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FADO E-LIST (August 2019)FADO PROGRAMMING 1. FADO EVENT: snowflakes in the echo chamber by Moe Angelos / PERFORMANCE CLUB 7. EVENT: Possible Awakenings Series No. 6 +++ FADO PROGRAMMING Performance Club 4: Book Club: snowflakes in the echo chamber Join us for a talk-back after the performance between Moe Angelos and David Bateman. Thursday, September 5 The Commons @ 401 Are you a snowflake? Do you live in an information silo? Do you live to comment? Likes, dislikes, emoji bagels and a thumbs up? Are you a lurking flamer? (Or is your crazy uncle in Alberta one?) Is this making you mad? Would you like to say something? Do you feel silenced because there is no comment function?
What happens when all your friends (and your “Friends”) think exactly the same as you? Can you talk to each other anymore?
Join us for Book Club: snowflakes in the echo chamber, one year after Queer/Play was published; one year after Ellie, Audrey, Jasmine, Stacy and Moe read it in their book club; and one long year on our journey ever deeper into the Offendocene, the epoch of being outraged.
ABOUT MOE ANGELOS
Moe Angelos is a theatre artist and writer. She is a core member of The Builders Association, an internationally touring, New York-based theatre company that has been making innovative large-scale, media infused performance work since 1994. She's one of The Five Lesbian Brothers, an Obie-Award winning theatre company. She has been a member of the Wow Café Theater since 1981. She has collaborated with many downtown New York City luminaries including Lisa Kron, Carmelita Tropicana, Anne Bogart, Holly Hughes, Lois Weaver, Kate Stafford, Brooke O’Harra, Half Straddle and The Ridiculous Theatrical Company. THE GOLDEN BOOK
Join us for Performance Club and get your own Performance Club: THE SYLLABUS, a brand new addition to FADO's Golden Book series (as always, designed by Lisa Kiss). This time, it's bigger (it won't fit in your pocket, think book bag) and it contains three performance texts and an incredible intro, entitled "This is a Queer Series..." written by the one and only Moynan King.
ABOUT PERFORMANCE CLUB
As a proposition for a performance or the framework for an actual book club, Performance Club redefines the historical and contemporary performance art canon, one book club, and one book / article / essay / anthology at a time. Invited artists perform the role of book club facilitators, leading the audience through a performance of a reading, a reading performance, a performance about a book, or a bookish performance. This series is on-going. Sometimes we pick the book and invite an artist; sometimes we invite an artist and they pick a book. Just like a real book club, we ask the audience to read the suggested material before coming to the performance. But don't worry, just like a real book club, no one ever does. +++ FADO PROGRAMMING Performance Club 5: The Talking Grave Join us for a talk-back after the performance between Hope Thompson and Moe Angelos. Thursday, September 12 The Commons @ 401 “It’s not everyday you get to talk to the dead—and they answer.” ~Hope Thompson In a rare, ‘one-on-one’ Hope Thompson interviews crime writer and father of noir, Cornell Woolrich (1903–1968). Thompson brings alive her obsessive fascination with both Woolrich’s writing and his life in this ‘tell-all-from-beyond-the-grave’ interview performance. A solitary and reclusive figure in life, Woolrich is similarly reticent in death, however, Thompson’s interview techniques draw out the writer, giving the Performance Club a window into the dark secrets, vulnerabilities and surprising humour of this often overlooked giant of 20th century crime fiction. Cornell Woolrich’s seminal short story, Three O’clock, will be provided as a sample of the author’s work. In this thriller of marital revenge, a husband known only as “Stapp” plots the murder of his wife, only to have a series of surprise events send him spiraling into nail scratching despair. ABOUT HOPE THOMPSON THE GOLDEN BOOK ABOUT PERFORMANCE CLUB +++ FADO PROGRAMMING Conjuring the Archive by Jess Dobkin Wednesday, September 18 The Commons @ 401 In 2018–2019, Jess Dobkin received a Chalmers Art Fellowship in support of her current on-going research project looking at the performance art archive—her own personal archive and the archives of notable organizations and artists in the USA, UK, Mexico, Hong Kong and Canada. Jess Dobkin approaches the archive as both site and material to investigate the lifespan and spirit life of performance art. Building on her ongoing research in international performance archives, she interrogates the relationship between live performance and documentation to explore the dynamic ways that performance can exist before and beyond the live event. Dobkin invites us to consider: ABOUT JESS DOBKIN +++ FADO PROGRAMMING Performance Club 6: Death, Sex, & Macrame (and other works) Death, Sex, & Macrame Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? Join us for a talk-back after the performance between David Bateman and Hope Thompson. The Commons @ 401 David Bateman's Performance Club consists of a series of open workshops (a bit of creative writing alongside some macrame curtain weaving) which precedes the presentation of a recent performance, Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat?
