#ArtOfTheDay ’Rest Energy’ by Marina Abramović and Ulay, 1980. "In Rest Energy we actually hold one arrow on the weight of our body and arrow is pointing my heart. We have two small, little microphones on our hearts where we can hear the sounds of the heart beating. As our performance is progressing heart beats become more and more intense and it's just four minutes and ten seconds, for me it was, I tell you it was forever. So, it was really a performance about complete and total trust", stated
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#ArtOfTheDay ’Rest Energy’ by Marina Abramović and Ulay, 1980. …
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Marina Abramović’s Rest Energy – What you should know
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Marina Abramović’s Rest Energy – What you should know
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Rest energy. Marina Abramović & Ulay | ear
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Marina Abramović talks about ‘Rest Energy’, a dangerous work performed by her and Ulay in 1980. Don’t miss out on the largest retrospective of her work ever held in the Netherlands! On view at the Stedelijk until July 14. Video: Royal Academy of Arts interview with Marina Abramović, recorded 25 September 2023. – Marina Abramović vertelt over 'Rest Energy', een gevaarlijke performance uitgevoerd door haar en Ulay in 1980. Mis de grootste overzichtstentoonstelling van haar werk ooit in Nederland n
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Marina Abramović talks about ‘Rest Energy’, a dangerous work perfor…
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Marina Abramović's 'Rest Energy' piece 'could have killed her at any moment'
Marina Abramović's 'Rest Energy' piece 'could have killed her at any …
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ANINA on Instagram: "Rest Energy by Marina Abramović & Ulay (1980) In Rest Energy, Marina Abramović and Ulay leaned backward while holding a drawn bow and arrow aimed at her chest, creating a moment where one slip literally could have caused her to pass away. Abramović later said, “I was terrified because I wasn’t in control.”"
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ANINA on Instagram: "Rest Energy by Marina Abramović & Ulay (1980…
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Still no space for creatives on Instagram: "Marina Abramović and Ulay’s 1980 performance Rest Energy: a four-minute confrontation distilled into a single, excruciating image. Abramović leans backward, her body forming a taut line, while Ulay pulls a drawn bow whose arrow points directly at her heart. The tableau is deceptively simple: two figures, white shirts, blank space, a weapon held in suspension. Yet the tension is monumental. The bow is not a prop, it is the physical embodiment of risk, t
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