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Now...

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let's go back in time.

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It's 1974.

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There is the gallery somewhere...

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in the world,

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and there is a young girl, aged 23,

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standing in the middle of the space.

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In the front of her is a table.

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On the table there are 76 objects

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for pleasure and for the pain.

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Some of the objects are

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a glass of water, a coat, a shoe, a rose.

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But also the knife,
the razor blade, the hammer...

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and the pistol with one bullet.

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There are instructions which say,

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"I'm an object.

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You can use everything on the table on me.

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I'm taking all responsibility --
even killing me.

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And the time is six hours."

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The beginning of this
performance was easy.

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People would give me
the glass of water to drink,

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they'd give me the rose.

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But after very soon,

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there was a man who took the scissors
and cut my clothes,

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and then they took the thorns of the rose
and stuck them in my stomach.

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Somebody took the razor blade
and cut my neck and drank the blood.

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And I still have the scar.

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The women would tell the men what to do.

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And the men didn't rape me
because it was just a normal opening,

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and it was all public,

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and they were with their wives.

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They carried me around
and put me on the table,

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and put the knife between my legs.

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And somebody took the pistol and bullet
and put it against my temple.

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And another person took the pistol
and they started a fight.

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And after six hours were finished,

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I...

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started walking towards the public.

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I was a mess.

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I was half-naked, I was full of blood
and tears were running down my face.

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And everybody escaped, they just ran away.

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They could not confront myself,
with myself as a normal human being.

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And then --

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what happened

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is I went to the hotel,
it was at two in the morning.

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And...

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I looked at myself in the mirror,

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and I had a piece of gray hair.

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Alright --

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please take off your blindfolds.

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Welcome to the performance world.

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First of all, let's explain
what is the performance.

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So many artists,
so many different explanations,

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but my explanation
for performance is very simple.

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Performance is a mental
and physical construction

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that the performer makes
in a specific time

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in a space in front of an audience,

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and then energy dialogue happens.

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The audience and the performer
make the piece together.

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And the difference between
performance and theater is huge.

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In the theater, the knife is not a knife

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and the blood is just ketchup.

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In the performance,
the blood is the material,

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and the razor blade or knife is the tool.

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It's all about being there
in the real time,

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and you can't rehearse performance,

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because you can't do many
of these types of things twice -- ever.

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Which is very important,
the performance is --

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you know, all human beings
are always afraid of very simple things.

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We're afraid of suffering,
we're afraid of pain,

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we're afraid of mortality.

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So what I'm doing --

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I'm staging these kinds of fears
in front of the audience.

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I'm using your energy,

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and with this energy I can go
and push my body as far as I can.

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And then I liberate myself
from these fears.

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And I'm your mirror.

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If I can do this for myself,
you can do it for you.

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After Belgrade, where I was born,

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I went to Amsterdam.

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And you know, I've been doing performances

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since the last 40 years.

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And here I met Ulay,

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and he was the person
I actually fell in love with.

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And we made, for 12 years,
performances together.

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You know the knife
and the pistols and the bullets,

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I exchange into love and trust.

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So to do this kind work
you have to trust the person completely

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because this arrow
is pointing to my heart.

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So, heart beating and adrenaline
is rushing and so on,

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is about trust, is about total trust
to another human being.

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Our relationship was 12 years,

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and we worked on so many subjects,
both male and female energy.

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And as every relationship
comes to an end, ours went too.

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We didn't make phone calls
like normal human beings do

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and say, you know, "This is over."

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We walked the Great Wall
of China to say goodbye.

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I started at the Yellow Sea,
and he started from the Gobi Desert.

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We walked, each of us, three months,

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two and a half thousand kilometers.

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It was the mountains, it was difficult.

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It was climbing, it was ruins.

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It was, you know, going through
the 12 Chinese provinces,

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this was before China was open in '87.

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And we succeeded to meet in the middle

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to say goodbye.

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And then our relationship stopped.

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And now, it completely changed
how I see the public.

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And one very important piece
I made in those days

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was "Balkan Baroque."

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And this was the time of the Balkan Wars,

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and I wanted to create
some very strong, charismatic image,

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something that could serve
for any war at any time,

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because Balkan Wars are now finished,
but there's always some war somewhere.

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So here I am washing

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two and a half thousand
dead, big, bloody cow bones.

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You can't wash the blood,
you never can wash shame off the wars.

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So I'm washing this six hours, six days,
and wars are coming off these bones,

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and becoming possible --
an unbearable smell.

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But then something stays in the memory.

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I want to show you the one
who really changed my life,

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and this was the performance in MoMa
which just recently I made.

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This performance,
when I said to the curator,

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"I'm just going to sit at the chair,

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and there will be
an empty chair at the front,

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and anybody from the public
can come and sit as long as they want."

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The curator said to me,

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"That's ridiculous, you know,
this is New York,

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this chair will be empty,

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nobody has time to sit in front of you."

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(Laughter)

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But I sit for three months.

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And I sit everyday, eight hours --

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the opening of the museum --

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and 10 hours on Friday
when the museum is open 10 hours,

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and I never move.

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And I removed the table
and I'm still sitting,

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and this changed everything.

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This performance,
maybe 10 or 15 years ago --

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nothing would have happened.

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But the need of people to actually
experience something different,

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the public was not anymore the group --

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relation was one to one.

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I was watching these people,
they would come and sit in front of me,

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but they would have to wait
for hours and hours and hours

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to get to this position,

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and finally, they sit.

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And what happened?

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They are observed by the other people,

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they're photographed,
they're filmed by the camera,

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they're observed by me

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and they have nowhere to escape
except in themselves.

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And that makes a difference.

