{"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\/products\/marina-abramovic-boat-emptying-stream-entering-victoria-miro-1989","provider":"The New Rare","version":"1.0","type":"link"}