INDEX
1. EXHIBITION: Istvan Kantor: Etude to Asylum – degenerate art
Date: May-June 6, 2015; City: Toronto, Canada; Source: Lacey Creighton
2. EVENT: RAPID PULSE International Performance Art Festival
Date: June 4-14, 2015; City: Chicago, USA; Source: Joseph Ravens
3. EVENT: M:ST Festival presents: Spring Run Off Performance Marathon
Date: May 23-June 13, 2015; City: the world; Source: Tomas Jonsson
4. PERFORMANCE: 45' for a Speaker by John Cage by Martin Arnold
Date: June 3, 2015; City: Toronto, Canada; Source: instant coffee
5. EVENT: PALS Play Tag Part One: Poland/Sweden
Date: June 5, 2015; City: Stockholm, Sweden; Source: PALS
6. PERFORMANCE: Wandering With The Horizon by Sandrine Schaefer
Date: June 6, 2015; City: Boston, USA; Source: Sandrine Schaefer
7. CALL FOR TEXT SUBMISSIONS: RIPA
Deadline date: June 8, 2015; City: Montreal, Canada; Source: RIPA
8. EVENT: Change / Perform / Collab
Date: June 5-6. 2015; City: Hildesheim, Germany; Source: Helge Meyer
9. TALK: Art at the Fringes of the Law
Date: June 8, 2015; City: Singapore; Source: Independent Archive
10. EVENT: Truth be Told: Live Performance and Video at the Intersection of Fact and Fiction
Date: June 11, 2015; City: Toronto, Canada; Source: Humbolt Magnussen
11. EVENT: Interval °6
Date: June 12-13, 2015; City: Essen, Germany; Source: Paersche
12. EVENT: SURVIVA!
Date: June 13, 2015; City: Montreal, Canada; Source: VIVA!
13. EVENT: Le temps commun; We are all in this together
Date: June 19, 2015; City: Lévis, Canada; Source: Za-oum collectif
14. EVENT: 3rd Cyprus International Performance Art Festival (CIPAF)
Date: June 19-21, 2015; City: Nicosia, Cyprus; Source: CIPAF
15. CALL FOR PROVOCATONS: Brewing Performance Symposium
Date: June 24, 2015; City: Leeds, UK; Source: Gillian Dyson-Moss
16. EVENT: Ophelia: a project for an experimental movie I by Francesca Fini
Date: June 24, 2015; City: Toronto, Canada; Source: Istituto Italiano di Cultura
17. EVENT: Process10
Date: June 28, 2015; City: Toronto, Canada; Source: lo bil
18. CALL FOR PROPOSALS: Performance Research Vol. 21, No. 2: On Sea / At Sea
Deadline: July 6, 2015; City: the world; Source: Performance Research
19. WORKSHOP: Between Intimacy and Architecture with Victoria Stanton
Date: July 10-12, 2015; City: Toronto, Canada: Source: Victoria Stanton
20. WORKSHOP: PAS # 40: Human Factor
Date: July 12-19, 2015; City: Poznan, Poland; Source: BBB Johannes Deimling
21. COURSE/INTENSIVE: The Pedagogy of Place – As Principle Element of Indigenous Art
Date: July 20-31, 2015; City: Kelowna, Canada; Source: Tannis Nielsen
22. CALL FOR PROPOSALS: Performance Research, Vol. 21, No. 3: On Dialectics
Deadline date: July 24, 2015; City: the world; Source: Performance Research
23. CALL FOR SUBMISSIONS: Anamorphosis Prize / Franklin Furnace
Deadline date: September 1, 2015; City: the world; Source: Franklin Furnace
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1. EXHIBITION: Istvan Kantor: Etude to Asylum – degenerate art
Date: May–June 6, 2015; City: Toronto, Canada; Source: Lacey Creighton
RKG presents ISTVAN KANTOR: ETUDE TO ASYLUM – degenerate art
Exhibition: May 5–June 6, 2015
Exhibition curator: Robert Kananaj
RKGallery, 172 St Helens Avenue, Toronto, Ontario M6H 4A1
ETUDE TO ASYLUM explores Istvan Kantor’s constant strive to remain revolutionary. Kantor has spent the past decade primarily exhibiting his work outside of Toronto except for a few rare occasions when he has perpetrated unofficial, illegal events without any support. Since 2005, he has created large installations and performances in contemporary art and media art centers in Germany, Thailand, Japan, Indonesia, Singapore, Estonia, Hungary, Poland and, most recently, in China. Last year he also reclaimed his fame in New York when he splashed his blood on the wall of the Jeff Koons Retrospective at the Whitney Museum of American Art.
ETUDE TO ASYLUM at RKG marks Kantor’s return with a select number of yet unseen, recent works. These works combine adapted and modified objects, extended mash-up graffiti, video projection, archival material and performance. The title refers to what Kantor calls “alienation in progress”, an ongoing process of distancing himself from the over-institutionalized, corporate governed art world.
Expelled from university and tagged anti-social, Kantor fled Hungary in 1976. He obtained political refugee status in Paris and shortly after immigrated to Montreal. There he initiated Neoism in 1979. His rebellious ideas and daring artistic activities attracted wide reactions, pro and con, resulting in the formation of an International Neoist Network and also a constant conflict with the authorities. In the early 80’s, Kantor moved his Neoist Headquarters from Montreal to New York and declared himself “Self-appointed leader of the people of the Lower East Side.” He openly challenged institutional rules and corporate gentrification of the arts. Forced back to Canada by criminal charges, Kantor moved his HQ to Toronto in 1991. Here he created a family with partner in crime, Krista Goddess, and raised three children: Jericho, Babylon and Nineveh. With unceasing determination, he has continued his mission, culminating with his ban from the National Gallery of Canada and the Art Gallery of Ontario. In spite of all however, in 2004 he received the Governor General’s Award at which point the media called him a “demonic artist” who “elevated vandalism to high art.”
RKGallery, 172 St Helens Avenue, Toronto, Canada
Hours: Tue–Sat, 11am–6pm Phone: 416-289-8855
info@robertkananajgallery.com
www.robertkananajgallery.com
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2. EVENT: RAPID PULSE International Performance Art Festival
Date: June 4-14, 2015; City: Chicago, USA; Source: Joseph Ravens
June 4-14, 2015
1463 W. Chicago Avenue
Chicago, USA
www.dfbrl8r.org
featuring
MARILYN ARSEM (US)
JELILI ATIKU (NIGERIA)
ATOM-r (CHICAGO)
YOLANDA BENALBA (SPAIN)
SARAH BERKELEY (US)
JOHN G BOEHME (US/CANADA)
MARY COBLE (US/SWEDEN)
JOHN COURT (FINLAND)
CHUN HUA CATHERINE DONG (CANADA)
AYANA EVANS (CHICAGO)
VIVIAN CHINASA EZUGHA (NIGERIA/WALES)
ADAM GRUBA (POLAND)
MIAO JIAXIN (CHINA/US)
NATASHA JOZI (PAKISTAN)
LARISSA KOPP (GERMANY/AUSTRIA)
PARIS LEGAKIS (GREECE/US)
SARA MORAWETZ (AUSTRALIA/US)
AMITIS MOTEVALLI (IRAN/US)
LECHEDEVIRGEN TRIMEGISTO (MEXICO)
JULIE POTRATZ (CHICAGO)
VICTOR de la ROCQUE (BRAZIL)
BERNARDO STUMPF (BRAZIL)
MITSU SALMON (CHICAGO)
MARCEL SPARMANN (GERMANY)
MARYAM TAGHAVI (CHICAGO)
MARTINE VIALE (CANADA)
WEEKS & WHITFORD (UK)
FRANCIS MARION MOSELEY WILSON (US)
TORI WRåNES (NORWAY)
Get tickets here:
http://www.eventbrite.com/e/rapid-pulse-international-performance-art-festival-2015-tickets-16188901440?aff=eac2
Defibrillator is partially supported by grants from the Gaylord and Dorothy Donnelley Foundation, The Illinois Arts Council Agency, and an Anonymous Donor.
