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瑪莉娜．阿布拉莫維奇死後: 我希望我的告別式包含以下內容
藝術家口述+私人特助近身觀察+六十位親友訪談+
阿布拉莫維奇檔案庫資料、主要博物館和藝廊重要收藏
超過120幅珍貴照片，圖文並茂、多元視角
立體還原「行為藝術教母」的傳奇人生與表演現場
《瑪莉娜．阿布拉莫維奇死後》
充分表達了那個世代最具挑戰精神的先鋒藝術家，無畏死亡的不朽作品及傳奇生命。
更難能可貴的是，至今，她還在第一線為當代藝術拚搏。
這部集感性與批判於一身的傳記，揭露了阿布拉莫維奇早年在南斯拉夫期間構築她藝術基底的歷程，
記述了她和德國藝術家烏雷相遇、攜手合作，
那段堪稱二十世紀將藝術和私人生活完美融合的經典範例。
●隨書附專屬物件：
˙阿布拉莫維奇的遺囑
˙阿布拉莫維奇與烏雷的「藝術至上」宣言
˙伴隨阿布拉莫維奇與烏雷的「Art is Easy」書籤
瑪莉娜．阿布拉莫維奇死後，根據她的遺囑，告別式應照以下方式進行：
我希望我的告別式包含以下內容：
三具棺材。
第一具棺材有我真正的遺體。
第二具棺材有我的仿製遺體。
第三具棺材有我的仿製遺體。
我想指定三個人負責將這三具棺材分別送至世界不同地方（美洲、歐洲及亞洲）。給這
三人的特定指示將密封於寫有他們名字的信封中。
告別式於紐約市舉行，三具闔蓋的棺材都將在場。會後，三位負責人將照著我的指示
運送棺材。我希望三具棺材都埋入地底。
每個出席這最終儀式的人都該被告知他們不應穿著黑色，黑色以外的任何顏色皆可。我
希望我從前的學生……為這個場合設計流程。儀式一開始我希望由安東尼與強森(Antony
and the Johnsons)的安東尼唱法蘭克•辛納屈(Frank Sinatra)的 (My Way)。
這場告別式應同時慶賀生與死。儀式完畢，將有一場餐宴，餐宴上將擺著用杏仁糖膏
(marzipan)製成、與我的身體尺寸和外觀相同的大蛋糕。那蛋糕要分配給在場所有人。
瑪莉娜．阿布拉莫維奇（Marina Abramović，一九四六年十一月三十日~）塞爾維亞藝術家，用身體與精神的痛楚顛覆藝術形式，奠定「西方行為藝術教母」地位，每件作品都被視為行為藝術中的永恆經典。二○一四年被《時代雜誌》選為百大最具影響力人物。
●出生游擊隊家庭，以身體為載體，時間為媒介
藉由承受極限領會各種精神境界，挑戰社會認知
阿布拉莫維奇生於南斯拉夫貝爾格勒的游擊隊家庭，從小受軍事般教育，冷漠又有潔癖的母親，不曾親吻過她，父親為了教會她游泳，將她丟入大海中獨自離去；父母感情失和離異，屢遭母親修理，甚至被關進衣櫥裡；在躋身國際藝術家行列之前，仍需遵守晚上十點前回家的禁令。儘管母親專制嚴厲，卻一手栽培她的藝術涵養。
進入貝爾格勒美術學院後，結識許多反抗體制的朋友，透過OHO行為藝術團體，開啟她探究身體藝術中不可抗拒的潛能與力量。二十三歲時，提出第一個公眾也能參與的表演《和我一起洗》，雖然計畫遭到拒絕，卻未能阻止她走上將表演作為藝術形式的職業生涯。阿布拉莫維奇以身體為載體，時間為媒介，藉由承受極限領會各種精神境界，挑戰社會認知，並從恐懼中解放自我。「我體驗到了絕對的自由——我感到自己的身體毫無束縛、毫無限度；痛楚一點也不重要，什麼都不重要……那一刻我知道我找到了自己的媒介。」
一九七五年，她在義大利的那不勒斯表演著名的《節奏零》。桌子上擺放了七十二種道具（包括玫瑰、羽毛、蜂蜜以及槍、子彈、菜刀、鞭子等危險物品），觀眾可以用任何一件物品，對她的身體進行任意擺布，而她不做任何反擊。在這六小時裡，不僅挑戰藝術家本身，也考驗觀看者的道德底線，透過這場表演感受人性最原始的一面。
●結識靈魂伴侶，奠定事業高峰
沒有觀眾的《情人》畫下合作句點
波士尼亞戰爭啟發，以《巴爾幹巴羅克》榮獲金獅獎
同年，阿布拉莫維奇受邀前往阿姆斯特丹演講，結識長三歲、同天生日的德國藝術家烏雷。兩人皆以孤獨、承受及超越極限為創作理念，很快成為靈魂伴侶。在接下來的十二年間，默契十足的行為表演雙人檔，創作了許多轟動世界、充滿挑戰與挑釁意味的作品：《空間中的關係》、《時間中的關係》、《無法估量》、《吸進/呼出》、《AAA－AAA》、《靜能》等，透過十四件人際「關係」探討計畫，思索信任及傷害等議題。
