Sugar, Sex, and Very Little Sleep

crashntumble:

Gerard Rancinan, Marina Abramović, Art Must Be Beautiful, Artist Must Be Beautiful, 1975

(Source: foxesinbreeches, via deadlycamille)

arreter:

Marina Abramović and Ulay, Death Self, 1977

To create this Death self, the two performers devised a piece in which they connected their mouths and took in each other’s exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual’s ability to absorb the life of another person, exchanging and destroying it.

Ulay and Abramović collaborated together for over a decade, upholding an intense and intimate relationship.  In 1988, the two began a spiritual journey to end their relationship; each started at opposite ends of the Great Wall of China, walked 2500 km over a span of 90 days, met in the center, and said good-bye.

(via patchynptista)

Marina Abramovic performing Rhythm 0 1974

(Source: crematorie, via argleblargle)

apiphile:

fuckyeahfanficflamingo:

[ALREADY READ ALL THE GOOD FICS IN THIS FANDOM (Fanfic Flamingo) LOWER STANDARDS AND TRY AGAIN]

… how … do i go about this … lowering my standards … of which you speak?

biggirlundies:

fyeahfeministart:

Marina Abramovic, Rhythm 10, 1973

In this piece, Abramovic once again explores the dynamics of pain, violence and self-destruction. In the first performance of this piece in 1973, she recorded the “rhythmic melody” of the sounds made as she plunged a knife rapidly between the fingers of her outstretched hand, changing knives each time she stabbed her hand- rather than the surface on which her hand rested- until she had used many knives.

Playing the tape back, she repeated the performance using the recording as a “score” to duplicate the same actions and injuries as the same moments. At once a feat of extraordinary concentration and a scene of repetitous self-mutilation, Rhythm 10 amplifies the way in which women sometimes engage in self-sabotage.

From foot-binding to obsessive dieting, diverse cultural energy has been dedicated to deforming women’s bodies, often with women’s own masochistic consent.

(via lilyhex)

fuckyrfans:

marwood:

Note to Self is a performance that deals with gay, lesbian, bi and transgender people who have died due to hate crimes committed against them. Coble compiled a list of 436 names of these individuals, through research on various websites, news reports and official and unofficial documentation. The list started and ended with the word “anonymous” to acknowledge the many lives that were taken that my list didn’t include.

During a solid twelve-hour timeframe these names were tattooed, with no ink, onto the surface of Coble’s body. He had these names inklessly tattooed on his body as a reference to the brutality of these murders; many of the victims had slurs such as dyke or faggot carved into their bodies.

After each name was completed, a Blood Painting was made by pressing a sheet of paper directly against the fresh abrasion. These prints were then places on the walls of the gallery. As the list of name compiled on his body the same list was mirrored on the gallery walls. 
The first three hours of this performance was open to the public while the last nine hours were webcast so the audience could watch via the net.  

Holy shit

(via lilyhex)

thefallingtower:

katsatonthemat:

 

Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”

 social experiments like this are awesome but also reinforce my hatred of humans.

(via lilyhex)