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FADO E-LIST (November 2016)INDEX +++ 1. CALL FOR SUBMISSIONS: West Coast Performance Art Curatorial Studies and a Call For Submissions: Artist and performance art curator Dino Dinco (www.dinodinco.com) has launched the West Coast Performance Art Instagram (@westcoastperformanceart) featuring documentation of performance art works from the west coast of North America. This endeavor examines the ongoing, evolving history, aesthetics and methodologies of West Coast performance from an expansive (and as yet unexplored) geographical perspective, the creatively fertile transnational region from British Columbia, Canada, to Baja California, México. A performance making territory along the Pacific Ocean. A laboratory with and without borders. One-minute performances created for the Instagram by invited West Coast-based artists will also appear. Submission of performance documentation: In addition to one (1) high quality image or video (1 minute in duration or less), please submit: –Name of artist(s) *Please note: Submission does not guarantee publication. For more information/submissions: westcoastperformanceart@gmail.com +++ 2. CALL FOR READERS: 2894 (Toronto) Call for readers of the Truth and Reconciliation Commission Report in an effort of shared citizenship, through a project entitled 2894. http://claudewittmann.ca/stream/2894.html Action: you commit to read during a specific week of December 2016; I will deliver a recorder and the report to you (a bit of tech) and you find the time and read whenever you want, at home or somewhere else. The only requests of the project are to start where the last reader left off, and to use the tech of the project to live-audio-stream your reading to an online little radio. Participants for this iteration of the project must be from the Toronto-area. If you are interested, please contact clowittmann@gmail.com +++ 3. EVENT: IAPAO Cumulator Performance art at Void On Saturday 5th November, From 11:00am to 10:00pm, eleven people will perform for eleven hours in Void Gallery, Patrick Street Derry (opposite Tescos and cinema on Strand Rd), Belfast, N.Ireland. ARTISTS: The performance artists are from Denmark, Belgium, Germany, Belfast, Derry and Donegal. This is the eleventh in the Cumulator series which began in January with one person performing for one hour, and will end in December with 12 people performing for twelve hours at Echo Echo. Dance studios. Please come along for even a short time. Your supportive energy will help sustain the artists in the durational performance. +++ 4. EVENT: Critical Distance presents Crossing the Line Saturday November 5, from 6–10 pm Location: Critical Distance Centre for Curators (CDCC) Critical Distance is pleased to present Crossing the Line, a timely and provocative survey of contemporary Danish art curated by Earl Miller. Recognizing the transnational nature of much recent art from Denmark, the exhibition asks: Can a nation define itself culturally by looking beyond its traditional borders? Often boldly political, the work of the nine featured emerging and established artists considers cultural hegemonies, the nation state in a global framework, post-colonialism, nomadism, and the Syrian refugee crisis. Through performance, photography, video, sculpture, and sound, Jeannette Ehlers and Patricia Kaersenhout, Søren Thilo Funder, Jens Haaning, Maj Hasager, Tina Helen, Stine Marie Jacobsen, Jane Jin Kaisen, and Lilibeth Cuenca Rasmussen reveal migrant patterns and alter them in unexpected ways. Challenging traditional gender, racial, and national divides, the artists often reverse roles: women become men; black men become white; tourists become locals; locals become tourists. Ultimately, Crossing the Line examines the response of one country’s artists to questions of international import. For many Canadians, the exhibition will serve as an introduction to the vibrant contemporary art scene in Denmark. For several of the artists in turn, Crossing the Line will be the first exhibition to feature their work in North America. Crossing the Line will be accompanied by a catalogue with curatorial essay by Earl Miller and Q+As with all of the artists in the show, as well as full photo documentation of the exhibition. CDCC will also debut a limited edition print by Lilibeth Cuenca Rasmussen. Please join us for a very special opening reception with curator Earl Miller and artist Lilibeth Cuenca Rasmussen, who will be here from Denmark to perform Afghan Hound. Immediately following the performance, we will screen Maj Hasager’s one-hour video work, Decembers—a round table conversation (2012). ABOUT THE CURATOR ABOUT CDCC info@criticaldistance.ca +++ 5. EVENT: Free Radicals a straightful performance project by Action Lab PAErsche PAErsche will organize in November 2016 an immediacy evening with two artists from Poland, two African, and one Dutch artist. Some thoughts as a fragmentary but basic concept of Free Radicals: ARTISTS Date: November 08. 