Abramović’s refusal to react—no flinch, no scream, no plea—created a terrifying cognitive dissonance. Humans rely on feedback loops to regulate aggression. When a child cries, we stop. When an animal whimpers, we pause. Abramović broke the loop. By remaining a “thing,” she inadvertently invited the audience to treat her as a thing. The tears in her eyes were real, but without a movement to escape, the audience rationalized: She must want this.
Abramovic has described the experience as both physically and emotionally challenging. She has said that she was surprised by the audience's behavior, which ranged from tenderness to brutality. rhythm 0
Anwitha Kandula. Independent. Date Written: February 22, 2024. Abstract. This Review article delves into the Dimensions of psychol... SSRN eLibrary Analysis of Power Relations in Performance: - Atlantis Press Keywords: exercise of power, characteristics of power, passive role, active role, transformation. * INTRODUCTION. In 1974, Marina ... Atlantis Press Marina Abramović. Rhythm 0. 1974 - MoMA Marina Abramović: The Artist Is Present ... GLENN LOWRY: By the 1970s, performance art had achieved a level of notoriety and even ... MoMA In 1974, artist Marina Abramović performed "Rhythm 0", an art piece ... Apr 11, 2022 — Abramović’s refusal to react—no flinch, no scream, no
A rose, honey, bread, grapes, wine, and a feather. When an animal whimpers, we pause
Abramovic stood still and passive, allowing the audience to interact with her using the objects on the table. The performance began with a small group of people, but as the hours passed, the crowd grew, and the interactions became more intense.