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- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- Serbian artist Marina Abramovic is devouring a large raw onion, while reciting a litany of things she's tired of.
- 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.
- 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.
- 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.
- 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.
- 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.
- Serbian performance artist Marina Abramovic is cutting a five-pointed star around her belly button with a razor blade.
- 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).