EXTENDED ESSAY IN VISUAL ARTS

Marina Abramovic.

How does the artist interact with her audience, and what impact does that have

on each party?

Written for:

Session: May 2017

International Baccalaureate Diploma

Word Count: 3958

(With a word limit of 4000)

Written by:

Kiara Polychroniadi

1
Table of Contents

Abstract

Introduction…….….. p.4

Chapter 1……….…..p.5

Chapter 2……….…..p.17

Chapter 3……….…..p.20

Conclusion………….p.22

Bibliography………..p.24

List of Illustrations…p.26

2
Abstract

My Extended Essay is based on the interaction of the audience with influential

performance artist, Marina Abramovic. I was inspired to write about this because in

March 2016 I had the opportunity to visit her Method at the Benaki Museum in

Athens, Greece where the artist brought a sector of the MAI (Marina Abramovic

Institute) open to the public. After my attending Abramovic’s lecture at the Benaki,

titled “Terra Comunal”, where she talked about her recent difficult breakup, the

journey to recovery and her travel to Brazil, I started researching about her life and

career, and became interested on how she communicates and works with her

audience. The essay starts with her early life and how she entered the performing

arts, as well as her impactful relationship with Ulay. An analysis of her works are

explored; the relationship developed with her audience in the performances Rhythm

0, Relation in Time, The Artist is Present and As One, including pieces performed

with her ex-partner Ulay.

The essay continues with talking about the creation and importance of the MAI

(Marina Abramovic Institute) in Hudson, New York, and the rise of a new concept

idea: The Marina Abramovic Method. Moreover, I describe my own experience of the

Method at the Benaki museum in 2016. In order to establish the need for interaction

with her audience, a questionnaire was created that was answered by various

3
people regarding the artist, her method and their participation.

The conclusion establishes the significance of the audience in her performances,

whether it is active as in the case of “As One” or more passive, as was the case in

the mostly unseen dual performance with Ulay “Relation in Time” answering

Abramovic is a seminal figure in the art world and her relationship with her audience

is constantly evolving. Word Count: 299

Introduction

As an Art HL student, I was familiar with performance art but had never really seen

or experienced any. In March of 2016, one of my favourite performance artists came

to Athens, Greece. Marina Abramovic, along with NEON (a non-profit art

organization in Greece) brought her method to the Benaki Museum in Athens. I

decided to visit and experience it myself. The experience motivated me to research

her other performance pieces and to investigate the role of the audience in them, as

in this visit, the audience became the artist. I wanted to analyse how the human

presence is important in her work, and what impact the method has on people.

Therefore the question: “Marina Abramovic. How does the artist interact with her

audience, and what impact does that have on each party?” was formed. In order to

answer the question, specific performances including Rhythm 0, Relation in Time,

The Artist is Present and As One, will be analysed and the essay will culminate with

the method designed by Abramovic and its impact on the visitors.

There are over seven billion people in the world and people often lose their sense of

importance and self-worth. However, many of them gather around Abramovic’s

4
performances and participate in them, as perhaps a way of acquiring a more spiritual

purpose in life?

Chapter One

Marina Abramovic was born in Belgrade, Serbia, in 1946 back when it was still part

of Yugoslavia. She is now 69 years old and one of the most successful and

accomplished performance artists. She was raised by her religious grandparents in

Serbia until the age of 6, and visited the church very often.1After her brother was

born, they went back to living with their parents2. In those years, Abramovic states

that her mother beat her and was extremely harsh and strict with her education until

the age of 29.3 Since a very young age, Abramovic was interested in art and painted

a lot.4 Her parents had a terrible marriage and were constantly fighting, which scared

Abramovic, as she described it as her worst childhood memory. 5

1 Wright, K. (2016). Marina Abramović: The grandmother of performance art on her 'brand',. [online] The
Independent. Available at: http://www.independent.co.uk/news/people/profiles/marina-abramovi-the-
grandmother-of-performance-art-on-her-brand-growing-up-behind-the-iron-curtain-9449301.html [Accessed
30 Dec. 2016].
2 The Independent. (2014). Marina Abramović: The grandmother of performance art on her 'brand',. [online] Available at:
http://www.independent.co.uk/news/people/profiles/marina-abramovi-the-grandmother-of-performance-art-on-her-
brand-growing-up-behind-the-iron-curtain-9449301.html [Accessed 27 Aug. 2016].
3 Quoted in Thomas McEvilley, "Stages of Energy: Performance Art Ground Zero?" in Abramović, Artist Body,

