Marina Abramovic Rhythm 0 Performance Video Exclusive ◆

Information regarding archival photo documentation and the broader context of the Rhythm series is available for those looking to understand the evolution of performance art in the 1970s.

The reaction of the crowd was instantaneous: . They could not face the person they had just violated. As she stated in later interviews, the audience was incapable of dealing with her as a human being once the "object" persona was removed.

: Abramović wanted to test the boundaries between the performer and the audience, exploring what the public would do when granted absolute power without legal or social consequences. marina abramovic rhythm 0 performance video

"I am the object. During this period I take full responsibility." The Escalation: From Curiosity to Cruelty

Participants began the experiment with caution and gentleness, using the objects in playful or affectionate ways. As she stated in later interviews, the audience

If you are interested in exploring this topic further, I can help by: Detailing the specific in 1974.

There are 72 objects on the table that one can use on me as desired.Performance.I am the object.During this period I take full responsibility.Duration: 6 hours (8 pm – 2 am). During this period I take full responsibility

When the six hours were up, Abramović stepped out of her passive role. She began to move toward the audience.

What began as a tentative interaction escalated into a terrifying display of human behavior. Performance theorists and psychologists often split the six-hour duration into distinct phases.

: Abramović placed 72 objects on a table, including items for pleasure (a rose, feather, honey) and items for pain or destruction (scissors, a scalpel, a loaded gun).