《情人》是兩人共創的最後作品。一九八八年，他們分別從長城的兩端起步，然後在中間相遇。烏雷八年前的突發奇想，在沒有觀眾隨行的九十天後，竟為親密關係畫下句點。「步行成為了一個完整的個人戲劇。烏雷從戈壁沙漠開始，我從黃海開始。我們走了二千五百公里，在中間相遇並說再見。」
一九九二年南斯拉夫共和國解體，波士尼亞族和塞爾維亞族爆發波士尼亞戰爭，造成大屠殺及波士族女性遭性侵慘劇。阿布拉莫維奇為了哀悼巴爾幹衝突，在一九九七年威尼斯雙年展上，發表《巴爾幹巴洛克》。她在地下室會場，連著四天，每天重複清洗牛骨頭七小時，影射死亡的氣味與鮮血的痕跡無法自身上去除，譴責國家因戰爭犯下的罪行及無法洗淨的恥辱。這項作品讓她榮獲金獅獎最佳藝術家殊榮。
●《藝術家在場》與1675名觀眾對坐凝視，直透人心
和解瞬間成歷史畫面，創下觀展人次最高紀錄
「每個坐在我對面椅子上的人，會留下一種特別的能量。人離開了，能量則留下來。」二○一○年，阿布拉莫維奇在紐約MOMA舉辦回顧展，除了展出四十年來的作品、年輕藝術家重新演繹其經典之外，還發表新作《藝術家在場》。連續三個月、每日八小時，阿布拉莫維奇在長桌一端，與一千六百七十五名觀眾，進行一對一的一分鐘對坐凝視，靜謐地感受人與人之間情感能量的流動。展期最後一天，烏雷無預警地坐在她對面，兩人從獨自靜默到淚眼婆娑緊握雙手，瞬間成為展覽的經典畫面。這項展覽吸引了八十五萬人參訪，創下開館以來觀展人次最高紀錄。
兩年後，由馬修˙艾可斯執導的紀錄片《凝視瑪莉娜》問世。該片以《藝術家在場》為敘事主軸，平實細膩地記錄整個布展及演出過程，同時回顧阿布拉莫維奇的早期作品，以及她與烏雷的共同創作。淋漓盡致地呈現她對愛情、藝術與生命的關懷。
●史詩級回顧展從歐洲開始巡演，繼續挑戰新媒介
最愛辭世，佳話成絕響
橫跨五十年藝術生涯的史詩級回顧大展《清理者》，二○一七年從瑞典開始，依序巡迴到丹麥、挪威、德國、義大利、波蘭，二○一九年秋天移師到塞爾維亞。同一年，阿布拉莫維奇也邀請觀眾前往倫敦蛇形藝廊，見證藝術史上前所未見的重要作品《生命》。這項總長十九分鐘的行為藝術作品，首次以容積擷取（volumetric capture）和混合現實（mixed reality）的方式呈現，門票兩小時便售罄。二○二○年秋天，阿布拉莫維奇除了受邀於佳士得拍賣會場演出《生命》，皇家藝術研究院也舉辦她在英國的最盛大回顧展《Marina Abramović：After Life》。
烏雷曾於二○一五年指控阿布拉莫維奇侵吞版權收益，次年，阿姆斯特丹法庭裁定他勝訴，再隔年雙方公開和解。二○一八年，烏雷受訪時宣布：將與阿布拉莫維奇攜手譜寫屬於他們的共同回憶錄，分享不為人知的軼事。這段佳話，卻在二○二○年三月二日，因烏雷淋巴癌去世而成絕響。
「過去多年來，我們之間發生過衝突，但此刻僅存的，唯有愛與感激。」
——瑪莉娜．阿布拉莫維奇
●藝術家口述+私人特助近身觀察+六十位親友訪談+
阿布拉莫維奇檔案庫資料、主要博物館和藝廊的重要收藏
超過120幅珍貴照片，圖文並茂、多元視角
立體還原「行為藝術教母」的傳奇人生與表演現場
作為行動激進、思維繁複的藝術家，阿布拉莫維奇的生命歷程精采且富戲劇性。作者自二○○二年觀看阿布拉莫維奇的表演後，與她展開頻繁密切的互動，成為私人特助。為了忠實呈現她的生命進程，除了細密的近距離觀察外，還訪談六十位與阿布拉莫維奇關係深厚的藝術家朋友及親人，爬梳阿布拉莫維奇檔案庫資料、主要博物館和藝廊的收藏，佐以120餘幅珍貴照片，將其人生前六十五年的生活經驗與創作歷程，栩栩如生地呈現出來。
全書分三大部分。第一部「南斯拉夫一九四六~一九七五」，寫阿布拉莫維奇出生到三十歲前夕，出走阿姆斯特丹發展創作事業前的生活及藝術啟蒙。作者巨細靡遺記述她的家庭背景，其中不僅牽涉二次大戰後巴爾幹半島上的宗教及政治情境，也呈現她與外祖母、母親、父親、弟弟充滿張力的互動關係。這些看似瑣碎的背景軼事，其後都成為解讀阿布拉莫維奇作品的重要線索。同時
第二部「烏雷一九七五~一九八八」，寫阿布拉莫維奇移居阿姆斯特丹之後，與情人烏雷合作，創作雙人表演的時期。此階段是奠定、成就她藝術地位的關鍵期。他們倆反覆以極端的身體行動探究人際關係的本質、詰問社會常規的界限，終使兩人在歐洲及全球各地都受到極大關注。這時期的雙人創作裡，最為後進藝術家及評論人稱頌的作品之一，是一九七七年在波隆納國際表演藝術週演出的《無法估量》。共同創作的時期，兩人收拾所有家當，住進一部改裝過的箱型車，持續在歐洲境內遊牧旅行，以隨機、自發的生活體驗刺激創作。兩人獨特的生活方式，在當時亦是藝術圈津津樂道的話題。最後兩人在《情人》分手告終。
第三部「人群中的獨演~」，寫兩人分手之後的個人創作歷程，以及與文學、藝術家如桑塔格、碧玉等人的往來。此時期，阿布拉莫維奇回看自己的成長經驗，從中截取創作的素材。在一九九〇年代南斯拉夫內戰之後，她由南斯拉夫歷史及個人歷史出發所得的創作，將她送上藝術事業的高峰。一九九七年於威尼斯雙年展演出的《巴爾幹巴洛克》，獲頒雙年展最出色藝術家金獅獎。其後由歐洲移居紐約。二〇〇二年，在紐約尚凱利藝廊演出《面對海景的房子》，穩固了她在紐約藝術圈的位置。於是開始嘗試整理一九六〇和七〇年代以降重要的身體表演藝術作品，提出「再表演」概念。
透過整合資源，訓練年輕藝術家演出前輩表演藝術家的經典創作，阿布拉莫維奇不斷再造、推廣身體表演藝術，而且逗引視覺藝術觀眾對身體表演的興趣。她終生捍衛的兩個目標：成為藝術家及將行為藝術納入二十世紀藝術史，已然實現。
阿布拉莫維奇檔案庫資料、主要博物館和藝廊重要收藏
超過120幅珍貴照片，圖文並茂、多元視角
立體還原「行為藝術教母」的傳奇人生與表演現場
《瑪莉娜．阿布拉莫維奇死後》
充分表達了那個世代最具挑戰精神的先鋒藝術家，無畏死亡的不朽作品及傳奇生命。
更難能可貴的是，至今，她還在第一線為當代藝術拚搏。
這部集感性與批判於一身的傳記，揭露了阿布拉莫維奇早年在南斯拉夫期間構築她藝術基底的歷程，
記述了她和德國藝術家烏雷相遇、攜手合作，
那段堪稱二十世紀將藝術和私人生活完美融合的經典範例。
●隨書附專屬物件：
˙阿布拉莫維奇的遺囑
˙阿布拉莫維奇與烏雷的「藝術至上」宣言
˙伴隨阿布拉莫維奇與烏雷的「Art is Easy」書籤
瑪莉娜．阿布拉莫維奇死後，根據她的遺囑，告別式應照以下方式進行：
我希望我的告別式包含以下內容：
三具棺材。
第一具棺材有我真正的遺體。
第二具棺材有我的仿製遺體。
第三具棺材有我的仿製遺體。
我想指定三個人負責將這三具棺材分別送至世界不同地方（美洲、歐洲及亞洲）。給這
三人的特定指示將密封於寫有他們名字的信封中。
告別式於紐約市舉行，三具闔蓋的棺材都將在場。會後，三位負責人將照著我的指示
運送棺材。我希望三具棺材都埋入地底。
每個出席這最終儀式的人都該被告知他們不應穿著黑色，黑色以外的任何顏色皆可。我
希望我從前的學生……為這個場合設計流程。儀式一開始我希望由安東尼與強森(Antony
and the Johnsons)的安東尼唱法蘭克•辛納屈(Frank Sinatra)的 (My Way)。
這場告別式應同時慶賀生與死。儀式完畢，將有一場餐宴，餐宴上將擺著用杏仁糖膏
(marzipan)製成、與我的身體尺寸和外觀相同的大蛋糕。那蛋糕要分配給在場所有人。
瑪莉娜．阿布拉莫維奇（Marina Abramović，一九四六年十一月三十日~）塞爾維亞藝術家，用身體與精神的痛楚顛覆藝術形式，奠定「西方行為藝術教母」地位，每件作品都被視為行為藝術中的永恆經典。二○一四年被《時代雜誌》選為百大最具影響力人物。
●出生游擊隊家庭，以身體為載體，時間為媒介
藉由承受極限領會各種精神境界，挑戰社會認知
阿布拉莫維奇生於南斯拉夫貝爾格勒的游擊隊家庭，從小受軍事般教育，冷漠又有潔癖的母親，不曾親吻過她，父親為了教會她游泳，將她丟入大海中獨自離去；父母感情失和離異，屢遭母親修理，甚至被關進衣櫥裡；在躋身國際藝術家行列之前，仍需遵守晚上十點前回家的禁令。儘管母親專制嚴厲，卻一手栽培她的藝術涵養。
