Marina Abramovic, Yugoslavian (1946 - )

1946 Born in Belgrade, Yugoslavia.

Lives in New York City.

1960 - 68 Paintings and drawings.
1965 - 70 Academy of Fine Arts, Belgrade.
1968 - 70 Projects, texts and drawings.
1970 - 72 Post diploma studies, Academy of Fine Arts, Zagreb.
1970 - 73 Sound environments, exhibitions at Student Cultural Centre with Rasa Todosijevic, Zoran Popovic, Gergelj Urkom, Slobodan Milivojevic and Nesa Paripovic.
1973 - 75 Teaching at the Academy of Fine Arts, Novi Sad.
1973 - 76 Performances, video, films.
1975 Meets Ulay in Amsterdam
1976 Relation works with Ulay. Decision to make permanent movements and detours.
1980 - 83 Travels in Central Australian, Sahara, Thar and Gobi Deserts.
1983 Visiting professor at the Académie des Beaux-Arts, Paris, France.
1985 First visit to China.
1986 Second visit to China.
1987 Third visit to China.
1988 The Great Wall Walk: 30 April - 27 June.
After The Walk, begins to work and exhibit individually.
1988 - 90 Boat Emptying/Stream Entering
1990 - 91 Visiting professor at the Hochschule der Kunst, Berlin, Germany.
Visiting professor at the Académie des Beaux-Arts, Paris, France.
1992 - 96 Professor at the Hochschule für Bildende Kunst, Hamburg.
Workshops, lectures, solo and group shows all over the world.
Completion of two major theatre performances: "Biography" and "Delusional."
1997 Professor at the Hochschule für Bildende Kunst in Braunschweig, Germany.
1998 Board Member of the Contemporary Art Museum, Kitakyushu, Japan.
2001 Artist in Residence at the Atelier Calder, Saché, France.
2003 Winner of the Niedersächsicher Kunstpreis 2003.
Winner of the New York Dance and Performance Award for The House
with the Ocean View (The Bessies)
2004 Awarded an honorary doctorate from The Art Institute of Chicago
2005 Performed Seven Easy Pieces at the Solomon R. Guggenheim Museum in New York
2006 Honored by Artist’s Space and +ART
Honored by the Guggenheim at 2006 International Gala

This list has been compiled chronologically; solo exhibitions and performances precede
group exhibitions and performances

2006 Solo Balkan Erotic Epic, SESC, San Paulo, Brazil.
Solo Balkan Epic, Art for the World Project, Pirelli, Milan, Italy.
2006 Group Into Me / Out of Me, PS1, New York, NY; KW Institute for Contemporary Art, Berlin, Germany.
WATCH OUT, Beaumontpublic, Luxembourg

2005 Solo The Biography Remix [Performances], Avignon Theatre Festival, Avignon, France.
Photographies et Objets/Count On Us, Galerie Guy Bärtschi, Geneva, Switzerland.
(Re)Presenting Performance [Symposium], Solomon R. Guggenheim Museum, New York.
Self Portrait with Skeleton [Performance], Art Basel, Art Unlimited, Basel, Switzerland.
Seven Easy Pieces [Performances], Solomon R. Guggenheim Museum, New
Balkan Erotic Epic, Sean Kelly Gallery, New York.
2005 Group 5th Mercosul Biennial, Porto Alegre, Brazil.
Another Expo: Beyond the Nation-State, Kitakyushu Municipal Museum of Art, Japan; White Box, New York.
The Artist’s Body. Then and Now, Centre d’Art Contemporain, Genève,
CCA Kitakyushu Artist’s Books, Christophe Daviet-Thery, Paris.
Conflict: Perspectives, Positions, Realities in Central European Art, Slought Foundation, Philadelphia, PA.
Donna Donner, Palazzo Strozzi, Florence, Italy.
DreamingNow, The Rose Art Museum, Brandeis University, Waltham,
East Art Museum – A (Re) Construction of the History of Contemporary Art (1945-1985) in Eastern Europe, Karl Ernst Osthaus-Museum, Hagen, Germany.
Figure It Out, Hudson Valley Center for Contemporary Art, Peekskill, New York.
Fragments of Time, Yellow Bird Gallery, Newburgh, New York.
The Gesture, Macedonian Museum of Contemporary Art, Thessaloniki, Greece; Quarter, Center for Contemporary Arts, Florence, Italy.
Getting Emotional, The Institute of Contemporary Art, Boston, MASS.
Indeterminant States, Cisneros Fontanals Art Foundation (CIFO), Miami, FL.
La Galleria dell’Amore: Let Love Blossom with IPG [Curator], Galleria Civica di Arte Contemporanea, Trento, Italy. Me, Myself and I: artist self-portraits from the Heather & Tony Podesta Collection, Curator’s Office, Washington, DC; Contemporary Art Center of Virginia, Virginia Beach, VA.
Melancholia, Jensen Gallery, Auckland, New Zealand.
Miradas Y Conceptos En La Collección Helga de Alvear, Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, Spain.
Suddenly Older, Clifford Art Gallery, Colgate University, Hamilton, NY.
Take Two. Worlds and Views: Contemporary Art from the Collection, Museum of Modern Art, New York, NY.
Videographies – The Early Decades from the EMST collection, National Museum of Contemporary Art, Athens, Greece.

