"To have the most original moment of a culture represented as a living being," Ulay wrote, the artists began a series of works, compiled in Program 1, in which they attempted to evoke the essence of a culture through a symbolic representation of time, place, and people. The "sacred...
Modus Vivendi is the general title that Abramovic and Ulay gave to a series of performances, tapes and Polaroid photographs in the 1980s. Although the artists continued to use their bodies as art objects, the works in this compilation tend to emphasize the metaphorical and the theatrical. They...
This two-part anthology presents a historical survey of Abramovic and Ulay's individual and collaborative performance pieces. The works span the years 1975 to 1980, from the artists' early body-based performances and actions through their rigorous Relation Work pieces.
In this autobiographical collaboration with Atlas, Marina Abramovic delivers a monologue that traces a concise personal chronology. This brief narrative history, which references her past in the former Yugoslavia, her performance work, and her collaboration with and separation from Ulay, is intercut with images of Abramovic engaged in symbolic gestures and ritual acts. Closing her litany with the phrase "time past, time present," Abramovic invokes the personal and the mythological in a poignant affirmation of self.