PAS | honey for the mind


"honey for the mind", process publication of PAS | Performance Art Studies #66 "if I were in your place", 546 pages, published by PAS 2019

PAS #66 "if I were in your place" was realized in cooperation with Karstica - Espacio de Creacion, Cañada del Hoyo and Museo Neomudejar, Madrid 15. - 22. September 2019.

with contributions by John Muse, Karoline Strys, Ana Reis, Berendine Venemans, Lili Ullrich, Brendamaris Rodriguez, María Herrador, Debbie Reda, Monika Deimling, BBB Johannes Deimling.

PAS | Performance Art Studies #66

“If I were in your place”

process documentation

PAS | Performance Art Studies

“There is not one way of doing performance art,

but many.”

PAS | Performance Art Studies was created in January 2008 with the

interest of establishing a platform for artistic and social dialogue in

order to shape a space for constant, critical learning and exploration

its inexhaustible potential between Performance Art and other art

genres. The studies consist of gatherings of people, who are interested

in sharing experiences, view points and visions in which collective,

artistic experiments are made and widen the perspective and

perception through participation and sharing. The process-based experiments

are learning tools for sharpening ones view on the world

and questioning our role as humans and creative workers.

Since Performance Art constantly expands and develops, there remains

a huge field of unknown and undiscovered territory, which

could offer solutions for artistic and non-artistic research, production

and reflection. Stating this means: the main learning tool within

a PAS study is the process of which we are uncertain where it will

lead us. This process is directed to all involved without restrictions

and mainly guided by the agreed experiments. This openness towards

the PAS process implies the logic that each and every one involved is

using his or hers potential to sculpt the space in which we are learning,

exploring and creating. Aiming beyond the question ‘How do we

create a performance art piece?’ is the soul of PAS process.

The main source of a Performance work is the present body of a person

who presents an artistic concept in front of a present audience

in space and time. Therefore PAS understands Performance Art as a

social art form and embraces diversity of those involved in its artistic

processes. Skin color, age, gender, religion, political stance, social

or cultural backgrounds are understood as qualities, and as tools to

generate intersections where learning actually happens. The differences

are treated equally and thought of as artistic formulas like color,

shape, size, body, space, time, materials, which are the subjects of

our artistic endeavors. This is essentially needed since the occurring

intersections between humans, forms, opinions and artistic visions

provide the potential to touch the unknown and create something that

we would be unable to discover on our own. During this vivid process

we constantly inspire, demand and challenge ourselves as a crucial

deed for changing perspective and allowing content of others to be

displayed. This, then could adapt or integrate within our working processes

and attitudes. The collective learning pool has a very legible

aim: the ‘I’ needs to transform into a unique readable sign, which addresses

the other in order to start a dialogue.

Collective learning pools

PAS consists of a dedicated and passionate team of educators and

artists who support the idea that ‘there is not one way of doing Performance

Art, but many’. Each PAS study features one or two guest

teachers, who offer unique perspectives of the study topics and share

previously made experiences.

The PAS studies are collective learning pools, designed to explore,

research and examine within the vast field of Art, especially Performance

Art and connecting these outcomes to social, political and

cultural issues. Each study suits a specific topic based on questions

raised by historical and contemporary theories and practices. The

choice of the study topic can also be influenced by the place and the

context where PAS is happening. The process is directed toward the

creation of an individual or collaborative performance, which is presented

during a public event. Furthermore, it points to a deviation of

former individual and collective working methods and structures.

We are aiming to change how performance art has been produced and

conceptualized over time. As with all mediums, Performance Art can

find itself stuck in repetition of materials, attitudes and styles if learning

focusses only on the historical and contemporary working methods.

To avoid a hermetic learning process, we incorporate, whenever

possible, other art forms (sculpture, painting, video, sound, photog-

raphy, poetry, dance, architecture, theatre, activism, etc.), as well as

supporting theories from science, philosophy, politics and wide array

of other fields. This inclusion model reaches beyond the status quo

and helps to keep the process vivid and open.

