Walk Through Walls: A Memoir

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Abramovic is vibrant and passionate. She is art and art is her. The story is hers, but in writing a life this big, decisions had to be made. Credit must be given to James Kaplan who is most likely the one who set the tone, decided on the pace, emphasis and general overview.

Energy, aura’s, unexplainable phenomenons, visions, mindfulness, focus on experience, yoga retreats. Dopo tre mesi, prendo solo le idee finite nel cestino. Non guardo neanche le idee che piacevano. Il cestino, infatti, è un tesoro, una miniera delle cose che hanno paura di fare. It is extremely rare for me to say that I was better off not knowing something. This is one of those moments. I have been an admirer of Marina Abramovic’s work for many years. The depth and originality of her concepts amazes me, and the emotional intensity moves me very deeply. My exposure to her work was only through videos and descriptions. Finally I got to see her in 2015, at a TED meeting in Vancouver, and my admiration for her peaked as I saw her perform, which involved each of the two thousand attendees at the conference.

The exhibition revisits Abramovic's artistic legacy through sculpture, video, installation and performance. Different works arere-staged through video archive footage; others are reperformed by a new generation of artists. 'Absolute freedom' through performance Born in Belgrade, Serbia in 1946, Marina Abramovic studiedart both in her hometown and in Zagreb, Croatia. Early on she developed an interest in performance art, including experiments with sound installations. Abramović has participated in many large-scale international exhibitions including the Venice Biennale (1976, 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). She has also established the MAI (Marina Abramović Institute) to support the future exploration and promotion of performance art. Profile In "House with the Ocean View," the artist spent 12 days living without food in three open rooms,in which she created an intimate relationship between herself and viewers. istorija, ypač iš jaunystės Serbijoje, BET nuo trečdalio pasikeičia į "didžiosios meilės, kurios mane išdavė" ir "nuostabūs žmonės, kurie man padėjo siekti to, ką pasiekiau".

The men in her life were mostly bullshit, and a handful of the women weren't that much better either—but the ones who loved her along the path made sure her audience continued to build until today, when she effectively has a global stage. Though given that it is difficult to create a static book about an artist's work that is all about tie and interaction and motion, this fine catalogue accomplishes the impossible, largely due to editor Klaus Biesenbach and contributing writers Arthur Danto and Chrissie Iles. Some of the performances will be familiar to those who follow the contemporary art world, such as the performance where Abramovic and Ulay stand naked in an elevator observing the reactions of people who walk between them. Other creative performances are captured in photographs - images of the artist's creations both during the exhibition and re-enacted by other artists during the run of the exhibition. The works are all discussed and explained, very often by the artist herself.Although there are many books about Marina Abramovic available, this particular book captures the type of art this genius of an artist has created and continues to perform. It is a splendid addition to the library on contemporary art. You learn what it is like to sit motionless for hours/days, how one feels when self mutilating, the logistics of laying on ice and how you have to trust someone with an arrow pointed to your heart. Since it is not much discussed, nudity does not seem to be an issue for her. The best descriptions (among many great descriptions) of the emotional and physical feelings while performing were those of The Great Wall walk and “The Artist is Present”. About 10 years ago I saw the theater production “the life and death of Marina Abramovic”, a production by Bob Wilson, starring Marina Abramovic herself and Willem Dafoe. And that still is one of the most imaginative visual spectacles I have ever seen. So, this autobiography has been on my want-to-read list for a long time. Reading it has clarified quite a bit, especially her sheltered childhood in a “Red Bourgeois” environment in what is now Serbia (then Tito's Yugoslavia) and her eternal obsession with getting love and attention from her very cold mother. A psychologist/psychiatrist can probably explain perfectly why Abramovic always pushed the physical and mental boundaries in her artistic performances, even to the point of masochism, and explicitly went on an exhibitionistic tour. Her ‘performance art’ is not my genre, I must admit, but it remains intriguing.