Marina Abramovic: Art for destructive societies

In the article Marina Abramović or "The artist and his history" was reported in detail about the historical and personal background, which plays a role Marina Abramović

Now it is about the development of Abramović to the artist, and the development of her oeuvre.

How did Marina Abramovic get art and her art?

In the artist Abramović just mentioned, it was shown that Marina Abramović comes from a family in which art and creativity played and played a major role.

Consequently, Marina Abramović in an interview: "I always knew that I would live as an artist. That was a necessity [...] The only way I could function in this world" (Lynn Macritchie, 1996, 'Marina Abramović: Exchanging Energy, Performance Research, Volume 1, p. 29).

Abramović studied painting at the Academy of Fine Arts Belgrade immediately after graduating from high school.

Abramović painted profiled and tasteful figurative art at the time, on larger screens than any other student, powerful paintings of over 2 square meters. From 1968 Abramović began published, texts, drawings and the first conceptual work.

Who developed unstoppable towards performance as an artistic expression of Abramović, albeit only about rejections and coincidences:

In 1970, Abramović wanted to perform her first performance in a famous Belgrade gallery - gradually replacing her own clothes in front of the audience with the clothing selected by the mother (calf -length skirt, thick stockings, shoes that are groaned on orthopedics), then put a gun loaded with a ball on the head.

Either this proposal of the Doma Omaldine Gallery was too dangerous, or the youthful protest against protesting attempts at attractiveness by concerned mothers was too radical for them, from Abramović's proposal in any case an exhibition of their first abstract works of art , a number of cloud images.

Abramović's first performance therefore only took place in 1971, while she and other students at the SKC (Studentski Kulturni Centar Beograd = student cultural center Belgrade) exhibited their works in October. Abramović's stretched out on a table in a neighboring gallery (she should just have been tired), artist colleague Era Milivojević packed the woman lying on his belly in the adhesive tape, which he had in his hand until she looked like a mummy.

The artist obviously liked the artist from 1973 she began to design her first and planned performances.

They not only came out with adhesive tape, Marina Abramović should clearly make it clear with her first performances that pleasing establishment art is not her thing.

A little later, 1975, she already clarifies this in a larger public by participating in a performance by Hermann Nitsch . The co -founder of Vienna Actionism was no longer a Viennese at that time; In the early 1960s, he had annoyed the "Rhineland of the East" with scandal painting campaigns and orgies-mysteria theaters that the authorities made him unable to act and art for weeks, which Nitsch finally acknowledged with moving to Germany.

Cooperation with another artist was apparently no profit for both Nitsch and Abramović: after her, Nitsch only started laypersons, Abramović commented that she lacked motivation to work in a strange concept; Overall, the performance was so insignificant that there is no detailed tradition. But at least Hermann Nitsch and Marina Abramović made it into the list of "10 Most Shocking Performance Artworks Ever" , which put together the London "The Guardian" in 2013.

Everyone knows that! - The most important works by Marina Abramovic

The most important works by Abramović, who know most (Central European formed) people, show that establishment art is not her thing-and even this brief overview makes it clear how much movement in Marina Abramović's art is:

"Balkan Baroque" is a video operating installation that Abramović organized in 1997 in the Yugoslav Pavilion of the 47th Biennale of Venice. Abramović commented on her homeland and the Balkan flict, by scrubbing mountains of fresh beef bones with a brush with a brush every day and sang dead songs from her homeland every day.

"Seven Easy Pieces" performed Abramović in 2005 in the New York Solomon R. Guggenheim Museum. The performance lasted seven days and repeated six historical performances by other artists who had caused a sensation in the 1960s and 1970s, the seventh performance was a new work.

Abramović referenced:

• Vito Acconcis "Seed Bed" from 1972
• Joseph Beuys' "How to explain the pictures of the dead rabbit" from 1965
• Valie Exports "Action Pants, Genital Panik" from 1969
• Bruce Naumans "Body Pressure" from 1974
• Gina Panes The "Conditioning" from 1973
• Your own performance "Lips of Thomas" from 1975
• The new own performance was called "Entering The Other Side"

"The Artist is Present" performed Abramović in 2010 in the Museum of Modern Art (MOMA) when a retrospective of her work was just running in the New York Museum. Abramović was sitting at a table in the museum of the museum from March 14 to May 31, 2010 during the entire opening time.