進入貝爾格勒美術學院後，結識許多反抗體制的朋友，透過OHO行為藝術團體，開啟她探究身體藝術中不可抗拒的潛能與力量。二十三歲時，提出第一個公眾也能參與的表演《和我一起洗》，雖然計畫遭到拒絕，卻未能阻止她走上將表演作為藝術形式的職業生涯。阿布拉莫維奇以身體為載體，時間為媒介，藉由承受極限領會各種精神境界，挑戰社會認知，並從恐懼中解放自我。「我體驗到了絕對的自由——我感到自己的身體毫無束縛、毫無限度；痛楚一點也不重要，什麼都不重要……那一刻我知道我找到了自己的媒介。」
一九七五年，她在義大利的那不勒斯表演著名的《節奏零》。桌子上擺放了七十二種道具（包括玫瑰、羽毛、蜂蜜以及槍、子彈、菜刀、鞭子等危險物品），觀眾可以用任何一件物品，對她的身體進行任意擺布，而她不做任何反擊。在這六小時裡，不僅挑戰藝術家本身，也考驗觀看者的道德底線，透過這場表演感受人性最原始的一面。
●結識靈魂伴侶，奠定事業高峰
沒有觀眾的《情人》畫下合作句點
波士尼亞戰爭啟發，以《巴爾幹巴羅克》榮獲金獅獎
同年，阿布拉莫維奇受邀前往阿姆斯特丹演講，結識長三歲、同天生日的德國藝術家烏雷。兩人皆以孤獨、承受及超越極限為創作理念，很快成為靈魂伴侶。在接下來的十二年間，默契十足的行為表演雙人檔，創作了許多轟動世界、充滿挑戰與挑釁意味的作品：《空間中的關係》、《時間中的關係》、《無法估量》、《吸進/呼出》、《AAA－AAA》、《靜能》等，透過十四件人際「關係」探討計畫，思索信任及傷害等議題。
《情人》是兩人共創的最後作品。一九八八年，他們分別從長城的兩端起步，然後在中間相遇。烏雷八年前的突發奇想，在沒有觀眾隨行的九十天後，竟為親密關係畫下句點。「步行成為了一個完整的個人戲劇。烏雷從戈壁沙漠開始，我從黃海開始。我們走了二千五百公里，在中間相遇並說再見。」
一九九二年南斯拉夫共和國解體，波士尼亞族和塞爾維亞族爆發波士尼亞戰爭，造成大屠殺及波士族女性遭性侵慘劇。阿布拉莫維奇為了哀悼巴爾幹衝突，在一九九七年威尼斯雙年展上，發表《巴爾幹巴洛克》。她在地下室會場，連著四天，每天重複清洗牛骨頭七小時，影射死亡的氣味與鮮血的痕跡無法自身上去除，譴責國家因戰爭犯下的罪行及無法洗淨的恥辱。這項作品讓她榮獲金獅獎最佳藝術家殊榮。
●《藝術家在場》與1675名觀眾對坐凝視，直透人心
和解瞬間成歷史畫面，創下觀展人次最高紀錄
「每個坐在我對面椅子上的人，會留下一種特別的能量。人離開了，能量則留下來。」二○一○年，阿布拉莫維奇在紐約MOMA舉辦回顧展，除了展出四十年來的作品、年輕藝術家重新演繹其經典之外，還發表新作《藝術家在場》。連續三個月、每日八小時，阿布拉莫維奇在長桌一端，與一千六百七十五名觀眾，進行一對一的一分鐘對坐凝視，靜謐地感受人與人之間情感能量的流動。展期最後一天，烏雷無預警地坐在她對面，兩人從獨自靜默到淚眼婆娑緊握雙手，瞬間成為展覽的經典畫面。這項展覽吸引了八十五萬人參訪，創下開館以來觀展人次最高紀錄。
兩年後，由馬修˙艾可斯執導的紀錄片《凝視瑪莉娜》問世。該片以《藝術家在場》為敘事主軸，平實細膩地記錄整個布展及演出過程，同時回顧阿布拉莫維奇的早期作品，以及她與烏雷的共同創作。淋漓盡致地呈現她對愛情、藝術與生命的關懷。
●史詩級回顧展從歐洲開始巡演，繼續挑戰新媒介
最愛辭世，佳話成絕響
橫跨五十年藝術生涯的史詩級回顧大展《清理者》，二○一七年從瑞典開始，依序巡迴到丹麥、挪威、德國、義大利、波蘭，二○一九年秋天移師到塞爾維亞。同一年，阿布拉莫維奇也邀請觀眾前往倫敦蛇形藝廊，見證藝術史上前所未見的重要作品《生命》。這項總長十九分鐘的行為藝術作品，首次以容積擷取（volumetric capture）和混合現實（mixed reality）的方式呈現，門票兩小時便售罄。二○二○年秋天，阿布拉莫維奇除了受邀於佳士得拍賣會場演出《生命》，皇家藝術研究院也舉辦她在英國的最盛大回顧展《Marina Abramović：After Life》。