[Charta, 1998].
4 O’Hagan, S. (2010). Interview: Marina Abramović. [online] the Guardian. Available at:

https://www.theguardian.com/artanddesign/2010/oct/03/interview-marina-abramovic-performance-artist [Accessed 27
Aug. 2016].
5
thestar.com. (2016). Marina Abramovic talks life and art ahead of her Luminato starring role | Toronto Star.
[online] Available at:
https://www.thestar.com/entertainment/stage/2013/05/31/marina_abramovic_talks_life_and_art_ahead_of
_her_luminato_starring_role.html [Accessed 27 Aug. 2016].

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She graduated from the Academy of Fine Arts in both Belgrade and Croatia and in

1971, married a man named Neša Paripovic, although their marriage lasted only five

years. In 1976, whilst visiting Amsterdam to perform a piece, she met Uwe

Laysiepen, also known as Ulay and decided to move there permanently. 6 Ulay was

her performance partner, with whom she collaborated, but also shared a ten year

personal relationship.

Abramovic’ first performances followed the typical performance art “rules”. She

performed and the audience watched. She was the only person acting in her pieces,

she had full control of what was happening. Her first performance took place in

Edinburgh, Scotland in 1973 (at the age of 25) where she played the Russian Game,

stabbing knifes between her fingers. Every time she accidentally stabbed her finger

instead, she would start over.7 More performances followed, where she would

challenge her limits but she was still the subject, the actor in her piece and the

audience would just observe.

6
Web.archive.org. (2016). Marina Abramović. [online] Available at:
https://web.archive.org/web/20150221154621/http://abramovic.garageccc.com:80/en/works/7 [Accessed 30
Dec. 2016].
7
Medienkunstnetz.de. (2016). Media Art Net | Abramovic, Marina: Rhythm 10. [online] Available at:
http://www.medienkunstnetz.de/works/rhythm-10-2/ [Accessed 27 Aug. 2016].

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Figure 1 Rhythm 0, audience.

In 1974, Abramovic performed one of the most memorable and revolutionary pieces

that changed everything in the performance art perspective. Rhythm 0 took place in

Studio Morra, Naples, Italy.8 She stood in the middle of a room behind a table. On

this table seventy two objects were placed, some were soft and safe, such as honey,

perfume or feathers; and some were extremely harmful and dangerous, such as a

knife, a rose with prickles, scissors and there was also a loaded pistol with one

bullet9 (Figures 2 and 5).

8
Tate. (2016). Rhythm 0, Marina Abramovic 1974 | Tate. [online] Available at:
http://www.tate.org.uk/art/artworks/abramovic-rhythm-0-l03651 [Accessed 30 Dec. 2016].
9
Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online] Available at: https://vimeo.com/71952791
[Accessed 27 Aug. 2016].

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Figure 2 Rhythm 0, Table with objects.

For the first time in her work, Abramovic invited the audience to participate giving

them an equal role as she had in the performance. They became the actors. The

goal of this piece was to understand “What the public is all about and what are they

going to do in this kind of situation?”9. On the table alongside the objects, a note was

placed that read: “There are 72 objects on the table that one can use on me as

desired. Performance, I am the object. During this period I take full responsibility.

Duration: 6 hours (8pm-2am)”.10

This was one of the most extreme pieces she had done up until that time, testing the

limits of her body, but also testing the reactions of the audience.11Abramovic stood

10
Frazer Ward, No Innocent Bystanders: Performance Art and Audience, University Press of New
England, 2012, p. 119
11 Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online] Available at: https://vimeo.com/71952791

[Accessed 27 Aug. 2016].

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still for six hours, acting as an object while the audience had full control of her body.

They could do anything they wanted on her and with her, and she wouldn’t react,

neither talk nor move. Moreover the spectators could use any object on the table as

desired on her. 11 At first, everyone started to use the gentle items on her, they

played with her hair, put perfume of her, kiss her, stare into her eyes, give her the

rose to hold it etc. As time passed, the audience became more and more aggressive.