Abramović was silent how talking the visitors were, you can watch a few minutes in the following video ...

... with the moving moment when her long -standing partner Ulay sits on the visitor chair. Overall, Abramović sat there for 721 hours, at the end of the performance it was considered by 750,000 visitors and was "obsessed" by over 1,500 people.

These were certainly not all examples that "everyone knows", the art of Marina Abramović is of exceptional richness and diversity:

The art of Marina Abramovic: From the spectacular individual appearance to eternal performance

Marina Abramović's first performance from 1971 was still really tame with the mummy attitude, but she didn't have to work with scandal activist Hermann Nitsch to go properly:

"Rhythm 10" enjoys stinging into the gaps of her spread fingers with 20 knives (greetings, see Art-O-Gramm: Picasso-the artist, life and love -scene 2 and 5 ″ about Dora Maar, who also indulged in this unhealthy habit). In any case, Abramović cuts himself more often and violently, "Rhythm 10" is still (or because of this) as her first "adult" work.

In Rhythm 5 (1974), Abramović soaks a wooden frame in the form of a fifteen star (which was supposed to commemorate the "red star" of the communists) with 100 liters of petrol, lights it up and jumps in the frame after a few sparrows to lie on the galleryod. In this now oxygen -free space, it immediately passes out.

Abramović was saved by the viewer, who just strapped that an unusually quiet and immovable Marina Abramović did not match an otherwise quite action -packed performance, the emergency vehicle came just in time and drove it to the hospital. Here you can visit the burning spectacle with the half -dead Abramović in the middle.

Abramović has obviously survived good courage, in the same year "Rhythm 0" follows: A six-hour performance in which Abramović is quiet in the middle of the spectators. 72 things are made available to them with the invitation to do whatever they want. Among these things were roses and feathers, perfume and honey, bread and grapes and wine, scissors and a scalpel, razor blades and nails, a metal rod and a pistol loaded with a ball.

Abramović wanted to find out how far the audience would go. That started tame, with stroking, giving flowers, kissing and feeding; Quite quickly you were to smear her with lipstick, pour your water over your head, to put rose ports in her belly hub ... At half -time of the performance, the spectators had already cut her shaving blades off her with the shaving blades, in hour 4 her skin was researched, a (admirer) scratched her throat to drink her blood.

A number of sexual assault followed, from which the artist determined to research or expose human group behavior too; When the audience noticed her determined will, a group formed to protect the artist.

When the invited pistol was held on Abramović's head and her finger laid around the trigger, a fight broke out in the audience ... ugly, frightening, disillusioning - when Abramović woke up the next morning, she had a gray strand in her hair.

If she had already had access to the knowledge available on the Internet today! Little information makes it clear that groups of people recede strong leaders (which are obviously bad, also for themselves, in mind) and even obviously even incomprehensibly evaluate the wrong statements as soon as they are unsettled, confronted with new or with changes (one could also say that groups of people show tendencies to self -destructive group behavior, as soon as life does not run round as usual).

If Abramović had only read the reports about "the wave", the Milgram experiment and the conformity experiment by Solomon Ash, she would not have been less frightened or disillusioned, but might have spared physical experience ...

• "The wave"
• Milgram experiment
• Conformity experiment

Abramović may have been in a stricken emotional state at that time, since her first marriage was just ending. From 1971 to 1976 Abramović was married to Serbian artist Neša Paripović , a former fellow student of the Belgrade Academy, with which she also worked at work in the student culture center in the early 1970s.

Both worked in a loose group with other artists on nothing less than the deconstruction of the modernist concept of art. This work is said not to have run without conflict when the group had to face the encounter and discussion with Josef Beuys at a festival in the Scottish Edinburgh in 1973 in 1973, it fell out shortly afterwards.

The marriage may not have ended a very peaceful end; When Neša Paripović from Abramović biographer James Westcott was asked for an interview in the early 2000s, he is said to have simply on the phone listener.

