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FADO E-LIST (January 2016)INDEX +++ 1. FADO Performance Art Centre presents MONOMYTHS MONOMYTHS Conceived and curated by Jess Dobkin and Shannon Cochrane ADMISSION: The events in the MONOMYTHS series are offered on a sliding donation scale, collected at the theatre box office. Please note that there is limited seating for each performance. Reservations suggested and available through Eventbrite starting January 1, 2016. Please see below each event listing for links. Works performed in English / Nêhiyawêwin / L'nuwi'ktuk ARTISTS MONOMYTHS invites a diverse collection of artists, scholars, and activists to revise Joseph Campbell’s conception of the hero’s journey through performance art, lectures, workshops, and other offerings. This new assemblage of non-linear un-narratives proposes a cultural, political and social feminist re-visioning of the world. The MONOMYTHS perception of the universal journey dispels the notion of the lone patriarchal figure on a conquest to vanquish his demons–both inner and outer–in consideration of community, collectivity, and collaboration. Joseph Campbell’s influential book, The Hero with a Thousand Faces (1949) prescribes a common pattern to all of the world’s mythic narratives. According to this fundamental structure, the archetypal hero is challenged to embark on a monumental quest. Over the course of the hero’s journey, trials and obstacles must be overcome until a victory is won and the hero returns home with new knowledge about himself and the world. Campbell’s concept of the monomyth (‘one myth’) is a recognizable motif in both ancient mythology and contemporary culture, including film, music, literature, sports, and advertising. A current trend in popular visual culture replaces the male character with a female one, in spite of the fact that our heroine–from the get-go–would make different choices if the conditions, and conditioning, allowed. The year-long MONOMYTHS project is presented in three sections. Radically interpreted by artists from First Nations, Canada, Mexico and the USA, part one of MONOMYTHS at Progress presents the first five stages of the journey: The Ordinary World / Call to Adventure, Refusal of the Call, Meeting of the Mentor, Crossing the Threshold, and Belly of the Whale. While each MONOMYTHS stage stands alone, the work of each presenting artist is interdependent and connected. These independent visions, when stitched together through the audience’s collective presence, form an exquisite corpse of a larger experimental narrative. DESCRIPTION OF PROJECTS + SCHEDULE Wednesday February 3 "Nikamon Ochi Askiy (Ke'tapekiaq Ma'qimikew): The Land Sings" is an audio-based endurance performance by Ursula Johnson created in collaboration with Cheryl L’Hirondelle. Part of a larger project on Reconciliation, The Land Sings is an apology to the land for the ways in which our human impact has shifted and shaped the landscape, displacing the voices of many First Nations. Maria Hupfield also facilitates a conversation on how revitalization, collaboration, and the act of refusal are used in performance art to shape current dialogue on Reconciliation. Ursula Johnson is a performance and installation artist of Mi’kmaw First Nation ancestry. Her performances are often place-based and employ co-operative didactic intervention. Cheryl L’Hirondelle is an Alberta-born, Métis/Cree interdisciplinary artist and singer/songwriter. Her creative practice investigates a Cree worldview (nêhiyawin) in contemporary time-space. Maria Hupfield is an interdisciplinary artist of Anishinaabe heritage. Her live performances activate space and locate the body in relationship to self, object and place as shared experience. To reserve seats for Stage 1, follow the link to Eventbrite: Thursday February 4 Part planetarium show, part rumination on Alice in Wonderland, the nature of rabbits and heroes, in The Call Refused or Your Local Sky Tonight by Shawna Dempsey and Lorri Millan, the artists deliver an off-kilter guide to the stars. Collaborators since 1989, Shawna Dempsey and Lorri Millan were catapulted into the international spotlight with their performance and film We’re Talking Vulva (1986/1990). Their humourous, feminist, and provocative works work has been exhibited in diverse venues as far ranging as women's centres in Sri Lanka to the Museum of Modern Art in New York City. To most, however, they are known simply as the Lesbian Rangers of Lesbian National Parks and Services. To reserve seats for Stage 2, follow the link to Eventbrite:
Friday February 5 The Exquisite Course, presented by the Feminist Art Gallery (FAG), is an evening of short lectures by feminist and/or queer artists and creative folks from a variety of disciplines, interests, and positions. A mixture of fiction and non-fiction, The Exquisite Course collages real-life stories and performance mythologies around the microphone campfire to stitch together tales of meeting real-life mentors. *Speakers/topics will be announced in January.* The Feminist Art Gallery is–a response, a process, a site, a protest, an outcry, an exhibition, a performance, an economy, a conceptual framework, a place, and an opportunity. We host we fund we advocate we support we claim. The Feminist Art Gallery (FAG) is our geographical footprint located in Toronto, Canada and is run by Allyson Mitchell and Deirdre Logue. To reserve seats for Stage 3, follow the link to Eventbrite:
