Abstract
In Seven Easy Pieces (2005), Marina Abramovic formulated the problem of a history of performance in her own terms. Her project, which took place at the Guggenheim Museum in New York, planned to perform a new piece after six evenings during which she restaged six historical performances (including only one of her own, Thomas Lips, along with works by Vito Acconci, Joseph Beuys, Valie Export, Bruce Nauman and Gina Pane). As Marina Abramovic writes in her memoirs, this reenactement was a way of ...
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