When Marina Abramovic Dies examines the extraordinary life anddeath-defying work of one of the most pioneering artists of her generation--and one who is still atthe forefront of contemporary art today. This intimate, critical biography chronicles Abramovic'sformative and until now undocumented years in Yugoslavia, and tells the story of her partnershipwith the German artist Ulay--one of the twentieth century's great examples of the fusion of artisticand private life.

In one of many long-durational performances in the renewed solocareer that followed, Abramovic famously lived in a New York gallery for twelve days without eatingor speaking, nourished only by prolonged eye contact with audience members. It was here, in 2002,that author James Westcott first encountered her, beginning an exceptionally close relation betweenbiographer and subject. When Marina Abramovic Dies draws on Westcott's personalobservations of Abramovic, his unprecedented access to her archive, and hundreds of hours ofinterviews he conducted with the artist and the people closest to her. The result is a unique andvivid portrait of the charismatic self-proclaimed 'grandmother of performanceart.'

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Belgrado 1974. Marina Abramovic dą fuoco a una monumentale stella a cinque punte, simbolo del regime di Tito, e ci si distende dentro fino a svenire per asfissia. Napoli 1975. Uno spettatore le punta al collo una pistola carica: l'artista ha sfidato il pubblico a usare su di lei, risolutamente passiva, uno qualsiasi degli oggetti disposti su un tavolo. New York 2002. Marina vive per dodici giorni in un'abitazione pensile allestita alla Sean Kelly Callery. Digiuna. L'unico nutrimento č l'avido sguardo degli astanti che la osservano bere, dormire, lavarsi e urinare. Tra la schiera di spettatori c'č James Westcott: č il suo primo incontro con 'la nonna della Performance Art', come lei ama definirsi, e l'incipit di 'Quando Marina Abramovic morirą', biografia intima di un'artista che da quarantanni gioca con la morte mettendo il proprio corpo al centro di performance divenute leggendarie. Agli esordi, lanciarsi nell'arte performativa significa per Marina ribellarsi a un'esistenza 'militarizzata', tiranneggiata da una madre che le impone diktat culturali comunisti e non la bacia mai. Cruciale per il decollo da Belgrado č l'unione artistica e sentimentale con il fotografo tedesco Ulay, con cui avvia una collaborazione tanto ardita quanto fruttuosa. A bordo di un furgone Citroen trasformato in casa mobile, la coppia gira l'Europa esibendosi in pezzi che mettono a nudo una simbiosi culminata nel prolifico 'Nightsea Crossing'.