Marina Abramovic Transitory Object for human use Objeto transitório para uso humano Marina Abramovic duração e experiência Fernanda Pitta
Walter Benjamin, em seu famoso ensaio sobre a repro- serem tocados, manipulados, sentidos através de várias dutibilidade da obra de arte, analisava uma nova forma de partes do corpo, não só observados. Mas diferentemen- percepção estética, característica da modernidade, asso- te do cinema para Benjamin, sua percepção não pode ser ciada não à contemplação, e sim mais próxima dos aspec- distraída. Ao contrário, eles exigem que sejam apercebidos tos táteis do sentido. Essa percepção determinaria um tipo de maneira intensa, detida, pausada. O que eles pedem de recepção distraída, mais aparentada ao hábito do que à desse espectador-participante (para usar uma terminologia absorção requerida pela contemplação, característica das estranha a Abramovic, mas conhecida do público brasileiro formas de recepção da estética tradicional. Seu paradigma através de Helio Oiticica) é nada menos do que seu tempo. era a arquitetura e, mais ainda, o cinema. Benjamin havia É o que pode afastá-los do perigo de se tornarem simples depositado uma grande esperança nessa nova estética, cosmetologia, objetos para “aliviar do dia-a-dia”, que pode- em seu poder de mobilizar as massas em direção à liber- riam ser encontrados em spas ou lojas de terapias alterna- dade e à revolução. Para ele, essa recepção distraída seria tivas. Eles oferecem uma experiência que, para que seja o ponto chave dessa nova forma de percepção estética, verdadeira, exige um tipo de comprometimento ao qual e explicitaria, para o público, o valor de uso das obras de não se está acostumado. Não prometem uma iluminação, arte, que poderiam ser assim apropriadas pelas massas, uma experiência mística, mas parecem oferecer ao públi- tornando-se seus instrumentos de transformação. Com co o contato com um outro tipo de percepção do tempo, isso o atributo convencional da obra de arte como objeto a uma outra duração do mundo e de si próprio, destacando-o ser contemplado, que o filósofo associou ao valor reificado das posições cômodas, conhecidas. De que materiais são das mercadorias no mundo moderno, seria destruído por feitos esses objetos? De que natureza é a energia que des- esse novo tipo de recepção da obra. locam? Como se dá esse movimento? Qual a sua duração, Pode-se dizer que essa perspectiva foi frustrada e, de certa sua extensão, sua intensidade? Qual o seu significado? maneira, deixou de ser libertadora, tendo perdido seu ca- Que tempo é esse que o contato com eles instaura? De ráter utópico. Certamente, o público, hoje, parece muitas certa maneira, parecem trazer mais perguntas do que res- vezes experimentar a arte de uma maneira distraída, como postas. O melhor que arte contemporânea tem a oferecer nas grandes bienais, exposições e feiras. Mas essa forma nos dias de hoje. de algum modo converteu-se num novo tipo de contem- plação, não aquela da absorção do culto, mas uma espécie Fernanda Pitta Seu trabalho evoca muitas vezes de hipnose – compulsiva, pois exige o estímulo constante, sentimentos intensos, algumas pessoas têm reações ex- mas também distraída, pois demanda a sucessiva substi- tremadas diante dele. Mas também, numa certa dimen- tuição do objeto, que logo se torna cansativo. Uma forma são, existe um humor muito próprio seu que só às vezes de percepção que tem como pressuposto afastar o indiví- é notado, ou vem à tona. Como na performance que você duo da vida do dia-a-dia, trazendo-lhe um certo alívio, po- realizou com Jan Fabre no Palais de Tokyo, em 2004 (Virgin rém sem o potencial de transformá-la sob nenhum aspec- Warrior - Warrior Virgin), que parece, num certo sentido, to. Uma experiência talvez mais próxima daquilo que Guy um comentário irônico sobre a noção de artista da Estéti- Debord identificou como característico da “sociedade do ca Relacional de Nicolas Bourriaud, e do artista engajado espetáculo” do que da esperança depositada por Benjamin e “missionário”, característico de certa tendência da arte na identificação do público com as aventuras cinematográ- contemporânea. Ou nas reações do público à sua apresen- ficas do ratinho Mickey. tação no seminário “The Feminist Future: Theory and Prac- Os objetos transitórios de Marina Abramovic nos recondu- tice in the Visual Arts”, quando você trouxe trabalhos da zem a uma estética tátil, do uso, já que são objetos para série Balkan Erotic Epic provocando largas risadas no pú- blico do MoMA, em janeiro de 2007. Existe algum aspecto objetos transitórios, as pedras, as ametistas, as turmalinas, humorístico nos “objetos transitórios” que você apresenta os cristais, os geóides, de Minas ou da Amazônia, são ma- nessa exposição na Galeria Brito Cimino? teriais realmente familiares para os brasileiros. Mas o que será surpreendente para o público brasileiro, eu imagino, Marina Abramovic Não exatamente. Há poucos tra- é que geralmente esses materiais são vistos sob a forma balhos que provocam o riso, que têm humor. Eu não sou do artesanato, em objetos utilitários, jóias, em peças deco- uma artista cujo trabalho provoque esse tipo de sensação rativas. Creio que poucos artistas brasileiros usam esses frequentemente. Meus trabalhos despertam sim sensa- materiais para fazer grandes peças como essas. Imagino ções extremas, pessoas choram, mas raramente riem. Os que esse será um aspecto surpreendente do trabalho. Es- trabalhos que quero mostrar no Brasil vêm de uma longa tou trazendo uma herança antiga com um novo elemento, jornada. Comecei a trabalhar neles em 1989, foram feitos com um novo significado. Eu gostaria de despertar uma no Brasil entre 1989 e 1992, e nunca foram mostrados nova consciência a respeito desses materiais, pois o públi- nesse país. Eles saíram daí para serem mostrados na Euro- co pode estar acostumado com esses materiais, mas não pa e na América do Norte, e agora me parece natural que sabe realmente o que eles podem fazer por ele. Não vejo eles voltem a sua terra natal. São trabalhos que demandam um problema se não houver obediência estrita às instru- uma participação do público, ele deve interagir com o traba- ções dos objetos. Para mim a função do artista é apresen- lho, são peças que devem ser usadas para que se obtenha tar o trabalho, entregar ao público esse trabalho, o público determinadas experiências. deve completá-lo. Mas, como artista, não sou responsável pela parte do público, se o público brasileiro terá ou não FP Esses objetos têm instruções específicas para serem uma atitude comprometida com relação a esses objetos. seguidas. Eles só “existem”, como obras, mediante seu Minha função é lhe entregar esse trabalho! Se o público uso pelo público, correto? brasileiro não completar o trabalho, não é minha respon- sabilidade. A questão de obediência e desobediência não MA Sim, esses objetos só fazem sentido quando investi- é central, eu não estou obrigando ninguém, é mais uma dos de um certo poder, pelo uso das pessoas. É por isso questão de livre-arbítrio. Eu gostaria de ter alguns jovens que não os chamo de esculturas. São objetos para serem artistas, performers, para usar e interagir com esses traba- incorporados ao dia-a-dia. Como esses travesseiros que lhos diante do público, servindo como uma espécie de guia devem ser usados sobre o coração para sentir uma descar- para o uso correto desses objetos. Existem livros escritos ga de energia. Ou por uma família que, por exemplo, antes sobre as propriedades dos cristais, isto não é uma novida- de tomar café ou fazer suas tarefas, deve ir até a parede de. Se o público não quiser ter essa experiência, será uma e pressionar seus corpos contra um desses objetos (Black boa experiência a menos que ele terá em sua vida. Dragon, quartzo rosa, 1989, Brasil) e então fazem o resto de suas atividades diárias. Dessa maneira eles se tornam FP Essa relação de mão dupla também está presente em parte da vida cotidiana. O seu papel é se tornarem parte suas performances? Você as pensa como monólogos ou dessa vida. como diálogos?
FP Como você espera que essas instruções sejam segui- MA A performance deve ser um diálogo. É uma troca de das pelo público brasileiro? energia entre o artista e o público. Uma comunicação. Se fosse monólogo eu poderia fazer em minha casa, o que MA Não sei ao certo como ele irá reagir. Sei que o público nunca fiz. Nunca fiz performances privadas. Eu faço per- brasileiro é muito curioso, entusiasta e emocional. Além formances diante de grandes públicos. Para mim a perfor- esperando por uma idéia waiting for an idea 1990 1990 disso, esse público conhece o material do que são feitos os mance é um diálogo. Brasil Brazil FP Os objetos transitórios também provocam um tipo de ferença. Há livros escritos sobre essas propriedades dos diálogo? minerais, não é algo que eu inventei. Joseph Beuys era outro artista que se preocupava bastante com o material, MA Sim. Você sabe, toda boa obra de arte é um diálogo. com certas propriedades do cobre, por exemplo. Eu me Entre o trabalho e o observador. E aqui é necessário dar um interessei por diferentes materiais e pelas maneiras com passo além, o espectador deve não só observar os traba- que esses materiais se conectam com nosso corpo e com lhos, como um “voyeur”, mas se transformar num “experi o corpo do planeta. E como o corpo do planeta se conec- mentador”, interagir com os objetos, tomar parte ativa na ta com nosso corpo. É possível perceber facilmente, por exposição e dessa maneira fazer uma “performance” com exemplo, que o quartzo afeta nossos olhos, esses mate- os objetos. Esse é realmente um passo adiante, pois geral- riais nos afetam, conectam-se com nosso corpo. Como, mente em museus e galerias há sempre regras, você “não por exemplo, o cobre com sistema nervoso, o ferro com pode fazer isso”, “não pode fazer aquilo”... Aqui você é nosso sangue, a turmalina com nossa mente. É possível ativo. E por esse motivo também eu quero que o público perceber que os minerais criam os metais, que são o corpo da galeria possa usar um jaleco branco, pois ele dá aquele da terra, que pode se relacionar com o nosso corpo. Para tipo de liberdade de quem faz uma experiência, o médico, mim esse é um experimento interessante. o cientista. Quando você veste o jaleco de certa maneira entra naquela função, ganha mais liberdade para tomar par- FP Você diria que é uma experiência transcendental? te daquilo. MA Eu não prometo nada! Iluminação instantânea ou algo FP O que lhe interessa é o aspecto tátil da experiência com parecido! Isso seria fácil demais para todos... É curioso que esses objetos? você pergunte a respeito dessas expectativas do público, como se ele pudesse seguir as instruções e ter certo tipo MA O que me interessa é o tempo. Eu quero que o espec- de experiência. Não é como uma aspirina que se toma para tador me dê seu tempo. É uma troca: eu lhe dou o trabalho, uma dor de cabeça. É realmente algo em aberto. Alguns você me dá seu tempo. Você me dá seu tempo e faz uma podem doar seu tempo para isso, outros não, alguns po- experiência que eu gostaria que você fizesse. Você segue dem experimentar, outros não. Eu não posso falar pelo pú- as instruções e leva seu tempo para fazê-las e acumula blico, posso falar apenas de minhas intenções. uma experiência. O que acho muito importante, pois uma experiência pode ser emocional, visual, intelectual ou pode FP Como artista, a proposição que você oferece é algo que ser física. Depende de quão longe se pode ir. Eu tive um testa os limites da relação do indivíduo com o mundo, con- exemplo muito bom disso quando apresentei esses traba- sigo mesmo? lhos no Stedelijk Museum, em Amsterdã. Eram objetos nos quais você tinha que sentar e deitar. Então ouvi dois MA Não no sentido de algo que possa colocar o público americanos que estavam ali conversando, não sabiam que em risco. Eu nunca colocaria o público em risco. Tenho eu era artista. Eles ficaram parados por um minuto até que uma moral muito estrita a respeito disso. Se faço algo que um perguntou ao outro: “Você sentiu alguma coisa?” O testa meus limites físicos ou mentais, sou eu, eu sou res- outro respondeu que não. Ao que o primeiro replicou: “en- ponsável por mim, o público nunca estaria nesse tipo de tão vamos comer um hambúrguer!” Nós estamos sempre situação, eu nunca colocaria o público em perigo. “zapeando” pelas nossas vidas, pelos canais de tevê, pe- los livros, nós nunca nos detemos num tipo de concen- FP Não em algum tipo de perigo, mas diante de uma ex- tração que possa nos ajudar a ver algo em profundidade. periência nova... esperando por uma idéia waiting for an idea Com esses objetos pretendo oferecer um tipo de estrutura 1990 1990 que permita ao público experimentar esse tempo, essa di- MA Sim, uma nova experiência sim, mas nunca em perigo. Brasil Brazil Essa experiência que proponho com os objetos transitórios dela, não será a sua experiência e pode não haver transfor- Marina Abramovic: duration and experience Fernanda Pitta é a experiência de sentir a energia do material, do modo mação alguma. Com esses trabalhos, os objetos transitó- que ela pode ajudar na nossa vida. rios, o público pode dar o primeiro passo e fazer sua própria experiência, à maneira da performance, assim o artista e In his famous essay on the reproducibility of art works, Walter specializing in alternative therapy. Abramovic’s objects afford an Benjamin examines a new form of aesthetic perception that is experience that, to be true, requires active commitment to which FP Qual é a função do ritual na sua vida, no seu trabalho? o público podem chegar a uma experiência semelhante, characteristic of modernity and that, rather than being linked to viewers are not accustomed. They do not pledge enlightenment, o que para mim é bastante importante. E há um terceiro contemplation, depends more on tactile aspects. This perception or a mystical experience; as it seems, they introduce another type MA Não tenho tempo para rituais no meu cotidiano, meu ainda, que chamo de Corpo Estudante (Student Body), que depends more on the reception of the work of art by viewers of perception of time, a different duration of world and individual, tipo de vida não me permite. O único tempo que tenho é se trata dos trabalhos que desenvolvo com meus alunos, in a state of distraction, it is accomplished not so much by the whom they disengage from comfortable and familiar positions. no meu trabalho. Minhas performances se tornaram cada pois acredito que o artista, especialmente quando chega a attention involved in observation – a characteristic of the modes What materials are these objects made of? What type of energy of reception of traditional aesthetic perception –, as by habit. Ar- do they generate? How does this movement come about? What vez mais longas a medida que minha vida se tornou cada uma determinada idade, deve se preocupar em passar seu chitecture and, above all, the motion pictures were its paradigm. are their duration, extension, and intensity? What do they mean? vez mais ocupada. O tipo de vida que eu levo é complica- conhecimento adiante, incondicionalmente. Eles devem se Benjamin had placed great hope in this new aesthetics and its What is this time that the contact with these objects sets? In a do, preciso organizar as coisas, encontrar dinheiro, ter boas beneficiar com o que eu posso oferecer como artista. Pois power to mobilize the masses towards freedom and revolution. way, they appear to evoke more questions than answers, which idéias, ir para os lugares, definir coisas, produzir, construir o artista tem muitas obrigações e para mim essa faz parte He believed that this distracted reception would be the key to is the best that contemporary art has to offer nowadays. e então está acabado. Só então posso ter tempo, nas per- da compreensão da função do artista na sociedade. a new aesthetic perception, and it would clearly show to the public the value of using works of art, which the masses could Fernanda Pitta Your work oftentimes evokes intense feel- formances e com o público. Por isso proponho rituais. As Voltando ainda à sua preocupação com relação ao público. appropriate and use as instrument of change. In this way, the ings, some people react dramatically to it. On the other hand, to a pessoas têm dificuldade de criar esse tempo, por isso os Só poderei dizer algo sobre o público depois que estiver em conventional “for-contemplation” attribute of works of art, which certain extent, it contains a personal and very particular humor that artistas podem usar sua força criativa para trabalhar e ofe- São Paulo e abrir a exposição. Não posso falar nada antes the philosopher associated with the reified value of commodities is only sensed or comes to the surface on occasion. For example, recer essas experiências. disso. Pois não posso saber como o público brasileiro irá in the modern world, would be destroyed by this new type of your performance together with Jan Fabre at the Palais de Tokyo, in reagir, se seguirá às instruções, se fará as experiências. Às reception of the work. 2004 (Virgin Warrior - Warrior Virgin), which in a way seems to be an We could say that this perspective not only was frustrated but ironical commentary about the notion of artist rendered by Nicolas FP Você acredita que a arte pode criar esse tempo? vezes temos expectativas com relação ao público e ele vai it also, in a way, stopped being liberating after losing its utopian Bourriaud’s Relational Aestheics, that is to say, the engaged, “mis- numa direção complemente contrária, surpreendendo você. character. Most certainly, today the public often seems to come sionary” artist characteristic of a certain trend in contemporary art. MA É realmente importante fazer isso. A vida se tornou Em minha performance, House with the ocean view (2002), into contact with art in a distracted manner, such as at major bien- Another example is the audience’s reaction to your performance at cada vez mais rápida, os artistas podem ajudar a criar esse fiquei doze dias na Sean Kelly Gallery, oito horas por dia sem nial shows, exhibitions, and fairs. However, somehow this mode the MoMA symposium “The Feminist Future: Theory and Practice tempo para que as pessoas possam experimentar e olhar parar, a galeria aberta ao público. Isso foi em Nova York, of reception has been changed into a new type of contemplation in the Visual Arts”, in January 2007, when you presented works of that has nothing to do with worshipful contemplation. Rather, it the series Balkan Erotic Epic, evoking big laughter from spectators. para algo. entre os americanos, que nunca têm tempo para nada. Fo- is nearly a compulsive hypnosis because it requires a constant Is there a humored aspect to the “transitory objects” that you are ram doze mil visitantes, havia quem viesse e ficasse por stimulus, at the same time that it is also distracted, because it bringing to Galeria Brito Cimino? FP A arte e o próprio artista é tema, motivo, de alguns de seis horas. Algo fez com que essas pessoas viessem e demands a continuous replacement of the object that soon be- seus trabalhos, penso, por exemplo, na performance Art simplesmente não conseguissem ir embora, não conse- comes boring. It is a form of perception supposed to draw view- Marina Abramovic Not exactly. Only a few of my works are must be beautiful, artist must be beautiful (1975). Qual é guissem se mexer. Trata-se de energia, da projeção de ers away from everyday life, thereby affording them a certain humorous and provoke laughter. I am not an artist whose work relief, despite being incapable of changing life in any way. This evokes this type of sensation very often. My pieces do evoke ex- o papel do artista, do fazer artístico, como um objeto de energia do artista e do público naquele espaço. Ninguém experience possibly comes closer to that which Guy Debord has treme sensations: people cry, but they seldom laugh. The works reflexão na sua obra? podia acreditar, mas para mim aquilo era um experimento, defined as characteristic of the “society of spectacle” than to I wish to show in Brazil are a product of a long journey. I began experimentar ficar sem comer por doze dias até que eu Walter Benjamin’s hope that the public recognizes its own life in to work on them in 1989. They were made in Brazil between MA O artista é realmente a base do meu trabalho. Como conseguisse purificar a minha mente e assim purificar o Mickey Mouse cartoons. 1989 and 1992, but they were never shown there. They left the performer, eu trabalho com meu corpo, com o “corpo espaço, fazendo com que o público sentisse isso, passan- Marina Abramovic’s transitory objects lead us back to a tactile country to be shown in Europe and North America, and now it aesthetics, a wearable aesthetics, given that her objects are seems natural to me that they return to their birthplace. They are do artista”. O sujeito e o objeto do meu trabalho sempre do tempo comigo, vindo para se esquecer do tempo. Esse meant for touching, manipulating, and being apprehended by dif- works that require the participation of the public, spectators must foi meu corpo. Experimentar com essa matéria, pois sou milagre aconteceu. Por isso não posso prever nada antes ferent parts of the viewer’s body, rather than merely observed. interact with the work. They are pieces that must be worn so that responsável por meu corpo, posso ir tão longe quanto eu que aconteça. Yet, unlike the motion pictures in Benjamin’s view, their reception certain experiences can take place. queira, por isso não faço o mesmo com o público, somente cannot take place in a state of distraction, they require a keener, comigo. Esses trabalhos eu chamo de Corpo Artista (Ar- Fernanda Pitta é historiadora, mestre em História pela Unicamp, profes scrutinizing and slowly progressing apperception. These objects FP These objects come with specific instructions for use. They request from the participating spectator (to use a terminology un- only exist when they are used by the public, right? tist Body). Existem os trabalhos que chamo Corpo Público sora de História da Arte. Escreve regularmente sobre arte para o Centro Universitário Maria Antonia, é colaboradora de projetos como Enci familiar to Abramovic, but familiar to the Brazilian public, via Helio (Public Body), que vão além, pois acredito que quando o clopédia Itaú de Artes Visuais e Arte no Brasil: Textos críticos do Sécu Oiticica) nothing less than their time. This is what can shield them MA That’s right. These objects only make sense when they are público me observa em uma performance, tendo um deter- lo XX (FAPESP, Fine Arts Museum, Houston, coordenado por Ana Maria from the risk of becoming mere cosmetology, objects to disbur- invested with certain power, when people wear them. This is the minado tipo de experiência, ainda sou eu. Ele não participa Belluzzo) e membro do corpo editorial da revista Número desde 2004. den the day-to-day life, and that can be found in spas or shops reason I do not call them sculptures. They are objects to be intro- duced in everyday life. They are similar to those pillows that people FP Do your transitory objects also provoke a type of dialogue? FP Would you say this is a transcendental experience? mance Art must be beautiful, artist must be beautiful (1975). place over their heart and then they can feel an energy discharge. What are the role of the artist and of art making as a subject of My objects can be used by members of a family that, before having MA Yes, they do. You know, every fine work of art is a dialogue. MA I don’t promise anything, be it instant enlightenment or reflection in your work? breakfast or going about their chores, go to the wall and press her It’s a dialogue between work and viewer. Here we must take a something like that! This would be too easy for everyone... I find bodies against one of these objects (Black Dragon, pink quartz, step further; the spectator must not merely observe the works it curious that you have asked about the expectations on the part MA The artist actually provides the base for my work. As a per- 1989, Brazil) and only then get busy with their daily activities. In as a voyeur, he/she must become an “experimentator” by in- of the audience, as if by following instructions they would have a former, I work with my body, with the “body of artist.” My body this way, my objects become part of everyday life. It is their role teracting with objects, taking active part in the exhibition, and given experience. This is not like aspirin that one takes to cure a has always been the subject and the object of my work. I can’t to become part of this life. in this way creating a performance with the objects. In this way headache. It is really an open experiment. Some people can do- experiment with this material because I am responsible for my we are really taking a step further, as usually museums and gal- nate their time for this, others can’t; some people can experience body, I can go as far as I want, and this is why I don’t do the same FP How do you expect these instructions to be followed by the leries have set some rules: you can’t do this, can do that... Here something, others can’t. I cannot talk for the audience; I can only with the public, only with myself. I call these works Artist Body. Brazilian audience? you are active. For this reason, gallery visitors will wear white lab talk about my intentions. And there are works that I call Public Body, which reach beyond. coats that allow them the same freedom of a scientist, a medical I believe that when the audience watches me during our perfor- MA I am not sure how they will react. I know that the Brazilian doctor, or someone who engages in scientific experimentation. FP As an artist, are you offering something that tests the limits mance, undergoing a certain experience, the work is still myself. public is very curious, enthusiastic and emotional. What is more, Somehow, the moment one puts on a white coat, one engages of the individual’s relation with the world as well as with himself/ The public does not take part in it, this is not their experience, so this public is familiar with the materials that I have used in my in that function and gains more freedom to take part in the ex- herself? it cannot lead to any transformation. With these works, the transi- transitory objects. Whether they come from Minas Gerais or the perimentation. tory objects, the public can take a first step and make their own Amazon, the stones, amethysts, crystals, and geods are really MA No, not in the sense of something that potentially exposes the experience in the manner of performance. In this way, audience familiar to Brazilians. But I guess that the Brazilian audience will FP What is it that actually interests you? Would it be the tactile participating public to harm. I would never expose the pubic to risk. and artists can enjoy a similar experience, which to me is very be surprised by the fact that usually these materials are seen as nature of objects? I have very strict moral values in respect to this subject. If I subject important. And there is a third type of work that I call Student handicraft, utilitarian objects, jewelry, and decorative pieces. I be- myself to something that tests my physical or mental limits, it is Body. It involves works that I developed together with my stu- lieve that few Brazilian artists use these materials to create piec- MA Time is what interests me. I want spectators to give me their me, I am responsible for myself, the public would never be in simi- dents. I believe that when reaching a certain age, artists should es as large as mine. I figure this will be a surprising aspect of the time. It’s a trade: I give them my work, they give me their time. lar situation I would never expose the public to harm or risk. be concerned with passing on their knowledge, unconditionally. work. I am presenting an old heritage with a new element, a new You give me your time and engage in an experiment that I have My students must be able to benefit from whatever I can offer meaning. I would like to raise a new awareness as regards these in store for you. You follow the instructions and take your time to FP Not to harm or risk, but certainly to a novel experience… them as an artist. As I see it, the artist has many obligations and I materials, as the public may be used to them, and yet not really carry them out, you acquire the experience. I find this to be very understand this is part of the artist’s function in society. know what they can do for them. I don’t see a problem in the lack important because an experience can be emotional, visual, intel- MA Yes, a novel experience, but never harm or risk. This lived Going back to your question about the audience, I can only tell of strict obedience to the instructions for the use of my objects. lectual, or physical. It depends on how far one can reach. I had a experience that I am proposing, with transitory objects, is meant about the public once I am in São Paulo and the exhibition has The way I see it, the artist’s function is to present the work and very good example of this when I presented these works at the to allow the participant to feel the energy of the material and its opened. There is nothing I can say before then; I cannot antici- deliver it to the public, so the public can bring it to completion. As Stedelijk Museum, in Amsterdam. They were objects on which capability to be useful in our lives. pate how the Brazilian public will react, whether or not they will an artist, however, I am not responsible for the audience’s role, or spectators were asked to sit and lie down. Then I overheard two follow instructions, whether they will join in the experiments. At for the Brazilian public showing a committed attitude toward the Americans talking, who did not know I was the artist. They stood FP What is the function of ritual in your life and your work? times we set expectations in relation to the public, and they sur- objects. My role is to deliver the job! Whether or not the Brazilian there for a minute before one asked the other: “Did you feel any- prise us with a completely unanticipated reaction. public will complete it, it’s not my responsibility. Obedience and thing?” The other responded negatively, so the first one retorted: MA In my day-to-day life I have no time for rituals, my lifestyle I performed The House with the Ocean View in 2002 in Sean disobedience are not core issues, I’m not forcing anyone, it’s a “So, let’s go for hamburgers!” In our lives, we are constantly zap- has no room for them. The only time I have is in my work. My Kelly Gallery for 12 days, eight hours a day nonstop, in New matter of free personal choice. I would like to have a few young ping TV channels and books, but we never stop to concentrate performances have become increasingly longer insofar as my life York, a city where people never have time for anything. We had artists and performers using and interacting with these works in in a way that helps us focus deeply into something. With these becomes increasingly busy. I lead a complicated life, I need to get more than 12,000 visitors and there were people who came and front of the audience and serve as a sort of guide for the correct objects, I intend to offer a type of framework that will enable organized and make money, have good ideas, go places, define watched for six hours. Something caused these people to come use of these objects. Books have been written on the properties the audience to experience this time, this difference. There are things, produce, build, and then that’s it. So I can only have time and simply stay, they were unable to go away, unable to move, of crystals, there is nothing new here. Should the audience not books written on the properties of minerals, this is not something during performances and before the audience. This is why I pro- even. It’s a matter of energy, the projection of the energy of both, wish to have this experience, then it will be one less good experi- I invented. Joseph Beuys was another artist who had a concern pose rituals. People have difficulty creating this time, and for this the artist and the audience, in that space. Everyone found that ence for them in their lives. for the material, for certain properties of copper, for example. I reason artists can apply their creative power to work and offer hard to believe, but for me it was a valid experiment, to go 12 became interested in different materials and the manner in which these experiences. days without eating until I managed to cleanse my mind and, FP Is this two-way relationship also present in your performanc- they connect with our body and with the body of our planet, and consequently, cleanse space. I managed to transmit this to the es? Do you think them as monologues or dialogues? how the body of the planet connects with our body. We can eas- FP Do you view art as capable of creating this time? public, as they spent time with me, as they came to forget about ily tell, for example, that quartz affects our eyes. These materi- time. This miracle actually worked. Yet, I cannot predict anything MA The performance must be a dialogue. It is an exchange of en- als affect us; they connect with our body, as for instance copper MA It’s something really important. Life has become increasingly before it actually happens. ergy between artist and audience. It’s communication. If it were a connects with the nervous system, iron connects with our blood, more bustling, and artists can help create this time that will allow Fernanda Pitta is a historian and Art History teacher who holds a master’s degree in monologue, I could do it at home, which I have never done. I have and tourmaline, with our mind. We can tell that minerals create people to experiment and look into something. History from Unicamp. She regularly contributes essays on art to Centro Universitário never performed privately. I rehearse my performances in front of metals, which are the body of the earth, which in turn can relate Maria Antonia; collaborates on projects that include Enciclopédia Itaú de Artes Vi large audiences. To me, performance is dialogue. with our body. To me, this is an interesting experiment. FP Art and the artist himself/herself are theme and subject of suais and Arte no Brasil: Textos críticos do Século XX (FAPESP, Fine Arts Museum, some of his works. I’m thinking, for example, about the perfor- Houston), and integrates the editorial staff of Número magazine, since 2004. Objetos para Uso Não Humano Conversa entre Mario Cravo Neto e Marina Abramovic
Se faço algo visível Marina Abramovic para Mario Cravo Neto Para algo invisível,
Então algo invisível Você acredita na presença, na sua vida cotidiana,de for- Torna-se visível ças invisíveis que possam servir para sua proteção? Minha resposta não tem importância. Marina Abramovic Se acredita, você poderia me dar um exemplo de eventos em sua própria vida. Minha resposta não tem importância.
Como você define a energia? “O universo está na cabeça do homem”.
Qual a importância da morte em sua obra? A mesma que a da vida!
Mario Cravo Neto para Marina Abramovic
Suponha que você esteja diante de um arco-íris! Em sua vida, Marina, que diferença faz um dia? Eu vi apenas uns poucos arco-íris na minha vida, e foi sempre em um lugar e num momento especiais. Na Índia, onde me hospedava num monastério tibetano; numa cachoeira no Laos, no deserto australiano. Sin- to que é importante estarmos em lugares de poder, onde a energia na natureza é equilibrada. Se estiver- mos em um lugar desses em determinado momento, nossa percepção se altera e passamos a ver luminosi- dade ao nosso redor. Escova de cristal para uso não-humano CRYSTAL BRUSH FOR NON HUMAN USE madeira, cristais de quartzo incolor, ferro wood, clear quartz crystals, iron Isto faz toda a diferença no dia. 1995 1995 Amsterdã Amsterdam objects for NON human use Conversation between Mario Cravo Neto and Marina Abramovic
If I make something visible Marina Abramovic For something invisible to Mario Cravo Neto
Then something invisible In our daily life, do you believe in the presence of in- Becomes visible visible forces who can serve for our protection? My answer is of no importance. Marina Abramovic If you do, could you give me an example of some events in your own life? My answer is of no importance.
What’s your definition of energy? “The universe is on man’s head”.
How much is important the presence of death in your work? As much as life!
Mario Cravo Neto to Marina Abramovic
Suppose you have a rainbow before you! In your life Marina, what a difference a day makes? I only saw few rainbows in my life, and this was al- ways in a special place and time. In India staying at a Tibetan monastery, on a waterfall in Laos, Australian desert. I feel that’s very important to stay in places of power, where the energy in nature is balanced. If you are in that kind of place in a particular time your perception change, and you start to see luminosity around you. VASSOURA de cristal para uso não-humano CRYSTAL BRoom FOR NON HUMAN USE This makes all the difference in the day. madeira, cristais de quartzo incolor, ferro wood, clear quartz crystals, iron 1995 1995 Amsterdã Amsterdam OBJETO TRANSITÓRIO PARA USO HUMANO
Meus Objetos Transitórios não têm significado simbólicos: sua função e uso são muito simples e precisos. Eles são feitos de uma mistura de materiais diferentes tais como quartzo, ametista, turmalina, cobre, ferro e madeira, os quais têm efeitos especiais para o usuário.
Marina Abramovic
TRANSITORY OBJECT FOR HUMAN USE
My Transitory Objects do not have symbolic meanings: their function and use are very precise and simple. They are made of combination of different materials such as quartz, amethyst, tourmaline, copper, iron and wood which have very specific effects on the user.
Marina Abramovic INNER SKY CÉU INTERNO amethyst geode, iron geodo de ametista, ferro 1990 1990 Brazil Brasil INNER SKY CÉU INTERNO
Instruction for the public: Instruções ao público:
Stand under the Inner Sky. Posicione-se em pé sob o Céu Interno. Eyes closed. Mantenha os olhos fechados. Motionless. Fique imóvel. Depart. Saia.
INNER SKY CÉU INTERNO amethyst geode, iron geodo de ametista, ferro 1990 1990 Brazil Brasil CHAIR FOR DEPARTURE CADEIRA PARA PARTIDA amethyst geode, iron geodo de ametista, ferro 1990 1990 Brazil Brasil CHAIR FOR DEPARTURE CADEIRA PARA PARTIDA
Instruction for the public: Instruções ao público:
Sit on the chair. Sente-se na cadeira. Put your head under the helmet. Coloque a cabeça sob o capacete. Eyes closed. Mantenha os olhos fechados. Motionless. Fique imóvel. Depart. Saia.
CHAIR FOR DEPARTURE CADEIRA PARA PARTIDA amethyst geode, iron geodo de ametista, ferro 1990 1990 Brazil Brasil RED DRAGON DRAGÃO VERMELHO oxidized copper, rose quartz cobre oxidado, quartzo rosa 1989 1989 Brazil Brasil WHITE DRAGON DRAGÃO BRANCO Oxidized copper, obsidian cobre oxidado, obsidiana 1989 1989 Brazil Brasil RED / WHITE DRAGON DRAGÃO VERMELHO / BRANCO
Instruction for the public: Instruções ao público:
Sit on the copper seat. Acomode-se no assento de cobre. Rest your head on the mineral pillow Descanse sua cabeça no travesseiro mineral until its energy is transmitted. até que sua energia seja transmitida. WAITING ROOM SALA DE ESPERA iron, black quartz, lapis lazuli, ferro, quartzo negro, lápis-lazúli, clear quartz, chrysocola quartzo incolor, crisocola 1993 1993 Brazil Brasil WAITING ROOM SALA DE ESPERA
Instruction for the public: Instruções ao público:
Choose a mineral table. Escolha uma mesa de mineral. Sit on the stool in front of it. Sente-se no banco em frente a ela. Eye open. Mantenha os olhos abertos. Motionless. Fique imóvel. Observe. Observe.
Duration: limitless Duração: sem limite
WAITING ROOM SALA DE ESPERA iron, black quartz, lapis lazuli, ferro, quartzo negro, lápis-lazúli, clear quartz, chrysocola quartzo incolor, crisocola 1993 1993 Brazil Brasil TIME ENERGIZER ENERGIZADOR DE TEMPO
Instruction for the public: Instruções ao público:
First Step: Primeiro passo: Position your feet on the center of the letter N – Posicione seus pés no centro da letra N – North Pole. Pólo Norte. Stand under the magnet. Fique em pé sob o ímã.
Duration: 10 minutes Duração: 10 minutos
Second Step: Segundo passo: Position your feet on the center of the letter S – Posicione seus pés no centro da letra S – South Pole. Pólo Sul. Stand under the magnet. Fique em pé sob o ímã.
Duration: 10 minutes Duração: 10 minutos
TIME ENERGIZER ENERGIZADOR DE TEMPO aluminium, magnets alumínio, ímãs 2008 2008 SOUL OPERATION TABLE MESA DE OPERAÇÃO DE ALMA colored plexiglass screen, tela de acrílico colorido, aluminium, neon light alumínio, luz neon 2008 2008 SOUL OPERATION TABLE MESA DE OPERAÇÃO DE ALMA
Instruction for the public: Instruções ao público:
Ask the guard for assistance. Solicite a ajuda do vigilante. Take your clothes off. Tire a roupa. Climb the ladder. Suba a escada. Lay on your back facing one Deite-se de costas, de frente of the chosen color fields. Para o campo de cor de sua escolha.
Duration: 1 hour Duração: 1 hora
SOUL OPERATION TABLE MESA DE OPERAÇÃO DE ALMA colored plexiglass screen, tela de acrílico colorido, aluminium, neon light alumínio, luz neon 2008 2008 BLACK DRAGON DRAGÃO NEGRO rose quartz quartzo rosa 1989 1989 Brazil Brasil BLACK DRAGON DRAGÃO NEGRO
Instruction for the public: Instruções ao público:
Face the wall. Fique em pé, de frente para a parede. Press your head, heart and sex Pressione sua cabeça, coração e sexo against the mineral pillows. contra os travesseiros de mineral.
Duration: limitless Duração: sem limite
BLACK DRAGON DRAGÃO NEGRO rose quartz quartzo rosa 1989 1989 Brazil Brasil REPROGRAMMING LEVITATION MODULE MÓDULO DE REPROGRAMAÇÃO DE LEVITAÇÃO
Instruction for the public: Instruções ao público:
Take your clothes off. Dispa-se. Lie in the chamomile flower bath. Deite-se no banho de flores de camomila. Position your head in the direction Posicione sua cabeça em direção of the quartz crystal. do cristal de quartzo.
Duration: 3 hours. Duração: 3 horas
LEVITATION MODULE MÓDULO DE LEVITAÇÃO twenty-five kilos of dried chamomile 25 quilos de flores de camomila flowers, copper, quartz secas, cobre, quartzo 2008 2008 REJUVENATOR OF ASTRAL BALANCE REJUVENESCEDOR DO EQUILÍBRIO ASTRAL
Instruction for the public: Instruções ao público:
Sit facing the metronomes. Sente-se de frente para os metrônomos. Eyes closed. Mantenha os olhos fechados.
