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Following a recent exhibition at the Stedelijk Museum Amsterdam (2024) on the life and work of Marina Abramović (Belgrade 1946), in this article Anne-Marie Korte discusses the career of the controversial Serbian performance artist from the perspective of gender and religious studies. Korte emphasises the spiritual nature of Abramović’s art as increasingly characteristic of her performance art, as well as the use of her own body as a medium, both conceptualised from a neoliberal individualist stance. Despite criticisms of her perceived commercialisation in the context of the increasing institutionalisation of her work, Korte invites a more nuanced view of Abramović as a performance artist, considering the boundaries her work explores in the areas of corporeality, artistic integrity, sexuality and spirituality.
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