# data[].attributes.body
tabletopia

# data[].attributes.headline
Luis Bunuel, The Phantom of Liberty (1974)

# data[].attributes.subject
Luis Bunuel, The Phantom of Liberty (1974)

# data[].attributes.body
https://www.youtube.com/watch?v=h1Mptgi23YE

# data[].attributes.attachment_link.title
The Cine-Files » Waste Not: Luis Buñuel Frames Space and Waste in The Phantom of Liberty

# data[].attributes.attachment_link.description
In 1974, the director and writer Luis Buñuel released The Phantom of Liberty, his second-to-last film in a long career as a scathing critic of bourgeois social, political, and cultural complacency.[1] In Phantom, Buñuel adds a further critique—blindness and passivity in the face of environmental damage—by developing a trope repeated throughout his films: bourgeois separation from the body, its appetites, and the waste, actual and figurative, produced. The director does so largely by utilizing Phantom’s mise-en-scène to create uncanny, alienating reversals that pinpoint and attack bourgeois viewpoints about bodies and the natural world and bring viewers face to face with these viewpoints’ damaging results.[2]

# data[].attributes.attachment_link.title
Orphic Fodder Projects by Mimi Oka and Doug Fitch

# data[].attributes.attachment_link.description
All Orphic kickshaws, preserves, ephemerae, and other esoterica related to the pursuit of Orphic endeavors were recently acquired by Beinecke Rare Book and Manuscript Library at Yale University!

# data[].attributes.attachment_link.title
Cena#1: Richard Downing (United Kingdom)

# data[].attributes.attachment_link.description
The Water Banquet A table of water, thirty feet long and six feet wide; a cyclical but constantly evolving banquet of image and object; of memory, meeting and departure… and some forks. Origi…

# data[].attributes.attachment_link.title
Szenografie - Die inszenierte Authentizität

# data[].attributes.attachment_link.description
Vom 15. bis 18. November 2012 findet bereits zum 4. Mal das International Scenographer’s Festival in Basel statt. Es lenkt den Blick auf ein spannendes Berufsfeld.

# data[].attributes.attachment_link.description
A leading member of the Fluxus artist group, Alison Knowles will be in-residence with her collaborator, Joshua Selman, to restage her iconic event score Make a Salad on Open Field. Event scores involve simple actions, ideas, and objects from everyday life recontexualized as performance. While each iteration of the piece is unique, the basic ingredients include Knowles preparing a massive salad by chopping the ingredients to live music, tossing it in the air, then serving it to the audience.

# data[].attributes.attachment_link.provider_name
Northern California Women's Caucus for Art

# data[].attributes.attachment_link.readable_text
Marina Abramović's famous performance called Rhythm 0 attracted attention due to its violent and even life-threatening interaction between the audience and the passively enduring artist. While the performance started out relatively harmless, the piece soon turned into something more sinister. The infamous work is part of Abramović's series, which consists of a group of performances the artist did during the 1970s. Abramović took considerable risks during the series and often harmed herself to explore themes such as control, the loss of it, and the limits of the human body. Rhythm 0 is the last work of the series and arguably the most dangerous one.

The performance Rhythm 0 took place at the Studio Morra in Naples in 1974. It lasted for six hours. Marina Abramović provided the audience with the following instructions:

"Instructions. There are 72 objects on the table that one can use on me as desired.
Performance I am the object. During this period I take full responsibility."

The long list of the seventy-two objects laid out for the performance included:

"Gun, bullet, blue paint, comb, bell, whip, lipstick, pocket knife, fork, perfume, spoon, cotton, flowers, matches, rose, candle, mirror, drinking glass, polaroid camera, feather, chains, nails, needle, safety pin, hairpin, brush, bandage, red paint, white paint, scissors, pen, book, sheet of white paper, kitchen knife, hammer, saw, piece of wood, ax, stick, bone of lamb, newspaper, bread, wine, honey, salt, sugar, soap, cake, metal spear, box of razor blades, dish, flute, Band Aid, alcohol, medal, coat, shoes, chair, leather strings, yarn, wire, Sulphur, grapes, olive oil, water, hat, metal pipe, rosemary branch, scarf, handkerchief, scalpel, apple."