Duration: 45 minutes Duração: 45 minutos
REJUVENATOR OF ASTRAL BALANCE REJUVENESCEDOR DO EQUILÍBRIO ASTRAL deck chairs, metronomes espreguiçadeiras, metrônomos 2000 2000 Marina Abramovic Biography Biography mances individuais, em 1989. A artista já apresentou sua obra 1946 Born in Belgrade, Yugoslavia. Lives in New York, USA. 1960-68 Paintings and drawings. de performance, som, fotografia, vídeo, escultura e ‘Objetos 1965-70 Academy of Fine Arts, Belgrade, Yugoslavia. and Grosse Halle, Bern and La Gallera, Valencia. In 2000, a Transitórios para Uso Humano e Não-Humano’ em mostras 1968-70 Projects, texts and drawings. large solo show was held at the Kunstverein in Hannover. In individuais realizadas em instituições de prestígio nos Esta- 1970-72 Post diploma studies, Academy of Fine Arts, Zagreb, Yugoslavia. 1970-73 Sound environments, exhibitions at Student Cultural Centre with Rasa 2002, she participated in the Berlin-Moscow exhibition, which dos Unidos e na Europa, entre elas o Stedelijk Van Abbemu- Todosijevic, Zoran Popovic, Gergelj Urkom, Slobodan Milivojevic and Nesa Paripovic. opened at the Martin Gropius-Bauhaus in Berlin and finished seum, em Eindhoven, Holanda (1985); Musée National d’Art 1973-75 Teaching at the Academy of Fine Arts, Novi Sad, Yugoslavia. its tour in 2004 at the State Historical Museum, Moscow. In Moderne, Centre George Pompidou, em Paris (1990); Neue 1973-76 Performances, video, films. 1975 Meets Ulay in Amsterdam, the Netherlands. National Galerie, em Berlim (1993), e Museum of Modern 2004, Abramovic also exhibited at the Whitney Biennale in 1976 Relation works with Ulay. Decision to make permanent movements and detours. New York and had had a significant solo show, The Star, at Art, em Oxford, Inglaterra (1995). Seus trabalhos foram ex- 1980-83 Travels in Central Australian, Sahara, Thar and Gobi Deserts. the Maruame Museum of Contemporary Art and the Kuma- postos em grandes mostras internacionais tais como a Bienal 1983 Visiting professor at the Académie des Beaux-Arts, Paris, France. de Veneza (1976 e 1997) e a Documenta (edições VI, VII e IX) 1985 First visit to China. moto Museum of Contemporary Art, Japan. 1986 Second visit to China. Marina Abramovic has taught and lectured extensively em Kassel, Alemanha (1977, 1982 e 1992, respectivamente). 1987 Third visit to China. in Europe and America including the Hochschule fur Bildende Em 1995, a exposição Objects Performance Video Sound da 1988 The Great Wall Walk: 30 April - 27 June. After The Walk, begins to work and exhibit individually. Kunst in Hamburg, and the Ecole des Beaux Arts in Paris. artista fez itinerância ao Museum of Modern Art, de Oxford, 1988-90 Boat Emptying/Stream Entering. In 1994 she became Professor for Performance Art at the Inglaterra; Irish Museum of Modern Art, de Dublin, Irlanda, 1990-91 Visiting professor at the Hochschule der Kunst, Berlin, Germany. Visiting Hochschule fur Bildende Kunst in Braunschweig where she e à Fruitmarket Gallery, de Edimburgo, Escócia. Em 1998, a professor at the Académie des Beaux-Arts, Paris, France. 1992-96 Professor at the Hochschule für Bildende Kunst, Hamburg, Germany. taught for seven years. In 2004 she was awarded an Honor- mostra itinerante Artist Body - Public Body visitou muitos es- Workshops, lectures, solo and group shows all over the world. Completion of two ary Doctorate from the Art Institute in Chicago. paços expostivos que incluíram o Kunstmuseum and Grosse major theatre performances: “Biography” and “Delusional”. She was awarded the Golden Lion for Best Artist at the Halle, de Berna, Suíça e La Gallera, de Valencia, Espanha. 1997 Professor at the Hochschule für Bildende Kunst in Braunschweig, Germany. Marina Abramovic, born in 1946 in Belgrade, Yugosla- 1997 Venice Biennale for her extraordinary video installation/ Em 2000, uma grande individual foi realizada no Kunstverein 1998 Board Member of the Contemporary Art Museum, Kitakyushu, Japan. 2001 Artist in Residence at the Atelier Calder, Saché, France. de Hanover, Alemanha. Em 2002, Abramovic participou da via, is without question one of the seminal artists of our time. performance piece Balkan Baroque‚ and in 2003 received the 2003 AICA USA Award for the performance The House with the Ocean View. Since the beginning of her career in Yugoslavia during the Bessie for The House with the Ocean View‚ a 12-day perfor- coletiva Berlin-Moscow, cuja itinerância iniciada no Martin Winner of the Niedersächsicher Kunstpreis 2003. Winner of the New York Dance early 1970s where she attended the Academy of Fine Arts in mance at Sean Kelly Gallery, New York. Gropius-Bauhaus, em Berlim, terminou em 2004 no Museu and Performance Award for The House with the Ocean View (The Bessies). Histórico do Estado, em Moscou. Em 2004, a artista também 2004 Awarded an honorary doctorate from The Art Institute of Chicago, USA. Belgrade, Abramovic has pioneered the use of performance In 2005, Abramovic presented Balkan Erotic Epic at the 2005 Performed Seven Easy Pieces at the Solomon R. Guggenheim Museum in as a visual art form. The body has always been both her sub- Pirelli Foundation in Milan, Italy and at Sean Kelly Gallery, expôs na Whitney Biennale, em Nova York, e numa impor- New York, USA. ject and medium. Exploring the physical and mental limits of New York. That same year, she held a series of performanc- tante mostra individual, The Star, no Museu Maruame de 2006 Honored by Artist’s Space and +ART. Honored by the Guggenheim at 2006 Arte Contemporânea e no Museu Kumamoto de Arte Con- International Gala. U.S. Art Critics Association announces recipients of 2005-2006 her being, she has withstood pain, exhaustion, and danger in es called Seven Easy Pieces at the Guggenheim Museum in awards: Best Exhibition of Time Based Art (Video, Film, or Performance). Marina the quest for emotional and spiritual transformation. Abram- New York. Upcoming exhibitions include a major retrospec- temporânea, no Japão. Abramovic: Seven Easy Pieces, Guggenheim Museum, New York, USA. Curator: ovic‚s concern with creating works that ritualize the simple tive at the Kunst und Ausstellunghalle der Bundesrepublik Marina Abramovic atuou intensamente como profes- Nancy Spector with Jennifer Blessing. 2007 AICA USA Award for the performance 7 Easy Pieces, New York, USA. Honored by Deutschland, Bonn. Abramovic’s work is included in many sora e palestrante na Europa e nos Estados Unidos, em insti- actions of everyday life like lying, sitting, dreaming, and think- Franklin Furnace, New York, USA. Gran Premio AECA “Gran Premio” Award, Madrid, Spain. ing; in effect the manifestation of a unique mental state. As major public collections worldwide. tuições tais como a Hochschule fur Bildende Kunst em Ham- 2008 Honored with the Austrian Decoration of Honor for Science and Art. Honored a vital member of the generation of pioneering performance burgo, e a Ecole des Beaux Arts, em Paris. Em 1994, assumiu with the Doctorate of Faculty of Arts of Belgrade University. artists that includes Bruce Nauman, Vito Acconci, and Chris Marina Abramovic o cargo de professora de Performance Art na Hochschule fur Bildende Kunst de Braunschweig, Alemanha, onde lecionou selected exhibitions Burden, Abramovic created some of the most historic early DADOS BIOGRáFICOS This list has been compiled chronologically; solo exhibitions and performances performance pieces and is the only one still making important durante sete anos. Em 2004, foi agraciada com o título de precede group exhibitions and performances durational works. Nascida em 1946 em Belgrado, na Iugoslávia, Marina doutora honoris causa do Art Institute, em Chicago. Marina Abramovic recebeu o Leão de Ouro para Melhor 2009 Group From 1975 until 1988, Abramovic and the German art- Abramovic é sem dúvida uma das artistas seminais de nossa American Art and the East, Solomon R. Guggenheim Museum, New York, USA. ist Ulay performed together, dealing with relations of dual- época. Desde a década de 70, quando iniciou carreira artística Artista na Bienal de Veneza de 1997 por sua extraordinária ity. After separating in 1988, Abramovic returned to solo em seu país natal após cursar a Academia de Belas Artes, em vídeo-instalação Balkan Baroque e, em 2003, o Prêmio Bes- 2008 Group Martian Museum of Terrestrial Art, Barbican Art Gallery, London, UK. performances in 1989. Abramovic has presented her work Belgrado, Abramovic é considerada pioneira do uso da perfor- sie por The House with the Ocean View‚ uma performance WART Art and the Feminist Revolution, PS1 Contemporary Art Center, New York, USA. with performances, sound, photography, video, sculpture, mance como forma de arte visual. O corpo humano sempre que apresentou durante 12 dias na Sean Kelly Gallery, de The Hands of Art, Stedelijk Museum, Amsterdam, the Netherlands. and ‘Transitory Objects for Human and Non Human Use’ in foi seu tema e meio expressivo. Ao explorar os limites físicos Nova York. Sleeping and Dreaming, the Wellcome Trust, London, UK. solo exhibitions at major institutions in the U.S. and Europe, e mentais de seu próprio ser, ela sujeitou-se à dor, exaustão Em 2005, Abramovic exibiu Balkan Erotic Epic na Funda- 2007 Group ção Pirelli, em Milão, e na Sean Kelly Gallery, em Nova York. including the Stedelijk Van Abbemuseum, Eindhoven, The e perigo em busca de transformação espiritual e emocional. Carlos Urroz Proyectos, Ibiza, Spain. Netherlands (1985), Musée National d’Art Moderne, Centre A artista interessa-se pela produção de obras que ritualizam Naquele mesmo ano, apresentou uma série de performances Exhibition Pain/Schmerz, Hamburger Bahnhof, Berlin, Germany. George Pompidou, Paris (1990), Neue National Galerie, Berlin ações cotidianas tais como deitar, sentar, sonhar e pensar – entitulada Seven Easy Pieces no Guggenheim Museum, em MOCA, Los Angeles, USA. Nova York. As próximas mostras incluem uma grande ret- Museum of Modern and Contemporary Art, MMSU Croatia. (1993), and the Museum of Modern Art, Oxford (1995). Her na verdade, a manifestação de um estado mental especial. Observatori festival, Valencia, Spain. work has also been included in many large-scale international Integrante vitalícia de uma geração de artistas pioneiros da rospectiva no Kunst und Ausstellunghalle der Bundesrepub- Living Arts of Tulsa, USA. exhibitions including the Venice Biennale (1976 and 1997) and performance art que inclui Bruce Nauman, Vito Acconci e lik Deutschland, em Bonn, Alemanha. Trabalhos de Marina Video Apartment- bodycity, Docklands, Dublin, Ireland. Abramovic integram várias das mais importantes coleções 53rd International Short Film Festival, Oberhausen, Germany. Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and Chris Burden, Abramovic criou alguns dos primeiros trabalhos Canvas, ‘LUX Jan Hoet, Broadcast rights, Belgium. 1992). In 1995, Abramovic’s exhibition Objects Performance de de maior valor histórico e hoje permanece como a única públicas em todo o mundo. Ohnmacht, Muthesius Kunsthochschule, Kiel, Germany. Video Sound traveled to the Museum of Modern Art, Oxford, que ainda produz performances duradouras importantes. Vitoria, Centro Cultural Montehermoso Kulturena, Gasteiz, Spain. Festival Cote Court, Transat Vidéo / Brent Klinkum, Pantin, France. the Irish Museum of Modern Art, Dublin, and the Fruitmarket De 1975 a 1988, Abramovic e o artista alemão Ulay tra- Into Me/Out of Me, Museo MACRO, Roma, Italy. Gallery, Edinburgh. In 1998, the exhibition Artist Body - Pub- balharam juntos, tendo como tema as relações de dualidade. Brakke Grond, Project Perform, Amsterdam, the Netherlands. lic Body toured extensively including stops at Kunstmuseum Após separarem-se, em 1988, Abramovic retomou as perfor- Mulher, Mulheres, São Paulo, Brasil. Prague Biennale 3, Czech Republic. Unlearn, Plug In ICA, Winnipeg, Canada. 2003 Group Global Conceptualism: Points of Origin, 1950s-1980s, MIT List Visual Arts La fiaba contemporanea, Art Sanio Campania, Benevento, Italy. WATCH OUT, Beaumontpublic, Luxembourg. The Invisible Thread: Buddhist Spirit in Contemporary Art, Newhouse Center Center, Boston, USA. The Glamour of Violence, DasArts, Amsterdam, the Netherlands. for Contemporary Art, Snug Harbor Cultural Center, Staten Island, USA. Group Show, Galerie Ingrid Dacié, Tübingen, Germany. Galeria Brito Ciminio at Shanhai Art Fair, Shanghai, China. 2005 Solo Video Evenings, MARTa pre-opening event, MARTa Herford/Museum of Art and Heimat Kunst, (performance photographs), Haus der Kulturen der Welt, Berlin, Student Exam, NIMk, the Netherlands. Art must be beautiful, Artist must be beautiful, Museo Nacional Centro de Arte Design, Herford, Germany. Germany. Foodscapes, Art & Gastronomy, Solares fondazione delle Arti, Parma, Italy. Reina Sofia, Madrid, Spain. Air, James Cohan Gallery, New York, USA. Hypermental. Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons, Auto emotion, The Power Plant, Toronto, Canada. Balkan Erotic Epic, Sean Kelly Gallery, New York, USA. Banquete - International Traveling Exhibition, Palau de la Virreina, Barcelona, (video installation), Kunsthaus Zurich, Switzerland; Hamburger Kunsthall, Hamburg, Centre d’Art Contemporaine, Geneva, Switzerland. Biography Remix [Performances], Avignon Theatre Festival, Avignon, France. Spain; ZKM Center for Art and Media, Karlsruhe, Germany; Centro Cultural Germany; Rudolfinum, Prague, Czech Republic. True Romance, Kunsthalle Wien, Vienna, Austria. Photographies et Objets/Count On Us, Galerie Guy Bärtschi, Geneva, Switzerland. Conde Duque, Madrid, Spain. Insistent Memory: The Architecture of Time in Video Installation, University of Kunstmuseum Bonn, Germany. (Re)Presenting Performance [Symposium], Solomon R. Guggenheim Museum, upon reflection…., Sean Kelly Gallery, New York, USA. Florida, Samuel P. Harn Museum of Art, Gainesville, USA. John Hansard Gallery, Southampton, UK. New York, USA. Video Acts: Single Channel Works from the Collections of Pamela and Richard La Forma del Mondo / La Fine del Mondo, (video installation), PAC (Padiglione Surrounding the Subject, Visual Arts Center, Cambridge, USA. Self Portrait with Skeleton [Performance], Art Basel, Art Unlimited, Basel, Switzerland. Kramlich and New Art Trust, P.S. 1 Contemporary Art Center, Long Island, USA; d’Arte Contemporanea), Milan, Italy. University of Amsterdam, ASCA, Nertherlands. Seven Easy Pieces [Performances], Solomon R. Guggenheim Museum, New York, USA. Institute of Contemporary Arts, London, UK. Lie of the Land earth body material, John Hansard Gallery, University of South The balance of power, Para/Site Art Space, Hong Kong, China. ampton, UK. Museum of Modern and Contemporary Art, MMSU, Croatia. 2005 Group 2002 Solo Lost Paradise Lost, Ev. Luth Stadkirchenverband, Hannover/Hamburg, Germany. Julia Stocheck Collection, Dusseldorf, Germany. 5th Mercosul Biennial, Porto Alegre, Brazil. The House with the Ocean View, Sean Kelly Gallery, New York, USA. Ma Sorciere bien aimée, Musée d’Histoire de la Ville de Luxembourg. Project Bridge, Moskee Bos en Lommer, Amsterdam, the Netherlands. Another Expo: Beyond the Nation-State, Kitakyushu Municipal Museum of Art, Galleria Lia Rumma, Milan, Italy. Performing Bodies, (video), Tate Modern, London, UK. Nagoya City Art Museum, Naka-ku-Sakae, Japan. Japan; White Box, New York, USA. Galerie Cent8, Paris, France. Stanze e Secreti, Milan, Italy. FRAC de Lorraine, Metz, France. The Artist’s Body. Then and Now, Centre d’Art Contemporain, Geneva, Switzerland. Ventana hacia Venus - Window onto Venus, Bienal de la Habana, Teatro Structures and Surfaces, Sean Kelly Gallery, New York, USA. CCA Kitakyushu Artist’s Books, Christophe Daviet-Thery, Paris, France. 2002 Group National/Galeria Rene Portocarrero, Havana, Cuba. Art Basel Conversation - Premiere in Honor of Marina Abramovic. Art Basel, Conflict: Perspectives, Positions, Realities in Central European Art, Slought Oxygen, Whitebox Art Gallery, New York, USA. Video Time: Survey of Videos from the Museum of Modern Art’s Renowned Miami Beach, USA. Foundation, Philadelphia, USA. Barbara Krakow Gallery, Boston, USA. Collection Traces the History of the Medium, The Museum of Modern Art, New Fortunate Objects, Ella Fontanas Cisneros Collection, Miami, USA. Donna Donner, Palazzo Strozzi, Firenze, Italy. Moving Pictures, Solomon R. Guggenheim Museum, New York, USA. York, USA. The Missing Piece, Yerba Buena Center for Arts, San Francisco, USA. DreamingNow, The Rose Art Museum, Brandeis University, Waltham, USA. Building Structures, P.S.1. Contemporary Art Center, Long Island, USA. Voici - 100 and d’art contemporain, (video installation), Palais des Beaux Arts, Gehen Bleiben, Kunstmuseum Bonn, Germany. East Art Museum - A (Re) Construction of the History of Contemporary Art In Search of Balkania, Neue Galerie am Landesmuseum Joanneum, Graz, Austria. Brussels, Belgium. Gugennheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, (1945-1985) in Eastern Europe, Karl Ernst Osthaus-Museum, Hagen, Germany. Zeitwenden, (public performance and installation), Ludwig Museum, Wien, Austria. Australia. Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, New York, USA. 2001 Solo Central Europe 1949-1999, The Brooklyn Museum of Art, USA. Seven Easy Pieces, Gender Bender Festivel, Bologna, Italy. Fragments of Time, Yellow Bird Gallery, Newburgh, New York, USA. Marina Abramovic: The Hero, The Hirshhorn Museum and Sculpture Garden, True Romance, Kunsthalle Wien, Vienna, Austria. The Gesture, Macedonian Museum of Contemporary Art, Thessaloniki, Greece; Washington, USA. 1999 Solo Quarter, Center for Contemporary Arts, Firenze, Italy. Marking the Territory, The Irish Museum of Modern Art, Dublin, Ireland. Cleaning the House, Kiasma, Museum of Contemporary Art, Helsinki, Finland. 2007 Solo Getting Emotional, The Institute of Contemporary Art, Boston, USA. The Hunt, (video installation), Project Gallery at Center for Contemporary Art Expiring Body, Fabric Workshop and Museum, Philadelphia, USA. Marina Abramovic Retrospective, Kappatos Gallery, Athens, Greece. Indeterminant States, Cisneros Fontanals Art Foundation, Miami, USA. Kitakyushu, Kitakyushu, Japan. Galerie Cent8, Paris, France. La Galleria dell’Amore: Let Love Blossom with IPG [Curator], Galleria Civica di Spirit Houses, (site-specific project), Bourganeuf, France; Fondazione Antonio Ratti, Marina Abramovic: Spirit House, Centrum Sztuki Wspólczesnej Zamek 2007 Group Arte Contemporanea, Trento, Italy. Como, Italy. Ujazdowski, Warsaw, Poland. Seven Easy Pieces & Making the Balkans Erotic, MAXXI, Roma, Italy. Me, Myself and I: artist self-portraits from the Heather & Tony Podesta Energy Clothes, (performance and video installation), Atelier Calder, Saché, France. Ulay & Abramovic, collaboration with Ulay, Musée d’Art Contemporain, Lyon, France. Seven Easy Pieces, KunstFilmBiennale, Cologne, Germany. Collection, Curator’s Office, Washington, USA; Contemporary Art Center of Virginia, Best Regards from the Blind Spot, Centro Cultural Montehermoso, Vitoria, Spain. Virginia Beach, USA. 2001 Group 1999 Group Melancholia, Jensen Gallery, Auckland, New Zealand. Body and the East: From the 1960’s to the Present, Exit Art, New York, USA. Postmedia: Conceptual Photography in the Guggenheim Museum Collection, 2007 Solo Miradas Y Conceptos En La Collección Helga de Alvear, Museo Extremeño e Echoes of the Scream, ARKEN Museum of Modern Art, Ishoj, Denmark. The Solomon R. Guggenheim Museum, New York, USA. Balkan Erotic Epic, Living Arts, Tulsa, USA. Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, Spain. El Instante Eterno, Espai D’Art Contemporani de Castelló, Valencia, Spain. Zeitwenden, (object installation: Soul Operation Room), Kunstmuseum Bonn, Balkan Erotic Epic, Cent8-Serge Le Borgne, Paris, France. Suddenly Older, Clifford Art Gallery, Colgate University, Hamilton, USA. Giganti: Arte Contemporanea, Fori Imperiali, Roma, Italy. Germany. Balkan Erotic Epic, La Fabrica Galeria, Madrid, Spain. Take Two. Worlds and Views: Contemporary Art from the Collection, Museum Holy Sports and 13, (video installation), Center of Academic Resources, Chulalongkorn Lie of the Land: earth. body. material. John Hansard Gallery University of of Modern Art, New York, USA. University, Bangkok, Thailand. Southampton, UK. 2007 Group Videographies - The Early Decades from the EMST collection, National Hypermental - Wahnhafte Wirklichkei 1950-2000, Hamburger Kunsthalle, Regarding Beauty: A View of the Late Twentieth Century, Hirshhorn Museum Art Metropole: The Top 100, The National Gallery, Ottawa, Canada. Museum of Contemporary Art, Athens, Greece. Hamburg, Germany. and Sculpture Garden, Washington, USA. After the Revolution: Women Who Transformed Contemporary Art, Dorsky Pat Hearn Gallery: Part 2 (1988-1994), Pat Hearn Gallery, New York, USA. Calendar 2000, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, USA. Gallery, Curatorial Programs, Long Island, USA. 2004 Solo Site Specific Projects, (video installation and site-specific project), N.M.A.C. Kiasma Museum of Contemporary Art, Helsinki, Finland. Auto Emotion: Autobiography, emotion and self-fashioning, The Power Plant, Biography Remix, Fondazione Roma Europa, Roma, Italy. Montenmedio Arte Conteporaneo, Cadiz, Spain. Impact: Revealing Sources for Contemporary Art, Contemporary Museum, Toronto, Canada. Performing Body: Video Works By Marina Abramovic, The Speed Art Museum, Yokohama 2001, International Triennial of Contemporary Art, (installation), Japan. Baltimore, USA. Between Art and Spirituality, Centre Georges Pompidou, Paris, France. Louisville, USA. Inderlightens Spill: Images of Religious Contemplation, (video installation), Into Me/Out of Me, Macro, Roma, Italy. Loop Performance, (IPG) P.S.1 Contemporary Art Center, New York, USA. 2000 Solo Kunstmuseum Lillehammer, Norway. Lights, Camera, Action: Artists Films for the Cinema, The Whitney Museum of Cleaning the House: Traveling Cabinet, Kiasma Museum of Contemporary Art, Where Are You? Center for Curatorial Studies, Bard College, Annandale-on American Art, New York, USA. 2004 Group Helsinki, Finland. -Hudson, USA. The Missing Piece, Rubin Museum of Art, New York, USA. Art Unlimited: ArtBasel 2004, Basel, Switzerland. Galerie Cent8, Paris, France. Comfort Zone: Furniture by Artists, Paine Webber Art Gallery, New York, USA. Mulher Mulheres, SESC Avenida Paulista, São Paulo, Brazil. Exhibit and Silent Auction, Marianne Boesky Gallery, New York, USA. Marina Abramovic: Luminosity, Insomnia, Dissolution 1997, University of Animal.anima.Animus, Pori Art Museum, Finland; the Museum of Modern Art New Genre Festival XIV, Living Arts, Tulsa, USA. Belgrade Art Inc, Secession, Austria. Florida, Samuel P. Harn Museum of Art, Gainesville, USA. Arnhem, the Netherlands; P.S.1 Contemporary Art Center, Long Island City, USA. Ohnmacht Muthesius, Kunsthochschule, Kiel, Germany. Cetinje Biennial, Montenegro. Marina Abramovic: Soul Operations Room, Kappatos Gallery, Athens, Greece. Global Conceptualism: Points of Origin, Queens Museum of Art, USA. Quadrennial, Prague, Czech Republic. Camera/Action, Museum of Contemporary Photography, Columbia College, Chicago, USA. Public Body - Artist Body, (performance, video installations, objects), Kunstverein, The Time of Our Lives, The New Museum of Contemporary Art, New York, USA. PURE, Sean Kelly Gallery, New York, USA. Collected Views from East to West, Generali Foundation, Wien, Austria. Hannover, Germany. La Ville, le Jardin, la Mémoire, Academie de France, Villa Medici,Roma, Italy. Renegades, Exit Art, New York, USA. Depicting Love, Kunstlerhaus Bethanien, Berlin, Germany. Aspects - Positions. 50 years of Central European Art 1949 - 1999, Museum Role Exchange, Sean Kelly Gallery, New York, USA. Maya Lin: Earth Drawings, The Wanas Foundation, Knislige, Sweden. 2000 Group Kunst Stiftung Ludwig Wien, Vienna, Austria. Role Play: Feminist Art Revisited 1960-1980, Galerie Lelong, New York, USA. Performance en Vivo, Museo de Arte de Puerto Rico. Acoustic Architecture Architectural Acoustics, Aronson Gallery #1, Parsons Schmerz, Hamburger Bahnhof, Berlin, Germany. 2004 Biennial, Whitney Museum of American Art, New York, USA. School of Design, New York, USA. 1998 Solo Vertigo: The Century of Off-Media Art and Futurism to the Web, Museo d’Arte Performing Body, Speed Art Museum, Louisville, USA. Anableps, Studio Stefania Miscetti, Roma, Italy. Marina Abramovic; Expiring Body, Fabric Workshop and Museum, Philadelphia, USA. Moderna, Bologna, Italy. Video Killed the Radio Star, La Fabrica Gallery, Madrid, Spain. Animal, Anima, Animus, The Winnipeg Art Gallery, Canada. Marina Abramovic; Artist Body-Public Body, Kunstmuseum Bern, Switzerland. WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, USA. Arteast Collection: The Art of Eastern Europe in Dialogue with the West; Traveled to Lonja del Pescado, Alicante, Spain; Moderna galerija Ljubljana, Museum 2003 Solo From the 1960s to the Present. The Museum of Modern Art, Ljubljana, Slovenia. of Modern Art Cankarjev dom, Ljubljana, Slovenia. 2006 Solo The Netherlands Media Art Institute, Montevideo/Time Based Arts, Amsterdam, Das Gedächtnis der Kunst, Historiches Museum, Schirn Kunsthalle, Frankfurt, Marina Abramovic: objects, performance, video, sound, Museum of Contempo Balkan Erotic Epic, SESC, São Paulo, Brazil. the Netherlands. Germany. rary Art, Sydney, Australia. Balkan Epic, Art for the World Project, Pirelli, Milan, Italy. Student Body, Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain. Dream Machines, a National Touring Exhibition organized by the Hayward Gallery, Marina Abramovic: The Hunt/La Caza, Sala La Gallera, Valencia, Spain. The Star, Contemporary Art Museum, Kumamoto, Japan; La Fábrica, Madrid, Spain; London, for the Arts Council of England. Exhibition tour: Dundee Contemporary Arts, Marina Abramovic: Biography/Biography, Teatre Rialto, Valencia, Spain. 2006 Group Maragame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, Japan (2004). Mappin Art Gallery, Sheffield, and Camden Arts Centre, London, UK. Ulay/ Abramovic, Performance Works 1976-1988, Tramway, Glasgow, UK. Into Me/Out of Me, P.S.1 Contemporary Art Center, New York, USA; KW Institute Echigo-Tsumari Art Triennial 2000, (installation), Sarugaku-cho, Shibuya-ku, for Contemporary Art, Berlin, Germany. Tokyo, Japan. 1998 Group 1995 Solo I am You, Cleaning the House, Billboard Project, Antwerp, Belgium. Video-Skulptur Retrospektiv und Aktuell 1963-1989, Kölnischer Kunstverein, Corpus Virtu, Sean Kelly Gallery, New York, USA. Cleaning the Mirror, (object installation and performance), Sean Kelly Gallery, New Mediale, Deichtorhallen, Hamburg, Germany. Cologne, Germany; Kongresshalle, Berlin, Germany; Kunsthaus Zurich, Switzerland. Out of Actions: Between Performance and the Object, 1949-1979, The Museum York, USA. 20 Jahre Künstler-Videos, Hamburger Kunsthalle, Hamburg, Germany. of Contemporary Art, Los Angeles, USA; MAK-Ausstellungshalle, Wien, Austria. Biography, (theater performance), Singel Theater, Antwerp, Belgium. Arte Amazonas, Staatliche Kunsthalle, Berlin, Germany. 1988 Solo Partners, Philadelphia Museum of Art, USA. Biography, (theater performance), Greer Carson Theatre, Santa Fe, USA. China Ring, Burnett Miller Gallery, Los Angeles, USA. Wounds: Between Democracy and Redemption in Contemporary Art, Moderna Marina Abramovic: objects, performance, video, sound, Museum of Modern 1992 Solo Anima Mundi, Galerie Ingrid Dacic, Tübingen, Germany. Museet, Stockholm, Sweden. Art, Oxford, UK; Fruitmarket Gallery, Edinburgh, UK; Irish Museum of Modern Art, Marina Abramovic, École Nationale Supérieure des Beaux-Arts, Paris, France. Wanas 1998, Wanas Foundation, Knislinge, Sweden. Dublin, Ireland; Kunsthallen Brandts Klaedefabrik, Odense, Denmark; Villa Stuck, Transitory Objects, Galerie Krinzinger, Wien, Austria. 1988 Group Landscape. The Trace of the Sublime. Kunsthalle zu Kiel der Christian-Alberchts- Munich, Germany; Groninger Museum, Groningen, the Netherlands; Museum van The Bridge, Galerie Ingrid Dacic, Tübingen, Germany. After 15 Years, (photo documentation of performances) Happy New Gallery, SCC, Universität, Kiel, Germany; Kunstraum Innsbruck, Austria; Esbjerg Kunstmusem, Hedendaagse Kunst, Ghent, Belgium. Becoming Visible, Galerie des Beaux Arts, Brussels, Belgium; Musée Montbéliard, Belgrade, Yugoslavia. Denmark. Cleaning the Mirror, Museum of Modern Art, Oxford, UK. France. Beelden voor blinden en zienden, Oude Kwekje, Kortenhoef, the Netherlands. Body and the East, From the 1960s to the Present, Moderna Galerija Ljubljana, Double Edge, installation for Kunstmuseum des Kantons, Karthause Ittingen, Wartesaal, Neue Nationalgalerie, Berlin, Germany. The Flag Project, 50 Artists/50 Flags, Venezia, Italy. Slovenia. Switzerland. Dragon Heads, Caixa de Pensiones, Barcelona, Spain; Kunstmuseum, Bonn, Germany. Roots and Turns, 20th Century Photography in the Netherlands, Blaffer Gallery, New Science, Edmonton Art Gallery (EAG), Canada. Performance Anthology, Video, Drawings, Klaus Fischer Gallery, Berlin, Germany. Biography, Kunsthalle, Vienna, Austria. University of Houston, USA; Stedelijk Museum, Amsterdam, the Netherlands. Body Double, Winston Wächter Fine Art Gallery, New York, USA. Rapture, the Body, Ritual + Sacred Practice, I.C.A., London, UK. Rijksaankopen 1987; wer van hedendaagse beeldende kunstenaars, Stedelijk Persona, Galerie Carousel, Paris, France. 1992 Group Museum, Amsterdam, the Netherlands. Escape at Remanence, Former Melbourne Magisrates’ Court and City Watch 1995 Group Documenta 9, Kassel, Germany. Documenta 8, Kassel, Germany. House, Melbourne, Australia. Longing and Belonging, Site Santa Fe, USA. Spatial Drive, The New Museum of Contemporary Art, New York, USA. Photo Mannerisms, Lawrence Oliver Gallery, Philadelphia, USA. “Out of Actions: Between Performance and the Object, 1949-1979”, Museum Becoming Visible, (video installation), Istanbul Biennale, Turkey. Faszination Edelstein, Hessisches Landesmuseum, Darmstadt, Germany. of Contemporary Art, Tokyo, Japan; Museum of Contemporary Art, Los Angeles, Padova Biennale, Padua, Italy (Francalanci’s section); Biennale de Lyon, France. The Biography, Edge 92, International Biennial of Innovative Visual Art, Madrid, 1987 Solo USA; Museum of Contemporary Art, Wien; Museu d’Art Contemporani de Barcelona Inbetween, (group installation), Thuringen, Germany. Spain; Kunsthalle, Vienna, Austria. Die Mond der Sonne, (Mikado object and Polaroids), Centre d’Art Contemporain, (video, slides and installation). Feminin/masculin, Centre Georges Pompidou, Paris, France. Van Vlees en Bloedt, (video documentary of performance and objects), collaboration Palais Wilson, Geneva, Switzerland. Nine International Artists, (video installations and site-specific project), The Autour de Roger Vivier, Galerie Enrico Navarra, Paris, France. with Ulay, Stedelijk Museum, Schiedam, the Netherlands. Ulay/Marina Abramovic, (Polaroids), Contemporary Art Center, Cincinnati, USA. Wanas Foundation, Knislinge, Sweden. Artists Against Violence, Neuer Aachener Kunstverein, Aachen, Germany. The Comfort Zone, The Living Room, Amsterdam, the Netherlands. Tuesday/Friday, (Polaroids), Galerie Rene Blouin, Montreal, Canada; Michael Klein, Ram = Realität, Anspruch, Medium, Wartesaal, Kunstfonds, Bonn, Germany. Die Künstlerpostkarte, Altonaer Museum, Hamburg, Germany. New York, USA. 1997 Solo Avant - Garde Walk in Venezia, Italy. Frischluft, Wilhelm Lehmbruck Museum, Duisburg, Germany. Balkan Baroque, XLVII Biennale de Venezia, Italy (Recipient of the Golden Lion Award). I am You, artists against racism, Amsterdam, the Netherlands. 1987 Group Spirit House and Performance Luminosity, Sean Kelly Gallery, New York, USA. Ruimtelijke Manuscripten, serie De Stadsbibliotheek van de Zintuigen, Bibliotheek 1991 Solo Arrangements for the Camera: A View of Contemporary Photography, (Polaroids), Performing Body, Setagaya Museum, Tokyo, Japan. Amsterdam, the Netherlands. For your eyes only, De Waag, Leiden, Germany. Baltimore Museum of Art, USA. Marina Abramovic Works, (video installation and photographs), CCA, Kitakyushu, Departure, Galerie Enrico Navarra, Paris, France. This is not a Photograph: Twenty Years of Large Scale Photography, 1966-68, Japan. 1994 Solo Marina Abramovic, Victoria Miro Gallery, London, UK. (Polaroids), Ringling Museum of Art, Sarasota, USA. The Bridge, (video installation), City Museum of Contemporary Art, Skopje, Macedonia. Marina Abramovic: Departure, Laura Carpenter Fine Art, Santa Fe, USA. The Lovers, Museum of Contemporary Art, Montreal, Canada. “Blow Up” Zeitgeschichte, (Polaroids), Wurttembergischer Kunstverein, Stuttgart, Boat Emptying/Stream Entering, Sean Kelly, New York, USA. Delusional, (theater performance), Monty Theatre, Antwerp, Belgium; Theatre am Germany; Haus am Waldsee, Berlin, Germany; Hambirger Kunstverein, Hamburg, Marina Abramovic 1979-1987, Okazaki Tamako Gallery, Tokyo, Japan. Turm (TAT), Frankfurt, Germany. 1991 Group Germany; Kunstverein, Frankfurt, Germany; Kunstmuseum, Lucerne, Switzerland; Ulay/Abramovic, Van Abbe Museum, Eindhoven, the Netherlands. Image of Happiness, (extract of Delusional), Steirischer Herbst, Graz, Austria. Arte Amazonas, Museu de Arte Moderna, Rio de Janeiro, Brazil Rheinisces Landesmuseuem, Bonn, Germany. Performing Body, (objects and video installation), Studio Stefania Miscetti, Roma, Faret Tachikawa, (permanent outdoor installation of Black Dragon Pillows), Tokyo, Das Goldene Zeitalter, Wurttembergischer Kunstverein, Stuttgart, Germany; Avant-Garde in the Eighties, (Polaroids), Los Angeles County Museum of Art, USA. Italy; Palazzo delle Esposizioni, Roma, Italy; Zerynthia, Paliano, Italy. Japan. Ludwig Forum für Internationale Kunst, Aachen, Germany. Von Chaos und Ordnung der Seele, (Polaroids), Kunst in der Psychiatrischen Klinik Fuente, Nieuwe Kerk, Amsterdam, the Netherlands. der Universitat, Mainz, Germany. 