Reflecting on the study later, Abramović noted that the experience demonstrated how quickly empathy can be eroded in the absence of traditional social structures, and how vulnerable an individual becomes when they surrender their agency to a group. Analyzing the Full Video Work and Documentation

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Scissors, knives, a whip, chains, a scalpel, an axe, and a loaded pistol with a single bullet. The Six-Hour Progression

In 1974, at Studio Morra in Naples, Italy, a young Yugoslavian artist named Marina Abramović staged a six-hour performance that would permanently redefine the boundaries of contemporary art, psychology, and performance theory. That work was Rhythm 0 . Abramović placed her body entirely at the mercy of the public, offering herself as an object to be used, pleased, or destroyed. Over five decades later, the piece remains a cornerstone of performance art history.

In 1974, a young Yugoslavian artist stepped into the Studio Morra in Naples, Italy. She placed 72 objects on a table, laid out a simple set of instructions, and surrendered her agency for six hours.

Scissors, scalpels, needles, a whip, a heavy chain, and a loaded pistol with a single bullet. 📉 The Progression: Observing the Audience

The instructions were simple, direct, and gave the audience absolute power:

At exactly 2:00 AM, the six hours ended. The gallery announcement signaled that the performance was over.

A comprehensive look at the performance, including archival footage and Abramović's own commentary, is available on Vimeo .

The instruction to the audience was this: