In their masochistic performances, both Athey and Abramovic portray and enjoy pain through nudity and hair. But what is more relevant to their definitions of "self" is the differences between their performances.
Abramovic is naked directly in from of the camera, viciously tearing at her own hair. While the majority of the video is not too graphic, the medium she uses refuses to allow viewers to turn away. Sure, you could close your eyes or stop watching, but her unapologetic stare and plain set hold the eye captive to watch her display. In doing so, Abramovic is making herself vulnerable and demonstrating her confidence--in herself and the viewer. This can be taken as a general claim on sadomasochism as well: the "victim" not only allows himself/herself to be completely vulnerable and at the mercy of the "master," but also places full trust in the master to preserve their life, give them pleasure, and stop when they say "enough."
Thus, the "self" is challenged through masochism. Of course, the pain threshold is pushed, but more importantly, an individual's ability to abandon their instincts is pushed. A masochist must at once detach themselves from their pain reflex and yet be wholly present in the pain to enjoy it. This forces us to ask the question: what is the "self" if it does not rely on instinctual internal drives?
Athey, on the other hand, negates anything seemingly natural. His body is covered with tatoos, and while he is naked, he drips blood everywhere (and yet, survives). Furthermore, he is contained by glass that confines his performance to a small part of the stage, and allows the viewer the freedom to look away and still be part of the audience. As such, Athey's performance demonstrates the other side of masochism--the danger. The viewer's can look away; can abandon him; much like a "master" could leave their "victim" or ignore their needs or safety. Instead of the confidence that Abramovic displays, Athey goes so far as to conceal his face--the essence of himself-- in a wig. He immediately begins to tug at and mangle the wig, but leaves it covering his face before he lies down belly-up in front of the audience. While his posture is the ultimate act of submission, the wig covering his face is a sort of protection, even if only psychological.
So, the experience of masochism pushes one's limits: how much is one willing to expose to the aggression of the self or another to experience fleeting pleasure? For Athey and Abramovic: it's just about everything.
I like how you said that the viewers were not able to look away during Abramovic's piece. The audience is captivated, but simultaneously turned off, by her violent act of brushing her hair and yet they cannot stop watching. I also liked your observation of the glass that contains Athey; the freedom the viewer has to look away in that piece is much greater. He is farther away from the camera and therefore, the audience has much more to look at than just the performer.
ReplyDeleteThat's the thing that struck me most about Abramovic: you just couldn't turn away. But contrary to what Ricki said, I think viewers might be turned on by her painful motions, just like people get turned on by their sexual partner writhing in pleasure. There were definitely disturbing aspects to these pieces, but I think they posed as interesting and different ways of looking at masochism.
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