2004 Solo Biography Remix, Fondazione Roma Europa, Rome, Italy.
Performing Body: Video Works By Marina Abramovic, The Speed Art
Museum, Louisville, KY.
Loop Performance, (IPG) P.S.1 Contemporary Art Center, New York, NY.
2004 Group Art Unlimited: ArtBasel 2004, Basel, Switzerland.
Exhibit and Silent Auction, Marianne Boesky Gallery, New York, NY.
Belgrade Art Inc, Secession, Austria.
Cetinje Biennial, Ceninje, Montenegro.
Camera/Action, Museum of Contemporary Photography, Columbia
College, Chicago, IL.
Collected Views from East to West, Generali Foundation, Austria.
Depicting Love, Kunstlerhaus Bethanien, Berlin, Germany.
Maya Lin: Earth Drawings, The Wanas Foundation, Sweden.
Performance en Vivo, Museo de Arte, Puerto Rico.
2004 Biennial, Whitney Museum of American Art, New York, NY.
Performing Body, Speed Art Museum, Louisville, KY.
Video Killed the Radio Star, La Fabrica Gallery, Spain.

2003 Solo The Netherlands Media Art Institute, Montevideo/Time Based Arts,
Amsterdam, The Netherlands.
Student Body, Centro Galego de Arte Contemporánea, Santiago de
Compostela, Spain.
The Star, Contemporary Art Museum, Kumamoto, Japan.
La Fábrica, Madrid, Spain. Traveling exhibition/ Traveled to Maragame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, Japan (2004).
2003 Group The Invisible Thread: Buddhist Spirit in Contemporary Art, Newhouse
Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY.
Video Evenings, MARTa pre-opening event, MARTa Herford/Museum of
Art and Design, Herford, Germany.
Air, James Cohan Gallery, New York, NY.
Banquete – International Traveling Exhibition, Palau de la Virreina,
Barcelona, Spain. Traveled to ZKM Center for Art and Media, Karlsruhe, Germany; Centro Cultural Conde Duque, Madrid, Spain.
upon reflection…., Sean Kelly Gallery, New York, NY.
Video Acts: Single Channel Works from the Collections of Pamela and
Richard Kramlich and New Art Trust, P.S. 1 Contemporary Art Center, NewYork, NY. Traveled to Institute of Contemporary Arts, London, England.

2002 Solo The House with the Ocean View, Sean Kelly Gallery, New York, NY.
Galleria Lia Rumma, Milan, Italy.
Galerie Cent8, Paris, France.
2002 Group Oxygen, Whitebox Art Gallery, New York, NY.
Barbara Krakow Gallery, Boston, MA.
Moving Pictures, Solomon R. Guggenheim Museum, New York, NY.
Building Structures, P.S.1. Museum of Modern Art, Long Island City, NY.
In Search of Balkania, Neue Galerie am Landesmuseum Joanneum, Graz,

