Transitory Objects For Human And Non-Human Use By Marina Abramoque

Marina returned to making solo works as well as with artistic collaborators. In this period, she worked increasingly with video and she began making a number of sculptural works, Transitory Objects for Human and Non-Human Use, which comprise objects meant to incite audience interaction and participation.
During the 1990s as a respectable performance artist Marina Abramovic taught at the Academie des Beaux-Arts in Paris, the Hochschule der Kunste in Berlin, as well as Hochschule fur Bildende Kunste in Hamburg and at the Hochschule fur Bildende Kunste in Braunschweig in Germany.
In 1997, Abramovic was invited to represent Serbia and Montenegro at the Yugoslavian Pavilion at the Venice Bieennale. But, she broke off the collaboration after a conflict with the Montenegrin minister of culture. However, the performance piece Balkan Baroque was shown instead at the Italian pavilion, where it caused a stir. She was awarded the Golden Lion prize for Best Artist of the Biennale.
The Balkan Baroque piece was created in response to the innumerable deaths that
Contained within three so called rooms built six feet off the ground, she slept, urinated, drank water, showered and gazed at the spectators wearing a differently colored outfit each day. She could walk between the rooms, but the ladders leading to the floor had rungs made of butcher knives. In this performance, Marina ritualized the activities of daily life, focusing on the self and simplicity while eliminating all aspects of dialogue and narrative. She stated that she saw this piece as an act of purification- for her, but also for any viewer who entered the space. Additionally, the piece was a shift from the masochism of her earlier works to performances that focus on ideas of presence and interaction, although there is still the element of danger ( present in the butcher knives