This book offers new ways of thinking about dance-related artworks that have taken place in galleries, museums and biennales over the past two decades as part of thechoreographic turn. It focuses on the concept of intersubjectivity and theorises about what happens when subjects meet within a performance artwork. The resulting relations are crucial to instances of performance art in which embodied subjects engage as spectators, participants and performers in orchestrated art events. Choreographing Intersubjectivity in Performance Art deploys a multi-disciplinary approach across dance choreography and evolving manifestations of performance art. An innovative, overarching concept of choreography sustains the idea that intersubjectivity evolves through places, spaces, performance and spectatorship. Drawing upon international examples, the book introduces readers to performance art from the South Pacific and the complexities of de-colonising choreography. Artists Tino Sehgal, Xavier Le Roy, Jordan Wolfson, Alicia Frankovich and Shigeyuki Kihara are discussed.

Victoria Wynne-Jones is an Auckland-based art historian, curator and writer. She currently lectures in the disciplinary areas of Art History, Fine Arts and Dance Studies. Her research focuses on the intersections between dance studies and performance art as well as curatorial practice, feminisms, contemporary art theory and philosophy.

1. Chapter 1: Introduction.- 2. Chapter 2: Museum bodies: self-regulation, order, subjection, instruction and choreo-politics.- 3. Chapter 3: Self Unfinished: Choreography and subject constitution.- 4. Chapter 4: Theories of intersubjectivity: alterity, recognition and somatic attention.- 5. Chapter 5: Choreographing intersubjectivity: posthuman, post-internet, queer and decolonising choreographies.- 6. Chapter 6: Conclusion.