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In every culture, [there are those] shamans or medicine men who endured incredible physical pain, because it's a door opening to the subconsciousness. And the way we can actually control the pain -- it's how to control everything. This is the key.

Marina Abramovic

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Marina Abramovic
Age: 77
Born: 1946
Born: November 30
Artist
Film Director
Film Producer
Performance Artist
Performing Artist
Photographer
Photojournalist
Scenographer
Sculptor
Sound Artist
Belgrade
Serbia
Marina Abramovic
Marina Abramoviæ
Marina Abramovicz
M. Abramovic
Men
Doors
Shamans
Control
Endured
Actually
Incredible
Pain
Opening
Culture
Medicine
Everything
Door
Every
Keys
Way
Physical

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Why not do something strange and different for once? Artists can do whatever they want!
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Performance has to be mainstream art. This is what I'm fighting for.
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I had such an intense relationship to every person. I still see people on the street and we lock eyes, and say Oh my god! and we just kiss and stay like that and sometimes cry.
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We, performers, work on willpower. This willpower works in a short term, not durational.
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Cancer is an emotional disease.
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For me, the most difficult piece is the one I'm about to make.
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In my work I have complete control, but about my life, I don't want to.
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If you're a baker, making bread, you're a baker. If you make the best bread in the world, you're not an artist, but if you bake the bread in the gallery, you're an artist. So the context makes the difference.
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I am not a therapist. I am not a spiritual leader. These elements are in the art: it is therapeutic, spiritual, social and political - everything. It has many layers. But art has to have many layers. If it doesn't, then forget it.
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An artist should not fall in love with another artist.
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I really like dark, politically incorrect humor.
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With classical ballet you are literally injuring yourself.
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I am obsessive always, even as a child. On one side is this strict orthodox religion, on the other is communism, and I am this little girl pulled between the two. It makes me who I am. It turns me into the kind of person that Freud would have a field day with, for sure.
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If we go for the easy way, then we never change.
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If you're a woman, it's almost impossible to establish a relationship. You're too much for everybody. It's too much. The woman always has to play this role of being fragile and dependent. And if you're not, they're fascinated by you, but only for a little while. And then they want to change you and crush you. And then they leave.
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The public is in need of experiences that are not just voyeuristic. Our society is in a mess of losing its spiritual centre.
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The hardest thing to do is something that is close to nothing.
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The body has an enormous power of healing, if you really believe you are going to be healed, you're going to be healed. If you really believe you're going to die, you're going to die. If you apply this kind of method to everything, then there is hope.
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Talking about performance is such a strange thing because it's so immaterial. We are talking about soft matter. We are talking about something that is invisible. You can't see it. You can't touch it. You just can feel it.
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You know, art is very emotional business. But mostly it becomes not emotional, the fabric of commodity. It becomes business. It becomes so many different things. Because we forgot there was emotions involved.
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