In 1975 Marina Abramović performed the performance "Lips of Thomas" in a gallery in Austria: completely naked she ate a kilo honey, drank a liter of red wine, carved a pentagram on her stomach with razor and lay on a cross on ice, she is said to have endured half an hour.

Here is a scene picture: Open BILD (re -performed in 2005 at the Guggenheim Museum in New York). You can view a sequence of four other performances from 1975 and 1976 at www.youtube.com/watch?v=IHDY3DD-IUG.

In 1975, "Art must be beautiful, artist must be beautiful" , one of the groundbreaking work of Abramović, in which she is devoted extensive and very practically to the beautiful artist and the beautiful art, which in the conservative bourgeoisie since Wilhelm Traugott Krug's "System of theoretical philosophy, 3rd part, taste" (1810) (1810) to be eradicated:

met and got to know the German performance artist Frank Uwe Laysiepen They lived and worked together from 1979 and 1988, an artist nomadic life and continuously in motion, right up to the Aborigines and Tibet. Many of their most famous and influential works come from this time:

"Charged Space" , 1978, today in the collection of the Ludwig Museum in Cologne. On Newmedia-Art.org you can see a statue of the Jane Crawford and Gordon Matta-Clark dedicated dance, which was the last work of her series of "14 Performances", which she performed in the Brooklyn Museum, New York during the "European Performance Series".

In 1980 "Rest Energy" , a performance in the Ulay held an arrow and Abramović the bow, when both leaned back, shows the arrow on Abramović's heart. As so often, their life in his hands in the common performances.

In 1982 Abramović and Ulay put a cactus into a gallery in "Like Luther" , surrounded it with barbed wire and asked the gallery owners to speak nicely every day. They wanted to see whether he would throw his spines in such a protected and loving atmosphere (he didn't).

So it went on (with a lot of space for their own discoveries of spectacular performances) until Abramović and Ulay separated in 1988/1989. Of course not just like that and in a bad mood, but with a performance, a three -month performance on the Chinese wall.

Ulay started in the west, Abramović in the east, then they each ran 2500 kilometers. However, this was not quite planned when the performance started, it was called "The Lovers" and should help the already cracked relationship.

When Ulay sworn the Chinese translator on the way and the Abramović confessed at the end of the 2500-kilometer reconciliation walk, there wasn't much to help ... the meeting in the middle of the wall was the last encounter Ulay-Abramović.

From 1989, Abramović works together with film director, performance and video artist Charles Atlas (known for his many years of collaboration with Merce Cunningham, from which 10 dance films emerged) on the stage play "The Biography", which brings her previous artist life to the stage as a solo piece. "The Biography" was premiered in 1992 and presents varied facets of your artistic activity and personal development in every performance.

In 1994 Abramović organizes the theater performance delusional, in it their helplessness and anger about the events during the Yugoslav wars - a forerunner of the “Balkans Baroque” performance that follows in 1997, which puts the grief of the cruelty, the many victims and the now unchangeable state of decaying.

In 2001 Abramović struck seven artificial small caves in the walls of a quarry for the work "Human Nests" and equipped each cave with a knitting conductor. In thought for contemplation, "garnished" with the risk of falling from the small trees, an environment protected and unsettling at the same time.

In 2002, the artist spent twelve days and nights in New York Sean Kelly Gallery in three rooms, which can be seen by the audience, "The House with the Ocean View" Only mineral water, no food, speaking, writing or reading, no longer sleeping for more than seven hours a day and showering three times a day-monastery meditation holidays in public, in the middle of New York.

From 2003, Abramović's reminiscence dates to the work of her brother Velimir Abramović, philosophy professor and Tesla expert: "Tesla Ball" .

"Seven Easy Pieces" already outlined above and thus started a fundamental discussion about the durability and durability of performance art.

In the same year, Abramović produced the art film "Balkan Erotic Epic" , which deals with sexual and fertility rites in the Balkans: Abramović explains different rites in individual scenes, while women held their breasts in the sun and their vulva in the rain and masturbated (slightly confusing description, but it does not seem to be ongo Vulva once kept in the sun or how hard the floor was that the men should penetrate).