2001 Solo Marina Abramovic: The Hero, The Hirshhorn Museum and Sculpture
Garden, Washington, DC.
Marking the Territory, The Irish Museum of Modern Art, Dublin, Ireland.
The Hunt, (video installation), Project Gallery at Center for Contemporary
Art Kitakyushu, Kitakyushu, Japan.
Spirit Houses, (site-specific project), Bourganeuf, France; Fondazione Antonio Ratti, Como, Italy.
Energy Clothes, (performance and video installation), Atelier Calder,
Saché, France.
2001 Group Body and the East: From the 1960's to the Present, Exit Art, New York,
Echoes of the Scream, ARKEN Museum of Modern Art, Ishoj, Denmark.
El Instante Eterno, Espai D'Art Contemporani de Castelló, Valencia, Spain.
Giganti: Arte Contemporanea, Fori Imperiali, Rome, Italy.
Holy Sports and 13, (video installation), Center of Academic Resources,
Chulalongkorn University, Bangkok, Thailand.
Hypermental - Wahnhafte Wirklichkei 1950-2000, Hamburger Kunsthalle,
Hamburg, Germany.
Pat Hearn Gallery: Part 2 (1988-1994), Pat Hearn Gallery, New York, NY.
Site Specific Projects, (video installation and site-specific project),
Montenmedio Arte Conteporaneo, Cadiz, Spain.
Yokohama 2001, International Triennial of Contemporary Art, (installation),
Yokohama, Japan.

2000 Solo Cleaning the House: Traveling Cabinet, Kiasma Museum of Contemporary
Art, Helsinki, Finland.
Galerie Cent8, Paris, France.
Marina Abramovic: Luminosity, Insomnia, Dissolution 1997, University of
Florida, Samuel P. Harn Museum of Art, Gainesville, FL.
Marina Abramovic: Soul Operations Room, Kappatos Gallery, Athens,
Public Body – Artist Body, (performance, video installations, objects),
Kunstverein Hannover, Hannover, Germany
2000 Group Acoustic Architecture Architectural Acoustics, Aronson Gallery #1,
Parsons School of Design, New York, NY.
Anableps, Studio Stefania Miscetti, Rome, Italy.
Animal, Anima, Animus, The Winnipeg Art Gallery, Winnipeg, Canada.
Arteast Collection: The Art of Eastern Europe in Dialogue with the West;
From the 1960s to the Present. The Museum of Modern Art,
Ljubljana, Slovenia.
Das Gedächtnis der Kunst, Historiches Museum, Schirn Kunsthalle,
Frankfurt, Germany.
Dream Machines, a National Touring Exhibition organized by the
Hayward Gallery, London, for the Arts Council of England. Exhibition tour: Dundee Contemporary Arts, Mappin Art Gallery, Sheffield, and Camden Arts Centre, London.
Echigo-Tsumari Art Triennial 2000, (installation), Sarugaku-cho,
Shibuya-ku, Tokyo, Japan.
Global Conceptualism: Points of Origin, 1950s-1980s, MIT List Visual
Arts Center, Boston, MA.
Group Show, Galerie Ingrid Dacié, Tübingen, Germany.
Heimat Kunst, (performance photographs), Haus der Kulturen der Welt,
Berlin, Germany.
Hypermental. Rampant Reality 1950-2000 from Salvador Dali to Jeff
Koons, (video installation), Kunsthaus Zurich. Traveled to
Hamburger Kunsthall, Hamburg, Germany; Rudolfinum, Prague,
Czech Republic.
Insistent Memory: The Architecture of Time in Video Installation,
University of Florida, Samuel P. Harn Museum of Art, Gainesville,
La Forma del Mondo/ La Fine del Mondo, (video installation), PAC
(Padiglione d’Arte Contemporanea), Milan, Italy.
Lie of the Land earth body material, John Hansard Gallery, University of
Southampton, Southhampton, England.
Lost Paradise Lost, Ev. Luth Stadkirchenverband, Hannover/Hamburg, Germany.
Ma Sorciere bien aimée, Musée d’Histoire de la Ville de Luxembourg,
Performing Bodies, (video), Tate Modern, London, England.
Stanze e Secreti, Milan, Italy.
Ventana hacia Venus – Window onto Venus, Bienal de la Habana, Teatro
National/Galeria Rene Portocarrero, Havana, Cuba.
Video Time: Survey of Videos from the Museum of Modern Art's
Renowned Collection Traces the History of the Medium, The Museum of Modern Art, New York, NY.
Voici – 100 and d’art contemporain, (video installation), Palais des Beaux
Arts, Brussels., Belgium.
Zeitwenden, (public performance and installation), Ludwig Museum,
Vienna, Austria.
Central Europe 1949-1999, The Brooklyn Museum of Art, Brooklyn, NY.

