Marina Marković (Yugoslavia, 1983)

The body and embodiment are central to the themes, materials, and methodologies of Marina Marković’s artistic practice. She works with a corporeal language that explores the porous boundary between the female body, the self, and the social pressures that shape them—spanning from personal experience to complex social issues concerning women’s bodies. Pleasure, control, and resistance intersect and mutually condition one another, while power is simultaneously constructed, enacted, and questioned. The body becomes a site of negotiation, transgression, and reclamation, asserting its autonomy while confronting the structures that seek to define and appropriate it. The experience of anorexia in her early youth directed her work towards the politics of the body, the (de)construction of gender and sexuality, and the economics of desire, while revealing the network of power relations where free will and coercion are densely intertwined.
Since 2006, she has presented solo exhibitions and performances in Belgrade/RS, New York/US, Vienna/AT, Paris/FR, Bern/CH, alongside a dynamic presence in group shows and biennials worldwide. A recent long-term project, The Arrangement, unfolded through multiple iterations across venues, culminating in The Arrangements at the Salon of the Museum of Contemporary Art in Belgrade (2024); her latest solo exhibitions include Ambiguous Flesh (NGVU, Podgorica, 2023) and The Arrangement (Contemporary Gallery Subotica, 2022). Her latest group exhibitions weave this thread further: Histoires personnelles / Réalités politiques (Museum of Contemporary Art Lyon, 2025), Performissima(Centre Wallonie-Bruxelles, Paris, 2025), 60. October Salon – Aesthetic(s) of Encounter(s) (Belgrade City Museum, Belgrade, 2024), The End of Patriarchy (Kunstverein Augsburg, 2024), House of Inciting Passion (Vienna Art Week, 2023), Games, Planes and Soft Openings (Galerie Ernst Hilger, 2023), Secondary Archive (Manifesta 14 Biennial, Prishtina, 2022), Menstrualities (Alte Münze, Berlin, 2022), I’ve Seen The Future Baby, It’s Sexy (ŠKUC Gallery, Ljubljana, 2022), Art of Anti-War (Historical Museum of Bosnia and Herzegovina, Sarajevo, 2021), and Supercalifragilisticexpialidocious (White Box Gallery, New York, 2020). Marković has enriched this trajectory through numerous artist-in-residence programmes, including at ISCP New York/US and Q21/MuseumsQuartier Vienna/AT.
Marković is the recipient of several prestigious awards, such as the Young Visual Artist “Dimitrije Bašičević Mangelos” Award in 2011 and the Drawing Award given by the “Vladimir Veličković” Foundation in 2021. Her works are part of significant public and private collections, including museum collections nationally and internationally. She is currently pursuing a PhD in the New Media Department at the Faculty of Fine Arts in Belgrade. Marković lives and works between Belgrade and Paris.