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.— Marina Abramovic
The most superior Marina Abramovic quotes that will be huge advantage for your personal development
A great artist has to be ready to fail.
If we go for the easy way, then we never change.
Time is an illusion. Time only exists when we think about the past and the future. Time doesn't exist in the present here and now.
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.
I believe stories are very important to all performances.
The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
The only thing I have learned is to find strength in yourself.
No one can help you, no one can do anything for you, you have to do the work yourself.
To me the pain and the blood are merely means of artistic expression.
People ask why there are so few female artists who succeed.
It's because women are not ready to sacrifice as much as men. Women want a man, they want a family, they want to have children, they want to be loved, and to be an artist. And they can't; it's impossible.
If you are really true to yourself and really follow your intuition in the most rigorous way, there is a moment that becomes universal, that reaches everybody. That’s the real magic of Björk-she teaches us the courage to be ourselves.
What you get is the opening of your mind.
I'm not preaching any new religion; I'm ritualizing everyday activities. You drink the water. You count the rice. You sit in Crystal Cave. You lie in Levitation Chamber. You push yourself to a new level.
It's very important that young artists push boundaries, because sometimes you have this urge to do something - like the impulsive and dangerous urges I had as a child - and if you don't follow through with it you might miss out on a developmental experience.
First of all, to do performance art, you really have to give 100 percent.
I only know that I have to give 100 percent and then what happens, happens.
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.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.
My mother and father had a terrible marriage.
They celebrated their wedding anniversary one year with their friends. Why did they celebrate? Maybe because they had lasted so many years without killing each other.
The most revolutionary ideas are not sellable, but only mind-changing.
When you're 50, the best thing to do is dance the Argentinean tango.
I always sent my mother all these huge books I made.
When my mother died, I was cleaning her cupboard, and these big books were only 20 pages long. She edited out, maybe burned, every single photograph where I'm naked.
When I did "Seven Easy Pieces," I actually re-performed the performances of other artists. It was such difficult work because I had to really go through the documentation, look through the sources, to ask the witnesses who saw it.
In the performer's body, you don't care how you look.
It doesn't matter if you're old, fat, beautiful, or ugly. It doesn't change anything. The only thing is your charisma and how you express your idea.
When you have a nonverbal conversation with a total stranger, then he cant cover himself with words, he cant create a wall.
Television is completely another medium. For me, Lady Gaga and HBO are bringing us to mass culture.
There are two kinds of loss of hope, one is the feeling when your pulse slows down and you are going to die, and there's nothing else left. The other loss of hope is when you're living in a country which becomes insecure, and you don't know what the future is. That's existential.
You know I very much respect Yvonne Rainer, she is very important - in American dance, the entire development of modern dance, and creating a wonderful physical language.
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.
Dali Lama said, 'when you open the heart of the person with humor, you can tell him the most truth. But if you tell him truth without humor, the heart closes.'
You know the movie "Rashomon" from [Takeshi] Kurosawa, when all the people in the forest see something different? Each performance was like that.
You go to India and you see the poorest village somewhere in the middle of India. And the poor family is happier than any rich billionaire in this country because of spirituality.
I don't know anything about the afterlife because I haven't been there yet.
Galás is a great artist with a very powerful voice.
My work is immaterial. It's not painting, it's not sculpture, it's emotions. I'm giving you something to experience yourself.
We're destroying the planet, and the planet rebels.
If you look at the lives of artists, sitting in nature, painting, having the freedom. I think it's over. I think we're living in such a difficult moment of human development. Artists have more responsibility than ever before.
In every ancient culture, there are rituals to mortify the body as a way of understanding that the energy of the soul is indestructible.
I serve like a bridge. I go to other cultures, learn, put myself in different situations and learn as much as I can, and then go to Western cultures to give. I'm doing this bridging all the time.
One thing I learned from his holiness the Dali Lama is the importance of humor.
We don't have politicians with dignity and morals.
We never have, not since [Nelson] Mandela and [Mahatma ] Gandhi. It's really rare.
I have a problem with being a hero, but that's another problem.
I've always asked myself since I was young, what is my duty on this planet? What am I there for? Just to hang around? Everybody must have some purpose.
Americans aren't accepting of black humor, it's terrible.
When I first had a video camera to document a performance, it was in Sweden and I remember it was really crucial for me.
Performance has to be mainstream art. This is what I'm fighting for.
I say we don't need art in nature, because it's so perfect without us.
We need it in the cities. But the cities have absolutely lost their own center. They think having ten cars and a big bridge is the way to happiness. It's not.
It's okay that we're not perfect. It's okay that we all have problems. It's okay to cry, to show emotions.
The only way to change consciousness and the world around us is to start with yourself.
I made a tape recording of a bridge collapsing and I wanted to play it suddenly and very loudly when people were walking over a big bridge in Belgrade. The council forbid it. Their imagination is tiny; mine is big. I want always to shake everything up.
Documentation is misleading, because the performance is dead.
So the very early works were not documented at all.
My memoirs are full of humor, I had to change jokes because it was a little too dark.
Typically, the performance has a story - a beginning, the crescendo and the end.