Throughout, Abramović remained a blank face — no crying, no pleading, no smiling. She moved only when physically forced. By the end, she was bruised, bleeding, and trembling.
She also noted that no one — not a single person — had used the objects to protect her or clean her wounds. Only aggression and passivity were present; empathy was absent. marina abramovic experiment 1974
The primary feature for Marina Abramović’s —often cited as the most significant piece in her early experimental phase—is the concept of total vulnerability through passive audience participation. Throughout, Abramović remained a blank face — no
As the crowd realized Abramović would not resist, their actions became more aggressive. Her clothes were cut away with scissors; she was stripped and humiliated . She also noted that no one — not
As the performance began, the audience initially hesitated, unsure of how to react. Gradually, however, they started to engage with Abramović, using the objects to inflict pain, humiliation, and degradation upon her. The actions ranged from gentle, intimate gestures (e.g., applying perfume or adorning her with jewelry) to violent and disturbing acts (e.g., cutting her clothes, using scissors to stab her).
Throughout the six hours, Abramović remained motionless, conveying a sense of detachment and surrender. This performance became a manifestation of her physical and mental boundaries.
"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. Duration: 6 hours." The Descent: From Curiosity to Cruelty