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3. EVENT: M:ST Festival presents: Spring Run Off Performance Marathon
Date: May 23-June 13, 2015; City: the world; Source: Tomas Jonsson
Mountain Standard Time Festival presents: Spring Run Off Performance Marathon
May 23-June 13, 2015
Cindy Baker
David Cross
Chun Hua Catherine Dong
David Frankovich
Johanna Householder
Stefan St-Laurent
Allison Wyper
Closing Party: June 13, doors at 7pm
Featuring Adam Waldron-Blain
Untitled Art Society, 343-11 Ave SW, Calgary
Pack up your winter boots and lace up your sneakers! M:ST kicks off our inaugural fundraiser SPRING RUNOFF! Over the three weeks of the Marathon, seven artists, in their respective corners of the the world, will enact durational performances in support of the Mountain Standard Time Performative Art Festival. Contributions are shared 50/50 by the artists and M:ST, in support of programming and operations. Donors receive special access to one-on-one performances, gestures, and/or documentation (as well as M:ST memberships and charitable tax receipts).
Cindy Baker (Lethbridge)
Death & Taxes
www.eventbrite.com/event/16745374867
A labour-intensive work addressing the nature of daily life (and death); supporters will be invited to participate. No special mathematical ability is necessary.
David Cross (Melbourne)
Finders Keepers
www.eventbrite.com/event/16745468146
Play hide and seek over the internet. Can you find Cross and roll his inflatable pod across the line? International donors can be assigned a local helper.
Chun Hua Catherine Dong (Montreal)
Untitled (Identity Exchange)
www.eventbrite.com/event/16745493221
A durational performance exploring concepts of stereotype; Dong masks self-identity abstractly and literally by exchanging her identity with a male stranger who she finds on Craigslist. Donors receive exclusive documentation.
David Frankovich (Helsinki)
Untitled (Unknowing on Super 8)
www.eventbrite.com/e/spring-runoff-2015-david-frankovich-tickets-16745507263
Frankovich documents his experiences in an unknown environment on a 3-minute reel of super 8 film. The filmstrip will be divided among donors.
Johanna Householder and Chris Heller (Toronto)
Reading and Running
www.eventbrite.com/e/spring-runoff-2015-johanna-householder-chris-heller-tickets-16745321708
Householder reads Orlando aloud, one chapter a day for six days, while Heller runs. Donors receive access to downloadable podcasts.
Stefan St-Laurent (Gatineau)
Untitled (Orchid Delivery)
www.eventbrite.com/e/spring-runoff-stefan-st-laurent-tickets-16745533341
St-Laurent delivers fresh cut orchids to donors' chosen sites around the National Capital Region.
Allison Wyper (Los Angeles)
ECHO
www.eventbrite.com/e/spring-runoff-2015-allison-wyper-tickets-16745555407
A performance for only ONE person. Wyper offers a intimate tour of Echo Park via cell phone: 'echoes' of the complicated social history of downtown Los Angeles.
Follow @mstfestival on Twitter or visit Spring Runoff's website for the latest information during the Marathon.
The Mountain Standard Time Performative Art Festival Society (M:ST) ensures that performative art practices are recognized and sustained in the Southern Alberta region. M:ST fosters innovation and collaboration among local, national, and international artistic communities.
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4. PERFORMANCE: 45' for a Speaker by John Cage by Martin Arnold
Date: June 3, 2015; City: Toronto, Canada; Source: instant coffee
45' for a Speaker by John Cage
Performed by Martin Arnold
Toronto composer and writer Martin Arnold performs 45' for a Speaker, a lecture by one of America’s most significant avant-garde composers of the late 20th century, John Cage (1912-1992). Cage first performed 45' for a Speaker at the Composers' Concourse in London in October 1954. The score of the lecture draws on the principle of chance operations as also elaborated in Cage’s musical works. Having tossed a coin, Cage’s notations indicate duration as well as whether a section appears as speech or silence, and whether the text is drawn from new or existing parts of earlier writings. The meaning of the work lies entirely in hearing and seeing it performed rather than in a mere reading of the written text.
Wednesday June 3, 2015, 7:30 pm
Justina M. Barnicke Gallery, Hart House, University of Toronto
7 Hart House Circle
All Welcome
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5. EVENT: PALS Play Tag Part One: Poland-Sweden
Date: June 5, 2015; City: Stockholm, Sweden; Source: PALS
PALS Play Tag Part One: Poland-Sweden
Date: 5th of June 2015 - 19:00
Venue: Fylkingen, Stockholm (Directions: Münchenbryggeriet, from Torkel Knutssonsgatan 2 through the vault, across the parking lot, Metro: Mariatorget)
FREE ENTRANCE! BAR!
PALS play tag – a new series of international exchanges in performance art starts with a packed performance evening in cooperation with:
Galeria Raczej (Poznan, Poland)
Polska institutet
IASPIS
uNder_jOrden sTockholm
Performance art in Poland has a fascinating, strong, continuous tradition. During half a century of turbulent political and cultural history, performance art in Poland has always been present, challenging, thought-inspiring and filled with energy. Today PALS presents a new generation of polish artists who have already conquered their own definition of what performance art is.
ATTENTION! 3rd of June 2015!
PALS in cooperation with uNder_jOrden sTockholm presents a spontaneous performance program in public space at one of the metro stations in Stockholm. www.facebook.com/events/1088767177818634
Participating Polish artists:
Konrad Juściński
Anna Kalwajtys
Agnieszka Szablikowska
Łukasz Trusewicz
Hubert Wińczyk
Participating Swedish artists:
Gustaf Broms
"Dryckesbröderna / The Drinking Brothers"
Participating parties:
PALS Performance Art Links is an international platform and regular festival for performance art based at Fylkingen since 2011.
http://palsfestival.se
Galeria Raczej- artist run gallery for performance art in Poznan, Poland.
https://galeriaraczej.wordpress.com
Fylkingen is an association and stage for new music and intermedia, experimental art, performance, dance, film and more. Since the start in 1933 Fylkingen has worked to promote new experimental contemporary music and art.
www.fylkingen.se
uNder_jOrden sTockholm- an on-going series of guerilla performance actions.
www.orgchaosmik.org/menu.underground.html
IASPIS: www.konstnarsnamnden.se/iaspis
The Polish institute: www.polskainstitutet.se
PALS (Performance Art Links) Organizers: Irina Anufrieva, Lovisa Johansson, Denis Romanovski, Erik Wijkström, Hiroko Tsuchimoto
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6. PERFORMANCE: Wandering With The Horizon by Sandrine Schaefer
Date: June 6, 2015; City: Boston, USA; Source: Sandrine Schaefer
"Wandering With The Horizon" is a piece composed of 5 site-sensitive durational performance art actions created by Sandrine Schaefer for the Institute of Contemporary Art's 2015 Foster Prize Exhibition. Each live work is either sited in and/or viewable from the ICA's waterfront Founders Gallery. Utilizing the constant view of the horizon and natural light present in the space, Sandrine will investigate notions of liminality, the idea of the infinite horizon in relation to human scale, and the impact that the external environment has on the space. Minimal traces from each piece will remain and accumulate in the space, creating an experiential archive of the evolution of the work. By the end of the exhibition, the space will have experienced a sensorial transformation through the accumulation of these subtle traces that reward the curious and require visitors to confront their own physicality as they engage with the work.
Schedule of performances:
No. 3 | Experiencing the Periphery
Saturday, June 6, 2015
11am-5pm
Installed strategically outside of the Founders Gallery Sandrine's physical positioning turns the audience into collaborators as they encounter the Founders Gallery through active forms of witnessing.
No. 4 | Exercises in Proximity – See/Sea
Sunday, July 12, 2015
11am-5pm
Viewable from the Founders, across the Harbor, Sandrine is installed on the pier in East Boston. Sandrine's actions will be viewable both from the Founders Gallery and through a live feed that will be available on the computers in the ICA’s Media Tech for the duration of the piece.