The PAS studies are mainly practical work sessions, in which performative

experiments and questions are tested and shared amongst

the participants. We use experiments, exercises, tasks, games, assignments

and ‘homework’ to widen the pallet of perception, awareness

and learning. Parallel, we offer direct reflections and analyses of

made experiences. Discussions, feedback, storytelling, drawing, writing

and documentation are constant companions of the practical work

that are specifically selected to fit the research topic.

BBB Johannes Deimling

artistic director and founder of PAS | Performance Art Studies

PAS #66 | “if I were in your place”

“If you work site-specific, you need to be very specific with the site”

(BBB Johannes Deimling)

The term site-specific describes artistic production in close relation

with a physical site. Since its appearance in performance the term

“site-specific performance” has influenced and inspired performance

art practice and theory.

One could state that each performance work is site-specific since

it is always happening in a spatial context and corresponding in

one way or the other with the surrounding in which it appears. This

thought is supported by the fact that our human body is not able to

leave space since it surrounds us the moment we start growing in

the uterus.

But the term “site-specific” describes not only a form or state of being

but more a working method, a research practice which resonates

in so many fields alongside the arts: ecology, humanity, history, politics,

time, etc. The spatial context, the site-specific aspect of artistic

production, presentation and perception is a reservoir of diverse and

– it seems – endless artistic potential to create site related artworks.


We can expand the present space, site or place and transform into

collaborative work with our perspectives and ideas. But at the same

time the site offers us its perspectives and access points to its given

structures, forms and aesthetics. In order to balance the individual

artistic concept with the given or chosen site, the need for precise research

and dialogue is inevitable. The site has the power to crush any

artistic idea with ease.

PAS | #66 “if I were in your place” will focus on the possibilities of

site-specific aspects in performance practices and theory. For this,

we chose a rural place in Spain, away from urban cities and marked

by a very unique (Jurassic) landscape between Valencia and Madrid:

Cañada del Hoyo (click here to see where it is located). Besides the

beauty and the possibilities of the landscape we also want to include

the knowledge and the culture of the inhabitants of the nearby village.

This will create a vibrant and deep site-specific research which we

aim to connect with our views we bring to the place in order to create

a dynamic artistic dialogue.

BBB Johannes Deimling, 2019


Starting from the first meeting to the goodbye moment at the end we

undergo an intensive, vivid artistic and mainly experimental process.

Including various research settings, exercises, games, tasks and assignments

we test different aspects of performance art. The process

is rich in its researches, ideas, philosophies and questions. The often

pure and raw artistic process is the base on which performance art

concepts are developed and executed. It contains knowledge which

goes beyond the actual artistic work and inspires other nonartistic

fields. PAS is working very much with the concept of an unrehearsed

artistic action. The focus is pointed on the 'unidentified', the ‘unknown’.

How to preserve this collective gathered knowledge which is the

source of this process and its results? ‘THE WALL’ provides a form,

similar to a notebook, as an uncensored space in which thoughts,

statements, feelings, questions, drawings, writings and pictures are

displayed throughout the whole studies. It is an open and shared

platform and with its performative charm ‘THE WALL’ offers the view

on connections and intersections throughout the whole process. It

is possible to use this tool as a reminder or memory during different

stages of the process. In case of getting lost, or stuck, or confused

‘THE WALL’ helps to find another path to continue the artistic endeavor.

Everybody is responsible to enrich ‘THE WALL’ with his or hers

comments on the running process. The constant collected documents

offer each day orientation on how we got until this point and supports

the reflection as a motor of the learning process. Furthermore it

opens the view on the particular free spaces and areas which are not

discovered yet.

This part of the publication documents ‘THE WALL’ which was created

during PAS #66 by John Muse, Karoline Strys, Ana Reis, Berendine

Venemans, Lili Ullrich, Brendamaris Rodriguez, María Herrador, Debbie

Reda, Monika Deimling, BBB Johannes Deimling.

