Abstract
In works by Scottish performer Adrian Howells, Belgian theatre company Ontroerend Goed, and German-British artist Tino Sehgal the artists conspire to create intimate relationships with and among their publics. But this goal is often complicated by pressures to feel or at least to fake it, and obligations to pay money and attention; in short, to work.
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Articles
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©2014 New York University and the Massachusetts Institute of Technology
2014
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