No. 5 Exercises in Archiving – Giving/Leaving
Sunday, August 9, 2015
11am-5pm
The Founders Gallery will return to its original condition through actions that both revisit/archive the pieces that unfolded over the duration of the Foster Prize Exhibition, closing the cycle of this project.
Facebook event: www.facebook.com/events/1571852899747831
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7. CALL FOR TEXT SUBMISSIONS: RIPA
Deadline date: June 8, 2015; City: Montreal, Canada; Source: RIPA
DEADLINE DATE: June 8th 2015, 11:59 PM
RIPA (rencontre interuniversitaire de performance actuelle) invites writers who are interested in performance art to send their textual creations. The texts must have a maximum of 1000 words, and should be inspired by the theme of SCREEN•S. Those that will be selected will appear in a forthcoming publication this fall.
Textual creations inspired by the fourth edition of RIPA – happened on last may 2nd and 3rd 2015 – are welcome, as well as those that will be emphasizing on a larger perspective of the actual work of performance art. The propositions can take multiple forms (theoretical or literary essay, interview, etc.), and question, for instance, one or many performances presented during the night, one or various subjects discussed during the panel, the organization of artistic performances events, or even some specific issues about actual performance practice.
A redaction comity will select the textual submissions that attest rigorous work of research, as well as a sensibility relative to the thematics and contextual propositions.
SCREENS
This thematic opens a discourse about spaces occupied by, respectively, the artistic work, the public and the screen in the practice of performance. What are the limits, if there are some, of the viewer and the space of representation?
The forthcoming publication will explore the issues of immediacy, re-broadcast, interactivity and surveillance related to the performative gesture; in a society and era where the screen is omnipresent, what place is left for the human body? Is it occupied, or occupying? How does it stand inside or outside of these borders? In this perspective, a study of the proprieties of the classic screen format – front, rectangular, two-dimensional, framed, distanced – could be done in regards to the performative context.
The submissions can also question the transmission or translation of languages of the screen society – informatic, televisual, cinematographic, etc. – in artistic performances.
SCREENS wishes to especially animate the actual debate bounded to the interference produced by the utilization of video and photo devices in or on the outskirts of an artistic performance, and therefore react to the impact that has the screen society on the documentation of performance art.
You could submit your text at ripa.contact@gmail.com. You'll be informed of the selection during the summer time. Can't wait to read you!
www.ripa-performance.org
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8. EVENT: Change / Perform / Collab
Date: June 5-6. 2015; City: Hildesheim, Germany; Source: Helge Meyer
Domäne Marienburg
Domänenstrasse 2, 31141 Hildesheim, Germany
We would like to invite you for two days of performances.
On Friday, each participant of the exchange will present a short soloperformance. New work, exciting experiments, challenging actions... (Opening 4pm and performances from 4:30pm to 10pm. Afterwards wind down with drinks and talk.)
On Saturday, the whole group of artists will perform together in a durational groupaction. No rules, strong presence... (4pm to 10pm. Thereafter ending with music and drinks.)
We would be happy to welcome you for both events!
Domäne Marienburg - Burgtheater (Haus 52)
Free Admission + there will be a bar
Participants: David Frankovich, Hannah Gullichsen, Christina Harles, Diana Soria Hernandez, Vera Moré, Robin Nagler, Vili Nissinen, Rene Reith, Alba Scharnhorst, Felix Scharr, Josefine Soppa and Eric Christopher Straube
Facebook event: www.facebook.com/events/1538475923095282
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9. TALK: Art at the Fringes of the Law
Date: June 8, 2015; City: Singapore; Source: Independent Archive
Monday June 8, 2015
7:30-9:30pm
Independent Archive, 67 Aliwal Street, Singapore
Facebook event: www.facebook.com/events/1441938086101464
Art being what it is, sometimes, it treads the borders of the law. What happens when artists challenge aspects of society in a way that may infringe legal boundaries? Where does one go for advice and counsel?
This session invites prominent lawyer Josephus Tan to discuss these and related issues.
THE SPEAKER
Josephus Tan is an Associate Director at Fortis Law Corporation and specialises in criminal defence litigation. He volunteers actively with the various pro bono initiatives by the Law Society of Singapore such as the Criminal Legal Aid Scheme (CLAS), Project Schools, and the Community Legal Clinics. He was the Project Chairman for the Law Society’s biennial community outreach project "Legalese" which provides basic legal knowledge to local social enterprises in 2013 and also the Vice-Chairman for the inaugural Singapore Law Week 2013 event jointly organised by the Singapore Academy of Law and the Law Society. He is currently spearheading the inaugural "Street Smart Initiative" which aims to provide free legal advice to sex workers on the streets.
In 2010, Josephus became the youngest recipient of the CLAS Gold Award and in 2012, he was co-opted into the Council of the Law Society as a Council Member. In the same year, he was appointed as Lead Counsel for the Legal Assistance Scheme for Capital Offences (LASCO) by the Supreme Court of Singapore, again, the youngest to be so appointed. Josephus is also one of the awardees of the JCI Ten Outstanding Young Persons of the World (Merit Award) Singapore 2013 and was a recipient of the prestigious Pro Bono Ambassador of the Year Award accorded by the Law Society in 2013. In 2014 and 2015, he was nominated by the Ministry of Law for the Singapore Youth Award (Community Category), the highest accolade given to a young person in Singapore.
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10. EVENT: Truth be Told: Live Performance and Video at the Intersection of Fact and Fiction
Date: June 11, 2015; City: Toronto, Canada; Source: Humbolt Magnussen
Truth be Told: Live Performance and Video at the Intersection of Fact and Fiction
June 11, 2015
Revue Cinema, 400 Roncesvalles Avenue, Toronto
Doors at 9:00 p.m., program begins at 9:30 p.m.
Featuring live performance and video by:
Sharlene Bamboat
Jessica Kichoncho Karuhanga
Alvis Parsley
Christopher Lacroix and afallen horse
Neil Lapierre
Rebecca Fin Simonetti
YTB Gallery brings together a night of performances and screenings entitled Truth Be Told, June 11th at the Revue Cinema, co-presented with Art for Eternity. A selection of six young, Toronto-based artists present film, video, and performance work telling histories, jokes, deep truths and canny untruths. Mingling performative disruptions and flowing narratives, these artists play with stories and their dual power— conjuring telling as an insistence on erased histories, or as a method of bending the truth to unsettle and delight. Somewhere in the act of telling, these artists build rich and sumptuous new worlds: cautionary, wish-fulfilling, or utopian.
Curated by Alison Cooley and Humboldt Magnussen
Tickets:
$8/advance, student, senior, or starcard
$11/general admission at the door
To purchase advance tickets visit:
www.eventbrite.ca/e/truth-be-told-live-performance-film-at-the-intersection-of-fact-fiction-tickets-16920531766
This is a licensed event; beer and wine will be available, along with a selection of themed appetizers, popcorn and snacks.
Art For Eternity
Revue Cinema's Art for Eternity program takes place on the second Thursday of every month, bringing classics and future classics to the big screen on Roncesvalles. Art for Eternity presents a mix of art house cinema, creative documentary, and performance, a variety of artistic subjects whose aesthetic and creative influences we believe will last the test of time.
art.for.eternity.cinema@gmail.com
www.facebook.com/groups/575312722612492
YTB Gallery
Younger Than Beyoncé Gallery is a nomadic artist-run centre that will open the doors to its Regent Park gallery this summer. The mandate of the gallery is to support the professional practice of young artists by creating opportunities to exhibit artwork while engaging in the art community.
ytbgallery@gmail.com
www.facebook.com/youngerthanbeyonce/timeline?ref=page_internal
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11. EVENT: Interval °6
Date: June 12-13, 2015; City: Essen, Germany; Source: Paersche
Feel invited and be with us at the six Performance Art Festival
Interval °6 in Essen
12th of June 2015 at 7pm as part of the 14th Kulturpfadfest Essne 2015
13th of June 2015 at 7pm at Artspace ERDgeschosse, Emmastrasse 1a, 45130 Essen
with soloperformances, interventions and actions from PAErsche and its invited guests
Dominic Thrope (IRL)
Zierle Carter (DE/UK)
Yvonne Good (CH)
Eve Bonneau (FR/BE)
Zeijing Liu (CN/UK)
In collaboration with the performancelaboratorium in Linz (AT) with friendly assistance of the Kulturbüro Essen and ProHelvetia - Schweizer Kulturstiftung, Hotel Luise and Weinzeche Essen
Facebook event: www.facebook.com/events/513200732153966
Website: www.paersche.org
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12. EVENT: SURVIVA!
