Marina Abramovic & Crystal Renn by Dusan Reljin for Vogue Ukraine August 2014

Marina Abramović, Crystal Renn by Dusan Reljin for Vogue Ukraine August 2014 11

Marina Abramović. ‘De grootmoeder van de performancekunst’ noemt ze zichzelf; maar ze heeft evengoed recht op de titel ‘kind van de body art’.

Marina Abramović, Rhythm 1974 To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a.

Marina Abramovic with an eagle. http://www.dazeddigital.com/artsandculture/article/16842/1/the-da-zed-guide-to-marina-abramovic

The dA-Zed guide to Marina Abramović

Celebrated performance artist Marina Abramovic has willingly endured objectification, injury, and abuse, all in the name of art. With her new HBO documentary, The Artist is Present

Portrait with Scorpion, Marina Abramovic (2005).

Marina Abramovic / "Portrait with Scorpion" / 2005 / Photography / Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.

Marina Abramovic, Happy Christmas, silver gelatin print, 137 x 137 cm, 2008 © Marina Abramovic

Joyeux Noël?

Good write-up, through an unexpectedly ‘New Right’ article, from the 2016 debacle about Marina Abramovic, but read the dumb comment below in the article: “The Occult World of Marina Abramović” who …

Marina ABRAMOVIC

Marina Abramović, Stromboli III Volcano, 2002 Courtesy of Marina Abramović Archives and Lia Rumma Gallery, Milan.

Rhythm Series by Marina Abramovic

5 Artists That Were Abused During Their Performances

play: Marina Abramović (born 1946 in Belgrad, Serbia) - Rhythm 1975

Marina Abramović, Human Nest (2001) Performance and installation, NMAC Foundation, Cadíz, Spain

Marina Abramovic :: Human Nest Performance and installation, NMAC Foundation, Cadiz, Spain

Image result for marina abramovic art

Image result for marina abramovic art

Marina Abramovic and Ulay: Death self, 1977 "the two performers devised a piece in which they connected their mouths and took in each other’s exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual’s ability to absorb the life of another person, exchanging and destroying it."

Marina Ambramovic & Ulay Laysiepen Death Self, 1977 This performance consisted of the two artists seated in front of each other, connected at the mouth.

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