Very Evil Marina Abramović Spirit Footage 🦶🏿

Why Does Microsoft Even Want to Associate With Satanic Ritual Cults and Marina Abramović?

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Microsoft’s ‘news’ sites fail to heed the warning or the toxicity (bad publicity) associated with Marina Abramović and they promote Microsoft’s proprietary software using not only militarism (goggles for the Army) but borderline cannibalism

What does Microsoft have in common with Satanic ‘spirit cooking’ rituals?

Watch what has just been promoted as a “World Tour” in MSN? It’s promoted shamelessly in a Microsoft site (MSN is fully controlled by Microsoft), which does marketing and propaganda for the company rather than objective news.

One reader asked us: “Ever hear of “spirit cooking”?”

“If not, read up on what came of the Podesta Emails via Wikileaks and then check this out.”

“I wrote a lot about this as soon as Podesta E-mails came out,” I responded, though “I didn’t take that to be or to mean what some people claim it to be… but it showed how debased, irrational and bloodthirsty some people are. They think these cults are entertainment…

“Maybe they just got bored of their yachts and stuff…”

For those who don’t know, these silly rituals, which involve blood and breast milk (from humans) — sometimes even parts of carcasses like animal skulls — are beyond bizarre. They’re described as performances, but any members of the public who are amused by sticking pins and consuming blood (or milk intended for babies) or whatever the hell they do probably need to visit a psychiatrist to have their heads examined.

The only surprising thing is that Microsoft is willing to associate itself with that occult lunacy to promote its proprietary software products*. Unreal! Maybe they’ll name a successor to Vista 10 “Windows Epstein Edition” as an homage to a close friend of Bill Gates.

* These products have failed in the market, so Microsoft will settle for anything to create the false perception of widespread use.

An advert for the HoloLens 2 headset, featuring artist Marina Abramović, mysteriously disappeared from Youtube after having been uploaded by Microsoft on April 10. Now, the link listed on Google to Microsoft’s page dedicated to Abramović’s art is redirecting to their more general page of arts initiatives...

https://www.happening.media/category/magazine/en/news/5e9ae6e6d98328327144570d/right-wing-lash-back-over-satanism-leads-to-microsoft-delete-ad-featuring-marina-abramovi

Backlash: satanism leads Microsoft to delete ad featuring Marina Abramović

Combining digital imagery with the real world, the HoloLens 2 uses mixed reality to allow users to keep their surroundings in view whilst experiencing the images produced by the headset.

The advert, which Microsoft did not deny had been deleted, featured Abramović discussing her new work in the mixed reality medium — The Life — as well as a demonstration of the piece and an interview with a representative from Christie’s auction house (who have plans to sell The Life for over $775,000 in October).

When users view the piece through the headset, they see Abramović slowly walking around in the red dress from her acclaimed 2010 performance The Artist is Present, with digital effects causing her image to blink. “I believe that art of the future is art without objects.

This is just pure transmission of energy between the viewer and the artist,” Abramović says in the ad.

So why was the video taken down? Of the 24,000 ‘dislikes’ on the video before it was deleted, many flooded in following a post on far-right blogger Alex Jones’ Infowars, which tries to tie the video to allegations of Satanism that arose from right-wing internet users in 2016, despite the piece making no direct reference to the cult.

Allegations arose surrounding the 2016 U.S. election, largely based on a leaked email from Abramović to Tony Podesta (art collector and brother of Hillary Clinton’s presidential campaign chairman, John Podesta), inviting him to a performance of her 1997 work Spirit Cooking, which features paintings made from pigs’ blood. Reacting to the book of recipes containing instructions of violence to accompany the piece, right-wing outlet claimed that the work implicated the artist and the Podestas in a sex cult.

WikiLeaks reveal that Hillary Clinton’s right-hand man, John Podesta — and his Clinton-bundler D.C. lobbyist brother Tony — are good friends with Marina Abramovic

Liberal elite rings who think “Spirit Cooking” and blood mixtures painted on golems (clay figures used during religious ceremonies) is normal = non-story.

Earlier this week I was sifting through WikiLeaks files when I ran across an invitation from Tony Podesta to his brother John to attend a “Spirit Cooking” dinner with Ms. Abramovic (i.e., the lady who gets upset on Twitter when she’s accused of being into satanic rituals despite creating an @AbramovicM666 account).