2016 / 8:00pm Supported by: Kulturamt Stadt Köln, RheinEnergie Stiftung Kultur, Aktionslabor PAErsche and E.P.I. Zentrum Köln. Cooperation: Ideenstiftungs e. Verein. www.paersche.org +++ 6. EVENT: PAO Festival 2016 Friday 11 November, from 17:00–20:00 / Opening programme* Place: Deichmanske bibliotek Grünerløkka, Schous plass 10, 0552 Oslo In our approach to PAO Festival 2016 we have been inspired by Nicolas Bourriaud’s book “The Radicant” where we seek to investigate the artist as nomad, wanderer, refugee, migrant, expatriate, visitor and traveller. The invited artists are all connected to numerous places and cultures through their artistic praxis and life-story. Radicant: Plant forms such as ivy and strawberry that grow multiple roots, advancing in all directions, which can adapt and grow in a variety of soils. More info on the topic: http://www.performanceartoslo.no/pao-festival-2016.html ARTISTS: ARTIST TALKS: Denis Romanovski, Kiyoshi Yamamoto, Liv Kristin Holmberg, Vivian Chinasa Ezugha, Yingmei Duan and Zierle & Carter. Exhibition / Video programme: We will show a slide show by festival photographer Kobie Nel (ZA/NO) and three video programmes which explore the various ways artists document and use video in their performance work. Curated by Lykourgos Porfyris (GR/NO), TrAP Transnational Arts Production (NO) and Small Projects (NO). Extra programme: November 4–13: Performance Art Studies PAS#50 ‘roots in motion’ with BBB Johannes Deimling at KHIO / Oslo Art Academy. *11 November: Opening, artist talks and group performance with participants of PAS#50. PAO Festival 2016 is supported by Fritt Ord, Norsk Kulturråd, Oslo Kommune / Kulturetaten and Kulturkontakt Nord / Mobility Programme. For more detailed info on artists and programme: www.performanceartoslo.no Facebook event: https://www.facebook.com/events/1796615813953568/ +++ 7. EVENT: Toronto: Tributes + Tributaries, 1971-1989 Performance Series Presented in conjunction with Toronto: Tributes + Tributaries, 1971–1989, an exhibition on view at the Art Gallery of Ontario from September 28, 2016 to June 15, 2017. This series features work by artists who created performance in Toronto during the period of the exhibition and since, reflecting upon the centrality of performance to Toronto’s artistic community from the 1970s through to today. The series launches on October 1 with a performance by Rebecca Belmore in Walker Court during Nuit Blanche. Over the following six weeks, performances by Walter Scott (at First Thursday on October 6) and Lillian Allen (on Friday Nights in October) will complement a series of in-gallery performances by Louise Liliefeldt, Keith Cole, Johanna Householder and Ame Henderson & Evan Webber. Visit www.AGO.net for the full schedule and details about each performance. REMAINING performances in the series: Johanna Householder Ame Henderson and Evan Webber: +++
8. EVENT: CHARCO EXCHANGE ESPAÑA
Date: November 16–24, 2016; City: Madrid, Spain; Source: Exchange Live Art
CHARCO EXCHANGE II does not seek to bring together a group of like-minded artists with same interests… Often in society, relationships are created between people who have a similar understanding of life. This makes it perhaps easier between these individuals and at the same time it probably help generating a society with isolated groups. EXCHANGE Live Art, believe in the importance of being aware of our differences and believe that sharing them makes us grow as individuals as well as collectively. These experiences can generate respect and peripheral reflections instead of close circles of thoughts. In this way, the artists involved in this project are facing big challenges; to leave their comfort zones and create from the difficulties of sharing (giving and receiving) with different people in a complex and intense creative and vital process.
The second phase which will take place in November, will bring together the Canadian artists Shannon Cochrane and Martine Viale with the Spanish artists Mario Gutierrez Cru and Analia Beltran i Janés. The four artists will embark upon a creative laboratory in Matadero Madrid from November 16–23. They will be working in pairs (Shannon with Mario and Martine with Analia), in a process developed at a distance since July as well. What issues can arise in conversation between artists of different nationalities, different interests and ways to make works? How can artists, who primarily work individually find ways to develop collective approaches? How can they handle and transform the difficulties that can arise in such a dialogue? These questions will be brought together on November 24 during the presentation of the works at the National Art Museum Reina Sofía as part of this year program of the Action!MAD16 International Performance Art Festival. This event will include an action-presentation by the artists and creators of this project Ana Matey and Isabel Leon. The live performances will be followed by a discussion with the participating artists. The project will conclude with a final event which will present the couples in an exchange of performance scores, at the José Guerrero Centre of Granada on Saturday, November 26.
