Marina Abramović

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  passages May/June 2020

  ULAY

  ULAY, MY FORMER PARTNER IN LOVE AND ART, died this year, and I lost a dear friend. He was an exceptional artist and human being who will be sorely missed by all who knew him and his work. We embarked on our private and professional journey together in Amsterdam in 1975. When we first met, on November 30, the date of birth we shared, in many ways we each felt as though we had found our other half. Our meeting was male and female energy coming together to create a third unified element we called “That Self.” The nickname we used for each other was Glue, which speaks to the way we viewed our

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  passages April 11, 2014

  Jan Hoet (1936–2014)

  PEOPLE LIKE JAN HOET do not exist anymore. Jan belonged to a rare art tribe with a unique, intuitive vision that opened new territories and horizons.

  I met Jan just before he curated the legendary 1986 exhibition “Chambres d’Amis.” We became instant friends. His energy and flamboyant approach to everything he did spoke to me immediately.

  For my fiftieth birthday, he invited me to do a large exhibition in Ghent, Belgium. I told him that for the occasion, I would like to create an evening of Argentinean tango. Jan was full of enthusiasm about this. We titled the event “The Urgent Dance” and put some

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  passages Summer 2013

  Thomas McEvilley

  MARINA ABRAMOVIĆ

  IN THE EARLY 1980s, I read several articles by Thomas McEvilley about Yves Klein and James Lee Byars. They made a powerful impression on me and left me with a strong desire to meet him. But I didn’t tell anybody—it was a secret wish.

  Then, in 1983, on the occasion of the annual Holland Festival, Ulay and I decided to present a very ambitious performance, which was to be staged there for the first time. It included people who had never acted in their lives, including ourselves. Ingrid Sischy, who was then the editor of Artforum, sent someone to report on the event: Tom McEvilley.

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  print December 2005

  The Best Exhibitions of 2005

  To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2005.

  MARTIN CREED
  “Edward Munch by Himself” (Royal Academy of Arts, London) This show gave me butterflies, screwed me up, and made me cry.
  

  AA BRONSON
  John Baldessari, “A Different Kind of Order” (Museum Moderner Kunst, Vienna) I rarely go to exhibitions these days. Perhaps I’m too jaded. But the Baldessari retrospective was something else. Focusing on his production from 1962–84, it was notable for its curatorial indifference to the marketplace—so