Body is one of the essential components of works in performance art. Since the beginning of performance art history, artists have had a critical approach to social matters and even the artists' reaction to using art works as commercial products has been one of the causes that made them create a kind of live art. The main question of this research is: What is artists' approach to body in performance art for expressing social matters? Body in Deleuze's ideas is more than just a concept of physical body and contains different bodies such as urban body and social body. This paper explains the concept of performance art and investigates the role of body in making performance art's works. Then, by using Gilles Deleuze's ideas about body without organs, we analyze some of the most important works of performance art in order to clear artists' approach to body and it's relationship with social matters. Performance art is a branch of art that mixes other branches and uses body in relation with time and space in order to makes an art work. Most of the works in this branch of art engages audiences actively. Deleuze uses the concept of body without organ in relation of a special kind of thinking about life and world. He recognizes world as a plate of immanence in which life is becoming and not being. He denies all kinds of transcendentality. In his ideas, art should try to make us recognize life as an open whole through feelings. From this point of view, body without organs refers to all kinds of refusing transcendentality in physical or social bodies. Body without organs is not a body in lack of organs, but it is a body against organization. Deleuze warns that just making a body without organs is not enough because it could be an empty or a cancerous body without organs. An empty body without organs is a kind of body that lacks organization, but it is not successful and transverse of intensities being interrupted in it. So, it could not be a plate of immanence that forces flow in it. A cancerous body without organs not only is not a successful body without organs, but is a dangerous body that is dependent on organization and  confirms transcendentality. This qualitative research uses descriptive-analytical method and theoretical sampling. The method of data acquisition is desk study. By analyzing performance artists' approach to body, we found: 1. The goal of performance art is to invite audiences for rethinking about physical and social body and as a result of that rethinking themselves and social matters in order to make a body without organs. 2. Sometimes, artists put their body in maximum or minimum threshold, and sometimes they try to make a body without organs of urban or social body in order to reach their goal. 3. What makes a performance art's work successful is to make a full body without organs and not an empty or a cancerous body without organs.

Having a specific view towards the subject of the human body is a characteristic of Gilles Deleuze's philosophy, one of the most influential experimentalist philosophers of the 20th century. This French philosopher built his postmodern philosophy based on human being and body structure. He had one of the most materialistic points of view towards the life and human body. Body without Organs is one of the most important concepts of his approach that demonstrates the framework of Deleuze’s philosophy about human. The body without organs is the result of putting the dualistic view - soul and body - away. With pursuing body without subject or a fixed center which was brought up by Phenomenologists like Husserl and Merleau-Ponty in the past, Deleuze took one step forward and brought up the new term: body without organs. The human, resulting from this view is forming constantly in his life beyond gender, identity, or any kind of fixed structure; and these uninterrupted happenings cause his existence; in other words, an evolving body that does not stop moving and changing until death. Since this subject was one of the important issues for Deleuze, he had some writings and interviews about it. One of the most famous samples of Deleuze’s philosophy in art is the interpretation of Bacon’s paintings in the book “Francis Bacon: The Logic of Sensation”. Here we want to go further and interpret one of the other modern artist’s artworks via this approach. Picasso could be one of these artists because when reviewing his artworks, we found some clues that make his works readable by Deleuze's philosophy. In some of Picasso’s paintings, the human bodies are so different from classical stereotypes and we confront with features of the formless body that is very similar to the body without organs of Deleuze e.g. in Picasso’s self-portraits that he continued to paint during his life, we face multi-pieces yet coherent bodies that are broken in time, re-arranged, and made again. At the end of this series, we can find a character who could be rebuilt many times despite its constant identity. Another clue in Picasso’s painting is related to the gender of the subjects. We can see, especially in the painter’s later paintings, the issue of gender is considered as a fluid factor, and it can be seen that Picasso sometimes did not emphasize the sexual identity of his figures either. Ultimately, some of Picasso’s paintings demonstrate that the feelings of the subject, who is appointed in a special situation, is the main issue of a scene. It means the artist wants to show a particular situation that is shaped by the role and interaction of the subjects with the painting space. So from this point of view, the identity of the subjects or their genders couldn’t be the main factor for paintings, while the artist focuses on atmosphere and feelings in each picture. This view is beyond merely following the form and style in painting and shows the artist’s point of view about the subject of human. Assuming that Picasso intended to offer a new definition of the body, this article claims that his works can be considered as a version of Deleuze’s body without organs philosophy. So we asked this question: Is it possible to compare some of Picasso’s artworks, especially the late works of the artist, with the body without organs of Deleuze's philosophy? The importance of this article is to find the logical connection between postmodern philosophy and art, which could be a suitable way to compare visual modern arts with philosophy. The method of research in this article is descriptive-analytical. By using reliable library resources, at first, the fundamentals of postmodernism are reviewed, then Deleuze’s view regarding body is defined, and following that the concept of the body without organs and gender is fully explained; and finally, in the analytical part, body in Picasso’s paintings is discussed and interpreted considering the theoretical framework of the research. Also, the data in a comparative table answered the hypothesis of the paper which means some of Picasso’s paintings are comparable with the philosophy of Deleuze’s. It should be noted that in the research literature, the documents and sources that are somewhat close to the present subject have been completely mentioned.

According to a triadic divisions in different periods of Cy Tombly`s career with a concentration on Writing & space, We analyze the role of synesthesia in aesthetic action of the artist. Tombly`s interest in classic poems, Mythology and history will turn to express in contemporary language.Formation of synesthesia that means changes in the function of senses derived from multitask organs with multi capacity depends on sensation. Synesthesia will happen as the sensation will affect on the surfaces and threshold of body without organ. So the sensation as a pure intensity will intervene in the flow of the artist`s mind. Sensation changes the order and function of senses of body without organ.To facilitate the study of the role of Synesthesia in Tombly's aesthetic action, we categorized and grouped three works in his work and art. An analysis of the first group's paintings, Tombly's Blackboard Works, shows the use of letter or text in the form of intertwined letters, and the lines indicate a touch of aesthetic action. The artist has mastered what is temporal, audible in a visual and tactile way. So we come across works that sometimes do not need to be read but need to be seen and make our sense of reading and listening become tactile. Reflecting on Deleuze's views on the works of Trombly's first group,he merely considered the artist's aesthetic action, and for him at this stage was not merely a matter of looking of eye, but the eye falls out of hand, and the hand does not follow the eye, so blackboard paintings show, The artist is in the stage of Deleuze's chaos, and he has yet to find a way through the chaos of possibilities. We claimed that the first group of artist`s works means blackboard ones are the manual works. we consider in the second group the duality of text /image they are like poems that confront with the intervention of sensation. synesthesia of sensation will change the words or title to the special index or mark that is presented image, in which is in opposition to our associated mind & cliched image or familiar pictures in the history of art. In the third works, He instead of representation, with relying on body without organ records the intensity of sensation. the marks, the traces, the codes, titles, palindromic words, clapping of lines, Cartesian coordinates play the role of outlines in front of the invasion of chaotic background. And then they help the artist to find a ground for escaping from the chaos of background which is not void. it is full of possibilities. The first splashes, patches or touches according to that basis make a ground for distancing from the chaos of the world or it`s Necessities in spite of proximity. The sensitive and aesthetic relations in and out of artwork in dominance of sensation, will shape the space. Because of shallow depth and way of colorizing the third type of Tombly`s works, synesthesia and sensation make our eye to sense haptic.

Throughout human history, clothing has always been influenced by social and cultural aspects in addition to individual aspects and has had different functions. In such a way that we should "forget the usefulness of goods for eating and drinking and think about those clothes are suitable for thinking and consider them as non-verbal media for human creativity." In the last decades of the twentieth century, profound changes in the concept of art and the aesthetic structure emerge, which are accompanied by the formation of artistic movements. After the 1960s, the form and content of the work of art and its relationship to man and nature were challenged. In fact, the most important feature of the art of this century was its experimental aspect, which originated from a strong and growing desire for innovation and a great fascination with new phenomena. Contrary to the expectations and habits of the audience, the artist seeks to create works that surprise and immerse the viewer, and this is where the creation of the work is completed with the participation of the viewer's mind. In the meantime, there are artists who have seen the ability of the human body and its postures more than any other tool to communicate with the audience of appropriate works of art. Non-functional clothing design is emerging as one of the effective ways of artistic expression in this period. The artist manifests his desired concepts by combining clothes with the characteristics of visual arts, human states and traits, body movements and sometimes acting abilities. The main purpose of these clothes is not to cover the body, but to show traits, feelings and thoughts. Among the few costume designers working in this field of meaning, special attention can be paid to Rei Kawakubo's creations. A postmodern artist who blurs all the boundaries. As much as she used architecture and conceptual art to create her works, she has also benefited from the effects of the "Body Without Organs". Alexander McQueen once said of her work:" When you look at her collections, at first it seems strange and unusual, not only for the public but also for the professionals. But, when you see someone challenging themselves like this and presenting new things every season, then you realize that it is the presence of such people that keeps the fashion world alive and does not allow it to lose its freshness and newness ". Leading European designers Victor and Rolf have also spoken about her:" We were 12 and 13 years old when we first met Cam Garsons in the 1980s, and this brand had a profound effect on us. The creativity that Kawakubo presents in her work was something that attracted us to fashion and we owe her a lot". Jill Deleuze, who invites man to creativity in all fields and forbids any representation in return, believes: “The realization of art is not presented and received by the state of the perceiving subject, rather, art must present a set of emotions or the pure existence of emotions”. From Deleuze's point of view, the body is trapped under the body. Unstable organs are trapped under the organization of fixed organs. Postmodern works of art in the contemporary world have true characteristics and meanings. Moreover, theoretical studies and the use of the perspective of modern philosophers can answer many ambiguities and hypotheses related to these works and why they were created. Among them, paying attention to the views of the French post-structuralist philosopher Gilles Deleuze as one of the prominent postmodern philosophers can lead to a correct interpretation and judgment of the works of these artists. The present study emphasizes Deleuze's views to examine some of the creations of Rei Kawakubo, the well-known postmodern costume designer concentrating on the concept of the "Body without Organs" and using a descriptive method to describe the characteristics of clothing. (It must be mentioned that the method of data collection is done using documentary and library studies and clothing images are optionally selected). Regarding the background of this research, it should be noted that although some studies have been conducted in the field of studying Kawakobo’s designs based on Deleuze's idea, they are not completely independent and focused on this concept. In general, the findings of these studies include these topics. The first part tries to rely on Deleuze's views, in particular, the concept of the "Body Without Organs", which is the intersection of libido forces on the one hand and external and social forces on the other and the interaction of these forces that create the shape of the body and its specific qualities and its use in a different context such as clothing design. It has realized the existential philosophy of art, which is the transmission of the feeling of the object as it is felt, not as it is known, and has increased the ability to understand the complexities and difficulties that enhance our perception. Among the pioneering designers, Rei Kawakubo has been selected since in her collections one can clearly see the obvious desire of deviation from meaning, harsh and contradictory details, deconstruction, and the creation of a new language of expression. Furthermore, a few of her designs in accordance with Deleuze's philosophical reading from the author's point of view are examined. She tries to present a concept of a human being or a human body that is asexual, a body without organs and gender, without an inner, internal structure, there is no fundamental underlying coherence or concept that is not in conflict with the organs but in the organization of the organs, and it is the ratio of forces that creates the body that is not dead. In all her works, the clothes somehow meet our state between potential and reality and evoke a state of vitality and dynamism in the mind of the spectator. In her designs, we can understand the concept of a body with an indeterminate organ that is constantly in the process of being influenced by forces, the pressure of the surrounding space and their constant experience.