Date: June 13, 2015; City: Montreal, Canada; Source: VIVA!
SURVIVA!
FUNDRAISER for VIVA! Art Action (Montreal, next festival edition in September 2015)
June 13, 2015
OBORO, 40001 Berri, local 300, Montreal
5pm-7pm
With eight duo performances / (Performer-non-performer):
Larose & Jourdain
Christian Bujold and unknown
Anne Bertrand and Claudine Hubert
Rachel Echenberg and Clara Worsnip
>Arkadi Lavoie-Lachapelle and Valérie Provost
Pierre Beaudoin and Roberto Di Giacomantonio
Jean-Philippe Luckhurst-Cartier and Julie Parent
N. & M. (Nadège Grebmeier Forget and Manon Tourigny)
TICKETS: $24.97 (includes a glass of sparkling wine)
CASH BAR!! NUMBER OF TICKETS IS LIMITED!!! Cash appreciated!
Tickets on sale at OBORO, La Centrale, Verticale and articule during regular office hours or at: surviva.13juin@gmail.com
Facebook event: www.facebook.com/events/434501053386618
You can further support VIVA! by becoming a member of the organization. Individual membership is only 5$, contact info@vivamontreal.org for more information!
About Viva!
VIVA! Art Action is an international event that invites you to discover the vivacity of live art in Quebec and elsewhere. Live art is a thriving aspect of contemporary visual arts culture. This interdisciplinary, or “undisciplined,” lesser-known art form can be characterized by the essential physical presence of the artist during a performance, gesture, or public and participatory intervention; it is typically ephemeral and changeable, and unfolds in the “here and now.” Be it orchestrated or improvised, subtle or direct, sometimes provocative and uncomfortable, live art encourages us to critically reflect on our behaviour, culture, and contemporary societies. VIVA! Art Action is recognized both locally and internationally. It was established in 2006 by six artist-run centres in the Montréal region, as a unique platform on which to foster and support live art in its most hybrid forms. Every two years, the energy of Montréal’s artistic community converges to promote, witness, discuss, and celebrate the work of exceptional artists from the four corners of the world.
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13. EVENT: Le temps commun; We are all in this together
Date: June 19, 2015; City: Lévis, Canada; Source: Za-oum collectif
Le temps commun; We are all in this together
Soirée d'art performance
June 19 @19h
Regart, centre d'artistes en art actuel, 5956 rue St-Laurent, Lévis, Quebec
Commissariat et organisation de Za-oum collectif en collaboration avec Regart centre d'artiste en art actuel.
Quatre artistes performeurs, tous sélectionnés autour d'un questionnement : De quelle manière, la temporalité en performance, aussi singulière soit-elle, devient manifeste? Il s'agit d'une problématique essentielle et constitutive d'un large éventail de pratiques en performance. Entre le temps, l'espace et le regardeur, chaque performeur forme le potentiel de représenter, imposer, disperser, étirer ou condenser leur présence de manière distincte. Dans le moment, l'artiste joue nos dispositions, il marque les points de ruptures et d'ouvertures de notre attention, il concentre l'action, la durée, jusqu'au point anxieux de l'imperceptibilité.
ARTISTS
Shannon Cochrane (TO)
Marie-Claude Gendron (MTL)
Michelle Lacombe (MTL)
Tom Maio (É.U)
Shannon Cochrane (TO)
Directrice du FADO Performance Art Centre fondé en 1993; ce centre d’artistes torontois présente le travail d’artistes performeurs/euses contemporain/es provenant du Canada et d’ailleurs dans le monde. En tant que plateforme, FADO existe de manière nomade, utilisant les lieux et sites appropriés à chaque projet individuel. Shannon Cochrane est également co-fondatrice du collectif 7a*11d, créé en 1997, et l’une des organisatrices et commissaires du festival d’art performance 7a*11d, présenté à Toronto tous les deux ans.
Marie-Claude Gendron (MTL)
Née à Québec, Marie-Claude Gendron poursuit actuellement ses études à la Maîtrise en arts visuels et médiatiques à l’UQAM. Son travail a fait l’objet de présentations solos et collectives lors d’expositions et d’évènements se déroulant au Québec, au Brésil, en France, en Italie, en Irlande du Nord et prochainement, en Thaïlande et au Mexique.
Michelle Lacombe (MTL)
Après avoir complété ses études à l’Université Concordia, en 2006, Michelle Lacombe a développé une pratique toute singulière liée au corps. Intentionnellement minimaliste, sa démarche est ancrée là où le geste et la trace s’entrelacent. Ses performances, à la fois banales et extrêmes, prennent la forme d’actions radicalement courtes. Son travail a été diffusé au Canada, aux États-Unis et en Europe dans le cadre d’évènement, d’exposition ou de colloques. Ses motivations artistiques naîssent d’un engagement profond envers les stratégies de diffusions alternatives et les pratiques performatives. Elle a travaillé avec de nombreuses galeries à Montréal et elle est actuellement la directrice de VIVA! Art Action, une plateforme biennale de performance.
Tom Maio (É.U)
Ayant obtenu un BFA en 2013 du Montserrat College of Art, Tom Maio s’investit intensivement dans le milieu de l'art performance, présentant à mainte reprise son travail à Boston et dans ses environs. Récemment, il a performé dans le cadre de « Possible Nowhere » au Smith College, North Hampton, MA, ainsi qu’aux Samhain Soiree Series, au centre Mobius, Cambridge, MA. Tom Maio réside présentement à Jamaica Plain, MA.
Za-oum collectif
www.facebook.com/zaoum.artperformance
http://zaoumcollective.tumblr.com
Regart centre d'artistes en art actuel: www.centreregart.org
Facebook event: www.facebook.com/events/1606352889611945
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14. EVENT: 3rd Cyprus International Performance Art Festival (CIPAF)
Date: June 19-21, 2015; City: Nicosia, Cyprus; Source: CIPAF
3rd Cyprus International Performance Art Festival (CIPAF)
“Intending Humorously”
20 & 21 June 2015 // ARTos Foundation
19 June 2015 // Goethe Institute (pre-opening event)
The 3rd Cyprus International Performance Art Festival (CIPAF) will take place at ARTos Foundation, in Nicosia, on the 20th and 21st of June 2015. The festival’s program consists of Live Performances, Exhibition and Screenings that will take place at the spaces of ARTos Foundation. The festival will precede a pre-opening event, the "Performance Art Jukebox" that will be hosted by Goethe Institute on the 19th of June, and a Performance Art workshop that will follow on the 23rd, 24th, and 25th of June 2015.
CIPAF is a thematic festival with its 3rd edition focusing on humor. This year the festival is entitled "intending humorously", and looks on how performance artists use humor and its varieties in their work. Also this year the festival introduces the programs “Space for New”, a program for the support of newcomer performance artists, and “Performance Art Occasion” where a special guest from the field of performance art creates a special occasion for the audience.
CIPAF is the first and only event in Cyprus created for and dedicated exclusively to performance art. This initiative brings together, supports and promotes the work of internationally renowned artists and young emerging artists from around the world, for whom Performance Art is the primary medium of their artistic creation.
CIPAF aims to introduce the compound nature of performance art in the local community and enhance Cyprus’ art scene, whilst encouraging relationships with local, national and international networks. The festival’s activities are addressed to both artists and the general public. The festival creates a common ground for artists, curators, critics, cultural producers, art students and the audience, as an occasion for exchange, encounter and collaboration.
