21 February 2020
  • 11:25 Hot topics: Slovenian Prime Minister resigns; Croatia one of the most popular destinations; North Macedonian PM resigns
  • 10:45 PROMO: NEO, a Platform for Smart Living
  • 12:42 Rijeka flows in its own way – The European Capital of Culture 2020
  • 11:04 Top Balkan Women – 1/11: Marina Abramović
  • 10:56 Fear of robots is unfounded

Women may not rule the balkans, but they hold some powerful positions

Women in power is not what would first cross one’s mind in association with the Balkans – a traditional society where most important functions are still held by men. But change, albeit slow, is taking place and there are some ambitious females in the region that command quite a bit of power. Two of them were included on Forbes’ 100 most powerful women list. At the Adriatic Journal we looked at who are the Balkan women that stand out in this male-dominated region.

Author:  Ana Potočnik


Marina Abramović is a performance artist known for her use of pain and physical limits as a form of expression. Even after four decades in the “business”, she still continues to create new work, exploring the relationship between herself and her audience, and transforming both through her performances. Born in Belgrade in 1946, Abramović went on to study art both in her hometown and in Zagreb, developing an early interest in performance art, including experiments with sound installations. Her arguably most provocative work, however, is 1974’s Rhythm 0, a performance in the Italian city of Naples in which Abramović directed the audience: “There are 72 objects on the table that one can use on me as desired.” 

If you leave it up to the audience, they can kill.

” The objects included razor blades, knives and a loaded gun, while the artist sat motionless as people cut open her clothes or slashed her skin. “If you leave it up to the audience, they can kill,” Abramović said after the performance of an inherent human cruelty that she sought to expose. In 2010, her popular retrospective The Artist is Present was exhibited at The Museum of Modern Art. The work was inspired by her belief that stretching the length of a performance beyond expectations serves to alter our perception of time and foster a deeper engagement in the experience. Seated silently at a wooden table across from an empty chair, she waited as people took turns sitting in the chair and locking eyes with her. Over the course of nearly three months, for eight hours a day, she met the gaze of 1,000 strangers, many of whom were moved to tears.

Adriatic Journal


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