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ABSTRACT
“DystopiAbramović” responds to a performance initiated by Marina Abramović using bodies of the public in silent performance. We trace the haunting of that performance by forms of collective embodiment that characterize Australia's political reality: carceral immigration policies, the Royal Commission into Institutional Responses to Child Sexual Abuse, Australia as a refuge for Jews fleeing Europe, and late capitalism.
Disclosure Statement
No potential conflict of interest was reported by the authors.