Boyan Manchev

    philosopher and writer, Paris and Sophia

    Boyan Manchev (born 1970) is a philosopher and cultural theorist. Currently he is Director of Programs and Vice-President of the International College of Philosophy in Paris and Associate Professor of Philosophy at the New Bulgarian University in Sofia. Recently he was a fellow at the Kolleg Friedrich Nietzsche, Weimar (2009) and at the Institute for Human Sciences, Vienna (2008), a resident at apexart, New York (2007), a guest researcher at EHESS, Paris (2006), and Thinker in Residence and theoretical advisor for IDEE (Initiatives in Dance through European Exchange), Vienna (2006). He has organized and participated in numerous seminars and public programs on contemporary art, philosophy, and politics, among others in the project expo zéro by Musée de la danse at BAK in April 2010. In addition, he has contributed to a variety of curatorial and artistic projects at, among others, ZKM, Karlsruhe and Tanzquartier, Vienna. Among his many publications are: Rue Descartes 67: Quel sujet du politique? (ed., 2010); Rue Descartes 64: La metamorphose (ed., 2009); L'altération du monde: Pour une esthétique radicale (2009); La Métamorphose et l'Instant (2009); The Body-Metamorphosis (2007); “Transformance. The Body of Event,” in It takes place when it doesn't. On dance and performance since 1989 (2006); “Der Totale Körper der Lust,” in Zurück aus der Zukunft. Osteuropäische Kulturen im Zeitaler des Postcommunismus (2005); and The Unimaginable. Essays in Philosophy of Image (2003). Manchev lives and works in Paris and Sofia.

    During my RIR residency in 2009 I started work on the manuscript of my new book, with the working title Transformance. The second part of the residency in 2010 will be dedicated to finishing the book, in which I aim to develop, in the perspective of “ontology of actuality,” my recent work on what I call “aesthetic alteration” (engaged with in my book L’altération du monde: pour une esthétique radicale (Paris: Lignes, 2009)). This work tries to elaborate critical tools and a conceptual vocabulary to face the societal, political, economic, and cultural transformations at stake, and it pays particular attention to contemporary arts (performance art, contemporary dance, noise music, visual arts), seeing them on the one hand as pioneers of the actual transformations and on the other as a privileged field for experimenting of a way out of the current alteration of the world. My research stay at BAK provided an unexpected but most welcome opportunity to bring together and put in a common conceptual frame my long-standing work with artists from different fields and different backgrounds, which stimulated the elaboration and experimentation of new critical concepts, and helped to remobilize the power of the concept as an instrument in the praxis of transformation.