Rhythm 0-The most sinister performance in history
Writes Sarah Kennelly
When we think of art we think of beauty. We reminisce about galleries filled with intricate sculptures and vibrant watercolours. What doesn’t come to mind is art that could frighten us. How could an artwork leave us with a feeling so unnerving that we must look away?
The performance art of Marina Abramoviç has aimed to do just this, instilling fear in her audiences since the 1970s. At present, her productions are enjoying a peculiar resurgence on TikTok, in particular the performance Rhythm 0. Creators are hailing it as the greatest and most horrifying performance of all time.
The bizarre nature of Abramoviç’s art makes sense when coupled with her eccentric personality. Growing up in an Orthodox religious household was anything but accepting of her unconventionality. Yet it was this controlling environment that allowed her to flourish as an artist. She developed strong willpower and a proclivity for testing the boundaries. These traits are reflected in almost every piece of work she has created. Her comfortability with the uncomfortable is something she famously brings to her art.
Although she began her artistic journey through painting, she yearned for a more flexible medium. Performance art was the route she would settle on, becoming the most famous contributor to the genre.
Abramoviç garnered attention from critics even in the earliest stages of her artistry. She launched her career with the Rhythm series in 1973 which captivated audiences. She completed five works which aimed to test the mental and physical limitations of the human body. With each new Rhythm completed, a barrier to self-realisation would collapse. The performances would vary from plunging a knife between her fingers to laying at the centre of a flaming wooden star. For Abramoviç, there was no such thing as going too far for art. In fact, she came close to death in two of these performances. She would push every physical and mental boundary until she broke.
It was not until the final act, Rhythm 0, that Abramoviç had found her limit, leading to the final curtain call of the series. It became a historical turning point for the definition of art. During the six-hour performance, the artist relinquished her bodily autonomy to the audience. They would interact with her as they pleased and in return, she would not object. Seventy-two items were provided for their use, ranging from a pen to a gun loaded with one bullet.
Initially, most people were respectful to her and even playful. As time passed, the group became more aggressive, ripping her clothes off and slashing her neck with a razor blade. When the performance ended, Abramoviç began walking toward the crowd who ran away in fear.
The impact of Rhythm 0 reverberated through the art community. It exposed how the darkest desires of a group can be unveiled when they are absolved of guilt. Although it was not the artist’s original intention, critics have described it as a feminist staple. The performance reveals the misogynistic psyche of the audience who were quick to objectify and inflict violence on a woman’s body.
The scars the performance left on Abramoviç were not only physical but mental. She ended the piece by vowing to never put her life at risk in the same way again. It marked a transformative moment in her career for drawing a line that she would not cross. Nearly fifty years on, the series continues to have a deep effect on its audiences. Its legacy has lasted as one of the darkest artworks of all time.
Although Rhythm 0 cemented Abramoviç’s status as the mother of performance art, it invited criticism. The romanticisation of self-harm and masochism in her work is undeniable. She achieved the reception she desired but we must ask ourselves, at what cost? The budding artists of GenZ are becoming enamoured by her art and some may even seek to imitate it. It begs the question, how far should the artist go?