ABSTRACT
This chapter examines Marina Abramovic and Ulay approach in two key works Nightsea Crossing, which is carried out in complete stillness and The Lovers: The Great Wall Walk, which relies entirely on motion. It considers the sorts of challenges Abramovic work presented to audiences in her homeland as well as in venues she performed to in Western Europe, in order to highlight some of her primary concerns as an artist working with the body under particular socio-political circumstances. In addition to the work she made specifically for the occasion, Abramovic employed young artists and performers to train and re-enact a number of her earlier works in the spaces of the museum. Investing herself in the next generation of artists, she has taken up visiting professorships and full professorships at institutions in Germany and France as well as lecturing and carrying out workshops worldwide.
