Boyan Manchev

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Boyan Manchev

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Boyan Manchev is philosopher, Professor at the New Bulgarian University and at Universität der Künste (Berlin), Guest Professor at the Hollins University and Sofia University. He is also former Director of Program and Vice-President of the International College of Philosophy in Paris.
Photo: France Lamorlette

Boyan Manchev is philosopher, Professor at the New Bulgarian University and at Universität der Künste (Berlin), Guest Professor at the Hollins University and Sofia University. He is also former Director of Program and Vice-President of the International College of Philosophy in Paris. Manchev has lectured widely at European, Asian and North-American universities and cultural institutions. He has organised and/or collaborated to number of projects, congresses and public forums dealing with philosophy, art and politics at the CIPh, EHESS, CNRS, Palais de Tokyo, CND (Paris), Universität der Künste, Haus der Kulturen der Welt, Volksbühne, FU, NBK (Berlin), IWM, MUMOK, Tanzquartier (Vienna), ZKM (Karlsruhe), University of Tokyo Center for Philosophy (UTCP), Apexart, PS1, Columbia University (New York), BAK (Utrecht), among others.

He has debated and/or collaborated on different occasions with leading philosophers and cultural theorists from various generations; he has also participated as author, theorist, dramaturge or performer in theatre and contemporary dance projects, including Tim Etchells and Adrian Heathfield’s The Frequently Asked, Boris Charmatz’s expo zero and Poster session “Mouvement” for the Festival d’Avignon, Ani Vaseva’s Frankenstein, A Dying Play and Phaeton: Miscreants and Vierte Welt Kolaborationen's Pandora’s Daughters. Manchev has curated the exhibition Out of Time at the Sofia City Art Gallery (March – April 2011). Manchev is the author of seven books and about two hundred book chapters, catalogues and other publications in various languages. In the last years ap-peared Logic of the Political (Sofia: Critique&Humanism, 2012), Miracolo (Milano: Lanfranchi, 2011), L’altération du monde: Pour une esthétique radicale (Paris: Lignes, 2009); La Métamorphose et l’Instant – Désorganisation de la vie (Paris: La Phocide, 2009); Rue Descartes 64: La métamorphose, ed. by B. Manchev (Paris: PUF, 2009) ; Rue Descartes 67: Quel sujet du politique?, ed. by G. Basterra, R. Ivekovic and B. Manchev (Paris: PUF, 2010). His bookThe Body–Metamorphosis (Sofia: Altera, 2007) deals extensively with contemporary art, performance and dance.

Member of the editorial committees of the magazines Lignes (Paris), Materiali Foucaultiani (Rome / Paris), Critique and Humanism (Sofia), Stasis (St.Petersburg),Transeuropéennes (Paris), Transeuropa (London), the research networkTerra (Paris) and the publishing house La Phocide (Paris / Strasbourg).

In the last two decades Manchev’s work is focused on ontology, philosophy of art and political philosophy. He is consistently developing the project of philosophy of metamorphosis, based upon the idea for dynamic modal ontology. The ontological concept of metamorphosis, the ethical concept of disorganisation and the aesthetic concept of alteration are central for his transformationist approach. In this perspective Manchev works on and develops ontological, modal, ethical and aesthetic categories like metamorphosis and alteration; matter, form and transformation; potentiality, force and energy; chaos and complexity; chance and necessity; disorganization and persistence; organic and inorganic (artificial, monstrous); technique, nature, things and formless; possibility, desire and necessity; reality, efficiency and truth, articulated in relation to the attempt for proposing new possibilities of thinking the forms of world and life, of the subject and the body-subject, of the status of the philosophical idea and/or concept, of poiesis, image and narration, as well as of the political questions related to the categories of subject, community, struggle, change, decision, justice. The methods, defined as modal analysis, surcritique, alterconceptuality and philosophical figurology or fantastique, are of special importance for his work.

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