CIPAF is a not-for-profit initiative realized through the immense effort to establish an innovative yearly event. The third festival is made real upon the continuous effort of its team, the support of the participating artists and the generosity of its collaborating partners, supporters and sponsors.
The Cyprus International Performance Art Festival (CIPAF) exists under the umbrella of the Cyprus International Performance Art Society (CIPAS), a non-profit organization created for and dedicated to Performance Art, having its base in Nicosia, Cyprus.
ARTISTS
Maurice Blok (NL/FI)
Phedon Odysseos (CY)
Lynn Lu (SG/UK)
Tomasz Szrama (PL/FI)Roi Vaara (FI)
Thalia Zachariadou (GR)
SPECIAL GUEST: Christopher Hewitt (UK/DE)
CULTURAL PARTNERS: liveartworkDVD (DE), Thessaloniki Performance Festival (GR), ARTos Foundation (CY)
CURATOR: Christina Georgiou
CURATOR OF THE SCREENING PROGRAM: Christopher Hewitt
PROGRAM
Live Performances
20 & 21 June 2015, 20:30 – 23:00 (audience arrival at 20:00)
Venue: ARTos Foundation / 64 Agion Omologiton avenue, 1080 Nicosia
Exhibition & Screenings
20 & 21 June 2015, 18:00 – 24:00
Venue: ARTos Foundation / 64 Agion Omologiton avenue, 1080 Nicosia
Pre-opening event (Performance Art Jukebox) by Christopher Hewitt
19 June 2015, 20:30 – 23:00 (audience arrival at 20:00)
Venue: Goethe Institute / 21 Markou Drakou street, 1513 Nicosia
Performance Art Workshop by Christina Georgiou
23, 24, 25 June 2015
Venue: ΟΝΕΚ Youth Hostel / 30-32 Chrysaliniotissa street, Nicosia
ADMISSION: €10 for one day, €15 festival pass / for students & unemployed: €7 for one day, €10 festival pass [Part of the tickets’ sales will be donated to families in Nepal]
FREE ADMISSION for Exhibition and Screenings (ARTos Foundation) & Performance Art Jukebox (Goethe Institute)
TICKETS PRE-SALE: 18 & 19 June, 10:00 - 13:00 & 14:00 - 17:00 at ARTos Foundation
www.cipafestival.com
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15. CALL FOR PROVOCATONS: Brewing Performance Symposium
Date: June 24, 2015; City: Leeds, UK; Source: Gillian Dyson-Moss
Call for Provocations – Symposium Announcement
Brewing Performance Symposium
The Tetley, Leeds, UK
Wednesday 24th June 2015
In collaboration with the School of Film, Music & Performing Arts & the Centre for Culture and the Arts, Leeds Beckett University
Brew (v.)
from PIE root *bhreuə- "to bubble, boil, effervesce"(cognates: Sanskrit bhurnih "violent, passionate," Greek phrear "well, spring, cistern,")
Brewing Performance emerges out of a series of cross-disciplinary performance interventions at The Tetley, Leeds by performance makers from Leeds Beckett University and their invited guest artists. The symposium explores the possibilities of 'brewing' as a metaphor for making, seeing, and writing about contemporary performance and live art. To brew is to transform, to let something settle, and to create the conditions for one ingredient to affect another. Brewing is relational and affective. It is passive and active; predictable and unanticipated. We might think of brewing as the site where the organic is controlled but also free to grow and infuse. As a practice, brewing constitutes both work and play, practiced by amateurs and professionals within a commercial or domestic context. A cup of tea, trouble, a storm, and mischief - all brew.
What are the theoretical and practical possibilities of brewing (as noun, verb, adjective) for the fields of theatre, performance and live art? Does the language of the brewing process (laundering, milling, mashing, fermenting, conditioning etc.) offer a new vocabulary for describing the process of making, seeing, documenting and writing about new work? Or for articulating the way in which discrete artistic disciplines might exist together in the same space? Can brewing help us to interrogate the ethical and/or political resonances of performance? What are the limitations of brewing as a means of describing the (co-)creative act of seeing and making performance?
Topics for provocation might include (but are not restricted to the following):
Brewing and theatre, live art, performance
Brewing, dance and choreographic practices
Brewing and time
Brewing and narrative
Brewing, site and spatiality
Brewing and spectatorship
Brewing and performance theory
Brewing, ecology and sustainability
Beer, wine and drunkenness on stage
Organic and biological matter in performance
We invite proposals for short provocations in response to the themes and questions posed above. Provocations will be no more than 10 minutes in length and should facilitate exciting, thoughtful and critical group discussion. We welcome provocations that are practise-based or take non-traditional conference forms. Proposals of up to 250 words will be accepted and should include:
1. the title of your provocation
2. a brief outline of your argument/challenge
3. a short description of how your provocation will be presented (traditional, performative or other) and any associated material or tech requirements
Proposals should be submitted by midday, Monday June 1, 2015 via email to A.M.Senior@leedsbeckett.ac.uk and O.Bray@leedsbeckett.ac.uk along with a short biography (no more than 150 words). We will respond to your proposal by Friday June 5.
Further details of the symposium programme will be circulated in due course. If you have any further questions or informal enquiries about the symposium please contact the co-organizers Adele Senior and/or Oliver Bray.
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16. EVENT: Ophelia: a project for an experimental movie I by Francesca Fini
Date: June 24, 2015; City: Toronto, Canada; Source: Istituto Italiano di Cultura
The Istituto Italiano di Cultura and Luminato Festival presents:
Ophelia: a project for an experimental movie I by Francesca Fini
On the occasion of Francesca Fini's residency with this year’s edition of Luminato Festival, the Istituto Italiano di Cultura is hosting the Italian artist for a talk where she will introduce the audience to her work vision and to her upcoming experimental film project, Ophelia, in collaboration with Istituto Luce.
Francesca Fini is an interdisciplinary artist living and working in Rome, Italy. Her live works often address social and political issues, and are a mixture of lo-fi technology, homemade interaction design devices, and live audio and video. Primarily interested in video and live art, she also creates artworks assembling performance art “relics”.
This event is supported by FADO Performance Art Centre.
Event link: www.iictoronto.esteri.it/IIC_Toronto/webform/SchedaEvento.aspx?id=922&citta=Toronto
Artist website: www.francescafini.com
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17. EVENT: Process10
Date: June 28, 2015; City: Toronto, Canada; Source: lo bil
Artscape Youngplace
Intergalactic Arts Collective
180 Shaw Street, Toronto
7:30pm start time / $10 suggested PWYC at the door (proceeds from the night go to the artists and to the Intergalactic Arts Collective)
PROCESS is a space to present work to an audience and have a conversation about it. it's an invitation try something new, experiment, assess or revisit something that has already been presented - it's an informal event that happens the last Sunday of each month.
Mostly hosting performance artists, the series is also open to visual artists, writers, musicians, dancers, filmmakers, curators, conversationalists, activists, academics - any form is welcome. to present, email me with a short idea or proposal - lbil@rogers.com
June 28th ARTISTS:
ARTIFACTS: Leena Raudvee & Pam Patterson
Think Blank Human: Lisa Anita Wegner
Elaine Stewart & Tegan Smith
Simla Civelek
Stephen Chen
More words and images to come at: http://processperformances.tumblr.com/
FROM THE ARCHIVE
PROCESS1 took us in every direction with Ella Cooper, Holly Timpener, Leena Raudvee, Melissa Fisher & her Stairmaster exhibition and Louise Bak. it was an unbelievable night of beauty, blood, guts, and conversation.
PROCESS2 was alive with words and movement experiments, featuring Aisha Sasha John, Johannes Zits, Bogdan Luca, Fiona Griffiths, Augustina Saygnavong, Marvin Antonio, and Manden Murphy.
PROCESS3 zinged with contralateral shifts, Francesco Gagliardi, Melissa Koziebrocki, Jen Hum, and Tanya Pillay.
