{"title":"Marina Abramović","description":"\u003cp\u003eMarina Abramović (born 1946) is a Serbian performance artist whose work since the early 1970s has engaged with the limits of the body, endurance, pain, exhaustion and the relationship between performer and audience. Her early solo performances — including \u003cem\u003eRhythm 0\u003c\/em\u003e (1974), in which she invited the audience to use seventy-two objects on her body, and \u003cem\u003eRhythm 5\u003c\/em\u003e (1974) — established her as a central figure in the international development of body art and performance. From 1976 to 1988 she worked in close collaboration with the artist Ulay, producing a series of durational works that tested physical and psychological endurance; their collaboration ended with \u003cem\u003eThe Lovers: The Great Wall Walk\u003c\/em\u003e (1988). From 1989 onwards Abramović developed a renewed solo practice concerned with material, energy, stillness and the viewer’s body, producing the Transitory Objects series and later the long-durational works for which she became globally known, including \u003cem\u003eThe Artist is Present\u003c\/em\u003e at MoMA, New York, in 2010.\u003c\/p\u003e","products":[{"product_id":"gregor-schneider-double-kabinett-aktuelle-kunst-walther-konig-2011","title":"GREGOR SCHNEIDER: Double, 40 Jahre Kabinett für aktuelle Kunst, Bremerhaven, Walther König, Cologne, 2011","description":"\u003cp\u003eExhibition publication, Verlag der Buchhandlung Walther König, Cologne, 2011. Landscape-format clothbound hardback with printed dust jacket; 120 pages; 28 × 19 cm; German and English text. Text by Dagmar Kürschner. ISBN 978-3-86560-977-9.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good vintage condition; light rubbing and handling marks to the printed dust jacket, with minor creasing and wear along the upper edge and corners. Internally clean, with the binding sound.\u003c\/p\u003e\u003cp\u003ePublished following Double, an exhibition series organised by MMK Museum für Moderne Kunst Frankfurt am Main in collaboration with Gregor Schneider and Moritz Wesseler to mark forty years of the Kabinett für aktuelle Kunst in Bremerhaven. Ten exhibitions originally staged at the Kabinett were reconstructed at MMK, bringing earlier presentations by Lawrence Weiner, Gerhard Richter, Sol LeWitt, Isa Genzken, Marina Abramović and Ulay, Wolfgang Laib, Andreas Slominski and Anri Sala into another institutional setting.\u003c\/p\u003e\u003cp\u003eRather than functioning as a conventional Schneider monograph, the publication records an exhibition structure based on repetition. Furniture, sculpture, actions and installations occupy the same restrained gallery architecture in successive arrangements. The project asks what remains when an exhibition is reconstructed decades later: its objects, its spatial relations, its institutional memory or the conditions that allow it to recur.\u003c\/p\u003e\u003cp\u003eA past exhibition is transferred from one room to another, photographed and returned to circulation as a book. Double sits between exhibition history, artist publication and archive — the exhibition reproduced not only as image, but first as space.\u003c\/p\u003e\u003cp\u003eThe landscape design extends the architecture of the project across the page. An empty gallery appears beneath the yellow title on the dust jacket, while the interior moves through installation views and precisely framed records of the reconstructed exhibitions.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Walther König","offers":[{"title":"Default Title","offer_id":54126528135506,"sku":"SCHNEIDER-WALTHERKONIG-DOUBLE-2011","price":75.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Schneider_-Gregor.-Double.-2011--cover.jpg?v=1785287493"},{"product_id":"marina-abramovic-boat-emptying-stream-entering-victoria-miro-1989","title":"MARINA ABRAMOVIĆ — Boat Emptying, Stream Entering, Victoria Miro, London, 1989","description":"\u003cp\u003eMarina Abramović. \u003cem\u003eBoat Emptying, Stream Entering\u003c\/em\u003e. Victoria Miro, London, 15 April–12 May 1989. Exhibition invitation. Offset-printed on card; 21 × 14 cm. Colour photograph of reddish masonry to recto with artist name in widely spaced white capitals; solid blue ground with italicised title text to verso.\u003c\/p\u003e\u003cp\u003eA document of a genuine hinge in Abramović’s practice. After twelve years of working with Ulay, their collaboration ended with \u003cem\u003eThe Lovers: The Great Wall Walk\u003c\/em\u003e in 1988. By 1989 Abramović had returned to working independently, and \u003cem\u003eBoat Emptying, Stream Entering\u003c\/em\u003e belongs to the first phase of that renewed solo practice — not a continuation of the extreme body-based performances for which she had become known, but a significant move from the artist’s body toward the object, material and eventually the viewer’s body.\u003c\/p\u003e\u003cp\u003eThe exhibition produced the early Transitory Objects, including \u003cem\u003eWhite Dragon: Standing\u003c\/em\u003e, \u003cem\u003eRed Dragon: Sitting\u003c\/em\u003e and \u003cem\u003eGreen Dragon: Lying\u003c\/em\u003e — works made from patinated copper, quartz and obsidian that required the viewer to stand, sit or lie against them. The Centre Pompidou acquired the three-part 1989 installation the following year. Contemporary scholarship relates the title to emptying the mind through meditation, the “stream” becoming the energy of the Wall and of nature: a process of renewal emerging from the dissolution of the Ulay partnership.\u003c\/p\u003e\u003cp\u003eThe invitation’s design carries the same transition. The recto is almost entirely physical: a close photograph of reddish masonry recalling the material surface of the Great Wall. The verso abandons the image completely for an artificial blue field and the italicised words \u003cem\u003eBoat Emptying \/ Stream Entering…\u003c\/em\u003e Wall and stream; matter and energy; image and language. The card doesn’t merely announce the exhibition — its two surfaces reproduce the conceptual movement of the work.\u003c\/p\u003e\u003cp\u003eNot the canonical 1970s endurance performer, not yet the globally institutionalised figure of the 1990s and 2000s, but an artist actively reconstructing a solo practice after the dissolution of one of performance art’s defining collaborations. A small administrative object from the moment one artistic identity was being emptied and another allowed to enter.\u003c\/p\u003e\u003cp\u003eCondition: good to very good. Light handling and edge wear; shallow vertical crease visible to verso, consistent with circulation.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Victoria Miro","offers":[{"title":"Default Title","offer_id":54234534281554,"sku":"ABRAMOVIC-VICTORIAMIRO-INV-1989","price":185.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Abramovic_Marina._Show_invite_boat_emptying_stream_entering_._1989.jpg?v=1786468981"}],"url":"https:\/\/thenewrare.com\/collections\/marina-abramovic-artist.oembed","provider":"The New Rare","version":"1.0","type":"link"}