Marina Abramović

  • 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

  • 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.

  • 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