Together with the depression of modernism, the end of its great narrations gave a start to the postmodern process. With this process, the problem of identity examined the current structures in areas of language, discourse and culture and tended to reconstruct them after 1970. Even though Battali used the notion of abject for the first time, it is Kristeva who discussed it in the Postmodern process, together with the identities. According to Kristeva, abject is the feeling that is felt during the period in which mother-child bodies separate from each other. This feeling is also felt during the period in which the body is separated from its own wastes. Kristeva has defined the notion of abject over biological relations. Defining the female body and its sexual wastes as abject compared to the separated male child and re-objectifying the outer body with the notion of beauty has been a subject discussed by the second-wave feminists and artists in a criticizing way. It is discussed that the female body becomes performative and gets ahead of being vital and the person is alienated from her body, together with the sexual wastes’ abject position that is obtained through separating the female body’s only outer surface from the inner surface. As the focus of the feminist body theory, the development of the “talking being” by Kristeva and preference of the artists to make abject art as a performance art is of importance in terms of facing the abject. In this study, the Carolee Scheemann’s performance called Interior Scroll will be examined and researched into as an example of seductiveness of female body as an abject art, in performance art.

Keywords: Abject art, Culture, Female Body, Performance Art, Carolee Scheemann