Abstract

The paper addresses the work of Ukrainian artist Maria Kulikovska, who resorts to military equipment as artistic materials and to destruction as an artistic method. In the first section, I contextualize Kulikovska’s performative sculpture within art history, claiming that it can be regarded as Destruction Art. In the second section, I turn to Catherine Malabou’s concept of “destructive plasticity” as a philosophical tool of an aesthetics of war, which offers a sound theoretical framework to further understand the implications of Kulikovska’s artistic activity. In the third section, I focus on the main material adopted by Kulikovska, ballistic soap, showing how the artist materially deconstructs inherited dichotomies that keep informing our understanding of wars. By considering the artistic practice of a feminist artist (M. Kulikovska) through the lens of feminist scholarship (K. Stiles, C. Malabou, J. Butler), the paper investigates the relations between war and the arts from a situated perspective.