(no subject)
Abramovic, Marina; Ulay
In another, Rest Energy (1980), they held a taut bow with an arrow loaded and pointing at Abramovic's heart, with only the weight of their bodies maintaining the tension. Microphones recorded their rapidly accelerating heartbeats.
Rhythm 0, 1974.
She placed 72 items on the table that any of the public can use on her as desired. Including scissors, an axe, and a loaded pistol.
Breathing In/Breathing Out, 1974.
With their mouths clamped tightly together and microphones taped to their throats, Abramovic and Ulay breathed in turn the air from each other's lungs, until - almost to the point of suffocation - they were exchanging only carbon dioxide.
Imponderibilia, 1977.
they faced eachother, completely naked in the only entrance/exit to the museum. the public had to turn sideways to enter or exit. everybody had to choose which one to face, the naked female or the naked male.
The House with the Ocean View, 2002.
For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives.