After walking the Chinese Wall, I realized that for the first time I had been doing a performance where the audience was not physically present. In order to transmit thisexperience to them I built a series of transitory objects with the idea that the audience could actively take part. The basic structure was sitting, standing, and lying. As I was building the objects I paid a lot of atten- tion to the materials I used. I limited myself to materials like copper, iron, wood, and minerals. I believe these materials contain certain energies. I do not consider these works as sculptures, but as transitory objects to trigger physical or mental experiences among the public through direct interaction. When the experience is achieved the objects can be removed.

Marina Abramovic
Public Body: Installations and Objects 1965-2001
Edizione Charta, Milano, 2001


My transitory objects do not have symbolic meanings: their function and use are very precise and simple. They are made of a combination of different materials such as quartz, amethyst, tourmaline, copper, iron and wood, which have very specific effects on the user. These objects only make sense when they are invested with certain power, when people wear them. This is the reason I do not call them sculptures, they are objects to be introduced in everyday life. My ob- jects can be used by members of a family that, before having breakfast or going about their chores, go to the wall and press their bodies against one of these objects and only then get busy with their daily lives. It is the role of the objects to become part of this life. I don’t see a problem in the lack of strict obedience to the instructions for the use of my objects. The way I see it, the artist’s function is to present the work and deliver it to the public, so the public can bring it to completion.

Marina Abramovic
Transitory Objects For Human Use
Galeria Brito Cimino, 2008.


BED FOR HUMAN USE

Marina Abramovic
Wood and black quartz stone
Approximately 31.5 x 78.7 x 25.6 inches
2012

©ORE Cultura S.r.l. and © Laura Ferrari or Fabrizio Vatieri
Courtesy Marina Abramovic Archives and Sean Kelly Gallery New York



CHAIR FOR HUMAN USE WITH CHAIR FOR SPIRIT USE

Marina Abramovic
Wood and selenite crystal; wood and crystal quartz stones
51.2 x 13.8 x 17.7 inches; 29.5 x 9.8 x 11 inches
2012

©ORE Cultura S.r.l. and © Laura Ferrari or Fabrizio Vatieri
Courtesy Marina Abramovic Archives and Sean Kelly Gallery New York




BLACK DRAGON

Marina Abramovic
Museum of Modern Art Oxford, UK
1995

Photo: Heini Schneebeli
Courtesy Marina Abramovic and Sean Kelly Gallery New York.

Instructions for the public:
Stand facing the wall. Press your head, heart and sex against the mineral pillows.
Time: limitless.



CHAIR FOR DEPARTURE

Marina Abramovic
Amethyst and iron geode
1990

Photo: Hick Duarte, 2015
Courtesy of Abramović LLC – Luciana Brito Gallery

Instructions for the public:
Sit in the chair. Place your head under the helmet. Keep your eyes closed.
Don’t move. Leave.
Time: limitless.



CRYSTAL CINEMA

Marina Abramovic
Quartz and wooden benches
1991

Photo: Hick Duarte, 2015
Courtesy of Abramović LLC

Instructions for the public:
Sit on the bench facing the quartz. Close your eyes. Don’t move.
Time: limitless.



DOUBLE EDGE

Marina Abramovic
Wood, stainless steel knives
Object for the use of spirits
1995

Photo: Christian Cravo, 2015
Private collection



INNER SKY

Marina Abramovic
Amethyst and iron geode
1991

Photo: Hick Duarte, 2015
Courtesy of Abramović LLC – Luciana Brito Gallery

Instructions for the public:

Stand under the Inner Sky. Keep your eyes closed. Don’t move. Leave.



RED DRAGON

Marina Abramovic
Oxidized copper and rose quartz
1989

Photo: Hick Duarte, 2015
Private collection



WAITING ROOM

Marina Abramovic
Iron, black quartz, amethyst, transparent quartz and chrysocolla
1993

Photo: Hick Duarte, 2015
Luciana Brito Collection

Instructions for the public:

Choose a mineral table. Sit on the bench facing it. Keep your eyes open.
Don’t move. Observe.