Berendine Venemans


María Herrador


Karoline Strys


Ana Reis


Brendamaris Rodriguez


Lili Ullrich


Debbie Reda & John Muse


Debbie Reda

& John Muse


Brendamaris Rodriguez & Lili Ullrich


Brendamaris Rodriguez

“word & action”

Berendine Venemans

“word & action”

Debbie Reda

“word & action”

María Herrador

“word & action”

Lili Ullrich

“word & action”

Karoline Strys

“word & action”

Ana Reis

“word & action”

John Muse

“word & action”

watch “THE BAND”

by scanning the QR code

or visit:

Karoline Strys & John Muse


Karoline Strys & John Muse


Debbie Reda & Brendamaris Rodriguez


Debbie Reda & Brendamaris Rodriguez


Lili Ullrich & María Herrador


Lili Ullrich & María Herrador


Ana Reis & Berendine Venemans - “Duo”

Ana Reis & Berendine Venemans


María Herrador


Lili Ullrich


Karoline Strys


Brendamaris Rodriguez


Debbie Reda


Berendine Venemans


John Muse


Ana Reis


BBB Johannes Deimling


Monika Deimling

during the “phototask”

watch the PAS | “sculpture park”

by scanning the QR code

or visit:

Brendamaris Rodriguez

“singing and dancing”

Lili Ullrich

“singing and dancing”

Ana Reis

“singing and dancing”

Karoline Strys

“singing and dancing”

Berendine Venemans

“singing and dancing”

María Herrador

“singing and dancing”

John Muse

“singing and dancing”

Debbie Reda

“singing and dancing”

Maria for Brendamaris

“From Me To You”

Ana for Debbie

“From Me To You”

Brendamaris for Berendine

“From Me To You”

Berendine for Lili

“From Me To You”

Lili for John

“From Me To You”

Lili for John

“From Me To You”

Debbie for Karoline

“From Me To You”

Debbie for Karoline

“From Me To You”

John for Ana

“From Me To You”

Karoline for Maria

“From Me To You”

PAS | white shirt moment

The public presentation of performances is another task and a highlight

within the PAS process. Until this point, we have presented the

performance tasks in a safe research environment to the other participants

of the studies in order to understand how performance concepts

are resonating. This process is now open to the public whom

we invite to an evening of performances. The creative act in front

of an audience is a precious moment for all involved: it is what PAS

calls the ‘White Shirt Moment’.

During the studies we undergo an intense and vivid artistic research

process which is filled with questions and experiments pointing on

many aspects of performance practice and theory. It is the time

where ideas are raw, actions are more intuitive and not ‘ready yet’,

when material choices are pure, and experimentation is the main

tool of artistic articulation. In this sate of the process a lot of valuable

questions are raised which have the potential to find an entrance into

one’s own approach towards performance art. The shared research

space is wide open and supported by discussions and reflections

where choices can be made on what to follow up for the public presentation

of an individual performance artwork.

Performance Art is a social art form since the connection between

performer and audience is crucial to its appearance and impact. Within

the intersection of presenting the performance and watching it, lays

one of the most important moments within performance art practice.

The performer is creating a different kind of reality for the audience

and by its presence the audience is shaping a different reality for the

performer. In this interaction a visual dialogue will appear in which we

create something new together.

This to experience is one goal of the task. After the moment of public

performance, we will find answers on some questions that have occurred

during the process, but we will also gain new questions on that

what we have presented. This is a state where we will realize that the

process is a constant part of performance art practice which doesn’t

end with the presentation, but mainly starts from there.

BBB Johannes Deimling, 2019

Ana Reis

El viento_blow in the Wind_Avoa Duration: 8 minutes

The space of the residence was the old train station of the little village.

The room i was sleeping had a balcon where you could see the

train passing and a green field in the mountains. I asked to the public

to go upstairs and stay in the balcon. When they were all together in

this place, kids and adults, local people with the residency artists, i

came out from behind a tree in the midlle of the field. I start to throw

a red sheet in the air, it goes up and down. My walk is guide from a

wish to go to a place and the movements of the wind, blowind the

sheet in other directions. Each time the red sheet flies and fall in the

floor, it makes a diferent shape and movement. Walking from far to

close, sometimes i disapper in the montain and people could only

see the red flying in the midlle of the green. I make this way until

get in a point where i have left my wings, made from tree branches.

