Marina Abramović, born on November 30, 1946, in Belgrade, Yugoslavia (now Serbia), is a performance artist known for her groundbreaking works that push the boundaries of her own body and mind. In 1965, she enrolled at the Academy of Fine Arts in Belgrade intending to study painting, however, her artistic path took a different turn when she became intrigued by the possibilities of performance art—specifically, the idea of using her body as a canvas for artistic and spiritual exploration.
After completing postgraduate studies at the Academy of Fine Arts in Zagreb, Croatia, in 1972, Abramović embarked on a series of visceral performance pieces that engaged her body as both subject and medium.
In 1975, she moved to Amsterdam and began collaborating with German artist Frank Uwe Laysiepen (known as Ulay). Their work often explored gender identity and the relationship between performer and audience.
The Lovers: The Great Wall Walk (1988)
The idea for “The Lovers” began in 1980, under a full moon in the Australian outback. Initially, Marina and Ulay planned it as a performative marriage—a symbolic union where they would meet at the midpoint of the Great Wall and marry.
Abramović and Ulay embarked on a three-month journey along the Great Wall of China. Their original intention was romantic—a manifesto of love and endurance. As they walked towards each other, starting at opposite ends of the ancient wall, they met in the middle. But this meeting marked not only their physical reunion but also the dissolution of their romantic and artistic partnership.
However, as they attempted to obtain Chinese governmental authorization for the work, their relationship underwent significant changes. Lies, infidelity, and emotional turmoil transformed their once-productive collaboration into a toxic and abusive situation.
The Great Wall Walk became a metaphor for their relationship. It was a grueling test of endurance, both physically and emotionally. During one of the performances, Ulay could not match Abramović’s stamina. She continued to sit after he gave up, facing an empty chair. Their love story, once intertwined with creativity and passion, unraveled against the backdrop of this monumental structure. The Great Wall, which they originally intended to marry upon, instead witnessed their separation.
This work remains etched in art history as tragically poetic—a testament to the complexities of love, endurance, and the impermanence of human connections. Abramović and Ulay’s Great Wall Walk transcends mere performance art; it is a profound exploration of vulnerability, commitment, and the fragility of relationships.
The Artist Is Present (2010)
In the spring of 2010, MoMA held a major retrospective of Abramović’s work titled “The Artist Is Present.” The centerpiece of this exhibition was a performance piece of the same title, which lasted an astonishing 736 hours and 30 minutes—equivalent to 31 days. During this marathon performance, Abramović sat silently on a wooden chair in the museum’s atrium, directly engaging with visitors.
The rules were simple: visitors could sit across from her, one by one, for as long as they wished. No words were exchanged; only eye contact and presence mattered. The intensity of this silent encounter moved many viewers to tears. Throughout the exhibition, more than 750,000 visitors participated in this profound experience including her former lover: Ulay.
The scene unfolded as two former lovers locked eyes across a table. Ulay, his head shaking in disbelief, and Abramović, tears welling up, finally reached across to hold each other's hands. Their reunion, after more than two decades of silence, was a powerful moment that transcended time and spoke to the enduring impact of their relationship on performance art and culture.
The Artist is Present is one of the most memorable moments in contemporary art history.
The Contract & Picasso Baby (2011 & 2013)
Fashion and culture have also played a significant role in Abramović’s artistic journey. In her earliest pieces, she often donned utilitarian clothing—a style reflective of her upbringing in communist Yugoslavia. However, as her career blossomed, so did her relationship with fashion. She graced sixty-two magazine covers, such as Vogue Ukraine, becoming a symbol within the fashion lexicon. Her collaboration with Burberry designer Ricardo Tisci on “The Contract” blurred the lines between fashion and art. In this thought-provoking photograph, they posed as Madonna and child, sparking conversations about spirituality and creativity.
Abramović’s perspective on art, fashion, and music is refreshingly unorthodox. She dismisses rigid categories, asserting that there are only two types of creators: the originals and the followers. Her art transcends time, living on through multiple lives. For Abramović, fashion and art coexist harmoniously, challenging conventional boundaries.
There is an intriguing connection between Abramović and Jay Z. The renowned rapper and entrepreneur collaborated with Abramović for his music video “Picasso Baby.” During the shoot, Jay Z performed the song for six hours straight at New York’s Pace Gallery, surrounded by an audience. Abramović was present, and their interaction sparked curiosity. While Jay Z’s intention was undoubtedly artistic, Abramović later expressed feeling used. She believed her presence added credibility to the project, yet she questioned whether her contribution was fully acknowledged.
The daring Serbian-American performance artist, fearlessly pushed the boundaries of art. From her early days in Belgrade to transformative collaborations with Ulay and groundbreaking solo works, she redefined what art could be. Her performances—like “The Lovers: The Great Wall Walk” and “The Artist Is Present”—plunged into themes of endurance, vulnerability, and human connection.
Beyond the canvas (whether flesh or textile), Abramović’s interplay with fashion and culture expanded her influence. Collaborations with designers and musicians showcased her as a cultural icon, pushing art’s limits. Her legacy endures, inspiring artists and audiences alike to embrace the raw, transformative power of expression.