烏雷曾於二○一五年指控阿布拉莫維奇侵吞版權收益，次年，阿姆斯特丹法庭裁定他勝訴，再隔年雙方公開和解。二○一八年，烏雷受訪時宣布：將與阿布拉莫維奇攜手譜寫屬於他們的共同回憶錄，分享不為人知的軼事。這段佳話，卻在二○二○年三月二日，因烏雷淋巴癌去世而成絕響。
「過去多年來，我們之間發生過衝突，但此刻僅存的，唯有愛與感激。」
——瑪莉娜．阿布拉莫維奇
●藝術家口述+私人特助近身觀察+六十位親友訪談+
阿布拉莫維奇檔案庫資料、主要博物館和藝廊的重要收藏
超過120幅珍貴照片，圖文並茂、多元視角
立體還原「行為藝術教母」的傳奇人生與表演現場
作為行動激進、思維繁複的藝術家，阿布拉莫維奇的生命歷程精采且富戲劇性。作者自二○○二年觀看阿布拉莫維奇的表演後，與她展開頻繁密切的互動，成為私人特助。為了忠實呈現她的生命進程，除了細密的近距離觀察外，還訪談六十位與阿布拉莫維奇關係深厚的藝術家朋友及親人，爬梳阿布拉莫維奇檔案庫資料、主要博物館和藝廊的收藏，佐以120餘幅珍貴照片，將其人生前六十五年的生活經驗與創作歷程，栩栩如生地呈現出來。
全書分三大部分。第一部「南斯拉夫一九四六~一九七五」，寫阿布拉莫維奇出生到三十歲前夕，出走阿姆斯特丹發展創作事業前的生活及藝術啟蒙。作者巨細靡遺記述她的家庭背景，其中不僅牽涉二次大戰後巴爾幹半島上的宗教及政治情境，也呈現她與外祖母、母親、父親、弟弟充滿張力的互動關係。這些看似瑣碎的背景軼事，其後都成為解讀阿布拉莫維奇作品的重要線索。同時
第二部「烏雷一九七五~一九八八」，寫阿布拉莫維奇移居阿姆斯特丹之後，與情人烏雷合作，創作雙人表演的時期。此階段是奠定、成就她藝術地位的關鍵期。他們倆反覆以極端的身體行動探究人際關係的本質、詰問社會常規的界限，終使兩人在歐洲及全球各地都受到極大關注。這時期的雙人創作裡，最為後進藝術家及評論人稱頌的作品之一，是一九七七年在波隆納國際表演藝術週演出的《無法估量》。共同創作的時期，兩人收拾所有家當，住進一部改裝過的箱型車，持續在歐洲境內遊牧旅行，以隨機、自發的生活體驗刺激創作。兩人獨特的生活方式，在當時亦是藝術圈津津樂道的話題。最後兩人在《情人》分手告終。
第三部「人群中的獨演~」，寫兩人分手之後的個人創作歷程，以及與文學、藝術家如桑塔格、碧玉等人的往來。此時期，阿布拉莫維奇回看自己的成長經驗，從中截取創作的素材。在一九九〇年代南斯拉夫內戰之後，她由南斯拉夫歷史及個人歷史出發所得的創作，將她送上藝術事業的高峰。一九九七年於威尼斯雙年展演出的《巴爾幹巴洛克》，獲頒雙年展最出色藝術家金獅獎。其後由歐洲移居紐約。二〇〇二年，在紐約尚凱利藝廊演出《面對海景的房子》，穩固了她在紐約藝術圈的位置。於是開始嘗試整理一九六〇和七〇年代以降重要的身體表演藝術作品，提出「再表演」概念。
透過整合資源，訓練年輕藝術家演出前輩表演藝術家的經典創作，阿布拉莫維奇不斷再造、推廣身體表演藝術，而且逗引視覺藝術觀眾對身體表演的興趣。她終生捍衛的兩個目標：成為藝術家及將行為藝術納入二十世紀藝術史，已然實現。
400 pages, Paperback
First published January 1, 2008
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March 12, 2017
"Kad Marina Abramović umre" Džejmsa Vestkota je delo koje predstavlja celokupni opus umetnice do 2011. godine kada je knjiga izašla iz štampe. Obzirom na to da je u pitanju biografija, sasvim prigodno i očekivano saznajemo detalje iz života Marine Abramović koji nam kontekstualizuju nastanak njenih radova i pomažu nam da razumemo ne samo njena dela, već i nju samu.