I wear the wings and start to round and spin around myself, going

down in the field.

I want to fly, i want to blow in the wind. Ser viento, volar, voar, soprar

como corpo cor, corpo asa. Avoa cor avoa passarinho.

Brendamaris Rodriguez

Invisible war Duration: 15 minutes

Performance art, natural landscape to create site specific structures,

art forms with natural and industry materials like sculpture a

performance of invisibility to see how we are invisible of seeing that

we are part of nature and it is impossible to be something disconnected

from it. Therefore, its destruction leads us to drag our consequences.

Debbie Reda

Circunsferencia Duration: 25 minutes

Doing circles from outside to inside, covering and marking the space

(in the air, od the floor and windows)

What or where is the centre? that space that human being always try

to find.

Circular movements, the return to the beginning, action and repetition.

Using the performatic aspect as a way to focus on being and belong

to. Circle as a center. Center as the relation between body and presence,

time and space.

María Herrador

Borriquera Duration: 11 minutes

I enter with a crown of thistles.

I walk through space with small steps. Turn. I’m still walking. When I

floor a puddle of water I stop there. I tap the water. I´m still walking.

And I repeat the actions.

I take off my crown and leave it on the floor.

I move and go to a thistle that is in a corner. I take the thistle. Kiss

the thistle. I leave the thistle.

I move and go to another thistle from the other corner. I take some

stones. I throw stones at the thistle. When it falls I pick it up. I carry

the thistle with my hands as a bed. I put it in a puddle of water. I bury

it with water.

I go to another puddle of water. I wash my hands. I’m leaving the


The thistle talks about my country. Thistle grows in the gutters. The

thistle is suffering and faith.

Look at what you don’t see and see from there everything else.

Be and live the material. Be the site and the support.

The beauty of the underrated.

Performance becomes a game of form and use of thistle. A search to

evoke and transmit my own poetic and referential perceptions of it.

Berendine Venemans


Duration: 7 minutes

Material: Locally harvested Rosemary

A land has its aromas. A people has its culture and history. Aroma

and history are indefinitely intertwined. Smell can sometimes access

deeper seemingly forgotten memories.

This performance researches how to rekindle the dialogue between

memories, cultural and historical values through the release of its


When you enter the room, I already sit on a log, a pile of Rosemary

laying beside me. Both, we wait. A while.

Then, when you don’t expect it, I take a small pestle and mortar from

out of the pile, put small branches in and start pounding it.

Rhythmically pounding. Add more branches, pounding, releasing the


The log I sit on is next in line; I put the pestle and mortar aside, get

up, get bigger branches, take the log and start pounding them, too.

Rhythmically pounding. But this still seems not enough.

Getting up, start rubbing branches together. This seems better in releasing

the smell.

Then, I see how I can rub more branches; rub the walls. Still not

enough. Incorporate with body: put branches in my trousers, rub myself

against the walls.

Jumping up and down. More.

Take more branches and while rubbing, I start hitting the walls with

branches. Pound the floor, rub the floor, bigger motions, quicker motions.

Take the log again, roll the log, rub the log, hit with log. Crescendo of

movements while I rub gradually more Rosemary on the floor, using

my whole body,

dig through the Rosemary, crawl and roll and wriggle through the

Rosemary: continuing crescendo.

Until, lying flat on the floor I grab all the branches with only my hands,

gather them together and build myself a bed.

Lie down, it is done.

Get up, grab a branch, approach the audience and offer them a small

piece which I bury in their hands.

Karolina Strys & John Muse

Where They Belong Duration: 15 minutes

Two people struggle to climb through the windows of a car parked

in an otherwise deserted rural landscape. They finally succeed and

then return a trunk load of rocks, rubble, sticks, and bricks to their

proper places. One person walks off. The other tries to drive off, but

the car won’t start and so walks off as well.

The work was prompted by the contrast between the car--a contemporary

technical object--and the landscape, which is both natural but

also a ruin, strewn with rubble and gravel. The people are at home

neither in the car nor in that very lndscape, and so they labor to get

in, get out, restore things, leave.

