In 1974, a young Yugoslavian artist walked into Studio Morra in Naples, Italy. She placed 72 objects on a table, laid out a specific set of instructions, and surrendered her body and her autonomy to a room full of strangers for six hours.
The Anatomy of a Masterpiece: Inside Marina Abramović’s Rhythm 0
"There are 72 objects on the table that one can use on me as desired. I am an object. During this period I take full responsibility. Duration: 6 hours."
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“There are 72 objects on the table that one can use on me as desired. I am the object. During this period I take full responsibility. Duration: 6 hours (8 pm – 2 am).”
For six hours, she stood impassively as the audience, with no separate stage between them, interacted with her passive body.
When the six hours concluded, the artist resumed her agency and began moving through the room. Witnesses noted that many participants, who had treated her as an object moments before, seemed unable to confront her as a person and left the gallery immediately.
Marina Abramovic Rhythm 0 Performance Video Full =link= Online
In 1974, a young Yugoslavian artist walked into Studio Morra in Naples, Italy. She placed 72 objects on a table, laid out a specific set of instructions, and surrendered her body and her autonomy to a room full of strangers for six hours.
The Anatomy of a Masterpiece: Inside Marina Abramović’s Rhythm 0 marina abramovic rhythm 0 performance video full
"There are 72 objects on the table that one can use on me as desired. I am an object. During this period I take full responsibility. Duration: 6 hours." In 1974, a young Yugoslavian artist walked into
This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. I am an object
“There are 72 objects on the table that one can use on me as desired. I am the object. During this period I take full responsibility. Duration: 6 hours (8 pm – 2 am).”
For six hours, she stood impassively as the audience, with no separate stage between them, interacted with her passive body.
When the six hours concluded, the artist resumed her agency and began moving through the room. Witnesses noted that many participants, who had treated her as an object moments before, seemed unable to confront her as a person and left the gallery immediately.