In 2010 for Abramović in the already mentioned performance "The Artist is Present", "a few hours" kept still, this time while sitting. In the 11th part of the YouTube series of the documentary "The Future of Art" (Erik Niedling, Ingo Niermann, Germany, 2010)

(With its 21 parts, the series is worth seeing all over many important contemporary artists).

In 2011 “The Life and Death of Marina Abramović” premiered at the Manchester International Festival, The Lowry, Manchester, UK,. The "intersection of theater, opera and visual arts" was created by the theater genius and universal artist Robert Wilson in collaboration with Marina Abramović and toured after the premiere through theater festivals and plastics.

Desingel in Antwerp, Carre Theater in Amsterdam, Theater Basel, Teatro Real in Madrid, Luminato Festival in Toronto and Park Avenue Armoury in New York; At the end of the "series of masterful scenes" the audience stood and applauded (The Independent, UK).

Two excerpts of it here:

In 2013, Abramović designed the stage design for the new production of Maurice Ravel's "Boléro" at the Paris Garnier Opera. Sidi Larbi Cherkaoui and Damien Jalet, the Italian fashion designer Riccardo Tisci from the Parisian fashion house GiveCenchy designed the dancers' costumes.

From June 11 to August 25, 2014, Abramović performed the long-term performance "512 Hours" in the London Serpentine Gallery. She completely dispensed with objects and forced the audience: everyone was able to enter during the opening hours and spend time with it, but had to hand in jacket, luggage and electronic devices on the wardrobe.

Abramović published a summary of the day in the form of a personal video diary every day. An interview with Marina Abramović about these and others of her performances is in read from the earth

“Seven Easy Pieces” staged in the New York Guggenheim in 2005, Abramović came up with a discussion with which it could significantly change the performance art: whether a performance can be performed again, how the cultural knowledge of performance art should and can be preserved, as it looks like the protection of performers as producers; All new questions that could raise the traditional understanding of performance art from the fishing.

If the performance has so far been bound to the body of the performer and not repeatable, performers and performance recipients and assessors must now deal with repeatability and reversibility, with the exchange of art knowledge, the cultural and historical importance of which has so far been lost over time.

This means that Abramović also works for stabilizing the art form performance, this is the only way to achieve performance artists to enforce the rights to their achievements against commercial exploitation and incorrect presentation in a world of increasing digitization and interchangeability of cultural knowledge.

Incidentally, the Abramović work just presented was far from all, there is still a lot to discover in the work of this sensitive and extraordinary artist for people who are interested in the art of our time.

Marina Abramović's public work: exhibitions, art in public space and in public collections

Marina Abramović's work was public to look at in 79 solo exhibitions and 632 group exhibitions ; Makes a good 700 public exhibitions, 122 of them in the USA, 79 in Germany, 63 in Italy, a good 50 in Spain, a good 40 in France and the remaining 350 all over the world.

Here is a selection of the highlights, Biennals and Documentas:

