Marina Abramović and Ulay reconcile in new interview | Dazed
Oct 8, Marina Abramović poster for her new exhibition "The Cleaner" at the her work with Ulay that explores the relationship between the artist. Sep 4, Marina Abramovic: The Artist Is Present A theatrical, narcissistic, The intense, year relationship between Ulay and Abramovic ended after. Nov 15, "So, we're in hell," Marina Abramović begins, leaning across the And not about her former partner, Ulay, with whom she collaborated .. desire to forge a meaningful personal connection with Abramović is a . Another attendee, who says she's trying not to cry, asks for advice for her year-old daughter.
The couple divorced injust to remarry a year later. In the early s, the photographer duo began their professional collaboration with a series of innovative, digitally manipulated images. Seen as controversial and innovative figures in the art world, the pair soon became involved with the fashion industry, their breakthrough editorial piece coming in for The Face.
The couple have a son, Charles b. Lee Krasner and Jackson Pollock The two abstract expressionist painters first crossed paths in New York City inwhile preparing to exhibit for the same show.
The Relationship of Marina Abramovic and Ulay (Uwe Laysiepen by Rachel Ernisse on Prezi
They married four years later and moved to East Hampton to work on their art. Two of the best known American artists of the 20th century, this power couple inspired and influenced each other throughout their relationship. It was actually right in front of the headquarters of the secret police, but we had a little bit of freedom, just because the director of the center was a daughter of one of the ministers. Back in the sixties, it used be a social club, where the wives of communist officials would meet and gossip while their husbands played chess.
Then, inthe students held demonstrations and demanded better food, social and cultural changes, bigger grants, and so on, and we asked for this place to be given to the students as our culture center. From the thirty points of our demands Tito actually answered only six, and one of the six points was to give us this house, where we could do all these experimental things.
Nobody touched us, but nobody cared about us either. That was the situation, a kind of strange isolation in that context. There were six of us — I was the only girl, and five guys. We would leave our homes in the morning, stay at the center all day long, and try to make our work. I worked that way for five years and then I left Yugoslavia.
I ran away, and my mother went to the police to report that I escaped from the house.
‘Marina Abramovic’: sitting in on an artist’s life
But then my problem became even bigger. Because I come from a country where everything was forbidden. You knew that for a bad political joke you would get two years of prison, and for a really bad joke you would get four, so all the rules were clear. So I come to Amsterdam, it was in the middle of the seventies, where everything was okay. The polar opposite of the Communist society. Nobody cared, you could be dressed or naked, you could take drugs or do whatever—total freedom!
I had a huge problem with that. Your whole system has collapsed. Their position was much stronger when they were back home, like Djilas, one of the main opposition leaders to Tito. I had to invent the entire new set of rules for myself in order to bring my work into function. How did you manage to escape from Yugoslavia?
It was very easy during Tito time, much easier than now.
Ulay v Marina: how art's power couple went to war | Art and design | The Guardian
It was somewhat liberal, right? We had much more freedom.
We even had our own Playboy! I remember, the first time we got Playboy, it was like revolution! And I remember looking for the centerfold, where you were supposed to see the girl of the year… You know what it was in our Playboy? It was a brand-new bright-red tractor, with no girl! It was like some sort of conceptual porn. Nobody believes me, but I still have that picture somewhere. And they thought this was the most erotic thing you could ever imagine—red tractor with no girl, the highest sexual desire of that communist rural country!
But at the same time you had some very radical and interesting filmmakers like Dushan Makaveev and Emir Kusturica, whom I absolutely love. He also organized the first international porn festival, where they screened erotic movies all night long.
Every important art person or curator from abroad who visited Yugoslavia would first be brought to the Museum of Art and Revolution, where my mother was the director. That was the official place to visit, which I hated and rebelled against. And our culture center was never being shown in any of the official visits.
And then you met Ulay and started collaborating. Was it that new structure that you were missing after you left Yugoslavia? My work was becoming more and more radical, and I was risking more and more. In a way, it looked like I was seeking my own death and I would eventually die during one of my performances.
I got an invitation to come to Amsterdam exactly on my birthday. So I arrive on my birthday, 13th of November, to record a television program on body arts. And when I met him, half of his face was shaven and with short hair and the other half had complete makeup and long hair. So he was a man and a woman at the same time.
I got really fascinated! And that same evening they put our hair together with chopsticks, which was our first performance together.
So this was such an incredible omen, performing live the same night! When I went back to Belgrade, I stayed in bed for 10 days because I was lovesick. Then I made so many phone calls to Ulay that my mother blocked the phone line. We decided to meet exactly in the geographical middle, between Amsterdam and Belgrade, which was Prague, Czechoslovakia. In retrospect it seems a bit like the offspring of the hippie revolution, the liberation of the body and back-to-nature movement.
Especially given the time and the place where you met and the whole new settings. Because of my education in Belgrade, I had no idea about contemporary music.
And Ulay was living in nightclubs and cleaning his teeth with Courvoisier whiskey. And the drugs — that was another wall between us. I never had a joint in my life, never smoked. I was the most straight-laced person in Amsterdam. So as soon as I could, I took Ulay out of this.
He quit smoking and drinking; we were drinking only water. And when you look back — yes, maybe it looks like we were hippies, but we were incredibly organized and disciplined with every single work we did.
So you had a fixed laundry day, no matter where you were? Everything was ritualized in a certain way.
So we went back to nature, we went to desert and then spent one year living with the aborigines. When we came back, our art was somewhere else, but we never stopped doing it. So it was like you take the hippie thing but translate it into a radical drill training that was required in order to make this kind of performances, pieces of 16 hours or more.
But she clearly had no shyness or scruples to overcome in getting used to them. Abramovic specializes in candor, and in making of emotional commonplaces a kind of heightened, strip-poker aesthetic. But the mechanics of the Abramovic phenomenon — how she operates, how her admirers operate, how the art world around her responds — are fiendishly interesting to observe.
This film, directed by Matthew Akers and Jeff Dupre, has everything a documentary could want.
Controversy you call this art? And it even has an affecting love story. The two became famous for performances that were like Pina Bausch dances without the steps. They could all be categorized under the heading: Her talent for self-promotion left Ulay languishing.
The most affecting scenes in the movie show them reuniting after many years. Abramovic grew up the daughter of two World War II resistance fighters who were national heroes in the former Yugoslavia. That left her vulnerable and needy.