Abstract
F or many years, Marina Abramovic has been a prominent practitioner of site-specific action and performance art, and like some of the other pioneer women in body art (Carolee Schneemann, Yoko Ono, Valie Export, Ana Mendieta, Lygia Clark), she had used her body deliberately-to expose it to certain pressures, dangers, and contingencies, or to present it, make it present, as subject and object in specific relationships to the world. During the 1970s and 1980s, when she performed together with her partner Ulay (Uwe Laysiepen), these actions were both intensely relational and durational. Nightsea Crossing she sat motionless and silent for seven hours at one end of a long table, facing Ulay. Relation in Space, performed at the Venice Biennale in 1976, their naked bodies crashed into each other repeatedly for one hour. The catalog described the action bluntly as a task: In a large, empty space, repeatedly two bodies touch each other frontally at high speed. 1988, Abramovic parted from Ulay; their final performance was a crossing of the Great Wall of China, starting at opposite ends and walking towards each other.
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