This paper deals with two installation projects created by William Forsythe and Ryoji Ikeda for a mutual exhibition, thus focusing on the participatory and performative context of these artistic ...projects. Both installations are deeply performative, as they ask the audience to create their own choreographic mode of participation. This participation demand is, furthermore, examined both in the context of installation art history and in the context of Rancière’s writings on the problems of emancipation in artistic regimes. Finally, this paper offers a specific view on the problems of techno-performance, as well as on the concepts of participation and perception in such mega-installation processes.
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