For the first time in her career, Abramović relinquished all control. The audience was not merely an observer but an active participant—and, potentially, an executioner.
, the six-hour piece explored the relationship between an artist’s passivity and an audience’s capacity for both empathy and cruelty. The Setup: Artist as Object Abramović stood motionless next to a table containing 72 objects marina abramovic rhythm 0 1974 full video work
Participants began to test boundaries. They cut her clothing with scissors. They used the thorns of the rose to scratch her neck. They applied lipstick to her face. The passivity of the artist emboldened the audience to transgress social boundaries. For the first time in her career, Abramović