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FADO E-LIST (June 2019)INDEX 1. EVENT/WORKSHOP: Pan presents Julie Andrée T. And Étienne Boulanger Date: June 4–7, 2019; City: Hildesheim, Germany; Source: PAN 2. WORKSHOP: TWO SUMMER Performance Workshops with Sylvie Tourangeau Deadline to register: June 7, 2019; City: Lotbinière, Quebec; Source: Sylvie Tourangeau 3. EVENT: Bubbly Creek Performance Art Assembly Date: June 13–16, 2019; City: Chicago, USA; Source: Joseph Ravens 4. EVENT: Tipi Confessions Date: June 14, 2019; City: Toronto, Canada; Source: TQFF
5. CALL FOR PROPOSALS: Vol. 25, No. 2: ‘On Amateurs’ (March 2020)
Deadline date: June 21, 2019; City: the world; Source: PR Journal
6. EVENT: INTERVAL °10 in Essen
Date: June 27 & 29, 2019: Essen, Germany; Source: Marita Bullman
7. EVENT: Sanity TV by Autumn Knight at the Whitney Biennial
Date: June 29–Sept 7, 2019 (various); City: New York, USA; Source: Autumn Knight
8. WORKSHOP: Performance Video with Irene Loughlin
Date: July 14, 2019; City: Toronto, Canada; Source: Trinity Square Video
9. EVENT: INTERVAL °10 in Oberhausen
Date: July 26 & 27, 2019: Oberhausen, Germany; Source: Marita Bullman
10. CALL FOR APPLICATIONS: Perform'Action Live Art 3
Deadline date: July 31, 2019; City: Yaoundé / Soa, Cameroon; Source: Perform'Action
11. PUBLICATION: 9Questions, an artist project by Gustaf Broms Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies
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1. EVENT/WORKSHOP: Pan presents Julie Andrée T. And Étienne Boulanger Date: June 4–7, 2019; City: Hildesheim, Germany; Source: PAN
PAN - Performance Art Netzwerk Hildesheim & Helge Meyer laden ein... Julie Andrée T. And Étienne Boulanger Performance Art // Workshops // Artist Talk
ARTIST TALK: Julie Andrée T. and Étienne Boulanger June 4 / 7:00pm Uni Hildesheim, Domäne / Haus 50 / Raum 202
WORKSHOP: June 5 / 8:00am–2:00pm Gymnasium Groß Ilsede (geschlossener Teilnehmer*innenkreis)
WORKSHOP: "Notion of 2/3" June 6–7 / 10:00am–6:00pm Rasselmania e.V. / Bischofskamp 18 / Hildesheim Email: performanceartnetzwerk@gmail.com / Teilnehmer*innenzahl 20
PERFORMANCE: "Tactical Exchange" by Julie Andrée T. and Étienne Boulanger June 7 / 8:00pm Performances der Workshopteilnehmenden Rasselmania e.V. / Bischofskamp 18 / Hildesheim
All events are free.
ABOUT THE ARTISTS Étienne Boulanger’s research challenges the relation between the human and his spatial positioning system. Placing his unstable body in the space in a precarious and disordered way, the artist establishes a utopian and unstable marking system.
For Julie Andrée T., practicing art should be a reflection of daily life and the dark ages we are presently in. Body and space are the center of her research. She uses the body as a space and vehicle for metaphors and poetry. She tries to reach a place where personal identity is lost. Although this is a utopia, it might be the only way to find a common abstract language to understand what we do and who we are.
WORKSHOP: Being solo is being one. Being duo is being two. Being a trio is being three. Talking to your-self is easy. Talking to other is not so. Working alone is something. Working with other(s) is something else. This is what we will explore in this workshop: The Else. How to create in collaboration. How to explore the notion of duo or trio in performance art. Space, time, body and object become different when the self is multiply. Working as duet offer other possibilities, other horizons. The dynamic of games, duality, competition, couples, can me reinforce by the concept of duo/trio. What can you do with the Other that you can’t do Alone? This is what will emerge from this teacher session.
PERFORMANCE: Our individual artistic practices have many similarities that we have shared in order to reshape our performative process that is at once destabilizing, daring and aesthetic. HE works on the strength, danger and limits of the body. SHE, om her own neglected, lost and unproductive space. Between poetry, artisanal construction and risk-taking, the world of Étienne Boulanger et Julie Andrée T. collide in unique physical dialogue where the fragile bodies try to keep in balance. The title of our new performance is “Tactical Exchanges”. It is structure on variable configuration of duo where physical and poetical actions drive the body toward an objectification. We embrace the theme of nature/culture, the aesthetic of landscape and the rural daily life. Faithful to our common approach, our bodies will be pushed to the their limits while keeping a playful spirit.
www.facebook.com/events/1160300917505754/
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2. WORKSHOP: TWO SUMMER Performance Workshops with Sylvie Tourangeau Deadline to register: June 7, 2019; City: Lotbinière, Quebec; Source: Sylvie Tourangeau
TWO SUMMER Performance Workshops with Sylvie Tourangeau
1) PERFORMATIVE ACTIONS AND IDENTITY COMBINTATIONS June 30–July 6, 2019 (5 days)
2) PERFORMATIVE ACTIONS / RITUALS OF CIRCUMSTANCE July 21–27, 2019 (5 days)
Location: AT THE NEW YELLOW HOUSE, Ste-Agathe-de-Lotbinière Registration fee: between $450–$700 (according to income)
Within the realm of the essential, of daily exchanges and voluntary simplicity, I invite you to take part in two summer workshops. Situated in a cottage near a farm surrounded by fields, we’ll be a group of six artists, evolving in a context of collective residence, sharing in everyday experiences, intervening in the heart of a Quebecois rural landscape.
1) PERFORMATIVE ACTIONS AND IDENTITY COMBINATIONS: focuses on the personalization of our performative actions in different contexts and intensities of attitude and presence. The emphasis will be put on the nature of our motivations in creating, the awareness of what inhabits and distinguishes us, the clarity of our on-the-spot decision-making as well as the transformative effect generated by the engagement we bring to each of our gestures. Through a learning process combining practical exercises, performative situations, and everyday experiences occurring in the heart of this facet of Quebecois heritage, each artist will experience the full potential of their particular “performative sense,” whatever the specificities of their practice.
2) PERFORMATIVE ACTIONS / RITUALS OF CIRCUMSTANCES: Through active experimentation of performative situations, individual and collective exercises and presentations that offer tools for creating pieces related to both the construction of rituals and of performative actions, we’ll look at how you can begin introducing these complementary elements into your artistic endeavors.
Collective residency is summarized as follows: we will be in nature (in the Lotbinière region, South-shore), we will develop an intensive process over five days, benefiting from work periods and individual coaching. In addition, we’ll experience dormitory style living for 2 or 3 (art and life), and as a bonus, late afternoons by the waterfalls and evenings shared around a campfire under a starry sky!!!
Total length will be seven days: one day for arrival, one day for departure and five consecutive days of workshop.
HELPFUL INFORMATION COST (17 meals and accommodation included / 6 nights); Set according to your annual income: Less than 12,000: $450 Between 12,000 and 14,999: $500 Between 15,000 and 24,999: $550 Between 25,000 and 29,999: $625 30,000 and +: $700
REGISTRATION: To reserve your place, a deposit of $100 (non-refundable but transferable) before June 7, 2019 (first cheque received, first registered). Interac e-transfer or cheque sent by post (dated June 7).