Ana Reis

Dripping and dripping, uma a uma, gota a gota

Duration: 10 minutes

The house was old with a high ceiling. In the midlle of the living room

a drip falling down every day. We get used to this drip, insert it in our

daily life, our investigations and performances. The water was present

all the time, making this sound echos into the house, highered

for the silence of the nights. We were a lot of womens being together

for many days. Many of them started to menstruate together. I also

menstruate with them and in some moments i felt a lot of blood dripping

out from me. In the performance i taked out my clothes and get

naked. I put my body under the dripping with the legs up. The drips

starts to reach my body, coming down in my legs and in some times

reaching my vagina. The drips of water meet the drips of blood in the

between the inside and the outside of my body. An encounter in the

border. After same time lefting the drips walk in my body, i start to

drag in the floor. My wet body let a trace in the space. I drag until

the end of the room, get up, look to the traces and leave, going upstairs

to put my clothes. When i get in the second floor the blood drip

and drip on the ground. Nobody see it. I can see. Dripping and dripping.

Goteira, gotejamento, água que escorre, sangue que pinga, de dentro

de mim, de dentro da casa. El goteo de agua, el goteo de sangre en mi

cuerpo, mojando la casa.

Lili Ullrich

huecos profundos Duration: 6 minutes

While a video projects onto my body, showing a site specific performance

at the Laguna del Tejo in Cañada del Hoyo, I move through the

projection in slow motion. As in the video, my T-shirt is pulled of my

head and stretching the white fabric with my hands, I create a round

hole (hueco) out of my collar. Through this I explore my surroundings,

the round opening framing my view, while I move my upper

body in circular movements.

‘huecos profundos’ explores the lagoons of Cañada del Hoyo, specifically

the Laguna del Tejo with a depth of 32 meters.

Exploring the site of a deep water hole through new media and physical

movement, my T-shirt becomes a metaphor for the mysteriousness

and spiritual connection with nature, defining the identity of the

little village of Cañada del Hoyo.


31 de octubre, 2019, Madrid

Museo La Neomudejar. Madrid

PAS #66. Performance Art Studies

PAS / Performance Art Studies, fue creada en el 2008 por el artista alemán BBB Johannes Deimling,

como un espacio para el dialogo artístico y social durante el aprendizaje y exploración de las artes escénicas.

Compartiendo experiencias y puntos de vista, realizando experimentos artísticos y ampliando

la percepción a través de la participación y el intercambio, cuestionando nuestro papel como humanos y

trabajadores creativos.

La fuente principal de un trabajo de performance es el cuerpo de una persona que presenta un concepto

artístico frente a una audiencia presente en el espacio y el tiempo. Por lo tanto, PAS entiende la performance

como una forma de arte social que abarca la diversidad de aquellos involucrados en sus procesos


La edición de PAS número 66, fue realizada en España, en Cañada del Hoyo, Cuenca, el último mes de

septiembre del corriente año, en la residencia artística Kárstica con el título “If I were in your place” (Si

estuviera en tu lugar). PAS #66 dio lugar a una serie de ejercicios con relación a la poética del espacio,

centrada en el concepto del “site-specific” y el diálogo con el paisaje rural del entorno.

Un grupo de ocho artistas de diferentes partes del mundo como Alemania, Argentina, Brasil, España,

Estados Unidos, Holanda y Puerto Rico, dieron lugar a una investigación que conectó diferentes sensibilidades

en un dialogo dinámico con el espacio. Entendiendo también el cuerpo como lugar habitable, en

relación con diversos materiales del entorno, como la luz, el viento, el sonido, el tiempo, la arquitectura y

la naturaleza. Interactuando, experimentando, desplazándose y fusionándose con el contexto, generando

una arqueología de rastros, huellas, intercambios y capturas, transformadas y reinventadas en acciones,

performances, videos y registros fotográficos.

Continuando con el trabajo “site specific”, nos hemos planteado el desafío de hacer expansiva la experiencia,

adaptando las performances realizadas en el entorno rural de Cañada del Hoyo a la sala del Museo

La Neomudéjar de Madrid.