1999 Solo Cleaning the House, Kiasma, Museum of Contemporary Art, Helsinki,
Expiring Body, Fabric Workshop and Museum, Philadelphia, PA.
Galerie Cent8, Paris, France.
Marina Abramovic: Spirit House, Centrum Sztuki Wspólczesnej Zamek
Ujazdowski, Warsaw, Poland.
Ulay & Abramovic, collaboration with Ulay, Musée d’Art Contemporain,
Lyon, France.
1999 Group Postmedia: Conceptual Photography in the Guggenheim Museum
Collection, The Solomon R. Guggenheim Museum , New York, NY.
Zeitwenden, (object installation: Soul Operation Room), Kunstmuseum,
Bonn, Germany.
Lie of the Land: earth. body. material. John Hansard Gallery University of
Southampton, Southampton, England.
Regarding Beauty: A View of the Late Twentieth Century, Hirshhorn
Museum and Sculpture Garden, Washington, DC.
Calendar 2000, Center for Curatorial Studies, Bard College, Annandale-
on-Hudson, NY.
Kiasma Museum of Contemporary Art, Helsinki, Finland.
Impact: Revealing Sources for Contemporary Art, Contemporary Museum,
Baltimore, MD.
Inderlightens Spill: Images of Religious Contemplation, (video
installation), Kunstmuseum, Lillehammer, Norway.
Where Are You? Center for Curatorial Studies, Bard College, Annandale-
on -Hudson, NY.
Comfort Zone: Furniture by Artists, Paine Webber Art Gallery, New York,
Animal.anima.Animus, Pori Art Museum, Pori, Finland. Traveled to the
Museum of Modern Art Arnhem, Holland and P.S.1 Contemporary Art Center, Long Island City, New York, NY.
Global Conceptualism: Points of Origin, Queens Museum of Art, Queens,
The Time of Our Lives, The New Museum of Contemporary Art, New
York, NY.
La Ville, le Jardin, la Mémoire, Academie de France, Villa Medici, Rome,
Aspects - Positions. 50 years of Central European Art 1949 – 1999,
Museum Kunst Stiftung Ludwig Wien, Vienna, Austria.

1998 Solo Marina Abramovic; Expiring Body, Fabric Workshop and Museum,
Philadelphia, PA.
Marina Abramovic; Artist Body-Public Body, Kunstmuseum Bern, Bern,
Switzerland. Traveled to Lonja del Pescado, Alicante, Spain; Moderna galerija Ljubljana Museum of Modern Art and Cankarjev dom, Ljubljana, Slovenia.
Marina Abramovic: objects, performance, video, sound, traveling
exhibition, Museum of Contemporary Art, Sydney, Australia.
Marina Abramovic: The Hunt/La Caza, Sala La Gallera, Valencia, Spain.
Marina Abramovic: Biography/Biography, Teatre Rialto, Valencia, Spain.
Ulay/ Abramovic, Performance Works 1976-1988, Tramway, Glasgow,
1998 Group Corpus Virtu, Sean Kelly Gallery, New York, NY.
Out of Actions: Between Performance and the Object, 1949-1979, The
Museum of Contemporary Art, Los Angeles, CA. Traveled to MAK
-Ausstellungshalle, Vienna, Austria.
Partners, Philadelphia Museum of Art, Philadelphia, PA.

Wounds: Between Democracy and Redemption in Contemporary Art,
Moderna Museet, Stockholm, Sweden.
Wånas 1998, Wånas Foundation, Knislinge, Sweden.
Landscape. The Trace of the Sublime. Kunsthalle zu Kiel der Christian-
Alberchts- Universität, Kiel, Germany; traveled to Kunstraum Innsbruck, Innsbruck, Austria and Esbjerg Kunstmusem, Esberj, Denmark.
Body and the East, From the 1960s to the Present, Moderna Galerija
Ljubljana, Ljubljana, Slovenia.
New Science, Edmonton Art Gallery (EAG), Edmonton, Canada.
Body Double, Winston Wächter Fine Art Gallery, New York, NY.
Persona, Galerie Carousel, Paris, France.
Escape at Remanence, Former Melbourne Magisrates’ Court and City
Watch House, Melbourne, Victoria, Australia.
"Out of Actions: Between Performance and the Object, 1949-1979,"
Museum of Contemporary Art, Tokyo and Museum of
Contemporary Art, Los Angeles, The Museum of Contemporary
Art, Vienna, Museu d’Art Contemporani de Barcelona (video, slides
and installation).
Nine International Artists, (video installations and site-specific project),
The Wanas Foundation, Knislinge, Sweden.

