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Petr Štembera’s first performance  Narcissus No. 1  (1974) was staged as a religious ritual of self-acceptance. During the performance, the artist used a combination of Greek mythology and Christian Eucharistic ritual as a basis for the action during which he consumed detritus from his body while looking at a portrait of himself. This method of arguably self-indulgent individualism was at the core of his broader practice as a pioneer of Czech Body Art. Using Czech philosophical writings on Marxist humanism, this article seeks to reframe individualism, selfishness, and self-indulgence not as pejoratives that are used to dismiss performance works but as a productive basis for a theory of performance-making strategy. Štembera used Zen-Buddhism and phenomenological approaches to contest the political aspects relating to the body in Late Socialist Czechoslovakia. His performance was purposefully selfish, self-indulgent, and individualistic and he strategically refused to share the specifics of his experience with his audience. Instead, he used his performance to offer permission to his audience to perform similar acts of self-indulgence, which in the context of the collectivist Socialist regime of the 1970s functioned, I argue, as a politically subversive act.

A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera