Performance Philosophy is an international network open to all researchers concerned with the relationship between performance & philosophy.

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What does the structureless of shock look like?

Started by Jim Daly. Last reply by Bernard Roddy Feb 22. 1 Reply

You can't impose structure on shock, can you? Continue

Bishop and Bourriaud

Started by Bernard Roddy. Last reply by Monica Gontovnik Aug 19, 2016. 1 Reply

Claire Bishop's book, Artificial Hells, provides a useful resource to engage with a set of works in performance of relevance to studio practice today. I am uploading my notes on the the first pages…Continue

Claire Bishop and Nicholas Bourriaud

Started by Bernard Roddy Jul 26, 2016. 0 Replies

Claire Bishop's book, Artificial Hells, provides a useful resource to engage with a set of works in performance of relevance to studio practice today. I am uploading my notes on the the first pages…Continue

Tags: aesthetics, relational, criticism, art, performance

Nowhere Near London (or, The Late Walter Benjamin)

Started by Fred Dalmasso Jun 23, 2016. 0 Replies

is to be given its premiere in the main auditorium at theWatford Palace Theatre on Monday, July 4th, 7.30pmsee …Continue

Blog Posts

MA Performance

Posted by silvia battista on August 3, 2017 at 9:27 0 Comments

Dear all

Liverpool Hope University is now accepting applications for its new postgraduate programme in performance. I would appreciate if you could pass this information to any graduates who might be interested.

This MA programme offers an interdisciplinary and multicultural perspective on contemporary performance practice and research. It is primarily addressed to practitioners, curators and researches interested in performance as an expanded field of cultural and critical…


OPEN CALL: Symposium Performance Philosophy School of Athens II

Posted by Stella Dimitrakopoulou on July 20, 2017 at 17:30 0 Comments

Athens, 23-24 September 2017

Performance Philosophy School of Athens II, is a two-day symposium, organised by Stefania Mylona and Stella Dimitrakopoulou, in association with the Performance Philosophy network. This year will focus on Performance Dance, performances of all kinds that stand in-between dance and performance art or more broadly the visual arts world. The symposium…



Posted by Allen Alain Viguier on June 16, 2017 at 17:36 0 Comments

Object art is entirely processual and performative. No object preexists a perspective, a context and a participant-observer. The object post-object was not has been turned on its head, and turned inside out. A site dedicated to second order observation.…


Notes on Performance art, the Body and the Political.pdf

Posted by Andrea Pagnes (VestAndPage) on March 12, 2017 at 15:54 0 Comments

For anyone interested, I have linked on my page profile at the voice 'texts' my curatorial and post event catalogue text of the 2nd Live art exhibition project Venice International Performance Art Week: Ritual Body-Political Body (Venice, 2014).


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Latest Activity

PostArt recycled liked George Hunka's group Erotics and drama
May 21, 2013
PostArt recycled joined George Hunka's group

Erotics and drama

A few passages in the Dialectic of Enlightenment suggest a concern with the erotic in the work of Critical Theory; Schopenhauer's philosophy also provided the basis for a new conception of sexuality and erotics in the arts. What's more, these underscore the necessity of transgressive eros in the creation of a post-catastrophic art (see especially Laurence Dreyfus' recent work on Wagner). As a playwright I am particularly interested in the role this plays in a written drama preferatory to…See More
May 21, 2013
PostArt recycled joined Gary Banham's group

Fashion and Performance

The point of the group is to promote the discussion and analysis of the ways that fashion is performed.See More
May 20, 2013
PostArt recycled joined Alice Koubová's group

Philosophy in Experiment

Philosophy in experiment is a group of researchers and actors of authorial theatre whose main aim is the cultivation of philosophical thinking, developed together with the cultivation of self-perception and expression. We are interested in the space of experiment, an open field, where experience returns to its foundation which consists of experimentation or trying out (experiri). Experience of this sort includes in itself the state of being moved by sense which does not give itself to…See More
May 20, 2013
PostArt recycled joined Jonas Tinius's group

Anthropology and Performance

This group seeks to focus and foster conversations by and about the relation between anthropology and performance. This can be in the form of anthropology as performance, performance as anthropology, or anthropology of performances or the performative. It could also be used to exchange literature, information about upcoming events, and general discussion. See More
May 18, 2013
PostArt recycled liked Laura Cull's page Links
Nov 14, 2012
PostArt recycled is now a member of Performance Philosophy
Oct 30, 2012

Profile Information

Research Interests
post-conceptual art,film,theory,poetry,performance,visual art,cultural studies,gender politics

Four Steps to ...

Mapping the territory which is absent for itself , keep going there where all paths ended

through imaginable stages of essential but not yet material substances -that would be a journey to unreachable Magnitogorsk….