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3. EVENT: Bubbly Creek Performance Art Assembly Date: June 13–16, 2019; City: Chicago, USA; Source: Joseph Ravens
Defibrillator Gallery + Zhou B Art Center proudly present BUBBLY CREEK PERFORMANCE ART ASSEMBLY A Performance Art festival celebrating the Bridgeport neighbourhood
Featuring Performance Art by: Santina Amato Jessica Elaine Blinkhorn Oscar Gonzales-Diaz Caros Salazar Lermont Giulia Mattera Smeza+Keegan Diana Soria Nicolina Stylianou Ieke Trinks
Curated by Angeliki Tsoli
PROGRAM DAY 1 | THU 13 JUN | 7–10PM | cross-pollination: Community Partnering Co Prosperity Sphere, 3219 S. Morgan Street
DAY 2 | SAT 15 JUN | 5–9PM | in_visible: In Situ Performances around Bridgeport Guerrilla-style: Follow instagram for times + locations: @DFBRL8R
DAY 3 | SUN 16 JUN | 7–9PM | inner.action: Live Art Event Zhou B Art Center, 1029 W. 35th Street
FRI3RD | FRI 21 JUN | 7–10PM | [re]action: Visual Art Opening Zhou B Art Center, 1029 W. 35th Street
Bubbly Creek Performance Art Assembly celebrates the Bridgeport neighbourhood and is an homage to Chicago’s rich labor history and how it relates to and influences the local art community. Bubbly Creek is a part of the Chicago river that forms the western border of Bridgeport. It derives this nickname from gases bubbling out of the riverbed from decomposing animal waste dumped into the river a century ago by the Union Stockyards. It still bubbles to this day. Brought to notoriety by Upton Sinclair in his exposé on the American meat packing industry, The Jungle, the contaminated river is a revolting reminder of the harshness of industrial capitalism, exploitation of [often immigrant] labor, and disproportionate concentrations of wealth in America. From the Haymarket Affair in 1886 to the Pullman railroad strike in 1894, labor issues were at the forefront of late 20th century social concerns and are [obviously] still relevant today.
Statement by Director, Joseph Ravens: “When I first heard the nickname “Bubbly Creek” I thought it was cute... so effervescent! Then I learned how this nickname came to be [rotting flesh and chemicals] and was both disgusted and delighted. Rooted in and inspired by locality, Bubbly Creek Performance Art Assembly draws a parallel between the river’s oxymoronic epithet and the perception and experience of performance art: visceral, contradictory, strange…yet [ultimately] fascinating. Bridgeport is a proud working class neighbourhood. Carl Sandburg’s poem, “Chicago” coined the term, “City of the Broad Shoulders,” referencing strength and fortitude and the idea that Chicagoans could take on any difficult or demanding obstacle. I believe these qualities not only define citizens of Bridgeport but also the greater art community throughout Chicago. Appreciation for labor is further exemplified by practitioners of Performance Art who, working in an ephemeral and non-commodifiable medium, tend to value [by choice or by circumstance] process [labor] over product [wage], thereby challenging value-driven art production and the entire capitalist system. These are the associations and inspirations behind our three day festival.”
FRI3RD An accompanying visual art exhibition will open on June 21 at Zhou B Art Center as part of their popular monthly 3rd Friday event featuring exhibitions and open studios throughout the impressive five-story converted warehouse.
Defibrillator Gallery [DFBRL8R] is an international platform for Performance Art known for bold and courageous programming that aims to provoke thought and stimulate discourse regarding time-based artistic practices. Actively contributing to a global dialog surrounding conceptual, ephemeral, or enigmatic modes of expression, DFBRL8R aims to raise awareness, appreciation, and respect for the discipline of Performance Art.
Proudly part of Zhou B Art Center, a privately funded complex founded in 2004 by the Zhou Brothers in Chicago’s historic Bridgeport neighbourhood, DFBRL8R LTD is a 501c3 arts organization made possible with support from Elizabeth Morse Genius Charitable Trust; Martha Strutters Farley and Donald C. Farley, Jr. Family Foundation; Zhou B Art Center; DFBRL8R Board of Directors; and generous contributions from our loving community.