1997 Group 1994 Group Art from Europe, (Polaroids), The Tate Gallery, London, UK; Stedelijk Museum, Animalities, Monti Video (Time Based Arts), Amsterdam, the Netherlands. Hors Limites - L’Art et la Vie, (objects, video), collaboration with Ulay, Musée 1990 Solo Amsterdam, the Netherlands; The Museum of Contemporary Art, Los Angeles, USA; Future, Past, Present, 1965-1997, XLVII Biennale de Venezia, Italy (video installa National d’Art Moderne, Centre Georges Pompidou, Paris, France. The Lovers, (objects and performances), Städtische Kunsthalle, Dusseldorf, Germany. Institute of Contemporary Art, Boston, USA. tion Balkan Baroque, performance, Cleaning the House). Visceral Responses, Holly Solomon Gallery, New York, USA. Green Dragon Lying, Städtische Kunsthalle, Dusseldorf, Germany. Animal Art, (photo doc. of performance Three), Steirischer Herbst ’87, Graz, Austria. Artist Projects, P.S. 1 Contemporary Art Center, Long Island City, USA. Künstlertraumen Berlin, Stiftung Neue Kultur, Berlin, Germany. Boat Emptying/Steam Entering, Galerie Ingrid Dacic, Tübingen, Germany. The Mirror + The Lamp, (Polaroids), The Fruitmarket Gallery, Edinburgh, UK. De-Genderism, (video installation, performance, Cleaning the House), Setagawa Voetsporen, Artoteek, Dordrecht, the Netherlands. Le Guide Chinois, Galerie Charles Cartwright, Paris, France. Die Gleichzeitigkeit des Anderen, (objects vases The Sun and the Moon), Kunst Art Museum, Tokyo, Japan. Beeld, Museum van Hedendaagse Kunst, Ghent, Belgium. Marina Abramovic: Sur la Voie, Galeries Contemporaines, Centre Georges museum, Bern, Switzerland. Shoes or No Shoes?, Shoes of Artists, Vishal, Haarlem, the Netherlands. Different Natures, Espai 2, Barcelona, Spain. Pompidou, Paris, France. The 100 Days of Contemporary Art of Montreal 1987, (Polaroids), International Spirit House, (video installation), Bienal de Obidos, Portugal. Georgius Agricola, Kunstsammlung, Chemnitz, Germany. Dragon Heads, Museum of Modern Art, Oxford, UK. Center of Contemporary Art, Montreal, Canada. The Compulsion to Remember, Center for Curatorial Studies, Bard College, Shoes from Artists, X, Pilar and Juan Miró Foundation, Mallorca, Spain Edge‘92, (performance), The Church, Newcastle-Upon-Tyne, UK; Third Eye Centre, Annandale-On-Hudson, USA. Metaphysical Metaphors, High Museum of Art, Atlanta, USA. Glasgow, UK. 1986 Solo Dialogue with the Other, Künshallen Brands Klaederfabrik, Denmark; Norrköpings Boat Emptying/Stream Entering, (performance and objects), Museum of Modern Nightsea Crossing, (Performance), New Museum of Contemporary Art, New York, USA. 1996 Solo Konstmuseum, Sweden. Art, Montreal, Canada. Risk in Age of Art, (video document of performance), University Baltimore, USA; Spirit Cooking, Galerie de Lege Ruimte, Ghent, Belgium. L’art à la plage, Jumeaux, France. Aphrodite, Communal Centre, Cyprus. The House, Santa Monica, USA. Boat Emptying Stream Entering, University of North Texas Art Gallery, Denton, USA; Naturally, Ernst Museum, Budapest, Hungary. Nightsea Crossing Complete Works, (objects, performance and photographic Center for Research in Contemporary Art, University of Texas at Arlington, USA. Buch und Kunst, Galerie Renate, Hamburg, Germany. 1990 Group documentary), Musee SaintpPierre d’Art Contemporain, Lyon, France. The House, Five Rooms and Storage, Middlesbrough Art Gallery, UK. Beyond the Pale, Irish Museum of Modern Art, Dublin, Ireland. The Shadow of Presence, Galerie Charles Cartwright, Paris, France. Tuesday/Saturday, (Polaroids), Curt Marcus Gallery, New York, USA. Chair for Man and His Spirit; Chairs for Man and Spirit, (site-specific installation) I Am You, Cleaning the House, (poster project held across several European cities De Verzmeling II, Museum van Hedendaagse Kunst, Antwerp, Belgium. Ulay/Marina Abramovic, (Polaroids), San Francisco Art Institute, USA. Okasaki Mindscape Museum, Japan. by Ugo Dossi and Thomas Barth). Venus, Musée Albi, Albi, France. Chair for Spirits, (site-specific project), Dallas, USA. Noli Me Tangere, Kunstmuseum, Sion, Switzerland. 1986 Group Cleaning the Mirror, (performance), Villa Stuck, Munich, Germany. 1993 Solo Nature in Art, Kunstmuseum, Vienna, Austria. The Real Big Picture, (Polaroids), Queens Museum of Art, New York, USA. Cleaning the Mirror, (installation), Miro Foundation, Palma, Mallorca, Spain. Biography, (theater performance), Theater am Turm (TAT), Frankfurt, Germany; 1989 Solo Boat Emptying/Stream Entering, Victoria Miro Gallery, London, UK. Collaboration with Ulay, (Polaroids), Burnett Miller Gallery, Los Angeles, USA. Biography, Groninger Stanschouwburg, Groningen, Holland. Hebbeltheater, Berlin, Germany. The Lovers, Stedelijk Museum, Amsterdam, the Netherlands; Museum van Momento Mori, Moore College of Art, Philadelphia, USA. The Urgent Dance, Museum of Contemporary Art, Ghent, Belgium. Marina Abramovic, Jean Bernier Gallery, Athens, Greece. Hedendaagse Kunst, Antwerp, Belgium. Sixth Annual San Francisco Video Festival, (City of Angels video), San Francisco. Marina Abramovic, Palazzo dei Diamanti, Ferrara, Italy. Green Dragon Lying, Museum van Hedendaagse Kunst, Antwerp, Belgium; Alles und noch viel mehr, das poetische ABC, (performance of Modus Vivendi), 1996 Group Dragon Heads, (performance), Caixa de Pensiones, Barcelona; Kunstmuseum, Bonn, Stedelijk Museum, Amsterdam, the Netherlands. Kunsthalle/Kunstmuseum, Bern, Switzerland. Cleaning the Mirror, (video installation), Cultural Elzenveld, Antwerp, Belgium. Germany; Hamburger Kunsthalle, Hamburg, Germany. SSS, (directed by Charles Atlas), Madrid, Spain. Nightsea Crossing, (performance), Teatro Musica Performances Music Theatre, In Between in Running Trains, (video installation), Gynaika, Antwerp, Belgium. Wartesaal, (installation), Neue Nationalgalerie, Berlin, Germany. Boat Emptying/Stream Entering, (sound: Charlemagne Palestine), Frankfurt, Germany. Fundacion Calouste Gulbenkian, Lisbon, Portugal. Girls, Bad Girls!, Cultuur Centrum, Brugge, Belgium. Rememberances of Things Past, (Polaroids), Long Beach Museum of Art, USA. NowHere, Louisiana Museum of Modern Art, Humlebaek, Denmark. 1993 Group 1989 Group Rijksaankopen 1985, (Polaroids), Logement, Gravenhage, the Netherlands. Video Sans Titre, Galerie Froment + Putnam, Paris, France. La Coesistenza dell’Arte, Biennale di Venezia, Italy. Magiciens de la Terre, Musée National d’Art Moderne, Centre Georges Pompidou, Big Portraits, (Polaroids), Jeffery Hoffield & Co., New York, USA. Vier Positionen Holländischer Plastik, Skulpturen Museum, Glaskaten Marl, Cerco, Biennial Internacional de Obidos, Portugal. Paris, France. Emerging Artists ’86, (Polaroids), Cleveland Centre for Contemporary Art, Cleve Germany. World Wide Video Festival, World Wide Video Centre, Den Haag, the Netherlands. Wanderers, Galerie Charles Cartwright, Paris, France. land, USA. Walking and Thinking and Walking, Louisiana Museum, Odense, Denmark. Différentes Natures, La Défense, Paris, France. And they see God, Pat Hearn Gallery, New York, USA. 1986 Houston Fotofest, (Polaroids), Blaffer Gallery, University of Houston, USA. Art meets Science, Spirituality in a Changing Economy, Copenhagen, Denmark. Becoming Visible, (video installation), Feuer Wasser Erde Luft, Mediale, Deichtorallen, Das Verhältnis der Geschlechter, (installation of objects), Kunstverein, Bonn, Germany. Foto Cliché, (Polaroids), Victoria Miro Gallery, London, UK; Orchard Gallery, Derry, UK. Hamburg, Germany; Galerie Franck + Schulte, Berlin, Germany. Over den gres, (installation), Nederlands Textielmuseum, Tilburg, the Netherlands. Photography as Performance, (photographic doc. of performance), The Photographer’s 1982 Group Light/Dark, (performance), Internationale, Kunstmesse, Cologne, Germany. 1990-91 Professora visitante junto à Hochschule der Kunst, Berlim, Alemanha. Gallery, London, UK. Momentbild: Kunstlerphotographie, (Polaroids), Kestnergesellschaft, Hannover, Balance Proof, (performance), Musee d’Art et d’Histoire, Geneva, Switzerland. Professora visitante junto à Académie des Beaux-Arts, Paris, França. Modus Vivendi Tuesday/Saturday, (Polaroids) Burnett Miller Gallery, Los Angeles, USA; Germany. 1992-96 Professora junto à Hochschule für Bildende Kunst, Hamburgo, Alemanha. Visual Arts Centre, Cambridge, USA. Videokunst in Deutschland 1963-1982, (touring exhibition with video installation 1976 Solo Oficinas, palestras, mostras individuais e coletivas em todo o mundo. Crazed Elephant), Kolnischer Kunstverein, Cologne, Germany. Talking about Similarity, (performance), Signal 64, Amsterdam, the Netherlands. Realização de duas grandes performances teatrais: “Biography” e “Delusional.” 1985 Solo Contemporary Art from The Netherlands, Museum of Contemporary Art, Chicago, USA. Freeing the Body, (performance), Kunstlerhaus Bethanien, Berlin, Germany. 1997 Professora junto à Hochschule für Bildende Kunst em Braunschweig, Alemanha. Modus Vivendi, (performance), Kunstmuseum, Bern, Switzerland; Saskia Theatre, Documenta 7, (photographic work), Kassel, Germany. 1998 Integrante do Conselho do Museu de Arte Contemporânea, Kitakyushu, Japão. Arnhem, the Netherlands. 11eme Festival International du Nouveau Cinema Montreal 1982, Canada. 1976 Group 2001 Artista residente junto ao Atelier Calder, Saché, França. Nightsea Crossing, (performance), Fundação Calouste Gulbenkian, Lisbon, Portugal; First Vision in Disbelief; the 4th Biennial of Sydney, (video works), The Art Gallery of Biennale di Venezia; Ambiente/Participazione/Strutture Culturali, (performance), 2003 Prêmio AICA EUA para a performance The House with the Ocean View. International Biennial, Ushimado, Japan; XVIII Bienal Internacional de São Paulo, Brazil. New South Wales, Sydney, Australia. Venice, Italy. Vencedora do Niedersächsicher Kunstpreis 2003. Fragilissimo, (theatre performance), with M. Laub and Mr. Mondo, Stedelijk Live to Air; Artists’ Sound Works, (sound works), Tate Gallery, London, UK. M. Abramovic, Natalia L.L., G. Pane, (performance), Galeria Arte Verson, Genova, Italy. Vencedora do New York Dance and Performance Award pela obra The House Museum, Amsterdam, the Netherlands. ’60 ’80 Attitudes/Concepts/Images, (Polaroids), Stedelijk Museum, Amsterdam, Photography as Art, (photo documentation of works), Contemporary Art Gallery, with the Ocean View (The Bessies). the Netherlands. Zagreb, Yugoslavia; Museum of Modern Art, Belgrade, Yugoslavia. 2004 Doutora honoris causa pelo The Art Institute of Chicago. 1985 Group 2005 Apresentou Seven Easy Pieces no Solomon R. Guggenheim Museum Amsterdam buys Art, (Polaroids), Municipal Art Acquisition 84, Museum Fodor, 1981 Solo 1975 Solo em Nova York. Rijksaankopen 1984, Gravenhage, the Netherlands. Gold found by the Artists, Nightsea Crossing, Art Gallery of New South Wales, Rhythms 10; 2; 5; 4; 0, (photo documentation of performances), Museum of Contem 2006 Homenageada pelo Artist’s Space and +ART. Homenageada pelo Guggenheim Von Hier aus, Zwei Neue. Deutsche Kunst im Dusseldorfer Messegelande, Sydney, Australia. porary Art, Belgrade, Yugoslavia. no 2006 International Gala. A Associação Estadunidense de Críticos de Arte anuncia (Polaroids), Dusseldorf, Germany. Witnessing, (performance), ANZART, The Art Centre, Christchurch, New Zealand. Freeing the Voice, (video installation), Galerie De Appel, Amsterdam, the Netherlands. os vencedores dos prêmios 2005-2006: Melhor Exposição de Time Art (Video, Filme, L’Art et le Temps, Regards sur la Quatrieme Dimension, (China project concept, 6WF, (performance), The Art Gallery of Western Australia, Perth, Australia. Photo documentation of performances Rhythms 10, 2, 5, 4, 0, Galerie Krinzinger, ou Performance). Marina Abramovic: Seven Easy Pieces, Guggenheim Museum. photographic documentation), Musee Rath - Musee d’Art et d’Histoire, Geneva, Innsbruck, Austria; Galleria Diagramma, Milan, Italy; Studio Morra, Naples, Italy. Curadoria: Nancy Spector e Jennifer Blessing. Switzerland. 1981 Group Thomas Lips, (performance), Galerie Krinzinger, Innsbruck, Austria. 2007 Prêmio AICA EUA para a performance 7 Easy Pieces, Nova York, NY, EUA. Content: A Contemporary Focus 1974 - 1984, Hirshhorn Museum and Sculpture Artists’ Photographs, (Polaroids), XVI Bienal de São Paulo, Brazil; Crown Point Warm/Cold, (performance), Fruitmarket Gallery, Edinburgh, UK. Homenageda pela Franklin Furnace, Nova York, NY, EUA. Grande Prêmio AECA, Garden, Washington, USA. Press Gallery, Oakland, USA. Art must be Beautiful, Artist must be Beautiful, (performance), Art Festival, Madri, Espanha. Symbol Tier, (photographic documentation of Performance 3), Krinzinger, Innsbruck, Instant Fotografie, (Polaroids), Stedlijk Museum, Amsterdam, the Netherlands. Copenhagen, Denmark. 2008 Homenageada com a Comenda Austríaca de Honra para a Ciência e Arte. Austria. Role Exchange, (performance) Galerie De Appel/Red Light District, Amsterdam, the 2008 Homenageada com grau de doutora pela Faculdade de Artes da Universidade By the river 3: international photography today, (Polaroids), The Pori Art 1980 Group Netherlands. de Belgrado. Museum, Finland. Rest Energy, Rose ’80: The Poetry of Vision: An International Exhibition of Freeing the Memory, (performance), Galerie Dacic, Tubingen, Germany. Hoogtepunten uit de fotocollective van het Stedelijk Museum, (Polaroids), Modern Art and Chinese Painting, (performance), School of Architecture, Univer Freeing the Voice, (performance), Student Cultural Centre Gallery, Belgrade, Yugoslavia. principais exposições Museum Fodor, Amsterdam. sity College, National Gallery of Ireland, Dublin. Esta lista foi organizada em ordem cronológica; exposições e performances individuais As far as Amsterdam Goes, (Polaroids), Stedelijk Museum, Amsterdam, the 1975 Group precedem as mostras e performances coletivas. Netherlands. 1979 Solo Aspekte Gegenwartskunst aus Jugoslawien, (photo documentation of performances Das Auge des Kunstlers, (Polaroids) Logetta Lombardesca, Ravenna, Italy; Kunstv The Brink, European Dialogue, (performance), 3rd Biennal of Sydney, Art Gallery Rhythm 10, 2,5,4,0), Akademie der Bildenden Kunst, Vienna, Austria. 2009 Coletiva erein, Frankfurt, Germany. of New South Wales, Sydney, Australia. Yugoslave Avant-Garde Art, (photo documentation of performances Rhythm 10, 2, American Art and the East, Solomon R. Guggenheim Museum, Nova York, EUA. Go…Stop…Back…Stop… (performance), National Gallery of Victoria, 5, 4, 0), Gallery Wspolzescna, Warsaw, Poland. 1984 Solo Melbourne, Australia. 2008 Coletiva Positive Zero, (performance), Stadsschouwburg, Eindhoven, the Netherlands. Communist Body/ Fascist Body, (performance), Zoutkeergracht 11/118, 1974 Solo Martian Museum of Terrestrial Art, Barbican Art Gallery, Londres, Grã-Bretanha Nightsea Crossing, (performance), Museum van Hedendaagse Kunst, Ghent, Amsterdam, the Netherlands. Spaces, (installation), Gallery of Contemporary Art, Zagreb, Yugoslavia. WART Art and the Feminist Revolution PS1 Contemporary Art Center, Nova York, EUA. Belgium; Galerie/Edition Media, Furkapass, Furka, Switzerland; Stadtisches Kunst Installation One, (installation), Stichting De Appel, Amsterdam, the Netherlands. Rhythm 5, (performance), Expanded Media Festival, Student Cultural Centre, The Hands of Art, Stedelijk Museum, Amsterdã, Países Baixos. museum, Bonn, Germany; Forum, Middleburg, the Netherlands. One the Way, (sound work), Audio Arts, Riverside Studios, London, UK. Belgrade, Yugoslavia. Sleeping and Dreaming, The Wellcome Trust, Londres, Grã-Bretanha. Modus Vivendi, (performance), Institute of Contemporary Art, Boston, USA. Rhythm 2, (performance), Gallery of Contemporary Art, Zagreb, Yugoslavia. 1979 Group Rhythm 4, (performance) Galleria Diagramma, Milan, Italy. 2007 Coletiva 1984 Group Trigon ‘79/Masculin-Feminin, Steirischer Herbst ’79, (photographic documentation), Rhythm 0, (performance) Galleria Studio Morra, Naples, Italy. Carlos Urroz Proyectos, Ibiza, Espanha. Forun un Scene 1984, Abdijcomplex, Vleeshal, Kuiperspoort, Middleburg, the Netherlands. Neue Galerie, Graz, Austria. Exhibition Pain/Schmerz, Hamburger Bahnhof, Berlim, Alemanha. La Zattera di Babele, een Carrousel van Beeld, Muziek, Woord en Theatre, Photographie als Kunst 1879-1979 / Kunst also Photographie 1949-1979, 1974 Group MOCA, Los Angeles, EUA. Nightsea Crossing, (performance), Stadsschouwburg/Stedelijk Van Abbemuseum, Museum des XX Jahrhunderts, Vienna, Austria. Letters 1959-1973, Six Artists, Cultural Centre Gallery, Belgrade, Yugoslavia. Museu de Arte Moderna e Contemporânea, MMSU, Croácia. Eindhoven, the Netherlands. Xerox Works Exhibition, (Xerox works), Students Centre Gallery, Zagreb, Yugoslavia. Festival Observatori, Valencia, Espanha. 1978 Solo 7 Secretaries of SKOJ-A, (documentation of performance - prize awarded from Living Arts of Tulsa, EUA. 1983 Solo AAA-AAA, (performance), RTB television studio, Liege, Belgium. Rhythm 5), Prize Winners, Galeria Nova, Zagreb, Yugoslavia. Video Apartment- bodycity, Docklands, Dublin, Irlanda. Nightsea Crossing / Conjunction, (performance), Museum Fodor, Amsterdam, the Incision, (performance), Galerie H-Humanic, Graz, Austria. Signalism, (computer poetry), Contemporary Art Gallery, Zagreb, Yugoslavia. 53º Festival Internacional de Filmes de Curta Metragem, Oberhausen, Alemanha. Netherlands. Kaiserschnitt, (performance), Performance Festival, Hofreischule, Vienna, Austria. New Artistic Practice in Yugoslavia 1968-1974, (photographic documentation of Canvas, ‘LUX Jan Hoet, Broadcast rights, Bélgica. Positive Zero, (theater performance), Holland Festival, Carre Theater, Amsterdam, Work/Relation, (performance), Extract Two, Theatre aan de Rijn, Arnhem, the performances Rhythms 10 , 2, 5, 4, 0), Gallery of Contemporary Art, Zagreb, Yugoslavia. Ohnmacht, Muthesius Kunsthochschule, Kiel, Alemanha. the Netherlands; Netherlands; Palazzo dei Diamanti, Ferrara, Italy; Badischer Kunstverein, Karlsruhe, Vitoria, Centro Cultural Montehermoso Kulturena, Gasteiz, Espanha. Muziekcentrum Vredenburg, Utrecht; De Doelen, Rotterdam, the Netherlands. Germany. Festival Cote Court, Transat Vidéo / Brent Klinkum, Pantin, França. Modus Vivendi, (performance), Progetto Genazzano, Zattera di Babele, Genazzano, Three, (performance), Harlekin Art, Wiesbaden, Germany. biografia Into Me/Out of Me, Museo MACRO, Roma, Itália. Italy. Installation One, Stichting De Appel, Amsterdam, the Netherlands. Brakke Grond, Project Perform, Amsterdã, Países Baixos. Installation Two, Harlekin Art, Wiesbaden, Germany. 1946 Nasce em Belgrado, Iugoslávia. Reside em Nova York. Mulher, Mulheres, São Paulo, Brasil. 1983 Group 1960-68 Pinturas e desenhos. 3ª Bienal de Praga, República Checa. 