PROCESS4 was an emptying out of process anxiety and an examination of rigour with Simla Civalek, Pam Patterson, Julia Male, Meryem Alaoui, and Kate Barry.
PROCESS5 filled voids of every dimension with Katie Kehoe, Jessica Runge, Duorama, Coman Poon & Raki Malhotra.
PROCESS6 moved us inside and out with rap artist Xolisa, dance artists Sara Porter, Maxine Heppner, Elisa Hollenberg, and uncut experimental practices of HΩLY JÅCKÅL & Raki Malhotra.
PROCESS7 involved studies: a movement & text improvisation score for the Ensemble, music by Greg Chambers and Michael Baumgart, dances by Sara Porter, and a Katie Kehoe performance.
PROCESS8 Claude Wittmann & Fiona Griffiths did a Diptych on death and what is sacred, comedy from Mali Natakiya and Rina R, and experimental drones from Greg Chambers and Michael Baumgart with guest artist.
PROCESS9 Berenicci Hershorn, Fiona Griffiths, Rah Eleh and Randall Gagne. from movement to stillness and stillness to movement.
Be part of the process.
PROCESS is an independent performance series that brings together an interdisciplinary mix of experienced artists for an eclectic night of conversation with audience and the presentation of works-in-process. PROCESS is a space to investigate, witness, feedback, collaborate, converse, chill out, meet friends, find new perspectives on your own artistic process, and recalibrate your interpretive channels.
Facebook event: www.facebook.com/events/912161538847939
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18. CALL FOR PROPOSALS: Performance Research Vol. 21, No. 2: On Sea / At Sea
Deadline: July 6, 2015; City: the world; Source: Performance Research
Volume 21, Number 2: On Sea / At Sea (April 2016)
Deadline: 6 July 2015
Issue editors: Sam Trubridge and Richard Gough
ON SEA / AT SEA considers how performance practice and critical perspectives on performance can be affected by the fluidity, endless motion, unchartable terrains, and endless liquid condition of the sea.
Stories about the sea or set on the sea are almost always performed on dry stages. How often does performance go to sea, as a place? Does the need for survival in this place render artistic, performative expression as something superfluous and trivial? How can a performance culture be shaped by this liquid, ever-moving terrain? Is perhaps, the sea a place where performance is suspended momentarily? - lost, at sea? For we are seldom actually ON the sea: a boat may seem to float on it, but it is always half-submerged, half-sinking into this medium. And being AT sea is a giving over to the elements, a risk taken, and a casting off from attachments and moorings.
The sea is a space just beyond every coastline of the world: to many a homogenous surface of restless, endless movement that connects all the coastlines of the world. The sea is said to be just as unknown to us as the stars and galaxies. But this unknown is an 'inner space', within our planetary atmosphere: a place of submerged things and intimate secrets, that lie so close to us yet remains a mystery. Beneath the planetary cortex where synapses flash between cities and grids of terrestrial industry, there is the ocean, our space within. The odd fibre-optic cable is laid down, occasionally a submarine blinks its lonely lights here, and wreckage drifts to rest here… but on the whole this space sleeps beneath us, detached, and at a different speed. The sea is our planetary subconscious, keeping secrets, then revealing them with a theatrical power: with the wreck of the Titanic, the ruins of Heracleon, the horrors awaiting the salvagers of the tomblike Kursk submarine a year after it was disabled on the Russian seabed, and the [as yet] unfound wreck of Air Malaysia Flight 370. Most recently, it has been revealed as a tragic space of border-crossing, with the attempted crossing of oceans by refugees from North Africa, Indonesia, and Haiti into westernised ‘promised lands’ (Europe, North America, Australia). As well as a site for human fears and tragedies, the sea also carries within it environmental anxieties and portents of collapse: the giant North Pacific gyre, the dismembered trunks of finned sharks, the explosion of Deep Water Horizon in 2011, or the bellies of dead fish and animals filled with plastic.
This editorial interest focuses on the sea as an unbounded, unfixed territory with no recognizable performance cartographies, asking the question – how often does performance go to sea? This is both a literal and poetic question, thus inquiring about specific nautical performances ‘on the sea’, as well as the poetic state of being ‘at sea’, that is, within a fluid, unfixed, or liquid condition. This issue of Performance Research also responds to the themes and discourse generated by the PSi#21 Fluid States globally dispersed conference in 2015. The editors invite contributions research projects and Psi#21 Fluid States participants that:
-Gather texts on the sea and its relation to performance-Examine performance at sea, under the sea, on boats, or in coastal/tidal areas
-Consider unknown spaces beyond and within, especially where the sea and oceans are concerned
-Draw on discourses from the PSi Fluid States dispersed conference
-Develop new definitions for fluidity and nomadism as philosophic, relational paradigms
-Investigate ‘liquid dramaturgies’, moving away from perspectives on performance as a linear experience beholden to dramaturgical or narrative structures
-Present new perspectives for performance, emerging from a philosophy born from the endless movement of the ocean, celebrating liquid, restless, and volatile contexts or processes
-Examine new cartographies and navigation for performance in liquid states
-Address issues of migrancy, temporality, flux, uncertainty, and transience in relation to contemporary performance, contemporary culture, and oceanic concerns
'On Sea / At Sea' invites artists, practitioners, and theorists to submit proposals for critical articles (between 2,000 and 8,000 words), documents or artist's pages, which examine, re-perform, or re-present performance in relation to the sea and liquid, fluid conditions. In keeping with the inclusive nature of the ‘Fluid States’ project, submissions are invited from a broad spectrum of perspectives and practices, focusing on a common relationship with liquidity, the sea, and oceanic states.
Sam Trubridge is the Artistic Director of The Performance Arcade in Wellington, NZ and the convenor for ‘Deep Anatomy’ – the Bahamas cluster for Psi#21 Fluid States.
Richard Gough is Artistic Director of the Centre for Performance Research, Professor of Performance Research at Falmouth University and a Fellow of the International Research Center "Interweaving Performance Cultures", Freie Universitat, Berlin. He is the general editor of Performance Research and was founding president of PSi.
SCHEDULE
Proposals: 6 July 2015
First Drafts: October 2015
Publication Date: April 2016
ALL proposals, submissions and general enquiries should be sent direct to the Journal at:
info@performance-research.org
Issue-related enquiries should be directed to issue editors:
Sam Trubridge at samtrubridge@gmail.com and Richard Gough at cprgough@gmail.com
General Guidelines for Submissions:
-Before submitting a proposal we encourage you to visit our website (www.performance-research.org/) and familiarize yourself with the journal
-Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side
-Please include your surname in the file name of the document you send
-Submission of images and visual material is welcome, PROVIDED that all attachments DO NOT exceed 5MB, and a maximum of 5 images
-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere
-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.
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19. WORKSHOP: Between Intimacy and Architecture with Victoria Stanton
Date: July 10-12, 2015; City: Toronto, Canada: Source: Victoria Stanton
Between Intimacy and Architecture: subtle and relational performance in public place
With Victoria Stanton
Location: Artscape Youngplace, 180 Shaw Street, Toronto
Dates: July 10-12, 2015 (with a final performance by participants on July 15)
Cost: $300
Max number of participants: 12
TO REGISTER or for more info:
Contact Victoria at info@bankofvictoria.com
Deadline to register: July 3, 2015
Description of Workshop
How do we listen to each other? How do we interact? How do we respond to the landscape around us? How do we engage with time and space? Cultivating attentive awareness, empathetic presence and peripheral vision, this workshop will explore the multiple and very personalized ways in which we experience and foster intimacy and connection – in ourselves, towards others, and in relation to place. We will explore how time and space are intimately connected and linked to how we develop a relationship to the space and people around us; how repetition of an action (over time) within a particular space necessarily creates familiarity with that space, within the various contexts in which we find ourselves to be. We will also explore how the ways in which a "non-productive" use of time, as carried out in public (place) activates a space. Finally, we will attempt to create contexts to explore ways of experiencing various kinds of “in-betweens,” (the spaces between thought and action, between actions, between each other, between ourselves and the spaces around us.)
