The final part of the Creativity Trilogy explores existential threats our world is facing. An inspiring film about imagination's power and a hopeful glimpse into the future.

As Abramović's spectral odyssey unfolds, she encounters symbolic entities and pays homage to sacred spaces. Through rituals, encounters, and profound teachings, she achieves the transcendence of her soul from its earthly vessel, finding solace at last. The film culminates with Abramović's contemplative moment in Venice, marking the conclusion of her transformative journey.

For over 70 years, Jonas Mekas, internationally known as the "godfather" of avant-garde cinema, documented his life in what came to be known as his diary films. From his arrival in New York City as a displaced person in 1949 to his death in 2019, he chronicled the trauma and loss of exile while pioneering institutions to support the growth of independent film in the United States. Fragments of Paradise is an intimate look at his life and work constructed from thousands of hours of his own video and film diaries-including never-before-seen tapes and unpublished audio recordings. It is a story about finding beauty amidst profound loss, and a man who tried to make sense of it all... with a camera.

A meditation on the female body as a source of both power and pain that focuses on the tragic figure of renowned American-Greek opera singer Maria Callas (1923-77), whose stunning soprano voice captivated audiences around the world in the mid-20th century while her life was wracked by scandal and personal suffering.

Thirty years after their separation, performance artists Marina Abramović and Frank Uwe 'Ulay' Laysiepen (1943-2020) agree to meet, for the first time on camera, for a raw and honest conversation about their life, art and legacy.

We look back at more than half a century of mysterious artistic creation while trying to crack a unique artistic code. Why are people moved to tears when Robert “Bob” Wilson puts minimalistic petrol pumps into a production of Shakespeare’s sonnets? Why does merciless repetition change our understanding of something? Together with Tom Waits, Willem Dafoe or Marina Abramović we trace back our own experience of Bob’s art. Is it true what Philipp Glass the collaborator of the milestone piece “Einstein on the Beach” laughingly and with apparent pleasure exclaims “what does it mean? It doesn’t mean anything!”?

Over six decades, Richard Demarco CBE, the Scottish artist and iconic promoter has brought 1000s of artists to the Edinburgh Festival and launched the careers of some of the most famous names in contemporary art. Yet today, Demarco struggles to make ends meet and is out of favour with the modern art wold. The film discusses how art has been commodified in society by dominant forces. How can society remedy the absence of art in the lives of those who feel excluded? Demarco wants to put this right before his final breath!

In this second installment of his exploration of creativity, Hermann Vaske looks for factors that inhibit it. He asks artists, activists, and thinkers about things that kill their creativity.

In the summer of 2014, tens of thousands of guests flocked to the Serpentine Gallery in London to experience Marina Abramović’s exhibition ‘512 Hours’. But when it opened, it dawned on everyone that the audience itself was the actual work in the iconic performance artist’s landmark exhibition. The audience members were also active participants and co-creators of the social experiment, which - set against the minimalist background of the gallery’s empty space - developed continuously into new, unpredictable directions during the three weeks (or 512 hours) in which the exhibition took place, while Abramović herself took part in the performative ritual.

Between 1967 and 1977 Italian Art experiences a moment of glory on the international art scene. Art comes out from galleries and museums and becomes expression of social and political change. The film describes a period when Italy was the centre of international avant-garde.

Storyteller and Conceptual Magician Derek DelGaudio attempts to understand the illusory nature of identity and answer the deceptively simple question 'Who am I?'

A remarkable walk through the life and work of the French artist Marcel Duchamp (1887-1968), one of the most important creators of the 20th century, revolutionary of arts, aesthetics and pop culture.

Performance artist Marina Abramovic invites Alan Yentob into her home, opens her archive, travels to her birthplace in Belgrade and talks about turning her life into art.

The occasion is “The Cleaner,” a travelling retrospective exhibition of work by Marina Abramović, whose final destination is Belgrade, the artist’s hometown. It contemplates her whole life, including dilemmas from her youth in Belgrade, misguided love affairs and a special kind of loneliness. It centres around re-performance as a phenomenon. Who are re-performers?

Four female artists have been politicized by experiences with war, violence and suppression and integrated them into their work, using their most personal tool: their own bodies.

A secret Soviet Institute conducts scientific and occult experiments on animals and human beings to create the perfect person. The KGB general and his aides turn a blind eye to erotic adventures of the director of the Institute, scandalous debauches of prominent scientists and their cruel and insane research. One day, a radical ultra right-wing group arrives in the laboratory under the guise of test subjects. They get a task - to eradicate the decaying elements of the Institute’s community, and if needs be, destroy the fragile world of secret Soviet science.