This extensive list shows that the audience had the opportunity to use many items in a way that is neutral, pleasurable, or at least not harmful to the artist. By asking the audience to actively engage in the work, the performance piece questioned the responsibility of the viewers.

The Course of Events During the Performance

The accounts of what exactly happened during the performance, for example how the piece started and ended, vary. While some say that it was announced by the gallery director that the artist would remain passive for the next six hours, others report that the instructions were given only in the form of a text on the wall. It is also not clear whether the performance ended because the predetermined six hours were over or because part of the audience put a stop to it.

One of the most detailed descriptions of the course of events was provided by the art critic Thomas Mc Evilley. He was present during the piece and wrote that the performance "began tamely. Someone turned her around. Another person thrust her arm into the air. Someone else touched her somewhat intimately." While it is debatable if intimately touching the artist can still be considered tame, the events of the evening quickly took a turn for the worse. Mc Evilley wrote that all of Abramović's clothes were cut off after three hours. Someone used a knife to cut her neck and drink her blood. Abramović was sexually assaulted during the performance, carried around half-naked, and put on a table. According to Mc Evilley, "When a loaded gun was thrust to Marina's head and her own finger was being worked around the trigger, a fight broke out between the audience factions."

Even though not every audience member participated in these violent actions, someone wiped away her tears and some people even tried to intervene, Rhythm 0 is still an example of a performance piece that violently escalated due to the participation of the viewers.

Marina Abramović's Reaction to the Performance

According to Marina Abramović, the audience fled the scene after the performance was over. People were apparently afraid to confront her and immediately left the exhibition space when Abramović ended her passive state and walked toward the public after six hours had passed. While Abramović silently endured the actions of the audience during Rhythm 0, she talked a lot about her experience after the performance. Abramović said: "The experience I drew from this piece was that in your own performances you can go very far, but if you leave decisions to the public, you can be killed."

The work has left its mark on the artist. When Abramović went to her hotel room after the performance, she looked in the mirror and saw that some of her hair had turned completely white. Abramović said that she still has scars from Rhythm 0 and that it was difficult to get rid of the feeling of fear for a long time. The artist also said that because of this performance she learned where to draw the line and not risk her health and life again as she did during Rhythm 0.

What Have We Learned From Abramović's Rhythm 0?

At the time of Rhythm 0, performance art was already a known art form. Even though it was accepted to some extent, performance artists were still being stigmatized as attention-seeking, sensationalist, masochistic, and exhibitionistic. Abramović's piece was a response to this criticism. By leaving the outcome of the performance entirely to the audience, Abramović made the viewers responsible for the piece and not the artist. She wanted to see how far the public would go without the artist doing anything.

The question remains why the audience did things they would probably not do in their everyday lives. Abramović gave the audience the permission to do whatever they desire without any consequences through her instructions that said: " There are 72 objects on the table that one can use on me as desired and during this period I take full responsibility. " This, however, does not mean that the audience member's actions adhered to their own personal standards. Most members of the audience probably deemed their actions morally wrong since they all fled the scene as soon as Abramović regained her role as an active agent after the performance.

In her book Marina Abramović, Mary Richards writes that the course of events was shaped by the dynamics of group psychology. Since the audience members acted as part of a collective, they were able to maintain an anonymous role inside the group. For Richards, a group acting out their desires is more dangerous than a situation where people would have to face the artist alone. Therefore, the individual is not responsible but the group. According to Richards, this can lead to group members encouraging each other to push the boundaries and experiment with the objects on offer.

