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The artist must be ready to burn in the fire of their own transformation.
From January 12 to 31
In the Hall of Mirrors
Marina Abramović has redefined the language of contemporary art since her emergence in the 1970s. Known as “the grandmother of performance art,” Abramović has turned her body into a space of experimentation, confrontation, and transformation, exploring the physical, emotional, and psychological limits of both artist and viewer. Through often radical and challenging actions, she has made her work a visceral reflection on endurance, vulnerability, and the spiritual dimension of human existence.
In a time marked by the political and social upheavals of postwar Yugoslavia, Abramović emerged with an art that rejected traditional forms and sought a direct connection with the audience. She saw performance as a way to escape the boundaries of the canvas and frame, seeking instead the immediate energy of the present moment. Her early works, such as Rhythm 10 (1973), already pointed to a dialogue between body and object, pain and ritual, in which the artist placed herself in physical danger. This tension between bodily autonomy and submission to external limits is a recurring theme throughout her career.
The collaboration with Ulay, her creative and romantic partner for twelve years, produced some of the most impactful works in contemporary art. In pieces such as Relation in Time (1977) and The Lovers (1988)—in which the pair walked from opposite ends of the Great Wall of China to say goodbye—Abramović and Ulay explored the dynamics of intimacy, power, and separation. Their joint work became a narrative of interdependence, where human fragility becomes a mirror for the audience.
Over the years, Abramović has delved into a spiritual exploration that transcends physical pain, shifting toward the realm of energy and contemplation. The Artist Is Present (2010), presented at the MoMA in New York, became a global phenomenon, bringing together thousands of spectators willing to share a silent gaze with the artist. This piece, seemingly simple yet profoundly deep, illustrated the power of presence and the transformative potential of human connection without words.
Abramović’s impact goes beyond her artworks and extends into her pedagogical work and her advocacy for performance as a central discipline in contemporary art. Through the creation of the Marina Abramović Institute (MAI), she has ensured that future generations will continue to explore the boundaries of body, mind, and spirit within the context of art.
Abramović had previously visited Barcelona, but it was at the Liceu where she presented her first work: 7 Deaths of Maria Callas (March 2023). The autobiographical nature of her art, fueled by the suffering inherent in her heartbreaks and romantic dramas, found a particular resonance in the life of Maria Callas (1923–1977).
Marina Abramović has turned her life into a work of art in itself. With a blend of courage and vulnerability, she has illuminated the darkest corners of the human condition and offered us an artistic experience that, beyond aesthetics, is deeply transformative. Her art, both unsettling and liberating, invites us to see ourselves from a new perspective, to inhabit our bodies with awareness, and to understand the energy that connects us to the world. With each piece, Abramović reminds us that, as spectators and as human beings, we are also the creators of our own meaning.
Marina Abramović
Marina Abramović (Belgrade, 1946) is a Serbian artist regarded as a key figure in contemporary performance art. Since the 1970s, her work has explored the limits of the body, the mind, and the relationship between artist and audience. She is known for radical actions like Rhythm 0 (1974), where she allowed the public to interact with her body for six hours.
From 1976 to 1988, she collaborated with artist Ulay, creating performances focused on duality and relationships. One of their most famous works, The Lovers, marked their symbolic separation as they walked from opposite ends of the Great Wall of China.
In 2010, she gained widespread recognition with The Artist is Present at MoMA in New York, where she sat for hours, staring silently at visitors. She founded the Marina Abramović Institute and remains a major influence in contemporary art.