Miniaturen: I’m not Marina Abramović – Additional Stimulation (2025)
Donnerstag, 11. Dezember 2025, 19:30 Uhr Erdgeschoss
Ein Performance Abend mit Željka Aleksić
Die Performance stellt Handlungsfähigkeit durch Berührung in den Mittelpunkt. Sie lädt das Publikum nicht nur zum Zuschauen ein, sondern zum Mitmachen – zum Berühren, Aktivieren und Fühlen. Željka Aleksić erzeugt sensorische Übertragung von Nähe und Verletzlichkeit mittels Strom: Das Publikum kann elektrische Impulse an ihren Körper weitergeben und erzeugt so die unwillkürlichen Bewegungen der Performerin – eine Choreografie aus geteiltem Vertrauen, Macht und Unsicherheit. Nicht zuletzt lotet Željka Aleksić mit “I’m not Marina Abramović“ die Nähe zum Werk der bekannten Performancekünstlerin in ihrer eigenen Praxis aus.
Die Performance kommt ohne Sprache aus.
In an age where contact has become distant and emotion relegated to devices, I’m not Marina Abramović – Additional Stimulation reclaims the body as the ultimate site of genuine connection.
The performance invites the audience not to watch, but to participate — to touch, to activate, to feel.
Throughout her artistic practice, Aleksić has often referenced the work of Marina Abramović, whose legacy profoundly shaped the discourse of performance art. Yet, following her graduation from the Academy of Fine Arts in Vienna, Aleksić began frequently hearing comparisons that labeled her as “the new” or “another Marina Abramović.” While she deeply respects Abramović’s artistic contribution, Aleksić resists such direct parallels. This performance becomes both a response and a declaration — a reaffirmation of authorship, difference, and agency through touch. Through controlled electrical stimulation of the radial nerve, the artist’s body becomes a responsive field. Each visitor manipulates the current flowing through her hand, producing involuntary movements — a choreography of shared trust, power, and uncertainty. The boundary between care and control, tenderness and dominance becomes electrified and alive. Here, touch is the first impulse toward closeness, and vulnerability arises through proximity. While we can control words, expressions, and observation, the body — its touch, movement, and scent — resists complete control. Every contact evokes trust, fragility, and shared sensation, reminding us that physical communication is immediate, intimate, and profoundly human.
Where Marina Abramović established presence through stillness and distance, Aleksić constructs it through proximity and interaction. The electric pulse functions as a metaphor for emotional transmission — a sensory language that bypasses words, logic, and the screen. By surrendering her body to both current and contact, Aleksić transforms technology from a barrier into a conduit — a living circuit of empathy, vulnerability, and care.
The pulse, whether personal or shared, is never purely biological. It is social, emotional, and deeply political.
This is not imitation, but inversion.
Not silence, but vibration.
Not absence, but touch.