1977 Nightsea Crossing ARS ’83, (performance), The Art Museum of the Ateneum, Solo 1965-70 Academia de Belas Artes, Belgrado, Iugoslávia. La fiaba contemporanea, Art Sanio Campania, Benevento, Itália. Helsinki, Finland. (photo documentation of performances Rhythm 10, 2, 5, 4, 0), Galerie Magers, Bonn, 1968-70 Projetos, textos e desenhos. The Glamour of Violence, DasArts, Amsterdã, Países Baixos. De Goddelijke Kondeie, (Polaroids), Rotterdaamse Kunststichting, Rotterdam, the Germany. 1970-72 Cursos de pós-graduação, Academia de Belas Artes, Zagreb, Croácia. Galeria Brito Ciminio at Shanghai Art Fair, Shangai, China. Netherlands MAGMA, (photo documentation of performances Rhythm 10, 2, 5, 4, 0), Museum 1970-73 Cria ambientes com som, expõe no Centro Cultural Estudantil com Rasa Student Exam, NIMk, Países Baixos. Vision of Disbelief: The 4th Biennial of Sydney, (photographic documentation of of Verona, Italy. Todosijevic, Zoran Popovic, Gergelj Urkom, Slobodan Milivojevic e Nesa Paripovic. Foodscapes, Art & Gastronomy, Solares Fondazione delle Arti, Parma, Itália Nightsea Crossing), Art Gallery of New South Wales, Sydney, Australia. 1973-75 Leciona na Academia de Belas Artes, Novi Sad. Auto emotion, The Power Plant, Toronto, Canadá. 1977 Live to Air, Artist’s Sound Works, (sound work), Tate Gallery, London, UK. Group 1973-76 Performances, video, filmes. Centre d’Art Contemporaine, Genebra, Suíça. ’60 ’80 Attitudes/Concepts/Images, (Polaroids), Stedelijk Museum, Amsterdam, Interruption in Space, (performance), Staatliche Kunstakademie, Dusseldorf, 1975 Conhece Ulay em Amsterdã, Holanda. True Romance, Kunsthalle Wien, Viena, Áustria. the Netherlands. Germany. 1976 Parceria de trabalho com Ulay. Decide-se por movimentos e desvios constantes. Kunstmuseum, Bonn, Alemanha Breathing In/Breathing Out, (performance), Student Cultural Centre, Belgrade, 1980-83 Viaja aos desertos da Austrália Central, Saara, Thar e Gobi. John Hansard Gallery, Southampton, Grã-Bretanha 1982 Solo Yugoslavia; Stedelijk Museum, Amsterdam, the Netherlands. 1983 Professora visitante junto à Académie des Beaux-Arts, Paris, França. Surrounding the Subject, Visual Arts Center, Cambridge, EUA. Nightsea Crossing, (performance), Skulpturenmuseum, Marl, Germany; Kunstakad Imponderabilia, La performance oggi: settimana internazionale della perfor- 1985 Primeira visita à China. Universidade de Amsterdã, ASCA, Países Baixos. emie, Dusseldorf, Germany; Kunstlerhaus Bethanienm, Berlin, Germany; Kolnischer mance, (performance), Galleria Comunale d’Art, Moderna, Bologna, Italy. 1986 Segunda visita à China. The balance of power, Para/Site Art Space, Hong Kong, China. Kunstverein / Molkerei, Cologne, Germany; Stedelijk Museum, Amsterdam, the Expansion in Space, (performance), Documenta 6, Kassel, Germany. 1987 Terceira visita à China. Museu de Arte Moderna e Contemporânea, MMSU, Croácia. Netherlands; Museum of Contemporary Art, Chicago, USA; A Space/Town Hall, Relation in Movement, X Biennale de Paris (performance), Musee d’Art Moderne 1988 The Great Wall Walk: 30 de abril a 27 de junho. Depois de apresentar The Coleção Julia Stocheck, Düsseldorf, Alemanha. Toronto, Canada; Documenta 7, Kassel, Germany. de la Ville de Paris, France. Walk, começa a trabalhar e expor individualmente. Projeto Bridge, Moskee Bos en Lommer, Amsterdã, Países Baixos. Luther, (installation), Kabinett fur aktuelle Kunst, Bremerhafen, Germany. Relation in Time, (performance) Studio G7, Bologna, Italy. 1988-90 Boat Emptying/Stream Entering. Museu de Arte da Cidade de Nagoya, Naka-ku-Sakae, Japão. FRAC de Lorraine, Metz, França. The Artist’s Body. Then and Now, Centre d’Art Contemporain, Genebra, Suíça. 2002 Coletiva Video Time: Survey of Videos from the Museum of Modern Art’s Renowned Col- Structures and Surfaces, Sean Kelly Gallery, Nova York, EUA. CCA Kitakyushu Artist’s Books, Christophe Daviet-Thery, Paris, França. Oxygen, White Box Art Gallery, Nova York, NY, EUA. lection Traces the History of the Medium, The Museum of Modern Art, Nova York, EUA. Art Basel Conversation - Premiere em Homenagem a Marina Abramovic, Art Conflict: Perspectives, Positions, Realities in Central European Art, Slought Barbara Krakow Gallery, Boston, EUA. Voici - 100 and d’art contemporain, (vídeo-instalação), Palais des Beaux Arts, Basel, Miami Beach, EUA. Foundation, Filadélfia, EUA. Moving Pictures, Solomon R. Guggenheim Museum, Nova York, EUA. Bruxelas, Bélgica. Fortunate Objects, Coleção Ella Fontanals-Cisneros, Miami, EUA. Donna Donner, Palazzo Strozzi, Florença, Itália. Building Structures, P.S.1. Contemporary Art Center, Long Island, EUA. Zeitwenden, (performance pública e instalação), Ludwig Museum, Viena, Áustria. The Missing Piece, Yerba Buena Center for Arts, São Francisco, EUA. DreamingNow, The Rose Art Museum, Brandeis University, Waltham, EUA. In Search of Balkania, Neue Galerie am Landesmuseum Joanneum, Graz, Áustria. Central Europe 1949-1999, The Brooklyn Museum of Art, EUA. Gehen Bleiben, Kunstmuseum, Bonn, Alemanha. East Art Museum - A (Re) Construction of the History of Contemporary Art Gugennheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, (1945-1985) in Eastern Europe, Karl Ernst Osthaus-Museum, Hagen, Alemanha. 2001 Individual 1999 Individual Austrália. Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, Nova York, EUA. Marina Abramovic: The Hero, The Hirshhorn Museum and Sculpture Garden, Cleaning the House, Kiasma Museum of Contemporary Art, Elsinque, Finlândia. Seven Easy Pieces, Festival Gender Bender, Bolonha, Itália. Fragments of Time, Yellow Bird Gallery, Newburgh, EUA. Washington, DC, EUA. Expiring Body, Fabric Workshop and Museum, Filadélfia, EUA. True Romance, Kunsthalle, Viena, Áustria. The Gesture, Museum de Arte Contemporânea da Macedônia, Salônica, Grécia; Marking the Territory, The Irish Museum of Modern Art, Dublin, Irlanda. Galerie Cent8, Paris, França. Quarter, Centro de Artes Contemporâneas, Florença, Itália. The Hunt,(vídeo-instalação), Galeria de Projetos no Centro Kitakyushu de Arte Marina Abramovic: Spirit House, Centrum Sztuki Wspólczesnej Zamek 2007 Individual Getting Emotional, The Institute of Contemporary Art, Boston, EUA. Contemporânea, Kitakyushu, Japão. Ujazdowski, Varsóvia, Polônia. Marina Abramovic Retrospective, Galeria Kappatos, Atenas, Grécia. Indeterminant States, Cisneros-Fontanals Art Foundation, Miami, EUA. Spirit Houses, (projeto para sítio específico), Bourganeuf, França; Fondazione Ulay & Abramovic, em parceria com Ulay, Musée d’Art Contemporain, Lyon, França. La Galleria dell’Amore: Let Love Blossom with IPG [Curator], Galleria Civica di Antonio Ratti, Como, Itália. 2007 Coletiva Arte Contemporanea, Trento, Itália. Energy Clothes, (performance e vídeo-instalação), Atelier Calder, Saché, França. 1999 Coletiva Seven Easy Pieces & Making the Balkans Erotic, MAXXI, Roma, Itália. Me, Myself and I: artist self-portraits from the Heather & Tony Podesta Postmedia: Conceptual Photography in the Guggenheim Museum Collection, Seven Easy Pieces, KunstFilmBiennale, Colônia, Alemanha. Collection, Escritório do Curador, Washington, EUA; Contemporary Art Center of 2001 Coletiva The Solomon R. Guggenheim Museum, Nova York, EUA. Best Regards from the Blind Spot, Centro Cultural Montehermoso, Vitoria, Espanha. Virginia, Virginia Beach, EUA. Body and the East: From the 1960’s to the Present, Exit Art, Nova York, EUA. Zeitwenden, (instalação de objeto: Soul Operation Room), Kunstmuseum, Bonn, Melancholia, Jensen Gallery, Auckland, Nova Zelândia. Echoes of the Scream, ARKEN Museum of Modern Art, Ishoj, Dinamarca. Alemanha. 2007 Individual Miradas Y Conceptos En La Collección Helga de Alvear, Museo Extremeño e El Instante Eterno, Espai D’Art Contemporani de Castelló, Valencia, Espanha. Lie of the Land: earth. body. material. John Hansard Gallery University of South Balkan Erotic Epic, Living Arts, Tulsa, EUA. Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, Espanha. Giganti: Arte Contemporanea, Fori Imperiali, Roma, Itália. ampton, Grã-Bretanha. Balkan Erotic Epic, Cent8-Serge Le Borgne, Paris, França. Suddenly Older, Clifford Art Gallery, Colgate University, Hamilton, EUA. Holy Sports and 13, (vídeo-instalação), Centro de Recursos Acadêmicos, Universidade Regarding Beauty: A View of the Late Twentieth Century, Hirshhorn Museum Balkan Erotic Epic, La Fabrica Galeria, Madri, Espanha. Take Two. Worlds and Views: Contemporary Art from the Collection, Museum de Chulalongkorn, Bancoc, Tailândia. and Sculpture Garden, Washington, EUA. of Modern Art, Nova York, EUA. Hypermental - Wahnhafte Wirklichkei 1950-2000, Hamburger Kunsthalle, Calendar 2000, Centro de Estudos Curatoriais, Bard College, Annandale-on-Hudson, EUA. 2007 Coletiva Videographies - The Early Decades from the EMST collection, Museu Nacional Hamburgo, Alemanha. Kiasma Museum of Contemporary Art, Elsinque, Finlândia. Art Metropole: The Top 100, The National Gallery, Ottawa, Canadá. de Arte Contemporânea, Atenas, Grécia. Pat Hearn Gallery: Part 2 (1988-1994), Pat Hearn Gallery, Nova York, EUA. Impact: Revealing Sources for Contemporary Art, Contemporary Museum, After the Revolution: Women Who Transformed Contemporary Art, Dorsky Site Specific Projects, (vídeo-instalação e projeto para sítio específico), N.M.A.C. Baltimore, EUA. Gallery, Curatorial Programs, Long Island, EUA. 2004 Individual Montenmedio Arte Conteporaneo, Cadiz, Espanha. Inderlightens Spill: Images of Religious Contemplation, (vídeo-instalação), Auto Emotion: Autobiography, emotion and self-fashioning, The Power Plant, Biography Remix, Fondazione Roma Europa, Roma, Itália. Yokohama 2001, Trienal Internacional de Arte Contemporânea, (instalação), Japão. Kunstmuseum, Lillehammer, Noruega. Toronto, Canadá. Performing Body: Video Works By Marina Abramovic, The Speed Art Museum, Where Are You? Centro de Estudos Curatoriais, Bard College, Annandale-on- Between Art and Spirituality, Centre Georges Pompidou, Paris, França. Louisville, USA. 2000 Individual Hudson, EUA. Into Me/Out of Me, Macro, Roma, Itália. Loop Performance, (IPG) P.S.1 Contemporary Art Center, Nova York, EUA. Cleaning the House: Traveling Cabinet, Kiasma Museum of Contemporary Art, Comfort Zone: Furniture by Artists, Paine Webber Art Gallery, Nova York, EUA. Lights, Camera, Action: Artists Films for the Cinema, The Whitney Museum of Elsinque, Finlândia. Animal.anima.Animus, Pori Art Museum, Pori, Finlândia; Museu de Arte Moderna American Art, Nova York, EUA. 2004 Coletiva Galerie Cent8, Paris, França. de Arnhem, Países Baixos e P.S.1 Contemporary Art Center, Long Island, EUA. The Missing Piece, Rubin Museum of Art, Nova York, EUA. Art Unlimited: ArtBasel 2004, Basiléia, Suíça. Marina Abramovic: Luminosity, Insomnia, Dissolution 1997, University of Global Conceptualism: Points of Origin, Queens Museum of Art, EUA. Mulher Mulheres, SESC Avenida Paulista, São Paulo, Brasil. Exhibit and Silent Auction, Marianne Boesky Gallery, Nova York, NY, EUA. Florida, Samuel P. Harn Museum of Art, Gainesville, EUA. The Time of Our Lives, The New Museum of Contemporary Art, New York, EUA. New Genre Festival XIV, Living Arts, Tulsa, USA. Belgrado Art Inc, Secession, Áustria. Marina Abramovic: Soul Operations Room, Galeria Kappatos, Atenas, Grécia. La Ville, le Jardin, la Mémoire, Academie de França, Villa Medici, Roma, Itália. Ohnmacht Muthesius, Kunsthochschule, Kiel, Alemanha. Bienal de Cetinje, Montenegro. Public Body - Artist Body, (performance, vídeo-instalações, objetos), Kunstverein Aspects - Positions. 50 years of Central European Art 1949 - 1999, Museum Quadrienal, Praga, República Tcheca. Camera/Action, Museum of Contemporary Photography, Columbia College, Chicago, EUA. Hanover, Alemanha. Kunst Stiftung Ludwig Wien, Viena, Áustria. PURE, Sean Kelly Gallery, Nova York, EUA. Collected Views from East to West, Generali Foundation, Viena, Áustria. Renegades, Exit Art, Nova York, EUA. Depicting Love, Kunstlerhaus Bethanien, Berlim, Alemanha. 2000 Coletiva 1998 Individual Role Exchange, Sean Kelly Gallery, Nova York, EUA. Maya Lin: Earth Drawings, The Wanas Foundation, Knislige, Suécia. Acoustic Architecture Architectural Acoustics, Aronson Gallery #1, Parsons Marina Abramovic; Expiring Body, Fabric Workshop and Museum, Filadélfia, EUA. Role Play: Feminist Art Revisited 1960-1980, Galerie Lelong, Nova York, EUA. Performance en Vivo, Museo de Arte de Puerto Rico. School of Design, Nova York, EUA. Marina Abramovic; Artist Body-Public Body, Kunstmuseum Bern, Berna, Suíça; Schmerz, Hamburger Bahnhof, Berlim, Alemanha. 2004 Biennial, Whitney Museum of American Art, Nova York, EUA. Anableps, Studio Stefania Miscetti, Roma, Itália. Lonja del Pescado, Alicante, Espanha; Moderna Galerija no Museu de Arte Moderna Vertigo: The Century of Off-Media Art and Futurism to the Web, Museo d’Arte Performing Body, Speed Art Museum, Louisville, EUA. Animal, Anima, Animus, The Winnipeg Art Gallery, Canadá. de Liubliana Cankarjev dom, Liubliana, Eslovênia. Moderna, Bolonha, Itália. Video Killed the Radio Star, La Fabrica Gallery, Madri, Espanha. Arteast Collection: The Art of Eastern Europe in Dialogue with the West; Marina Abramovic: objects, performance, video, sound; Museum of Contempo WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los From the 1960s to the Present. The Museum of Modern Art, Liubliana, Eslovênia. rary Art, Sidney, Austrália. Angeles, EUA. 2003 Individual Das Gedächtnis der Kunst, Historiches Museum, Schirn Kunsthalle, Frankfurt, Alemanha. Marina Abramovic: The Hunt/La Caza, Sala La Gallera, Valencia, Espanha. The Netherlands Media Art Institute, Montevideo/Time Based Arts, Amsterdã, Dream Machines, uma mostra de itinerância nacional organizada pela Hayward Marina Abramovic: Biography/Biography, Teatre Rialto, Valencia, Espanha. 2006 Individual Países Baixos. Gallery, de Londres, para o Arts Council of England. Itinerância: Dundee Contemporary Ulay/ Abramovic, Performance Works 1976-1988, Tramway, Glasgow, UK. Balkan Erotic Epic, SESC, São Paulo, Brasil. Student Body, Centro Galego de Arte Contemporánea, Santiago de Compostela, Espanha. Arts, Mappin Art Gallery, Sheffield, e Camden Arts Centre, Londres, UK. Balkan Epic, Art for the World Project, Pirelli, Milão, Itália. The Star, Museu de Arte Contemporânea, Kumamoto, Japão; La Fábrica, Madri, Trienal de Arte Echigo-Tsumari 2000, (instalação), Sarugakucho, Shibuya-ku, 1998 Coletiva Espanha; Museu de Arte Contemporânea Maragame Genichiro-Inokuma, Kagawa, Tóquio, Japão. Corpus Virtu, Sean Kelly Gallery, Nova York, EUA. 2006 Coletiva Japão (2004). Global Conceptualism: Points of Origin, 1950s-1980s, MIT List Visual Arts Out of Actions: Between Performance and the Object, 1949-1979, The Museum Into Me/Out of Me, P.S.1 Contemporary Art Center, Nova York, EUA; KW Institute Center, Boston, EUA. of Contemporary Art, Los Angeles, EUA; MAK-Ausstellungshalle, Viena, Áustria. for Contemporary Art, Berlim, Alemanha. 2003 Coletiva Group Show, Galerie Ingrid Dacié, Tübingen, Alemanha. Partners, Philadelphia Museum of Art, EUA. Unlearn, Plug In ICA, Winnipeg, Canadá. The Invisible Thread: Buddhist Spirit in Contemporary Art, Newhouse Center Heimat Kunst, (performance photographs), Haus der Kulturen der Welt, Berlim, Wounds: Between Democracy and Redemption in Contemporary Art, Moderna WATCH OUT, Beaumontpublic, Luxemburgo. for Contemporary Art, Snug Harbor Cultural Center, Staten Island, EUA. Alemanha. Museet, Estocolmo, Suécia. Video Evenings, MARTa pre-opening event, MARTa Herford/Museum of Art and Hypermental. Rampant Reality 1950-2000 from Salvador Dali to Jeff Wanas 1998, Wanas Foundation, Knislinge, Suécia. 2005 Individual Design, Herford, Alemanha. Koons,(vídeo-instalação), Kunsthaus Zurich, Suíça; Hamburger Kunsthall, Hamburgo, Landscape. The Trace of the Sublime. Kunsthalle zu Kiel der Christian-Alberchts- Art must be beautiful, Artist must be beautiful, Museo Nacional Centro de Arte Air, James Cohan Gallery, Nova York, EUA. Alemanha; Rudolfinum, Praga, República Tcheca. Universität, Kiel, Alemanha; Kunstraum Innsbruck, Áustria e Esbjerg Kunstmusem, Reina Sofia, Madri, Espanha. Banquete - International Traveling Exhibition, Palau de la Virreina, Barcelona, Insistent Memory: The Architecture of Time in Video Installation, University of Dinamarca. Balkan Erotic Epic, Sean Kelly Gallery, Nova York, EUA. Espanha; ZKM Center for Art and Media, Karlsruhe, Alemanha; Centro Cultural Florida, Samuel P. Harn Museum of Art, Gainesville, EUA. Body and the East, From the 1960s to the Present, Moderna Galerija Ljubljana, Eslovênia. Biography Remix [Performances], Avignon Theatre Festival, Avignon, França. Conde Duque, Madri, Espanha. La Forma del Mondo/La Fine del Mondo, (vídeo-instalação), PAC (Padiglione New Science, Edmonton Art Gallery (EAG), Canadá. Photographies et Objets/Count On Us, Galerie Guy Bärtschi, Genebra, Suíça. upon reflection…., Sean Kelly Gallery, Nova York, EUA. d’Arte Contemporanea), Milão, Itália. Body Double, Winston Wächter Fine Art Gallery, Nova York, EUA. (Re)Presenting Performance [Symposium], Solomon R. Guggenheim Museum, Video Acts: Single Channel Works from the Collections of Pamela and Rich- Lie of the Land earth body material, John Hansard Gallery, University of Southampton, Persona, Galerie Carousel, Paris, França. Nova York, EUA. ard Kramlich and New Art Trust, P.S. 1 Contemporary Art Center, Long Island, Southhampton, Grã-Bretanha. Escape at Remanence, Former Melbourne Magisrates’ Court and City Watch House, Self Portrait with Skeleton [Performance], Art Basel, Art Unlimited, Basiléia, Suíça. EUA; Institute of Contemporary Arts, Londres, Inglaterra. Lost Paradise Lost, Ev. Luth Stadkirchenverband, Hanover/Hamburgo, Alemanha. Melbourne, Austrália. Seven Easy Pieces [Performances], Solomon R. Guggenheim Museum, Nova York, EUA. Ma Sorciere bien aimée, Musée d’Histoire de la Ville de Luxembourg, Luxemburgo. “Out of Actions: Between Performance and the Object, 1949-1979”, Museu de Arte 2002 Individual Performing Bodies, (video), Tate Modern, Londres, UK. Contemporânea, Tóquio; Museum of Contemporary Art, Los Angeles; Museum of Contem 2005 Coletiva The House with the Ocean View, Sean Kelly Gallery, Nova York, EUA. Stanze e Secreti, Milão, Itália. porary Art, Viena; Museu d’Art Contemporani de Barcelona (video, slides e instalação). 