Class Assignment 1: Marina Abramović’s Rhythm 0

Title: Rhythm 0
Artist/creator: Marina Abramović
Space of Art: Performance
Location: Galleria Studio Morra – Naples, Italy
Date: 1974

Context: This is Marina Abramović in her performance piece “Rhythm 0”, where she laid out 72 objects on a table, some violent in nature and some neutral, to be used at the will of the audience on her body. The instructions stated that Marina would take full responsibility for whatever occurred during the 6-hour performance. It started out harmless, with participants combing her hair and positioning her body in various ways. However, at 3 hours in her clothes were stripped off, and she had been sexually assaulted and injured by multiple participants (Graf 2022, 6). Nearing the end of the piece, a loaded gun was placed into Marina’s hand, in which her finger was coaxed around the trigger (Graf 2022, 6). Some attempted to protect her and some wished to follow through, but in the end when the performance commenced and Marina stepped forward, the audience ran away refusing to confront her or their actions (Graf 2022, 8).

Visual Description:
This is an image of Marina Abramović during her performance piece “Rhythm 0”. The image depicts Marina in the foreground staring off, while behind her is a white wall she stands in front of, or rather, the background. The colours of Marina herself are highly contrasted against the wall, with her black blouse being a very brightly saturated black against the exceedingly saturated bright white. This effect can also be seen in respect to her eyes and mouth that are noticeably bright with respect to the white of the wall and the beige tone of her skin. The images focal point is her face, while a secondary focal point may be the silver pistol she is holding against her collarbone. The image itself holds many interworking features, such as the symmetrical position of her hands. Both hands are pointing in the same manner, flush against her body. The one difference is the pistol held loosely in her right hand. You can see a drop of blood falling down her chest from the tip of the silver pistol. Beside the red there is muted and somewhat smudged brown writing that can’t be made out. There is additional writing on her forehead, which clearly reads as “END”. The letter “E” is smudged by blue muted hues surrounding the brown. There are brown smudges on her face, as well as a differing white substance that looks to be slopped onto her chin and forearm. Additionally, atop her nose is a bandage that almost blends in with the beige tones of her skin.

Interpretation & Meaning:
I think this image of Marina during “Rhythm 0” communicates the lengths humans will go when they aren’t faced with consequences. Throughout her performance Marina was physically and mentally tormented with a total of 72 objects, and the lasting effects of such torment can be seen in this image respectively. For instance, the white and brown substances smeared across her body, the blood dripping down her chest, the word “END” painted across her forehead, and her outward expression depicts the pain and humiliation she’d been through for the sake of her performance piece, and what exact lengths humans will go to if there are no restrictions on their actions, regardless if they are at the expense of another. In addition to this, I believe that death is another theme being communicated through the image itself. With the cool toned blacks and whites, the word “END” being written across her forehead, her exhausted expression as she gazes off into the distance, as well as the pistol in her hand pointed towards herself all symbolize the concept of death. Moreover, because this is a performance art that relied on audience participation, it makes the message more impactful and personal to those witnessed. The audience is therefore personally responsible for whatever happened to Marina during the six hours, leaving each individual to contemplate their involvement, and their morals after the fact. The individuals present have been said to react to the piece differently, some contemplating on what they did or didn’t do, if they watched or intervened, and their overall place in regard the piece. Some acted out towards Marina, removing her clothes and sexually assaulting her, whereas others handed her flowers and held her hands. She experienced pain and humility, but also kindness and protection from varying participants based on their interpretations of the piece and its impact on her. I think that by looking at the image alone without any context, some may think that Marina did this to herself, whereas in truth she stood there unmoving and the audience did the rest.

Space, Power, and Access:
Rhythm 0 was a performance piece that took place in 1974 at Galleria Studio Morra in Naples Italy and totalled 6 hours all together. Admission for Galleria Studio Morra is entirely free for those who wish to visit, meaning that the piece was accessible to any individual within the premises. Although it is true that those entering the museum were most likely individuals in seek of art, in comparison to objective individuals without preconceived intentions. This suggests that the encounter was most likely planned on the participant’s part. Marina herself planned Rhythm 0 as well, entailing that it was also intentional on her part. Furthermore, those participating had full visibility and access to the piece, as they were all active participants just by being there since it was performance art. The audience was able to interact with and use all 72 objects, as well use them on Marina herself in whatever way they wished. Although some chose to participate more than others, every person in the audience had freedom to do whatever they wanted as instructions hung on the wall were stated as such. They also claimed that regardless of what events occurred Marina would take full responsibility.

Bibliography:

Stefanie Graf, “Rhythm 0: A Scandalous Performance by Marina Abramović,” The Collector, June 29, 2022, https://www.thecollector.com/rhythm-0-by-marina-abramovic/
Park University “Chicago Style: In-Text Citations,” Park University, December 17, 2024, https://library.park.edu/chicago/in-text