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4. EVENT: Tipi Confessions
Date: June 14, 2019; City: Toronto, Canada; Source: TQFF
Tipi Confessions
in bed with TQFF, Aboriginal Curatorial Collective/Collectif des commissaires autochthone, OPIRG and FADO Performance Art Centre
Buddies in Bad Times Theatre
12 Alexander Street, Toronto
$20 advance / PWYC at the door
Tipi Confessions is produced by three Indigenous women: University of Alberta professors Kim TallBear (Sisseton-Wahpeton Oyate) and Tracey Bear (Nehiyaw'iskwew from Montreal Lake Cree Nation), and PhD student Kirsten Lindquist (Cree-Métis). We are an offshoot of the popular Austin, Texas show, Bedpost Confessions, founded in 2010.
Tipi Confessions is a live storytelling show on sex, sexuality, and gender that features spoken word, personal narrative, erotic fiction, burlesque, live musicians, and short theatre performances. Produced by three Indigenous women (Kim TallBear, Tracy Bear, and Kirsten Lindquist), this curated evening highlights Indigenous, decolonial, political, humourous, creative, feminist, and educational perspectives.
PAY-WHAT-YOU-CAN
PWYC tickets are generally only available in-person at our box office, and we recommend getting here early for more popular shows as these tickets can sell fast. However, if getting down here in the middle of the day presents a barrier—accessible transportation, childcare, etc.—simply call the box office at 416-975-8555 and we’ll hold a Pay What You Can ticket for you that you can purchase when you arrive to see the show.
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5. CALL FOR PROPOSALS: Vol. 25, No. 2: ‘On Amateurs’ (March 2020)
Deadline date: June 21, 2019; City: the world; Source: PR Journal
Call for Proposals Vol. 25, No. 2: ‘On Amateurs’ (March 2020)
Proposal deadline: Friday 21 June 2019
Editors: David Gilbert, Judith Hawley, Helen Nicholson, Libby Worth (from the Departments of Drama, Theatre and Dance, Geography and English, Royal Holloway, University of London, UK)
Are we entering a new era of ‘amateur performance’? The associations of the amateur with leisure activity, and as part of an economically determined division of time into valuable ‘work’ and unproductive ‘play’ seems to be breaking down. This understanding of the amateur universalized, Western, male working patterns with specific rhythms of the working day, week, year and life cycle arose from the mid-twentieth century. Across the globe, new patterns of labour and pleasure are emerging that call for new definitions of the amateur; an ‘amateur turn’ in academic studies is redefining the ways in which cultural practices are understood (Holdsworth, Milling and Nicholson 2017).
The rise of new social media alongside new forms of working and ‘post-working’ are changing the nature of amateur performance. Social media provides opportunities for amateurs to reach global audiences, unmediated by professional gatekeepers. There is an apparent authenticity and intimacy of online amateur performance that can be community-building, but we are also interested in whether this can also be problematic in its politics and effects on both performers and audiences. Amateur bakers, gardeners, knitters and others have become television and social media celebrities, producing new kinds of performative contexts, combining amateurism with highly professional commercialized media systems. But there has also been a flourishing of popular participatory amateurism, in particular in singing, music, dance and other performative arts, and a resurgence in craft-making. Sometimes such activity pushes at another supposed boundary, between the amateur and the political. The ‘craftism’ movement (Greer 2014) indicates a wider sphere in which guerrilla performance, slow art and other forms of amateur participation are also political activism.
These changes challenge us to rethink the geographical and historical contexts of the amateur. Forms of amateur performance in different parts of the world have a long history, challenging the notion of the amateur as secondary or second-rate. In some societies at some periods, ‘professional’ and ‘commercial’ have been derogatory terms, contrasted with the purity of amateur performance. In others, the boundaries between amateur, community and professional performance are less rigid, and performers move between modes at different times of their lives and everyday routines. We invite contributions that explore this history of amateur performance, that think through the nature and limits of the idea of the amateur in different cultural contexts and that help us to develop a new vocabulary to understand the complexity and nuances of amateur performance.
