Meirav Almog

This paper explores the phenomena of human encounter and co-presence through a dialogue between Marina Abramović’s performance The Artist is Present and Martin Buber’s ontology of I-You and I-It relations. Rather than using art merely to illustrate theory, the study investigates how Abramović’s performative exploration of silence, presence, vulnerability, and the gaze enriches and challenges the Buberian understanding of intersubjectivity. Key Buberian concepts, such as genuine presence (Gegenwart) and encounter (Begegnung), are analyzed alongside the artwork’s elemental structure of face-to-face interaction.The paper argues that while Abramović’s work embodies Buber’s ideal of unmediated relation, it also introduces complexities—such as power dynamics, asymmetry, and the Sartrean ”subject-object” gaze—that transcend Buber’s often harmonious framework. Furthermore, it examines the temporal dimension of the “present” in performance art, contrasting the process of “becoming” in the moment with the categorized “past” of documentation. Ultimately, the paper positions the performance as an ironic mirror reflecting contemporary mediated interactions, offering an ontological-performative study of the fundamentals of face-to-face encounter in the modern era.

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought.

This essay outlines the transformation of the ostensibly mundane example of two hands touching each other in Husserl’s Ideas II into the pivotal concept in Merleau-Ponty’s ontology of flesh and notion of embodied subjectivity. By focusing on the contexts in which the example appears in the works of Husserl and of Merleau-Ponty, it seeks to explicate Merleau-Ponty’s fascination with Husserl’s example, its role in the development of his own thought and in the conceptual shift in his late works on the body. I explore the various stages in the metamorphosis of Husserl’s example of touching hands, originally used merely to differentiate the sense of touch from that of sight, into Merleau-Ponty’s radical concept of flesh that overturns “our idea of the thing and the world, and... results in an ontological rehabilitation of the sensible.”

This essay offers a new understanding of Merleau-Ponty's notion of the Other, the problem that revolves around it, and its far-reaching repercussions by shedding light on aspects that usually go unnoticed in the interpretation of his late thought in these regards. I show how Merleau-Ponty's emerging ontology in his late writings opens anew, in a complex manner, the problem of the Other, transforming it in a way that dismantles, to begin with, traditional epistemological questions regarding the Other, as well as principal difficulties regarding the Other's appearance within the realm of phenomena which have occupied phenomenology from its very beginning. I demonstrate how Merleau-Ponty's late writings in fact bind the problem of the Other with the question regarding the very limits of phenomenology and the realm of meaning as a whole.