Abramovic in the performance "Rhythm 0" (1974), marked by the radical incorporation of the public

Abramovic in the performance "Rhythm 0" (1974), marked by the radical incorporation of the public

Subjectivated body

Also in reference to the presence of the sacred in Abramovic, Canevacci assessed that the artist's performances are part of the body paradigm as a transient element between life and death. "That's why the body is not just meat, it is also a skull, bones, elements that do not decompose," he added, noting that, using skulls such as raw material, artists do not create art, but something more complex. "The skull incorporates the sacred, how to unify the human, animal and divine dimension. The sacred is a transit between these differentiated elements, which are a constitutive part of aesthetic experience."

For him, in the contemporary performative artistic sense, the body would not be seized as matter, but as a subject without a physical psychological identity, endowed with pluralized subjectivity, so that each body fragment would have a relative autonomy. The body would thus represent a multitude of subjectivities and individualities, which defines as "multividal".

"Therefore, the artists do not use their own body, but they do a reenact and re -up bodily potential," he pondered, adding that western art as a whole reflects on three major themes that permeate Abramovic's work: love, Eros (erotic) and friendship. "It is in this context that her work is placed."

As an example of experimenting with the potentialities of the body in the work of the performer, Canevacci quoted the performance "Imponderabilia" (1977), in which the artist and then boyfriend, Ulay, were naked in front of the other, each on one side of the door that gave access to Galleria Communale d'Alda Moderno, in Bologna (Italy). To enter, the visitor had to go through the narrow space between the two artists and choose which one to face. "Something interesting in a type of culture in which naked body still causes reactions," said the anthropologist, noting that the public was confronted with the sometimes embarrassing position of physical and visual contact with the performers.

Rhythm 0

Abramovic in the performance "Rhythm 0" (1974),

marked by the radical incorporation of the public

"An audience that was no longer audiences but co-creator of the work needed to transit and put on the side of the woman or man, quickly or slower, caressing the body of the one who chose."

But, according to the anthropologist, the most radical exploitation of the body as a means of expression and the relationship between artist and audience was in the performance "Rhythm 0" (1974), in which Abramovic put himself in the passive position of artistic support and encouraged Expectors to assume an active stance. The performer provided 72 objects that gave pleasure or infringed pain, including scissors, feathers, a rose, olive oil, a revolver and ammunition, and invited visitors to Morra Arte Studio in Nápolis (Italy) to use them in His body as they wanted while remained motionless.

In Canevecci's opinion, this delivery of Abramovic fired an uncontrollable process. The audience, initially stopped, gradually began to choose objects and hurt the artist. Over the course of six hours of performance, his clothes were cut, his chest was drilled with pink thorns and a loaded weapon was pointed to his head.

"Art is often understood as sublimation, removal of the instinctual dimension of desire, sex, etc. But the body art, which assumes the body as a subject, causes a type of reaction by which what is generally removed is practiced and return". For him, the problem is that this return does not occur quietly but violently: "Removed is a force that can put the control of the ego in crisis. Marina Abramovic's type of performance creates this type of body displacement."

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