Abramović stood motionless next to a table containing 72 objects. A simple placard invited the audience to use these items on her body as they wished, stating that she took full responsibility for the duration of the performance.
Abramović constructed a large five-pointed star (a symbol of Communism and the Yugoslav state) out of wood shavings soaked in petrol. She placed the star on the floor and set it on fire.
Rhythm 0 was the final piece in Abramović’s Rhythm series, which systematically explored states of consciousness, bodily limits, and the relationship between performer and spectator. For this performance, Abramović arranged 72 objects on a table, including pleasurable items (feathers, perfume, a rose), neutral ones (a book, matches), and instruments of pain and danger (scissors, a scalpel, a razor blade, a loaded pistol with one bullet). Accompanying instructions read: “There are 72 objects on the table that one can use on me as desired. I am the object. I take full responsibility for the duration of six hours.” marina abramović performance 1974
How a young artist in Belgrade and Naples pushed the limits of the human body and changed performance art forever.
The performance consisted of five stages, each representing the transition from ideology to the body: Abramović stood motionless next to a table containing
Today, the performance is preserved through iconic documentation and archival materials, serving as a stark reminder of the social and psychological dynamics that define human interaction.
In 1974, at the Galleria Studio Morra in Naples, Marina Abramović performed "Rhythm 0," a six-hour event that remains one of the most significant moments in the history of performance art. By surrendering her autonomy to a room of strangers, Abramović transformed the gallery into a psychological study, exploring the boundaries between the performer and the audience, and the nature of human behavior when social consequences are removed. The Setup: 72 Objects and a Silent Vow She placed the star on the floor and set it on fire
In 1974, Abramović treated the audience not just as viewers, but as an essential medium of the art.