Marina Marković

Marina Markovi (born in Belgrade, Serbia, in 1983) graduated from Faculty of Fine Arts of the Belgrade University of Arts. Since 2006 she has exhibited widely in personal and group exhibitions throughout Serbia, the United States, Great Britain, Japan, Mexico and beyond. A Fellow of the Young Visual Artist Award and Dimitreije Basicevic Mangelos Award for 2011. MM lives and works between Belgrade and New York.
 

Anorexia 2006-2007
Consumer Whore 2009
Footage created from the sequences of TV commercials showing women with their faces distorted in ecstasy, rapturous over products such as laundry detergent , shampoos, menstrual pads, washing liquids.
Pressure me 2011-2015
Concept “Pressure me” was created as performance performed in 2011 in New York gallery Rabbit Hole. Fist part of this series of works was the act of tattooing and body installation – tattooing of tailor meter tied around waste in knot, fixed at the ideal proportion of waist. In the period from 2011 to 2013 the artist has researched through different medias (video/gif, sculpture, handicrafts, paintings, icons) the social pressure on women’s bodies, dealing with all the painful rituals that women carry out on daily basis on their own bodies in order to reach/achieve/get closer to the socially constructed ideals of beauty.
AZIL 2012-2105
Artists: Marina Marković and Boris Šribar

The right for asylum is one of the basic human rights and refers to the change of environment caused by fear for the existence or lack of the place of residence. In this collaborative project, Marina and Boris personally and professionally recognized themselves in the role of asylum seekers in the field of art, because we are coming from the country that almost has no art infrastructure, where museums are closed for decades, art completely marginalized and shut down, the country where there is no possibility to be an artist. The aims of this project are to make transparent the life and work of artists in diferent soraundings, to conquer a certain micro political space and to transform it into temporary space of ‘freedom’ and through a variety of strategies to point to all the problems that artists are facing to.
The Void
The Void (15' video, loop 2016) consists of recording of pulsed ultrasound of the uterus without any narrative progression, dialectically opposed to the sound image, female polyphony, the voices of the family who talk about women's primary roles and responsibilities. The VOID makes a step forward in relation to the consideration of the individual within the private sphere of Pressure Me series, as the focus shifts to the economy of the female body within the economy of a household and privacy in the family.