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To se jasno pokaže že v njenem performansu ",{"type":655,"marks":658,"value":660},[659],"emphasis","Rhythm 0",{"type":655,"value":662}," (1974, Studio Morra, Neapelj), kjer je šest ur nepremično stala ob mizi z 72 predmeti, ki jih je lahko občinstvo uporabilo po lastni presoji, od neškodljivih do potencialno nevarnih. Ta situacija je bila konkretna postavitev pravil, ki so omogočila, da se je odnos med umetnico in gledalci razvil brez vnaprej določene meje, dokumentirano je, da so nekateri obiskovalci posegali po bolj agresivnih dejanjih, med drugim rezali njena oblačila, jo ranili in ji približali pištolo, ki je bila del ponujenih predmetov. Ko se je po šestih urah premaknila, se je interakcija zaključila in občinstvo se je umaknilo. ",{"item":595,"type":664},"block",{"type":652,"children":666},[667,669,672,674,677],{"type":655,"value":668},"Kasnejše delo Abramović ostaja vezano na isto izhodišče telesne prisotnosti, vendar se razvije v drugačne oblike trajanja in odnosa z gledalcem. Eden njenih najbolj znanih projektov, ",{"type":655,"marks":670,"value":671},[659],"The Artist Is Present",{"type":655,"value":673}," (2010, Museum of Modern Art), je trajal skoraj tri mesece. V tem času je vsak dan sedela za mizo v muzeju in v tišini gledala posamezne obiskovalce, ki so sedli nasproti nje. Performans je trajal skupno 736 ur in 30 minut. Ta premik od nepredvidljive interakcije k strukturirani prisotnosti pomeni spremembo pogojev, v katerih telo deluje. V obeh primerih ostaja osnovno dejstvo enako, namreč umetniško delo nastane v času in skozi neposreden odnos med umetnico in občinstvom. Razlika je v tem, kako je ta odnos organiziran. Abramović je skozi svojo kariero sodelovala tudi z umetnikom Ulayem, s katerim sta med drugim izvedla performans ",{"type":655,"marks":675,"value":676},[659],"Rest Energy",{"type":655,"value":678}," (1980), kjer sta skupaj držala napet lok in puščico, usmerjeno proti njenemu srcu. Napetost loka je bila odvisna od ravnotežja njunih teles, kar pomeni, da je obstajalo dejansko tveganje, če bi se ravnotežje porušilo. Performans je trajal štiri minute in je dokumentiran kot ena izmed ključnih točk njunega sodelovanja. ",{"item":613,"type":664},{"type":652,"children":681},[682,684,688],{"type":655,"value":683},"Pomembno je tudi, da je Abramović ustanovila Marina Abramović Institute, ki se ukvarja z raziskovanjem in prezentacijo performativnih praks, zlasti tistih, ki temeljijo na dolgotrajni prisotnosti in vzdržljivosti. V vseh teh primerih ostaja ključno dejstvo, da njena umetnost obstaja kot časovno omejen dogodek, ki se odvija v realnem prostoru in vključuje fizično prisotnost. Dokumentacija teh del (fotografije, video) obstaja, vendar ne nadomesti samega dogodka, ampak deluje kot njegov zapis. V Cukrarni sem jo srečala kot razstavo ",{"type":655,"marks":685,"value":687},[659,686],"strong","ART VITAL – 12 let tandema Ulay / Marina Abramović",{"type":655,"value":689},". Njuna dela tam niso bila več nevarna v neposrednem smislu, niso bila več performans, kjer bi se lahko karkoli zgodilo, ampak nekaj, kar gledam z določene distance, skozi čas in skozi dokumentacijo, skozi ponovitev. Hodila sem med deli in imela občutek, da gledam nekaj, kar je bilo radikalno neposredno, zdaj pa obstaja kot sled tega, kot zapis telesa, ki ga ni več tam, kot dokaz, da se je nekaj zgodilo, ne pa več samo to dogajanje. In vseeno me je zadelo. ",{"item":630,"type":664},{"type":652,"children":692},[693],{"type":655,"value":694},"Ne berem je kot nekoga, ki prestopa meje zaradi učinka, ampak kot nekoga, ki me prisili, da preverim, kje sploh te meje postavljam jaz. Njeni zgodnji performansi so pogosto označeni kot ekstremni, vendar se mi zdi, da razkrijejo nekaj precej bolj neprijetnega, namreč ne njene pripravljenosti iti daleč, ampak pripravljenost drugih, da grejo z njo. Nimam občutka, da gledam nekaj nevarnega, ampak da sem soočena z lastno potrebo po varni distanci, kontroverznost se zato premakne iz nje name. Vprašanje ni več, kaj si je ona dovolila narediti s svojim telesom, ampak kaj sem jaz pripravljena priznati o sebi kot gledalki. Mogoče je prav to razlog, da njeno delo še vedno deluje. Ker ne pusti, da ostanem nedolžna v odnosu do njega. In če sem čisto iskrena, je to veliko bolj neprijetno kot katerakoli zgodba, ki jo lahko preberem o njej. ",{"item":634,"type":664},"art-vital-12-let-tandema-ulay-marina-abramovic","the artist is present, rythem 0, rest energy",[699,701,705,708,712,715,718,722,726,730,733,736,739,743,746,749,753,756],{"attributes":10,"content":687,"tag":700},"title",{"attributes":702,"content":10,"tag":704},{"property":703,"content":687},"og:title","meta",{"attributes":706,"content":10,"tag":704},{"name":707,"content":687},"twitter:title",{"attributes":709,"content":10,"tag":704},{"name":710,"content":711},"description","Pri delu Marine Abramović me zanima predvsem natančnost dejstva, da je svoje telo dosledno uporabljala kot primarni medij 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