No Innocent Bystanders

The audience members who harmed Abramović during the performance might have felt justified in their actions due to the artist's explicit instruction saying that she takes full responsibility for the audience's actions and desires, which did not exclude sadistic desires. Another aspect that could have encouraged the audience's behavior is that many of the 72 objects suggested violence such as the gun, the razor blades, and the hammer.

The outcome is still daunting considering that Abramović seemed to have been in great distress during the performance and that she also provided the audience with objects that could be used to cause pleasure. Whether an audience member harmed Abramović or just stood by and did nothing, they still had to confront themselves with the moral implications of their behavior.

In the book No Innocent Bystanders: Performance Art and Audience, Frazer Ward discusses the complex relationship between performance, the artist, and the audience. According to Ward, Abramović's passivity and refusal to take on an identity during the performance positioned her as the Other and in some ways outside of the group. He compared her status with Giorgio Agamben's homo sacer which describes a bare life that can be included or excluded from social-political order. For Ward, Rhythm 0 put the viewers in the very uncomfortable position of the sovereign who is able to decide whether someone lives or dies and who can assert or reject the value of Abramović's being.

Objectification and Feminism in Rhythm 0

In the instructions, Abramović clearly states: I am the object. Her status as an object rather than a human being is confirmed by Abramović's passive behavior and the audience acting out their desires on her. The artist herself said that she was there like a puppet. The objectification of Abramović's body, the images of a woman enduring violence, and sexual assault seem to address feminist issues. However, Marina Abramović does not necessarily agree with this interpretation. She said that she never thought that it was female energy that drove the piece and that the courage to do this piece seemed more male from her point of view.

Rhythm 0 nevertheless shows a female body being objectified and commodified as an artwork. It is there for the audience's taking, altering, and using according to their wishes. By exploiting and deciding over her body, the performance engages with feminist questions. A feminist interpretation of Rhythm 0 seems even more appropriate when one looks at the critical reception of the performance at the time. As a female artist Abramović's work was particularly prone to censorship. Not only was Abramović not taken as seriously as her male counterparts in the art world, she was also ridiculed by the media. The Serbian publication Jež wrote that Marina Abramović wasn't too bad to look at and that someone might be able to 'use' her. The audience actually using and objectifying Abramović's body exemplifies the feminist connotation of the performance. When looking at this famous performance piece we can learn about the feminist importance of the work, the possible danger of harmful group dynamics, and the complex ethical responsibility we have for other people around us.

# data[].attributes.attachment_link.title
Rhythm 0: A Scandalous Performance by Marina Abramović

# data[].attributes.attachment_link.description
When Marina Abramović made her controversial performance Rhythm 0, she opened up a discussion about the responsibility of the audience.

# data[].attributes.attachment_link.title
Prague Quadrennial 2019: Imagination, Transformation, Memory - The Theatre Times

# data[].attributes.attachment_link.description
With 32 thematic sections, more than 150 Regional Managing Editors, covering theatre in 90 countries and regions, and over 60 media partners around the world, we are the largest global theatre portal today. Follow us today!

# data[].attributes.attachment_link.description
Caracostea, S.(2016). Architectural & Cinematic Pastries. p-e-r-f-o-r-m-a-n-c-e, 3.

# data[].attributes.attachment_link.title
Alex Schweder and Ward Shelley Give New Meaning to “Artists-in-Residence” - Interior Design

# data[].attributes.attachment_link.description
Sharing reaches new heights in Your Turn, a site-specific installation on view through April 22 at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut. It’s the work of Alex Schweder and Ward Shelley, who build what Schweder calls “performance architecture” and then become the artists-in-residence. In this instance, they’ve cut a 23-foot-square partition out of architectural-grade plywood, attached orderly rows of steel rungs to each side, and fabricated six “amenities” that slide through to be used: lounge chair, dining table, desk, bed, kitchen, and composting toilet. From November 30 to December 2 and again from December 7 to 9, the men will be on-site, with Schweder living on one side of the partition and Shelley on the other.