“Allí donde estuvimos” es esta reinterpretación donde, una vez más, el cuerpo, los materiales, el tiempo

y el espacio, se unen en un todo para dar lugar a una nueva experiencia visual.

Se presentarán una serie de proyecciones de algunos de los trabajos realizados en la residencia artística

Kárstica durante la edición de PAS #66 y luego se podrán ver los nuevos proyectos, algunos en formato

documentado en video y otras presentaciones en vivo con nuevas performances.

Os invitamos a conocer a los artistas participantes:

Ana Reis (Brasil), Berendine Venemans (Holanda), Brendamaris Rodríguez (Puerto Rico), Debbie Reda

(Argentina), John Muse (Estados Unidos), Karolina Stryz (Alemania), Lili Ullrich (Alemania/Colombia) y

María Herrador (España).

PAS | Imprint

“Honey for the mind”

Process publication

PAS | Performance Art Studies #66 | “if I were in your place”

15. - 22. September 2019, Cañada del Hoyo, Spain

Published by PAS | Performance Art Studies 2019

546 pages

All texts, drawings, notes © by the authors: John Muse, Karoline

Strys, Ana Reis, Berendine Venemans, Lili Ullrich, Brendamaris Rodriguez,

María Herrador, Debbie Reda, Monika Deimling, BBB Johannes


All concepts of performances © by the authors: John Muse, Karoline

Strys, Ana Reis, Berendine Venemans, Lili Ullrich, Brendamaris Rodriguez,

María Herrador, Debbie Reda.

All photos in this publication © by Monika Deimling 2019

except page 526 - 527 and 510 -511 photos © by John Muse 2019

and page 253 photo © by BBB Johannes Deimling

layout: BBB Johannes Deimling

PAS #66 poster image: Blendi Shahu (PAS # 63, Tirana, Albania) photo

by Monika Deimling

PAS #66 is a cooperation with Karstica - Espacio de Creacion, Cañada

del Hoyo and Museo Neomudejar, Madrid

PAS | Performance Art Studies, founded in 2008 by German artist and pedagogue

BBB Johannes Deimling, is an independent educational program that is offering

intensive studies to people interested in performance art since 2008. The aim of

the studies is to provide the participants with a comprehensive form of learning

and teaching in process on performance art. The courses are practical and

theoretical research studies examining performance production, perception

and documentation.







BBB Johannes Deimling

artistic director and founder

Monika Deimling

photographer, critical advisor

PAS | Studies since 2008

#69 | “it’s not the action that makes the performance” / Valencia, Spain 2019

#68 | “CREAKING WOODEN FISH” / Oslo, Norway 2019

#67 | “course of action” / Groningen, Netherlands 2019

#66 | “if I were in your place” / Cañada del Hoyo, Spain 2019

#65 | “your perception may not be my reality” / Berlin, Germany 2019

#64 | “between the lines #11” / Rehlovice, Czechia 2019

#63 | “course of action” / Tirana, Albania 2019

#62 | “course of action” / Tallinn, Estonia 2019

#61 | “there is not one way of doing performance, but many” / Utrecht, Netherlands 2019