“Are you in NYC Thursday July 9 Marina wants you to come to dinner Mary?” — Tony Podesta, June 28, 2015.

“Dear Tony, I am so looking forward to the Spirit Cooking dinner at my place. Do you think you will be able to let me know if your brother is joining? All my love, Marina.” — Marina Abramovic, June 25, 2015.

These people are obviously good friends

This is how you speak with your inner circle

Therefore, it is newsworthy that someone who will literally be able to whisper in the ear of the commander in chief if Hillary Clinton is elected president hangs out with freaks.

Here is what the New York Times said of Abramovic on Nov. 1:

“You will need to be able to withstand a great deal of conversation about clairvoyants and tarot cards and didgeridoos and kundalini life forces and monks and gurus and ‘how the soul can leave the body through the center of the fontanel of the head’ to make it very far in this memoir. …

Abramovic reports in ‘Walk Through Walls’ that under the right circumstances, she can foresee world events,” the newspaper wrote. “‘I dreamed of an earthquake in Italy: 48 hours later, there was an earthquake in southern Italy. I had a vision of someone shooting the Pope: 48 hours later, someone tried to shoot Pope John Paul II.’”

Ask yourself this question:

Who are your friends and what do you guys do on the weekend?

Do you fill tubs with blood-like goo and naked women and then eat from their bodies, or do you go to a steakhouse and have fun over a few beers?

Ask yourself this question: Why does Hillary Clinton’s inner circle include Anthony Weiner — a man who is under FBI investigation for sexual messages to a teenage girl; Bill Clinton (need I say more?); and people who think Marina Abramovic’s naked self-mutilation and occult “art” is normal?

I wrote a story on this subject for work, but not a single mainstream media outlet covered it. They ignored it.

They shunned it, ironically, like the devil. Meanwhile, Twitter and YouTube and other social media platforms exploded with “Spirit Cooking” trends. The traffic for the story was through the roof — and yet, silence.

People like Katie Pavlich over at Townhall, one of the few writers who addressed it, tried to torpedo the story entirely using giant straw-man arguments.

Because Ms. Pavlich felt Infowars likened Mr. Podesta to a “blood sucking, hair eating devil worshipper,” then ipso facto there was nothing to cover.

Wrong.

You can tell a lot about a man by who his close friends are, and it speaks volumes that the Podestas receive “all my love” messages from a woman who thinks it’s normal to get naked in front of strangers and cut herself, or to create “aphrodisiac” recipes that require “fresh urine” and “fresh sperm milk” for “earthquake nights.”

For Townhall writers like Ms. Pavlich, it apparently means nothing that Ms. Abramovic a.) sees herself as a mystic, b.) says that performing her rituals at home makes “magic” possible, and c.) told artist James Franco that she hates the studio and loves to “perform” at home.

“If you are doing the occult magic in the context of art or in a gallery, then it is art. If you are doing it in a different context, in spiritual circles or private house or on TV shows, it is not art.” — Marina Abramovic on question about magic via Reddit interview.

Move along. Move along. Nothing to see here.

Oh, and did I mention that the artist now says she called the “Spirit” dinner that because “we just call things funny names”?

What are all the chances that out of all the “funny” names she could have picked, she used “Spirit Cooking dinner”?

rebel-media-spirit-cooking

And here is what she told Mr. Franco:

“I hate studio, to start with. Studio is a trap. Studio is the worst place — the artist should never be [there]. The art comes from life — not from studio.” — Marina Abramovic to James Franco via Wall Street Journal interview, December 2009.

The mainstream media is filled with a bunch of people who are obsessed about losing their place within “The Inner Ring” that C.S. Lewis spoke about years ago.

The mainstream media are terrified about what will happen if they cover an explosive story about Hillary Clinton’s inner circle and then she is elected president. That is why CNN and others had to be dragged kicking and screaming to cover WikiLeaks, FBI investigations into the former secretary of state, and the “pay-for-play” corruption of The Clinton Foundation.

But hey, maybe I’m wrong and the Podesta brothers’ buddy-buddy relationship with Marina “Eat the Pain” Abramovic is not worth your time.

