Credit: Fashion Neurosis via YouTube
Artist Who Had Nine Org**ms In Live Museum Show 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 stirring up conversation.
Known for her daring and unconventional work, she’s 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 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 m**turbating 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.
Speaking to New York Art in 2005, Abramovic said: “Having org**ms 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.
The artist added: “I ended with nine org**ms. It was terrible for the next piece – I was so exhausted!”
In a recent appearance on the Fashion Neurosis podcast with host Bella Freud, Abramovic revisited the emotional and physical toll of the performance.
She explained: “The piece required m**turbation of eight hours under the stage.
“You know I take this stuff seriously, so it was complicated… more than five org**ms 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.
She continued: “Feeling org**m is such an important moment, you feel life, connected to nature, birds, the rocks, the trees, everything becomes luminous and beautiful.”
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.
Although 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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