Marina Abramović’s performance piece, which resulted in her experiencing nine orgasms, presented an unexpected challenge for the artist. Renowned as a leader in performance art, Abramović has consistently pushed boundaries with her groundbreaking exhibitions.
Her interpretation of Vito Acconci’s ‘Seedbed’ was particularly striking. Originally performed in 1972 by Acconci, it involved him masturbating for eight hours daily over nine days at New York City’s Sonnabend Gallery.
In 2005, Abramović presented her version at the Guggenheim Museum, also in New York. She later shared the significant difficulties she faced during the performance, particularly the challenge of achieving orgasms in a public setting.
During her enactment, Abramović experienced nine orgasms. She expressed to New York Art that achieving such a state “publicly” was no simple task.
“Being excited by the visitors steps above me – it’s really not easy, I tell you! I’ve never concentrated so hard in my life,” she commented.
However, the true challenge for Abramović was the lack of a direct audience gaze, as the piece only allowed visitors to hear her.
Describing the performance further on Fashion Neurosis’ YouTube channel, she elaborated: “The piece required masturbation of eight hours under the stage, and the public can just hear my voice on the top.”
She continued, stressing her dedication: “I take this stuff seriously, so it was complicated because it was like I do this seven hours, more than five orgasms and it was really difficult because next day I have to do performance on something else, I was exhausted.”
Despite the challenges, Abramović noted that attendees seemed to enjoy the piece.
For those surprised by her rendition of Seedbed, other works by Abramović may be even more provocative.
In 1974, Abramović executed ‘Rhythm 0’ at the Galleria Studio Mora in Naples. This performance lasted six hours and invited audience members to interact with her as they pleased using 72 objects provided, ranging from benign items like bread to dangerous ones like a gun.
The piece posed questions about human behavior when given unrestricted freedom and potential tools of harm.
Abramović later admitted feeling she was “ready to die” by the performance’s end.
In a 2005 recreation at the Guggenheim Museum, Abramović paid homage to Valie Export’s ‘Genital Panic.’ Her version included variations such as attire and the setting, using a Kalashnikov rifle and performing in a museum environment.
From March to May 2010, Abramović held ‘The Artist is Present’ at the Museum of Modern Art in New York. The piece involved her sitting silently across from an empty chair, inviting museum-goers to engage in a nonverbal exchange. Notable participants included Alan Rickman and her former partner Ulay.