A vision for a world free of pollution and climate problems, with energy available in abundance - are we ready to take up legacy of ingenious inventor Nikola Tesla?

A 30 years odyssey: the world's most intriguing artists and thinkers from the fields of visual art, music, filmmaking, acting, literature, philosophy, politics, business and science, are asked the same question: "Why are you creative?"

Filmed over 5 years, this documentary goes behind the scenes at one of Britain's most remarkable institutions as it celebrates its 250th anniversary. Cameras go behind the scenes at the Royal Academy of Arts with unparalleled access.

Legendary couple in performance art – Marina Abramović and Ulay – lived together for 12 years and made pioneering work as a duo. In this extraordinary double interview the artists looks back on their relationship – from their first meeting in 1975 until now.

As one art scene insider proclaims, the contemporary art world can be summed up as “rich people trying to prove how rich they are,” but is that all there is to this billion dollar industry? Well-researched and expertly constructed, Barry Avrich’s eye-opening documentary peels back the layers of the art world economy- from production to circulation, and delineates every integral player in the game of art-making, including curators, gallerists, collectors, donors, auction houses, and … artists. In the process, he unpacks the complex and surprising ecosystem that supports the art world superstars and million-dollar deals that make front-page news. Featuring extraordinary access to industry players and candid statements from prominent artists like Damien Hirst, Julian Schnabel, Taryn Simon, and Marina Abramovic, Blurred Lines collides the two narratives of the art world as both above and beholden to market forces.

Award-winning choreographer Alexander Ekman dives into the subject of creativity by meeting scientists, professors, artists, film directors and choreographers, with the goal of trying to understand every aspect of the phenomenon.

Mourning the death of her father, Giulia is contacted by him from the other dimension.

Director Francesco Carrozzini creates an intimate portrait of his mother, Franca Sozzani, the legendary editor-in-chief of Italian Vogue. From the ridiculous to the sublime, her astonishing but often controversial magazine covers have not only broken the rules but also set the high bar for fashion, art and commerce over the past 25 years. From the legendary “Black Issue" and the “Plastic Surgery issue" Sozzani remains deeply committed to exploring subject matter off limits to most in order to shake up the status quo and occasionally redefine the concept of beauty.

A story of soul searching, science, nature and creativity, InnSæi takes us on a global journey to uncover the art of connecting within today's world of distraction and stress.

Marina Abramović travels through Brazil, in search of personal healing and artistic inspiration, experiencing sacred rituals and revealing her creative process. The route is comprised of poignant encounters with healers and sages from the Brazilian countryside, exploring the limits between art and spirituality. This external trip triggers in Marina a profound introspective journey through memories, pain and past experiences. 

In between performance, dance and cerémonies, "The Ferryman” is a choreographic exploration of rituals and animistic roots, a luxurious visualisation of a bewitchment and an exorcism of a man-deer in the borders of the world.

A probing portrait of Chris Burden, an artist who took creative expression to the limits and risked his life in the name of art.

Bouncing between Europe and the United States as often as she would between lovers, Peggy Guggenheim’s life was as swirling as the design of her uncle’s museum, and reads more like fiction than any reality imaginable. Peggy Guggenheim – Art Addict offers a rare look into Guggenheim’s world: blending the abstract, the colorful, the surreal and the salacious, to portray a life that was as complex and unpredictable as the artwork Peggy revered and the artists she pushed forward.

She is the godmother of performance art. With her shocking public actions she created in the late 60s images that have burned into the general visual memory until today. The life and work of the Austrian artist Valie Export exemplify a development in art history in which women sought and found new ways and means of expression. Her work provides a feminist counterpart to the Viennese actionism of her time, which has influenced numerous artists of subsequent generations. The innovative diversity of her artistic approaches makes Valie Export an icon of 20th century art history.

This one-take, 3-D film majestically documents legendary performance artist Marina Abramovic, capturing the breadth of space in infinite detail: the life of an artist, her keen sense of transition, a space's decay, and the ripeness of rebirth.

Ulay is a conceptual artist whose photography pushed boundaries, and whose love affair with Marina Abramovic produced some of the best pieces of performance art. Diagnosed with cancer shortly after agreeing to film the documentary, Ulay's illness informs Project Cancer, which is part-retrospective, part-visual document of the year he believed could be the last of his extraordinary life.

