Victoria Wynne-Jones's research while affiliated with University of Auckland and other places
What is this page?
This page lists the scientific contributions of an author, who either does not have a ResearchGate profile, or has not yet added these contributions to their profile.
It was automatically created by ResearchGate to create a record of this author's body of work. We create such pages to advance our goal of creating and maintaining the most comprehensive scientific repository possible. In doing so, we process publicly available (personal) data relating to the author as a member of the scientific community.
If you're a ResearchGate member, you can follow this page to keep up with this author's work.
If you are this author, and you don't want us to display this page anymore, please let us know.
It was automatically created by ResearchGate to create a record of this author's body of work. We create such pages to advance our goal of creating and maintaining the most comprehensive scientific repository possible. In doing so, we process publicly available (personal) data relating to the author as a member of the scientific community.
If you're a ResearchGate member, you can follow this page to keep up with this author's work.
If you are this author, and you don't want us to display this page anymore, please let us know.
Publications (9)
Since the early 2000s it has become common for artists to exhibit performances, either live or recorded that involve the execution of planned movements and actions as part of an encounter between various individuals occupying a gallery space. Wynne-Jones offers a much-needed summary of this recent choreographic turn in biennales, art galleries and...
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 Félix Guattari, each has implicat...
Video works from New Zealand-based artist Rebecca Ann Hobbs allow an examination of artworks involving choreographies performed to camera, ones that are self-taught and subsequent to viewing dance content uploaded to the internet from dancers across the globe. This chapter draws attention to the post-internet and post-digital aesthetics in works by...
Argues somatic attention is hetero-normative or structured by certain beliefs, contrasting with ideas of kinaesthetic queerness. Wynne-Jones examines ways of constructively misbehaving or moving otherwise with the aid of selected performances from Auckland-based-artist val smith, together with examples by Mark Bradford and Pablo Bronstein. Sara Ahm...
Wynne-Jones situates the choreographic or “new performance” turn in exhibition-making into a broader argument about intersubjectivity in art. Focusing on performing museology and museum bodies from Helen Rees Leahy, this chapter draws attention to the inevitable tension between conformity and freedom in exhibition spaces. Observing the impact of po...
A broad, art historical narrative of the heroic, solo, male performer attempting transformation provides context for examining Xavier Le Roy’s performance Self Unfinished (1998). Examples of twentieth-century performance art by Vito Acconci, Oleg Kulik, Paul McCarthy and Bruce Nauman reinforce this story. A concept of becoming from Gilles Deleuze a...
Explores performances by Pasifika artists: Angela Tiatia, Kalisolaite ‘Uhila and Shigeyuki Kihara. Wynne-Jones offers a much-needed summary of Pacific 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...
Jordan Wolfson’s Colored Sculpture (2016) paired with Helen Rees Leahy’s theory of museum bodies is used to explore the subjection, self-regulation and conformity often required in contemporary art museums. The history and politics of the relations created between art museums and visitors is explored, beginning with early nineteenth-century example...
