I heard about her for the first form TV show Sex in the City, episode about the renowned NY gallery cool life performance... (long time ago)
Anyway, of course, she is so famously know and there is a question why? So, try to find out...
"The audience is like a dog. They can feel immediately that you are afraid, that you are insecure, that you're not in the right state of mind - and they just leave..."
Marina Abramović Serbian-American Artist Born: November 30, 1946 - Belgrade, Yugoslavia
TODAY IS HER BIRTHDAY 🙂🍰
Towards the late 1950s, as abstract art began to lose impetus, many artists across the world began to embrace performance art. Performance had been a feature of avant-garde art since around 1910, but Marina Abramović's work is typical of the aims of the new generation in her eagerness to avoid traditional, object-based art materials (such as paint and canvas), and to cut down the distance between the artist and the audience by making her own body the medium. The below artworks are the most important by Marina Abramović - that both overview the major creative periods, and highlight the greatest achievements by the artist. Her first famous performance:
Rhythm 10 (1973)
Abramović's first forays into performance focused primarily on sound installations, but she increasingly incorporated her body - often harming it in the process. In Rhythm 10, she used a series of 20 knives to quickly stab at the spaces between her outstretched fingers. Every time she pierced her skin, she selected another knife from those carefully laid out in front of her. Halfway through, she began playing a recording of the first half of the hour-long performance, using the rhythmic beat of the knives striking the floor, and her hand, to repeat the same movements, cutting herself at the same time. She has said that this work marked the first time she understood that drawing on the audience's energy drove her performance; this became an important concept informing much of her later work. Rhythm 5, she said she "realized the subject of my work should be the limits of the body. I would use performance to push my mental and physical limits beyond consciousness."
Rhythm 0 (1974)
With a description reading "I am the object," and, "During this period I take full responsibility," Abramović invited spectators to use any of 72 objects on her body in any way they desired, completely giving up control. Rhythm 0 was exemplary of Abramović's belief that confronting physical pain and exhaustion was important in making a person completely present and aware of his or her self.
The House with the Ocean View (2002)
In The House with the Ocean View, Abramović spent twelve days in the Sean Kelly Gallery without eating, writing or speaking. Contained within three 'rooms' built six feet off the ground, Abramović slept, drank water, urinated, showered and gazed at the viewers wearing a differently colored outfit each day. She could walk between the three rooms, but the ladders leading to the floor had rungs made of butcher knives. Set to the sound of a metronome, Abramović ritualized the activities of daily life, focusing on the self and simplicity while eliminating all aspects of narrative and dialogue.