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Marina Abramovic (b. 1946)
Marina Abramovic (b. 1946)
Marina Abramovic (b. 1946)
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Marina Abramovic (b. 1946)
12 More
A Portion of the Proceeds Intended to Benefit the Marina Abramovic Institute

Marina Abramovic (b. 1946)

Details
Marina Abramovic (b. 1946)
The Complete Performances 1973-1975

Art Must Be Beautiful, Artist Must Be Beautiful
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 15 (another example exhibited and performance illustrated).
New York, Pat Hearn Gallery, Pat Hearn Gallery: Part 2 (1988-1994), February-March 2001 (another example exhibited).
Long Island City, Dorsky Gallery Curatorial Programs, Witness: Theories of Seduction, February-April 2003 (another example exhibited).
Vienna, Secession, Belgrade Art Inc, July-September 2004 (another example exhibited).
New York, Cheim and Read, The Female Gaze: Women Look at Women, June-September 2009 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, pp. 80-81 (another example exhibited and performance illustrated).
Atlanta, SCAD Atlanta, Marina Abramovic, October-November 2011 (another example exhibited).
Auckland, Trish Clark Gallery, Re:Vision, April-June 2014 (another example exhibited).
Literature:
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 98-101 (performance illustrated).
M. Dawes, “Performance Art: Spectacle of the Body,” Circa, 1996, pp. 26-29 (performance illustrated).
K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated).
M. Abramovic, et al., Marina Abramovic, Artist Body, Milan, 1998, pp. 106-111 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 152-153 (performance illustrated).
K. Biesenbach, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, New York: PS.1 Contemporary Art Center, 2002, p. 32-35 (performance illustrated on the cover).
R. Smith, “Video, in Its Infancy, Had to Crawl Before It Could Walk,” The New York Times, 24 January 2003, p. E39 (performance illustrated).
L. Anderson, “Marina Abramovic,” Bomb, summer 2003, pp. 24-31 (performance illustrated).
D. Djuric and M. Suvakovic, eds., Impossible Histories: Historical Avant-Gardes, Neoavant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, Cambridge, 2003, p. 286 (performance illustrated).
K. Larson, “Reviews: Take Two. Worlds and Views: Contemporary Art from the Collection,” ARTnews 104, no. 10, November 2005, pp. 176-177 (performance illustrated).
S. López, A Short History of Dutch Video Art, Amsterdam, 2005, p. 26 (performance illustrated).
C. Butler, WACK! Art and the Feminist Revolution, Los Angeles: The Museum of Contemporary Art, 2007, pp. 23-73 (performance illustrated).

Freeing the Body
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 53 (another example exhibited and performance illustrated).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
Vienna, Secession, Belgrade Art Inc, July-September 2004 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 89 (another example exhibited and performance illustrated).
New York, Bertrand Delacroix Gallery, The Pleasure of Slowness, September-October 2011 (another example exhibited).
Literature:
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 106-109 (performance illustrated).
M. Abramovic, et al., Marina Abramovic, Artist Body, Milan, 1998, pp. 125-127 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 154-155 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, pp. 28, 122-123 (performance illustrated)

Freeing the Memory
(i) two framed resin coated matte black and white photographs and inset letterpress panel
(ii) framed inset letterpress panel
(i) 49 ¾ x 24 in. (126.3 x 60.9 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997 (another example exhibited).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 86 (another example exhibited and performance illustrated).
Atlanta, SCAD Atlanta, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 110-113 (performance illustrated).
M. Abramovic, et al., Marina Abramovic, Artist Body, Milan, 1998, p. 121 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 150-151 (illustrated).

Freeing the Voice
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997 (another example exhibited).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
Vienna, Secession, Belgrade Art Inc, July-September 2004 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 85 (another example exhibited and performance illustrated).
Atlanta, SCAD Atlanta, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 102-105 (performance illustrated).
K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated).
M. Abramovic, et al., Marina Abramovic, Artist Body, Milan, 1998, p. 119 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 148-149 (performance illustrated).
K. Biesenbach, Into Me / Out to Me, Slovenia, 2007, p. 102 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008. p. 24 (performance illustrated).

