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FADO E-LIST (November 2019)INDEX 1. CALL FOR PROPOSALS: Vol. 25, No. 6: On Hybridity (September 2020) Deadline date: November 8, 2019: City: the world; Performance Research 2. EVENT: we. with Barak adé Soleil Date: November 9, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 3. EVENT: Artist talk with Barak adé Soleil and claude wittmann Date: November 9, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 4. EVENT: Borg - again - by Anna Berndtson Date: November 9, 2019; City: Berlin, Germany; Source: Anna Berndtson 5. EVENT: Pi*llOry (*part 2) Date: November 15, 2019; City: Toronto, Canada; Source: Holly Timpener 6. EVENT: DoubleBind walk/talk with Jessica Thompson Date: November 17, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 7. EVENT: drop in and i will pay you $15/hour: . . . with claude wittmann Dates: November 18–23, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 8. EVENT: Traversing a square in every possible way by Esther Ferrer Date: November 24, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 9. EVENT: Performance Art Oslo Date: November 29–December 1, 2019; City: Oslo, Norway; Source: PAO 10. OPEN CALL: CO-CREATION LIVE FACTORY "Dissenting Bodies Marking Time" Deadline date: December 7, 2019; City: Venice, Italy; Source: Venice Performance Art Week 11. CALL FOR APPLICATIONS: EMERGENYC 2020 Deadline date: January 27, 2020; City: New York, USA; Hemispheric Institute
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1. CALL FOR PROPOSALS: Vol. 25, No. 6: On Hybridity (September 2020) Deadline date: November 8, 2019: City: the world; Performance Research
Call for Proposals Vol. 25, No. 6: On Hybridity (September 2020)
Issue Editors: Frank Camilleri (University of Malta) and Maria Kapsali (University of Leeds)
Proposal Deadline: 8 November
This issue of Performance Research considers hybridity in relation to performance, in particular the making, reception and study of performance as practices that emerge from heterogeneous sources, as well as the performative operation of hybridity in historical, cultural and political contexts.
The term emerged from roots in agriculture and horticulture (for example, grafting) and is related to animal husbandry (cross-breeding) and to applications in metallurgy (alloys). It took on pseudo-scientific biological overtones when it overlapped with the history of imperialism and slavery, in the process generating a racialized discourse. In the second half of the twentieth century, hybridity became more broadly associated with questions of ‘subjectivity’ and ‘identity’, eventually leading to notions of ‘cultural hybridity’. Homi Bhabha’s reading of the term in the context of colonialism marks the interstitial and the liminal, for example in processes like those of mimicry, which reproduce the dominant culture in an ‘alien’ indigenous/colonized setting. Such perspectives resonate with others that emerge when two (or more) cultural worlds collide, including creolization in language, as well as Mikhail Bhaktin’s heteroglossia (the ‘hybrid utterance’) and the carnivalesque (satire/critique through imitation). In the twenty-first century, hybridity has taken a more pronounced tinge in light of technology, where to be human entails an ever-increasing reliance on and entanglement with non-human materiality. In addition to discourses about post-colonialism, multiculturalism, and identity, therefore, hybridity is now invoked in the contexts of globalization, technologization and the Anthropocene.
In discussions on contemporary performance, hybridity is often used loosely to capture the synthesis and co-mingling of different sources, practices and methodologies that arguably underpin it. More specifically, the term has been employed in discussions of cultural and racial performance, as well as in relation to the emergence of new theatrical practices in colonial contexts. Responding to the complex connection between hybridity and performance, this special issue is grounded in the following points: 1) a reconsideration of the concept is timely; and 2) performance, in reflecting and influencing human activity and life, is strategically placed to conduct such a reappraisal specifically via its practices of preparation and presentation. Accordingly, this issue of Performance Research investigates the intersections between hybridity and performance as the coming together of performer and environment, materials and practitioners, performance and reception, event and analysis. Hybridity is, therefore, understood as at once a formative, trans-formative and per-formative encounter that shapes performance and culture on many levels:
as pedagogical process as compositional and production strategy as ensemble and assembly (human and non-human) as inter- and intradisciplinary endeavour as a professional strategy as inter- and intracultural phenomenon.