#60 | “aging as an action” / Oslo, Norway 2018

#59 | “between the lines #11” / Rehlovice, Czechia 2018

#58 | “my body asking your body questions” / Oslo, Norway 2017

#57 | “ALONG AND THROUGH - how to walk a line” / Paris, France 2017

#56 | “between the lines #10” / Rehlovice, Czech Republic 2017

#55 | “DUEL” / The Hague, Netherlands 2017

#54 | “Na granicy percepcji rosna wspaniale kwiaty” / Lódz, Poland 2017

#53 | “IN-DUST-REAL” / Bat Yam, Israel 2017

#52 | “Zeitgeist” / Utrecht, Netherlands 2017

#51 | “critical reflection II” / Venice, Italy 2016

#50 | “roots in motion” / Oslo, Norway 2016

#49 | “Neighbourhood” / Bratislava, Slovakia 2016

#48 | “between the lines 9” / Rehlovice, Czech Republic 2016

#47 | “ICON” / Vienna, Austria 2016

#46 | “.doc” / Fredrikstad, Norway 2016

#45 | “Human Factor #2” / Tallinn, Estonia 2016

#44 | “I know the smell, but I don’t remember” / Poznan, Poland 2015

#43 | “Places of duration #2” / Fredrikstad, Norway 2015

#42 | “Salt & Pepper” / Oslo, Norway 2015

#41 | “between the lines 8” / Rehlovice, Czech Republic 2015

#40 | “human factor” / Poznan, Poland 2015

#39 | “creaking wooden fish” / Venice, Italy 2015

#38 | “places of duration” / Athens, Greece 2015

#37 | “critical reflection” / Venice, Italy 2014

#36 | “between the lines 7” / Rehlovice, Czech Republic 2014

#35 | “Resistance” / Kaunas, Lithuania 2014

#34 | “Alphabet 2” / Fredrikstad, Norway 2013

#33 | “squaremeters per hour (territory)” / Oslo, Norway 2013

#32 | “Absurdity” / Berlin, Germany 2013

#31 | “between the lines 6” / Rehlovice, Czech Republic 2013

#30 | “The moment when the end surprises the beginning” / Nicosia, Cyprus 2013

#29 | “Alphabet” / Fredrikstad, Norway 2012

#28 | “between the lines 5” / Rehlovice, Czech Republic 2012

#27 | “After Image” / Berlin, Germany 2012

#26 | “Object trouve” / Rotterdam, Netherlands 2012

#25 | “Don’t forget your keys!” / Helsinki, Finland 2012

#24 | “Themomentwhenanappleistooheavyandhastofalldowntotheground” / Calgary, Canada


#23 | “What is important?” / Kankaanpää, Finland 2012

#22 | “What is important?” / Guangzhou, China 2011

#21 | “between the lines 4” / Rehlovice, Czech Republic 2011

#20 | “In Context” / Berlin, Germany 2011

#19 | “intensified dialogues” / piortykow trybunalski, Poland 2011

#18 | “somebody - everybody - nobody” / Fredrikstad, Norway 2010

#17 | “What is important?” / Berlin, Germany 2010

#16 | “Extension” / berlin, Germany 2010

#15 | “between the lines 3” / Rehlovice, Czechia 2010

#14 | “performance vs live art” / Turku, Finland 2010

#13 | “new era” / Prague, Czech Republic 2009

#12 | “FOOD STEP” / Montreal, Canada 2009

#11 | “GLOBAL COMMUNICATION” / Radom, Poland 2009

#10 | “KUNST ohne WERK” / Dresden, Germany 2009

#09 | “between the lines 2” / Rehlovice, Czech Republic 2009

#08 | “Performance Art - a tool for social action” / Belgrade, Serbia 2009

#07 | “GRASS ‘N ASPHALT” / Berlin – Bröllin, Germany 2009

#06 | “Performance Art meets scenekunst” / Fredrikstad, Norway 2009

#05 | “WHAT IS IMPORTANT?” / Toronto, Canada 2008

#04 | “URBAN DISORDER” / Marseille, France 2008

#03 | “between the lines 1” / Rehlovice, Czech Republic 2008

#02 | “Performance” / Mainz, Germany 2008

#01 | “Die Woche” / Tallinn, Estonia 2008

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PAS | publication

“Intertwining bodies”

Process publication of PAS | Performance Art Studies #65 | “your perception

may not be my reality”

4.-11. August 2019, Berlin Germany in cooperation with SomoS art


Published by PAS | Performance Art Studies 2019

pages 534

with contributions by: Viktória Heiser, Gabriele Avanzinelli, Luiza Luz,

Laurence Beaudoin Morin, Hannah Santana, Jana Smetanina, Manuela

Covini, Marion Henry, Maja Maksimovic, Theresa Sowka, Jamie Shi,

Zoncy, Bogna Juchnowicz, Monika Deimling, BBB Johannes Deimling.

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