Marina Abramovic — 1974

People became aggressive. Her clothes were cut off her body with scissors. Her neck was bared to the thorns. Someone held the loaded gun to her head, finger on the trigger, while another participant pointed a camera at her.

Rhythm 0 is often cited as a landmark in body art, feminist performance, and the study of authoritarian psychology. It predates and echoes the findings of the Stanford Prison Experiment (1971) and Milgram’s obedience studies (1963)—but with one key difference: Abramović made herself the willing, conscious victim. marina abramovic 1974

At first, the audience was playful. It was innocent. People posed her arms. Someone kissed her cheek. Another turned her around. They applied lipstick and combed her hair. The atmosphere was light. People became aggressive

"There are 72 objects on the table that one can use on me as desired. I am the object. During this period I take full responsibility." Someone held the loaded gun to her head,

By the end of the six hours, Abramović was stripped, bleeding from thorn scratches, and physically exhausted. Her eyes were red from crying, but she never broke character. She was a statue enduring the whims of a crowd that had discovered its own terrifying power.