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Marina Abramovic's “Body” in Betweenness
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마리나 아브라모비치Marina Abramovic의 경계의 '신체'

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Type
Academic journal
Author
Mheesung Park (홍익대학교)
Journal
KOREA ASSOCIATION FOR HISTORY OF MODERN ART Journal of History of Modern Art Vol.35 KCI Accredited Journals
Published
2014.6
Pages
37 - 58 (22page)

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Marina Abramovic's “Body” in Betweenness
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This paper examines the way Marina Abramovic’s own body represents in the her performances thus becomes the ultimate site for the construction of her subjectivity. Abramovic’s life as an artist is internally related to the history of performance art. She was born in 1946 into a family of the post-World War Ⅱ Communist elite and started her artistic career in the late 1960s and early ’70s in Belgrade Yugoslavia. She established her own private mythology based on family members who were Orthodox Christian church leaders and Communist national heroes, and she lived all the pathos of Balkan paradoxes. Abramovic is integrating the audience as part of her performance. She seeks the point at which the audience reaches the limits of its endurance in witnessing pain or danger. Her performances are a series of experiments aimed at identifying and defining limits: of her control over her own body; of an audience’s relationship with a performer; of art and, by extension, of the codes that govern society.
This paper first questions where we can locate Marina Abramovic’s place in our current discussions of contemporary art in relation to performance. Then, in the second chapter, I scrutinize several pre-existing scholarly perspectives on Abramovic works. The third chapter analyzes Abramovic’s body in the performance art, and then discusses how her work embodied it. In her series of performance in the early and mid-1970s Abramovic explored passive aggressin constructing the actions around her spectacular body. The last chapter of this paper deals with Abramovic’s body in the betweenness, which overlaps the being of a performer and audience.
#마리나 아브로모비치(Marina Abramovic) #유고슬라비아(Yugoslavia) #예술가의 신체(Artist's Body) #퍼포먼스(Performance) #폭력적 신체(violent body) #주체(subject)

Contents

Ⅰ. 들어가기
Ⅱ. 퍼포먼스 아트 속 아브라모비치의‘ 신체’ : 탈시각 중심의 주체 개념
Ⅲ. 아브라모비치의 행위하는 ‘신체’
Ⅳ. 중첩의 신체 : 아브라모비치의 ‘경계’의 인식
Ⅴ. 나가기
참고문헌
Abstract

References (19)

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김상헌 / 2005 / 구(舊) 유고슬라비아 지역의상장의례(喪葬儀禮)와 종교적 특성 / 비교민속학 (30):393~419 dbpia 김상헌 / 2005 / 구 유고슬라비아 민족의 일상적 삶과 유희적 삶 / 동유럽발칸학 7:301~326 google schola 김상헌 / 2003 / 유고슬라비아 민족의 自然物 崇拜에 관한 一考察 / 비교민속학 24:433~452 dbpia 김성진 / 1997 / 발칸 분쟁사 / 우리문학사 google schola 루츠 무스너 / 2009 / 문화학과 퍼포먼스- 우리는 어떻게 행동하는가 / 유로서적 google schola

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