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- A slide show of the performance "Rhythm 0" by Serbian artist Marina Abramovic in which she stands impassively and put herself completely in the hands of her audience.
- This multi-channel video installation, consisting of seven short video works presented on vertical wall-mounted display panels, is based on Marina Abramovic's research into Balkan folk culture and its use of the erotic.
- A 3-part variation in the Balkan Erotic Epic Series presenting a double mirror projection of Balkan Erotic Epic: Marina Abramovic Massaging Breasts (2005) on each side of the central video workpiece Balkan Erotic Epic: Women Massaging Breasts (2005) shown on vertical wall-mounted display panels.
- Balkan Erotic Epic explores the sexual aspects of Serbian folklore. Ancient myths that have trickled into everyday household remedies or explanations are juxtaposed with the joys of the female and male sexual forms from which all human life originates. Functioning as both sexual liberation and reinvented modern myth, Balkan Erotic Epic is a display of the need for a cultural change in viewpoint around sex.
- 7- channel video installation (color, no sound), first performed at the MoMA, New York, which explores the complex relationship between artist and audience, as the performer is pushing past perceived limits of the body and mind.
- Presents a folkloric image of the artist riding a white horse in the countryside while carrying a large white flag. Neither she nor the horse move as we hear a voice-over singing and humming a Serbian song dedicated to the conquered hero.
- Serbian performance artist Marina Abramovic is cutting a five-pointed star around her belly button with a razor blade.
- The multi-channel installation is based on Marina Abramovic's research into Balkan folk culture and its use of the erotic. Obscene objects and male and female genitals have a very important function in the fertility.
- Approaching each other from different sides of the space, Ulay and Marina Abramovic collide with each other in the middle of the room and then disappear from view for a few seconds before the process starts to repeat itself.
- A five-pointed star made of wood is set on fire. The artist walks around it and throws hair clumps and toe-nail clippings into the fire at each point of the star (8 mm film transferred to digital video in 2011, no sound, b/w).
- The artist is lying outdoors on a metal bunk bed as a storm seems to approach. Metaphorically, her body holds an electrical source and becomes a transmitter and conductor of energy as the current flows through it.
- A video of the performance Relation in Movement: The Van, 1975-1980 (1980) where Marina Abramovic and Ulay drive a Citroën type H van round and round in a circle inside a city square in Paris.
- A naked woman sits on a raised bicycle seat in the middle of an empty room as a projected light on her is forecasting her shadow around. It's a work about luminosity and the human being's transcendental quality, the body being just a tool.
- A reel of TV interviews conducted by Marina Abramovic in the 1980s and the 1990s on the topic of performance.
- Shows the artist whipping herself with a lash until her back turns red and her body starts to tremble.
- A 9-channel video installation consisting of nine 30-minute "dragon head" self-portraits, made through the years following the artist's separation from German-born performance artist Ulay.
- A 3-channel video installation showing three shirtless male dancers (from Asian, European, and African origins) aggressively dancing to tribal drums and music, with the artist's point of view exclusively focused on their pelvis.
- A five-channel video installation containing five video works by Serbian artist Marina Abramovic: 'Dissolution', 'Insomnia', 'Luminosity', 'Dozing Consciousness' and 'Lost Souls'.
- Ulay (German-born artist Frank Uwe Laysiepen) and Serbian artist Marina Abramovic both balance each other on opposite sides of a drawn bow and arrow, with the arrow pointed at Abramovic's heart.
- Shows the artist, who slowly, very slowly, covers her eyes with her hands. Her action is actually so slow that, in the beginning, the viewer might even notice her hands moving.
- Serbian artist Marina Abramovic is devouring a large raw onion, while reciting a litany of things she's tired of.
- Artists Ulay and Marina Abramovic both decide to end their relationship and to mark this with a performance in which they start to walk from different ends of the Chinese Wall in order to meet in the middle and say good-bye to each other.
- Shows the artist's face buried in quartz crystals, accompanied by the sound of heavy breathing. With every breath Abramovic takes, the heap of crystals is moving a little bit, as, extremely slowly, parts of her face are uncovered.
- Shows the artist dancing to the sound of Arabian tango music in a black dress, casting shadows against a white wall background.
- Serbian artist Marina Abramovic is lying on her back on the floor and screaming until her voice is lost.
- Citroën type H, megaphone, audio and video installation ("Relation in Movement"), amplifier, monitor, small wooden boat, photographs (b/w), text van.
- A video mosaic of 108 images, each showing a Tibetan monk or nun, chanting in meditative abandon.
- The artist is seen aggressively combing her long hair. With a brush in one hand and a comb in the other, she works on her face and hair, while repeating the sentence "art must be beautiful, artist must be beautiful", as if she is in pain.
- Should war be a child's game? Performance artist. Marina Abramovic tackles the issue of child soldiers in this political short.
- In this 5-channel video work shot on location in Laos, Serbian artist Marina Abramovic addresses the topic of violence as it is portrayed in contemporary media.