A documentary focused on former Vogue Paris editor-in-chief and fashion stylist Carine Roitfeld.

Jay Z performs Picasso Baby at the Museum of Modern Art in NYC.

Filmmaker Hermann Vaske explores the creative Balkan world in the hopes of understanding the meaning of "Balkan spirit".

This hourlong semi-documentary records the musical stage collaboration between director Robert Wilson and veteran performance artist Marina Abramovic. Also included is a wealth of background material about Abramovic's life and earlier works.

Performance artist Marina Abramovic prepares for a major retrospective of her work at the Museum of Modern Art in New York.

Noted Harvard scholar Henry Louis Gates, Jr. has been helping people discover long-lost relatives hidden for generations within the branches of their family trees. Professor Gates utilizes a team of genealogists to reconstruct the paper trail left behind by our ancestors and the world’s leading geneticists to decode our DNA and help us travel thousands of years into the past to discover the origins of our earliest forebears.

Director Jonas Mekas travels through New York nights, through apartments, studios, backstage rooms, galleries, bars, and clubs. Encountering old acquaintances like Ken and Flo Jacobs, Yoko Ono, friends, brothers and sisters, sons and daughters. Mr. Mekas begins the film with the words 'I can't sleep.' Who hasn't been in this situation? Sleepy and yet wide awake at the same time, you find yourself in the world of those exhausted from the day's exertions, the drunk, the relaxed, the dancing, the brooding, the mourning, and the pensive.

Filmed over the course of two years, Our City Dreams is the story of a woman's struggles and successes as an artist in New York City. Told through five women artists, from youngest to oldest, the film features Swoon, Ghada Amer, Kiki Smith, Marina Abramovic, and Nancy Spero. From the studio to the streets of New York, from the canals of Venice to the alleys of Cairo and the beaches of Phuket, Our City Dreams takes us deep into the artists' worlds.

For Seven Easy Pieces Marina Abramovic reenacted five seminal performance works by her peers, dating from the 1960's and 70's, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance. The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.

Balkan Erotic Epic explores the sexual aspects of Serbian folklore. Ancient myths that have trickled into everyday household remedies or explanations are juxtaposed with the joys of the female and male sexual forms from which all human life originates. Functioning as both sexual liberation and reinvented modern myth, Balkan Erotic Epic is a display of the need for a cultural change in viewpoint around sex.

Balkan Baroque is a real and imaginary biography of the Yugoslavian performance artist Marina Abramovic. Rather than a mechanical reproduction of the artist's work, the film tries to create a new reality by translating the performances into cinematographic images that intensify the fictional context of the film. Abramovic plays herself, but ,appearing in multiple forms, blurs her own identity. Memories and fantasies intermingle with day to day rituals. The chronological narrative often breaks to reflect the interior voyage of the protagonist from the present to the past and back to the present. The result is a visually impressive film. Balkan Baroque had its world premiere at the International Film Festival Rotterdam, 1999.

'Talking about Similarity' took place in Amsterdam, on November 30th, 1976. The performance, which lasted ca. 45 minutes, contains two parts that are very different in form, but content-wise form a whole. Ulay begins, Abramovic takes over. This makes 'Talking about Similarity' the only performance in their oeuvre in which they are not both performing at the same time.

Documents four of Abramovic's solo works, exercises in which her body is the vehicle for a rigorous testing of the self — violently brushing her hair and her face, vocalizing until she can no longer breathe, intoning a stream-of-consciousness flow of memories, moving to a drumbeat until she literally drops from exhaustion.

In the twilight years of the Cultural Revolution, a Chinese filmmaker slowly becoming blind tours the country screening her last film to peasants. In it, the woman imagines two "alien" lovers walking from end-to-end along the Great Wall to join each other in the middle, one last time. This documentary is an adaptation of Ulay and Marina Abramovic's final collaborative project, the 1988 performance "The Lovers: The Great Wall Walk."

Ulay and Abramovic draw a large bow and arrow, one holding each side. The arrowhead is pointing at Abramovic's heart. The slightest movement could be fatal. Microphones on their clothes pick up their quickening heart beats and Ulay's irregular breathing

Produced by De Appel, Amsterdam, while General Idea was in residence there, Test Tube was conceived as a program for television. Presented under the brand "The Color Bar Lounge," a cocktail bar in the mythical 1984 Miss General Idea Pavilion, the program is a hybrid of popular television formats […] and infomercial. […] Advertisements for the bar are placed throughout the program; a loaded word choice, full of double-entendres and innuendo, betrays the influence of both Dadaism and consumerism. This collapse of popular and high culture is central to General Idea's agenda, as Felix Partz observes: "You know, the mass media are like a vast pharmaceutical complex developing new cultural elixirs of an unprecedented intoxication…but art remains a curious and elitist drink. Despite its unique flavor and heady cultural properties, it has never effectively been exploited."