Lips of Thomas
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997 (another example exhibited).
Long Island City, Dorsky Gallery Curatorial Programs, Witness: Theories of Seduction, February-April 2003 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 197 (another example exhibited and performance illustrated).
Literature:
M. Dawes, “Performance Art: Spectacle of the Body,” Circa, 1996, pp. 26-29 (performance illustrated).
K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated).
M. Abramovic, et al., Marina Abramovic, Artist Body, Milan, 1998, pp. 99-105 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 146-147 (performance illustrated).
“Back for One Night Only!,” Art in America, February 2006, pp. 90-93 (performance illustrated).
A. Midgette, “Peak Performances,” Art + Auction, October 2007, pp. 187-193 (performance illustrated).
P. Hoban, “How Far is too Far,” Artnews, summer 2008, pp. 145-149 (performance illustrated).
M. Falconer, “The Life and Death of Marina Abramovic,” Art World, October/November 2008, pp. 36-41 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, pp. 54-55 (performance illustrated).
L. Yablonsky, “Taking it to the Limits,” ARTnews, December 2009, p. 94 (performance illustrated).
D. Levine, “Marina Abramovic - Army of Me,” mono.kultur, autumn 2013, p. 10 (performance illustrated).
A. Helleland, ed., Marina Abramovic: Entering the Other Side, Jevnaker, 2014, p. 45 (performance illustrated).

Lips of Thomas (Star on Stomach)
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 19 ½ x 23 ½ in. (49.5 x 59.6 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997 (another example exhibited).
Baltimore, Contemporary Art Museum, Impact: Revealing Sources for Contemporary Art, September 1999-January 2000 (another example exhibited).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
New York, Sean Kelly Gallery, Marina Abramovic: Personal Archaeology, May-June 2010 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 28 (another example exhibited and performance illustrated).
Atlanta, SCAD Atlanta, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 146-147 (performance illustrated).
L. Anderson, “Marina Abramovic,” Bomb, summer 2003, pp. 24-31 (performance illustrated).
M. Falconer, “The Life and Death of Marina Abramovic,” Art World, October/November 2008, pp. 36-41 (performance illustrated).
L. Yablonsky, “Taking it to the Limits,” ARTnews, December 2009, p. 94 (performance illustrated).
A. Helleland, ed., Marina Abramovic: Entering the Other Side, Jevnaker, 2014, p. 45 (performance illustrated).

Rhythm 0
(i) framed resin coated matte black and white photograph and inset letterpress panel
(ii) framed inset letterpress panel
(i) 38 5/8 x 39 5/8 in. (98.1 x 100.6 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1974 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 49 (another example exhibited and performance illustrated).
Athens School of Fine Art, Everything That’s Interesting is New: The Dakis Joannou Collection, January-April 1996, p. 27 (another example exhibited and performance illustrated).
Kunsthaus Zurich and Hamburg Kunsthalle, Hypermental. Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons, November 2000-May 2001 (another example exhibited).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
Athens, Kappatos Gallery, Autobiographies: Marina Abramovic, Lynda Benglis, Louise Bourgeois, Kara Walker, May-September 2001 (another example exhibited).
Long Island City, Dorsky Gallery Curatorial Programs, Witness: Theories of Seduction, February-April 2003 (another example exhibited).
Long Island City, P.S. 1 Contemporary Art Center, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, November 2002-April 2003 (another example exhibited).
Hagen, Karl Ernst Osthaus-Museum, East Art Museum – A (Re) Construction of the History of Contemporary Art (1945-1985) in Eastern Europe, September-November 2005 (another example exhibited).
Los Angeles, Museum of Contemporary Art; Washington, National Women in the Arts; Long Island City, P.S. 1 Contemporary Art Center; Vancouver Art Center; WACK! Art and the Feminist Revolution, March 2007-January 2009 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, pp. 74-80 (another example exhibited and performance illustrated).
New York, Sean Kelly Gallery, Marina Abramovic: Personal Archaeology, May-June 2010 (another example exhibited).
Los Angeles, Prism Gallery, Misericordia, September-December 2010, p. 40 (another example exhibited and performance illustrated).
Atlanta, SCAD, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
M. Dawes, “Spectacle of the Body,” Circa, 1996, pp. 26-29 (performance illustrated).
K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated).
D. Joselit, “Between Objects and Actions,” Art in America, November 1998, pp. 86-91 (performance illustrated).
A. Balfour and P. Sudbanthad, “Marina Abramovic,” Museo, spring 1999, vol.2, pp. 18-22 (performance illustrated).
M. Gayford, “Suffering for the Sake of their Art,” The Daily Telegraph, March 2002, p. A7 (performance illustrated).
C. Grant, “Private Performances: Editing Performance Photography,” Performance Research, 2002, p. 36 (performance illustrated).
A.Brooks, ed., Subjective Realities: The Refco Collection of Contemporary Photography, New York, 2004, p. 49 (performance illustrated).
J. Saltz, “The Artists Who Still Matter,” New York Magazine, October 2007, p. 41 (performance illustrated).
A. Midgette, “Peak Performances,” Art + Auction, October 2007, p. 191 (performance illustrated).
U. Eco, ed., Storia Della Brutezza / A Cura di Umberto Eco, Italy, 2007, p. 423 (performance illustrated).
M. Abramovic, N. Spector, E. Fischer-Lichte and S. Umathum, eds., Marina Abramovic: 7 Easy Pieces, Milan, 2007, p. 201 (performance illustrated).
I. Millar, “Abramovic’s historic performances on film,” The Art Newspaper, December 2007, p. 41 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, p. 62 (performance illustrated).
S. Pirras, “A Pocketful of Contemporary Artists,” Mulgrave, 2008, p. 17 (performance illustrated).
L. Yablonsky, Linda, “Taking it to the Limits,” ARTnews, December 2009, p. 94 (performance illustrated).