Topics may include but are in no way limited to: —issues and themes of hybridity in terms of technology, spaces/sites and fluid identities (for example, cyborgs, cultures, migrations) in performance —the hybridization of physical and digital elements in performance (intermediality, multimedia, mixed media) —intercultural/multicultural performance —interdisciplinarity and intradisciplinarity in performance —the multisource development and multichannel transmission of training exercises (including massive open online courses (MOOCs), mobile apps) —compositional strategies like devising, choreography and ensemble work —improvisation and relational performance processes —applied performance as hybrid adaptive practice —comedy, satire and the carnivalesque in performance —issues related to genre, including performance art, ‘total theatre’, opera and other forms like music theatre, mime and dance that can be conceived in hybrid terms —analysis of historical performances from the lens of hybridity —practice as research case studies as hybrid methodologies and practices —the post-human, the post-modern and the post-dramatic as hybrid paradigms —conceptual frameworks related to hybridity that have a performative element (for example, grafting, fusion, merger, assemblage, otherness) —historiography and ethnography as hybrid and evolving practices that involve diverse methodologies and technologies from various sources —human and non-human relationalities and issues of agency in performance (objects, clothes, technology, design, architecture, plants, animals).
Schedule: Proposals: 8 November 2019 First drafts: February 2020 Final drafts: May 2020 Publication: October 2020
Issue contacts: All proposals, submissions and general enquiries should be sent direct to Performance Research at: info[at]performance-research.org
Issue-related enquiries should be directed to the issue editors: Frank Camilleri: frank.camilleri[at]um.edu.mt Maria Kapsali: M.Kapsali[at]leeds.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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2. EVENT: we. with Barak adé Soleil Date: November 9, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
we. with Barak adé Soleil
Wychwood Theatre (Wychwood Barns) 601 Christie Street, Studio 176, Toronto Accessible space; CART [Communication Access Realtime Translation] to be provided
Sunday, November 20, 2019 2pm–4pm / FREE
Presented by TPAC (7a*11d) in the context of KinesTHESES Curated by Paul Couillard
Drawing from legendary Muhammad Ali’s iconic and arguably world's shortest poem – “Me, We” – the gently kinetic performative work we. reflects a desire and intention for genuine interconnectivity. we. will emerge through consensual touch, physical shifting and ambient explorations, guided by voice and visually non-voiced cues within a communal experience. You are invited to join as a participant in this public iteration of the project.
For more information, please visit: www.7a-11d.ca
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3. EVENT: Artist talk with Barak adé Soleil and claude wittmann Date: November 9, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
Artists Barak adé Soleil and claude wittmann engage in a public discussion about their practices and how their works are situated within TPAC's KinesTHESES project.
Wychwood Theatre (Wychwood Barns) 601 Christie Street, Studio 176, Toronto Accessible space; CART [Communication Access Realtime Translation] to be provided
Saturday, November 9, 2019 2pm–4pm / FREE
ABOUT THE ARTISTS Barak adé Soleil is an award-winning contemporary artist and curator, part of the progressive scene since 1991. Addressing performativity and labour of the body, Barak’s creative practice draws from traditions of the African diaspora, queerness, disability culture, and postmodernism. Recent works include from here to there for the 2018 exhibition Chicago Disability Activism, Arts & Design, 1970s to Today at Gallery 400, and a series of movements for the 7a*11d International Festival of Performance Art. In NYC, markings premiered as part of the 2019 group exhibition Refiguring The Future. Barak works globally, engaging with distinct communities across Turtle Island, Europe and Africa.
claude wittmann writes, “i do not know how to construct a narrative about myself at the moment. please feel free to visit www.claudewittmann.ca”
ABOUT KinesTHESES This event takes place as part of KinesTHESES, curated by Paul Couillard for TPAC (7a*11d), a series of Toronto-based performance art between August and December 2019 with featured artists Barak adé Soleil, Margaret Dragu, Esther Ferrer, Fiona Griffiths, Louise Liliefeldt, Stephanie Marshall, Robin Poitras, Jessica Thompson, claude wittmann, and Sakiko Yamaoka. KinesTHESES features works that take the notion of “moving” their audiences in the most literal sense. Rather than engaging audience members simply as sets of eyes and ears, these projects remind us that we are, above all, animate forms: tactile-kinesthetic creatures that first learn who we are and discover our world by moving through our environment as bodies experiencing dynamic flows and encountering surfaces and textures. These are the building blocks of what we come to recognize as time, space and matter.
ABOUT TPAC (7a*11d) TPAC, best known for its biennial 7a*11d festival, was established in 1997 by a group of local performance artists and organizers, keen to create a forum for performance, live and action art in Toronto. Since then, Toronto has proven itself to be performance art-centric, and what began as the first 7a*11d International Festival of Performance Art has continued to grow and offer audiences the best of contemporary performance art from around the world. Thanks to the Canada Council for the Arts, Ontario Arts Council, and the City of Toronto through the Toronto Arts Council for their generous support of this project.