5a. Bienal do Mercosul, Porto Alegre, Brasil. Galleria Lia Rumma, Milão, Itália. Ventana hacia Venus - Window onto Venus, Bienal de Havana, Teatro National/ Nine International Artists, (vídeo-instalaçãos e projeto para sítio específico), The Another Expo: Beyond the Nation-State, Museu Municipal de Arte de Kitakyushu, Galerie Cent8, Paris, França. Galeria Rene Portocarrero, Havana, Cuba. Wanas Foundation, Knislinge, Suécia. Japão; White Box, Nova York, EUA. 1997 Individual I am You, artists against racism, Amsterdã, Países Baixos. 1991 Individual 1987 Coletiva Balkan Baroque, 47ª Bienal de Veneza, Itália (Premiada com o Leão de Ouro). Ruimtelijke Manuscripten, serie De Stadsbibliotheek van de Zintuigen, Biblioteca For your eyes only, De Waag, Leiden, Alemanha. Arrangements for the Camera: A View of Contemporary Photography, (Polaroids), Spirit House and Performance Luminosity, Sean Kelly Gallery, Nova York, EUA. de Amsterdã, Países Baixos. Departure, Galerie Enrico Navarra, Paris, França. Baltimore Museum of Art, EUA. Performing Body, Museu Setagaya, Tóquio, Japão. Marina Abramovic, Victoria Miro Gallery, Londres, Grã-Bretanha. This is not a Photograph: Twenty Years of Large Scale Photography, 1966-68, Marina Abramovic Works, (vídeo-instalação e fotografias), CCA, Kitakyushu, Japão. 1994 Individual The Lovers, Museum of Contemporary Art, Montreal, Canadá. (Polaroids), Ringling Museum of Art, Sarasota, EUA. The Bridge, (vídeo-instalação), Museu Municipal de Arte Contemporânea, Skopje, Marina Abramovic: Departure, Laura Carpenter Fine Art, Santa Fé, EUA. “Blow Up” Zeitgeschichte, (Polaroids), Wurttembergischer Kunstverein, Stuttgart, Macedônia. Delusional, (performance teatral), Monty Theatre, Antuérpia, Bélgica; Theatre am 1991 Coletiva Alemanha; Haus am Waldsee, Berlim, Alemanha; Kunstverein, Hamburgo, Alemanha; Boat Emptying/Stream Entering, Sean Kelly, Nova York, EUA. Turm (TAT), Frankfurt, Alemanha. Arte Amazonas, Museo de Arte Moderna, Rio de Janeiro, Brasil. Kunstverein, Frankfurt, Alemanha; Kunstmuseum, Lucerne, Suíça; Rheinisces Landes Marina Abramovic 1979-1987, Galeria Okazaki Tamako, Tóquio, Japão. Image of Happiness, (extrato de Delusional), Steirischer Herbst, Graz, Áustria. Das Goldene Zeitalter, Wurttembergischer Kunstverein, Stuttgart, Alemanha; museuem, Bonn, Alemanha. Ulay/Abramovic, Van Abbe Museum, Eindhoven, Países Baixos. Faret Tachikawa, (instalação permanente ao ar livre Black Dragon Pillows), Tóquio, Ludwig Forum für Internationale Kunst, Aachen, Alemanha. Avant-Garde in the Eighties, (Polaroids), Los Angeles County Museum of Art, EUA. Performing Body, (objetos e vídeo-instalação), Studio Stefania Miscetti, Roma, Japão. Fuente, Nieuwe Kerk, Amsterdã, Países Baixos. Von Chaos und Ordnung der Seele, (Polaroids), Kunst in der Psychiatrischen Klinik Itália; Palazzo delle Esposizioni, Roma, Itália; Zerynthia, Paliano, Itália. der Universitat, Mainz, Alemanha. 1994 Coletiva 1990 Individual Art from Europe, (Polaroids), The Tate Gallery, Londres, Grã-Bretanha; Stedelijk 1997 Coletiva Hors Limites - L’Art et la Vie, (objetos, video), parceria com Ulay, Musée National The Lovers, (objetos e performances), Städtische Kunsthalle, Düsseldorf, Alemanha. Museum, Amsterdã, Países Baixos; The Museum of Contemporary Art, Los Angeles, Animalities, Monti Video/Time Based Arts), Amsterdã, Países Baixos. d’Art Moderne, Centre Georges Pompidou, Paris, França. Green Dragon Lying, Städtische Kunsthalle, Düsseldorf, Alemanha. EUA; Institute of Contemporary Art, Boston, EUA. Future, Past, Present, 1965-1997, 47ª Bienal de Veneza, Itália (vídeoinstalação Visceral Responses, Holly Solomon Gallery, Nova York, EUA. Boat Emptying/Steam Entering, Galerie Ingrid Dacic, Tübingen, Alemanha. Animal Art, (documentação fotográfica da performance Three), Steirischer Herbst Balkan Baroque, performance, Cleaning the House). Künstlertraumen Berlin, Stiftung Neue Kultur, Berlim, Alemanha. Le Guide Chinois, Galerie Charles Cartwright, Paris, França. ’87, Graz, Áustria. Artist Projects, P.S. 1 Contemporary Art Center, Long Island, EUA. Voetsporen, Artoteek, Dordrecht, Países Baixos. Marina Abramovic: Sur la Voie, Galeries Contemporaines, Centre Georges The Mirror + The Lamp, (Polaroids), The Fruitmarket Gallery, Edimburgo, De-Genderism, (vídeo-instalação, performance), Cleaning the House), Museu de Beeld, Museum van Hedendaagse Kunst, Ghent, Bélgica. Pompidou, Paris, França. Grã-Bretanha. Arte Setagawa, Tóquio, Japão. Different Natures, Espai 2, Barcelona, Espanha. Dragon Heads, Museum of Modern Art, Oxford, Grã-Bretanha. Die Gleichzeitigkeit des Anderen, (objetos-vasos The Sun and the Moon), Shoes or No Shoes?, Shoes of Artists, Vishal, Haarlem, Países Baixos. Georgius Agricola, Kunstsammlung, Chemnitz, Alemanha. Edge‘92, (performance), The Church, Newcastle-Upon-Tyne, Grã-Bretanha; Third Eye Kunstmuseum, Berna, Suíça. Spirit House, (vídeo-instalação), Bienal de Óbidos, Portugal. Shoes from Artists, X, Pilar and Juan Miró Foundation, Mallorca, Espanha. Centre, Glasgow, Escócia. The 100 Days of Contemporary Art of Montreal 1987, (Polaroids), International The Compulsion to Remember, Centro de Estudos Curatoriais, Bard College, Metaphysical Metaphors, High Museum of Art, Atlanta, EUA. Boat Emptying/Stream Entering, (performance e objetos), Museum of Modern Art, Center of Contemporary Art, Montreal, Canadá. Annandale-On-Hudson, EUA. Dialogue with the Other, Künshallen Brands Klaederfabrik, Dinamarca; Montreal, Canadá. Norrköpings Konstmuseum, Suécia. Aphrodite, Communal Centre, Chipre. 1986 Individual 1996 Individual L’art à la plage, Jumeaux, França. Nightsea Crossing, (Performance), New Museum of Contemporary Art, Nova York, Spirit Cooking, Galerie de Lege Ruimte, Ghent, Bélgica. Naturally, Ernst Museum, Budapeste, Hungria. 1990 Coletiva EUA. Boat Emptying Stream Entering, University of North Texas Art Gallery, Denton, Buch und Kunst, Galerie Renate, Hamburgo, Alemanha. The Shadow of Presence, Galerie Charles Cartwright, Paris, França. Risk in Age of Art, (vídeo documentário da performance), University Baltimore, EUA; EUA; Center for Research in Contemporary Art, University of Texas at Arlington, EUA. Beyond the Pale, Irish Museum of Modern Art, Dublin, Irlanda. De Verzmeling II, Museum van Hedendaagse Kunst, Antuérpia, Bélgica. The House, Santa Monica, EUA. The House, Five Rooms and Storage, Middlesbrough Art Gallery, Grã-Bretanha. I Am You, Cleaning the House, (projeto de poster apresentado em várias cidades Venus, Musée Albi, Albi, França. Nightsea Crossing Complete Works, (objetos, performance e documentário Chair for Man and His Spirit; Chairs for Man and Spirit, (instalação para sítio européias por Ugo Dossi e Thomas Barth). Noli Me Tangere, Kunstmuseum, Sion, Suíça. fotográfico), Musee Saint Pierre d’Art Contemporain, Lion, França. específico), Okasaki Mindscape Museum, Japão. Nature in Art, Kunstmuseum, Viena, Áustria. Tuesday/Saturday, (Polaroids), Curt Marcus Gallery, Nova York, EUA. Chair for Spirits, (projeto para sítio específico), Dallas, EUA. 1993 Individual Ulay/Marina Abramovic, (Polaroids), San Francisco Art Institute, EUA. Cleaning the Mirror, (performance), Villa Stuck, Munique, Alemanha. Biography, (performance teatral), Theater am Turm [TAT], Frankfurt, Alemanha; 1989 Individual Cleaning the Mirror, (instalação), Miró Foundation, Palma, Mallorca, Espanha. Hebbeltheater, Berlim, Alemanha. Boat Emptying/Stream Entering, Victoria Miro Gallery, Londres, Grã-Bretanha. 1986 Coletiva Biography, Groninger Stanschouwburg, Groningen, Países Baixos. Marina Abramovic, Jean Bernier Gallery, Atenas, Grécia. The Lovers, Stedelijk Museum, Amsterdã, Países Baixos; Museum van He The Real Big Picture, (Polaroids), Queens Museum, Queens, EUA. The Urgent Dance, Museu de Arte Contemporânea, Ghent, Bélgica. Marina Abramovic, Palazzo dei Diamanti, Ferrara, Itália. dendaagse Kunst, Antuérpia, Bélgica. Parceria com Ulay, (Polaroids), Burnett Miller Gallery, Los Angeles, CA, EUA. Dragon Heads, (performance), Caixa de Pensiones, Barcelona; Kunstmuseum, Green Dragon Lying, Museum van Hedendaagse Kunst, Antuérpia, Bélgica; Momento Mori, Moore College of Art, Filadélfia, EUA. 1996 Coletiva Bonn, Alemanha; Hamburger Kunsthalle, Hamburgo, Alemanha. Stedelijk Museum, Amsterdã, Países Baixos. Sixth Annual San Francisco Video Festival, (vídeo City of Angels), São Francisco, Cleaning the Mirror, (vídeo-instalação), Cultural Elzenveld, Antuérpia, Bélgica. Wartesaal, (instalação), Neue Nationalgalerie, Berlim, Alemanha. SSS, (sob a direção de Charles Atlas), Madri, Espanha. EUA. In Between in Running Trains, (vídeo-instalação), Gynaika, Antuérpia, Bélgica. Boat Emptying/Stream Entering, (áudio: Charlemagne Palestine), Frankfurt, Alemanha. Alles und noch viel mehr, das poetische ABC, (performance de Modus Vivendi), Girls, Bad Girls!, Cultuur Centrum, Bruges, Bélgica. 1993 Coletiva Kunsthalle/Kunstmuseum, Berna, Suíça. NowHere, Louisiana Museum of Modern Art, Humlebaek, Dinamarca. La Coesistenza dell’Arte, Bienal de Veneza, Itália. 1989 Coletiva Nightsea Crossing, (performance), Teatro de Musica Performances, Fundação Video Sans Titre, Galerie Froment + Putnam, Paris, França. Cerco, Bienal Internacional de Óbidos, Portugal. Magiciens de la Terre, Musée National d’Art Moderne, Centre Georges Pompidou, Calouste Gulbenkian, Lisboa, Portugal. Vier Positionen Holländischer Plastik, Skulpturen Museum, Glaskaten Marl, World Wide Video Festival, World Wide Video Centre, Haia, Países Baixos. Paris, França. Rememberances of Things Past, (Polaroids), Long Beach Museum of Art, EUA. Alemanha. Différentes Natures, La Défense, Paris, França. Wanderers, Galerie Charles Cartwright, Paris, França. Rijksaankopen 1985, (Polaroids), Logement, Gravenhage, Países Baixos. Walking and Thinking and Walking, Louisiana Museum, Odense, Dinamarca. Becoming Visible, (vídeo-instalação), Feuer Wasser Erde Luft, Mediale, Deichtorallen, And they see God, Pat Hearn Gallery, Nova York, EUA. Big Portraits, (Polaroids), Jeffery Hoffield & Co., Nova York, EUA. Art meets Science, Spirituality in a Changing Economy, Copenhagen, Dinamarca. Hamburgo, Alemanha; Galerie Franck + Schulte, Berlim, Alemanha. Das Verhältnis der Geschlechter, (instalação de objetos), Kunstverein, Bonn, Emerging Artists ’86, (Polaroids), Cleveland Centre for Contemporary Art, Cleveland, I am You, Cleaning the House, Billboard Project, Antuérpia, Bélgica. Alemanha. EUA. 1995 Individual Mediale, Deichtorhallen, Hamburgo, Alemanha. Over den gres, (instalação), Nederlands Textielmuseum, Tillburg, Países Baixos. 1986 Houston Fotofest, (Polaroids), Blaffer Gallery, University of Houston, EUA. Cleaning the Mirror, (instalação de objeto e performance), Sean Kelly Gallery, 20 Jahre Künstler-Videos, Hamburger Kunsthalle, Hamburgo, Alemanha. Video-Skulptur Retrospektiv und Aktuell 1963-1989, Kölnischer Kunstverein, Foto Cliché, (Polaroids), Victoria Miro Gallery, Londres, Grã-Bretanha; Orchard Nova York, EUA. Arte Amazonas, Staatliche Kunsthalle, Berlim, Alemanha. Colônia, Alemanha; Kongresshalle, Berlim, Alemanha; Kunsthaus, Zurich, Suíça. Gallery, Derry, Grã-Bretanha. Biography, (performance teatral), Singel Theater, Antuérpia, Bélgica. Photography as Performance, (documentário fotográfico de performance), The Biography, (performance teatral), Greer Carson Theatre, Santa Fé, EUA. 1992 Individual 1988 Individual Photographer’s Gallery, Londres, Grã-Bretanha. Marina Abramovic: objects, performance, video, sound, Museum of Modern Marina Abramovic, École Nationale Supérieure des Beaux-Arts, Paris, França. China Ring, Burnett Miller Gallery, Los Angeles, EUA. Modus Vivendi Tuesday/Saturday, (Polaroids) Burnett Miller Gallery, Los Angeles, Art, Oxford, Grã-Bretanha; Fruitmarket Gallery, Edimburgo, Grã-Bretanha; Irish Transitory Objects, Galerie Krinzinger, Viena, Áustria. Anima Mundi, Galerie Ingrid Dacic, Tübingen, Alemanha. EUA; Visual Arts Centre, Cambridge, EUA. Museum of Modern Art, Dublin, Irlanda; Kunsthallen Brandts Klaedefabrik, Odense, The Bridge, Galerie Ingrid Dacic, Tübingen, Alemanha. Dinamarca; Villa Stuck, Munique, Alemanha; Groninger Museum, Groningen, Países Becoming Visible, Galerie des Beaux Arts, Bruxelas, Bélgica; Musée Montbéliard, França. 1988 Coletiva 1985 Individual Baixos; Museum van Hedendaagse Kunst, Ghent, Bélgica. Wartesaal, Neue Nationalgalerie, Berlim, Alemanha. After 15 Years, (documentação fotográfica de performances) Happy New Gallery, Modus Vivendi, (performance), Kunstmuseum, Berna, Suíça; Saskia Theatre, Cleaning the Mirror, Museum of Modern Art, Oxford, Grã-Bretanha. Dragon Heads, Caixa de Pensiones, Barcelona, Espanha; Kunstmuseum Bonn, SCC, Belgrado, Iugoslávia. Arnhem, Países Baixos. Double Edge, instalação para o Kunstmuseum des Kantons, Karthause Ittingen, Suíça. Alemanha. Beelden voor blinden en zienden, Oude Kwekje, Kortenhoef, Países Baixos. Nightsea Crossing, (performance), Fundação Calouste Gulbenkian, Lisboa, Portugal; Performance Anthology, Video, Drawings, Galeria Klaus Fischer, Berlim, Alemanha. Biography, Kunsthalle, Viena, Áustria. The Flag Project, 50 Artists/50 Flags, Veneza, Itália. 1ª Bienal Internacional de Ushimado, Japão; XVIII Bienal de São Paulo, Brasil. Rapture, the Body, Ritual + Sacred Practice, I.C.A., Londres, Grã-Bretanha. Roots and Turns, 20th Century Photography in the Netherlands, Blaffer Gallery, Fragilissimo, (performance teatral), com M. Laub e Mr. Mondo, Stedelijk Museum, 1992 Coletiva University of Houston, EUA; Stedelijk Museum, Amsterdã, Países Baixos. Amsterdã, Países Baixos. 1995 Coletiva Documenta 9, Kassel, Alemanha. Rijksaankopen 1987; wer van hedendaagse beeldende kunstenaars, Stedelijk Longing and Belonging, Site Santa Fé, Santa Fé, EUA. Spatial Drive, The New Museum of Contemporary Art, Nova York, EUA. Museum, Amsterdã, Países Baixos. 1985 Coletiva Becoming Visible, (vídeo-instalação), Bienal de Istambul, Turquia. Faszination Edelstein, Hessisches Landesmuseum, Darmstadt, Alemanha. Documenta 8, Kassel, Alemanha. Amsterdã buys Art, (Polaroids), Municipal Art Acuisition 84, Museum Fodor, Bienal de Padova, Padua, Itália (seção Francalanci); Bienal de Lion, França. The Biography, Edge 92, Bienal Internacional de Arte Visual Inovativa, Madri, Photo Mannerisms, Lawrence Oliver Gallery, Filadélfia, EUA. Rijksaankopen 1984, Gravenhage, Países Baixos. Inbetween, (instalação coletiva), Thuringen, Alemanha. Espanha; Kunsthalle, Viena, Áustria. Von Hier aus, Zwei Neue. Deutsche Kunst im Dusseldorfer Messegelande, Feminin/masculin, Centre Georges Pompidou, Paris, França. Van Vlees en Bloedt, (documentário em vídeo de performance e objetos), em 1987 Individual (Polaroids), Dusseldorf. Autour de Roger Vivier, Galerie Enrico Navarra, Paris, França. parceria com Ulay, Stedelijk Museum, Schiedam, Países Baixos. Die Mond der Sonne, (objeto Mikado e Polaroids), Centre d’Art Contemporain, L’Art et le Temps, Regards sur la Quatrieme Dimension, (conceito de projeto China, Artists Against Violence, Neuer Aachener Kunstverein, Aachen, Alemanha. The Comfort Zone, The Living Room, Amsterdã, Países Baixos. Palais Wilson, Genebra, Suíça. documentação fotográfica), Musee Rath - Musee d’Art et d’Histoire, Genebra, Suíça. Ram = Realität, Anspruch, Medium, Wartesaal, Kunstfonds, Bonn, Alemanha. Die Künstlerpostkarte, Altonaer Museum, Hamburgo, Alemanha. Ulay/Marina Abramovic, (Polaroids), Contemporary Art Center, Cincinnati, EUA. Content: A Contemporary Focus 1974 - 1984, Hirshhorn Museum and Sculpture Avant - Garde Walk in Venezia, Itália. Frischluft, Wilhelm Lehmbruck Museum, Duisburg, Alemanha. Tuesday/Friday, (Polaroids), Galerie Rene Blouin, Montreal, Canadá; Michael Klein, Garden, Washington, EUA. Nova York, EUA. Symbol Tier, (documentação fotográfica de Performance 3), Krinzinger, Innsbruck, 1981 Coletiva Thomas Lips, (performance), Galerie Krinzinger, Innsbruck, Áustria. 2006 Áustria. Artists’ Photographs, (Polaroids), XVI Bienal de São Paulo, São Paulo, Brasil; Warm/Cold, (performance), Fruitmarket Gallery, Edimburgo, Grã-Bretanha. Arvidsson, Kristoffer. “Att Återuppföra en Performance,”Paletten, no. 264, pp. 33-34. By the river 3: international photography today, (Polaroids), The Pori Art Crown Point Press Gallery, Oakland, EUA. Art must be Beautiful, Artist must be Beautiful, (performance), Festival de Arte, “Back for One Night Only!,” Art in America, February 2006, pp. 90-93. Museum, Finlândia. Instant Fotografie, (Polaroids), Stedlijk Museum, Amsterdã, Países Baixos. Copenhagen, Dinamarca. “Balkan Epic,” L’Espresso [Italy], 5 Janurary 2006, p. 108. Hoogtepunten uit de fotocollective van het Stedelijk Museum, (Polaroids), Role Exchange, (performance) Galerie De Appel/Red Light District, Amsterdã, Becker, Carol, “Gandhi’s Body and Further Representations of War and Peace,” art Museum Fodor, Amsterdã. 