The workshop (September 14, from 2pm to 5pm) will consider Bateman's past performance work, and ways in which he has re-considered various narratives/performance texts around sex and gender over the past thirty years. Current and past work to be looked at will include the following works: Death, Sex, & Macrame (2019, work in progress), I Wanted To Be Bisexual But My Father Wouldn't Let Me (1992), and Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? (2016).
This performance club will include a brief look at the iconic romance novel Love Story (1970), with an emphasis on the famous phrase from the book, "Love means never having to say you're sorry," and its indirect connection to the General Idea sculpture and series of AIDS images inspired by Robert Indiana's LOVE sculptures.
ABOUT DAVID BATEMAN
THE GOLDEN BOOK Join us for Performance Club and get your own Performance Club: THE SYLLABUS, a brand new addition to FADO's Golden Book series (as always, designed by Lisa Kiss). This time, it's bigger (it won't fit in your pocket, think book bag) and it contains three performance texts and an incredible intro, entitled "This is a Queer Series..." written by the one and only Moynan King.
ABOUT PERFORMANCE CLUB
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FADO PROGRAMMING International Visiting Artists 2019: Friday, September 20 TMAC (Toronto Media Arts Centre) Please join us for this special night of performances in FADO's on-going International Visiting Artists series. Marita Bullmann: My works are engagements with everyday objects: familiar materials, actions, spaces and places. I am seeking a direct encounter between body and space. My working method can be understood as a temporally ephemeral, site- and situation-specific process. Liina Kuittinen: Digestion is process that involves the body with other processes, one point in the circle of matter. Performance operates on the same plain with digestion. Performance and process of digesting are equally real. They are meeting points for material flows, actual events transforming material into other. Ignacio Pérez Pérez: We are together in this. Now or never. Now or never. Now or never. I creates experiences of ritualistic playfulness and worldly contemplation to observe and encounter otherness and its permanent state of transformation in the realm of everyday life. ARTIST TALKS: Please join us on Saturday, September 21 at 1:00pm for artist talks by Marita Bullman and Ignacio Pérez Pérez. The presentation of new performance works by Marita Bullman, Liina Kuittinen and Ignacio Pérez Pérez at FADO is made possible through a collaboration with VIVA! Art Action, one of FADO's enduring partners. FADO and VIVA! have partnered several times over the years to share the presentation of international artists to both platforms in order to bring exceptional artists and their work to audiences in both cities; in addition to giving visiting artists the unique opportunity of engaging with performance communities in both Toronto and Montréal. ABOUT VIVA! ART ACTION +++
FADO PROGRAMMING 6. FADO EVENT: single use salmon plogging by Ayumi Goto / PERFORMANCE Date: Sunday, October 20 single use salmon plogging by Ayumi Goto Curated by FADO Performance Art Centre Performed during the 2019 Toronto Waterfront Marathon Sunday, October 20 single use salmon plogging addresses the labour required for enacting upon human responsibilities for taking care of the environment. The performance meditates upon the all too human compulsion to purchase and then discard that which is easily accessible, mass-produced, and presumably replaceable. In this performance, Toronto audiences are introduced to Ayumi Goto’s performance-alter ego, geisha gyrl, who is part salmon and part human. A performative shadow of Adrian Stimson’s Buffalo Boy, geisha gyrl and her team of scavenger-collectors intervene with the Toronto Waterfront Marathon and run the 42 kilometre route, collecting plastic and other debris along the way. single use salmon plogging culminates at the finish line of the marathon. This performance is dedicated to the Anishinaabe grandmother, activist and water walker, Josephine Mandamin, who circumnavigated the Great Lakes, covering over 17, 000 kilometers to raise awareness about the pollution in the river and lake systems. The performance is also dedicated to David S. Buckel, an LGBTQ rights lawyer, environmental activist, and runner, who self-immolated in Brooklyn to protest humanity’s addiction to fossil fuels. The route run by geisha gyrl and her team of scavenger-collectors references and at points overlays the site of the Toronto Biennial’s curatorial activities, located along the original boundaries of the so-called Toronto Purchase of 1805 which stretch from Ashbridges Bay to Etobicoke Creek. Scavenger-collectors: Shannon Cochrane, Deb Lim, Peter Morin and Soleil Launiere. ABOUT the Toronto Biennial of Art +++
7. EVENT: Possible Awakenings Series No. 6
