Since its presentation in 1974 the performance event Rhythm 0 by Marina Abramović remains one of the most divisive aspects of performance art history.
The event took place inside a Naples gallery where the artist prepared to reach maximum artistic and audience limits through performance.
A six-hour performance revealed the existence of extreme human behavior which exhibited the most destructive aspects of human nature.
The reputation she had established through transgressive artwork led Abramović toward an unparalleled demonstration of exposure.
She remained unmoving at a table filled with 72 objects through which various outcomes could be explored yet some had risks and others were harmless.
The items presented by Abramović included a rose and a feather plus honey and went up to a scalpel together with scissors and a loaded firearm.
Next to the table there was a sign which allowed spectators to choose any objects they wished to use upon Abramović.
During the entire performance Abramović exercised complete passivity since she denied herself any control over the spectators’ actions.
The beginning of this performance made spectators hold back from coming near Abramović while they carefully examined what her actions meant.
The audience members either allowed her to receive flowers or bestowed kisses on her cheek and tenderly cleaned her face.
Time caused the gallery environment to change from curiosity to a more menacing energy.
The audience started testing the boundaries through their actions because they felt unrestricted by any negative responses.
During this stage Abramović explained that people began using scissors to sever her garments and inserted rose thorns into her flesh.
Several members of the crowd spoke harmful words in her ear and physically touched her body to determine their limits of intimacy.
A member of the audience lifted the firearm from the table and directed it straight toward her head.
Another participant safely removed the weapon before anyone could suffer major harm during this revolutionary performance.
During the six-hour duration of the experiment the crowd violence increased until Abramović became entirely defenseless before them.
During the assault she maintained complete compliance which perfectly demonstrated the ultimate acceptance of aggression toward her body.
The performance ended with extensive physical abuse which left visible scars on her body that resembled wounds inflicted by the audience members.
The completion of the six hours set in motion a peculiar development as Abramović proceeded to move her body.
Credit: (Instagram/@abramovicinstitute)
As soon as she obtained control over her body and started moving toward the audience a significant number of the spectators moved away.
People at the gallery either refused to maintain eye contact or escaped without saying a word and pretended to have missed the whole violent incident.
After the experiment concluded the emotional trauma from this experience continued to affect the well-being of its participants.
According to Abramović she realized she was prepared to die during her performance. The decision to let the audience act freely could result in their fatal action.
She permitted unknown individuals to exercise any kind of control they wished over her body until she encountered shocking violence.
Through this performance we learned about the cruel capabilities of everyday people who gain unlimited control.
The performance sparked discussion about human ethics and power dynamics and societal norm collapse rates.
Credit: (Instagram/@abramovicinstitute)
Art historians consider Rhythm 0 to be the most mind-blowing and contentious artistic work among modern works in the history of visual art.
People continue to engage in discussions regarding morality and control issues as well as human decency fragility from this piece which remains controversial even after multiple decades.
Through her self-experiment Abramović revealed disturbing findings about human nature combined with dressing her bodies as revelation platforms.
Feature Image Credit: (Instagram/@abramovicinstitute)