Marina Abramović, ‘Untitled’, 2017, ICI: Benefit Auction 2017

Two hands touching on the ceiling of the Sistine Chapel symbolize the creation of man. The length of a pinky finger is sometimes associated with the mythical god Mercury, and can symbolize a person’s intuition and relationship with others. In Marina Abramović’s Untitled (2017), a thumb connects to an index finger, and an unbounded spiral loops around each hand’s pinky fingers and shoots to the corner of the page. The notion of interconnectedness and human relationships is a prevailing subject in Abramović’s oeuvre. She manifests these interests in a variety of ways, from her early performance works to more extensive pedagogic projects such as the Marina Abramović Institute, which was featured in the 2015 exhibition Terra Comunal in Sao Paulo, Brazil.

Last month, Abramović was honored by the Royal Academy America—the American supporters of the Royal Academy of Arts in London. Her most recent solo retrospective, The Cleaner, opened this year in Stockholm’s Moderna Museet, and later traveled to the Louisiana Museum in Denmark.
—Courtesy of ICI

Signature: Signed and dated recto

Image rights: Courtesy of the artist and Sean Kelly Gallery, New York

Sean Kelly Gallery, New York
Artist's studio

About Marina Abramović

Working in a wide range of media, Marina Abramović is best known for her provocative performance works, employing her own body as both subject and medium. In an early performance entitled Rhythm 10, Abramović repeatedly stabbed the spaces between her fingers with a series of knives, effectively testing the relationship between the mental and physical, and reinterpreting the concept of rhythm. Between 1976 and 1988, Abramović collaborated with German photographer and performance artist Ulay to create performance works that explore such binaries as male and female, active and passive, through the execution of repetitive, exhausting, and often painful actions. Abramović has continued to work independently since then, staging performative works that increasingly demand viewer involvement, such as her MoMA retrospective, “The Artist Is Present,” in which museum visitors could sit down across from Abramović at a table and engage in a silent exchange with the artist.

Serbian, b. 1946, Belgrade, Serbia, based in New York, NY, United States