– Satanism: A Social History (Leiden: Brill) – I regard the accusation as ridiculous. I recently participated in a session in a conference at the University of Belgrade about the esotericism of Marina Abramovič. There may be different opinions on her esoteric method, but one thing is sure: it has nothing to do with Satanism.
Abramovič is part of a larger contemporary artistic tradition that sees artistic performance as spirituality and healing. This tradition perhaps starts with the paintings of Mondrian and Malevich and in more recent times is well represented by artists within the Italian movement of Arte Povera such as Michelangelo Pistoletto, who wrote a manifesto for a new religious proposal he calls omnitheism. For these artists, the question whether a certain performance is art or spirituality does not make sense. It is both, and in fact art is perceived as a form of spirituality in itself.
Abramovič’s great-uncle was the Patriarch of the Serbian Orthodox Church, so we cannot rule out the Christian element in the formation of her spirituality. However her parents were both staunch Communists and her father was part of the insider circle of the Yugoslavian Communist regime. However, recent scholarship confirmed that within the Yugoslavian Communist Party there were seriously cultivated esoteric and parapsychological interests, although they were not officially acknowledged. Even after the fall of the regime within the Serbian Army there was something called “Group 69” trying to use parapsychological weapons against the enemies of Serbia. It was a curious mixture of Communism and then post-Communism, Serbian nationalism, and esotericism. This is the milieu where Marina was raised.
She always claimed that their performances have a healing content. In a more discrete way, in less public activities, she elaborated what she called the Abramovič Method, which heals through something that is, again, artistic performance and ritual at the same time. The method uses quartz, crystal, and other sacred stones, magnets, a search for the Earth’s energy lines, and old Eastern techniques such as counting the grains of rice.

Abramovič is also interested in Santeria and cooperated with the Brazilian Spiritualist healer John of God and actually served as a Spiritualist medium during some of John’s services.
The teaching was more or less secret for decades, and Abramovič had also private clients for lessons in the Method, including Lady Gaga. More recently, the Method is becoming more public, and the artist is also creating a lineage of sort of teachers authorized by her, including her long-time assistant Lynsey Peisinger.
As for the “Spirit Cooking” performances, I see them dismissed in these hours as just tongue-in-check jokes, as Abramovič created performances where she wrote strange recipes with pig blood on the walls. The recipes were admittedly surrealistic, but for the insiders Abramovič was also alluding, sometimes in an ironic way, to various Western and Eastern esoteric traditions, without necessarily approving them.
Again, this is not Satanism. A Satanist group is a group worshiping the character called the Devil or Satan in the Bible. It doesn’t matter whether they regard Satan as a metaphor or a symbol (as in Anton LaVey’s Church of Satan) or a real sentient being (as, perhaps, in the Order of the Nine Angles, which may well be the largest Satanist group today). The focus of the ritual interaction should be Satan. In the Abramovič Method, worship of Satan plays no role whatsoever.
666 and other “sinister” symbols are used by Abramovič in a rather playful way, occasionally as a pun on fundamentalist/evangelical criticism seeing all occultism and esotericism and satanic. Actually, within the larger genus of esoteric and occult movements, Satanism is a species – an interesting tradition involving perhaps 1% of all existing esoteric/occult groups. But for certain evangelical counter-cult groups all esoteric traditions are Satanist, which is of course nonsensical. A few days ago, on October 23, Jack Chick died at age 92. I am grateful to him for having accepted to be interviewed by me several years ago. He was the quintessential evangelical fundamentalist who regarded all brands of occultism, esotericism, or New Age as satanic. He even denounced parents allowing their children to participate in Halloween as crypto-Satanist. I wrote several articles about how paradoxical it is to see even some Catholics spreading Chick’s ideas about the New Age, Halloween and any conceivable esoteric movement as Satanist, since Chick was a rabid anti-Catholic and for him the Catholic Church was the quintessential Satanist organization. I mention Chick here because he was a very good example of evangelicals believing that everybody who’s not evangelical is a Satanist. And he was not a simple oddity – he sold millions of comics and tracts and was very influential in a certain evangelical subculture.
Abramovič is, first of all, an artist, and artists are often about provocation. Surely she wants to challenge the Christian establishment, particularly because a part of this same Christian establishment attacks the New Age spirituality she is a part of as satanic. In the “Spirit Cooking” series there may be an implicit reference to Crowley, when sperm is mentioned – although magical rituals involving sperm are not unique to Crowley. As the well-known historian of religion’s Mircea Eliade has demonstrated, they date back to Indian and Chinese sources, and are found in a variety of Western esoteric schools, most of them quite far away from Satanism – but what critics do not realize is that these references in “Spirit Cooking” are not necessarily complimentary. Some of the references mean that Abramovič is aware of these esoteric schools, but she does not agree with them. In fact, she believes their methods do not work and a new method is needed – her own. In my book ”Satanism: A Social History” I have a chapter explaining why Crowley was not a Satanist. Like Abramovič, he included in his writing some playful references to Satan or Satanic symbols. But he was very critical of Satanists, as for him Satanists accepts the Judeo-Christian, Biblical description of Satan, while if you really want to oppose Christianity, as Crowley did, he believed you should walk out of the Jewish and Christian Bible altogether.
Abramovič’s spirituality can be classified within the New Age versions of Western esotericism, where different schools and techniques are put together with a sort of esoteric syncretism. But none of these can be even remotely connected to Satanism, and in fact the Abramovič Method is about healing techniques aimed at mobilizing what is positive and luminous in your life and in the Earth’s energies.
At the end of this month, at the American Academy of Religion’s annual meeting in San Antonio, Texas, we will have a session on “The Fear of the Occult,” with me as one of the speakers. My topic there in fact is “The Fear of the Occult and Politics.” There is little doubt that populist politicians like to depict their enemies as part of secret groups involved in the occult. It started with accusations against Queen Marie Antoinette in revolutionary France, and went on with the campaigns against Freemasonry in the 19th century, where Freemasons were accused – falsely – of worshiping the Devil. Basically, it never stopped. It is part of a certain populist rhetorics. The fear of the occult becomes the fear of the elites.
The most evil artist' next project launching at the Royal Academy of Arts in London in 2020, will see the artist being shocked by a million volts