The performance 'Three' took place on November 30th, 1978, at Harlekin Art in Wiesbaden, Germany. The third participant, which is implied by title of the piece, is a snake. Ulay and Abramovic were lying flat on their stomach in one room together with the animal, with which they were trying to make contact via an inventive system. By using a circuit made of wire, and blowing into a bottle or plucking the wire with their fingers, Ulay and Abramovic caused vibrations to be directed towards the snake.

Ulay is fixed to a wall by a fixed rubber cord, while Marina stands at the limit of Ulay's expansion.

The video tape shows the half-length portraits of Abramović and her husband Ulay standing opposite each other, looking at each other and producing a long sound with open mouths.

Marina Abramovic's performance 'Relation in time', with her long time partner Ulay. "We are sitting back to back, tied together by our hair, without any movement for 16 hours. Then the audience came in. We continued sitting for one hour."

For this performance the two artists blocked their nostrils with cigarette filters and pressed their mouths together, so that one couldn’t inhale anything else but the exhalation of the other. As the carbon dioxide filled their lungs, they began to sweat, move vehemently and wear themselves out; the viewers could sense their agony through the projected sound of breathing, which was augmented via microphones attached to their chests. It took them 19 minutes in the first performance and 15 in the second to consume all the oxygen in that one breath and reach the verge of passing out.

In 'Expansion in Space' (1977, Dokumenta 6, Kassel), Ulay and Abramovic do not collide with each other, as they did in Relation in Space (1976), but with two free-standing pillars twice their individual body weight. Their goal is to make the pillars move by means of their naked bodies, and in this way to expand the space of action

“Before the eyes of all, at least of those present, the naked and direct exhibitions of the body take place with all its extensions; but the naked eye of the spectators who circle is promptly doubled by the many mechanical or electronic eyes of the photographic equipment and of the 'cameras' which, with their clicks and their tenacious buzzing, form the background” Renato Barilli

Marina: we even use our car in the performance, in '77, for the Paris Biennale in the front of the museum we made this piece called Relation In Movement, which Ulay is driving the car and I had the megaphone out of the window, and I would say the numbers of the circle as we was passing, because it was just going in a circle, on and on and on. The idea was the car collapsed or we collapsed. and after 16 hours, the motor burned out and created this minimal trace on the marble as a black circle. For us each circle was a kind of imaginary year.

In the first 58 minute Performance, Relation in Space, which took place in July 1976 at the Biennale in Venice, Abramovic/Ulay, both naked, walk towards each other from opposite ends of a room, touching as they pass each other, and then they repeat the movement while their bodies collide and one of them (Marina) falls over under the impact, until they are both exhausted. A statically mounted video camera simultaneously filmed the touching of the bodies in the middle of the room.

Ulay and Abramović are standing holding a double-sided mirror between their bodies.

"Naked we stand opposite each other in the museum entrance. The public entering the museum has to turn sideways to move through the limited space between us. Everyone wanting to get past has to choose which one of us to face" – Marina Abramovich

Ulay and Abramović take turns hitting each other in the face, gradually increasing speed and intensity with each blow. This performance is best known for being the inspiration for New Order's "True Faith" music video.

Television special of five episodes directed by Alfredo Di Laura dedicated to the exhibition "Attivo. Performance e Dibattiti" curated by Tommaso Trini.

I brush my hair with a metal brush held in my right hand and simultaneously comb my hair with a metal comb held in my left hand. While so doing, I continuously repeat 'Art must be beautiful', 'Artist must be beautiful', until I have destroyed my hair and face.

‘Freeing the Memory’ is the second of three significant performances enacted in 1976 in which Marina Abramović attempted to achieve a mental cleaning through the exhaustion of the three main faculties of expression, voice, language and body. In this piece, Abramović said every individual word she could recall until she could no longer continue without repetition. The mental strain of this act, which lasted ninety minutes, allowed the artist to exhaust her consciousness into a state of complete blankness.

Serbian artist Marina Abramovic is lying on her back on the floor and screaming until her voice is lost.