Key ideas:
-Activating space
-Holding space
-Connecting to space
-Connecting to others
The importance in relational/public practices to be able to also activate:
-Empathetic / compassionate presence (1. towards yourself, 2. towards others)
-Non-judgment
-Attentive awareness/ full observation-Groundedness (what is your container?)
-Faith, Trust
Performance Philosophy
Whether working in participatory, durational, task-based or audio-visual performance, the constant thread in my work is an investigation into the ability (and the desire) to hold a space, to appropriate and disrupt the quotidian, to create spontaneous intimacy, to tread vulnerability. Investing a performative presence and consciousness within multiple spaces/times, I continuously underscore the complex aspects of “transaction” and the possibility for transformation.
Much recent work explores the elusive “in-between” – that invisible, liminal space between myself and the audience (whether a group or just one person) or between myself and my object/action/location – whether appearing “on stage” (in a black box, white cube, bar or loft) or “out in the world” (in public sites and “non-art” contexts). The “in-between” is my inquiry into transitional space: as manifested on stage (has the performance ended?), as presented through relational exchange (is this a performance? Is this Art?), and as experienced out in the world through geopoetic meandering, and the conscious inhabiting of non-places found in the built environment. These subtle forms of testing the limits of vulnerability make up an overall practice (and multiple research processes) as an artist working in – and with – space and time.
About the Workshop Facilitator
Victoria Stanton is an interdisciplinary artist whose 20+ years of practice spans the realms of live action, human interaction, video, film, photo, drawing, and writing. Since 2001 Victoria has been delving into an expanded engagement with performance art, combining public intervention and transactional/relational processes within a variety of communities and contexts across Canada and internationally. She has facilitated several workshops with TouVA (a collective comprised of Stanton, Sylvie Tourangeau and Anne Bérubé) and been developing a pedagogy via the exploration of human geography, architecture and the body as well as the micro-event – elements that have become fundamental to her workshops. She has previously given classes in Montreal (RAIQ, SKOL, Studio 303) Durham (Words Aloud Festival), Toronto (Hub 14, Artscape Gibraltar Point, Artscape Youngplace), Sudbury (Galerie du Nouvel-Ontario), Mexico (Centre FRONDA), and Melbourne (Overload Festival). Victoria has presented exhibitions, performances, interventions, and films/videos nationally and internationally, and is currently working on a book with TouVA, developing salient notions on how performance is practiced and on the question of ‘the performative.’ http://www.bankofvictoria.com
Application Deadline: July 3, 2015 ($50 deposit required to reserve your spot) ***Possibility for sliding scale or service exchange for limited number of participants; please get in touch and we can discuss***
For more info and to register contact Victoria at info@bankofvictoria.com
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20. WORKSHOP: PAS # 40: Human Factor
Date: July 12-19, 2015; City: Poznan, Poland; Source: BBB Johannes Deimling
In cooperation with Galeria Raczej with BBB Johannes Deimling and guest teacher Łukasz Trusewicz.
Human Factor
The practice of designing products, systems or processes to take proper account of the interaction between them and the people who use them is described by the term ‘Human factor’. In its essence, it is the study of designing equipment and devices that fit the human body and its cognitive abilities. In music this term is used to humanize electronic music and its unnatural precision of a machine like for example a synthesizer.
Applying this term to Performance Art offers a direct view on performative art practices, which focusses on the person executing a performance in front of a present audience. The Human Factor in Performance Art is more than the artists’ appearance and his or hers actions. It can describe the attitude and the manners of how actions are done in performance and how this divers from person to person and from culture to culture. The uniqueness of a performance is much influenced by the person who is doing this action and the witnessing audience, which completes this creative act. To use our human factor is essential in Performance Art.
Performance Art seen as an art form celebrating diversity as a quality needs the ‘Human factor’, the individual to intersect with others. This process is highly social and desires the exchange with other ‘human factors’ in order to complete the performance in its holistic idea. In this way it is a trigger to open a dialogue with the present audience and needs to be detached from the self-centric artistic position in order to be able to create a shared space in which communication can take place and art can be shared.
In PAS #40 we want to research the intersections between the individual and the ‘sum of us’ in a vivid work processes in order to create a common piece in which the different human factors are interacting, inspiring each other processes and outcomes. The idea is to create a performance work in which individual concept are melting together with other concepts. This collaborative working process will establish a work where intersections appear which an individual process cannot generate on its own. How can the personal involvement inspire other processes and how it is possible to make the appearing intersections nourishing the results are the major questions we will follow.
PAS – Performance Art Studies OFFERS:
-To develop an Art Performance with technical, pedagogical and artistic guidance;
-To investigate and work with a variety of performative exercises, experiments, games and assignments in various conditions both in and outdoors with a specific focus on: body, time, space, material, concentration and endurance. Work will be made in groups and individually;
-A final public presentation of the performance (media promotion, poster, mailing) and final celebration party;
-Video and photo documentation of the final presentation;
-Publication of the Documentation on PAS website and other Performance Art related websites and blogs;
-Contacts with artists, curators and art institutions in Poznan and Poland;
-Meeting and collaborating with other like-minded people from other countries;
-Encounters, lectures and discussions with invited artists;
-Context of the place, history and culture.
The studies are ideal for art students, young artists and all other people who are interested in Performance Art. The range of ages in the past PAStudies was from 13 to 72 and the level of experience is not a criterion for you to participate in PAStudies. The group is usually composed of international artists coming from different backgrounds and different parts of the world.
Dates:
12. July: arrival
13. – 17. July: studies
18. July: final presentation
19. July: reflection, evaluation and departure
How to apply: Send your application (CV and work examples) to pas@bbbjohannesdeimling.de and selected participants will be invited for a Skype talk to finalize the application. Applications are being accepted until 1. July 2015
Price: 250€ [Please note: Price does NOT include travel and accommodation costs. We will support participants outside of Poznan to find an accommodation place near by the study place.]
Teaching language is English. For further INFORMATION please contact the facilitator BBB Johannes Deimling at pas@bbbjohannesdeimling.de
For more information: http://tinyurl.com/PAS-40-HumanFactor
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21. COURSE/INTENSIVE: The Pedagogy of Place – As Principle Element of Indigenous Art
Date: July 20-31, 2015; City: Kelowna, Canada; Source: Tannis Nielsen
Visiting Artists in Residence:
Dion Kaszas
James Luna
Amanda Strong
Jason Lewis
Skawennati
Open to all students interested in visual arts and Indigenous worldview. The focus of this course is on the interconnectedness of Indigenous art in relation to land/place. Over the duration of this ten day intensive students will explore this concept through their engagement in an Indigenous pedagogical practice that utilizes the traditional teaching modalities of visual arts, performance, and oral storytelling.
Class discussion is structured around a variety of formats including visiting artist/scholar presentations, as well as the teachings/oral histories shared by Okanagan Elders and other local cultural educators. Class activities will take place both inside and outside of the classroom, as there is a need to engage with the land in learning.
Precedence of Place has been given towards the recognition of our current location upon syilx territory by ensuring that number of our invited speakers and artists are members of the Okanagan Nation.
*Please check this website for regular updates on confirmed invitees.*
Topics covered
-the interconnectedness of Indigenous art in relation to land/place
-how the natural laws of particular ecosystem(s) work to inform the governance structures of Nations
-how these natural laws/governance systems are also embedded within an Indigenous pedagogy
-how these laws, protocols, cultural ethics, equip students in an Indigenous research methodology
-The concept of Place in relation to; ideology, memory, history, identity, the academy, digital media, virtual reality, Fourth World Theory and the social, cultural, political and ecological geographies of (both local and national) Indigenous territories
-Indigenous art histories as decolonization methodology
-on creating art, from your own subjectivity
WHERE
The program takes place at both the Woodhaven Eco Culture Centre, located in Kelowna, British Columbia as well as The University of British Columbia’s Faculty of Creative and Critical Studies. Many days of learning will also take place (outside on the land) upon West Bank First Nation. Accommodation is not included in this fee; you will need to find your own accommodations.