# data[].attributes.attachment_link.title
Interior Set in Films on Instagram: "In Peter Greenaway’s films, the dining table often acts as a central stage of human drama. This theatrical and symbolic setting allows for the exploration of essential narrative, visual, and thematic components. This carefully designed space not only serves as a backdrop for action but also reflects societal dynamics, character psychology, and aesthetic splendor.

You can stream Peter Greenaway’s films on @mubi - get 30 days free at mubi.com/interiorandfilms or at the link in bio! 

Countries where these films are now streaming:
Drowning by Numbers (1988) 🇵🇹
The Baby of Mâcon (1993) 🇨🇭🇩🇪🇦🇹
The Cook, The Thief, His Wife, and Her Lover (1989) 🇨🇭🇩🇪🇦🇹 🇵🇹
Prospero’s Books (1991) 🇨🇭🇩🇪🇦🇹 🇵🇹
A Zed and Two Noughts (1985) 🇫🇷🇬🇧🇦🇷🇵🇹🇧🇪🇮🇩🇹🇷🇺🇸

#interiorandfilms #filminteriors #petergreenaway #greenaway #mubi

—————————————————————
🎵 Allégro by Emmit Fenn
—————————————————————"

# data[].attributes.attachment_link.description
interiorandfilms on December 23, 2024: "In Peter Greenaway’s films, the dining table often acts as a central stage of human drama. This theatrical and symbolic setting allows for the exploration of essential narrative, visual, and thematic components. This carefully designed space not only serves as a backdrop for action but also reflects societal dynamics, character psychology, and aesthetic splendor.

You can stream Peter Greenaway’s films on @mubi - get 30 days free at mubi.com/interiorandfilms or at the link in bio! 

Countries where these films are now streaming:
Drowning by Numbers (1988) 🇵🇹
The Baby of Mâcon (1993) 🇨🇭🇩🇪🇦🇹
The Cook, The Thief, His Wife, and Her Lover (1989) 🇨🇭🇩🇪🇦🇹 🇵🇹
Prospero’s Books (1991) 🇨🇭🇩🇪🇦🇹 🇵🇹
A Zed and Two Noughts (1985) 🇫🇷🇬🇧🇦🇷🇵🇹🇧🇪🇮🇩🇹🇷🇺🇸

#interiorandfilms #filminteriors #petergreenaway #greenaway #mubi

—————————————————————
🎵 Allégro by Emmit Fenn
—————————————————————". 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Interior Set in Films (@interiorandfilms)

# data[].attributes.headline
„Yeryüzü Sofrası“ Table of Earth Gezi Park Protest, 2013

# data[].attributes.subject
„Yeryüzü Sofrası“ Table of Earth Gezi Park Protest, 2013

# data[].attributes.attachment_link.title
Yeryüzü iftarından çağrı: Savaşa karşı, barış sofrası – DW – 13.06.2016

# data[].attributes.attachment_link.description
Gezi Parkı protestoları sonrası binlerce kişinin katılımıyla tanınan Yeryüzü sofraları, “Savaşa karşı, barış sofrası” adıyla kuruldu. Farklı görüşten insanlar imece usulü sofrada, savaşları protesto etti, barış istedi.

# data[].attributes.attachment_link.title
Palestinians gather amid rubble in Rafah for first iftar of Ramadan – video

# data[].attributes.attachment_link.description
Drone footage captured hundreds of Palestinians arriving for iftar amid the rubble of Rafah, southern Gaza, on the first day of Ramadan, amid concerns the Israel-Gaza war could resume as the first phase of the ceasefire expires

# data[].attributes.headline
Yeryüzü Sofrası“ Table of Earth Gezi Park Protest, 2013

# data[].attributes.subject
Yeryüzü Sofrası“ Table of Earth Gezi Park Protest, 2013

# data[].attributes.attachment_link.description
Invited by Storefront for Art and Architecture the Spacebuster was developed and designed to explore the qualities and possibilities of public space in New York City. Spacebuster interacts with the architectural and the social space and its conditions. It opens urban space for temporary collective uses.

