Sex, Art, and Misogyny | by Coco Fusco | The New York Review of Books

Slave Rape Series #13: Fight to Save Your Life by Faith RinggoldFaith Ringgold/ACA Galleries, New York/© 2019 Faith Ringgold/Artists Rights Society (ARS), New York, Courtesy ACA Galleries, New York

Faith Ringgold: Slave Rape Series #13: Fight to Save Your Life (detail), 1973

 

In 1974 the performance artist Marina Abramovic stood naked and immobile in a Naples gallery. Next to her was a table with seventy-two objects, including a loaded gun. Beside the objects was a document absolving the audience of responsibility for whatever they might choose to do to her with those objects. Freeing the audience from accountability turned the performance into an exposé of their ethics: they became actors in a scenario as well as witnesses of one another’s behavior. Some of them made violent gestures toward Abramovic—they were not exclusively sexual, but many were. She endured cuts to her skin as well as what one critic described as intimate caresses and minor sexual assaults before the audience erupted into a fight when a participant put the gun to her head. Interestingly, as soon as Abramovic ceased to be immobile and began to walk toward the people around her, they fled the gallery rather than reckoning with what they had done.

Source: Sex, Art, and Misogyny | by Coco Fusco | The New York Review of Books

  1. No trackbacks yet.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: