![alexanderreynolds:
knowyourartworld:
MARINA ABRAMOVIC | “Rhythm 0” | 1974
To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.
Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.
Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:
“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.” [x]
Ambramovic is probably one of my favorite artists hands down. She is so fearless to the point that she puts her life in danger to create a beautiful piece of art and to make her point. I still have yet to see a performance in person, but she is not dead yet so hopefully I can make this happen.](http://25.media.tumblr.com/tumblr_lqbledyaKg1r0w8l3o1_250.png)
MARINA ABRAMOVIC | “Rhythm 0” | 1974
To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.
Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.
Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:
“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.” [x]
Ambramovic is probably one of my favorite artists hands down. She is so fearless to the point that she puts her life in danger to create a beautiful piece of art and to make her point. I still have yet to see a performance in person, but she is not dead yet so hopefully I can make this happen.
(Source: ragata)
(Source: shavedpussypoetry, via lnternetexplorers)
(Source: enflurane, via amberrhands)
It’s all about the way we see things.
that was the coolest thing i’ve ever seen
(Source: createthefuckingchaos, via living-wonders)
Gotthard Schuh, Danseuse de l’Opéra de Pékin dans sa loge, Zurich, 1955
(via girlinlondon)
(Source: eighteenkaratgold, via electric-tear)
Yves Klein, Anthropometries Of The Blue Period (performance), 1960
(Source: cavetocanvas, via amberrhands)
Peter Liversidge at the Sean Kelly Gallery in New York City running now through January 28.
Sarah Lucas
Spinster 2000
Mattress, hanger, fried eggs, herring, wine
190 x 100 cm
(Source: into-brothels)