For more information, please visit: www.7a-11d.ca
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4. EVENT: Borg - again - by Anna Berndtson Date: November 9, 2019; City: Berlin, Germany; Source: Anna Berndtson
Borg - again - by Anna Berndtson Live Performance
November 9, 2019 2:00pm–8:00pm
NO LIMITS Festival Berlin www.facebook.com/no.limits.festival/
Venue: Hebbel am Ufer 2, Berlin, Germany www.hebbel-am-ufer.de/en/programme/pdetail/berndtson-borg/
In her long duration performance, the Swedish artist Anna Berndtson deals with her personal boundaries. Infinitely slow she moves through a landscape of tennis balls, clearing her way using her white cane. “Borg” is an exploration into space and the ability of movement in space, incentivised by Berndtson’s own visual impairment. It also deals with the “collective trauma” and the pressure on many Swedish children in the 1970s and 80s to become the next Björn Borg.
ABOUT ANNA BERNDTSON Anna Berndtson born in Sweden, lives and works in Malmö and Berlin. "Borg" was a turning point in her artistic work. For the first time, the picture became more important than the action. It also was the first time her disability was the focus of her work. https://annaberndtson.com
ABOUT NO LIMITS FESTIVAL At NO LIMITS festival, artists with and without disabilities from all over Europe and overseas present theatre, dance, performance and music from the margins of society and from outside our usual perception of the world. A unique event that serves as an international platform of inclusive and integrative art projects, for outsider and disability arts.
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Date: November 15, 2019; City: Toronto, Canada; Source: Holly Timpener
Pi*llOry *part 2
An LGBTQ Performance night with works by: Enok Ripley Racquel Rowe Claudia Edwards Brian Smith Nicole Nigro Holly Timpener Emma Qulaghasi
Friday November 15 7–10pm / PWYC (All proceeds go directly to the artists) 214 Augusta Avenue (Kensington Market), Toronto
Employing the liberation of bodies as a primary medium, Pi*llOry harnesses the epic powers of presence, space, politics, shame, and (dis)/ability, while also refracting their infinite incarnations. These artists renounce the binary and traditional gender roles, and in doing so, not only create new ones, but space for others to create and live in them as well. Through a variety of aural, visual, and visceral mediums, Pi*llory explores the depths of fragmented gender/queer identity, pushing beyond label and classification. On the edge of complete uncertainty, with only the already structural, limited, and bound ways of description and discrimination, Pi*llOry arm themselves with the unknown, in hopes of navigating the surrender that comes with being an other.
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6. EVENT: DoubleBind walk/talk with Jessica Thompson Date: November 17, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
DoubleBind walk/talk with Jessica Thompson Beginning from Toronto Media Arts Centre, 32 Lisgar Street
Saturday November 17, 2019 2pm–4pm / FREE
Presented by TPAC (7a*11d) in the context of KinesTHESES Curated by Paul Couillard
DoubleBind is a wearable media project that examines the intersections between place, identity and activism through a hooded sweatshirt connected to Twitter. The piece can be worn in two ways—with the hood covering your head, or zipped into a collar around your neck. Tweets are generated in your personal account based on where and how it is used, affecting your social identity in both physical and virtual environments.
Jessica will present a short talk about the work, followed by a walkabout in the neighbourhood that will allow visitors to see and experience the hoodie in action.
ABOUT JESSICA THOMPSON
For more information, please visit: www.7a-11d.ca
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7. EVENT: drop in and i will pay you $15/hour: . . . with claude wittmann Dates: November 18-23, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
drop in and i will pay you $15/hour: we will build bicycle wheels together to fundraise money for a lawyer with claude wittmann
November 18–23, 2019 2pm–5pm
Tangled Art + Disability (basement space) 401 Richmond Street West Accessible space / ASL interpretation available on November 21
Presented by TPAC (7a*11d) in the context of KinesTHESES, curated by Paul Coulliard. Co-sponsored by Tangled Art + Disability with additional support from bikechain, Switchback Cyclery and Urbane Cyclist Workers Co-op.