Saturday February 6 Armando Minjarez is a Mexican visual artist and social justice activist. In 2004 he became involved in the national campaign to pass legislation entitled the DREAM ACT (Development, Relief, and Education for Alien Minors), and in the same year became the first undocumented student at Garden City Community College to enroll through the In-State tuition legislation passed in his new home state. His organizing experience has evolved into a multidisciplinary social practice where collaboration and community engagement are guiding themes. To reserve seats for Stage 4, follow the link to Eventbrite:
Sunday February 7 In Jefferson Pinder’s "Thoroughbred", four performers work themselves to exhaustion running on treadmills that are remote controlled by the artist who sits at a single controller. Thoroughbred, “skillfully exhumes a corpse of black captivity and subjugation of black bodies in America that started four hundred years ago and brings it in into the foreground into our present day experience.” (Fo Wilson, "The Evidence of Things Not Seen") Jefferson Pinder’s is an interdisciplinary artist based in Chicago, USA. His work explores the tangle of representations and misrepresentations, visual tropes, and myths–often referencing historical events and invoking cultural symbolism. His work portrays the black body both frenetically and through drudgery in order to convey relevant cultural experiences. To reserve seats for Stage 5, follow the link to Eventbrite:
ABOUT PROGRESS www.thisisprogress.ca For complete information and links to artist bios: +++ 2. FADO Performance Art Centre presents Artivism Workshop with Armando Minjarez Artivism Workshop with Armando Minjarez 1pm-3pm Registration is required to participate. To register please follow the link to the Eventbrite page. Artivism Workshop: Migration in a Postmodern Society This workshop will address the role of an artist as an agent of change in a postmodern western society. Participants will part-take in a process of dissemination and processing of site-specific cultural data, collected by artist Armando Minjarez through a series of interviews with community organizations in Toronto. Some of these community organizations or groups might include immigrants, refugees and native nations. How can artists introduce vitality, courage and innovation in social change work? The workshop will begin with a short presentation on the key elements of art in social change: Emotional, Visionary, Systemic, Popular and Bold. Activities will be presented in a dialectic format with group discussions and sharing of personal experiences. Participants are encouraged to bring an open mind and full heart. Armando Minjarez is a Mexican visual artist and social justice activist. In 2004 he became involved in the national campaign to pass legislation entitled the DREAM ACT (Development, Relief, and Education for Alien Minors), and in the same year became the first undocumented student at Garden City Community College to enroll through the In-State tuition legislation passed in his new home state. His organizing experience has evolved into a multidisciplinary social practice where collaboration and community engagement are guiding themes. This workshop is a part of FADO's MONOMYTH series, taking place at The Theatre Centre, and presented in the context of Progress Festival. For a full description of MONOMYTHS, please check the previous entry above, or check the FADO website: www.performanceart.ca/index.php?m=program&id=297 +++ 3. EVENT: 13 Festivalen Performance Art Festival 13 Festivalen Performance Art Festival at Konstepidemin, Exhibitions / Galleriet Konstepidemins Experience performance art by Swedish and international artists. 13 Festivalen’s mission is to create a meeting point for artists and audience, where a mix of professional and emerging artists explore the possibilities and boundaries of performance art. After the huge success of the first 13 FESTIVAL 2015 at Konstepidemin, we are now looking forward to an expanded version of the festival taking place at Konstepidemin the 4th-6th of January in 2016. One of the new features of next year’s festival is an introductory seminar on performance art as well as two workshops held between 10 and 12 on the Tuesday 5th and Wednesday 6th. Artists: January 4: Seminar on performance art with Mary Coble For information about the festival schedule, please visit the website: http://konstepidemin.se/kalender/13-festivalen/ Facebook event: www.facebook.com/events/1044708852247037/ +++ 4. CALL FOR SUBMISSIONS: Rencontre interuniversitaire de performance actuelle The Rencontre Interuniversitaire de Performance Actuelle (RIPA) is inviting university-level student artists (current or recently graduated), from Quebec and neighbouring provinces and states, to submit a proposal for its next performance evening which is to be held in April 2016 in Montreal. RIPA is looking for performance proposals that are likely to incorporate new media (or not) and their variations: action art, intervention, art