In the later theory of desire, two important economies of desire can be identified according to Lacan and Deleuze; Different formulations of the expansion of desire, each of which creates special relationships with the subject and society. Deleuze, with the plan of schizoanalysis against psychoanalysis, is completely separated from the Freudian tradition and establishes a new form of the economy of desire. Against the Oedipal formulation of desire in Lacan, with continuous reference to a missing ultimate object, desire circulates in a vortex movement around an oedipal core, in Deleuze's anti-Oedipal scheme, the body becomes a desire machine. It is possible to produce and move desire in schizo and rhizomatic ways. In general, two types of economy of desire can be recognized here: interal-expansion of desire in Lacan and external- expansion of desire in Deleuze. Also, in Lacan, the concepts of lack and fantasy that organize the economy of desire, and in Deleuze, the concept of the body without organs by producing desire as force, formulate special forms of the relationship between desire and society.

The present paper seeks to argue that the opposing roles Paul Auster has devised for his protagonists in Invisible</em> (2010) evolve around metamorphosic changes in their behaviors in terms of Deleuze and Guattari’s rhizome theory. While the protagonist undertakes a Deleuzian Bocoming to be a villain, the antagonist possesses a radical form of a Body without Organ. This study thus defines its main assignment to find the relevant Deleuze-Guattarian flickers within the novel. Deleuze and Guattari launch their notions of Becoming and BwO within their theory of Rhizome. To substantiate this, six principles of the rhizomatic expansion (including connection, heterogeneity, multiplicity, a signifying rupture, cartography, and decalcomania) are examined vis-à-visInvisible</em>. The story’s main characters would thus exhibit their rhizomatic and nomadic inclinations while the novel’s narration and setting would add to the multiplicitous dimension of the story. Ultimately, through such rhizomatic praxis, this paper identifies radical de-territorialization – or breaking free from social norms – as a major Austrian technique to portray the predicaments of contemporary American lifestyle.

Interactive art, with a new attitude, changes the classical approach to the status of the audience as ineffective observation and then, transforms he/she, into one of the main pillars of creating the work based on interaction and portability that it is considered a contemplative view of human from the view of postmodern philosophy. The philosophical view of Gilles Deleuze as one of the most sophisticated approaches to human life can be used to analyze the questions of this writing, which relates to the audience and its role in shaping the work of art. Also some terms such as Becoming, Rhizome and Body without organs which is proposed by Deleuze can be used in the analysis of audience behaviors. The questions are; Interactive art can be the equivalent the concept of Becoming And choices the audience facing with, how can related to the definition of the organs without body and the rhizome. For answering to the questions, the basic information was extracted from library and digital resources, then by using these documents, the position of the audience was described in an analytical-descriptive way with Deleuze's approach. As a result, it became clear that the audience of interactive art faces a set of potentials that, according to the definition of an organs without body, it is unique for each individual audience. Each person's choices guide the process of creating an art work in a random and irregular route, similar to rhizome`s concept; A structure that is built along the path and at the moment. Always being at the moment, between the potential and the actual thing that the audience's choices leading it, is the philosophical definition of Becoming. The importance of the present study is in finding the connection between postmodern philosophy and postmodern Art.