CHARCO EXCHANGE ESPAÑA
November 16–23: Creative laboratory / Matadero Madrid
November 24, 19h: Performances and talk / National Art Museo Reina Sofía
AOUT THE ARTISTS
Shannon Cochrane is a performance artist based in Toronto, Canada. In her performance work she engages reflexively with the audience, strategically with humour, and methodically with material to create situations and images that are concerned with the formal presentation of art action, the aesthetics of social interaction, and the investigation of authorship, repertoire and the archive in the practice of performance art itself. Her work has been presented at various event and in galleries and festivals across Canada; and in over 15 countries in South America, Europe, UK, and Asia. Shannon is a founding member, co-organizer and co-curator of the 7a*11d International Festival of Performance Art (established in 1997 in Toronto), and has been the Artistic + Administrative Director of FADO Performance Art Centre since 2007.
Born in Montreal, Canada, Martine Viale lives and works in Perpignan, France. Anchored in a practise of presence, her work aims to create installations grounded in performance. More recently she has been focusing on creating works in the public space and unusual places that can facilitate unpredictable encounters with passersby. Through this process she prioritizes the momentary loss of bearings and uses actions as a tool of investigation for different personal and social conditionings. Her work has been presented throughout Canada and the United States as well as in Israel, Brazil, Cyprus, Serbia, Scotland, Spain, The Philippines, France, Belgium and Denmark.
Analía Beltrán i Janés is a graduate in fine arts from the Complutense University of Madrid. She works in video and photography and, since 2001, in action art, centring her activity mainly in this latter field. She has participated in festivals such as Acción!08MAD in Madrid, the X Havana Biennal (Cuba), and the Infr’action 09 in Séte (France), Ebent 2010 (Barcelona), Arrt d’Accció (Valencia), Infr’action Venice 2011(Venice Biennal), Perfomedia 2011, Italy, behind others. She lives in Madrid where, in a variety of different spaces, most of her work in action art is conducted: Artenaccion, Espacio Espora, Festival “Reformance”, Espacio Menosuno, etc.Owing to her training in the plastic arts, her work in performance arises from out of a need to eliminate the artistic object in order to create a more direct exchange between the public and herself, frequently involving direct audience participation. She tries to make the work aesthetically simple, by using everyday objects infused with an important symbolic charge.
Mario Gutierrez Cru es artista, comisario y creativo. Como artista desarrolla desde el 2002 una investigación vinculada a los conceptos Trayectos, Vigilancia y Mapas; y la relación con el uso del espacio y tiempo en piezas monocanal, video-instalaciones, instalaciones sonoras e interactivas. Su obra se ha podido ver en el Museo de Arte Contemporáneo de Madrid, Fundación IDFX en Holanda, Bienal FotoJaén 09 y 11, Bienal FotoGranada 2010, Museo MACO, C.C. España en Santo Domingo, CCCB, Fundación BBVA, entre otros. Compagina su obra con labores de comisariado, ha sido presidente y co-director de Espacio Menosuno, centro de experimentación artística, desde el 2000-10. También co-fundador de IN-SONORA, durante 2005-2010, colaborando con festivales como Coutures en Francia, Interference en Holanda, Saout Meeting en Marruecos, Sound Res en Italia, entre otros. Mario ejerce de comisario o crítico en numerosos Festivales y revistas como el Festival IMERGÊNCIA, FONLAD en Portugal, INTERFERENCE en Holanda, Decibelio 06, por nombrar algunos. Actualmente dirige el Festival PROYECTOR de videoarte internacional, el proyecto Colectivos en red y es director de KREÆ, Instituto de Creación Contemporánea
+++ 9. EVENT: FLUCTU: SPACE-TIME FOR PERFORMANCE ART ARTISTS Curated by Eve Bonneau FLUCTU is an artistic laboratory which will take place from November 1–19, 2016 at Space l’Escaut. FLUCTU is going to be a space of research and elaboration where are going to meet artists, cultural actors, students and local residents of any social sphere around a constant concern: our spaces to be. On November 18 and 19, 2016 these artistic trajectories shall finish in public exhibition. Duration Performances, spatial occupations and Live Installations are going to invite the public to go through a plurality of fluctuating spaces. Schedule: Place: Partners: Possible to support FLUCTU and Performance Art: www.kisskissbankbank.com/projects/74509 More information: +++ 10. WORKSHOP: Performance Art Workshop–Volet 1 All those wishing to explore the practice of performance art are invited to this workshop. The performance workshop will invite the participant to explore, articulate and question various performative narratives related to his artistic practice. The exercises aim to strengthen its building structures and its stock picks in a temporality of immediacy. Straddling the theory and practice of artistic intervention, the student will develop a critical view to the performative attitudes and behavior. The participant will carry out several performative exercises materialize intervention approaches (improvisation, spatiality, presence, visual devices) and develop its critical attitude towards the other participants. Reserve your spot quickly by