Various authors have characterized the contemporary world through the notion of "structural hybridization" (Pieterse 2001; Canclini 2001, among others). This notion refers to the mixing of different times and spaces that gives rise to "spatiotemporal" hybrid configurations. One of the factors of this process is usually translated by the term "hybrid cycles" (Stross 1999), through which a new cycle recovers historical and social characteristics of previous cycles, sometimes distant in time. Through this theoretical framework, which combines concepts such as hybridity, cyclicality, mimesis, reflexivity and performativity, this paper intends to problematize issues such as the so-called "social turn" (Bishop 2006)or "return to the real" (Foster 2001) in art or, more generally, the "performative turn" (Alexander 2006), with the aim of analyzing the cyclical dynamic of performance (social) art (an art that relies on notions of participation and even performative intervention in a public space) from a global perspective – from Portugal to the world and vice versa