They started cutting her cloths, and use the knifes to cut her throat, then drink the

blood, they put knifes between her legs, and pinched prickles into her skin. 11

Figure 3 Rhythm 0, Marina performing

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Figure 4 Rhythm 0, Spectator throwing water on Marina

At some point, a man took the pistol and loaded it with the bullet, he wanted to see if

Abramovic would react in this kind of situation, but she didn’t. She stood still as the

man put the pistol on her head like he was ready to shoot.11

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Figure 5 Rhythm 0, Man loading the pistol

The gallery’s security came and threw the gun away immediately, and the

performance went on. Abramovic didn’t want to die, that wasn’t her goal; she wanted

to see how far the human mind can go, how long she could stand without reacting

and how much can a human being tolerate. However she also understood that if you

leave it up to the audience, they can kill you.12

Until 2 am, the audience continued “playing” with their object (Abramovic), cut more

of her cloths, left her naked with rose pedals on her breast and carried her around

the room. When the six hours were over and the performance ended, Marina started

moving and went back to her real self. The audience became scared, people started

running away as soon as she started walking and she was left alone in the studio.

The crowd could not face her, they wouldn’t be able to confront the real person she

12 Pomeranz-collection.com. (2016). MARINA ABRAMOVIC & ULAY | POMERANZ COLLECTION. [online]

Available at: http://pomeranz-collection.com/?q=node/39#flou [Accessed 11 Nov. 2016].

11
was, and they couldn’t get over themselves for what they had done to her. 13This was

the first time Abramovic had put herself out there in danger, acting as an object,

letting the audience be the actors. She concluded that the energy is almost limitless

and that it was not about the body, but all about pushing the mind to extremes. 13

In this piece, the audience is the work, its reactions, provocations, unbalanced

behaviour all constitute part of the social experiment that Abramovic was performing

at the time. From the artist’s point of view she is exposed to the public’s whims and

practices self-restraint and patience, whilst the public unleashes their more primitive

instincts, playing around with the person in front of them. It was one of the most

significant pieces in relation to audience participation.

Her following performances continued to challenge the body and human mind, but

she also started collaborating with her lover, Ulay, with whom she performed with for

over a decade. They travelled together and performed extraordinary, boundary

pushing pieces, relaying on each other’s trust for their lives,14 such as “Rest Energy”

performed in 1980 while Ulay held a bow and arrow against Abramovic’ heart while

wearing microphones on their blouses in order to hear their incredibly fast

heartbeat15 (Figure 6).

13 Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online] Available at: https://vimeo.com/71952791
[Accessed 27 Aug. 2016].

14 Web.archive.org. (2016). Marina Abramović. [online] Available at:

https://web.archive.org/web/20150221154621/http://abramovic.garageccc.com:80/en/works/7 [Accessed 30
Dec. 2016].

12
Figure 6 “Rest Energy” Marina and Ulay.

In October of 1977 Marina and Ulay performed “Relation in Time” in Bologna, Italy, in

which they stood in a studio for 17 hours while they were tied together by their hair

looking in opposite directions.15 For the first 16 hours, the audience were not allowed

to watch, it was only the two artists sitting still without moving for so long. 16It was all

about a third party energy built by two persons, while no movement, talk or any kind

of action was involved. The audience was let in after 16 hours, where they watched

the couple perform for the last 60 minutes.16 I think the point was to see what

happens when two people stay attached to each other for so many hours, just the

two of them and what kind of energy comes out. It was important that they were the

only ones in the room, to build this energy that was also combined with the energy

15 Pomeranz-collection.com. (2016). MARINA ABRAMOVIC & ULAY | POMERANZ COLLECTION. [online]

Available at: http://pomeranz-collection.com/?q=node/39#flou [Accessed 27 Aug. 2016].
16 YouTube. (2016). Relation in Time. Marina Abramović and Ulay. [online] Available at:

https://www.youtube.com/watch?v=1sRSoGAc3H0 [Accessed 27 Aug. 2016].

13
and power of their love for one another. The audience experiences the last hour, the

exhaustion, the aftermath, they walk into this energy and watch the end.

Figure 7 Relation In Time, Marina and Ulay

In this piece, her relationship with the audience is very contradictory, part of the

piece is performed in isolation and the last part with an audience present.

