Marina Abramovic – författare

A unique, boxed set of 30 instruction cards by Marina Abramovic to teach you this legend of performance art's method for reaching a higher consciousness and confronting life's challenges.Using exercises Marina Abramovic has developed for herself to prepare for her incredible performance works, the Method will help you focus, reconnect with the present, and locate your highest creative potential.

'Her bravest work of performance art to date . . . Rawly intimate' ObserverThis memoir spans Marina Abramovic's five decade career, and tells a life story that is almost as exhilarating and extraordinary as her groundbreaking performance art. Taking us from her early life in communist ex-Yugoslavia, to her time as a young art student in Belgrade in the 1970s, where she first made her mark with a series of pieces that used the body as a canvas, the book also describes her relationship with the West German performance artist named Ulay who was her lover and sole collaborator for 12 years. Abramovic has collaborated with stars from Lady Gaga to Jay-Z, James Franco and Willem Dafoe. Best known for her recent pieces 'The Artist is Present' and '512 Hours', this book is a fascinating insight into the life of one of the most important artists working today, and the woman who has been described as 'the grandmother of performance art'.

"I had experienced absolute freedom-I had felt that my body was without boundaries, limitless; that pain didn't matter, that nothing mattered at all-and it intoxicated me."In 2010, more than 750,000 people stood in line at Marina Abramovi's MoMA retrospective for the chance to sit across from her and communicate with her nonverbally in an unprecedented durational performance that lasted more than 700 hours. This celebration of nearly fifty years of groundbreaking performance art demonstrated once again that Marina Abramovi is truly a force of nature.The child of Communist war-hero parents under Tito's regime in postwar Yugoslavia, she was raised with a relentless work ethic. Even as she was beginning to build an international artistic career, Marina lived at home under her mother's abusive control, strictly obeying a 10 p.m. curfew. But nothing could quell her insatiable curiosity, her desire to connect with people, or her distinctly Balkan sense of humor-all of which informs her art and her life. The beating heart of Walk Through Walls is an operatic love story-a twelve-year collaboration with fellow performance artist Ulay, much of which was spent penniless in a van traveling across Europe-a relationship that began to unravel and came to a dramatic end atop the Great Wall of China.Marina's story, by turns moving, epic, and dryly funny, informs an incomparable artistic career that involves pushing her body past the limits of fear, pain, exhaustion, and danger in an uncompromising quest for emotional and spiritual transformation. A remarkable work of performance in its own right, Walk Through Walls is a vivid and powerful rendering of the unparalleled life of an extraordinary artist.

An artist’s notebooks are arguably the most authentic means of understanding her process, techniques, and impulses. And, for a performance artist, a rare, permanent record of how she develops her craft. Compiled over the course of four decades on stationery from various hotels, and other temporary residences, this collection of Marina Abramović’s original drawings, collages, poetry, writings, cut-outs, photographs, and doodles offers glimpses of a brilliant mind in constant motion. Beautifully produced and packaged, it takes readers on a journey through Abramović’s thoughts—and traces the evolution of the most fruitful phase of her career.“I believe we humans need to keep moving forward, and my own life was purely nomadic,” Abramović writes of her travel diaries. “My home was everywhere I went because my home was my own body.” With the archival material elegantly reproduced in the original size on high-quality paper, this collection offers Abramović’s enormous fanbase unprecedented access to her creative process.

'Her bravest work of performance art to date . . . Rawly intimate' ObserverThis memoir spans Marina Abramovic's five decade career, and tells a life story that is almost as exhilarating and extraordinary as her groundbreaking performance art. Taking us from her early life in communist ex-Yugoslavia, to her time as a young art student in Belgrade in the 1970s, where she first made her mark with a series of pieces that used the body as a canvas, the book also describes her relationship with the West German performance artist named Ulay who was her lover and sole collaborator for 12 years.

This unconventional publication explores the process of making art through the work and studio practice of Sophie Whettnall (b. 1973), a contemporary Belgian artist whose works range from video art, installation, and performance to sculpture and drawing. In addition to copious illustrations of Whettnall’s artwork that highlight its relationship to the studio and the artist’s creative process, the book features three conversations. The first, between Whettnall and fellow artist Marina Abramovic, explores transmission, violence, and femininity. The second, between Emiliano Battista and Scott Samuelson, situates Whettnall’s work and practice in the broader context of contemporary art and the theoretical framework that shapes it. In the third, Carine Fol and Whettnall share with the reader the behind-the-scenes discussions and decisions that go into the mounting of an exhibition.Distributed for MercatorfondsExhibition Schedule:CENTRALE for contemporary art, Brussels(04/04/19–08/04/19)

A collection of fascinating and provocative quotations from the world-renowned performance artistMarina Abramović is arguably the most important and influential performance artist of our time. For decades, she has broken boundaries in iconic works such as The Artist Is Present (2010), where she sat in silence across from members of the public at the Museum of Modern Art for eight hours a day for three months, and Rhythm 0 (1974), a six-hour performance in which she stood next to a table holding seventy-two objects, including a scalpel and a loaded gun, and a sign suggesting audience members could do to her whatever they wanted. Gathered from interviews, lectures, writings, and other sources, Abramović-isms is a unique collection of quotations that offers a window into the mind of this iconic trailblazer.“Artists have to be free human beings. They have to have the complete freedom to express their ideas with no restrictions.”“Our body is an absolute replica of the Universe, and this is why I took to studying myself—by studying myself, I can understand everything else and everybody else.”“Beauty doesn’t have a definition. What is important is what moves you.”“Don’t ever call me the grandmother of performance art. Just call me a warrior.”