Possible topics include:
–The idea of ‘the amateur’: explorations of the definition of the amateur in contradistinction to other categories, and explorations of the cultural, geographical and historical uses and limits of the term in relation to performance.
–The aesthetics of amateur performance: explorations of their distinctive qualities, including their design, and material culture.
–The amateur performer as identity: explorations of the role of amateur performance in people’s lives, and the social interactions between amateurs.
Explorations of the amateur as expert, as ‘lover’ of performance, as local celebrity and as one among many.
–The amateur and the professional: explorations of collaborations between professionals, non-professionals and amateurs in training and development and performance.
–Explorations of the amateur as an element or phase of a longer career in the creative arts, including where the professionally trained through economic necessity continue their work within the amateur sphere.
–The economics and logistics of amateur performance: explorations of the different kinds of value, and the cost–benefits of amateur arts; explorations of the work before and behind amateur performance.
–The politics and activism of amateur practices: explorations of amateur activity as resistance, as collective expression and as a form of escape.
–The close textures of amateur performances: explorations of these themes through detailed analysis of particular examples of amateur performances and the performance of the amateur in everyday life.
–Spaces of amateur practice, such as the pavement, garage, kitchen, bedroom or shed.
References:
1) Holdsworth, Nadine, Jane Milling & Helen Nicholson (2017) ‘Theatre, Performance, and the Amateur Turn’, Contemporary Theatre Review, 27 (1): 4-17
2) Greer, Betsy. (2014) Craftism: The Art and Craft of Activism, Vancouver, Arsenal Pulp Press
Format:
Building on the Journal’s emphasis on the intersection of practice and theory, we welcome contributions from artists, poets, musicians, dancers and performance-makers, amateur and dilettante performers as well as scholars. We define amateur performance broadly and encourage contributions on all forms of group and individual performance. We encourage short articles and provocations. As with other editions of Performance Research, we welcome artist’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.
Schedule:
Proposals: 24 June 2019
First drafts: October 2019
Final drafts: December 2019
Publication: March 2020
Issue contacts:
All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org
Issue-related enquiries should be directed to the issue editors:
David Gilbert: D.Gilbert@rhul.ac.uk
Judith Hawley: J.Hawley@rhul.ac.uk
Helen Nicholson: H.Nicholson@rhul.ac.uk
Libby Worth: Libby.Worth@rhul.ac.uk
General Guidelines for Submissions:
–Before submitting a proposal, we encourage you to visit our website and familiarize yourself with the journal.
–Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)). Proposals should not exceed one A4 side.
–Please include your surname in the file name of the document you send.
–Please include the issue title and issue number in the subject line of your email.
–Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five 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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6. EVENT: INTERVAL °10 in Essen
Date: June 27 & 29, 2019: Essen, Germany; Source: Marita Bullman
INTERVAL °10
Viehoferstrasse, Essen
Free
ARTISTS
Va-Bene E.K Fiatsi (GHA)
Christiane Obermayr (DE)
Myriam Laplante (CAN/IT)
Rolf Schulz (DE)
Selina Bonelli (UK)
Since 2013 INTERVAL offers a platform for international performance artists to meet and exchange ideas, strategies and concepts. For this edition a total of ten local and international artists will be invited to INTERVAL°10 to explore the public space in the Ruhr area with all its multifaceted diversity and to develop and present site-specifc performative works and be part in the PAErsche Open Source Performance. Come and see Performance Art which will expand the the public places with multi-layered, processual, political and poetic images.
Viehoferstrasse, Essen
June 27 / 6pm
PAErsche Open Source Group-performance
June 29 / 4pm
Solo performances
With friendly assistance of the Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalens, Kulturbüro Essen, Kulturbüro Stadt Oberhausen, kitev, Zentrum Alibi.
