ABSTRACT In 2010, the Museum of Modern Art exhibited a retrospective titled Marina Abramović: The Artist is Present. Surrounded by photographs, artifacts, and re-performances of some of her notorious works, the “grandmother of performance art” performed her presence: For 7 days a week over three months, she sat still and expressionless at a simple wooden table as nearly 1,500 people sat down across from her to experience her presence—and cry. This essay examines the labor of presence at work in this performance-event and considers the affective economy within which presence circulates and is made to matter in the technological present.

中文翻译：

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“玛丽娜·阿布拉莫维奇让我哭了”：情感经济中的表演和临场感

摘要 2010 年，现代艺术博物馆举办了一场名为“玛丽娜·阿布拉莫维奇：艺术家在场”的回顾展。被她一些臭名昭著的作品的照片、文物和重新表演所包围，“行为艺术的祖母”表现出她的存在：三个月里，每周 7 天，她静静地坐在一张简单的木桌旁，面无表情地接近 1500人们在她对面坐下感受她的存在——然后哭泣。本文考察了在这个表演事件中工作中的临场劳动，并考虑了临场在其中循环并在技术现场中发挥作用的情感经济。