Imponderabilia (1977) by Marina Abramović and Ulay.

“About the public … I do not want the public to feel that they are spending time with the performances, I simply want them to forget about time.”

Marina Abramovic, in 2005, referring to these works: Seven Easy Pieces by Marina Abramoviç (2007) Directed by Babette Mangolte.


A surprise guest in this excerpt from documentation of The Artist Is Present:

A pioneer of performance art, Marina Abramović (born Yugoslavia, 1946) began using her own body as the subject, object, and medium of her work in the early 1970s. For the exhibition Marina Abramović: The Artist Is Present, The Museum of Modern Art’s first performance retrospective, Abramović performed in the Donald B. and Catherine C. Marron Atrium every day the Museum was open between March 14 and May 31, 2010. Visitors were encouraged to sit silently across from the artist for a duration of their choosing, becoming participants in the artwork.

For added insight explore the audio-visual documentation of Imponderabilia (1977/2010) at MoMA Multimedia. More retrospective materials, interviews, documentation at the MoMA.

The film, Balkan Baroque (1999), by Pierre Coulibeuf is also of related interest:

Experimental fiction. The autobiography, both real and imaginary, of Marina Abramovic, Body Art artist. The film composes the life aesthetic of a woman in her era, with a personal history strongly marked by the Yugoslavia of Tito, everyday violence, the experience of physical and psychic limits… The voluntary evocation of the past makes something more secret, more intimate crop up: an unknown evolution that is embodied in fictions felt like authentic fragments of truth. Balkan Baroque jumps from one identity to another, from a true story to an imagination, from a dream to a ritual… – the language of the body often taking over from the word, interrupting it or, on the contrary, stimulating it.

And to the contrary. An excerpt from Freeing The Memory:


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