she is collaborating with Factum Arte, an art and technology company which is creating a machine to shock her

8 Bizarre Performances by Marina Abramović That Will Leave You Open-Mouthed

Friend of the Rothschilds and connoisseur of characters belonging to the elite, she hides an enormous secret in her work.

Marina Abramovic's mother was a leader of the Orthodox Christian church in her country.

Probably Marina knew from that moment that a common religion wasn't designed for her and all her spirituality.

It was not until 1965 that she began studying at the Academy of Fine Arts in Belgrade.

Raised in communist Serbia, Marina became interested in politics and leftist movements during her student years.

However, after becoming disillusioned with politics, she began to explore her more spiritual side.

With access to the libraries of prestigious personalities in her country, Marina and her brother Velimir began to read significant esoteric books (and such was their influence that Velimir became an influential author of the New Age movement).

Later, Marina adopted Joseph Beuys' idea about art: the artist could become a shaman and a healer of society.

That is how her performances took a path inclined to spirituality and esotericism.

In 1972 she completed her postgraduate studies at the Academy of Fine Arts in Zagreb, Croatia.

A year later, while preparing her first solo performance called Rhythm 10 — the first of a series of four performances —she was teaching at the Academy of Fine Arts in Novi Sad.

In the '60s and '70s, many accused Marina of performing occult rituals that allowed her to stay young.

They began to call her a vampire because of this "gift" she seemed to possess.

She claimed that the women in her family lived too long.

Since then and up to the present day, the artist has continued to use her body as a medium to explore new horizons, marking the rest of society with her strong presence and shocking proposals.

That comprises around fifty works, including sound pieces, audiovisuals, installations, photos, and objects.

And performances solo and with other artists.

Her first performances, known as the "Ritmo 10", "Ritmo 5", "Ritmo 2", and "Ritmo 0" series, took place between 1973 and 1974 and were marked by controversy.

With them, she explored the limits of her body to pain and the audience's resistance to see what Abramović showed in an energetic dialogue between artist and spectators.

The artist continued with the idea common to all performances in these actions.

That feeling of the world through the personal experience of one's body.
Rhythm 10 (1973).

To explore elements of ritual and gesture, the artist used a set of knives with different blades and two tape recorders to perform the Russian game of knives.

The performance begins when the artist gives rhythmic blows with the first of the knives between the fingers of her other hand until she cuts herself, at which point she goes on to perform the same operation with the different prepared.

After using all the knives and having cut himself more than twenty times, he reproduced the sounds recorded on the tape to repeat the same movements, with errors included, thus managing to unite the past with the present.