Date: August 8, 2019; City: Montréal, Canada; Source: Facebook Possible Awakenings Series No. 6 Fonderie Darling Program / Artists: Curator: Milly-Alexandra Dery The sixth and final evening of the 'Possible Awakenings' series is made through mutual aid and collective creation. In the context of a collaboration carried out before the event or in the case of a first encounter between the artist and the public, the projects are inspired by various performative traditions, including participative happenings, flash mobilizations, and transactional practices. Exchanges and meetings, whether long-term or accidental, materialize on Ottawa street and mark the end of this performance series focused on the participative experience where states of passivity and action follow one another, through an ambiguous sharing of roles between performer and observer. +++ 8. EVENT: Encumbrance by Johannes Zits Encumbrance by Johannes Zits Toronto Media Arts Centre (Mezzanine) Thursday, August 8 | 8:00–9:30pm Johannes Zits has been collecting second-hand clothing as material for performative interventions for over 15 years. In Encumbrance, Zits and collaborators Branda Dale, Holly Timpener and Enok Ripley explore the conflicted relationship we have with our clothing and ask us to contemplate our own assertions of consumerism, “fast fashion” and labour. Using masses of second-hand garments, they consider the ways our bodies are identified with clothing, and how this interconnection helps construct our identities, shapes our desires and tastes. Part of the SummerWorks Presentations programming—offering you a snapshot of contemporary performance in 2019. A vital collection of new theatre, dance, music, and live art works from across the country. Created and Produced by Johannes Zits with the assistance of Holly Timpener; Performed by Johannes Zits, Holly Timpener, Enok Ripley and Branda Dale +++ 9. EVENT: The Diseases of Astonishment by Mari Novotny-Jones Mari Novotny-Jones Saturday, August 10, 2019 On August 10th, Mobius Artist Group member Mari Novotny-Jones will present a 5-hour durational performance at The JJ Newberry Building at 236 Main Street, Saugerties Village. Actions of this piece reference immigration practices along The US/Mexican Border. The audience will be allowed to move through the piece, to watch, read or sit with Mari in an interactive space. August 10–18, 2019 Video work of Mari Novotny-Jones will be on display in Gallery North at 11 Jane Street Art Center during open hours. ABOUT MARI NOVOTNY-JONES www.mobius.org/https://www.11janestreet.com/home +++ 10. EVENT: Body Maintenance by Sakiko Yamaoka Presented by 7a*11d in the context of KinesTHESES John Innes Community Recreation Centre We approach our bodies with various kinds of attention and consciousness: avoiding danger, preserving belongings or relationships, finding various types of opportunity, seeking interesting ways to enter through eyes, ears and...using our reflexes or our senses. How can we train these senses? I, personally, don’t like to do or watch any sports, but we can use the tools of sport for other intentions. For example, art performances. ABOUT SAKIKO YAMAOKA Sakiko writes: “Since my previous time in Toronto in 2008, I have had many struggles, questions, learning, amazing things—like everyone. I was in Spain in 2011 when the earthquake hit Japan. Before then, I was not focused on making work in Japan, but after the earthquake I wanted to go back right away. Now I have started to ‘live’ in Japan more deeply. BUT! What does it mean to belong to one nation? Ambiguous. Instead of the idea of ‘nation’, I decided to think about the people and the culture near my living area. I am still ‘living’ in a kind of network of people through performance art. And I am also ‘living’ in a kind of cultural scene of people in Tokyo. In this second place, people still don’t know and don’t like performance art. This is my major struggle. In 2016, I started to build a performance art archive, focusing on moving images. I sometimes organize events to show moving images which I took in the world. I am developing these activities by working with younger people.” For more information about 7a*11d's off-year programming series, KinesTHESES, curated by Paul Couillard, please visit: www.7a-11d.ca +++ 11. EVENT: DFBRL8R Performance Art Apprentice Showcase Defibrillator Gallery + Zhou B Art Center proudly present: Amplifying the talented folks who help make Defibrillator possible. Performance Art Apprentice Showcase: August 11, 7pm ZHOU B ART CENTER Participating Artists: Defibrillator celebrates our former Performance Art Apprentices—emerging artists who are energetically questioning and embracing exploration, discipline, risk, and hope—while thoughtfully considering what they do and why they do it. The artists in this program are remarkable for they have selflessly given their time and energy to other artists in order to learn, grow, and actively contribute to the legacy of Performance Art. The DFBRL8R Performance Art Apprentice Program is an alternative pedagogical system of structured mentorship