Interesting Green: Marina Abramovic (elle Serbia), Rhythm 4 (1974)

Source Website: https://blogs.uoregon.edu/marinaabramovic/category/rhythm-series/
Posted by uoregon.edu

PHOTO: Marina Abramovic (elle Serbia), Rhythm 4 (1974)
Marina Abramović, Rhythm 4, 1974. Performance, 45 minutes. Galleria Diagramma, Milan.
Rhythm 4, which was performed at the Galleria Diagramma in Milan later in 1974. For this piece Abramović kneeled alone and naked in a room with a high-power industrial fan.

As her act of sacrifice, Abramović slowly approached the fan and attempted to breath in as much air as possible, pushing the limits of her lungs. Soon after, Abramović lost consciousness.
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Marina Abramović, born 30 November 1946 (70 years old as in November 2016) is a Serbian performance artist based in New York. Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. Active for over three decades, Abramović has been described as the "grandmother of performance art." She pioneered a new notion of identity by bringing in the participation of observers, focusing on "confronting pain, blood, and physical limits of the body." [1]

PHOTO: Marina Abramović, born 30 November 1946 (70 years old as in November 2016)
Abramović has been described as the "grandmother of performance art." She pioneered a new notion of identity by bringing in the participation of observers, focusing on "confronting pain, blood, and physical limits of the body."
Picture posted by Ancensored International
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Rhythm 4, which was performed at the Galleria Diagramma in Milan later in 1974. For this piece Abramović kneeled alone and naked in a room with a high-power industrial fan. The performance was recorded and then projected for the audience in the room next door.

PHOTO: Abramović kneeled alone and naked in a room with a high-power industrial fan. She slowly approached the fan and attempted to breath in as much air as possible, pushing the limits of her lungs.
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http://galerija.metropolitan.ac.rs/index.php/GD2014-2015/AD201-Istorija-moderne-i-savremene-umetnosti/Marina-Abramovic/Marina-Abramovic-Ritam-4

As her act of sacrifice, Abramović slowly approached the fan and attempted to breath in as much air as possible, pushing the limits of her lungs. Soon after, Abramović lost consciousness.

In these first two images, one sees the naked figure of Abramović as she slowly approaches the industrial fan.

She is in a small room by herself, separated from her audience who watches on a monitor next-door.

PHOTO: Marina Abramovic (elle Serbia), Rhythm 4 (1974)
Marina Abramović, Rhythm 4, 1974. Performance, 45 minutes. Galleria Diagramma, Milan.
In these first two images, one sees the naked figure of Abramović as she slowly approaches the industrial fan.

She is in a small room by herself, separated from her audience who watches on a monitor next-door.
Picture posted by uoregon.edu
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCiyJQfjfRO2dJWGSTsd8zwbwTX31mnwCCZHk3w9ITl5Kcp_oEEFKKutyP4kjYivyC8fWof0MwgfRkzPYLWNhrlMbpui3jICbRCrWnFbCCfNxLSK98-8m9Z-aRBUnoQDPTxX_s8u2khRU/s1600/ARTSTOR_103_41822001480811-20ml2qe.jpg
https://blogs.uoregon.edu/marinaabramovic/files/2015/02/ARTSTOR_103_41822001480811-20ml2qe.jpg
https://blogs.uoregon.edu/marinaabramovic/category/rhythm-series/

Due to Abramović’s previous experience in Rhythm 5 when audience members intervened in the performance, for this piece Abramović made specific plans so that her loss of consciousness would not interfere with the completion of the performance. Before the performance began, Abramović instructed the cameraman to zoom in closely on her face without showing the fan (as seen in the final image), so that the audience would be unaware of her unconscious state, and less likely to intervene on her behalf.

PHOTO: Abramović instructed the cameraman to zoom in closely on her face without showing the fan (as seen in the final image), so that the audience would be unaware of her unconscious state, and less likely to intervene on her behalf.
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Unfortunately for Abramović, the morality of the audience hindered her physical surrender. After being unconscious for several minutes, the cameraman refused to continue, and sent gallery staff to help her.

PHOTO: Unfortunately for Abramović, the morality of the audience hindered her physical surrender. After being unconscious for several minutes, the cameraman refused to continue, and sent gallery staff to help her.
Picture posted by Art Torrents on Wednesday, 30 January 2008
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http://arttorrents.blogspot.sg/2008/01/marina-abramovic-four-performances-1975.html

Posted by uoregon.edu

PHOTO: Carolee Schneemann, Interior Scroll (1975)
More than forty years ago on 29 August 1975, the thirty-six-year-old artist Carolee Schneemann pulled a scroll from her vagina. During the performance she removed her apron and began pulling a small (folded) paper scroll from her vagina while reading it aloud. The text was taken from “Kitch’s Last Meal” (1973–76), the artist’s Super-8 film exploring an artist couple’s lives from the viewpoint of their cat.

The performance, titled “Interior Scroll,” is an essential moment in performance art history, and an important milestone in the artist’s provocative and influential oeuvre (the body of work of a painter).
Photo by Anthony McCall
Posted by Quinn Moreland on 29 August 2015
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PHOTO: Marina Abramovic, Thomas Lips (1975)
Marina Abramovic undertakes a range of actions that push her physical limits to an extreme and finally result in the transgression of bodily boundaries.
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PHOTO: Marina Abramovic, a performance artist in Rhythm 0, 1974
Abramović placed on 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, olive oil, scissors, a scalpel, a gun and a single bullet.

For six hours the artist allowed the audience members to manipulate her body and actions. This tested how vulnerable and aggressive the human subject could be when hidden from social consequences. By the end of the performance, her body was stripped, attacked, and devalued into an image that Abramović described as the "Madonna, mother, and whore".

Additionally, markings of aggression were apparent on the artist's body; there were cuts on her neck made by audience members, and her clothes were cut off of her body.
Texts extracted from Wikipedia, the free encyclopedia, https://en.wikipedia.org/wiki/Marina_Abramovi%C4%87#cite_note-7
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http://www.widewalls.ch/marina-abramovic-public-talk-kaldor-public-art-projects-sydney-residency/
http://veryfatoldman.blogspot.sg/2016/07/marina-abramovic-performance-artist-in.html

PHOTO: Marina Abramovic performance, Luminosity (1997)
Marina Abramović has pioneered performance as a visual art form. In Luminosity, 1997, the work being re-performed for 13 Rooms, a performer sits on a bicycle seat bathed in light high up on the wall. Both physically and mentally demanding, Abramović explains: ‘It’s really a work about loneliness, about pain and about spiritual elevation. About luminosity and about the transcendental (spiritual realm) quality of the human being in general.'
Picture posted by Zosia von Bueren on 23 July 2014 - Marina Abramovic - Luminosity
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Reference

[1] Marina Abramović, From Wikipedia, the free encyclopedia, https://en.wikipedia.org/wiki/Marina_Abramovi%C4%87