In this way, Abramović explored the limits of moral and physical resistance-the pain and sounds of stabbing, the double sound of history and repetition-

That led her to reflect on the mind's and the organism's behavioral patterns.

And consider the state of consciousness in which the artist finds herself at the moment of the action.

Rhythm 5 or The Fire Star (1974).

She then performed her Rhythm 5, which in those days was known as The Star of Fire; she set fire to a big five-pointed star made of wood, known as petokraka (used to represent Serbian socialism and the pentagram in occultism).

Then Marina cut her hair and toenails and prostrated herself in the middle of the star.

She lost consciousness due to a lack of oxygen, and one of her colleagues had to pull her out.

Abramovic said that with this performance, she wanted to reflect on the socialist oppression they lived.

Rhythm 2 (1974).

In the performance "Rhythm 2", Marina Abramović experimented with testing whether a state of unconsciousness gets incorporated into a performance action.

In the first part of the experiment, she took one of the pills used for catatonia to test what connection got established between her body and mind.

The pill ingestion caused violent convulsions that made the artist lose control of her body.

Her mind remained lucid, and she was able to observe everything that was happening around her.

Ten minutes later, she carried out the second part of the experiment, in which she ingested another kind of pill used by depressive and violent people.

They caused her body to become immobile.

Although he was physically present, his mind was not.

Rhythm 0 (1974).

Undoubtedly her most daring and well-known performance.

To test the bounds of the relationship between artist and audience, Abramović developed one of her most demanding performances.

She adopted a passive role while the audience forced her to perform through her body manipulation.

On a table, she placed 72 objects that could give pleasure or inflict pain, including scissors, a gun, lipstick, a fork, and knives.

And a whip, which the audience could use as they wished, under the sole condition of applying them to the artist's body.

Initially, the audience reacted with caution and modesty, but as the six hours of the performance went by.

And in the face of the artist's impassivity, the spectators overcame their initial resistance and began to act more aggressively.

And violently, even leaving her clothes torn and shooting her with a loaded pistol.

That was one of the actions that best defined her concept of art and became her most characteristic artistic language.

With Ritmo Zero, the artist concluded the investigation with her own body, addressing how much we are affected and inhibited by the response of others before our actions.

She deals with issues such as alienation, tyranny, domination, and the sense of superiority.

Thomas Lips (1975).

Later she made another performance entitled Thomas Lips.

In it, Marina takes the "eucharist" while sitting completely naked.

She eats a kilo of honey and drinks a liter of wine.

She marks the pentagram on her belly with a sharp razor and begins to flog herself until she bleeds.

The performance ends with her prostration on an ice cross from which the audience had to remove her when she became unconscious.

In the 1980s, Abramovic decided to live for a year with the Australian Aborigines.

And she says that from them, she learned to control her physical and mental body.

She also studied the teachings of Tibetan Buddhism and the powers of Brazilian crystals and practiced vipassana in India.

Marina, in fact, also built her healing method that promoted meditation and introspection: with muscle relaxation, deep gazes, and breathing exercises, she puts on (she still practices it) headphones to isolate sound and then relaxes her muscles with various poses that allow her absolute meditation and peace.

The lovers (1988).

With the performance, The lovers, one of the most emblematic of their careers, Abramović and Ulay staged the wear and tear of their relationship with the physical and emotional wear and tear caused by walking nearly 2,000 kilometers of the Great Wall of China, each from one end of the wall and for 90 days, approximately about three months.

They decided to make a spiritual journey to end their personal and professional relationship.

When they met at the center, the couple consummated their separation.

They provide a fitting and romantic end to a relationship full of mysticism, energy, and attraction.

Undoubtedly together, they formed one of the most fruitful sentimental and professional tandems in the history of art, with the support of their complementary complicity and attraction.

Their excellent harmony and understanding have had many brilliant pieces at a creative level.

Spirit Cooking (1997).

But her spirituality was cut short last year after accusations that she was satanic and demonic.

After Marina held a Kickstarter for her new project, she held a thank you dinner for everyone who had contributed.

Among the guests were Tony Podesta and her brother John Podesta, Hillary Clinton's campaign manager.

Then the rumors that Abramovic's dinner was a satanic ritual began to be heard everywhere (to discredit the Democratic candidate's campaign and the grandmother's career of the performance).