furtif, reenactment, maneuver, etc. Offsite proposals presenting themselves as an extension of the event are also welcome. Performances that will be presented during the evening may be a maximum of 15 minutes, though exceptions will be considered. Please note: A symbolic sum will be given to the selected artists. RIPA is not able to cover the expenses of the participating artists (materials, travel and accommodation). A modest compensation as well as support in finding accommodations are offered to artists from outside the Montréal area. Your application must include one file (PDF, 10MB maximum) the following: Send your application in ONE PDF FILE to the following email address: ripa.contact@gmail.com (Contact: Janick Burn and Félix Chartré-Lefebvre) Deadline: January 5, 2016 at 11:59 pm. No applications will be accepted after this date. Incomplete applications will not be forwarded to the selection committee. For an overview of past editions or to find out more about RIPA, please visit our website and our Facebook page: +++ 5. WORKSHOP: Performative Writing with Teena Lange 9hrs Introdüction to Performätive Writing January 8, 2016 Performative Writing or Creative Critical Writing is claimed to be, in itself, a form of performance, often taking as its subject a work of visual art or performance art. The core of this workshop is to develop sensitization for textures and the practice of taking the time to do the doing. Entering into performative writing allows the re/activation of the wording & being less paralyzed by the empty page, breaking through the trained fixation of meaning seeking structures of texts. Everyone can write. This workshop allows you to take time to experience another writing practice or develop one if you don’t currently have an active writing practice. Through a series of exercises the workshop will deal with linguistic matters, performative utterances, writing styles, the playground of proverbs, documentation dots & lines, various mechanisms of memory and referentiality, readership & queer quality management. Who can/could participate: people, artists, performance artists, writers, students, musicians, bloggers, non-writers, curators, academics, philosophers, life witnesses … There is späce for a maximum of 11 participants. The Course will be in English. Advanced courses will follow. Fee: 49Euro Fee includes material, drinks, snacks, lunch and the first 6 to enroll will receive a specimen of the limited edition APAB Publication: Nussknacker müssen sich keine goldene Nase verdienen {On Obtrusive Communal Speculations} https://vimeo.com/129300185 For more info and to enroll in the course, send an email to: info@gruentaler9.com with the subject line “9 hrs performätive writing”. Teena Lange is a performance art curator, researcher, and the artistic director of Grüntaler9 – a space towards the performative. She studied Theatre & Performance Studies, as well as Linguistics & Literature in Leipzig, Paris, and Berlin. At the Freie Universität Berlin, she worked as a Program Coordinator and Research Associate at the International Research Center “Interweaving Performance Cultures.” Additionally, she has given seminars & lectures at Freie Universität Berlin, University Istanbul, University of Toronto, Concordia University Montreal and Lithuanian University Vilnius. Her work includes independent performance art curation for Grüntaler9 Berlin, nGbK Berlin, Savvy Contemporary, Month of Performance Art Berlin, Art Bosphorus Istanbul, Brooklyn International Performance Art Festival New York, >performance space< London, Musrara Mix Festival Jerusalem, Supermarket Stockholm, Poppositions Brussels, amongst others. She is Co-Founder and Vice President of APAB – Association for Performance Art Berlin. www.gruentaler9.com +++ 6. EVENT: Performance by Rachel Echenberg Date: January 9, 2016 CIRCA art actuel presents a new perofrmance by Rachel Echenberg Whether working alone or with invited family members, Rachel Echenberg’s practice is a poetic yet tense exploration of the space she occupies, shares and negotiates. Her work reflects on her shifting connection to and isolation from others, broaching the inherent instability of domestic and social relationships. The home, a ripe and recurring theme in Echenberg’s work, is an elastic and porous space. Constantly reshaped by the actions of those bound to it, the home expands, contracts, holds and releases over time. This movement is not without tension. Echenberg’s performances are similarly built on tense but subtle transformations. As common yet fragile materials such as paper or glass are manipulated, pressure very quietly builds and releases, at times to the point of destruction. Objects therefore become compelling metaphors for the more difficult to represent notion of home, and the relationships that inhabit it. Executed with casualness and simplicity, Echenberg’s artistic vocabulary avoids the saccharine romanticism and overt drama one might expect from artwork addressing such intimate themes. The home she constructs reveals its bonds and fissures in fragments, via glimpses through curtained windows and whispers through cracks in the walls. So, despite the acute precision of her actions, the narrative is deciphered gradually over time. As such, Echenberg’s