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7. EVENT: Sanity TV by Autumn Knight at the Whitney Biennial
Date: June 29–Sept 7, 2019 (various); City: New York, USA; Source: Autumn Knight
Autumn Knight: Sanity TV
Autumn Knight’s ongoing performance series Sanity TV, which began in 2016 during Knight’s residency at the Studio Museum in Harlem, takes the form of an imaginary television talk show in which she plays the role of host. The performance is improvisational in structure: Knight moves through the crowd, rearranges the seating, and gives the viewers various prompts, asking them, for instance, to answer absurdist questions or to clap or dance for different “segments” of the show. Provoking laughter and occasional discomfort, Knight uses irrationality as a way to make meaning in the contemporary situation. Knight, who received a master’s degree in drama therapy, often makes the psychology of group dynamics central to her work, constructing scenarios that exaggerate and probe the power relationships at play in a performance. For the Biennial, she will be using different spaces to play with and explore distinct individual and group dynamics.
June 29, 2019 / 1 pm
Floor 4, Whitney Museum Offices
June 29 / 3:30 pm
Floor 3, Whitney Museum Offices
July 27 (SOLD OUT) / 7:30 pm
Floor 8, Tom and Diane Tuft Trustee Room
September 5 / 7:30 pm
Floor 3, Susan and John Hess Family Theater
September 7 / 7:30 pm
Floor 3, Susan and John Hess Family Theater
Tickets are required: $10 adults; $8 students, seniors, and visitors with disabilities; free for members.
The Museum building is accessible and has elevator access to all floors. Service animals are welcome. Learn more about access services and amenities.
ABOUT AUTUMN KNIGHT
Autumn Knight is an interdisciplinary artist working with performance, installation, video and text. Her performance work has been on view at various institutions including DiverseWorks Artspace, Art League Houston, Project Row Houses, Blaffer Art Museum, Crystal Bridges Museum, Skowhegan Space (NY), The New Museum, The Contemporary Art Museum Houston, Optica (Montreal, Canada), The Poetry Project (NY) and Krannart Art Museum (IL), The Institute for Contemporary Art (VCU), Human Resources Los Angeles (HRLA) and Akademie der Kunste, (Berlin). Knight has been an artist in residence with with In-Situ (UK), Galveston Artist Residency, YICA (Yamaguchi, Japan), Artpace (San Antonio, TX) and a 2016-2017 artist in residence at the Studio Museum in Harlem (NY). Knight is the recipient of an Artadia Award (2015) and an Art Matters Grant (2018). She has served as visiting artist at Montclair State University, Princeton University and Bard College. Her performance work is held in the permanent collection of the Studio Museum in Harlem. She attended the Skowhegan School of Painting and Sculpture (2016) and holds an M.A. in Drama Therapy from New York University.
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8. WORKSHOP: Performance Video with Irene Loughlin
Date: July 14, 2019; City: Toronto, Canada; Source: Trinity Square Video
THE IMAGINARY AND THE SYNCHRONOUS: working with accounts of the self in performance video
Video performance workshop with Irene Loughlin
Trinity Square Video
401 Richmond Street West, Toronto
Date: July 14, 2019
Time: 1—5 pm
Maximum Capacity: 10 participants
Cost: $55 for members / $65 for nonmembers
Autobiography acts as the means to explore video performance; participants link an aspect of their life with an object/s that represents this event or characteristic, linking it to a wider socio-political platform. The structure of the workshop emphasizes the imaginary and the synchronous. This one-day workshop is split into two parts, beginning with an exploration of artists who have used video performance followed by the creation of a ‘storyboard’ for a performance followed by a short video performance made by each participant. Please bring an object to work with that represents an aspect of your life—common performance objects include paper, books, a food object such as a bag of sugar (contained), feathers—the object is only limited by your imagination. Please consider containment and cleanup issues in the studio and near the camera.
