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Marina Abramović's Rhythm O: Reimagining the Roles of Artist And

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Marina Abramović's Rhythm O: Reimagining the Roles of Artist And Marina Abramović’s Rhythm O: Reimagining the Roles of Artist and Observer By Ana Pearse Marina Abramović, Rhythm O, 1974, performance, Studio Morra, Naples, Italy. It was 1974 in Naples, Italy, when Marina Abramović (b.1946) left the following instructions for the people present within Studio Morra: “There are 72 objeCts on the table that one can use on me as desired. Performance. I am the objeCt. During this period I take full responsibility” (Abramović MoMA). As viewers gathered in the spaCe, amongst the various objeCts, Abramović began her performance pieCe Rhythm O. The six-hour long performance, Rhythm O, was created through the aCtions of audience members, the laCk of movement/aCtion on Abramović’s behalf, and the seventy-two objeCts that Abramović provided for the gallery. Within the spaCe, seventy-two objeCts were laid on a table, ranging from everyday items to those withholding far more dangerous qualities (fig. 1). Some of the items Abramović Chose to include were a rose, perfume, grapes, nails, a bullet and gun, sCissors, a hammer, an ax, and a kitChen knife. Once such items were plaCed on the table, Abramović stood in the room without speaking, motionless, while the audience members were allowed to apply the objeCts to her body in any way that they desired. Figure 1: Performance participants selecting objects to use on Abramović. Rhythm O, 1974, performance, Studio Morra, Naples, Italy. As the spaCe was crowded with viewers antiCipating Abramović’s performance, the seventy-two objeCts remained motionless alongside Abramović and the crowd was faCed with a single deCision: what next? Reimagining the roles of both the artist and viewer, Rhythm O transformed Abramović’s body into an objeCt and the viewers into aCtive partiCipants/Creators. Contributing their own ideas to the performance itself, people within the spaCe slowly began adding elements to the performance through simple aCtions and gestures. One individual handed a rose to Abramović, while another kissed her on the cheek. Such reserved aCtions continued, however, as the evening began to progress, people beCame more daring, abrasive, and violent with their choiCes. Without rules as to what was and wasn’t allowed to be done that night, Abramović’s Clothes were cut off her body, her neCk was cut with a blade, and rose thorns were pushed into her skin. As these countless harmful aCts continued, however, only one of them was deemed too dangerous for the spaCe. Amongst Abramović’s seventy-two chosen objeCts, one partiCular individual took it upon himself to seleCt the items whiCh hadn’t been touched until that point: a pistol and bullet. After the man forcefully plaCed the loaded gun into Abramović’s hand, direCting the barrel towards her neCk to see if she would pull the trigger Figure 2: Abramović holding a loaded pistol to her neck after a herself (fig. 2), the gallerist participant forced a gun into her hand. Rhythm O, 1974, performance, Studio Morra, Naples, Italy. intervened, forcing the man to leave the building. Once her body had been cut into, exposed, abused, and toyed with throughout the evening, Abramović’s powerful performance, Rhythm O, finally came to an unsettling end at two o’clock in the morning. Throughout Rhythm O, Abramović chose to remain motionless, voiCeless, and without control for the entirety of the performance. Using a variety of objeCts and people within a single spaCe, Abramović’s Rhythm O demonstrates the power of interpretation and the reality of such a sCenario when no one is there to simply say, “no.” After witnessing a performance as powerful as Abramović’s Rhythm O, one might wonder: are there any boundaries to art itself? In such thought-provoking, aCtion-paCked performances, whiCh forms of interaCtion are created between the artist and viewer? Analyzing artist Marina Abramović and her performance pieCe Rhythm O—along with additional performance artists in history, including Yoko Ono, Valie Export, and Chris Burden—this paper explores the new, daring, artistiC approaChes introduced during the rise of performance art in the 1960s/70s. During this time artists had begun to not only reimagine how they could effeCtively CommuniCate their bold thoughts, emotions, and concepts through their works, but many of them also reevaluated the viewer/publiC’s role within the exeCution of such pieCes. DireCting attention towards the roles of bystanders, photographers, and other individuals, rather than the artist and their intentions alone, this disCussion analyzes these environments of complex aCtion and reaCtion within the performance art sCene when artist and observer collide. Pushing the physiCal and mental limits of her existence, Abramović is not an artist to shy away from confrontational, uncomfortable, or even dangerous artistiC endeavors. RefleCting upon her work, Abramović desCribed a core faCtor within her creative process, stating, “I never Create art to be deCorative. I don’t like this idea of aesthetiC beauty—a beautiful frame, niCe Colors that go well with carpet. To me art has to be disturbing. It has to ask questions and have some kind of prediCtion of the future within it. It has to have different layers of meaning” (Kaplan 16). As artists began exploring the realm of performance at this time, art had begun seeing a dramatiC change in the viewer/artist collaborative dynamiC during this era of bold experimentation. Though Rhythm O stands out as a bold mark within the history of artistic Creation, this staple by Abramović was not the first performance to allow the audience to have a say in the meaning and creation of an artwork. Artists Yoko Ono, Valie Export, and Chris Burden are/were other individuals who, like Abramović, Challenged the ways in whiCh the artist and observer interaCt with one another. Just a deCade before Rhythm O was created, Yoko Ono (b.1933) Created her performance work Cut Piece in 1964. In this performance, Ono was dressed in a suit, with a pair of sCissors plaCed Figure 3: Yoko Ono, Cut Piece , 1964, performance, Kyoto, Japan. in front of her. As the artist sat on a stage, those attending the performance were allowed to cut pieCes of fabriC off Ono’s Clothes to take home with them (fig. 3). While some individuals cut small pieCes of fabriC off the artist’s clothes, others took it upon themselves to cut off much larger portions of fabriC, including the straps off her bra. As Ono knelt silently, while the partiCipants took turns cutting pieCes of fabriC off her motionless body, we are reminded of the reality of collaborative art, between artist and speCtator, when the outCome of the performance is left in the partiCipants’ hands. UtiliZing a different approaCh to this form of collaborative art, video and performance artist Valie Export (b.1940) chose to interaCt with the publiC in a greatly intimate yet, publiC setting through her 1968 performance pieCe TAPP und TASTKINO (TAP and TOUCH CINEMA). In this work, Export created a mini “Cinema” of sorts, out of a box and fabriC, whiCh encompassed her torso as it was worn. PlaCing a set of retraCtable curtains in front of her bare Chest, Export walked around various cities in Europe, allowing individuals to reaCh behind the curtains and feel her breasts (fig. 4). Through this work, Export used her own body to speak upon issues regarding female representation in cinema at the time. Allowing strangers to touch her body at their own will, Export also transformed the viewer into a co-performer/Collaborator, plaCing the outCome of the work within the hands of the publiC. Figure 4: Valie Export, TAPP und TASTKINO (TAP and TOUCH CINEMA), 1968, performance. Lastly, Chris Burden, another prominent artist during the rise of performance art, also reimagined the use of the body and people through his work Shoot, whiCh was done in 1971. Lasting only a number of seConds, Shoot Consisted of the artist—Burden— standing fifteen feet away from Figure 5: Chris Burden, Shoot, 1971, performance, Santa Ana, California. another man with a gun, and then being shot in the arm by a bullet (fig. 5). PlaCing his own body in the line of fire, Burden created this pieCe as a response towards the frequent news headlines of the killings in Vietnam during this time. Speaking upon his deCision to use his friend as the shooter within the performance, Burden simply stated, “You had to ask somebody who was a friend and who was willing to do it” (“Shot in the Name of Art” 00:01:49). While Burden didn’t use strangers in the creation of this performance, he still utiliZed another individual in the exeCution of the pieCe, highlighting additional, complex layers of artist/Collaborator relations at the time. As artists began to delve into the depths of performance art, a new awareness of time, immediaCy, and momentary impaCt were introduced to art. Many creators during this time Chose to think outside of boundaries of traditional artmaking, using their own bodies as materials and drastiCally challenging how the audience and viewers played roles in their performances. In an interview, Abramović spoke upon this radiCal transformation in artmaking. DesCribing the emotive, intangible effeCt of performance art, she stated, “Material art you see the painting on the wall, you see projeCtion, the video installation, but performance is only what experience, what feeling, and that’s the real diffiCulty […] Materiality, it’s fleeting, it’s there, and then it’s gone” (“Marina AbramoviC's Relentless” 00:01:41). Diving further into this statement by Abramović, a Crucial question is raised when observing the works that we have thus far: when performance art is so centered upon what happens in the moment, as a representation of a speCifiC time/plaCe, how does the role of the viewer change as they beCome a part of such a moment in time? Addressing these new considerations within performance art, artists like Abramović, Ono, Export, Burden, and many others Chose to utiliZe the traditional viewer/observer in new ways.
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