evocative work is an invitation to pause, and softly reflect on the complex relationships we both depend on and strive to escape. -Michelle Lacombe CIRCA art actuel is an artist-run centre with a mandate to present art practices that are concerned with concepts of space. The notion of space whether social, personal, geographical, cultural, political or environmental may be explored in the context of reality, fiction or the virtual. In performance practices, this can be expressed in various ways, for example, as a manoeuver, as a tableau vivant, body art or relational art. www.circa-art.com +++ 7. CALL FOR PROPOSALS: Performance Research / 'On Radical Education' Performance Research Issue Co-Editors: Michael Hiltbrunner (Institute for Contemporary Art Research (IFCAR) Zürich University of the Arts) and Ric Allsopp (Academy of Music & Theatre Arts/ Falmouth University) What is happening to art school? The cultural climate of the 1970s particularly in the UK, Europe and the USA, saw a series of radical shifts in approaches to arts education and research that responded to a growing sense of crisis both in the purpose of art and design, and performing arts education and, more broadly, the role of the arts in society. Forty years later in very different cultural, economic and technological circumstances, what has changed for approaches to radical, innovative arts education and research and what does such education and research look like for the future? The 'educational turn'–particularly in the visual arts over the last decade–has seen the development of a wide variety of frameworks and provisions for artist-run and collaborative arts education and research as a reaction (in part) to the increasing neo-liberalization of arts education and research, as well as to the decline in funding and in increasingly expensive embodied, heuristic, hands-on approaches to making, thinking and doing in the arts. Recently there has been a renewed interest in the radical models of education and artistic research that emerged in the US and Europe in the post-war period of the mid-to-late 20th century that emphasized the social values of the arts and creativity. A rhetorical shift away from 'arts education' towards a proliferation of 'creative innovation hubs' and 'centres for creativity', as well as increased screen-based learning and the social and educational impact of digital technologies, arguably finds arts education and arts research once again at a point of transition as creative and experimental modes of education in the performing and visual arts become absorbed into normative, market-driven systems with an increasing emphasis on the value of the arts as instrumental forms of 'creativity' at the expense of social values, inclusivity and public engagement. Artistic practice, artist training and education, and artistic research form a closely interrelated triad, and framing them in experimental, radical and free ways is arguably a core quality for their development. Until the late 20th century, researching artists and artists that advocated a pedagogical approach comprised a small group with utopian goals. Since the 1970s artists have had increasing access to a variety of post-graduate education and research opportunities within the academy. Sharing an interest in critical pedagogies, artists see graduate education and research not as a restraint, but as a new opportunity. The focus on experimental forerunners and graduate art education today allows a new perspective on the future possibilities of arts education. As Sam Thorne observed in a survey of artist-led education in Frieze (Issue 149, September 2012) many artists are 'eager for an art school today to be self-determined, flexible, small-scale and cheap or free to attend'; and goes on to identify a number of shared preoccupations including the possibilities of and limits to self-organized education; who owns art education in a ‘knowledge-based polis'; what can be 'borrowed from traditional academies', and what 'should be jettisoned'. The issue editors invite proposals for articles, papers, artist's pages, diagrams and schematics from academics, artists, educators and researchers that comment on, propose and imagine alternative educational programmes and approaches to research (both inside and outside the academy) and their relation to historical and contemporary models, their methods, processes and ethos, in both the performing and visual arts. We also invite proposals for institutional and non-institutional frameworks for exploratory education and modes of public engagement and inclusion. We are interested in contributions that build on the foundations of creativity, imagination, and experiment that are not simply predicated on new technological (digital) possibilities and potentials (for all their value) but are also rooted in embodied, experiential and hands-on modes of making, thinking, and doing, oriented towards current and future cultural and social conditions, and concerned with ways that these can be integrated into developing modes of education and research. Topics for proposal might include: Schedule: ALL proposals, submissions and general enquiries should be sent direct to the Journal at: Issue-related enquiries should be directed to issue