emailing: francosh@hotmail.com Francis O'Shaughnessy is a visual artist. Since 2002, he has completed over 125 different performances in 22 countries in Europe, Asia and the Americas. Since 2005, he regularly gives workshops, lectures on the history of performance in colleges and local universities, national and international. He participated in performance workshops given by André-Éric Létourneau (2012), Bartolomé Ferrando (2011) Sylvie Tourangeau (2004), Richard Martel (2003), Yoyo Yogasmana (2006) and the Black Market International grouping (2002). He is the organizer of more than 20 events including performative Nomad Art in Saguenay [2007-2009-2013-2015]. He holds a Masters in performance art (2007) and a Ph.D. in studies and practices of performance arts at UQAM (2016). He lives and works in Montreal. Francis O'Shaughnessy has offered this workshop to more than 250 people in Montreal, Gatineau, Chicoutimi in Quebec and the University of Kankaanpää (Finland), University of Hildesheim, College of Ilsede (Germany), Piotrkow Trybunalski (Poland ) and Paris (France). www.francisoshaughnessy.com +++ 11. FUNDING OPPORTUNITY: Toronto Arts Council Animating Toronto Parks Toronto Arts Council announces the upcoming deadline for Animating Toronto Parks. Grants are available for up to $25,000 for professional artists, organizations and collectives to present free arts programming in 29 selected Toronto parks located outside of the downtown core. Applications will be accepted for work in any discipline including dance, literary arts, music, theatre, visual arts and media arts and community-engaged arts. Deadline: December 1, 2016. All applicants must contact the grants officer in advance of the deadline. TAC will host a series of info sessions in November. Visit the website for details. The online application, guidelines, a schedule of information sessions and list of parks can be found here: Animating Toronto Parks is part of the Arts in the Parks program, managed by Toronto Arts Foundation (TAF) and Toronto Arts Council (TAC) in partnership with City of Toronto Arts & Culture Services, Parks, Forestry and Recreation (PF&R) and community partner Park People. FURTHER INFORMATION
+++ 12. ANNOUNCEMENT: Performance Research We are pleased to announce that starting from 2017 Performance Research will be increasing its publication from six to eight themed issues each year. This is an unprecedented output for a print journal in the field of performance and theatre studies and we are delighted (and challenged) by the achievement and the growth it heralds. It is a testament to the success, reach and range of the journal and the entire team of Performance Research wish to thank our publisher Routledge, Taylor & Francis, our guest editors, authors, artists and our many readers and supporters that have brought the journal to this significant point in its development. The journal began its life in 1996 as a tri-annual publication; it rapidly increased to a quarterly in 2001 and then expanded to a bi-monthly publication in 2012 while maintaining our familiar 144 pp. format. Performance Research will continue to nurture and develop high-quality, scholarly writing, artistic-led research, academic investigation, and innovative curating and editing through provocative and groundbreaking themes. In recent years we have conceived of, and received proposals for, so many themes of interest to the expanding field of performance research that we have been struggling to schedule them. This has obliged us to plan issues for publication some three years ahead. At the same time our 'Call for Proposals' for each issue receives on average six times the number of proposals we can develop through to publication in any one issue. So with some trepidation and relief in equal measure the Performance Research editorial team has welcomed the invitation to expand to an eight-issue annual volume. As many guest editors and authors will be aware, the production schedule of Performance Research begins 15 months before the publication date, meaning we are already beginning work on Volume 23 (2018), which will include issues 'On Children', 'On Disfiguration', 'On Writing', 'On Drifting', 'On Ageing', and 'On Generosity'. This volume will also include the 100th issue of the journal – an issue that will reflect on our twenty-three years of publication history and celebrate its impact on contemporary performance arts and theatre studies through forward-looking material in an unusual and appropriate format. To realize the eight-issue volume of Performance Research for 2017 we have had to bring forward two previously unannounced themes – ‘On Proximity’ and ‘Under the Influence’ - and the CFPs for these issues can be found below. The inaugural eight-issue Volume 22 comprises: PR 22: 1 (February) On Taste We look forward to your continuing support and contributions to Performance Research and hope that our new eight-issue volumes of the journal will continue to explore and illuminate the further reaches and less well-trodden areas of the field of performance and theatre arts. Richard Gough & Ric Allsopp on behalf of the entire Performance Research team, including Helen Gethin, Sandra Laureri, and Siu-lin Rawlinson (who now work together to equally share the post of Managing Editor of Performance Research) +++ 13. CALL FOR PAPERS: Volume 22, Number 4: On Proximity Vol. 22, No. 4: ‘On Proximity’ (June 