Iako sam svesna da je u pitanju biografija i da je gospodin Vestkot nesumnjivo uložio veliki napor da intervjuiše Marinu i sve to zabeleži na odgovarajući način, način na koji su ti intervjui, ta svedočenja prenesena kroz naraciju u trećem licu stvaraju na pojedinim mestima utisak neverodostojnosti. Taj utisak je najjači prilikom čitanja o najranijoj mladosti umetnice, tačnije od njenog rođenja i tokom njenih adolescentskih godina. Deluje iznenađujuće taj spokojni prizvuk koje sa sobom nosi naracija jer čitate o zapostavljenosti, bolu i neshvatanju između ostalih negativnih doživljaja i taj prizvuk vas ostavlja u neverici. Ovo je ujedno moja jedina zamerka.
Uz detaljni osvrt na celokupnu umetničku karijeru i lične komentare same umetnice, verovatno najdragoceniji segment ove knjige su fotografije koje prate svaku od priča, a čiji je značajni deo upravo iz arhive porodice Abramović. Ukoliko je naracija kroz treće lice stvorila mestimični utisak neverodostojnosti, gledajući fotografije iz lične arhive uz dokumentarne fotografije, svaka linija teksta postaje značajnija i briše prethodni utisak.
Iako sam svesna da je u pitanju biografija i da je gospodin Vestkot nesumnjivo uložio veliki napor da intervjuiše Marinu i sve to zabeleži na odgovarajući način, način na koji su ti intervjui, ta svedočenja prenesena kroz naraciju u trećem licu stvaraju na pojedinim mestima utisak neverodostojnosti. Taj utisak je najjači prilikom čitanja o najranijoj mladosti umetnice, tačnije od njenog rođenja i tokom njenih adolescentskih godina. Deluje iznenađujuće taj spokojni prizvuk koje sa sobom nosi naracija jer čitate o zapostavljenosti, bolu i neshvatanju između ostalih negativnih doživljaja i taj prizvuk vas ostavlja u neverici. Ovo je ujedno moja jedina zamerka.
Uz detaljni osvrt na celokupnu umetničku karijeru i lične komentare same umetnice, verovatno najdragoceniji segment ove knjige su fotografije koje prate svaku od priča, a čiji je značajni deo upravo iz arhive porodice Abramović. Ukoliko je naracija kroz treće lice stvorila mestimični utisak neverodostojnosti, gledajući fotografije iz lične arhive uz dokumentarne fotografije, svaka linija teksta postaje značajnija i briše prethodni utisak.
July 8, 2013
Run, don't walk. One of the best books I've ever read (and that's saying a lot). If you've ever been curious about performance art or even if you're well versed in it, read this book. Westcott will teach you something about Marina, but there's so much more between these covers. I found it very useful for a project I'm working on about presence and temporality. Beautifully written--a complex, yet accessible, text.
December 30, 2010
I read to alter my ideas of the world, some books alter it a lot, others not so much. This book falls into the former. Abramovic is a Serbian performance artist. Now in her sixties, Wescott, one of Abramovic’s, assistants, traces her career since the late sixties. I was impressed Abramovic’s almost masochistic dedication to her artistic vision and how she uses her body to accomplish that vision in her performances. She uses the female body as the ultimate object of the gaze, whether living in “house” where audiences file in and out of the room to watch her daily routine as in House with an Ocean View or hanging suspended in a crucified pose as in The Biography Remix.