Although long esteemed within the art world, Abramovi? became a global cultural figure after her groundbreaking 2010 MoMA retrospective, The Artist Is Present. This volume, timed to celebrate her eightieth birthday in 2026 which will be marked by major events, including a large-scale project at the Park Avenue Armory offers a fresh, personal encounter with the artist. Rather than a traditional monograph, it serves as a poetic map of her extraordinary life, tracing her mystical, daring, and often humorous journey through stories of love (with an entire section devoted to love spells and her dreams), sex, loss, fear, nature, ancestry, and creativity. The volume is part sketchbook, part diary, part personal philosophy. Abramovi? s voice remains direct and unfiltered, reflecting the spirit that has defined her five-decade career. Her reflections reveal the emotional and psychological terrain behind the boundary-pushing works that have reshaped the possibilities of art.

The definitive guide to the life and work of Marina Abramovic, the world's most famous performance artist.Combining brand-new interviews, never-before-seen images and fascinating ephemera, this book is a testament to the extraordinary life and work of one of our most courageous and groundbreaking artists, and is published to coincide with the opening of Abramovic's Royal Academy exhibition - the first major show by a female artist in the Academy's 255-year history. Agreeing to answer any question that was posed, Abramovic embarked on 17 months of candid interviews conducted by her friend and confidante, Katya Tylevich. The result is a monolithic retrospective that takes us from the humble beginnings of a shy child sitting at the back of the class, to fearless pioneer, conquering and subverting the art world with boundary-pushing performances, and concluding with her most profound personal experience to date.Over 600 images from Abramovic's personal archives set these captivating memories alight, creating a fascinating, visual landscape and demonstrating the inextricably intertwined nature of her life and work.A breathtakingly intimate journey, we are led across deserts, oceans and cities to explore extreme highs and lows, all the while marvelling at how Abramovic approaches every success and setback with her signature humour and wit. Never shying away from the truth, no stone is left unturned, and Abramovic's fearlessness imbues every page.

With the first appointment of the outstanding performance artist Marina Abramović to the Pina Bausch Professorship at the Folkwang University of the Arts, the focus in the 2022–23 academic year was placed on transdisciplinarity, artistic daring and social awareness. The project supervised by Abramović, entitled "Free Interdisciplinary Performance Lab (FIPL)," was realized in a class of around twenty students from the fields of music (classical and jazz, instrumental, vocal and composition), dance, design, photography, (physical) theater and directing. The students developed individual or collective concepts for performances and learned how to create a long-term performative work form in an experience- based process. Through a workshop entitled "Cleaning the House", they developed a sense of the presence required in performances, including the exploration of their individual physical and mental boundaries, according to a method proposed by Abramović.Marina Abramović has been setting international standards as a performance artist since the 1970s. Her own body is usually at the center of her often extended performances. She has taken part in documenta three times since 1977 and was awarded the Golden Lion at the Venice Biennale in 1997. Her performance "The Artist is Present" at the Museum of Modern Art, New York (2010) became famous. After teaching in Paris and Berlin, among other places, she took up the newly established Pina Bausch Professorship at the Folkwang University of the Arts in Essen in the winter semester of 2022/23.

Now available in a hand-signed collectible edition of five hundred, this intensely personal assemblage of travel notes and sketches by revered performance artist Marina Abramović offers an essential iconography of her work.Housed in an ornate clamshell box with a magnet latch, this new collector’s edition features one hundred and fifty unbound prints on high-quality paper, each with an artwork from Abramović’s collection of drawings, collages, poetry, writings, cut-outs, photographs and doodles, as well as a separate explanatory booklet and a unique print signed by Abramović herself.Beautifully produced and packaged, it takes readers on a journey through Abramović’s thoughts—and traces the evolution of the most fruitful phase of her career. “I believe we humans need to keep moving forward, and my own life was purely nomadic,” Abramović writes of her travel diaries. “My home was everywhere I went because my home was my own body.” Filled with archival material compiled over the course of four decades, and specially selected by the artist for this collector’s edition, Nomadic Journey and Spirit of Places offers Abramović’s enormous fanbase intimate access to her creative process.

In summer 2015, performance artist Marina Abramovic and psychoanalyst Jeannette Fischer spent four days together at Abramovic's house in the Hudson Valley. Associating freely, they explored - from a psychoanalytical perspective - Abramovic's biography and art and what connects them. A better understanding of herself, her personality and her work, was Abramovic's objective. She claims that conversations with artists abound, with one curator saying this and another saying that. Yet there is no book in which psychoanalysis puts her life and artistic work in context. This new book aims to fill this gap. Yet it is not a therapist's report, nor a record of Fischer's analysis of Abramovic. It records the dialogue between artist and analyst attempting an interpretation of Abramovic's extraordinary violent performances that sometimes reach the brink of faint, even death. The two search for an understanding of the underlying structures and dynamics. Abramovic performs relationships, and she performs violence, yet she remains on her own in facing the pain and fear about it. The book is arranged in a sequence of dialogues, separated by Fischer's comments on and images of four of Abramovic's performances to which the psychoanalyst refers.