designed to provide professional experience, practical knowledge, and applicable skills to artists who want to be versed in the presentation of time-based practices. In exchange for this experience, DFBRL8R Apprentices provide the energy and labor necessary to sustain our non-profit, gaining insight into the inner workings – the struggles and triumphs – of a unique organization. +++ 12. CALL FOR PROPOSALS: Performance Research Vol. 25, No. 3: On Microperformativity Performance Research Vol. 25, No. 3: ‘On Microperformativity’ (April/May 2020) Issue Editors: The aim of this issue is to scrutinize both the epistemological and aesthetic potential of the notion of ‘microperformativity’ (Hauser 2006, 2014). The concept denotes a current trend in theories of performativity and performative artistic practices to destabilize human scales (both spatial and temporal) as the dominant plane of reference, and to emphasize biological and technological micro-agencies that, beyond the mesoscopic human body, relate the invisibility of the microscopic to the incomprehensibility of the macroscopic. Investigations into microperformativity redefine what art, philosophy and the technosciences actually consider a ‘body’ today, in times when performance art shifts towards generalized and pervasive performativity in art. Agencies of genetic sequences, cellular ‘machineries’, bacteria, fungi, enzymes and other proteins and so forth are no longer conceived of as mere functions, but staged as aestheticized actions, employed to either act as identity proxies, or to stage non-human agencies in relation to performative techno-scientific systems, thus addressing contemporary dynamics linking the machinic and the organic (Salter 2010). This tendency to include ‘aliveness’ at all levels completes the scope of the previously ambiguous term ‘live arts’ (Heathfield 2004). Microperformative positions enquire how artistic methods can engage critically with technologies that exploit life on a microscopic and molecular level to merge bio- and digital media, including for global capitalization (Spiess and Strecker 2016, 2017). In parallel to algorithmic finance and high-frequency trading, the instrumentalization of sequential micro-transformations in bioindustrial production lines marks society’s shift from human and machine labour to increasingly pervasive forms of microbial manufacturing and computerized bio-optimization. Meanwhile the anthropocentrism of ‘artificial intelligence’ in its preference of computational approaches to model human-like capacities and consciousness has come under critical scrutiny, microperformative postures may search for ‘natural intelligence’ in an eco-systemic logic within a larger bio-semiotic web. Such postures insist on the production of meaning and mutual interpretation between organisms in their environments, thus bringing the field of biosemiotics into play as a new modality for contemporary performance studies. With regards to both artistic production and perception that subvert the mesoscopic tradition in which human phenomenological considerations are still rooted, we look for contributions that demonstrate how performative art forms and discourses can inform these processes to think biopolitics and necropolitics in relation to the dystopia of economy and the utopia of ecology alike. We invite to apply the notion of microperformativity as an interdisciplinary ‘travelling concept’ (Bal 2002) that synchronically crosses disciplinary and cultural boundaries, and diachronically links a given context to earlier epistemological contexts, while paying ‘increased attention to its material and medial foundations’ (Neumann and Nünning 2012: 9) in the light of the emerging arsenal of associated discursive and symbolic relations. This encompasses post-anthropocentric notions of performativity—including material, affective, scientific and natural-cultural hybrids and ‘epistemic things’ (Rheinberger 1997)—and addresses artistic explorations at the vibrating threshold of aliveness and living matter (Bennett 2009), challenging current understandings of aliveness as such. Through the lens of the performing arts in their broadest possible definition, this issue welcomes submissions for theoretical essays, interviews, manifestos, artistic research and process documentation, as well as performance reviews. Suggested topics include (but are not limited to): —Dramaturgical approaches: If performances engage microperformative flows of dynamic systems and materials dramaturgical tools need to expand. But do Aristotelian poetics or models of mimesis become obsolete in narrations, compositions and material transformations beyond the human? We are looking for criteria in dramaturgy that consider the processes’ ethics, aesthetics and techno-ecological entanglements as crucial to the materiality of production (Trencsényi and Cochrane 2014) —Microperformativity through the lens of biosemiotics: Biosemiotics study the meaning and interpretation of signalling processes between an organism