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There was so much pain and loneliness,

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there's so much incredible things
when you look in somebody else's eyes,

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because in the gaze
with that total stranger,

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that you never even say one word --
everything happened.

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And I understood when I stood up
from that chair after three months,

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I am not the same anymore.

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And I understood
that I have a very strong mission,

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that I have to communicate this experience

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to everybody.

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And this is how, for me, was born the idea

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to have an institute
of immaterial performing arts.

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Because thinking about immateriality,

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performance is time-based art.

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It's not like a painting.

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You have the painting on the wall,
the next day it's there.

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Performance, if you are missing it,
you only have the memory,

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or the story of somebody else telling you,

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but you actually missed the whole thing.

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So you have to be there.

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And in my point,
if you talk about immaterial art,

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music is the highest --
absolutely highest art of all,

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because it's the most immaterial.

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And then after this is performance,
and then everything else.

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That's my subjective way.

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This institute is going to happen
in Hudson, upstate New York,

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and we are trying to build
with Rem Koolhaas, an idea.

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And it's very simple.

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If you want to get experience,
you have to give me your time.

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You have to sign the contract
before you enter the building,

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that you will spend there
a full six hours,

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you have to give me your word of honor.

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It's something so old-fashioned,

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but if you don't respect your own
word of honor and you leave before --

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that's not my problem.

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But it's the six hours, the experience.

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And then after you finish,
you get a certificate of accomplishment,

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so get home and frame it if you want.

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(Laughter)

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This is orientation hall.

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The public comes in, and the first thing
you have to do is dress in lab coats.

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It's this importance

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of stepping from being
just a viewer into experimenter.

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And then you go to the lockers

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and you put your watch,
your iPhone, your iPod, your computer

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and everything digital, electronic.

199
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And you are getting free time
for yourself for the first time.

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Because there is nothing
wrong with technology,

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our approach to technology is wrong.

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We are losing the time
we have for ourselves.

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This is an institute
to actually give you back this time.

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So what you do here,

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first you start slow walking,
you start slowing down.

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You're going back to simplicity.

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After slowing walking, you're going
to learn how to drink water --

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very simple, drinking water
for maybe half an hour.

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After this, you're going to
the Magnet Chamber,

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where you're going to create
some magnet streams on your body.

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Then after this,
you go to Crystal Chamber.

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00:10:58,360 --> 00:11:01,136
After Crystal Chamber,
you go to Eye-Gazing Chamber,

213
00:11:01,160 --> 00:11:05,256
after Eye-Gazing Chamber, you go to
a chamber where you are lying down.

214
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So it's the three basic positions
of the human body,

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sitting, standing and lying.

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And slow walking.

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And there is a sound chamber.

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And then after you've seen all of this,

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and prepared yourself
mentally and physically,

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then you are ready to see
something with a long duration,

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like in immaterial art.

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It can be music, it can be opera,
it can be theater piece,

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it can be film, it can be video dance.

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You go to the long duration chairs
because now you are comfortable.

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In the long duration chairs,

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you're transported to the big place
where you're going to see the work.

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And if you fall asleep,

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which is very possible
because it's been a long day,

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you're going to be
transported to the parking lot.

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(Laughter)

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And you know, sleeping is very important.

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In sleeping, you're still receiving art.

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So in the parking lot you stay
for a certain amount of time,

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and then after this
you just, you know, go back,

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you see more of the things you like to see

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or go home with your certificate.

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So this institute right now is virtual.

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Right now, I am just
making my institute in Brazil,

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then it's going to be in Australia,

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then it's coming here,
to Canada and everywhere.

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And this is to experience
a kind of simple method,

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how you go back to simplicity
in your own life.

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Counting rice will be another thing.

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(Laughter)

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You know, if you count rice
you can make life, too.

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How to count rice for six hours?

247
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It's incredibly important.

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You know, you go through this whole range
of being bored, being angry,

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being completely frustrated, not finishing
the amount of rice you're counting.

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And then this unbelievable
amount of peace you get

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when satisfying work is finished --

252
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or counting sand in the desert.

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Or having the sound-isolated situation --

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that you have headphones,
that you don't hear anything,

255
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and you're just there
together without sound,

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with the people experiencing silence,
just the simple silence.

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We are always doing things
we like in our life.

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And this is why you're not changing.

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You do things in life --

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it's just nothing happens
if you always do things the same way.

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But my method is to do things
I'm afraid of, the things I fear,

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the things I don't know,

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to go to territory
that nobody's ever been.

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And then also to include the failure.

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I think failure is important

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because if you go,
if you experiment, you can fail.

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If you don't go into that area
and you don't fail,

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you are actually repeating yourself
over and over again.

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And I think that human beings
right now need a change,

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and the only change to be made
is a personal level change.

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You have to make the change on yourself.

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Because the only way
to change consciousness,

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and to change the world around us,

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is to start with yourself.

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It's so easy to criticize
how it's different,

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the things in the world
and they're not right,

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and the governments are corrupted
and there's hunger in the world

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and there's wars -- the killing.

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But what we do on the personal level --

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what is our contribution
to this whole thing?

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Can you turn to your neighbor,
the one you don't know,

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and look at them for two full minutes
in their eyes, right now?

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(Chatter)

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I'm asking two minutes
of your time, that's so little.

285
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Breathe slowly, don't try to blink,
don't be self-conscious.

286
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Be relaxed.

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And just look a complete
stranger in his eyes.

288
00:14:43,520 --> 00:14:45,280
(Silence)

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Thank you for trusting me.

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(Applause)

291
00:15:33,360 --> 00:15:34,960
Chris Anderson: Thank you.

292
00:15:36,360 --> 00:15:38,040
Thank you so much.