editors: General Guidelines for Submissions: +++ 8. EVENT: do it Montréal After touring the world for the last 23 years, the exhibition do it, conceived by the renowned curator Hans Ulrich Obrist, is coming to Quebec where it will be presented at the Galerie de l’UQAM. As its title implies, do it involves the host institution, visitors and guest artists in realizing the works, which arrive only as sets of instructions. Featuring more than 80 Quebecois and international artists, do it Montréal rethinks the traditional codes of the exhibition in order to offer new experiences to visitors and to reflect on the meaning and function of museums. do it Montréal includes 10 exclusive instructions developed by Quebecois artists, choreographers, authors or playwrights, in addition to 60 instructions by international artists. The project is presented in three spaces: in the Galerie de l’UQAM, on campus and off campus (in a “take-out” version). Several mediation activities are planned for the Galerie and on the campus, calling on visitors to get involved in interpreting the works. The Montreal selection brings together works and artists who rethink the functions and codes of the exhibition in order to investigate their role in the production of knowledge in the arts. It wants to prompt reflection on curation, new approaches to museology and alternative art discourse and spaces. do it is a traveling exhibition conceived and curated by Hans Ulrich Obrist, and organized by Independent Curators International (ICI), New York. The exhibition and the accompanying publication were made possible, in part by grants from the Elizabeth Firestone Graham Foundation, the Robert Sterling Clark Foundation, and with the generous support from Project Perpetual and ICI’s International Forum and Board of Trustees. do it Montréal has been produced by the Galerie de l’UQAM with the support of the Canada Council for the Arts. It has been realized by the curator Florence-Agathe Dubé-Moreau. Performance and activities calendar: +++ 9. WORKSHOP: From Body Awareness to the Performative Language FROM BODY AWARENESS TO THE PERFORMATIVE LANGUAGE "Far from my body being for me no more than a fragment of space, there would be no space for me at all if I had no body." ~Merleau Ponty. The theme & development of the workshop:During two intensive days participants will be invited to engage in an experience at the crossroads between dance and performance art. We will aim to discover a physical, visible and tangible language by working through physical sensations while exploring various links between internal and outside spheres. Each day will start with body awareness exercises focused on breathing. These exercises serve as an introduction to a "test of presence" –an introspective exploration from which we will extract "micro-events". Such events take the form of a deepening of movement leading to new articulation "physical words", which will then feed a collective physical debate among the group. Participants will experiment with the transposition of sensation through the use of different physical materials that make connections with feelings and perceptions: for example, voice, writings, materials, objects, tools. This does not intend to limit sensitivity to the body or to movement: on the contrary, it can enable an opening up to other spaces, searching for another visibility of our inner worlds. Some questions will guide our research: This workshop invites us to work on the basis of our presence: a learning process through our senses, while listening to our physical history. We will focus on connecting our individual experience with the collective body, releasing an empathic communication which enjoys the quality of being accessible and immediate. My intention is to provide you with “tools of creation” that can feed your artistic and daily practice, causing you to question the place your body occupies in activity. Suggesting possible dialogues between the experience of a daily practice and performance. To whom is this workshop directed? When? January 18-19, 2016 / 10am to 5pm For any questions and registration, please contact: evebonneau@yahoo.fr Eve Bonneau received a training in ballet and contemporary dance at the École National de Danse, La Rochelle (France) and in P.A.R.T.S in Brussels. She followed in tandem the body work of the psychomotor therapist Jacques Garros. It was after her encounter with London-based performance artist Robert Pacitti that Eve engages with Performance Art, namely since "Body is the first word which I say", presented at the SPILL festival in London and at the Troubles festival in Brussels. Her new research "ça" is developed through her "body art and performance" educational program at the Visual Arts School La Cambre, but also through public laboratories at La Bellone (a performing Art house in Brussels). This public configuration determined her approach and artistic politics. Over the last five years, Eve makes interventions in Mexico by giving workshops and creating her project "Infiltration", grouping a series of actions in Mexico City. Through a one-year residence in 2014-2015 in Sign6 art space in Brussels, Eve further developed her pedagogical language and her performances. In parallel, she organizes