Credit: Fashion Neurosis via YouTube
Artist Who Had Nine Org**ms In Public For Performance Reveals Why It Was So ‘Terrible’
An artist who climaxed nine times in public for a performance has explained why it was so ‘terrible.’
Serbian performance artist Marina Abramovic is no stranger to provocation.
Known for her daring and unconventional works, Abramovic has consistently tested the boundaries of what art can be, often using her own body as the medium.
One of her most controversial performances took place in 2005 at the Guggenheim Museum in New York, and in a recent interview, she revisited the experience, describing it as challenging, exhausting, and ‘terrible.’
The 78-year-old artist, famous for works that demand intense physical and emotional endurance, recreated Vito Acconci’s infamous 1972 performance Seedbed, but from a female perspective.
Acconci’s original piece involved him ma*****bating beneath a ramp in a gallery for hours each day.
Abramovic’s reinterpretation took this already provocative concept and added new layers of meaning related to gender, energy, and creative output.
Reflecting on the experience, Abramovic told New York Art in 2005: “Having or****s publicly, 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 admitted that while the public only heard her voice and could not see her during the performance, the task itself was far from performative ease.
“I ended with nine or***s. It was terrible for the next piece – I was so exhausted!”
In a recent appearance on the YouTube channel Fashion Neurosis, Abramovic revisited the emotional and physical toll of the performance.
“The piece required m*****bation of eight hours under the stage,” she explained.
“You know I take this stuff seriously, so it was complicated… more than five or***s and it was really difficult because next day I have to do performance on something else, I was exhausted.”
Beyond the endurance involved, Abramovic emphasized the deeper significance of the act.
“Feeling or***m is such an important moment, you feel life, connected to nature, birds, the rocks, the trees, everything becomes luminous and beautiful,” she said, suggesting that a greater understanding of such experiences could improve human empathy and connection.
This performance wasn’t about titillation but about exploring the body as a source of energy, creation, and vulnerability.
“I wanted to do [an art] piece with the female energy,” she said, clarifying her aim to examine what a woman could symbolically ‘produce,’ as Acconci’s version focused on ‘seeds’ as metaphorical creation.
Though her methods are often divisive, Abramovic’s commitment to the truth of her artistic vision is undeniable. As she noted: “I don’t fake it – I never fake anything.”
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