The article explores the artwork of Tanja Ostojić, an interdisciplinary artist from Serbia who uses performance art to examine social and political issues. Ostojić in particu- lar expresses the migrant woman’s perspective when facing today’s world of political and economic inequities. With caustic humor, the artist examines who occupies cen- ter positions and who remains in the margins. Ostojić’s subversive performances blur the boundaries between art and life. Her use of her own body, personal history, and identity reflects a feminist perspective. Placing Ostojić’s work in the longer history of performance art, this article analyzes how this provocative artist pushes the boundar- ies of art and culture by denouncing the power dynamics that rule exclusive systems such as the Western-dominated art world and the European Union.
The Subversive Performances of Tanja Ostojić
10, no. 2 (2012): 140. 23 G. F. Plant, Oversea Settlement: Migration from the Untied Kingdom to the Dominions (London: Oxford University Press, 1951), 64. 24 Lisa Chilton, Agents of Empire: British Female Migration to Canada and Australia, 1860s
Immigrant Bachelors, French Bureaucrats, and the Conjugal Politics of Naturalization in the Third Republic
, one that female migration, family formation, and, I argue, heterosexual marriage and intermarriage could well remedy. Marriage, they believed, disciplined male bodies and minds, containing their sexuality and rendering them better workers, better