# data[].attributes.attachment_link.readable_text
explores how to eat as climate changes. It is a long-term project with site-specific interventions that use food as a tool to address environmental degradation. Different from carnivore, omnivore, locavore, vegetarian, or vegan diets, Climavore is a form of devouring that reacts to anthropogenic landscapes and uses ingredients as infrastructural responses to man-induced climatic events.

Climavore: On Tidal Zones responds to the dead zones created by salmon farms in the Isle of Skye, Scotland. Working with residents, restaurants, activists, schools and the general public, it aims to divest away from salmon farming and develop alternative aqua-cultures, by working with bivalves and seaweeds that clean the water by breathing. The multi-phase installation in Skye is an 'oyster table' in the tidal zone. At high tide, the structure allows its 1000 oysters to breath, each filtering up to 120L of seawater per day. At low tide, it emerges above the sea and functions as a dining table for humans. Over breakfast, lunch, or dinner (according to the tides), performative meals feature a series of Climavore ingredients, where workshops with fishermen, politicians, residents, and scientists have been held to discuss another cultural imaginary for the island.

A network of restaurants was also established: each replaced farmed salmon with a Climavore dish. The ongoing project is expanding into a permanent installation: The Climavore Station. Shaped as an eatery serving Climavore foods, it will provide technical and legal advice on how to open your oyster farm; support claims to reject expansion applications of salmon farms; facilitate marine research on alternative aqua-cultures; and train young cooks on the island, to introduce a new coastal horizon for Skye altogether.

# data[].attributes.attachment_link.description
Climavore explores how to eat as climate changes. It is a long-term project with site-specific interventions that use food as a tool to address environmental degradation. Different from carnivore, omnivore, locavore, vegetarian, or vegan diets, Climavore is a form of devouring that reacts to anthrop

# data[].attributes.attachment_link.title
Public Kitchen, Gagebrook - juliana españa keller

# data[].attributes.attachment_link.description
‘Public Kitchen’ was held in Gagebrook, Tasmania (2018) to inspire social justice through re-imagining how public infrastructures can help improve our way of life. This iteration was conceived as a pop up communal space focusing on collaboration.…

# data[].attributes.attachment_link.description
Juliana España Keller The ‘Public Kitchen’ was held in Hobart, Tasmania to inspire social justice through re-imagining how public infrastructures can help improve our way of life. The P…

# data[].attributes.attachment_link.description
2018. REDDRESS residency at Boulez Saal, Berlin. A series of four concerts by Pekka Kuusisto 29.05–01.06.2018.
’Finnish violinist Pekka Kuusisto and South-Korean artist Aamu Song bring an extraordinary project to the Pierre Boulez Saal
that blurs the boundaries between performance and visual art’.

# data[].attributes.attachment_link.title
Sofra | Maçka Sanat Galerisi, Yılbaşı Sergisi – Yapı Dergisi

# data[].attributes.attachment_link.title
Everybody Rides the Carousel (1976) ⭐ 6.6 | Animation

# data[].attributes.attachment_link.title
COMMON GLORY On Fillellinon Street - flux-office

# data[].attributes.attachment_link.description
AUTHOR: Stratis Paschalis
DIRECTOR: Dimitris Tarlow
THEATRE: Poreia Theatre
DATE: January 2020
SET DESIGN: Eva Manidaki
ASSISTANT SET DESIGN: Filanthi Bougatsou
COSTUMES: Alexandros Garnavos, Gina Iliopoulou
LIGHTING DESIGN: Alekos…

# data[].attributes.attachment_link.title
The New Happy (@newhappyco) on Instagram

# data[].attributes.attachment_link.description
A science-backed philosophy of happiness
New Happy is compassion for self, for others, for all
Podcast, newsletter & more at link
By @stephaniehson