1997 Solo Balkan Baroque, XLVII Biennale de Venezia, Venice, Italy (Recipient of the
Golden Lion Award).
Spirit House and Performance Luminosity, Sean Kelly Gallery, New York,
Performing Body, Setagaya Museum, Tokyo, Japan.
Marina Abramovic Works, (video installation and photographs), CCA,
Kitakyushu, Japan.
The Bridge, (video installation), City Museum of Contemporary Art,
Skopje, Macedonia.
Boat Emptying/Stream Entering, Sean Kelly, New York, NY.
Marina Abramovic 1979-1987, Okazaki Tamako Gallery, Tokyo, Japan.
Ulay/Abramovic, Van Abbe Museum, Eindhoven, The Netherlands.
Performing Body, (objects and video installation), Studio Stefania Miscetti,
Rome, Italy. Traveled to Palazzo delle Esposizioni, Rome, Italy; Zerynthia, Paliano, Italy.
1997 Group Animalities, Monti Video (Time Based Arts), Amsterdam, The
Future, Past, Present, 1965-1997, XLVII Biennale de Venezia, Venice,
Italy. (video installation Balkan Baroque, performance, Cleaning the House).
Artist Projects, P.S. 1 Contemporary Art Center, Long Island City, NY.
De-Genderism, (video installation, performance, Cleaning the House),
Setagawa Art Museum, Tokyo, Japan.
Shoes or No Shoes?, Shoes of Artists, Vishal, Haarlem, The Netherlands.
Spirit House, (video installation), Biennale de Obidos, Obidos, Portugal.
The Compulsion to Remember, Center for Curatorial Studies, Bard
College, Annandale -On-Hudson, NY.

1996 Solo Spirit Cooking, Galerie de Lege Ruimte, Ghent, Belgium.
Boat Emptying Stream Entering, University of North Texas Art Gallery,
Denton, Texas. Traveled to Center for Research in Contemporary Art, University of Texas at Arlington, TX.
The House, Five Rooms and Storage, Middlesbrough Art Gallery,
Middlesbrough, England.
Chair for Man and His Spirit; Chairs for Man and Spirit, (site-specific
installation Okasaki Mindscape Museum, Okasaki, Japan.
Chair for Spirits, (site-specific project), Dallas, TX.
Cleaning the Mirror, (performance), Villa Stuck, Munich, Germany.
Cleaning the Mirror, (installation), Miro Foundation, Palma, Mallorca,
Biography, Groninger Stanschouwburg, Groningen, Holland.
The Urgent Dance, Museum of Contemporary Art, Ghent, Belgium.
1996 Group Cleaning the Mirror, (video installation), Cultural Elzenveld, Antwerp,
In Between in Running Trains, (video installation), Gynaika, Antwerp,
Girls, Bad Girls!, Cultuur Centrum, Brugge, Belgium.
NowHere, Louisiana Museum of Modern Art, Humlebaek, Denmark.
Video Sans Titre, Galerie Froment + Putnam, Paris, France.
Vier Positionen Holländischer Plastik, Skulpturen Museum, Glaskaten
Marl, Germany.
Walking and Thinking and Walking, Louisiana Museum, Odense,
Art meets Science, Spirituality in a Changing Economy, Copenhagen,

1995 Solo Cleaning the Mirror, (object installation and performance), Sean Kelly,
New York, NY.
Biography, (theater performance), Singel Theater, Antwerp, Belgium.
Biography, (theater performance), Greer Carson Theatre, Santa Fe, NM.
Marina Abramovic: objects, performance, video, sound, Museum of
Modern Art, Oxford, England. Traveled to Fruitmarket Gallery,
Edinburgh, Scotland; Irish Museum of Modern Art, Dublin, Ireland;
Kunsthallen Brandts Klaedefabrik, Odense, Denmark; Villa Stuck,
Munich, Germany; Groninger Museum, Groningen, Holland;
Museum van Hedendaagse Kunst, Ghent, Belgium.
Cleaning the Mirror, Museum of Modern Art, Oxford, England.
Double Edge, installation for Kunstmuseum des Kantons, Karthause
Ittingen, Switzerland.
Performance Anthology, Video, Drawings, Klaus Fischer Gallery, Berlin,
Rapture, the Body, Ritual + Sacred Practice, I.C.A., London, England.
1995 Group Longing and Belonging, Site Santa Fe, Santa Fe, NM.
Becoming Visible, (video installation), Istanbul Biennale, Istanbul, Turkey.
Padova Biennale, Padua, Italy (Francalanci’s section); Biennale de Lyon,
Lyon, France.
Inbetween, (group installation), Thuringen, Germany.
Feminin/masculin, Centre Georges Pompidou, Paris, France.
Autour de Roger Vivier, Galerie Enrico Navarra, Paris, France.
Artists Against Violence, Neuer Aachener Kunstverein, Aachen, Germany.
Ram = Realität, Anspruch, Medium, Wartesaal, Kunstfonds, Bonn,
Avant - Garde Walk in Venezia, Venice, Italy.
I am You, artists against racism, Amsterdam, The Netherlands.
Ruimtelijke Manuscripten, serie De Stadsbibliotheek van de Zintuigen,
Bibliotheek Amsterdam, The Netherlands.

