Abstract
Marina Abramovic, as a woman, may have been seen as less of a threat or perhaps it may be that Abramovic was less of a target because her mother was an art historian as well a museum director. Indeed, Abramovic had the privilege of attending every Venice Biennial since she was 12 years old and could move between Yugoslavia and Western Europe with comparative ease “travel on a Yugoslav passport was easy at the time”. This chapter consider the sorts of challenges her work presented to audiences in her home-land as well as in venues she performed to in Western Europe, in order to highlight some of her primary concerns as an artist working with the body under particular socio-political circumstances. It examines their approach in two key works Nightsea Crossing, which is carried out in complete stillness and The Lovers: The Great Wall Walk, which relies entirely on motion.
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