2017) Co-editors: Louise Owen & Ben Cranfield (Birkbeck College, University of London) ‘On Proximity’ represents a response to and a departure from current preoccupations with vocabularies and techniques of immersive experience – a scene of experimentation now celebrated to the point of normalization in contemporary theatre, visual art and exhibition culture. The mere mention of the term ‘immersive’ holds out the promise of close, perhaps interactive relationships between artistic work and its audiences, and implicitly proposes sensation, tactility and physical engagement. In other words, immersivity promises greater proximity to the material stuff of art, and perhaps between fellow audience members. But what are the politics, possibilities and problems of such an eradication of distance? What other forms of proximity exist within contemporary and historic examples of cultural experience? ‘On Proximity’ does not seek to define, theorise or critique immersive experience – important and valuable work that has already been done elsewhere (most recently Alston 2016, Machon 2015, Mitra 2016). Instead, it uses the provocation of the ubiquity of the immersive to rethink cultural practices in terms of historical, conceptual and technological understandings of proximity. The relationship between art and audience, in both curatorial and theatrical spheres, has been approached frequently in terms of discourses of objecthood, participation and engagement, and the work of Jacques Rancière and others has stimulated extensive debate in the fields of contemporary art, theatre and performance concerning critical distance and spectatorship. Taking ‘proximity’ rather than ‘participation’ as the primary critical lens allows us to consider the ways in which cultural practices and artworks conjure and delimit certain kinds of material positioning. It enables exploration of the particular types of closeness and distance that these positionings create – whether in terms of historically, economically and spatially situated gatherings of bodies, the interrelationship of objects in a canon, or the dramaturgies of different modes of address. The lens of proximity helps us to think with and beyond more dominant critical approaches – and also to stage new dialogues between different practices and contexts. For ‘On Proximity’, we are interested in receiving proposals for written papers and artists’ pages that explore: We welcome contributions in the form of 4,000 word research papers and artist pages, consisting of up to 1,500 words plus images. Schedule: 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: General Guidelines for Submissions: +++ 14. CALL FOR SUBMISSIONS: Volume 22, Number 7: 'Under the Influence' Vol. 22, No. 7: ‘Under the Influence’ (November 2017) Co-editors: Jim Drobnick (OCAD University) and Richard Gough (Falmouth University) In popular parlance, being "under the influence" conveys contradictory meanings about drugs and intoxication. On the one hand, the term designates impairment in the ability to perform an action, such as driving a car, which can lead to the charge of negligence and criminal punishment. On the other, being under the influence can connote freedom from conventional behaviors and the unleashing of creative inspiration, visionary capabilities and enhanced perceptivity. Such divergent meanings are typical to the discourse on drugs, which can in different contexts bring about liberatory, medicinal, spiritual or deleterious effects. If being under the influence carries ambivalent implications in society, the use of drugs in art and performance further complexifies matters. Aesthetic intentions, agendas and strategies can inflect the meaning of drugs in new and unpredictable ways. This special issue seeks to explore how the use of drugs in art and society mobilizes intoxication and altered states. How have psychoactive compounds been featured in performances? How does the integration of narcotics, psychedelics, stimulants and depressants reflect, affirm or destabilize prominent discourses about theatricality? How have artists responded to the socio-political context of intoxication, such as the war on drugs or, conversely, the recent push to legalize substances like marijuana? How have drugs affected the visionary lives of performers? What impacts do drugs make on notions of agency, audience, or performativity in general? By incorporating a range of perspectives by historians, critics and practitioners, this issue on Under the Influence will stake out the multifaceted intersections between drugs and performance. Performance Research invites proposals on any aspect of drugs and performance, broadly conceived. Proposals should be approximately 150 words and include the author's CV. Potential topics include: Schedule: ALL proposals, submissions and general enquiries should be sent direct to the PR office: Issue-related enquiries should be directed to the Issue Editors: General Guidelines for Submissions: +++ 15. EVENT: PERMEATE by Emily Cobb PERMEATE by Emily Cobb This project explores contained space and vastness with attention to the often malleable surfaces, boundaries, and edges of an environment. Working thoughts include: comfort, exertion, and the feminine at rest. Friday, Saturday & Sunday December 16–18, 2016 mobius +++ ABOUT FADO 445-401 Richmond Street West, Toronto, Canada M5V 3A8 To unsubscribe from this e-bulletin, please follow this link: |
