Opening on March 16: Largest retrospective of Marina Abramović ever held in the Netherlands opens at Stedelijk Museum Amsterdam

"There are so many different forms of art, performance is one of the most difficult, the most immaterial, and the most real." Marina Abramović

Marina Abramović has been a prominent figure in performance and body art since the 1970s and is considered one of the most important founders of this art form. She thrust performance art from its experimental beginnings into the mainstream. Using her body as her medium, Abramović consistently tests her mental and physical endurance, to the point of pain and even the possibility of death. Together with artist Ulay (Frank Uwe Laysiepen -1943 - 2020) who she met in Amsterdam in 1975, she caused an international sensation – until they parted ways in 1988 – with long-durational performances that pushed these boundaries to the limit. In her later solo work, she focuses on spirituality and creating an exchange of energy between herself and the audience.

"When I was appointed director, there was no doubt in my mind that the Stedelijk should present a survey of Marina Abramović's oeuvre. She is not only a pivotal figure in the development of performance art, which found an early home at the Stedelijk, but also has numerous connections with Amsterdam. After staging the major retrospective of Ulay's work in 2020, we now proudly open the doors of the museum to Marina Abramović, who has a long and meaningful relationship with the Stedelijk. Re-enactments of historical performances keep her oeuvre alive – not just for us, but for future generations." - Rein Wolfs:

Marina Abramović uses her body in different ways: The Artist Body, The Social Body and The Spiritual Body. These forms are manifest in all ten of the exhibition's themes.

The Artist's Body 

From her first performance, Rhythm 10 (1973), in which in front of an audience she plunges a razor-sharp knife between the splayed fingers of one hand, Abramović has used the energy of her body as a medium for creating art. In Lips of Thomas (1975) she cuts a star into her abdomen with a knife, leaving a permanent scar, emphasizing the body as a tool to be used for existential, political, and shamanic purposes. In Balkan Baroque (Venice Biennale, 1997) she responds to the violent conflicts in the Balkans in the aftermath of Yugoslavia's disintegration in 1991, and in The Hero (2001), dedicated to her father who died shortly before, she interweaves her autobiography with his.

The Social Body 

In her work, Abramović examines the relationship with her former partner Ulay, and her relationship with the audience. In the work she makes with Ulay, they delve into the relationship between the self and the other, between the feminine and masculine. Rest Energy (1980), in which Ulay aims an arrow at Marina's heart, is a powerful enactment of the extreme trust on which their partnership relied. Her relationship with the audience is manifest in Rhythm 0 (1974) and the world-famous The Artist is Present (2010). In these performances, Abramović uses her body as a mirror for the emotions and behaviors of the visitors. In Role Exchange, which Abramović performs in 1976 at the invitation of the Amsterdam art center de Appel, she swaps roles with a sex worker in Amsterdam's red light district for four hours.

The Spiritual Body

In recent years, her practice has come to focus on spirituality and her relationship with the earth and nature. In the late 1980s and 1990s, Abramović investigates the interplay between matter and immaterial energy and looks at ways to directly communicate energetic interactions to her audience. The Transitory Objects For Human Use are intended to be objects imbued with healing power that is activated through human interaction. Visitors are invited to use the Dragons series for this purpose during the exhibition.

The path that leads to transformation

In investigating the limits of consciousness, Abramović concentrates increasingly on the mental realm. She sees acts and situations sustained over long durations as stepping stones on the path towards transformation – a state in which mental and physical pain has been transcended, as in meditation. This process is exemplified in Luminosity (1997) in which a simple movement becomes gradually more physically challenging, forcing the performer to concentrate and be present. The House with the Ocean View (2002) – which involves a performer living by their own rules, such as fasting and silence, for twelve days – is the ultimate performance, pushing powers of human endurance to the limit. The piece takes place in three interconnected, sparsely-furnished rooms representing a bathroom, sleeping area, and sitting room. Viewers are invited to witness this symbolic house and share a wordless 'energetic dialog' with the performer.

Performances

The performances will be reperformed at different times, sometimes for hours or days at a time, by performers trained in the Abramović Method. Performances will be staged daily and will be announced in the schedule later. Please note that the live performances can be both intimate and confrontational.

Sponsor

Sponsorship is ABN AMRO's method of advancing society, in line with our purpose of 'Banking for Better for Generations to come.' Our aim is to leave a clean and equal world for future generations. ABN AMRO supports ambitious clubs and organisations that work daily for equal opportunities and sustainability.

 What does ABN AMRO do? We provide financial support to clubs and organisations, but also offer coaching, knowledge sharing, and leverage our network. For instance, we assist in making hockey clubs more inclusive and sustainable, furthering the development of women's football, and increasing the visibility of female artists in the art world. We help individuals with disabilities participate in sports and broaden the horizons of children in relative poverty by providing impactful outings to sports clubs and cultural institutions.

In essence, our contributions extend beyond mere financial aid. We actively work towards progress in sports, arts, culture, and society, motivating individuals to unlock their full potential.

The exhibition Marina Abramović is organized by the Stedelijk Museum Amsterdam and the Royal Academy of Arts, London. The version of the retrospective presented in the Netherlands was organized by curators Karen Archey and Nina Folkersma. The exhibition is generously supported by Art Mentor Foundation Lucerne, the Blockbusterfonds, the benefactors of the Marina Abramović Circle, and the benefactors of the Stedelijk Museum Fonds.

Supported by ABN AMRO.

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