Stages stretched back to the surfaces and latter fall back to the stages. Looking through the Mirror the artificial will come as a fake, the reflected reflection mirrored onto joined surface where the shadows of forested thoughts form the conjunction with its own reflection. Eyes prolonged to the infinity becoming umbilical cords, which were detached from its maternal cavities fly freely to the other intended encampments. The eyes are becoming the sparkling mirrors, and the mirrors are transforming into the flying eyes. The gaze is located behind, covered up by transparent surface, which extension is Mirror. The Mirror we claim, the Beginning we encompass.  Wrapped into the eyes, all surfaces of our journey reflect each other insofar as rocks and cliffs transform into the sea, and sea turns to be a forest, and altogether they are waiting for the final fall into the abysmal rupture between eternity and infinity.


Nothing could change the order, nothing would instantiate the concept of rocks except the Rocks themselves. Being hard to penetrate with the material tools, stoned substance open up its inner secret to the scanning gaze -persistently intense investigator that is able to pierce all: durable and endurable, tangible and intangible. Skeletons of the past have been withdrawn from its place and freed from its fleshy cover, are transmuted into the Rocks, which were destined to contain the full record of those who passed away or still continue their journey been strangely deformed. Coldness and hardness of their appearance hide the condensed spot of enormous accumulated energy, once unleashed would rather to entirely fire up the conscious. Being presumably alive in the forgotten past, the Rocks became constituent of eternity that they undertake as challengeable transmutation or as a chance to pass through the stages of deconstructive reconstruction of death towards the resurrection.


The sand of the seashore formed by remains of rocks and debris of multiple crashes, the evidences of uninterrupted processes of becoming, reshaping and molding down into the dust disintegrating molar into molecular. The work of the Sea as a gigantic moving liquid mirror embraces conglomerates of islands regardless how big or small they are. The Sea dominates through its omnipotence and omnipresence and reduces gradually the seashore by consuming the fragments of the land then digests them and discharges. The borderline between the Sea and the Land is in constant motion whereby the both substances soil and water are mixed and mutually exchanged. Our judging has retired our eyes cannot catch the horizon line. There is  eternal grandeur of formidable work of salty and fluid mirror which we call a Sea. Freedom to be born and reborn under the water is the freedom of imprisonment in the cell without walls without the possibility to breath but with the only hope to escape it once and forever….


Earthy life of its inhabitants, those creatures who were conceived by the power of water and rocks are evolving thoroughly, being surrounded by plants of all kinds from above and below.  The hair of earth –the Forest is the shadow umbrella and the source of provision that welcomes escapers and rejects cowards. Doesn’t matter where: on dusty roads or deserted hills, the memory brings us under the shadow of trees into the cooling darkness of woods. Meditation under swapping vespers of the leaves and murmur of interlaced branches leads us to the utter quietness of the world end. Meanwhile the Danger multiplied in the dark and semi dark corners of woodland, wakes us up. The Danger is hidden in the meditative serenity and would come out as soon as one will assume the abstract premises of unconscious forest- the stratified place where the life and death co-exist competing each other in the progressive scale. Upper world and under world that are presented by the single tree, have been both symbolically assigned to the two of its possible ends. Who will win and who will lose? Neither dead nor alive. The tree is stretched between the sky and chasm.


Furthermore we are facing the Abyss. The bottomless rupture where disappearance means otherness, where all things together are going to be dissolved. The rupture which cuts off any matter- fluid or rigid, alive or dead opens the mouth of the hungry beast for the sake to devour the remains with or without confession of their actual end. Symbolic wound exhausted of its own blood, the Abyss expands its cracking hole further and further until the never foreseeing limit. Indeed we are there, indeed we will be. The land, the sea, the live creatures, the forested islands and deserted territories all of them are preys of the Abyss, which they cover up being naively mesmerized by its fake promise of eternity. Magnetic impasse of Magnitogorsk where alchemy of infinity and eternity shows the conceptual void or rather the vacuum where particles are lost in space- less continuity can be taken as a mapping step for the cartographic discovery of the Abyss though the latter couldn’t be discovered by any means except of only intention to be visualized…


So forth we are pronouncing the striking opportunity to see the impossible to be seen, to catch the traces of invisible, to draw the map of unknown.

We are fearlessly standing on the merge of the Abyss and humbly contemplating the dramatic spectacle of grandiose event of transformation. Flows and currents, flux and influx, blowing wind of magnetic particles, storms and hurricanes all deeply shake our fragile being until its last molecular fragment, rewarding us by incredible inspiration of the troubling aesthetics of Life.  


Max M.Ryleev

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