• 1975 IX Biennale de Paris
• 1982 Documenta 7, Kassel
• 1982 4th Biennale of Sydney: Vision in Disbelief, Sydney, NSW
• 1985 18 ° Bienal de Sao Paulo, São Paulo, Brazil
• 1987 Documenta 8, Kassel
• 1990 I Bienal de la Imagen en Movimiento´90, Madrid
• 1992 Documenta 9, Kassel
• 1995 4. International Istanbul Biennial, Istanbul
• 1995 Site Santa Fe's First International Biennial - Longing and Belonging: From the Faraway Nearby, Santa Fe, NM
• 1997 47th Biennale di Venezia, Venice
• 2000 1. Echigo-Tsumari Art Triennial 2000, Niigata-Ken, Japan
• 2001 Yokohama 2001 - International Triennale of Contemporary Art, Yokohama, Tokyo
• 2003 50th Biennale di Venezia, Venice
• 2003 II Bienal de Valencia - La Ciudad Ideal, Valencia
• 2004 The 3th Seoul International Biennale of Media Art - Digital Homo Ludens (Game and Play), Seoul Musuem of Art (Sema), Seoul
• 2005 5. Cetinje Biennale, Cetinje, Montenegro
• 2005 5. Bienal do Mercosul, Porto Alegre, Brazil
• 2007 52nd Biennale di Venezia, Venice
• 2007 Prague Biennale 3, Karlin Hall, Prague
• 2007 Kunstfilmbiennale 2007, Bonn Art Museum
• 2008 Yokohama Triennale 2008 - Time Crevasse, Central and Waterfront Sites, Yokohama
• 2008 28 ° Bienal de São Paulo, São Paulo
• 2008 Mediation Biennale 08, Center Kulty Zamek, Poznan
• 2008 XVIII Biennale Internazionale di Scultura, Accademia di Belle Arti di Carrara
• 2009 5a Bienal Ventosul - O Mundo Todo Aqui, Vai Mexer Com Voce, Instituto Paranaense de Arte, Curitiba, Brazil
• 2009 3RD Moscow Biennale of Contemporary Art, Moscow
• 2009 7th Florence Biennale, Florence
• 2009 Biennial of Moving Images, Deventer
• 2011 54th Biennale di Venezia, Venice
• 2011 3rd Biennial of Moving Images, Inspired Video Art, Deventer
• 2012 11th Havana Biennial, Centro de Arte Contemporáneo Wifredo Lam, Havana
• 2012 7th Seoul International Media Art Biennale, Seoul Musuem of Art (Sema), SEOUL
• 2013 4th Thessaloniki Biennale of Contemporary - Old Intersections Make IT New 2, State Museum of Contemporary Art, Thessaloniki
• 2013 2. Mediterranean Biennale in Sakhnin, Arab Heritage Museum of Sakhnin, Israel
• 2014 V Bienal de Arte Contemporáneo de la Fundación Once, Centrocentro Cibeles, Madrid
• 2015 1st Trio Bienal, Rio de Janeiro, Brazil

Marina Abramovic as a public person: prices and awards, teaching activities, aftermath

A selection of the awards with which Marina Abramovic was honored:

• 1982 ARS Viva Prize Video art, Culture Circle of German Economy in BDI e. V., together with Uwe Laysiepen
• 1997 Golden Löwen of the 18th Biennale of Venice, for the performance "Balkan Baroque"
• 2003 Lower Saxony Art Prize
• 2003 Bessie Award, for "The House with the Ocean View"
• 2004 Honor Doctor of the School of the Art Institute of Chicago
• 2008 Austrian honor for science and art
• 2009 honorary doctorate of the arts, University of Plymouth, England
• 2011 Cultural Leadership Award, American Federation of Arts, New York
• 2012 13th July Lifetime Achievement Award, Podgorica, Montenegro
• 2012 Appeal to the competitive jury of the 69th International Film Festival in Venice
• 2012 Berlin Bär, award of the daily newspaper BZ Berlin
• 2012 honorary member of the Royal Academy of Arts, London
• 2013 member of the National Academy of Design, New York
• 2018 Globart Award
• 2021 Princess-von Asturia Prize for Art

Marina Abramović began to pass on her knowledge and experience immediately after completing her studies: In the 1970s she began to teach at the Academy of Fine Arts in Novi Sad.

From 1990 to 1991 Marina Abramović had a visiting professorship at the Académie des Beaux-Art in Paris and at the University of the Arts in Berlin.

From 1992 to 1996 she was a professor at the Hamburg University of Fine Arts, from 1997 to 2004 professor for performance at the University of Fine Arts Braunschweig.

In 2005 she founded the Independent Performance Group (IPG), a forum for current performance art in New York to work with talented young artists. In 2007 the Independent Performance Group was dissolved and Abramović founded the "Marina Abramović Foundation for Preservation of Performance Art" .

Preparations for the installation of the "Marina Abramović Institute" (May) have been running since 2012. The institute is intended to support the development of new performance art and maintain historical performances as a “living archive” through re-performance.

As part of this long -term project, a building in Hudson, New York will be rebuilt and renovated, which is to form the seat of Marina Abramović Institute. The building, also the seat of an "Office for Metropolitan Architecture" by the architect Rem Koolhaas, has 3000 square meters.

