Occult Aesthetics, Public Controversy, & the Abramović Affair: Why Was She Chosen for a Role in Ukrainian Orphan Affairs?

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Introduction

Marina Abramović is no stranger to controversy. Heralded in the mainstream art world as a pioneer of performance art, she has pushed boundaries for decades. But outside of gallery circles, her name evokes suspicion, particularly among those critical of elite symbolism, occult references, and alleged connections between power, ritual, and public perception. In 2023, when news broke that Ukraine had proposed Abramović as an ambassador for its orphan relief initiatives, the decision sparked a wave of speculation: why her? Given her long-standing association with esoteric and seemingly occult imagery, why place her in a role involving vulnerable children?

This essay examines why Marina Abramović is often accused of Satanic or Luciferian affiliations, explores the symbolic underpinnings of her work, and asks what it means when nations like Ukraine appoint such figures to roles of humanitarian trust. Is it simply bad optics, or is there a deeper game at play?

Part I: Marina Abramović and the Occult Imagery

Abramović has performed some of the most disturbing acts ever presented under the banner of "art": cutting a pentagram into her abdomen, lying among blood-soaked bones, and standing passive while strangers threatened to harm her in Rhythm 0. Her works often reference spiritual or magical rituals, invoking not only her Serbian Orthodox background but also drawing heavily from the Western esoteric tradition.

Her 1997 performance Spirit Cooking attracted particular attention--it still exists online to influence viewers (or their souls?). The performance, involving the use of pig’s blood, cryptic phrases, and ritualistic food preparation, was later referenced in the leaked Podesta emails during the 2016 U.S. election. Though Abramović has denied that Spirit Cooking is anything other than performance art, critics argue that even symbolic association with themes of cannibalism and blood sacrifice, especially when paired with elite political names, deserves scrutiny.

To many observers, these performances aren’t just art—they echo ritualistic ceremonies found in Satanic and occult traditions. Whether intended or not, the imagery taps into archetypes of power, fear, and blood rites. Abramović’s defenders say she is confronting the darkness of human psychology; her critics say she is celebrating it.

Part II: The Ukraine Connection

In September 2023, it was reported that Marina Abramović had been asked by Ukrainian President Volodymyr Z-elensky to become an ambassador for the children orphaned by the Russia-Ukraine war. This immediately set off alarms in some circles, especially given her notoriety and the symbolic weight of her art.

Why would Ukraine—a country in the middle of a brutal war, desperate for Western sympathy and support—choose someone as polarizing as Abramović to represent its most vulnerable population?

Several possible explanations emerge:

• Elite signaling: Critics argue that Ukraine’s increasingly tight relationship with globalist institutions and Western elites makes such a move less surprising. Abramović is a darling of the global art world, connected to institutions, donors, and influencers. Her appointment may be more about appealing to those networks than actually serving children.

• Occult associations: For those who believe in a hidden spiritual war behind global politics, Abramović’s placement in such a role is not coincidental. Children have long been the symbolic battleground in conspiracy theories about elite ritual abuse, and appointing someone associated—whether fairly or not—with such symbolism is seen as provocative, even sinister.

• Image control and psychological inversion: Some theorists argue that the elite intentionally place controversial or darkly symbolic figures in roles of supposed compassion (e.g., child welfare) to invert truth, obscure intent, or normalize hidden agendas.

Part III: Art, Intent, and the Weaponization of Symbolism

It is worth asking: is Abramović actually a Sa*an worshipper?

There is no public, direct admission from Abramović stating that she worships Sat*n or is a member of any Sat*nic organization. However, the ambiguity of her art and its undeniable use of occult symbols continues to draw attention. In her own words, she has described her work as spiritual and even shamanic. She has also stated: “For me, art must be disturbing. It must ask questions.”

But what happens when the questions become accusations? What happens when ritual aesthetics are performed in elite settings—often behind closed doors—with the veneer of symbolic performance?

Symbolism matters. And public trust is fragile. Appointing a figure associated—fairly or unfairly—with occultism to a role involving children isn’t just controversial, it’s a direct challenge to our instincts about who should be entrusted with vulnerable lives.

Conclusion: Provocation or Pattern?

Whether Marina Abramović is a Sat*n worshipper or merely an artist skilled in provocation, the public reaction to her work—and to her appointment as Ukraine’s orphan ambassador—should not be dismissed. It reveals a deeper unease in the collective psyche: a suspicion that those in power flirt with darkness while preaching light.

Ukraine’s choice to elevate Abramović isn’t an isolated decision; it’s a reflection of the cultural moment we're in—where symbolism, perception, and the trustworthiness of global institutions are all under intense scrutiny. At minimum, it shows a tone-deafness to how damaged the public trust already is. At worst, it suggests a ritualized repetition of old patterns: using art, shock, and celebrity to distract from deeper agendas.

In a world where performance art and reality are increasingly hard to tell apart, we must ask not only what does this mean? but who benefits when such symbols are made sacred?