Abstract
A range of works from 2000 to 2012 by Berlin-based artist Tino Sehgal act as case studies for a closer examination of the reception of performance art, particularly its relational and ethical dimensions. Focusing on philosophical theories of intersubjectivity by Hannah Arendt, Emmanuel Levinas, Gilbert Simondon and Felix Guattari, each has implication for art as encounter. Exploring performances by Sean Curham, Kalisolaite ‘Uhila and Alicia Frankovich allows for a range of encounters to be examined including one-on-one, small groupings, multitudes and even swarms of people. Wynne-Jones argues that a range of de-familiarising techniques used by artists tie into Rosi Braidotti’s theory of post-humanism and its critical stance towards the authority of the contemporary art museum.
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