ACCOMMODATION
Participants will need to arrange their own accommodation. Accommodation is available at UBC’s Okanagan Campus, a half-hour drive from Woodhaven, as well as through www.VRBO.com, www.airbnb.ca and other booking services.
Who Should Apply:
Open to all who are interested in learning the theory and practice of indigenous arts. (Age limit: 18 yrs+) This course would also be of particular interest to peoples interested in: Indigenous governance, political science, environmental studies, traditional ecological knowledge (TEK) studies in education, social and environmental activism, and Indigenous pedagogies and research methodologies.
Registration opens on March 4 and closes on July 14, 2015.
Undergraduate Students: UBC Okanagan Visual Arts Majors and Minors and MFA students: Participants can register for undergraduate (VISA 460) or graduate (IGS 520X) course credit. Regular tuition and other UBCO fees will apply.
Non-Majors, Visiting, Unclassified, and Access: students enrolling for UBC Okanagan credit: Participants must seek permission from the coordinator, Tannis Nielsen. Once permission is received you can register for undergraduate or graduate course credit. Regular tuition and other UBCO fees will apply.
Graduate Students: Graduate students at a university covered by the Western Dean’s you must submit a portfolio (see below). Once the portfolio is approved you can register through your home institution.
Non-Credit Participants: Non-credit participants are welcome to enroll in the Summer Intensive for pure pleasure, as a master class, working with performance artist James Luna. Your registration will include consultations with the artist and all other programming.
$500 including taxes (plus $22.50 credit card processing fee)
Non-Credit Participants can register here: https://ca.apm.activecommunities.com/ubcokanagan/Activity_Search/a-pedagogy-of-place-indigenous-art-as-practice/1191
Okanagan Nation Participants: Members of the Okanagan First Nation may contact Tannis Nielsen (tannis.nielsen@ubc.ca) for information on community enrolment/engagement.
Please view website for more information:
http://fccs.ok.ubc.ca/programs/graduate/summer/visualart.html
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22. CALL FOR PROPOSALS: Performance Research, Vol. 21, No. 3: On Dialectics
Deadline date: July 24, 2015; City: the world; Source: Performance Research
Call for Proposals: Performance Research Vol. 21, No. 3 (June 2016)
‘On Dialectics’
Proposal Deadline: 24 July 2015
Edited by Eleanor Massie (Queen Mary University of London) & Philip Watkinson (Queen Mary University of London)
This issue of Performance Research will provide a platform for reflections on an underexplored area of scholarship, by animating the interrelations between dialectics and performance. ‘On Dialectics’ asks how a theory of flux, change and becoming might be particularly vital to the study of the contemporary performance industry in an era of increased global socio-economic instability? When thinking of alternatives to neoliberalism in the sphere of cultural production, why might scholars and practitioners recuperate a praxis that places fracture and antagonism at its very heart? How might the playful and dialogic engagement that dialectics promotes speak to the creation, process and experience of contemporary cultural activity? Is performance inherently dialectical, or dialectics inherently performative?
A key starting point for the issue is the tendency in theatre and performance studies to look across disciplines and utilise scholars from fields such as philosophy, geography and political theory whose working methods are intrinsically dialectical (e.g. Karl Marx, Judith Butler, David Harvey, Henri Lefebvre, C.L.R. James). As fruitful as this turn can be, there is a danger of not fully engaging with the possibilities and implications of dialectical methodologies. The materialist, politico-ontological, phenomenological and cultural complexities that come with the use of dialectical frameworks should not be overlooked in any field, but especially in theatre and performance studies where such critical concerns are often at the heart of scholarly enterprises and the performance practices they address. Scholars who do engage with dialectics and performance directly (Eric Lott, 1993; Alan Read, 1993; Jen Harvie, 2005; David Barnett, 2013; Peter Boenisch, 2015) have taken steps towards bringing dialectics into the field, but there is still more work to be done.
Approaches to dialectics in this issue might locate dialectical processes or patterns in their object of study, as a feature or quality of performance; they might utilise dialectics as a method in their writing, thinking, and analysis; they might also be records of performance practice whose working method is self-reflexively dialectical. This issue is open to interdisciplinary approaches to performance and work which responds to recent writing on dialectics in fields other than theatre and performance studies (e.g. Bertell Ollman and Tony Smith, 2008; David Harvey, 2009; Fredric Jameson, 2009, 2010; Ayon Maharaj, 2014; Slavoj Žižek, 2012, 2014). More broadly, ‘On Dialectics’ seeks to put some oft-discussed binaries in theatre and performance studies (such as real/imaginary, representation/presentation, material/immaterial, local/global) through their conceptual and practical paces. Rather than simply designating such dualisms as examples of a dialectic, we seek contributions that open up perspectives where processes, flux, relations, and change are emphasised, unsettling fixed elements, formal structures, and organized systems. In this issue contributors will become the performers in what Ollman has called ‘the dance of the dialectic’ (2003).
Format: ‘On Dialectics’ invites artists, practitioners and theorists to submit proposals for critical articles (between 2,500 and 6,500 words), documents, or artist's pages, which examine dialectics in/as/of performance. Interdisciplinary approaches that use performance as their lens to explore dialectics are also welcome. In light of the issue’s theme, contributors have the option of submitting a "dual proposal". A "dual proposal" would be two separate papers that speak directly to each other, either by writing on the same case study from two different angles, or by openly creating a methodological or theoretical polemic between them.
The editors invite proposals that speak to, but need not be limited to, the following areas:
Methodologies: mobilizing dialectics as a tool for performance analysis
Dialectical readings of identity and difference
Performing history, constructing narratives, rewriting genealogies
Brechtian theory and performanceProcess and emergence: rehearsal methods, work-in-progress, scratch
Dialectics as performance philosophyConflicts of interest
Place, space and location
Pedagogy and learning: training, growth, ignorance
Dialectics and politics in performance
Ephemerality, flux and liveness
Possible worlds: utopias, fictions, temporalities
Spectatorship and reception
Limits to a dialectical approach: methodological, political, conceptual
‘On Dialectics’ responds to and seeks to expand on themes arising from Performing Dialectics, a recent conference hosted at Queen Mary University of London, 29 – 30 January 2015 (https://performingdialectics.wordpress.com/).
CONTACTS
All proposals, submissions and general enquiries should be sent direct to the Journal at:
info@performance-research.org
Issue-related enquiries should be directed to the issue editors: Philip Watkinson (p.m.watkinson@qmul.ac.uk) and Eleanor Massie (e.massie@qmul.ac.uk).
SCHEDULE
Proposals: 24 July 2015
First drafts: November 2015
Publication date: June 2016
General Guidelines for Submissions:
-Before submitting a proposal we encourage you to visit our website (http://www.performance-research.org/) and familiarize yourself with the journal.
-Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side (two A4 sides in the case of dual proposals).
-Please include your surname in the file name of the document you send.
-If you intend to send images electronically, please contact the Journal first to arrange prior agreement.
-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.
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23. CALL FOR SUBMISSIONS: Anamorphosis Prize / Franklin Furnace
Deadline date: September 1, 2015; City: the world; Source: Franklin Furnace
Franklin Furnace is pleased to announce it is working in partnership with the new Anamorphosis Prize, which has been created to promote excellence, dialogue, and excitement in the field of self-published photobooks and photo-based artist books. All books submitted in application for the Anamorphosis Prize will be donated to Franklin Furnace for its permanent collection. There is no entry fee and the winner receives $10,000, no strings attached. For all details, including instructions on how and where to apply, please visit the Anamorphosis Prize website: www.anamorphosisprize.com
...and get your books ready! Applications are being accepted from now through September 1st, 2015.
Thank you and good luck!
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ABOUT FADO
Established in 1993, FADO Performance Inc. (Performance Art Centre) is a not-for-profit artist-run centre for performance art based in Toronto, Canada. FADO exists to provide a stable, ongoing, supportive forum for creating and presenting performance art. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and new perspectives. Thanks to the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage for their on-going support.
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