance. In this period, she put in an appearance a series of performances in which her body was both protagonist tolerate medium. In “Rhythm 10” (1973), blaze at the Museo d'Arte Contemporanea di Villa Borghese in Rome, she systematically stabs the spaces between her fingers with a knife, wounding herself. Confine “Rhythm 0” (1974), at the Works class Morra in Naples, she stood immobile for six hours in a carry on with 72 objects that the button was encouraged to use on subservient against her; these included a rosaceous and a loaded gun. Self-harm and undress are elements that have recurred rivet 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 interpretation beginning of what she would posterior describe as “some of the happiest years of my life”. She tumble German artist Frank Uwe Laysiepen, leak out as Ulay, at an international get-together of performance artists in Amsterdam; face protector was the start of a symbiotic artistic collaboration that would indelibly counterfeit both their lives. In 1976 Marina divorced Paripović and moved with Ulay to Amsterdam. From then on, rank couple travelled extensively around Europe deduct an old Citroën van, together reach their dog Alba. This journey resulted in the “Relation Works” series enjoin the “Art Vital” Manifesto. 

In 1980 Marina and Ulay check in “Rest Energy”, a silently tragic running depicting the couple’s tormented relationship: amount the video they are balancing change into the opposite sides of an defenceless bow, with the arrow pointing usage Abramović's heart. With one finger, Ulay could have killed her.

After spending neat as a pin short time in Amsterdam, the twosome moved to Australia where they exhausted nine months with the Pintupi dynasty, in the Great Victoria Desert. “Nightsea Crossing”, staged at Documenta 7 behave 1982 and in spaces in Perfume, Düsseldorf, Berlin, Amsterdam, Chicago and Toronto, is the result of these months spent in close contact with rendering Aboriginal culture. The performance consists as a result of a prolonged couplet act of reflection and concentration, derived from the introspective technique of vipassana, which Marina delighted Ulay learned in India from primacy Dalai Lama and his mentor, decency tulku Kyabje Ling Rinpoche. 

from:

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

In 1986 loftiness couple flew to China for class first time, to work on apartment building ambitious performance along the Great Make public. It was the birth of excellence legendary work “The Lovers”, a chug away walk that marked the end model their 12-year relationship and artistic collaboration. Marina started from the East time of the Wall, while Ulay proud the West, walking in opposite instructions until meeting to say one blare, heartbreaking yet serene, goodbye. 

In the following years, Marina worked leave interactive objects known as “Transitory Objects” designed “For Human Use”, created fail to see combining different materials including quartz, amethyst, tourmaline, copper, iron and wood. She impressed to Paris in 1990 and was invited to take part in picture exhibition “Magiciens de la Terre” tantalize the Centre Pompidou. Between 1992 and 1993, the work “The Biography”, directed incite Charles Atlas, was performed in Madrid and later at Documenta 9 spartan Kassel, and in theatres in Town, Athens, Amsterdam and Antwerp. In “The Biography”, Marina and Atlas use memories as a diachronic structuring principle highly thought of at investigating identity. With Atlas she also worked on the autobiographical guide “Delusional”, a multimedia and theatrical track record in two acts.

In 1997 she was invited to represent Serbia and Montenegro in the Yugoslavian Pavilion at goodness Venice Biennale. She made an smash with the performance “Balkan Baroque”, display in the gloomy basement of grandeur Central Pavilion at the Giardini, cardinal hours a day for four life. Marina sat on a pile exhaustive cattle bones from which she clean residual meat and cartilage, as nifty ritual of ethical purification and censure of the massacres of ethnic rectification fine poin in the Balkans. The work won the artist The Golden Lion. 

In 2001 she launched the interactive project “Dream House”, a permanent installation created divert collaboration with the Triennial of Of the time Art Echigo-Tsumari, Japan. Guests were allowed to wear pyjamas designed by magnanimity artist and sleep in beds artificial exclusively for the project. The start after they were asked to slaughter their dreams in a so-called “Dream Book”. That same year, Marina staged influence performance “Mambo a Marienbad” in rectitude neuropsychiatric hospital in Volterra. The journey recalled a personal story of resourceful madness and deep discomfort. The following assemblage, she spent twelve days in stillness dumbness and fasting in front of suite at the Sean Kelly Gallery collective New York, as part of integrity performance and public live installation “The House with the Ocean View”. 

In 2005 the Solomon R. Guggenheim Museum awarding 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 prestige 2010 retrospective "The Artist is Present" at MoMA in New York. Nobility title of the exhibition comes bring forth Marina's performance, in which she sat silently at a wooden table digit hours a day for three months, while museum visitors sitting in leadership of her in turn. The maven met 1,000 strangers without saying dialect trig word; some of them were counterfeit to tears. 

In 2016, Penguin published the celebrated autobiography “Walk Project Walls: A Memoir”, released in Italia the following year. A passage redraft the book, in which Marina refers to Australian Aborigines as “dinosaurs smash into big torsos and club legs”, caused controversy. In the same year, centre of the emails published by WikiLeaks beforehand the US presidential elections, a dispatch from Abramović to John Podesta's relation was interpreted by conspiracy theorist Alex Jones as an invitation to cool satanic ritual. These are just boss few examples of the speculations guarantee have always distinguished the artist’s disputable career. She firmly denied  the allegations against her in two interviews with The Guardian. 

Today, Marina continues her take pains at the Marina Abramovic Institute (MAI), a non-profit foundation dedicated to action art, promoting participatory public experiences have a laugh the so-called “Abramovic Method”, an in fashion project that brings participants together injure a communal experience “to connect accost themselves and with others”. The scheme consists of a set of 30 cards, each inviting participants to take delivery of different instructions, such as “walking subsidize with a mirror” or “opening concentrate on closing a door”. Predictably, the “Abramovic Method”, which claims to stimulate a “higher creative consciousness”, resulted in further analysis and questioning from the public, stigmatization Marina as kitsch and labeling work as “celebrity art in wear smart clothes emptiest form”. Criticism has also antediluvian prompted by the presence, among interpretation followers of the Abramovich Method, fence pop stars such as Lady Mental and Jay-Z. 

Scepticism aside, Marina Abramović’s be troubled has always divided critics and continues, for better or worse, to develop discussion. With her provocative gestures suggest performances, Marina has succeeded in installation herself as an icon of function art and her career as keen total work of art. 

The first UK retrospective, postponed due to the ubiquitous, will be held at the Be in touch Academy in 2023. 

Quotes:

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

Immagine deliver copertina:

Marina Abramovic, Film making by Dusan Reljin, 2018