1994 Solo Marina Abramovic: Departure, Laura Carpenter Fine Art, Santa Fe.
Delusional, (theater performance), Monty Theatre, Antwerp, Belgium.
Traveled to Theatre am Turm (TAT), Frankfurt, Germany.
Image of Happiness, (extract of Delusional), Steirischer Herbst, Graz,
Faret Tachikawa, (permanent outdoor installation of Black Dragon
Pillows), Tokyo, Japan.
1994 Group Hors Limites - L'Art et la Vie, (objects, video), collaboration with Ulay,
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
Visceral Responses, Holly Solomon Gallery, New York, NY.
Künstlertraumen Berlin, Stiftung Neue Kultur, Berlin, Germany.
Voetsporen, Artoteek, Dordrecht, The Netherlands.
Beeld, Museum van Hedendaagse Kunst, Ghent, Belgium.
Different Natures, Espai 2, Barcelona, Spain.
Georgius Agricola, Kunstsammlung, Chemnitz, Germany.
Shoes from Artists, X, Pilar and Juan Miró Foundation, Mallorca, Spain.
Metaphysical Metaphors, High Museum of Art, Atlanta, Georgia.
Dialogue with the Other, Künshallen Brands Klaederfabrik, Denmark.
Traveled to Norrköpings Konstmuseum, Sweden.
L'art à la plage, Jumeaux, France.
Naturally, Ernst Museum, Budapest, Hungary.
Buch und Kunst, Galerie Renate, Hamburg, Germany.
Beyond the Pale, Irish Museum of Modern Art, Dublin, Ireland.
I Am You, Cleaning the House, (poster project held across several
European cities by Ugo Dossi and Thomas Barth).

1993 Solo Biography, (theater performance), Theater am Turm [TAT], Frankfurt,
Germany. Traveled to Hebbeltheater, Berlin, Germany.
Marina Abramovic, Jean Bernier Gallery, Athens, Greece.
Marina Abramovic, Palazzo dei Diamanti, Ferrara, Italy.
Dragon Heads, (performance), Caixa de Pensiones, Barcelona. Traveled
to Kunstmuseum, Bonn, Germany; Kunsthalle, Hamburg, Germany.
Wartesaal, (installation), Neue Nationalgalerie, Berlin, Germany.
1993 Group La Coesistenza dell'Arte, Biennale, Venice, Italy.
Cerco, Biennial Internacional de Obidos, Obidos, Portugal.
World Wide Video Festival, World Wide Video Centre, The Hague,
The Netherlands.
Différentes Natures, La Défense, Paris, France.
Becoming Visible, (video installation), Feuer Wasser Erde Luft, Mediale,
Deichtorallen, Hamburg, Germany. Traveled to Galerie Franck + Schulte, Berlin, Germany.
I am You, Cleaning the House, Billboard Project, Antwerp, Belgium.
Mediale, Deichtorhallen, Hamburg, Germany.
20 Jahre Künstler-Videos, Hamburger Kunsthalle, Berlin, Germany.
Arte Amazonas, Staatliche Kunsthalle, Berlin, Germany.