alternative performances events. Her last performances have taken her to Poland, Germany and Austria. Performances: http://evebonneau.tumblr.com/ +++ 10. EVENT: Pace Investigations No. 2 by Sandrine Schaefer Pace Investigations No. 2 by Sandrine Schaefer January 30, 2016 Create a performance. Repeatedly cycle through this performance 8 times over 8 hours. Each cycle of the performance loses time. As this occurs, the actions in the performance must shift. Some become unrecognizable from previous cycles through the adjustment of pace. Some become different actions all together. Some actions are abandoned, while others increasingly gain significance. This is an exercise in identifying the essential within a piece. It is an exercise in surrender. It is an exercise that exposes the impossibility of human body, an exercise designed to fail. For Pace Investigations No. 2, Sandrine is inviting individuals to graphically score a cycle of the performance as a form of documentation. If you are interested in scoring, please email Sandrine@Mobius.org for more information. Please include times you are available. Cycle 1: 12:00pm-4:00pm info@mobius.org +++ 11. EVENT: Draw to Perform Drawing Symposium, “Draw to Perform” Participating Artists: Day 1: Day 2: Workshop 1: 1:30-3:30pm Draw to Perform visits OCAD U is a two day event, curated by Ram Samocha. Samocha is a multidisciplinary artist currently living in the UK. Samocha is the founder and curator of Draw to Perform, an international symposium for Drawing Performance. Day one of the symposium will feature live performances by local and international artists. Day two will open with an artist talk by Ram Samocha, followed by workshops in the Great Hall. The workshops will explore drawing as performance and strategies for forming a dialog between drawing, process and performance. Participants will draw live, share and discuss their outcomes and ideas. The resulting works will be exhibited in the Great Hall during the Life Studies exhibition, running the same week. For the workshops, participants will need to bring basic drawing materials such as graphite, charcoals, chalks, Conté, ballpoint pen, acrylic paints, black ink, brushes, and masking tape. Paper will be provided for the workshop. For further information on Draw to Perform follow the links below: +++ 12. CALL FOR SUBMISSIONS; 7a*11d International Festival of Performance Art CALL FOR SUBMISSIONS FROM CANADIAN ARTISTS The 11th edition of the 7a*11d International Festival of Performance Art will take place in Toronto from October 12 to 22, 2016. Curated and organized by a non-profit artist collective, the festival presents innovative and progressive contemporary performance art by local, national and international artists. This call for submissions is an invitation restricted to artists from Canada. We are looking for emerging, mid-career and established artists in Canada alongside international artists to showcase the breadth and depth of current contemporary performance art practice. We pay artist fees that meet or exceed CARFAC guidelines, accommodation, and travel. We cannot accommodate dance, theatre, or circus troupes/companies. No email submissions please. Application Guidelines: Please complete the following form and save it as a single PDF, and submit 10 images of your work and/or 5 minutes of video documentation on Vimeo or YouTube. Upload your materials to www.dropbox.com (you can set up an account for free) and send the links to performance@7a-11d.ca. Please note: email submissions will not be accepted. Upload the following information on a single .pdf to Dropbox. Submissions must include: DESCRIPTION OF PROPOSED WORK ARTIST STATEMENT RESUME BIO DOCUMENTATION INFO 7a*11d acknowledges the support of the Canada Council, the Ontario Arts Council, the Toronto Arts Council, and numerous artist-run organizations, private and business sponsors for our previous activities. +++ 13. CALL FOR APPLICATIONS: Naked State Art Residency International Call Naked State is a 10-day residency to create artworks that explore the nude human body in context of nature, culture and art. For the duration of the residency, the artists and residency Facilitator live as *naturists (in the nude) within the Bare Oaks naturist community to create works that explore questions such as: What is nudity? Does stripping away clothing rid us of class, gender, and personal expression?; Do the connections between our bodies and the land change when nude? Is nudity always sexual? What is the role of the nude in historical and contemporary art?; Is an animal with fur naked? Is it possible to be civil in the nude?; Is there a natural state for human being? Residents work individually or collaboratively to create artworks that explore these questions through media of their choice, such as photography, video, installation, drawing, painting, performance art, dance, sound art, media art, etc. Artists will have opportunities to socialize and integrate with the Bare Oaks naturist community at campfires, swimming, and sharing meals. This programmed residency offers workshops, group discussions with naturism advocate *Stéphane Deschênes, guest visits by artists and members of the Bare Oaks community, and plenty of studio time. Critiques of