One of the easiest things in the world is to mistake an outcome for a story. A beautiful home. A thriving business. A failed marriage. A child in an expensive school. A forty-year-old with no savings. Someone who seems to have it all. Someone who appears to have fallen behind. We see the destination and instinctively begin filling in the journey. Hardworking. Lazy. Disciplined. Irresponsible. Lucky. Entitled. Deserving. Wasteful. Perhaps the most dangerous thing about human beings is not that we judge one another. It is how quickly we become certain that our judgment is correct. Because every life has invisible expenses. Not just financial ones. The kind that never appear on a bank statement or a résumé. Some are chosen. Some are imposed. Some are wise. Some are costly mistakes. Most are a complicated mixture of both. One person reaches middle age with very little savings because they spent years paying school fees for younger siblings. Another because they repeatedly made poor financi...
In 1974, Marina Abramović performed Rhythm 0 — a haunting six-hour piece that would later be remembered as one of the most disturbing social experiments in the history of performance art. She placed herself in a gallery in Naples, Italy, standing still next to a table with 72 objects. Some were harmless (a rose, a feather, bread); others were violent (a whip, a knife, a loaded gun). She allowed the audience to use any object on her however they wished. She took full responsibility for whatever would happen. She would not resist. At first, the crowd was gentle. They posed her. Kissed her. Gave her flowers. But as time passed, they became bolder. They cut her clothes. Pricked her skin. Marked her with a knife. Someone loaded the gun and placed it in her hand, pointing it at her neck. The crowd, once made up of ordinary people, had slowly turned into something else. When the six hours ended, Marina began to walk toward the audience — no longer a passive object, but a human again. People ...