Everyone tried to deny what happened; Podesta did not even go to the dinner where Abramovic would teach her guests to prepare soup; however, what gave the title to her dinner was an installation that the artist made in 1997:

Here, we see Marina Abramovic writing what seems to be cooking something that uses sperm and breastmilk with pig's blood.

A metal bucket, liters of pig's blood, and a fat brush were enough for Marina Abramovic to perform her ritual in an exhibition hall.

While wearing a black robe, the Serbian artist finished the last brush strokes and emptied the remaining blood (including clots) into some wax figurines in the room's corners. Then, she covered the exhibition hall's edges with the remaining contents.

The sinister mixture of pig's blood and precise instructions made part of her 1997 work Spirit Cooking.

Although they appeared to be incantations or precise instructions for a demonic ritual, Abramovic claimed that it was a questioning of religion's influence on her work and humanity.

We often let the inexplicable rule and legitimize our lives and actions.

And even our bodies; for Abramovic, however, it was poetry.

A year earlier, she had published a book of aphrodisiac recipes.

The artist is present (2010).

On March 14, 2010, a major retrospective of the artist's work opened at MoMa, including video recordings from the 1970s, photographs and documents, and a chronological installation with re-enactments by actors of actions previously performed by Abramović.

The exhibition got accompanied by an illustrated catalog that included an audio recording in the artist's voice to guide the viewer.

For the retrospective, Marina Abramović presented the performance ever, 716 and a half hours sitting motionless in front of a table in the museum's atrium, where viewers were invited to sit it to share the artist's presence for as long as they deemed necessary.

The performance took place daily for seven hours and was broadcast live on a website created for the occasion.

When the museum was closed, videos of other actions, workshops, and interviews could be through the web.

Although there was no verbal communication between Abramović and the public, the participation of the visitors was indispensable to complete the action so that they could have a personal and unmediated experience with the artist and her work.

In this way, it is possible to appreciate the artist's imperturbability and the reactions of her successive companions.

And the other visitors to her impassive behavior.

Ulay made a surprise appearance during the opening, participating in the action and meeting her traveling companion again after 22 years of separation.

Internationally recognized for her long-term works on artistic time and chronological time and the relationship between the two, the artist assumes with this performance a total commitment,

She stated that the longer the performance lasts, the greater the physical and mental transformation she experiences and the more she can transmit to the public.

She believes that the time we live in is so short that we must stop and think to be aware of the present.

Artists have to do so that people disconnect for a moment and go to the here and now.

It was 62 days sitting on a chair holding the visitor's gaze, who sat in front of her.

One at a time is another way of exploring the body's limits.

When she finished, she got dismissed by the audience with a 13-minute ovation.

Sources:

https://revistadiners.com.co

https://culturacolectiva.com

http://colaboracionum2013.blogspot.com

https://aminoapps.com

https://es.wikipedia.org

https://www.youtube.com/watch?v=7QKMzKo9XZ4

https://vocal.media/fyi/8-bizarre-performances-by-marina-abramovic-that-will-leave-you-open-mouthed

Inspired by 19th-century photography, when volts were used to produce prints, it is not as scary as it sounds, apparently.

“If you are charged up properly, the stream of electricity coming from your fingers will put out a candle a metre away from you,” said Factum Arte’s founder #AdamLowe. “We are not reckless or cavalier with the technology. Her performances are highly extreme. Many of the things she has done are far more dangerous.”

https://vocal.media/fyi/8-bizarre-performances-by-marina-abramovic-that-will-leave-you-open-mouthed

https://threadreaderapp.com/hashtag/satanism

https://glasstire.com/2020/05/10/art-dirt-the-intersection-of-art-and-conspiracy-theories/

https://www.gettyimages.com/photos/marina-abramovic-gallery?page=2

https://www.alejandradeargos.com/index.php/en/all-articles/35-artists/41451-marina-abramovic-biography-works-and-exhibitions

https://news.artnet.com/opinion/marina-abramovic-new-world-order-explainer-1838223

https://arthur.io/art/marina-abramovic/untitled-2

http://kreemart.com/moca-annual-gala/

http://techrights.org/2020/01/29/microsoft-abramovic/

https://hypebeast.com/2020/7/miles-greenberg-oysterknife-performance-piece-marina-abramovic-institute

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