Rhythm 10
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1973 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997 (another example exhibited).
Baltimore, Contemporary Art Museum, Impact: Revealing Sources for Contemporary Art, September 1999-January 2000 (another example exhibited).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
Long Island City, P.S. 1 Contemporary Art Center, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, November 2002–April 2003 (another example exhibited).
Los Angeles, Museum of Contemporary Art; Washington, National Women in the Arts; Long Island City, P.S. 1 Contemporary Art Center; Vancouver Art Center; WACK! Art and the Feminist Revolution, March 2007-January 2009 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 61 (another example exhibited and performance illustrated).
Los Angeles, Roberts & Tilton, For A Long Time, June-August 2011 (another example exhibited).
Atlanta, SCAD, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
M. Abramovic, Marina Abramovic: Sur la voie, Paris: Centre Georges Pompidou, 1990, pp. 26-28 (performance illustrated).
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 40-47 (performance illustrated).
M. Abramovic, et. al., Artist Body, Milan, 1998, pp. 57-61 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, pp. 12-13 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 136-137 (illustrated).
R. Radovi, Marina Abramovic: Beogradski Period, Novi Sad: Galeria Bel Art, 2012, pp. 44 and 46 (performance illustrated).

Rhythm 2
(i) two framed resin coated matte black and white photographs
(ii) framed inset letterpress panel
(i) each: 39 ½ in. x 29 ¾ cm. (100.3 x 75.5 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1974 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 49 (another example exhibited and performance illustrated).
Long Island City, P.S. 1 Contemporary Art Center, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, November 2002-April 2003 (another example exhibited).
Vienna, Generali Foundation, Collected Views from East or West, September-December 2004 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, pp. 69-71 (another example exhibited and performance illustrated).
Stockholm, Färgfabriken, I will never talk about the war again, September-November 2011 (another example exhibited).
Atlanta, SCAD, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
M. Abramovic, Marina Abramovic: Sur la voie, Paris: Centre Georges Pompidou, 1990, pp. 35-37 (performance illustrated).
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 56-63 (performance illustrated).
M. Abramovic, et. al., Artist Body, Milan, 1998, pp. 71-75 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 140-141 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, p. 14 (performance illustrated).
R. Radovi, Marina Abramovic: Beogradski Period, Novi Sad: Galeria Bel Art, 2012, pp. 62, 64-65 (performance illustrated).

Rhythm 4
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1974 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 15 (another example exhibited and performance illustrated).
Long Island City, P.S. 1 Contemporary Art Center, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, November 2002-April 2003 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, p. 73 (another example exhibited and performance illustrated). Literature:
M. Abramovic, Marina Abramovic: Sur la voie, Paris: Centre Georges Pompidou, 1990, p. 39 (performance illustrated).
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 64-67 (performance illustrated).
M. Abramovic, et. al., Artist Body, Milan, 1998, p. 77-79 (performance illustrated).
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 142-143 (illustrated).
M. Abramovic, Marina Abramovic, Milan: Fondazione Antonio Ratti, 2002, p. 17 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, p. 24 (performance illustrated)
R. Radovi, Marina Abramovic: Beogradski Period, Novi Sad: Galeria Bel Art, 2012, pp. 67 and 69 (performance illustrated).