November 18: 2pm–4pm land acknowledgment through a reading from the Truth and Reconciliation Commission of Canada’s final report
drop in and i will pay you $15/hour: we will build bicycle wheels together to fundraise money for a lawyer emerges from claude wittmann's insights of a crisis time experienced in 2017, more particularly from the realization that it is personally and politically troubling for him to create art as labs of a parallel life. In crisis, our kinaesthetic sense informs us that the body can vanish from consciousness, not because of a pathology but because of systemic erasure. There, there is no entitlement. There is no energy or time for art. Any experiments about life can add to erasure. Your crisis might be different, but in the end, it might not be different.
Members of the public are invited to come for any amount of time. Monday will feature a reading from the Truth and Reconciliation Commission of Canada’s final report. Wednesday will be a day of rest, but open to visitors. On the other days, claude will guide visitors through choosing a task and doing it (lace a wheel, true a wheel, record sounds from a wheel, clean the space, learn about social assistance and write a letter, do some accounting, etc.). When you are done, he will pay you and you will give him a receipt. After the week is over, the bicycle wheels will be sold and the profit will go toward hiring a lawyer to consider what legal action could be done to improve the lives of ODSP recipients. The accounting book will be the only documentation.
For more information, please visit: www.7a-11d.ca
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8. EVENT: Traversing a square in every possible way by Esther Ferrer Date: November 24, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
Traversing a square in every possible way by Esther Ferrer Performed by Francisco-Fernando Granados
November 24, 2019 10am–11am: intersection of Dundas St. and Yonge St. 12pm–1pm: intersection of Yonge St. and Bloor St. 2pm–3pm: intersection of Bloor St. W. and Spadina Ave. 5pm–6pm: intersection of Spadina Ave. and Dundas St. W. FREE
Presented by TPAC (7a*11d) in the context of KinesTHESES Curated by Paul Couillard
Since her early work in the 1960s as part of the Fluxus-associated ZAJ collective, Esther Ferrer has used bodies, time, and space as the primary elements for the creation of performances that extend minimal conceptual structures into richly embodied meditations on the power of presence, variation, and possibility. Ferrer’s work emerges from strategies of cultural resistance to the conventions and aesthetics of the Franco dictatorship in Spain and articulates forms of self-determination for the individual that are deeply informed by feminist and anarchist politics. Her work is consistently radical in its commitment to an economy of means, and to the notion that within her work “all variation are valid, including this one.”
Traversing a square in every possible way translates one of Ferrer’s signature performance scores, Recorrer un cuadrado de todas las formas posibles, into a site-specific action happening along some of Toronto’s busiest downtown streets. The idea is simple: four points forming a square, each designated with a letter (A, B, C, D) are set up on the ground. The performer then explores a suite of proposed trajectories that generate variations on how to make one’s way through the square. The action mediates between pre-established paths of movement and the agency individuals have in terms of how they move. The performance will be led by artist Francisco-Fernando Granados and a version of the score for the movements will be made available to anybody wanting to join via TPAC's social media platforms.
For more information, please visit: www.7a-11d.ca
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9. EVENT: Performance Art Oslo Date: November 29–December 1, 2019; City: Oslo, Norway; Source: PAO
PAO Festival 2019 No silence / No sound - How to hear a performance
November 29–December 1 ROM for kunst og arkitektur, Maridalsveien 3, 0178, Oslo
Sound, instrument and voice is often a tool in a performance and we are interested in focusing our attention on what sound, or silence, that is created in a performance. How do artists work with voice, recordings, instruments and objects? How is silence used? And how are these opposites combined? How do we hear a performance?
By focusing on sound we are also focusing on the silence and the collective and active concentrated deep listening that is often created in a performance. How do we listen to each other? What is sound? How do we perceive silence? In today's society we are overstimulated by voices and opinions, and have the possibility to voice our own opinions on various platforms such as social media. At the same time there are many places where artistic voice and expression is still in a precarious situation, which is often linked to general political tensions. How loud do we have to shout to be heard? When does silence become louder? We have invited artists that challenge and explore these aspects in various ways in their work.
Artists for live performance program: Siri Austeen (NO) Marita Bullmann (DE) Laurel Jay Carpenter (USA/UK) Ana Gesto (ES) Konrad Juściński (PL) Katarina Skår Lisa (NO) Greg Pope (UK/NO) Olga Skliarska (UA) Johanna Zwaig (NO) Linda & Aura (FI) Det Elektriske Korps (NO) Curated by: Franzisca Siegrist & Tanja Thorjussen
Exhibition / Video program: We will show photography by festival photographer Bjarte Bjørkum (NO) and 3 video programs from artists: Lee Wen (SG), Nyugen E. Smith (USA/TH/TT) and Susana Pilar Delahante Matienzo (CU).
