When I was a little girl, I had these hand-me-down shoes that I loved. I wore them everywhere. Anywhere, really. I don't think I cared whether they were appropriate for where I was going. If those were the shoes I wanted to wear, then those were the shoes I was wearing. And when they became too small, I still didn't want to let them go. I would squeeze my feet into them and somehow convince myself that they still fit. I imagine an adult looking at me and thinking, Child, these shoes are clearly too small. Please take them off. But I loved them. And I think about those shoes sometimes when I hear us talk about things like seasons, letting go, releasing, creating room, moving on. Usually, when we talk about letting go, there is something wrong with the thing we're letting go of. It has become toxic. It doesn't serve us anymore. It is holding us back. We have outgrown it. We need to make room for something better. And yes, sometimes that is exactly what letting go looks li...
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 ...