Incision

Ulay and Abramovic draw a large bow and arrow, one holding each side. The arrowhead is pointing at Abramovic's heart. The slightest movement could be fatal. Microphones on their clothes pick up their quickening heart beats and Ulay's irregular breathing

El camino entre dos puntos (The way between two points) investigates Patagonia’s tainted nature. Here, where throughout the 20th century ever enhanced methods of oil recovery, have transformed an amorphous, ambivalent and hardly populated landscape into an uncanny site of man’s supposed mastery of nature, the film traces the ways of a man, who wanders the scenes aimlessly, bound by his own implication in the menacing mechanics of oil production but drawn physically to their coevally proceeding erasure by the rough and untamed nature of this seemingly self-subsisting land.

Thirty years after their separation, performance artists Marina Abramović and Frank Uwe 'Ulay' Laysiepen (1943-2020) agree to meet, for the first time on camera, for a raw and honest conversation about their life, art and legacy.

"Naked we stand opposite each other in the museum entrance. The public entering the museum has to turn sideways to move through the limited space between us. Everyone wanting to get past has to choose which one of us to face" – Marina Abramovich

Documents four of Abramovic's solo works, exercises in which her body is the vehicle for a rigorous testing of the self — violently brushing her hair and her face, vocalizing until she can no longer breathe, intoning a stream-of-consciousness flow of memories, moving to a drumbeat until she literally drops from exhaustion.

Marina Abramović Freeing the Body was performed at the Künstlerhaus Bethanien in Kreuzberg, where Abramović began dancing frantically to the sounds of a bongo player. During the early part of the performance, she still has plenty of energy, and she rocks her hips and upper body vigorously to and fro. Over the course of the six hours, exhaustion sets in. Abramović falls back on a single monotonous movement, now and then visibly exerting herself in an attempt to reivigorate her body. After a final convulsive movement, in which she tries to give her all for one last time, she allows herself to collapse onto the floor and remains lying there, completely exhausted. During the performance, Abramović's head was covered by a black scarf. In this way, the audience was not distracted by Abramović as a person or personality, and attention can be focused on the body, which, due to its anonymity, has become an abstraction.

Television special of five episodes directed by Alfredo Di Laura dedicated to the exhibition "Attivo. Performance e Dibattiti" curated by Tommaso Trini.

“Before the eyes of all, at least of those present, the naked and direct exhibitions of the body take place with all its extensions; but the naked eye of the spectators who circle is promptly doubled by the many mechanical or electronic eyes of the photographic equipment and of the 'cameras' which, with their clicks and their tenacious buzzing, form the background” Renato Barilli

In the twilight years of the Cultural Revolution, a Chinese filmmaker slowly becoming blind tours the country screening her last film to peasants. In it, the woman imagines two "alien" lovers walking from end-to-end along the Great Wall to join each other in the middle, one last time. This documentary is an adaptation of Ulay and Marina Abramovic's final collaborative project, the 1988 performance "The Lovers: The Great Wall Walk."

Documentation of the 2-hour performance by Marina Abramović and Ulay, performed in 1978 at Harlekin Art in Wiesbaden. In this piece, the two artists and a live snake triangulate the performance space. By blowing across the mouths of empty bottles, Abramović and Ulay produce sounds meant to rouse the snake, attempting to charm it and alter the physical geometry of the arrangement.

Marina Abramovic's performance 'Relation in time', with her long time partner Ulay. "We are sitting back to back, tied together by our hair, without any movement for 16 hours. Then the audience came in. We continued sitting for one hour."

In 'Expansion in Space' (1977, Dokumenta 6, Kassel), Ulay and Abramovic do not collide with each other, as they did in Relation in Space (1976), but with two free-standing pillars twice their individual body weight. Their goal is to make the pillars move by means of their naked bodies, and in this way to expand the space of action

In the first 58 minute Performance, Relation in Space, which took place in July 1976 at the Biennale in Venice, Abramovic/Ulay, both naked, walk towards each other from opposite ends of a room, touching as they pass each other, and then they repeat the movement while their bodies collide and one of them (Marina) falls over under the impact, until they are both exhausted. A statically mounted video camera simultaneously filmed the touching of the bodies in the middle of the room.

Ulay and Abramović are standing holding a double-sided mirror between their bodies.

When the speed and the spinning becomes too much for them, they let go and collapse..

The starting point of Kaiserschnitt is a triangular construction. A horse stands in the centre of a large space, tied to a rope. Ulay and Abramovic are connected to the horse by means of the rope, which runs through two rings fastened to opposite walls.