Abramović wants to use the rooms as a "laboratory for research into time -related and timeless art" - performance art, but also film, music, opera, dance, theater, video - and work with practitioners from the fields of science, technology and education, grandma - Marina Abramovic Institute .

In the present status of design development, the architects Rem Koolhaas and Shohei Shigematsu involved as a partner. Rem Koolhaas is an internationally known Dutch architect who founded the most renowned architecture firm Grandma (Office for Metropolitan Architecture) in Rotterdam with Elia and Zoe Zenghelis and Madelon Vriesendorp in 1975.

Grandma and the connected Thinktank AMO for projects beyond architecture and urban development are internationally active and famous. Grandma is responsible for an impressive list of buildings of avant -garde contemporary architecture. B. the Koolhaas House on the Checkpoint Charlie, the Axel Springer Campus, the Dutch embassy in Berlin, expansion of the Welterben Zollverein Essen, in the "rest of the world" the Kunsthalle Rotterdam, the Nexus Housing in Japanese Fukuoka, the Prada-Epicenter Stores in Beverly Hills and New York, the Guggenheim Hermitage in Las Vegas, that Casa da Música in Porto, the National University Museum of Art in Seoul; There are another 295 buildings on the list.

In 2000, Rem Koolhaas received the Pritzker Prize (Pritzker Architecture Prize), a worldwide renowned award for architecture, one year after Norman Foster and one year before Herzog & de Meuron. In 2014 he was appointed director of the 14th International Architecture exhibition at the Venice Biennale ("Fundamental"). As a professor in Harvard, Koolhaas deals with basic research in architecture.

Shohei Shigematsu has been working in Grandma since 1998 and has been a partner since 2008, and since 2006 he has headed the grandma office in New York. In addition to many other buildings for the urban area, Shigematsu designed cultural sites such as the Quebec National Beaux Arts Museum and the Faena Arts Center in Miami Beach and likes to work directly with artists (e.g. Cai Guo Qiang, Marina Abramović, Kanye West). At the Harvard Graduate School of Design, he heads a research institute called "Alimental Design, Investigating The Intersection of Food, Architecture and Urbanism".

May is under the combative motto: "Art Can Only Be Done in Destructive Societies that have to be rebuilt" (analogously: Art only develops in destructive societies that need a reconstruction) - there are currently many of them to do, so there is enough to do for May; Just like "Balkan Baroque" in the a little further south of the world, sadly topicality.

Another future-oriented activity Marina Abramović is the transfer of the Abramović method, a number of holistic exercises for body and mind that Abramović has developed in the past 40 years to experience and overcome the limits of body and mind.

In accordance with modern medicine, which overcomes the restrictions of traditional conventional medicine at all corners and edges, Abramović has developed meditative and physical exercises that can preserve performance artists from the typical stresses associated with performance performances.

It provides this method primarily to young performance artists, in addition to the ideas conveyed about May, another way to make performance and subsequent generations of performance artists "fit for the future".

75 years in 2021 and has become a controversial but also well-respected queen of performance art . In the first place she made the genre really known. To do this, she was sometimes silent on a chair for more than 700 hours, threw herself against the walls and cut bloody with razor blades.

Current access to Marina Abramovic

Over an hour of artist discussion with Sam Keller, director of the Swiss Art Museum and Foundation Fondation Beyeler, can be seen here: https://www.fondationbeyeler.ch/artist-talks/ .

Under the title "Balkan Baroque" , a film about Marina Abramović, whose script director Pierre Coulibeuf wrote with the artist, was also made in 1999, Marina Abramović is in the film, UBU Film: Pierre Coulibeuf .