March 24, 2017
A beautiful and engrossing tribute to this artist. I started out a little dubious, after receiving this book as a gift from a friend, and I fell in love with Marina over the course of reading it.
'"I'm only interested in an art which can change the ideology of society....Art which is only committed to aesthetic values is incomplete.'"
"'...When I come to the limits of my resistance, I feel terribly alive.'"
"As in her best performances, Abramovic made the guests feel exultant and blessed. And as in her performances, the outside world and a normal sense of time disappeared. I asked someone for the time and found out it was past midnight, hours later than I'd expected."
'"I'm only interested in an art which can change the ideology of society....Art which is only committed to aesthetic values is incomplete.'"
"'...When I come to the limits of my resistance, I feel terribly alive.'"
"As in her best performances, Abramovic made the guests feel exultant and blessed. And as in her performances, the outside world and a normal sense of time disappeared. I asked someone for the time and found out it was past midnight, hours later than I'd expected."
July 10, 2016
"It might have been one of her father's mystery gifts (he once gave Marina a potted plant, without telling her that the real gift, a pair of tights, was wrapped in plastic and buried in the soil)"
"Olszanski kept a Bible in the freezer, and every day made a performance out of prying it open and reading a new passage."
"Marina watched the daily ceremonies of the women she lived with, in which they acted out the dreams they had the night before."
"Olszanski kept a Bible in the freezer, and every day made a performance out of prying it open and reading a new passage."
"Marina watched the daily ceremonies of the women she lived with, in which they acted out the dreams they had the night before."
March 10, 2020
Wow people really love this one! It's certainly comprehensive--maybe more in-depth at times than Abramovic's own memoir but I preferred reading the memoir :) For Abramovic completionists!
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October 4, 2016When reading artist bios, what I’m mostly after is a sense of the subject’s lifestyle and creative process. Autobiography/memoir is what I usually seek but I figured I’d try “When Marina Abramovic Dies” before “Marina Abramovic” published by Phaidon. The former had a larger page count and a morbid title, which I like, but, unlike the later, it isn't authored by the artist. Turns out it also had a lot of filler I found uninteresting, all related to the author’s life, just a little too exhaustive. The later is actually the perfect size and is almost all from the artist’s perspective. Also, its physical dimensions are much larger, like a coffee table book, which makes all the great photos really kick out.
“When Marina Abramovic Dies” does have some virtues. In the section on Ulay, one really gets a sense of the strain that constant performance has on their relationship. Ultimately I didn’t find it interesting enough to keep reading with all the books I want to get to this month, next month, next year… so it became one of the victims of The Great Book Purge of September 2016 without my even having finished it.
“When Marina Abramovic Dies” does have some virtues. In the section on Ulay, one really gets a sense of the strain that constant performance has on their relationship. Ultimately I didn’t find it interesting enough to keep reading with all the books I want to get to this month, next month, next year… so it became one of the victims of The Great Book Purge of September 2016 without my even having finished it.
October 27, 2014
Incredible biographical journey through Marina Abramovic life completely immersed in her art practice. As reader I feel like becoming her close friend and soul mate, witnessing her sins and achievements. The book it's self is written in very accessible language. I like the fact that it is written from close and intimate view by someone who was part of her daily life and managed to include Marina subjective point of view. Appears to be incredibly honest, but you never know drawing attention on Marina two persona 'diva and vulnerable girl'. Her personal life sacrifices she made is very painful leaving reader asking your self do you have to do the some to get there? Collective women artist dilemma. I can associate with her life even more as being East European woman performance artist my self. Well at the end Marina Abramovic is the grandmother of performance art and I hold very high value of her professional achievement. This book is just another step to getting knowing or understanding her a bit more and sharing our anxieties a women artists.
August 24, 2014
La formazione artistica e la vita di Marina sono raccontate come un romanzo, arricchito da numerose foto e ricostruito in base alle interviste alla stessa Marina, ai familiari, agli amici, agli uomini della sua vita.
L’autore, già collaboratore della Abramovic, descrive minuziosamente la meticolosa preparazione e la realizzazione delle performance di Marina, sia in coppia con il suo ex compagno Ulay, sia da sola negli ultimi 20 anni, con uno stile elegantemente didascalico che è in necessario contrasto con la passione, la vitalità, il forte impatto emotivo dell’arte e della personalità di Marina Abramovic.
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L’autore, già collaboratore della Abramovic, descrive minuziosamente la meticolosa preparazione e la realizzazione delle performance di Marina, sia in coppia con il suo ex compagno Ulay, sia da sola negli ultimi 20 anni, con uno stile elegantemente didascalico che è in necessario contrasto con la passione, la vitalità, il forte impatto emotivo dell’arte e della personalità di Marina Abramovic.
