Titlebook: Choreographing Intersubjectivity in Performance Art; Victoria Wynne-Jones Book 2021 The Editor(s) (if applicable) and The Author(s) 2021 C

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Museum Bodies: Choreo-Policing and Choreo-Politics,in contemporary art museums. The history and politics of the relations created between art museums and visitors is explored, beginning with early nineteenth-century examples before moving onto the modernist “white cube” and its more hybrid twenty-first century permutations. Wynne-Jones uses André Le

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intricacy

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DAMP

,Walking the Wall and Crossing the Threshold: Angela Tiatia, Kalisolaite ‘Uhila and Shigeyuki Kihara bodies performing and creating interventions in museums and contemporary art gallery spaces in Aotearoa New Zealand. Focussing on the relations activated by such artworks, an examination of Louise Tu’u’s thesis of performance as a processual tool for drawing audiences into the dis-ease of social re

DAMP

Conclusion: Unsettling the Museum,from Helen Rees Leahy, this chapter draws attention to the inevitable tension between conformity and freedom in exhibition spaces. Observing the impact of post-human, post-internet, queer and decolonising theories in performance art, Wynne-Jones summarises how such theories impact the practice and s

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https://doi.org/10.1007/978-3-662-66885-6 order to highlight the relational and connective aspects of performance art. The introduction concludes with a discussion of the tendency in contemporary art to focus on the prescriptive aspects of choreography rather than its emancipatory potential.

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Haphazard

https://doi.org/10.1007/978-3-658-39521-6ection. Wynne-Jones argues that LeRoy uses various techniques to contest the restrictions and disciplinary power of the museum. Ideas taken from Amelia Jones and Sara Ahmed are used to argue that such spaces and artistic attitudes are gendered and rooted in a history that is deeply masculine.