"He makes me want to know about little things, so that I can teach him. Like when we sit by this lake, I wish I knew what kind of turtle that was, so I could tell him. And I want to figure out what kind of duck that is, so I can tell him all about it the next time we come."
"What do you want most for him?"
"Whatever his dreams are, I’m down to ride for him."
"What’s your biggest fear for him?"
"That he won’t try. If he doesn’t try, I’ll be hurt. Cause then we’ll never know how far he’d get."
“This piece was primarily a trust exercise, in which she told viewers she would not move for six hours no matter what they did to her. She placed 72 objects one could use in pleasing or destructive ways, ranging from flowers and a feather boa to a knife and a loaded pistol, on a table near her and invited the viewers to use them on her however they wanted.
Initially, Abramović said, viewers were peaceful and timid, but it escalated to violence quickly. “The experience I learned was that … if you leave decision to the public, you can be killed… I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.”
This piece revealed something terrible about humanity, similar to what Philip Zimbardo’s Stanford Prison Experiment or Stanley Milgram’s Obedience Experiment, both of which also proved how readily people will harm one another under unusual circumstances.”
This performance showed just how easy it is to dehumanize a person who doesn’t fight back, and is particularly powerful because it defies what we think we know about ourselves. I’m certain the no one reading this believes the people around him/her capable of doing such things to another human being, but this performance proves otherwise.”
Ian in LPD NEW YORK Plaid Convertible Shirt
Photo by M O S E S™
RUE DE LAPPE SHOWROOM, PARIS, 2002
Shalom Harlow at Alexander McQueen Spring/Summer 1999 “No. 13”
The finale, inspired by artist Rebecca Horn’s installation of two shotguns shooting blood-red paint at each other, has become one of the most precious moments in fashion history.
Model Shalom Harlow moves in a balletic way on a slowly rotating platform as robot arms, which took a week to program, sprays black and yellow paint on the previously white and rather simple dress.
When the robots were finished Shalom walked up infront of the photographers and audience and posed in an almost surrendered way before walking out in darkness.
This moment will even now, after 14 years, give me shivers all over my body.