1992 Solo Marina Abramovic, École Nationale Supérieure des Beaux-Arts, Paris,
Transitory Objects, Galerie Krinzinger, Vienna, Austria.
The Bridge, Galerie Ingrid Dacic, Tübingen, Germany.
Becoming Visible, Galerie des Beaux Arts, Brussels, Belgium. Traveled to
Musée Montbéliard, Montbéliard, France.
Wartesaal, Neue Nationalgalerie, Berlin, Germany.
Dragon Heads, Caixa de Pensiones, Barcelona, Spain. Traveled to
Kunstmuseum Bonn, Germany.
Biography, Kunsthalle Wien, Vienna, Austria.
1992 Group Documenta 9, Kassel, Germany.
Spatial Drive, The New Museum of Contemporary Art, New York, NY.
Faszination Edelstein, Hessisches Landesmuseum, Darmstadt, Germany.
The Biography, Edge 92, International Biennial of Innovative Visual Art,
Madrid, Spain. Traveled to Kunsthalle, Vienna, Austria.
Van Vlees en Bloedt, (video documentary of performance and objects),
collaboration with Ulay, Stedelijk Museum, Schiedam,
The Netherlands.
The Comfort Zone, The Living Room, Amsterdam, The Netherlands.
Die Künstlerpostkarte, Altonaer Museum, Hamburg, Germany.
Frischluft, Wilhelm Lehmbruck Museum, Duisburg, Germany.

1991 Solo For your eyes only, De Waag, Leiden, Germany.
Departure, Galerie Enrico Navarra, Paris, France.
Marina Abramovic, Victoria Miro Gallery, London.
The Lovers, Museum of Contemporary Art, Montreal, Canada.
1991 Group Arte Amazonas, Museo de Arte Moderna, Rio de Janeiro, Brazil.
Das Goldene Zeitalter, Wurttembergischer Kunstverein, Stuttgart,
Germany. Traveled to Ludwig Forum für Internationale Kunst, Aachen, Germany.
Fuente, Nieuwe Kerk, Amsterdam, The Netherlands.

1990 Solo The Lovers, (objects and performances), Städtische Kunsthalle,
Düsseldorf, Germany.
Green Dragon Lying, Städtische Kunsthalle, Düsseldorf, Germany.
Boat Emptying/Steam Entering, Galerie Ingrid Dacic, Tübingen, Germany.
Le Guide Chinois, Galerie Charles Cartwright, Paris, France.
Marina Abramovic: Sur la Voie, Galeries Contemporaines, Centre Georges
Pompidou, Paris, France.
Dragon Heads, Museum of Modern Art, Oxford, England.
Edge '92, (performance), The Church, Newcastle-Upon-Tyne, England.
Traveled to Third Eye Centre, Glasgow, Scotland.
Boat Emptying/Stream Entering, (performance and objects), Museum of
Modern Art, Montreal, Canada.
Aphrodite, Communal Centre, Cyprus.
1990 Group The Shadow of Presence, Galerie Charles Cartwright, Paris, France.
De Verzmeling II, Museum van Hedendaagse Kunst, Antwerp, Belgium.
Venus, Musée Albi, Albi, France.
Noli Me Tangere, Kunstmuseum, Sion, Switzerland.
Nature in Art, Kunstmuseum, Vienna, Austria.

1989 Solo Boat Emptying/Stream Entering, Victoria Miro Gallery, London, England.
The Lovers, Stedelijk Museum, Amsterdam, The Netherlands. Traveled to
Museum van Hedendaagse Kunst, Antwerp, Belgium.
Green Dragon Lying, Museum van Hedendaagse Kunst, Antwerp,
Belgium. Traveled to Stedelijk Museum, Amsterdam, The Netherlands.
SSS, (directed by Charles Atlas), Madrid, Spain.
Boat Emptying/Stream Entering, (sound: Charlemagne Palestine),
Frankfurt, Germany.
1989 Group Magiciens de la Terre, Musée National d’Art Moderne, Centre Georges
Pompidou, Paris, France.
Wanderers, Galerie Charles Cartwright, Paris, France.
And they see God, Pat Hearn Gallery, New York, NY.
Das Verhältnis der Geschlechter, (installation of objects), Kunstverein,
Bonn, Germany.
Over den gres, (installation), Nederlands Textielmuseum, Tillburg, The
Video-Skulptur Retrospektiv und Aktuell 1963-1989, Kölnischer
Kunstverein, Cologne, Germany. Traveled to Kongresshalle,
Berlin, Germany; Kunsthaus, Zurich, Switzerland.