Interestingly enough, the audience is there when the artists have withstood the test

of time and they are exposed to the public at their most vulnerable moment. The

audience is invited to watch something with no movement, sound or action and thus

become a silent participant in an exercise in self-restraint.

In 1988 Marina and Ulay ended their artistic collaboration as well as their personal

relationship.17 Abramovic continued her solo career.

17Kickass Trips. (2016). Lovers Abramović & Ulay Walk the Length of the Great Wall of China from opposite
ends, Meet in the Middle and BreakUp - Kickass Trips. [online] Available at:

14
A significant performance that included audience participation was “The Artist is

Present” which took place in MoMA, New York in 2010. From March 14, 2010 to May

31 2010, she became once again an object in the piece.18 For over two months,

Marina sat in a chair in the middle of a room in the Museum, in front of a table. The

structure was really immaterial; the idea was to sit motionless for seven hours, for six

days of the week. The public came in, one by one and sit on the opposite chair,

facing her, and they just stared at each other for as long as each person desired.19

The piece was not only meaningful to the artist, but also worked as a kind of break

from real life, a therapy for those sitting in the opposite chair. Most of the people

staring at her, would burst into tears seconds after they sat down.

http://kickasstrips.com/2015/01/lovers-abramovic-ulay-walk-the-length-of-the-great-wall-of-china-from-
opposite-ends-meet-in-the-middle-and-breakup/ [Accessed 30 Dec. 2016].
18 Moma.org. (2016). [online] Available at: http://moma.org/calendar/exhibitions/964?locale=en [Accessed 27

Aug. 2016].
19 Moma.org. (2016). MoMA.org | Interactives | Exhibitions | 2010 | Marina Abramović: The Artist Is Present |

Portraits. [online] Available at:

http://www.moma.org/interactives/exhibitions/2010/marinaabramovic/?_ga=1.13642676.2024183515.14623
79160 [Accessed 27 Aug. 2016].

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Figure 8 : Day 3 at MoMA

Figure 9. Marina Abramovic performing "The artist is present”

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When Abramovic first proposed the idea to the MoMA curators, they told her that no

one in New York City will have the time to come and wait for hours just to sit across

her. By the end of the two months, a total of 750.000 visitors had come to sit across

the other side of the table.20

Figure 10. Marina Abramovic counting the days of the performance an total hours.

20 YouTube. (2016). Talking Art: Marina Abramovic | Tate Talks. [online] Available at:
https://www.youtube.com/watch?v=W8xzvUC_qms [Accessed 27 Aug. 2016].

17
Figure 11. Top view of audience around the space where Abramovic sits across a person.

Figure 12. No age limit, Abramovic stares at little boy during performance.

Chapter Two

She then realised how important it was for people, to dedicate some of their time to

just reflect on themselves. She decided to create her own institute and method,

18
where the audience would come and perform different activities, spend some time

with themselves and experience unusually strong feelings.21

The Marina Abramovic Institute (MAI) was established in 2012 in Hudson, New York

(Figure 13). The location was chosen for many reasons, most of them being that

Hudson a central hub for art schools and organizations, and only a two-hour drive by

train from New York City. The building was built in 1929 and was abandoned.22 With

the help of OMA ( The office for Metropolitan Architecture) the building was

renovated into a contemporary space, for performance art, programs, art

presentations and of course, the method.22

Figure 13. Exterior of MAI by OMA

21 Marina Abramovic Institute. (2016). MAI. [online] Available at: http://www.mai-hudson.org/about-mai/

[Accessed 27 Aug. 2016].
22 Marina Abramovic Institute. (2016). Hudson. [online] Available at: http://www.mai-hudson.org/mai-

hudson/ [Accessed 27 Aug. 2016].

19
This was the start of a new audience participation, which I was fortunate enough to

experience myself in March of 2016 at the “As One” piece that was presented over a

period of seven weeks.

It was an unforgettable experience and I went without having any idea what I was

about to see. I first walked in through a lockers area, where I was asked to leave all

my belongings, including phone and watch so as to lose track of time. I had made

sure to clear my schedule, so as not to stress over time. From that point on, I was

not allowed to talk at any time. The instructions given were to first enter a room and

practice some yoga exercises so as to get used to the atmosphere, and then enter

the method. After the yoga exercises, I walked up the hallway, saw a big basket of

headphones that where handed out by trained facilitator and I put them on.

