In 2002, renowned performance artist Marina Abramović undertook a profound exploration of endurance and human connection through her piece titled The House with the Ocean View. For twelve consecutive days, Abramović resided in a New York gallery, abstaining from food, verbal communication, and any form of privacy. Her living quarters comprised three minimalist spaces—designated for sleeping, bathing, and sitting—elevated on platforms and accessible only via ladders constructed with knife blades as rungs, symbolizing both physical and psychological barriers.
This performance was conceived in the aftermath of the September 11 attacks, a period during which Abramović perceived a palpable shift in New York’s collective consciousness. She described the city as more “emotional, vulnerable, and spiritual,” motivating her to engage in a personal purification process. By eliminating basic comforts and exposing every aspect of her daily routine to public view, she aimed to foster a shared space of introspection and altered perception.
Visitors to the gallery were invited to silently observe Abramović’s routine activities—sleeping on a bed without a mattress, showering, and meditating—without any interaction or intervention. Many attendees reported experiencing a distortion of time, with brief visits unintentionally extending into hours, highlighting the performance’s impact on their sense of presence and engagement.
The House with the Ocean View stands as a testament to Abramović’s commitment to pushing the boundaries of performance art, challenging both herself and her audience to confront discomfort, vulnerability, and the essence of human connection.
Source: Real Shock Media