ABOUT IRENE LOUGHLIN
Irene Loughlin holds an MFA in Visual Studies from the University of Toronto, a BFA from Simon Fraser University, Vancouver and is an alumni of the Ontario College of Art, Toronto. Using a neuro-diverse perspective, her practice encompasses performance art, video, sculpture, drawing and text-based work that is informed by feminism and magic and employs aesthetics derived from the history of art and the West Coast of Canada. Working from an emotive perspective, she employs visual metaphors from medical, ecological and historic contexts in order to comment on our contemporary social and political discourse. Loughlin has participated in various solo and group exhibitions including Through a Window: Visual Art and SFU 1965-2015 Audain Gallery, Vancouver (2015), Westbeth Gallery, Transforming Community: Disability, Diversity and Access NY (2015) and The Month of Performance Art, Berlin (2014). She has been awarded the Lynch Staunton Award, Canada Council for the Arts, for mid-career, interdisciplinary practice and a SSHRC Masters Level Scholarship and is the author of numerous essays, articles and conference proceedings.
TO NOTE:
Trinity Square Video’s workshops may be subject to changes in the schedule, instructor, or content. If so, Trinity will refund full workshop payment to participants who are unable to make the rescheduled dates or should the program be cancelled. Workshop registrants will be notified in advance of any changes or cancellations.
To be registered, you must be paid up in full. Accepted Payment: Visa, Mastercard, via phone; cash or debit accepted in-person. Cancellation 5 business days prior to workshop; NO REFUNDS GIVEN for CANCELLATIONS made with less than 5 business days.
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9. EVENT: INTERVAL °10 in Oberhausen
Date: July 26 & 27, 2019: Oberhausen, Germany; Source: Marita Bullman
INTERVAL °10
Unterhaus, Oberhausen
Free
ARTISTS
Boris Nieslony (DE)
Anja Ibsch (DE)
Preach R Sun (USA)
Leena Kela (FI)
Constantin Leonhard (DE)
Since 2013 INTERVAL offers a platform for international performance artists to meet and exchange ideas, strategies and concepts. For this edition a total of ten local and international artists will be invited to INTERVAL°10 to explore the public space in the Ruhr area with all its multifaceted diversity and to develop and present site-specifc performative works and be part in the PAErsche Open Source Performance. Come and see Performance Art which will expand the the public places with multi-layered, processual, political and poetic images.
July 26 / 6pm
PAErsche Open Source Group-performance
July 27 / 4pm
Solo performances
With friendly assistance of the Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalens, Kulturbüro Essen, Kulturbüro Stadt Oberhausen, kitev, Zentrum Alibi.
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10. CALL FOR APPLICATIONS: Perform'Action Live Art 3
Deadline date: July 31, 2019; City: Yaoundé / Soa, Cameroon; Source: Perform'Action
International Festival of Performance Art of Cameroon
Perform'Action Live Art 3
The International Festival of Performance Art of Cameroon launches a Call for Applications for the third edition Perform'Action Live Art 3 to be held from November 29 to December 6, 2019 in Yaoundé and Soa. The theme of this edition is: "Art and Ecology, Performance Art against Pollution."
The call for applications is open to all artists around the world, no age limit, artists must be available throughout the duration of the Festival, for 8 days: workshops, discussions, conferences, residencies, restitution etc.
All artists who work with used objects, and in the public space are encouraged to apply. We accept Performances, non-standard, extreme, anti-conformist, and offbeat. The festival encourages interdisciplinary creations, including installations, and works using multimedia. The festival also encourages intercultural exchanges and collaborative productions to apply.
The deadline for applications is July 31, 2019.
Perform'Action Live Art 3 support: meals, internal transport in Cameroon, homestay accommodation is encouraged.
Artists support includes: international transport between their departure city and Yaoundé and probably accommodation.
Send your file including: CV, Letter of motivation, a short biography to: performactionliveart@yahoo.com
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11. PUBLICATION: 9Questions, an artist project by Gustaf Broms Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies
9Questions, an artist project by Gustaf Broms
Publication: $20 Publication & postage for Toronto: $25 Publication & postage to Canada/USA: $30 Publication & postaget to UK/Europe: $35
Pay via PAYPAL, credit or debit. Email info@performanceart.ca to place your order.