Everything went mute; the only thing I could hear was my own breath. I was amazed

by the power of the sound block. Next, one of the facilitators took my hand, and

walked me through the next room. I was really confused about what was going on, I

could not ask for explanations and did not know how to react, which was part of the

process. We walked hand in hand in a large space filled with other facilitators (they

were all wearing black clothes) and about twenty five other people. The room was

square, with white walls and a wooden floor. In front of me, three long tables filled

with chairs, and on the tables stacks of rice and lentils, white papers and pens were

placed. On the right, there was a long “hallway” where I saw people walking very

slowly. On my left, a range of beds where people lied down and stared at the ceiling.

Before I could observe more “activities”, the facilitator carried me to the very end of

the hallway, and started walking slowly. He showed me exactly how to walk, like him,

one step at a time, keeping a very slow rhythm, emphasising every move and

looking straight forward at the end of the path. Every time I would walk too fast, he

20
would hold me tighter in order to slow me down. I was still very confused, all I could

think about was, “do I have to walk all the way?” “When and where do I stop

walking?” “Where do I go next?” At some point, he dropped my hand and I kept

walking besides him. As soon as I arrived at the end of the path, facing a wall, he

looked at me , and I looked at him very confused to what was going to happen next,

waiting for him to show me, or instruct me, but he just smiled. I have no idea how

much time I was walking, but it felt like it was around ten minutes. I felt tense and

uncomfortable. I looked around me and noticed people doing different activities on

their own, and when they needed direction or help, they went towards the facilitators.

I decided to sit on a chair at the long tables in order to get used to the atmosphere.

This was the only activity I knew about before doing the method so I thought I would

feel more comfortable since I knew what to do. I had to separate the rice from the

lentils that were mixed on a pile, and count them one by one.

I’m not a patient individual, and I can rarely stay in one place for so long. However I

ended up counting 425 beans of rice and 659 beans of lentils which made me realize

that I had more patience that I thought, and it actually relaxed my brain. From that

point on I went and tried as many activities as I could. I sat on a chair facing a blue

cardboard, then a red one and finally a yellow one. According to the artist

each primary colour has different effects on people’s emotions, and by standing and

looking at them creates impressive thoughts on their minds.23 I stared at strangers’

eyes whilst we sat across each other. Most young people tried to do this, but failed

because they would laugh each time they looked at the person sitting in front of

them. However, it was my favourite part of the method. I sat on my chair and just

stared at the person across me. I didn’t know them, I had no clue of their name, age,

23 “As one” Talk at the Benaki Museum which I attended.

21
nationality, where they were from, where did they live, what was their story, but still

as I was observing them by looking through their eyes, I loved imagining their whole

life and trying to figure them out.

Chapter Three

I was there for about three hours, but it only seemed like half an hour! I was amazed,

I felt great, I felt so full of ideas and was really happy. It was the most unusual

performance, as the artist was not even present, but going through the very specific

and structured method she designed, I felt part of her work and understood the

context of it much more. This in part explained to me the fascination the audience

has with Abramovic and why she is so popular. It also enabled me to appreciate the

impact and influence she has on the public, who manage to experience her method

and saw first-hand how the audience becomes the artwork. In order to test the

validity of my experience I prepared a questionnaire about Marina Abramovic.

The first questions suggested basic information about the artist, “Do you know who

Marina Abramovic is ?”, “Did you visit the MAI Method in Athens Benaki Museum in

2016.” I was pleased to see that everyone had heard of her and the majority had

been at least one time to the method. The length of time spent there ranged from

one to six hours, but in average around more than two and a half hours, which was

sufficient time to understand and appreciate the program. Most of them had tried all

activities, which was interesting as it meant that they were intrigued and wanted

more. The audience felt “relaxed” and “calm” while this experience brought them at

peace with their own body.

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The most popular activity could not be established, as some liked separating the rice

and lentils, others enjoyed lying down on the white beds staring at the celling, since

they didn’t have to stare at someone or something but could be relaxed with their

own body and could just stare at the celling. I thought this showed some kind of

insecurity, as though the person feels a pressure when he/she is put in an awkward

situation involving another human being. A few said they liked walking in silence

while being blindfolded because it freed their imagination as they were trying to

figure out what could be in front of them.

