Marina abramovic biography

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Biography of Marina Abramović

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Marina Abramović is born on November 30 in Belgrade, former Yugoslavia, to an affluent family with politically active parents. Vojin and Danica Abramović, who were Yugoslav partisans during World War II, continue their engagement in General Tito’s communist party. For their contributions during the war they are awarded high positions in the public sector; her father works with state security and her mother becomes head of the Museum of Art and the Revolution in Belgrade. While her parents make their political careers, Marina spends her first years living with her maternal grandmother. Milica Rosic is a devotee of the Orthodox Church, and her early childhood is deeply influenced by her grandmother’s faith.

At the age of six, Marina Abramović moves in with her parents when her brother Velimir is born. Raising the children is primarily Danica’s responsibility; the father is largely absent. Life in her parental home under her mother’s strict supervision is experienced as difficult and cold. Marina is made to uphold her mother’s compulsive relationship to cleanliness and order.

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The Abramović family does not celebrate holidays or festivals together and rarely expresses their emotions. The prox

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Marina Abramovic, born in in Belgrade, Yugoslavia, is without question one of the seminal artists of our time. Since the beginning of her career in Yugoslavia during the early s where she attended the Academy of Fine Arts in Belgrade, Abramovic has pioneered the use of performance as a visual art form. The body has always been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion, and danger in the quest for emotional and spiritual transformation. Abramovic's concern is with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming, and thinking; in effect the manifestation of a unique mental state. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some of the most historic early performance pieces and is one of few still making important durational works.

From until , Abramovic and the German artist Ulay performed together, dealing with relations of duality. After separating in , Abramovic returned to solo performances in Abramovic has presented her work with performances, sound, photography, video, sculpture, and ‘Transitory Objects for Human and Non Human Use’ in solo exhibiti

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