Those two hearts of Marina Abramović

One of the most controversial artists of our millennium, Marina Abramović, comes to Vienna this spring, in a solo exhibition, Two Hearts, that deals with the heart as the seat of the soul, moral identity and personhood. (Photo up: Marina Abramović, Untitled, 2018, Leuchtkasten / Lightbox © Marina Abramović)

Marina Abramović “Two Hearts” exhibition is opened between 27th of April and 9th of June 2018 at Galerie Krinzinger, Vienna ( 

„We can have so many hearts inside ourselves. In my lifetime, I have discovered two hearts. This show is about my reflections on duality, the power of female energy, and temporality“, Marina Abramović says.


Marina Abramović, Portrait with Maracas, 2006, Silver gelatin print, © Marina Abramović

A pioneer of performance as a visual art form, Marina Abramović has used her body as a subject and as a medium in her grueling long-term performances to exhaust her physical, mental and emotional boundaries – often even risking her life in search of enhanced awareness, transcendence and self-transformation. “Two Hearts” deals with the heart as the seat of the soul, moral identity and personhood. Having two or more hearts means that different versions of the self are existing in one being. Marina Abramović’s exhibition brings together a group of works that deal with dualities and themes such as the self- portrait, feminine energy and feminine identity.

What we are going to see at Galerie Krinzinger? Among others, the light boxes Carrying Elvira (2006) and Virgin Warrior (2006), the Portrait with Maracas (2006), Me and Me II, a photograph from 2008 – and current works, including five new light boxes Untitled (2018), a sculpture from the series Communicator (2012 – 2018). The series Study for A Monument (a, b, c, d) (2018) and the revised film version of Dragon Heads (1990 – 1992, 2018) will also be presented.


Marina Abramović, Me and Me II, 2008, Gelatin silver print, © Marina Abramović

Marina Abramović’s works – performances, sounds, photographs, videos, sculptures, and transitory objects for human and non-human use – have been featured in numerous solo exhibitions in the USA and Europe. Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. Exploring her physical and mental limits in works that ritualize the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation.

Marina Abramović

Marina Abramović

Photography: courtesy of (c) Galerie Krinzinger


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