A small percentage liked staring at a stranger’s eyes, even though it was the most

challenging and uncomfortable activity for the majority. It was uncomfortable and

intense and made some feel embarrassed or intimidated. However, they

experienced strong emotions as though a huge energy was shared as well as

compassion and understanding between the two people. Abramovic believes that the

audience in this case is the main actor and plays the most important role, thus I

wanted to know if those who practiced the method felt in any way important. All of

them did.

Conclusion

In order for this method to work, the existence of human minds and the human

presence is essential. Abramovic’s performances could not work without the active

participation of the audience, even though their role is not always the same. The

audience is hardly ever a passive stand-by who visits an exhibition and takes away

what he/she will. The role is much more dynamic and the energy of the work is

directly influenced and impacted by the audience members and their reactions to the

instructions. Not everyone wants to abuse another person with knives or thorns,

neither does everyone want to touch their cheek with a rose. Both reactions however

23
were significant in the development of the work and could not exist without the

people present.

The most extreme form of audience participation is the method. A constantly

interconnected relationship between artist and audience exists, even when the artist

is not present. Abramovic controls the experience from afar, having designed it with

the precision and thought she employed for her other works. The audience is free to

choose the activities, but Abramovic plays a didactic role in this, instructing the

public, whilst giving them the choices.

The audience does not have one single role in Abramovic’s performances, on the

contrary it alternates them, with the most important one being on the other side of

the work, becoming the performer. I believe that humans search for this kind of

acceptance in the world, they want to find some sense in their lives at times where

they might feel lost, and Abramovic is able to provide them with this self-reflection

method, where they get to experience different types on energies shared with other

people, in order to get healed.

Marina Abramovic has changed the view on performance art and throughout the

years has developed an international Method. The artist often performs pieces on

her own, while spectators are watching, other times no audience is allowed to watch

the piece or a certain amount of the performance since she experiments with

different forms of energies and how they react on herself. Mostly though she invites

the audience to become the actors in the performance and have an equally

important role.

24
Bibliography

Books

Thomas McEvilley, "Stages of Energy: Performance Art Ground Zero?" in

Abramović, Artist Body, [Charta, 1998].

Frazer Ward, No Innocent Bystanders: Performance Art and Audience, University

Press of New England, 2012, p. 119

“As one” Lecture at the Benaki Museum which I attended. March 2016

Internet Articles

Kickass Trips. (2016). Lovers Abramović & Ulay Walk the Length of the Great Wall of
China from opposite ends, Meet in the Middle and BreakUp - Kickass Trips. [online]
Available at: http://kickasstrips.com/2015/01/lovers-abramovic-ulay-walk-the-length-
of-the-great-wall-of-china-from-opposite-ends-meet-in-the-middle-and-breakup/
[Accessed 30 Dec. 2016].

Moma.org. (2016). [online] Available at:

http://moma.org/calendar/exhibitions/964?locale=en [Accessed 27 Aug. 2016].

Moma.org. (2016). MoMA.org | Interactives | Exhibitions | 2010 | Marina Abramović:

The Artist Is Present | Portraits. [online] Available at:
http://www.moma.org/interactives/exhibitions/2010/marinaabramovic/?_ga=1.136426
76.2024183515.1462379160 [Accessed 27 Aug. 2016].

Marina Abramovic Institute. (2016). MAI. [online] Available at: http://www.mai-

hudson.org/about-mai/ [Accessed 27 Aug. 2016].

Marina Abramovic Institute. (2016). Hudson. [online] Available at: http://www.mai-

hudson.org/mai-hudson/ [Accessed 27 Aug. 2016].

Medienkunstnetz.de. (2016). Media Art Net | Abramovic, Marina: Rhythm 10. [online]
Available at: http://www.medienkunstnetz.de/works/rhythm-10-2/ [Accessed 27 Aug.
2016].

O’Hagan, S. (2010). Interview: Marina Abramović. [online] the Guardian. Available

at: https://www.theguardian.com/artanddesign/2010/oct/03/interview-marina-
abramovic-performance-artist [Accessed 27 Aug. 2016].

Pomeranz-collection.com. (2016). MARINA ABRAMOVIC & ULAY | POMERANZ

COLLECTION. [online] Available at: http://pomeranz-collection.com/?q=node/39#flou
[Accessed 11 Nov. 2016].

