Lot 66
  • 66


20,000 - 30,000 USD
18,750 USD
bidding is closed


  • Marina Abramovic
  • Rhythm 5 
  • Photograph 22 1/2  by 32 1/4  in. (57.2 by 81.9 cm.)Text panel 9 1/2  by 6 1/2  in. (24.1 by 16.5 cm.)
a diptych comprised of a gelatin silver print and a letterpress text panel, each framed, a Sean Kelly Gallery label on the reverse, 1974, printed in 1994, no. 11 in an edition of 16 plus 3 artist's proofs (2)


Sean Kelly Gallery, New York, 2005


Chrissie Iles, Marina Abramović: objects performance video sound (Oxford: Museum of Modern Art, 1995), p. 13

Olga M. Viso, Ana Mendieta: Earth, Body, Sculpture and Performance 1972-1985 (Washington, D. C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 2004), p. 74

Catalogue Note

'Rhythm 5 I construct a five point star (the construction is made of wood
and wood shavings soaked in 100 litres of petrol).

I light the star.

I walk around the star.

I cut my hair and throw the bushes into each end of the

I cut my finger nails and throw them into each end of the star.

I cut my toe nails and throw them into each end of the star.

I enter the empty space in the star and lie down.

Duration: 1 ½ hours
Student Culture Center

Throughout Marina Abramović’s long career, she has repeatedly subjected her body to arduous conditions for her performances. During Rhythm 5, the lack of oxygen at the center of the blaze caused her to lose consciousness and her clothes to catch fire.  She was rescued by members of her audience who realized that this was not part of the performance. Abramović's family and cultural history has long influenced her performances: a Yugoslavian native, her parents fought in favor of the communist party during World War II, while her grandparents' generation were devout members of the Orthodox Church and vehemently opposed communism. This deeply ingrained familial conflict fueled her Rhythms (1973-74) series, and the five-pointed communist star plays a central role in Rhythm 5.