1980 Coletiva Países Baixos. journal, Winter 2006, pp. 79-95. As far as Amsterdam Goes, (Polaroids), Stedelijk Museum, Amsterdã, Países Baixos. Rest Energy, Rose ’80: The Poetry of Vision: An International Exhibition of Freeing the Memory, (performance), Galerie Dacic, Tubingen, Alemanha. Berwick, Carly, “Sex, Moss, and Videotape,” ARTnews, September 2006, p. 46. Das Auge des Kunstlers, (Polaroids) Logetta Lombardesca, Ravena, Itália; Kunstverein, Modern Art and Chinese Painting, (performance), School of Architecture, Univer Freeing the Voice, (performance), Galeria do Centro Cultural Estudantil, Belgrado, Bonazzoli, Francesca. “Milano 2006, L’Arte e Erotica,” Corriere della Sera [Milano], Frankfurt, Alemanha. sity College, National Gallery of Ireland, Dublin, Irlanda. Iugoslávia. 10 January 2006, Cover and p. 15. Bonazzoli, Francesca, “La mia arte esplora la paura,” Corriere della Sera [Milano], 17 January 2006, p. 15. 1984 Individual 1979 Individual 1975 Coletiva Bonel, Michel, “Milan a enfin son centre d’art contemporain,” Tribune des Arts, The Brink, European Dialogue, (performance), 3a Bienal de Sidney, Art Gallery of Positive Zero (performance), Stadsschouwburg, Eindhoven, Países Baixos. Aspekte Gegenwartskunst aus Jugoslawien, (documentação fotográfica das February 2006, p. 16. Nightsea Crossing (performance), Museum van Hedendaagse Kunst, Ghent, New South Wales, Sidney, Austrállia. performances Rhythm 10, 2,5,4,0), Akademie der Bildenden Kunst, Viena, Áustria. Buck, Louise, “Abramovic: artist or stand-up comic,” The Art Newspaper, November, Bélgica; Galerie/Edition Media, Furkapass, Furka, Suíça; Stadtisches Kunstmuseum, Go…Stop…Back…Stop… (performance), National Gallery of Victoria, Melbourne, Yugoslave Avant-Garde Art, (documentário fotográfico das performances Rhythm 2006, p.39. Bonn, Alemanha; Forum, Middleburg, Países Baixos. Australia. 10, 2, 5, 4, 0), Gallery Wspolzescna, Varsóvia, Polônia. Burton, Johanna, “Repeat Performance,” ArtForum, Vol. XLIV, No. 5, Jan 2006, pp. 55-56. Modus Vivendi (performance), Institute of Contemporary Art, Boston, EUA. Communist Body/ Fascist Body, (performance), Zoutkeergracht 11/118, Amsterdã, Celant, Germano, “Eros propiziatore,” L’Espresso, 16 February 2006, p. 126. Países Baixos. 1974 Individual “Corpo ed eros,” Riflessi, Anno XI No. 1, Gennaio 2006, p. 8. 1984 Coletiva Installation One, (instalação), Stichting De Appel, Amsterdã, Países Baixos. Spaces, (instalação), Gallery of Contemporary Art, Zagreb, Iugoslávia. “Digital Diary – Armory/Pulse,” Kunstbeeld.NL, May 2006, p. 16. Forun un Scene 1984, Abdijcomplex, Vleeshal, Kuiperspoort, Middleburg, Países Baixos. One the Way, (obra em áudio), Audio Arts, Riverside Studios, Londres, Grã-Bretanha. Rhythm 5, (performance), Expanded Media Festival, Centro Cultural Estudantil, E.A. “Bicocca a luci rosse,” L’Espresso [Italy], 2 Febbraio 2006, p. 15. La Zattera di Babele, een Carrousel van Beeld, Muziek, Woord en Theatre, Nightsea Belgrado, Iugoslávia. “Electric Company: Power 2006,” Art + Auction, December 2006. Crossing (performance), Stadsschouwburg/Stedelijk Van Abbemuseum, Eindhoven, 1979 Coletiva Rhythm 2, (performance), Gallery of Contemporary Art, Zagreb, Iugoslávia. Gandini, Manuela. “Balla sotto la pioggia l’erotismo balcanico,” La Stampa [Italy], the Netherlands. Trigon ‘79/Masculin-Feminin, Steirischer Herbst ’79, (documentação fotográfica), Rhythm 4, (performance) Galleria Diagramma, Milão, Itália. No. 18 19 Gennaio 2006, p. 27. Neue Galerie, Graz, Áustria. Rhythm 0, (performance) Galleria Studio Morra, Nápoles, Itália. Gatti, Chiara. “Scandalosa Marina,” La Repubblica, 17 gennaio 2006, p. XI 1983 Individual Photographie als Kunst 1879-1979/Kunst also Photographie 1949-1979, Gilmore, Jonathan, “Brain Trust,” Artforum, Summer 2006, pp. 121-122. Nightsea Crossing / Conjunction (performance), Museum Fodor, Amsterdã, Países Museum des XX Jahrhunderts, Viena, Áustria. 1974 Coletiva Gruenberger, Uta. “Marina Marina,” Quest, January/February 2006, pp. 178-191. Baixos. Letters 1959-1973, Six Artists, Cultural Centre Gallery, Belgrado, Iugoslávia. Harvey, Doug. “The Dalai Museum” LA Weekly Online, 21 June 2006. Positive Zero (theater performance), Países Baixos Festival, Carre Theater, 1978 Individual Xerox Works Exhibition, (fotocópias), Galeria do Centro Cultural Estudantil, Zagreb, Jones, Amelia. “Rupture,” Parachute, July-September 2006, pp. 15-37. Amsterdã, Países Baixos; AAA-AAA, (performance), estúdio de televisão RTB, Liège, Bélgica. Iugoslávia. Kennedy, Randy, “The Week Ahead: Art/Architecture,” The New York Times, Muziekcentrum Vredenburg, Utrecht; De Doelen, Roterdã, Países Baixos. Incision, (performance), Galerie H-Humanic, Graz, Áustria. 7 Secretaries of SKOJ-A, (documentação da performance -premiada por Rhythm Sunday, January 1, 2006, Section 2, p. 31. Landi, Ann, “Marina Abramovic,” ARTNews, April 2006, p. 138. Modus Vivendi (performance), Progetto Genazzano, Zattera di Babele, Genazzano, Kaiserschnitt, (performance), Performance Festival, Hofreischule, Viena, Áustria. 5), Prize Winners, Galeria Nova, Zagreb, Iugoslávia. Larson, Kay. “Such a Casual Man, but So Many Auras,” The New York Times, 11 Itália. Work/Relation, (performance), Extract Two, Theatre aan de Rijn, Arnhem, Países Signalism, (poesia em computador), Contemporary Art Gallery, Zagreb, Iugoslávia. June 2006: 34,36. Baixos; Palazzo dei Diamanti, Ferrara, Itália; Badischer Kunstverein, Karlsruhe, New Artistic Practice in Yugoslavia 1968-1974, (documentação fotográfica das “Legenda,” Kunstbeeld.NL, May 2006, p. 27. 1983 Coletiva Alemanha. performances Rhythms 10, 2, 5, 4, 0), Gallery of Contemporary Art, Zagreb, Iugoslávia. Lieberman, Rhonda, “Passion Victims,” Artforum online, November 7, 2006. Nightsea Crossing ARS ’83, (performance), The Art Museum of the Ateneum, Three, (performance), Harlekin Art, Wiesbaden, Alemanha. Elsinque, Finlândia. “Marina Abramovic. All’hangar Bicocca la Nuova epopea Balcanica,” Arte [Italy], Installation One, Stichting De Appel, Amsterdã, Países Baixos. January 2006, p. 15. De Goddelijke Kondeie, (Polaroids), Rotterdaamse Kunststichting, Roterdã, Países Installation Two, Harlekin Art, Wiesbaden, Alemanha. “Marina Abramovic: Balkan Epic,” Ventiquattro, January 2006, p. 14. Baixos. ”Marina Abramovic: Balkan Epic,” www.virgilio.it, 13 January 2006. Vision of Disbelief: 4a Bienal de Sidney, (documentação fotográfica de Nightsea 1977 Individual Marina Abramovic “Marina Abramovic: Épique,” Art Actuel, No. 42, January-February 2006, pp. 78-79. Crossing), Art Gallery of New South Wales, Sidney, Austrália. (documentação fotográfica das performances Rhythm 10, 2, 5, 4, 0), Galerie Magers, Bibliography Masoero, Ada. “Balcanica, Epica, Erotica,” Il Giornale Dell’Arte, No. 250, Gennaio Live to Air, Artist’s Sound Works, (obra de aúdio), Tate Gallery, Londres, Grã- Bonn, Alemanha. 2006, p. 23. Bretanha. MAGMA, (photo doc. of performances Rhythm 10, 2, 5, 4, 0), Museum of Verona, Selected Articles and Reviews Marina Abramovic…O Ucenju I Poucavanju,” Ambijenti, Sunday, June 11, 2006, pp. 104-107. ’60 ’80 Attitudes/Concepts/Images, (Polaroids), Stedelijk Museum, Amsterdã, Verona, Itália. Marjanovic, Milena. “Stvaram da bih pobedila bol u sebi,” BLIC, 3 January 2006, p. 13. Países Baixos. 2007 Marziani, Gianluca. “Eros Estremo Milano,” Panorama [Italy], 13 January 2006, pp. 166-167. 1977 Coletiva Sibony, Daniel “Création. Essai sur l’art contemporain” October 2007. Abramovic, “Modern and Contemporary Art, Marina Abramovic,” Skira, Fall 2006, p. 14 1982 Individual Interruption in Space, (performance), Staatliche Kunstakademie, Düsseldorf, Marina, “Virginias,” Printed Project, June 2007, pp. 20-25. Baker, RC, “Best in Show: Montalto, Domenico, “I Balcani alla Bicocca,” Avvenire [Italy], No. 15 19 Gennaio 2006, p. 2. Nightsea Crossing, (performance), Skulpturenmuseum, Marl, Alemanha; Kuns Alemanha. Your Face or Mine?” Village Voice, July 25-31, 2007, p. 48. “Mostre/Marina Abramovic,” Capital, January 2006, pp. 24-25. takademie, Düsseldorf; Kunstlerhaus Bethanien, Berlim; Kolnischer Kunstverein/ Breathing In/Breathing Out, (performance), Centro CulturalEstudantil, Belgrado, Camhi, Leslie, “Designed for Living,” New York Times Style Magazine, Sunday, April Murphy, Jay, “Marina Abramovic,” Contemporary 21, Issue no. 89, 2006, pp. 10, 20-23. Molkerei, Colônia; Stedelijk Museum, Amsterdã, Países Baixos; Museum of Contem Iugoslávia; Stedelijk Museum, Amsterdã, Países Baixos. 15, 2007. “Performance: estudos,” Culturgest – Grupo Caixa Geral de Depósitos, Sept/Dec 2006. porary Art, Chicago, EUA; A Space/Town Hall, Toronto, Canadá; Documenta 7, Imponderabilia, La performance oggi: settimana internazionale della perfor- Colin, Juan Pablo, “Marina Abramovic: Carne de Canon (Cannon Fodder)” Arte Al Phelan, Peggy. “L’engagement du Corps,” Mouvement, No. 41, Oct/Dec 2006, pp. 44-51. Pini, Francesca. “Marina Abramovic In po sciamana, un po videoartista,” Corriere Kassel, Alemanha. mance, (performance), Galleria Comunale d’Art Moderna, Bolonha, Itália. Limite, January/February 2007, pp.12-20, 146-147, cover. della Sera, 12 January 2006, pp. 90-92. Luther, (instalação), Kabinett fur aktuelle Kunst, Bremerhafen, Alemanha. Expansion in Space, (performance), Documenta 6, Kassel, Alemanha. Cotter, Holland, “The Art of Feminism as It First Took Shape,” The New York Times, March 9, 2007. Pistolini, Stefano. “Arte De Guardare O Da Guardoni?” Vanity Fair [Italy], 12 January Relation in Movement, X Biennale de Paris, (performance), Musee d’Art Mod Dannatt, Adrian, “Guggenheim whips up a bash for Abramovic’s 60th,” The Art 2006, p. 118. 1982 Coletiva erne de la Ville de Paris, França. Newspaper, April 2007. Politi, Giancarlo and Helena Kontova, “Re-Centered?” Flash Art, no. 251, November- Momentbild: Kunstlerphotographie, (Polaroids), Kestnergesellschaft, Hanover, Relation in Time, (performance) Studio G7, Bolonha, Itália. Alemanha. Dennison, Lisa, “Europe: A Survival Guide,” Art + Auction, June 2007, p.158. December 2006, pp. 56-58. Light/Dark, (performance), Internationale, Kunstmesse, Colônia, Alemanha. Garwood, Deborah, “Striking a Pose for the Sake of Art,” The New York Sun, “Pride and Prejudices: Best & Worst 2005,” Time Out New York, Issue 535, Decem Videokunst in Deutschland 1963-1982, (exposição itinerante com vídeo-instalação Balance Proof, (performance), Musee d’Art et d’Histoire, Genebra, Suíça. Crazed Elephant), Kolnischer Kunstverein, Colônia, Alemanha. Thursday, July 19, 2007, p. 21. ber 29 - January 4, 2006, p. 13. Contemporary Art from the Netherlands, Museum of Contemporary Art, Chicago, EUA. Gilligan, Melanier, “The Beggar’s Pantomime,” Artforum, Summer 2007, pp. 423-433. Schwendener, Martha. “New York’s Art Fairs” Art in America, May 2006, p. 49-51. 1976 Individual “Sesso e Riti Dentro L’Hangar,” La Repubblica XL, February 2006, p. 107. Documenta 7, (trabalho fotográfico), Kassel, Alemanha. Kontova, Helena, “Marina Abramovic, Vanessa Beecroft, Shirin Neshat: Modern Talking about Similarity, (performance), Signal 64, Amsterdã, Países Baixos. Nomads,” Flash Art, July - September 2007, pp. 102-107, cover. Smalec, Theresa, “Not What it Seems: The Politics of Re-Performing Vito Acconci’s 11eme Festival International du Nouveau Cinema Montreal 1982, Montreal, Canadá. Freeing the Body, (performance), Kunslerhaus Bethanien, Berlim, Alemanha. Levin, Jordan, “Going to extremes: artist Marina Abramovic,” Miami Herald, 29 Seedbed (1972),” PMC: Postmodern Culture, September 2006. Vision of Disbelief: 4a Bienal de Sidney, (vídeos), Art Gallery of New South March, 2007. Stern, Steven, “ Liberal Arts: How and Emerging Creative Class is Transforming Wales, Sidney, Austrália. 1976 Coletiva “Marina Abramovic & Paolo Canevari,” C International Photo Magazine, number Philadelphia into a Major Art Destination,” The New York Times Magazine, Sunday, Live to Air; Artists’ Sound Works, (obras em áudio), Tate Gallery, Londres, Grã- Bienal de Veneza; Ambiente/Participazione/Strutture Culturali, (performance), four, 2007, pp. 252-264. 19 November, 2006. Bretanha. Veneza, Itália. Nys Dambrot, Shana, “Swing-Out Sisters: WACK! Art and the Feminist Revolution,” Stokic, Jovana. “Diva u svetu umetnosti,” Elle [Serbia], Winter 2006, pp. 48-51. ’60 ’80 Attitudes/Concepts/Images, (Polaroids), Stedelijk Museum, Amsterdã, M. Abramovic, Natalia L.L., G. Pane, (performance), Galeria Arte Verson, Gênova, Itália. Art Review, April 2007, p. 34. Testo, Andrea Lissoni. and Foto, Milan Dakov. “L’Energia Sotto La Gonna,”Rolling Países Baixos. Photography as Art, (documentação fotográfica das obras), Contemporary Art Gal Picard, Charmaine and Gareth Harris, “Artists and Curators on the Circuit,” The Art Stone [Italy], Gennaio 2006, pp. 134-135. lery, Zagreb, Yugoslávia; Museu de Arte Moderna, Belgrado, Iugoslávia. Newspaper, 2007, p. 8. Trainor, James, “Performa 05,” frieze, March 2006, p. 41. 1981 Individual Smith, Roberta, “Art in Review: Role Exchange,” The New York Times, Friday, July Turner, Jonathan, “City Focus: Rome; Ferment and Creativity,” ARTnews, Vol. 105, Gold found by the Artists, Nightsea Crossing, Art Gallery of New South Wales, No. 1, January 2006, pp. 90-97. 1975 Individual 6, 2007, p. E31. Verroust, Marie-Laure, “Tableaux d’architecture selon Chrissie Iles,” Architectural Sidney, Austrália Rhythms 10; 2; 5; 4; 0, (documentação fotográfica das performances), Museum of Suares de Jesus, Carlos, “Art Without the Fear Factor,” Miami New Times, March Digest, Decemeber 2006 – January 2007, p.76. Witnessing, (performance), ANZART, The Art Centre, Christchurch, Nova Zelândia. Contemporary Art, Belgrado, Iugoslávia. 29 - April 4, 2007. Triff, Alfredo, “Marina Abramovic: icono del arte del ‘performance,’ El Nuevo Herald, Wallach, Amei. “Missed Signals: Nuance and the Reading of Immigrant Art.” Ameri 6WF, (performance), The Art Gallery of Western Australia, Perth, Austrália. Freeing the Voice, (vídeo-instalação), Galerie De Appel, Amsterdã, Países Baixos. 29 March, 2007. can Art, vol. 20, no. 2, Summer 2006, pp. 126-133. Photo documentation of performances Rhythms 10, 2, 5, 4, 0, Galerie Krinzinger, Triff, Alfredo, “Marina Abramovic: Work of Progress,” Miami Sun Post, March 29, 2007. “What’s On: Rest of Europe,” The Art Newspaper January Listings, No. 165, January Innsbruck, Áustria; Galleria Diagramma, Milão, Itália; Studio Morra, Nápoles, Itália. 2006, p. 12. 2005 Larson, Kay. “Reviews: Take Two. Worlds and Views: Contemporary Art From the Yablonsky, Linda. “Reviews: ‘Take Two. Worlds and Views: Contemporary Art from Saltz, Jerry. “The OK Corral.” The Village Voice [New York], 17-23 March 2004, p 80. Abramovic, Marina. “The ArtInfo Interview: Marina Abramovic.” Interviewby James Collection.” ARTnews 104, no. 10 (November 2005), pp. 176-177. the Collection.’” Time Out New York, 13-19 October 2005, p. 71. Smith, Roberta. “ Art That Speaks to You Literally.” The New York Times, 7 March Westcott. ArtInfo, 9 November 2005,
1987 Abramovic, Marina. “Art Must Be Beautiful, Artist Must Be Beautiful.” In Taormina arte. Rome: DeLuca Edizione d’Arte. Lacey, Catherine. Art from Europe. London: Tate Gallery.
1986 Debbaut, Jan. Octobre des Arts. Lyon: Musée St. Pierre Art Contemporain. Tucker, Marcia. Choices: Making an Art of Everyday Life. New York: New Museum of Contemporary Art.
1985 Abramovic, Marina and Ulay, et al. Was Amsterdam Bereft, as Far as Amsterdam Goes. Amsterdam: Stedelijk Museum. Debbaut, Jan, ed. Modus Vivendi: Ulay & Marina Abramovic Works 1980-1985. Eindhoven: Stedelijk Van Abbemuseum.
1984 Battcock, Gregory and Robert Nickas. The Art of Performance. A Critical Anthology. New York/Toronto. Mignot, Dorine. The Luminous Image/Het lumineuze beeld. Amsterdam: Stedlijk Museum Perrée, Robert. Image on the Run: Dutch Video Art in the 80s. The Hague.
1983 Martins, Kristen. Performance-eine andere Dimension. Berlin: Künstlerhaus Bethanien. Mignot, Dorine. The Second Link. Viewpoints on Video in the Eighties. Banff: Walter Phillips Gallery.
1981 Barents, Els and Karel Schampers. Instant fotografie. Amsterdam: Stedelijk Museum. Celant, Germano and Tim Guest. Books by Artists. Toronto: Toronto Art Metropole.
1980 Relation Work and Detour, Marina Abramovic/Ulay, Ulay/Marina Abramovic. Amsterdam: Idea Books.
1979 30 November/30 November, Marina Abramovic/Ulay. Wiesbaden: Harlekin Art. European Dialogue-Biennal of Sydney. Sydney: Gallery of South Wales. Koustelanetz, Richard, ed. Scenarios: Scripts to Perform. New York: Assembling Press. Two Performances and Detour, Marina Abramovic/Ulay. Adelaide: The Experimental Art Foundation.
1978 Inga-Pin, Luciano. Performances Happenings, Actions, Events, Activities, Installtions. Padova: Mastrogiacomo Editore Images. The New Art Practice in Yugoslavia 1966–78. Zagreb: Gallery of Contemporary Art. Three Performances, Marina Abramovic/Ulay-Ulay/Marina Abramovic: Relation/ Works. Innsbruck: Galerie Krinzinger; Graz: Galerie H-Humanic.
1977 Body as a Visual Language. Tokyo: Maki Gallery.
1976 Ulay / Marina Abramovic, Marina Abramovic / Ulay, 13 November, Harlekin Art, Germany.
1975 Danegri, Jesa. Rhythms 10, 5, 2, 4, 0. Belgrade: Museum of Contemporary Art.
1974 Marina Abramovic. Zagreb: Gallery of Contemporary Art.
1973 Bonito Oliva, Achille. Contemporanea Festival. Rome: Villa Borghese.
1972 Blazevic, Dunija. October 72. Belgrade: SCC Gallery. tradução translation Izabel Murat Burbridge
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