1988 Solo China Ring, Burnett Miller Gallery, Los Angeles, CA.
Anima Mundi, Galerie Ingrid Dacic, Tübingen, Germany.
1988 Group After 15 Years, (photo documentation of performances) Happy New
Gallery, SCC, Belgrade, Yugoslavia.
Beelden voor blinden en zienden, Oude Kwekje, Kortenhoef, The
The Flag Project, 50 Artists/50 Flags, Venice, Italy.
Roots and Turns, 20th Century Photography in the Netherlands, Blaffer
Gallery, University of Houston, TX. Traveled to Stedelijk Museum, Amsterdam, The Netherlands.
Rijksaankopen 1987; wer van hedendaagse beeldende kunstenaars,
Stedelijk Museum, Schiedam, The Netherlands.
Documenta 8, Kassel, Germany.
Photo Mannerisms, Lawrence Oliver Gallery, Philadelphia, PA.
Interview with Marina Abramovic in the New York Times

In 2002, the performance artist Marina Abramovic drew attention—within and beyond the art world—when she starved herself for a twelve-day endurance test, an event that gave 9/11-scarred New Yorkers something else to talk about and later found its (fictionalized) way into a Sex and the City episode. She’s also known for re-creating performance pieces by other artists, most prominently at the Guggenheim last month, where she restaged work by artists including Vito Acconci and Bruce Nauman. Her filmed piece Balkan Erotic Epic opens at the Sean Kelly Gallery on December 9. Abramovic spoke to Karen Rosenberg.

Let’s talk about the performances at the Guggenheim.
You can’t imagine how relieved I am that it’s finished—it’s something I planned for twelve years. Most of the pieces weren’t mine; I never saw them and I’d never repeated anyone else’s piece, so the responsibility to do it right was enormous. Also, I don’t rehearse, because performance art is not about rehearsal; that’s what makes it different from theater.

How did you re-create the works? You had to rely on photos, right?
I felt like an archaeologist, trying to figure out from the ruins what really happened. For the Vito Acconci piece Seedbed, I had less than three minutes of [recorded] material that wasn’t even authorized; there was no sound.

So how on earth did you—as a woman—perform that piece? In the original, he masturbated for hours while hidden beneath a ramp at the Sonnabend Gallery.
I have a lot of respect for this piece. It’s very different from my own work. He performed it for nine days, eight hours a day. The whole idea of him producing seeds, a metaphor for creation—for me it was extremely important to know what the woman is producing. I went for the idea of producing moisture and heat. Having orgasms publicly, being excited by the visitors steps above me—it’s really not easy, I tell you! I’ve never concentrated so hard in my life. My friend gave me some sexy magazines, but I really didn’t use them. I concentrated on the sounds, and on the idea that I had to have orgasms, as proof of my work. And so I did. I don’t fake it—I never fake anything. The problem for me, with this piece, was the absence of public gaze: only the sound. But I heard that people had a great time; it was like a big party up there! I ended with nine orgasms. It was terrible for the next piece—I was so exhausted!

How would your work be different if a man performed it?
I really think there’s no difference between an art piece made by a man and one made by a woman. Is it a good art piece or a bad art piece? Of course, if you’re female, you’re maybe dealing with different issues.

Do you give people permission to redo your own work?
People will often tell me when they’ve already done it; they’ll send me a letter. There are certain pieces you absolutely can’t repeat without informing me, because some of them are really dangerous, and I don’t want the responsibility. You have to see the person, see what is his capacity, what is his experience.

In your last solo show at Sean Kelly, The House With the Ocean View, you lived in the gallery without food for twelve days. Tell me about the new work, Balkan Erotic Epic.
When I made House, it was such a radical piece—pushing the limits as far as I could. After that, I just wanted to do something different. I went to the former Yugoslavia—I was interested in the roots of the culture, which has a lot of pagan elements, and the idea of the “erotic.” How we see “erotic” today is so limited; we think erotic equals pornography. The woman with her breasts exposed is a kind of erotic that’s very vulgar, very predictable, and we are fed by these very standard images. In Balkan culture, the sexual organs, male and female, were used as tools for taking evil away, connecting with the forces of nature. I found all these different rituals, going back to the sixteenth century, and staged them in a film. For instance: In the villages there would be lots of rain, which would damage the growing corn—so all the women of the village, from the very young to the very old, would run into the fields and lift their skirts to scare the gods and make the rain stop. It’s an amazing image. There’s nothing pornographic there, and it makes you see your own organs in a completely different light.

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