Artist talks: Artists are invited to hold short performative presentations of their work and approach to performance. After the talks we open for dialogue with questions and answers between the artists and the public.
PAO is an artist-run organization, which was established in fall 2012 to strengthen the performance milieu in Oslo and convey performance art to the public by producing workshops, festivals, and artist talks.
For more detailed info on artists and program: www.performanceartoslo.no +++
10. OPEN CALL: CO-CREATION LIVE FACTORY "Dissenting Bodies Marking Time" Deadline date: December 7, 2019; City: Venice, Italy; Source: Venice Performance Art Week
Open Call for Artists A project of the VENICE INTERNATIONAL PERFORMANCE ART WEEK CO-CREATION LIVE FACTORY "Dissenting Bodies Marking Time" European Cultural Centre | Palazzo Mora & Palazzo Michiel, Venice, Italy
January 8–18, 2020 Open to the public on the days January 15–18, 2020
Applications are now accepted on a rolling basis until December 7, 2019. Since applications are processed as they come in, available spots can fill up quickly.
Founded on the principles of artistic collaboration, cooperation and temporary artistic community, the CO-CREATION LIVE FACTORY is born to be an artistic experience of a different kind: the concept developed out of the VENICE INTERNATIONAL PERFORMANCE ART WEEK’s core mission and its Educational Learning Program. The aim is to empower participating international artists who are selected through an Open Call, to articulate and develop their individual praxis within an independent temporary autonomous zone of co-creation under the tuition of established performance artists.
The project is intended for those artists, performers, visionary poets, who wish to articulate and refine their skills, expand their practice, exploring new ideas and approaches, allowing their work to become more fully realised. It offers a rare opportunity to explore new territories of performance in an extended, intensive period of time outside of an academic setting. It is both a learning path and a unique occasion to work and collaborate together in the ART WEEK venue Palazzo Mora in Venice while strengthening the creative talent and intellectual freedom of each participant.
TUTORS: Marilyn Arsem, VestAndPage, Andrigo&Aliprandi GUEST ARTISTS: Guillermo Gómez-Peña, Kira O'Reilly, Pyotr Pavlensky (Film screening) CO-TUTORS: Fenia Kotsopoulou, Marcel Sparmann LECTURERS: Francesco Kiàis, Joseph Morgan Schofield
More information on www.veniceperformanceart.org For questions please write to info[at]veniceperformanceart.org
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11. CALL FOR APPLICATIONS: EMERGENYC 2020 Deadline date: January 27, 2020; City: New York, USA; Hemispheric Institute
Applications are open for EMERGENYC 2020
The Hemispheric Institute of Performance and Politics at New York University is now accepting applications for its thirteenth year of EMERGENYC, the Hemispheric New York Emerging Performers Program focused on political performance. EMERGENYC supports the development of hemispheric emerging artists through a program of workshops and events at Abrons Arts Center between April 5th and July 2nd, 2020. The deadline to submit applications is Friday, January 27, 2020 at 5pm (EST).
We seek talented, committed and highly motivated emerging performers/activists/artists whose work aims to be a vehicle for political expression, and who examine the broad range of identities, practices and histories of the Americas through forms such as performance art, spoken word, urban interventions, satire, culture jamming, political cabaret, theater, creative activism, video performance, movement, and others. Drawing on the vitality of New York City as a hemispheric crossroads, the program will enable performers/activists to work with leading practitioners in the field, to take interdisciplinary leaps, and to develop their own strategies to use performance for social change.
Click here for the application form.: https://abronsartscenter.submittable.com/submit/151893/hemispheric-institute-emergenyc-2020
For more information about EMERGENYC 2020 or for further questions and concerns about the application process please contact us at hemi.emerge[at]nyu.edu
About EMERGENYC The Hemispheric Institute at New York University launched EMERGENYC in 2008 as an incubator for emerging artists working at the intersection of performance and politics. Offering varied entry points into art and activism, the annual program prioritizes process, discovery and reflection, fostering a ‘brave space’ for experimentation and risk-taking. Since its inception, it has activated a strong network of local artivists—many of them from traditionally underrepresented communities—who have built solidarity across differences and who continue to challenge dominant narratives through artistic cultural resistance.
For more information about EMERGENYC, visit: hemisphericinstitute.org/en/emergenyc
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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 |