You can consider art by Marina Abramović's following galleries:

• Brazil: Luciana Brito Galeria São Paulo
• Greece: Kappatos Gallery, Athens
• Italy: Lisson Gallery Milan, Galleria Lia Rumma Napoli
• Netherlands: Parc Editions Lent
• Norway: Galleri Brandstrup Oslo
• Austria: Krinzinger Gallery, Vienna
• Spain: Bernal Espacio Galería Madrid, La Fabrica Galeria Madrid
• Switzerland: Art Bärtschi & Cie Geneva
• USA: Kathryn Miriam Greenwich CT, Kunzt.gallery Miami Fl, Sean Kelly Gallery New York City NY
• United Kingdom: Lisson Gallery London

Marina Abramovic in public collections:

• Australia: Art Gallery of New South Wales Sydney NSW, Museum of Contemporary Art Sydney (MCA) Sydney NSW
• Belgium: Museum Voor Hedendaagse Art Antwerp (Muhka) Antwerp, Stedelijk Museum Voor Actuele Art (SMAK) Ghent
• Germany: Wemhöner Berlin Collection, Kunsthalle Bielefeld, Museum Ludwig Cologne, Julia Stoschek Collection Dusseldorf, Kunstpalais Erlangen, Kunsthalle zu Kiel
• Finland: Kiasma Museum of Contemporary Art Helsinki
• France: Center d'Art Le lait Albi, Frac Franche-Comté Besançon, Musée d'Art Contemporain Lyon, 49 Nord 6 est frac lorraine Metz
• Greece: National Museum of Contemporary Art (EMST) Athens
• India: Kiran Nadar Museum of Art (KNMA) New Delhi
• Italy: Studio Stefania Miscetti and Nomas Foundation Rome
• Canada: National Gallery of Canada Musée des Beaux-Arts du Canada Ottawa on
• Croatia: Museum of Contemporary Art (MSU) Zagreb
• Luxembourg: Musée d'Art Modern Grand-Duc Jean (Mudam) Luxembourg
• Macedonia: East Museum of Drawing Skopje
• Netherlands: Stedelijk van Abbemuseum Eindhoven
• Poland: Muzeum Sztuki Nowoczesnej W Niepołomicach (MoMA) Niepolomice
• Serbia: Museum of Contemporary Art Belgrade (Mocab)
• Slovenia: Moderna Galerija Ljubljana
• Spain: Centro de Artes Visuales Helga de Alvear Cáceres, Museo de Arte Contemporáneo de Castilla y León (Musac) Léon, Arco Collection and Fundación Telefónica Madrid, Es Baluard Museu d'Art Modern Palma de Mallorca, Fundación Montenmedio Arte Contemporáneo (NMAC) Vejer de la Frontera Cádiz
• Sweden: The Wanas Foundation Knislings
• Switzerland: Kunstmuseum Bern, Kunstmuseum Valais Sion, Art Museum of the Canton of Thurgau Warth
• USA: Museum of Contemporary Photography (MOCP) Chicago IL, Eileen S. Kaminsky Family Foundation (Eskff) Jersey City NJ, the Progressive Art Collection Mayfield Village Oh, Cisneros Fontanals Art Foundation (CIFO) Miami Fl, Solomon R. Guggenheim Museum and Museum of Modern Art (MoMOMOMO) New York City NY, The Fabric Workshop and Museum Philadelphia Pa, San Francisco Museum of Modern Art (SFMOMA) San Francisco CA

At Pippinbarr.com/Games/dmai you will find the "Digital Marina Abramović Institute", in which you can do some companies ... and the real Marina Abramović Institute: "If you enjoy your digital experience of the institutes, please help to make may a reality by support."

In 2010 the biography "When Marina Abramović" out, an interview with biographer and Author James Westcott is on Artfcity: When Marina Abramović this, to read interview with biographer and author james Westcott.

In 2012 the documentary “The Artist is Present” by Matthew Akers and Jeff Dupre was published, in which the preparations for retrospective and performance and the events in the MOMA are shown.

One of her latest projects, "7 Deaths of Maria Callas" , was celebrated in Munich and Paris a few months ago. In the work of music, singing and film, the artist stages her death alongside the US actor Willem Dafoe.

Abramovic spent the time of Corona pandemic, especially in the country near New York-with gardening, swimming, seeing animals and yoga.

"I have the feeling that I have arrived in the best phase of my life. I don't drink, don't smoke, do not take drugs and do fifty minutes of yoga every morning , said the multi-award-winning artist , who was honored this year with the Spanish Princess von Asturia Prize.