Pomeranz-collection.com. (2016). MARINA ABRAMOVIC & ULAY | POMERANZ

COLLECTION. [online] Available at: http://pomeranz-collection.com/?q=node/39#flou
[Accessed 27 Aug. 2016].

25
Tate. (2016). Rhythm 0, Marina Abramovic 1974 | Tate. [online] Available at:
http://www.tate.org.uk/art/artworks/abramovic-rhythm-0-l03651 [Accessed 30 Dec.
2016].

The Independent. (2014). Marina Abramović: The grandmother of performance art

on her 'brand',. [online] Available at:
http://www.independent.co.uk/news/people/profiles/marina-abramovi-the-
grandmother-of-performance-art-on-her-brand-growing-up-behind-the-iron-curtain-
9449301.html [Accessed 27 Aug. 2016].

thestar.com. (2016). Marina Abramovic talks life and art ahead of her Luminato
starring role | Toronto Star. [online] Available at:
https://www.thestar.com/entertainment/stage/2013/05/31/marina_abramovic_talks_lif
e_and_art_ahead_of_her_luminato_starring_role.html [Accessed 27 Aug. 2016].

Wright, K. (2016). Marina Abramović: The grandmother of performance art on her

'brand',. [online] The Independent. Available at:
http://www.independent.co.uk/news/people/profiles/marina-abramovi-the-
grandmother-of-performance-art-on-her-brand-growing-up-behind-the-iron-curtain-
9449301.html [Accessed 30 Dec. 2016].

Web.archive.org. (2016). Marina Abramović. [online] Available at:

https://web.archive.org/web/20150221154621/http://abramovic.garageccc.com:80/en
/works/7 [Accessed 30 Dec. 2016].

Web.archive.org. (2016). Marina Abramović. [online] Available at:

https://web.archive.org/web/20150221154621/http://abramovic.garageccc.com:80/en
/works/7 [Accessed 30 Dec. 2016].

DVD’s and Video documentaries

Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online] Available at:

https://vimeo.com/71952791 [Accessed 27 Aug. 2016].

Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online] Available at:

https://vimeo.com/71952791 [Accessed 27 Aug. 2016].

Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online] Available at:

https://vimeo.com/71952791 [Accessed 27 Aug. 2016].

YouTube. (2016). Relation in Time. Marina Abramović and Ulay. [online] Available
at: https://www.youtube.com/watch?v=1sRSoGAc3H0 [Accessed 27 Aug. 2016].

YouTube. (2016). Talking Art: Marina Abramovic | Tate Talks. [online] Available at:
https://www.youtube.com/watch?v=W8xzvUC_qms [Accessed 27 Aug. 2016].

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List of Illustrations

Figure 1: profile, V. (2016). M4 #5 Marina Abramovic. [online]

Aninfluxofculture.blogspot.ch. Available at:
http://aninfluxofculture.blogspot.ch/2011/05/m4-5-marina-abramovic.html [Accessed
30 Dec. 2016].

Figure 2, 3, 4, 5 : Vimeo. (2016). Marina Abramovic on Rhythm 0 (1974). [online]

Available at: https://vimeo.com/71952791 [Accessed 27 Aug. 2016].

Figure 6, 7: Pomeranz-collection.com. (2016). MARINA ABRAMOVIC & ULAY |

POMERANZ COLLECTION. [online] Available at: http://pomeranz-
collection.com/?q=node/39#flou [Accessed 27 Aug. 2016].

Figure 8: Marina Abramović: The Artist Is Present

Photo by Marco Anelli. © 2010 Marco Anelli
[0093MOMA0390]

Figure 9 : PetaPixel. (2010). Sitting, Staring, and Crying with Marina Abramović at
MoMA. [online] Available at: http://petapixel.com/2010/04/23/sitting-staring-and-
crying-with-marina-abramovic-at-moma/ [Accessed 27 Aug. 2016].

Figure 10, 11, 12: Vimeo. (2016). Marina Abramovic on The Artist Is Present (2010).
[online] Available at: https://vimeo.com/72711715 [Accessed 30 Dec. 2016].

Figure 13: Marina Abramovic Institute. (2016). Hudson. [online] Available at:
http://www.mai-hudson.org/mai-hudson/ [Accessed 27 Aug. 2016].

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