Or purchase a copy through Unbound: www.thisisunbound.co.uk/collections/books/products/9questions
In 2014, Swedish performance and visual artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists—many he had a personal connection with and many more he had never even met. The questions covered a range of paired concepts—the bricks and mortar of performance practice (including Material/object, Audience/receiver, Sound/silence, Time/rhythm, Space/emptiness)—and grounded by questions about personal experience, lineage and language. The impulse to gather this collection arose from a conversation Broms had had with another artist; but what makes this volume first and foremost an artist’s book is that the questions are asked from the specific perspective of Broms’ deep personal understanding that, as a practice, performance resides at the permeable borders between the conscious and subconscious, and the meeting of the concrete world of form and the spiritual realm. For Broms, these are the essential questions. The responses collected are as diverse and wide-ranging as the artists and their own approaches, from the practical, to the abstract to the simply far-flung, in addition to some reassuring and surprising overlapping ideas and connections.
The roster of contributors to the 9Questions book project is an impressive array of international performance artists whose work covers a range of performance and performative multi-disciplinary approaches, including: Adina Bar-On, Alastair MacLennan, Andrea Saemann, Antoni Karwowski, Arahmaiani, Artur Tajber, Barbara T. Smith, Bartolomé Ferrando, Boris Nieslony, Brian Connolly, Dorothea Rust, Elvira Santamaria-Torres, Esther Ferrer, Fausto Grossi, Guadalupe Neves, Guillermo Gómez-Peña, Gustaf Broms, He Yunchang, hermann nitsch, Irma Optimist, Jamie McMurry, Jill Orr, Johanna Householder, John Duncan, Kurt Johannessen, Leif Elggren, Linda Mary Montano, Macarena Perich Rosas, Margaret Dragu, Mariel Carranza, Marilyn Arsem, Martha Wilson, Monika Günther & Ruedi Schill, Myriam Laplante, Nigel Rolfe, Nobuo Kubota, Paul Couillard, Pekka Kainulainen, Rocio Boliver, Roi Vaara, Ron Athey, Serge Olivier Fokoua, Shannon Cochrane, Stelarc, Tanya Mars, Tehching Hsieh, Tomas Ruller, Valentin Torrens, Zbigniew Warpechowski and Zhu Ming.
ABOUT GUSTAF BROMS Gustaf Broms is a Swedish visual artist working in performance, video and photography. His performance work has presented work across Europe, Asia and North America. His practice is engaged with the exploration of the nature of consciousness, the dualistic concept of "I," as the biological reality of being in the BODY, and being MIND, as the perceived experience of the flow of phenomena. He is a co-founding member of REVOLVE Performance Festival in Uppsala. He was the subject of 2012 film, The Mystery of Life – An Art Apart: Gustaf Broms by Carl Abrahamsson.
Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies Edited by Gustaf Broms and Shannon Cochrane Translations by Paula Alvarado, Robert Rowley, Nicolas Scrutton, Jie Wang Design: Lisa Kiss Design
ISBN 978-0-9730883-4-2 (FADO Performance Art Centre, Canada) 978-91-639-8460-0 (Centre for Orgchaosmik Studies, Sweden)
This publication project is supported by Stiftelsen Längmanska kulturfonden. FADO Performance Art Centre acknowledges the suport of the Canada Council for the Arts, Toronto Arts Council, Ontario Arts Council, and the Department of Canadian Heritage.
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ABOUT FADO PERFORMANCE ART CENTRE Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. 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 perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.
Artistic & Administrative Director: Shannon Cochrane Board of Directors: Cara Spooner, Francesco Gagliardi, Jenn Snider, Cathy Gordon, Clayton Lee, Julian Higuerey Núñez
Office: 401 Richmond Street West, Suite 445, Toronto, Canada M5V 3A8 info@performanceart.ca FADO on Instagram: @fadoperformanceartcentre To subscribe to this mailing list: https://dm-mailinglist.com/subscribe?f=d6de595f |
