Before delving into the strange and depraved world of Spirit Cooking, it is worth revisiting some of Marina Abramovic’s most memorable performances.
It was suggested in the previous article about Marina’s background that she is a high-ranking dark priestess. It was also presumed that a lot of her performances are in fact live dark rituals designed to harvest energy from an unsuspecting audience. The reader should decide as we explore some of her most controversial performances.
As Wikipedia describes it, this was a ritual performance piece:
Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game, in which rhythmic knife jabs are aimed between the splayed fingers of one’s hand. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation. After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing; the double sounds from the history and the replication. With this piece, Abramović began to consider the state of consciousness of the performer. “Once you enter into the performance state you can push your body to do things you absolutely could never normally do.”
Marina will develop the concept of finger stabbing in her later works known as Spirit Cooking. Spirit Cooking will be further explored and expanded upon in a future article.
The concept is a very interesting one because it is linked to Satanism*. In the website End Ritual Abuse, there is an article written by Diana Napolis, an ex-social worker that has, for years, been exposing satanic rituals and the cover-up of the sexual abuse and murder of children.
While there are some Indonesian tribes that cut their own fingers as a form of grieving, within the Satanic community, the reasons are very different. They cut the fingers of their victims off to avoid identification; some other times they use the cut off fingers to sign documents to the Devil/Moloch/Satan/other; at times is to do with offerings to evil spirits that will in turn help the perpetrators ‘become rich’; and more often than not, is just for the fun of it, so they chop the victims’ fingers off to keep them as a sick souvenir.
In this piece performed at the Museum of Contemporary Art in Zagreb, Abramović created a performance that promoted a planned loss of control. For this performance Abramović took illegal medications typically used for patients of catatonia and schizophrenia and filmed the results in front of an audience. The performance was shown in two parts over seven hours, split between her experiences of each of the two pills she ingested.
For this piece, 72 objects were placed on a table with a sign informing the public that they could use those objects on Marina in any way they choose. Some of these were dangerous objects while others could be use for pleasure. Among them were a rose, a feather, honey, a whip, olive oil, scissors, a scalpel, a gun and a single bullet. For six hours Marina allowed the audience to manipulate her body and actions. These tested how vulnerable and aggressive the human subject could be when hidden from social consequences. By the end of the performance, her body was stripped, attacked, and devalued into an image that Abramović described as the “Madonna, mother, and whore.”
1974- Rhythm 4
Another performance at Galleria Diagramma, Milan, designed to test the limits of the human body. In this case, she knelt naked in a room in front of an industrial fan and started hy perventilating until she lost consciousness.
In 1974, Marina performed a piece called Rhythm 5. In this performance she drew a 5-pointed star and drenched it with petroleum. She then lit the star on fire and while standing next to it, began clipping her nails, toenails and hairs and throwing them into the fire. In the final act of purification, Abramović leapt across the flames, propelling herself into the center of the large star. Once inside the star, the artist had lost consciousness from lack of oxygen.
Every folk and fairy tale that speaks of witches, tell us of said witches burning hairs and clipping of either themselves or their victims into the flames in order to cast a spell or to commune with the evil spirits.
For example, in the Catalonian (Spanish) mythology about witches), they:
…supposedly have “the mark of the devil” on their buttocks, made by a forceful bite by the Devil’s teeth, which takes the form of two crossed horns, a toad, a ram with large horns, or a simple little circle. Legend also has it that the Devil can mark the witch’s eye in various ways: with horns, or by making it empty, or with two pupils. Some traditions say that witches have two pupils in the left eye and deer horns in the right one.
In this performance Marina uses a razor blade to cut the shape of a five-pointed-star into her stomach. She performs this piece naked laying on a table in front of the audience. Once her cutting was complete, Marina cries in front of the audience and blots her cut with a towel while listening to a Russian folk song. She then laid down on blocks of ice and later would kneel and whip herself repeatedly. Once Marina was done with her self infliction she got up and ate one spoon full of honey and had a glass of red wine, implying the end of a climax with peaceful ending.
1995-Cleaning the Mirror
This piece was performed in three stages. . Cleaning the Mirror #1 was performed at the Museum of Modern Art, consisting of three hours. Cleaning the Mirror #2 consists of 90 minutes performed at Oxford University. Cleaning the Mirror #3 was performed at Pitt Rivers Museum for five hours.
Cleaning the Mirror consisted of five monitors playing footage in which Abramović scrubs a grimy human skeleton in her lap. She vigorously brushes the different parts of the skeleton with soapy water. Each monitor is dedicated to one part of the skeleton: the head, the pelvis, the ribs, the hands, and the feet. Each video is filmed with its own sound, creating an overlap. As the skeleton becomes cleaner, Abramović becomes covered in the grayish dirt that was once covering the skeleton. This three-hour performance is filled with metaphors of the Tibetan death rites that prepare disciples to become one with their own mortality.