and its environment. They have never been approached expressly from the perspective of performance studies up to date. We encourage articles that highlight an understanding of the relation between Umwelt, technology, living organisms and their performative agency from a biosemiotic viewpoint. —Historical layers of microperformativity: We are looking for art historical analysis that highlights contemporary artistic practices of microperformativiy: Ancient Greek and Roman philosophy as well as medicine conveyed complex theories about the circulation of bodily fluids and inanimate matter. In early modern times the science of alchemy showed differentiated forms of rituals and theatricality. A modernist embrace of biological concepts from Dada and the Situationists to non-representative theatre concepts following Antonin Artaud, Jerzy Grotowski, Happening and Fluxus Art, or bio-cultural narratives in Viennese Actionism may have paved the way for post-anthropocentric artistic methods, entangled with microperformativity. —Reception aesthetics: Theories of reception emphasize the meaning making by the audience. How does a recipient comprehend, decode and appraise artistic practices that foreground microperformative processes? Aesthetics asks for new modalities of microperformative perception and associated modalities of co-corporeality and proprioception. Within performative (biological) artworks, the relation between audience, technologies, living matter and the artistic content shows characteristics of Simondon’s concept of associated milieu (2000). Related schools of thought also address ways in which humans relate affectively to technical objects in relation to living matter. Schedule: 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: General Guidelines for Submissions: +++ 13. EVENT: ANTI - Contemporary Art Festival The 18th edition of ANTI - Contemporary Art Festival will take place between 10th and 15th September 2019. Internationally celebrated, award-winning artists from around the world will once again present their projects in Kuopio. The theme and focus for the 18th edition of ANTI - Contemporary Art Festival is death. The programme traces various iterations of death in an attempt to open-up thinking around our relationship to it and to the many sets of phenomena that surround it. Ideas die, eras end, materials become obsolete, things break, technology supersedes itself, places are abandoned, the natural world is destroyed, social and political ideals are overthrown, and plant, animal and human life is finite. ARTISTS For more information about each project, and other events in the festival, please visit: +++ 14. WORKSHOP: Introductory Performance Art Workshop with VestAndPage Atelier Performative Künste is glad to present a four-day workshop in Düsseldorf: Atelier Performative Künste, Düsseldorf, Germany Applications of artists from all disciplines and levels of experience are now being accepted on a rolling basis. In this Introductory Performance Art Workshop, you will work together practically for four days with artist duo VestAndPage in their collaborative, body-based practice. This workshop has a focus on the use of the three bodies (physical, mental and spiritual) as primary artistic tools. This means focusing on the human body as a poetic and imaginary landscape, being at the same time subject and object of artistic creation, as well as expanding to the social and the political. The process of physical exercises offers insight into VestAndPage's process-led performance art practice to unveil universal meanings through a "Poetic of Relations". This involves a relational perception of issues such as the Self, Otherness, Memory Activation, and Personal Experience. VestAndPage will work on a range of techniques, methods and approaches, which reflect their artistic practices and backgrounds along the interface of visual arts, performance art, philosophy, creative and theoretical writing, as well as Social, experimental and oriental theatre, movement practices and martial arts. German artist Verena Stenke and Venetian artist and writer Andrea Pagnes have been working together since 2006 as VestAndPage and gained international recognition in the fields of performance art, performance-based film, writing, publishing and with temporary artistic community projects. They are the independent force behind projects such as the Venice International Performance Art Week, have performed and produced numerous live and film works, and offer introductory performance workshops, intensive classes and co-creation processes in art institutions and organizations all over the world. Workshop hours: daily from 10am–7pm (incl. 1 hour lunch break, for a total of 32 hours) To fill out the application form, and for more information, please visit: +++ 15. PUBLICATION: 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. info@performanceart.ca FADO on Instagram: @fadoperformanceartcentre To subscribe to this mailing list: https://dm-mailinglist.com/subscribe?f=d6de595f |