Continua a leggere su
http://www.leggereacolori.com/letti-e...
March 28, 2014
« A mio avviso Marina si è considerata un'istituzione sin dall'inizio. Non penso si veda molto come una persona. Io dico sempre che un bel quadro di Van Gogh non può stare in una collezione privata ma deve appartenere a un grande museo. E credo che una persona come Marina non appartenga a un singolo individuo, ma sia di tutti.» Tutti tranne lei stessa, ma questo era un prezzo che era sempre stata pronta a pagare.
January 29, 2018
This book charts the evolution of Marina's work from student to mature artist at her 60th Birthday. I am a huge fan of Marina's work and found the book interesting in tracing her artistic time line , however, as this is a biography and more 'work' focused, there is not much insight into Marina the person.
To compliment this book, I have just bought Marina's autobiography. As her work is so deeply personal I feel like I need to read both to get the complete picture.
To compliment this book, I have just bought Marina's autobiography. As her work is so deeply personal I feel like I need to read both to get the complete picture.
June 6, 2010
The writing was a bit choppy at times with poor transition and pacing (the beginning and end felt a little bit rushed), and a handful of grammatical mistakes. But overall, I loved the story and didn't want it to end. Westcott's insights were smart, articulate, and extremely telling of Abramovic's controlling yet charismatic persona and undying love for performance.
July 7, 2010
I'm really intrigued by Marina Abramovic, and it was great to learn more about her performances and legacy from this book. However, there's so much detail about her early childhood, her parents' past, and her works with Ulay that devoting so few pages to the years 1990–present seems like a let down.
August 14, 2010
One of the best biographies I've read in ages. Her life and work is really inspiring and brave - and I normally don't lust after female role models. Probably all about my impending (or actually here) middle age. She's 60+ now and as rad as she ever was.
July 24, 2012
I learned a lot from this book, about Abramovic and also about performance art, but I am still not fully "decided' on my opinion of the artist or the "art." This is not a failing of the book, however. Thanks to this biography, I have a much larger list of artists and works to explore further.
November 12, 2016
Una biografia esaustiva che consiglio a chiunque voglia saperne di più sulla "nonna della performance art", ovvero Marina Abramovich, o voglia semplicemente avvicinarsi a questo filone dell'arte contemporanea, per comprenderla meglio.
4.5 stelle
4.5 stelle
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March 16, 2010this is beautiful and moving and about everything (well, everything within certain heteronormative boundaries). congratulations james!
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February 8, 2012Frustrating. It's hard not to hate biographies of living people.
September 16, 2013
Interessante, illuminante, affascinante come Marina Abramovic e la sua arte. Splendide le fotografie. Meravigliosa lei.
January 6, 2014
If you are at all interested in Marina Abramovic or the history of performance art, I cannot recommend enough. Very powerful and inspiring.
August 11, 2018
It was serendipitous I should read this book while also watching Sex in the City. I'd assumed no overlap.
April 21, 2016
We should be more like her.
March 20, 2016
Marina Abramovic is amazing. Read this book.
March 20, 2016
Bursting with energy.
May 31, 2018
This is an insightful and intriguing read that not only details Abramovic’s life, but provides insight into the history and context of performance art. I had never considered it, as a discipline, in the social and political context of the twentieth century. The places the artist originated from, preformed in, and made their homes also provide an interesting context for the genre at large.
If you are a fan, you will undoubtedly enjoy this. However, I would more exuberantly recommend it to the reticent, or unconvinced audience. The purpose of the book is not sell the art, and you may be left just as skeptical or unimpressed with performance art in the end. The context and insight are still of value.
If you are a fan, you will undoubtedly enjoy this. However, I would more exuberantly recommend it to the reticent, or unconvinced audience. The purpose of the book is not sell the art, and you may be left just as skeptical or unimpressed with performance art in the end. The context and insight are still of value.
July 30, 2023
A deeply insightful and humorous intimate portrayal of the artist Marina Abramovic. You'll not only learn about her artistic career but the way she made the pursual of her remarkable life a way of living. The thing is you might even get to know her so close she'll end up feeling like the amusing, empowered and knowledgeable friend that gets you to the best experiences of your life.
December 17, 2019
This is maybe not the best writing, but Abramovic is SO COMPELLING, read it anyway. If you want to understand the currents of performance art and get some insights into conceptual art practice, this is a good place to start. Really enjoyable.
March 19, 2021
I've also read Marina's autobiography.
This biography goes into more detail about her works than the autobiography.
This biography goes into more detail about her works than the autobiography.
August 4, 2024
Pretty good - more intimate in places than Abramović's own autobiography.
January 12, 2021
One of the best book I’ve ever read!!!
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