Rhythm 5
(i) framed resin coated matte black and white photograph
(ii) framed inset letterpress panel
(i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1974 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997, p. 13 (another example exhibited and performance illustrated).
Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context, March-June 2001 (another example exhibited).
Long Island City, Dorsky Gallery Curatorial Programs, Witness: Theories of Seduction, February-April 2003 (another example exhibited).
Vienna, Secession, Belgrade Art Inc, July-September 2004 (another example exhibited).
New York, Susan Inglett, Jack*%SS, May-August 2008 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, pp. 65-67 (another example exhibited and performance illustrated).
Hagen, Karl Ernst Osthaus-Museum, East Art Museum – A (Re) Construction of the History of Contemporary Art (1945-1985) in Eastern Europe, September-November2005 (another example exhibited).
Atlanta, SCAD, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
M. Abramovic, Marina Abramovic: Sur la voie, Paris: Centre Georges Pompidou, 1990, pp. 29-33 (performance illustrated).
F. Meschede, Marina Abramovic, Berlin, 1993, pp. 48-55 (performance illustrated).
M. Abramovic, et. al., Artist Body, Milan, 1998, pp. 63-69 (performance illustrated)
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 138-139 (illustrated).
L. P. Streitfeld, “Marina Abramovic: Transformation et Rénaissance de L’Artiste de Pérformance,” Esse 51, spring 2004, pp. 72-78 (performance illustrated).
A. von Fu¨rstenberg, ed., Marina Abramovic : Balkan Epic, Milan, 2006, p. 45 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, p. 53 (performance illustrated).
T. Smith, Contemporary Art: World Currents, New York, 2011, p. 98 (performance illustrated).
R. Radovi, Marina Abramovic: Beogradski Period, Novi Sad: Galeria Bel Art, 2012, pp. 42, 49, 50, 52 (performance illustrated on the cover).

Role Exchange
(i) two framed resin coated matte black and white photographs
(ii) framed inset letterpress panel
(i) each: 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.)
(ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.)
Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs.
Exhibited:
Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound, April 1995-February 1997 (another example exhibited).
Vienna, Generali Foundation, Double Life, May-August 2001 (another example exhibited).
Long Island City, P.S. Contemporary Art Center, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust, November 2002-April 2003 (another example exhibited).
Long Island City, P.S. Contemporary Art Center and Kunst-Werke Berlin, Into Me / Out of Me, June 2006-January 2007 (another example exhibited).
New York, Sean Kelly, Role Exchange, June-August 2007 (another example exhibited).
Purchase, Neuberger Museum of Art, Person of the Crowd, January-April 2008 (another example exhibited).
New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present, March-May 2010, pp. 82-83 (another example exhibited and performance illustrated).
Atlanta, SCAD, Marina Abramovic, October-November 2011 (another example exhibited).
Literature:
M. Abramovic, Marina Abramovic: Sur la voie, Paris: Centre Georges Pompidou, 1990, pp. 50-51 (performance illustrated).
M. Abramovic, et. al., Artist Body, Milan, 1998, pp. 113-117 (performance illustrated)
M. Abramovic, Marina Abramovic : The Bridge = El Puente, Valencia, 1998, pp. 156-157 (performance illustrated).
K. Stiles, Marina Abramovic, London, 2008, p. 49 (performance illustrated)
P. Orrell, Marina Abramovic + The Future of Performance Art, New York, 2011. p. 64 (performance illustrated).
Provenance
Sean Kelly, New York
Acquired from the above by the present owner
Sale Room Notice
Please note a portion of the proceeds of this lot are intended to benefit the Marina Abramovic Institute.

Brought to you by

Saara Pritchard
Saara Pritchard

Lot Essay

Serbian artist Marina Abramovic has long been regarded as one of the foremost performance artists of the 20th century. The present example is the complete set of photographs with text panels documenting the artist’s most iconic performances. Using her own body as canvas, and the limits of her mental and physical endurance as medium, Abramovic has in her 40-year career, consistently striven for spiritual and emotional transcendence through her artistic investigations. In the 2010 retrospective at the Museum of Modern Art, many of her historic performances were reenacted. Abramovic also performed a new work, lasting the entire span of the exhibition and the longest piece to date. She invited visitors to sit before her in the galleries of the Museum of Modern Art, titled The Artist is Present.
Within the 12 works presented here, gelatin silver prints illustrate her various performances and are accompanied by a letterpressed card that details the actions during the piece. Her first public performance, Rhythm 10, took place in 1973 in Edinburgh. Abramovic used two tape recorders and knives, jabbing herself between the fingers. Each time she cut herself, she would pick up a new knife and continue the Russian knife game. The work was an exploration of pain, memory and repetition. The violent nature, the act of self-mutilation garnered a great deal of attention from the larger art public. In Lips of Thomas, Abramovic used a razor to cut a star into her stomach in front of her audience. Writhing in pain, she lay on ice blocks and whipped herself—further pushing the limitations of her discomfort and exposing not only her naked body, but also her inner turmoil as incited by physical pain. Indeed, the participation of the audience by experiencing firsthand the destruction of another human being by her own free will as crucial to the success of her work. Abramovic explains: “Through performance I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy” (L. Mark, Wack! Art and the Feminist Revolution, Cambridge, 2007, p. 209).

Other complete sets from the edition are included in the following public collections: Irish Museum of Modern Art, Dublin, Kunstmuseum Bern and The Solomon R. Guggenheim Museum, New York

The literature references for this lot can be accessed at christies.com

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