residents’ works occur on a regular basis, individually with the Facilitator and through facilitated group discussions. There will be a closing event, whereby artists present their creative explorations to the Bare Oaks community. Naked State art residency welcomes people in all walks of life and genders into a journey of creative exploration and self-discovery. *Naturism is the practice of complete nudity in a social setting. Though nudity is the most obvious aspect of naturism, it is simply a tool to reach closer to a natural state. The purpose of naturism is to promote wholesomeness and stability of the human body, mind, and spirit. It also promotes wellbeing through complete contact of the body with the natural elements. For a full description of naturism, visit BareOaks.ca/index.php/en/about-naturism. Bare Oaks Family Naturist Park is a year-round naturist park near Toronto in Canada, where individuals and families experience traditional naturist values in a modern setting. It is nestled among the natural wilderness of the Ontario Greenbelt and Oak Ridges Moraine. Its varied landscape includes open spaces, forests, ponds, streams and a small lake. Amenities include a store, restaurant, sun deck, TV and sports lounge, outdoor pool, whirlpool, saunas, exercise room, laundromat, and a small common kitchen with microwave and fridge. Wireless Internet can be purchased at the front desk. The Outback common room will be dedicated as a large shared studio space for the duration of the residency. Private, shared and campsite accommodations are available. There is some wheel chair accessibility. Please discuss accessibility details with the Facilitator. Bare Oaks is located in Gwillimbury, just 30 minutes North-East of Toronto. For more information visit BareOaks.ca and watch some videos. For details and how to apply visit: www.NakedState.ca +++
14. RESIDENCY: LUMINOUS BODIES International Call: Programmed Art Residency Program Dates: July 4-18, 2016 Cost including taxes: $790 for shared accommodation or $1075 for private bedroom (package includes accommodation, large shared studio, workshop facilitation, and an exhibition) Luminous Bodies is a two-week residency to create artworks that shed new light on the human body. Its objective is to challenge “normativity” and Otherness. Its goal is to reinvent and re-present the body in most inclusive and diverse ways. Visual and textual references, guest artist talks, gallery tours, and studio visits by members of the local art community, help uncover how our bodies are culturally and aesthetically constructed, displayed and controlled. Cinema, artworks, philosophy, theology, transpersonal psychology, post-colonialism and social movements may be explored for ideas in transgressing these forces. Residents work individually or collaboratively to create artworks that reinvent the body through media of their choice, such as photography, video, installation, drawing, painting, performance art, new media etc. Critiques of residents’ work in progress occur on a regular basis. There will be a closing exhibition of artworks created during the residency (if preferred, artists may show in open studio fashion). The essence of Luminous Bodies is about bringing to light heterogeneous bodies. It welcomes people in all walks of life and genders into a creative journey of critical innovation and self-discovery. AGP (Artscape Gibraltar Point) is an artist retreat nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches (one of them being clothing optional) and natural surroundings of Lake Ontario, forests and gardens filled with flowers, fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival grounds. Cozy up in a furnished studio and bedroom, and enjoy amenities such as a fully equipped common kitchen, shared bathrooms, laundry facilities and wireless Internet. AGP is a barrier free and inclusive environment. The Toronto city core is just a 15-minute ferry ride away. Teresa Ascencao is a multimedia artist whose work toys with social forces that shape gender, seduction, consumption, and class. She was born to Azorean parents in Sao Paulo, Brazil and immigrated to Canada at a young age. Ascencao holds a Graphic Design Diploma from Humber College and graduated with distinction from the University of Toronto’s Honours Fine Art Studio program. She holds an MFA specializing in Media Art and Sex-Positive Feminism from OCAD University. Ascencao’s work has been exhibited widely in Canada and internationally. She lives and works in Toronto and teaches at OCADU. Luminous Bodies is limited to 22 residents. Skills guidance is available in photography, video editing and installation. Prices include sleeping quarters, large shared studio, facilitation and exhibition. Arrivals are on July 4 from 1pm to 3pm, and departures on July 18 before 11am. For more information visit: www.LuminousBodies.com To apply, fill out the online form and include your website and indicate you are applying to Luminous Bodies. Questions? Contact Teresa Ascencao at info@LuminousBodies.com Online form: www.artscape.wufoo.eu/forms/online-application-for-artscape-gibraltar-point/ +++ ABOUT FADO 445-401 Richmond Street West, Toronto, Canada M5V 3A8 To unsubscribe from this e-bulletin, please follow this link: |
