Marina Abramović in Amsterdam: No Intermission & 7 Deaths of Maria Callas, Shira Wolfe, δημοσίευση Artland Magazine

7 Deaths of Maria Callas by Marina Abramović. Photograph by Marco Anelli © 2019 Los Angeles, October/2019

“There are so many different forms of art. Long durational performance is the most difficult, the most immaterial, and the most real.”

Marina Abramović

In 2019, Marina Abramović returned to her birth town of Belgrade for the first time in years with her retrospective The Cleaner. It was a big homecoming, in which she also revisited her childhood home and gave a free lecture about her performance method to a festival-sized crowd, including several exercises from her method. Three years later, Abramović had another homecoming. This time, between 24 October and 6 November, she returned to Amsterdam, the city that she moved to in the ‘70s and where she met her long-time performance and life partner Ulay. It is here that she developed some of her most influential long durational performances. On 4 November, the opening night of her opera 7 Deaths of Maria Callas, she told the audience (while joking that you’re actually not supposed to speak on opening night) how important it was for her to be back in Amsterdam, and how much she felt like she was coming home. Her Dutch homecoming was split into two sections, both attended by Artland: Marina Abramović’s performance project No Intermission and her opera project 7 Deaths of Maria Callas at the Carré theatre in Amsterdam.

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Marina Abramović in Amsterdam: No Intermission & 7 Deaths of Maria Callas, Shira Wolfe, δημοσίευση Artland Magazine