Interestingly, Abramovic’s spiritual guide is none other than Tibetan Lama Doboom Tulku Rinpoche. This will make sense when we explore the connection into the NXIVM human trafficking sex cult.
In 1997, Marina Abramovic performed a piece called Balkan Baroque, where she scrubbed 1,500 cow bones for six hours a day.
The piece was for the Venice Biennale. During the performance, she also sang songs and told stories about Belgrade, where she was born. In an interview with The Guardian, she says, “When people ask me where I am from, I never say Serbia. I always say I come from a country that no longer exists.”
2005-The Minoan Snake Goddess
In some cultures, snakes are associated with the practice of witchcraft. For instance:
In some forms of American folk magic and hoodoo, the snake can be used as an instrument of harm. In Voodoo and Hoodoo, Jim Haskins relays the custom of using the serpent’s blood to introduce snakes into the human body. According to this hoodoo traditions, one must “extract the blood from a snake by puncturing an artery; feed the liquid blood to the victim in food or drink, and snakes will grow inside him.”
After Ra created all things, Isis, the goddess of magic, tricked him by creating a serpent which ambushed Ra on his daily journey across the heavens. The serpent bit Ra, who was powerless to undo the poison. Isis announced that she could heal Ra from the poison and destroy the serpent, but would only do so if Ra revealed his True Name as payment. By learning his True Name, Isis was able to gain power over Ra. For Cleopatra, a serpent was an instrument of death.
In Ireland, St. Patrick is famous because he drove the snakes out of the country, and was even credited with a miracle for this. What many people don’t realize is that the serpent was actually a metaphor for the early Pagan faiths of Ireland. St. Patrick brought Christianity to the Emerald Isle, and did such a good job of it that he practically eliminated Paganism from the country.
Pythia was the high priestess of Apollo, who used to live and prophesize inside the Delphic Oracle, in Greece. She was a witch so great, that all the other high priestesses of the Delphic Oracle that came after, took her name. This is why they are remembered by historians as Pythias. Pythia was a mistress of both divination and necromancy
2005-Recreation of Vito Acconci’s 1972 piece Seedbed
For this piece, she masturbated at the Guggenheim underneath the floor that an audience walked on, claiming to have had nine loud orgasms during the piece.
Some truly insightful revelations from Marina’s performance:
“I don’t want to ask your name, or who you are, or what you want. I recognize you have the same heat, the same desire.”
I’m coming,” “just for you.”
“I’m going to come.” “I need you to tap on the tip of my pussy. Yes, faster, faster.”
“Vito said he produced semen when he did his Seedbed back in the 1970s. But what do I produce? I produce moist [sic] and heat under you that your semen can just drop on.”
2005-Seven Easy Pieces
On seven consecutive nights for seven hours she recreated the works of five artists first performed in the ’60s and ’70s, in addition to re-performing her own Lips of Thomas and introducing a new performance on the last night.
Here is a full list of the works performed:
- Bruce Nauman‘s Body Pressure (1974)
- Vito Acconci‘s Seedbed (1972)
- Valie Export‘s Action Pants: Genital Panic (1969)
- Gina Pane‘s The Conditioning (1973)
- Joseph Beuys‘s How to Explain Pictures to a Dead Hare (1965)
- Abramović’s own Thomas Lips (1975)
- Abramović’s own Entering the Other Side (2005)
The number 777 is supposed to join together the principles of the man, 700, the cosmic plans, 70, and their image in the Archetype, 7. It also has a lot of symbolism in the Bible, Gematria, Thelema and the works of Aleister Crowley.
2011-Spirit Cooking Dinner
In 2011, a glimpse was shown to the public into what goes on behind the scenes with Spirit Cooking. Marina caused quite a stir with her controversial direction of the MOCA gala. Nude performers were set as live centerpieces at a festive dinner attended by the rich and famous. There were also slicing and serving of extremely lifelike cakes made to resemble Abramović and guest performer Deborah Harry.
I am at a loss to explain what this was about.
One might think at this point that associating Marina’s performances with that of live Satanic rituals is a bit of a stretch; and perhaps it is. The woman herself tells us she is not a Satanist. What’s more, on a live Q&A on Reddit, she told us that ‘occult magic‘ depends very much on the context of which you are doing it. So if you are doing occult rituals in a gallery and call it art, then is perfectly acceptable and has nothing to do with the very same rituals performed at home or ‘in spiritual circles’. In that case, those are dark rituals. Doing them in front of live audiences is just art.
*While I use terms like Satanism, Luciferian, Church of Satanic, Satanic Temple etc all interchangeably, the fact is that there are some 11 types (perhaps more) of recorded types of Satanism.