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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.

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."

In a small house with oversized furniture, located in a rice field in Asia, some children wearing army clothes and weapons, start playing war, creating between each other two armies and using children's toys, laser weapons, machine guns and helicopters. Slowly, as the game progresses, they start imitating war scenes as seen on TV, such as negotiations and death scenes. At the end of the film, the children are coming out of the house and they deposit their weapons in front of it. The smallest child comes out in the end with a burning bramble stick in his hand and lights the pile of weapons. All the children leave while the pile is burning. In over twenty countries around the world, children are direct participants in war. Denied a childhood and often subjected to horrific violence, an estimated 200,000 to 300,000 children are serving as soldiers for both rebel groups and government forces in current armed conflicts. Dangerous Games is a work of fiction.

7 Deaths of Maria Callas is a continuation of Marina Abramovic's lifelong meditation on the female body as a source of both power and pain. Here Abramovic turns her focus to renowned opera singer Maria Callas, whose stunning soprano voice captivated audiences around the world in the mid-20th century as her life was beset by struggle and scandal. Through a mix of narrative opera and film, Abramovic recreates seven iconic death scenes from the American-born Greek singer's most important roles - in La Traviata, Tosca, Otello, Madame Butterfly, Carmen, Lucia di Lammermoor, and Norma - followed by an interpretive recreation of Callas' own death performed onstage by Abramovic herself.

"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

Combining video, performance art, documentary, and tableau vivant, this short piece set in what appears to be part of the Ayutthaya Ruins in Bangkok, Thailand, begins with a panoramic shot of various Thai folks dressed in traditional garb and sleeping in the grass as a woman narrates. The rest of the piece is broken into six unbroken shots of these individuals in still poses depicting both some aspect of Thai life as well as suggesting its disquieting alienation from modernity, as the same woman narrator now sings. The final shot is again of the ensemble sleeping, suggesting that the previous montage was, indeed, a collective dream.

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.

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.

20 short films about human rights.

A compilation of erotic films intended to illuminate the points where art meets sexuality.