FADO E-LIST (February 2020)

INDEX

1. EVENT: Progress Festival 

Date: January 30–February 15, 2020; City: Toronto, Canada; Source: Progress

2. CALL FOR APPLICATIONS: EMERGENYC 2020

Deadline extended: February 3, 2020; City: New York, USA; Hemispheric Institute

3. WORKSHOP: Imageless with Christopher Willes

Dates: February 3–7, 2020; City: Toronto, Canada; Source: Christopher Willes

4. EVENT: Dream Parliament: An Exercise in the Democracy of Sleep

Date: February 6, 2020; City: Toronto, Canada; Source: Aidan Cowling

5. EVENT: What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art

Date: February 7–28, 2020; City: Chicago, USA: Source: Defibrillator Gallery

6. RESIDENCY: Alchemy Island Spring 2020

Deadline date: February 12, 2020; City: Toronto, Canada; Source: Claire Tallarico

7. EVENT: The Rhubarb Festival

Date: February 12–22, 2020; City: Toronto, Canada; Source: BIBT

8. CALL FOR PAPERS: Performance Research Vol 25:7 ‘On Hell’ (November 2020)

Deadline date: February 14, 2020; City: the world; Source: Performance Research

9. CALL FOR SUBMISSIONS: Experiments in Criticism Symposium 

Deadline date: February 16, 2019; City: Toronto, Canada; Source: C Magazine

10. EVENT: Up To and Including Their Limits / performance by Cassils

Date: February 20, 2020; City: Toronto, Canada; Source: The Gardiner Museum

11. EVENT: PAErsche meets...

Date: February 21, 2020; City: Bochum, Germany; Source: Marita Bullmann

12. EVENT: HOUR: Bergen International Performance Festival 2020

Date: February 28–March 1, 2020; Bergen, Norway; Source: PAB

13. CALL FOR SUBMISSIONS: //BUZZCUT// 2020

Deadline date: March 1, 2020; City: Glasgow, Scotland; Source: //BUZZCUT//

14. CALL FOR SUBMISSIONS: Intonations, a Journal of Interdisciplinary Arts

Deadline: rolling; City: the world; Source: Thea Patterson

 

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1. EVENT: Progress Festival 

Date: January 30–February 15, 2020; City: Toronto, Canada; Source: Progress

 

PROGRESS FESTIVAL

The Theatre Centre, 1115 Queen Street West, Toronto

January 30–February 15, 2020

 

2020 marks the 5th edition of Progress. Progress is an international festival of performance and ideas presented in partnership by SummerWorks Performance Festival and The Theatre Centre. The festival is collectively curated and presented by a rotating series of Canadian organizations, operating within a contemporary performance context. This fifth edition of the Festival is curated by Broadleaf Theatre, FADO Performance Art Centre, DLT, RT Collective, SummerWorks, The Theatre Centre, and Why Not Theatre.

The Marble in the Basement

January 30–February 1

Conceived and Performed by Hazel Meyer (Canada)

Curated and presented by FADO Performance Art Centre

Café Sarajevo

January 30–February 2

Created and Performed by Mariel Marshall, Peter Musante, Lucy Simic, Stephen O’Connell (Canada/USA)

Curated and presented by SummerWorks Performance Festival

Screen:Moves

February 3

Presented in partnership with Dancemakers Centre for Creation

Curated and presented by RT Collective

Affioramenti (Surfacing)

February 5–9

Created by Antonella Bersani with the collaboration of Matteo Pennese (Italy)

Curated by DopoLavoro Teatrale

Presented by DopoLavoro Teatrale and Istituto Italiano di Cultura

A Curatorial Project of Daniele Bartolini

This World Made Itself & Infinitely Yours

February 6–7

Created and Performed by Miwa Matreyek (USA)

Curated and presented by Broadleaf Theatre

Cuckoo

February 7–9

Created and Performed by Jaha Koo (Belgium)

Produced by Kunstenwerkplaats Pianofabriek

Curated and presented by The Theatre Centre

Working Class Dinner Party

February 11

Produced by Scottee and Friends (UK)

Curated and presented by The Theatre Centre

How I Learned To Serve Tea

February 12 & 15

Created and facilitated by Shaista Latif (Canada/Afghanistan)

In association with The Koffler Centre of the Arts and Why Not Theatre

Curated and presented by Why Not Theatre

Class

February 13–15

Created and performed by Scottee (UK)

Directed by Sam Curtis Lindsay

Curated and presented by The Theatre Centre

Certified

February 13–15

Written and Performed by Jan Derbyshire (Canada)

Curated and presented by Why Not Theatre

PROGRESS PASSES:

Progress 3-Show Pass: $60

Individual tickets: $25

http://progressfestival.org

 

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2. CALL FOR APPLICATIONS: EMERGENYC 2020

Deadline extended: February 3, 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 nd July 2nd, 2020. The deadline to submit applications has been extended to February 3, 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@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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3. WORKSHOP: Imageless with Christopher Willes

Dates: February 3–7, 2020; City: Toronto, Canada; Source: Christopher Willes

Sound workshop with Christopher Willes

Host by Toronto Dance Community Love-In

February 3–7, 2020

10:00am—1:00pm

Dovercourt House, 2nd Floor, Toronto 

Tickets: $20 Advance, $22 at the door, $90 for the week

 

What becomes possible when the visual field is de-centered? In this workshop we will think on and through sound and its relationship to dancing and choreography. Through experimentation and dialog we will study a variety of approaches to sound-making and listening together—researching a practice of imageless presence.

Intended for performers and performance makers, this workshop will explore tools and concepts of sound-making through a daily class that combines practice and critical reflection. We will do sonic-somatic training, create group compositions and sound choreographies, read texts, and learn about psychoacoustics and the materiality of sound. The aim is to begin to articulate new dramaturgies of sound/music within our own practices. A daily bath in curious noises; dancing with an echoing indeterminate you. The structure of this workshop will be informed by my present interest in the “critical pedagogy” philosophy. Processes of facilitation and learning are not distinct from issues of social justice, democracy, and community cohesion. Active listening, care, consent, and responsibility to the group are values that I will continuously work to center throughout. 

Prior experience or technical proficiency with sound-making is not required to participate. Activities will involve physical movement and sound-making, and will accommodate a range of mobility and auditory access. 

ARTIST BIOGRAPHY

Christopher Willes seeks out a joyful life in multiple places, artistic forms, discourses and communities. He is based in both Toronto and Montreal, and works as an artist, composer/musician, and dramaturge. His work has been shown across Canada, in the USA, and the UK. Christopher is an Associate Artist with Public Recordings, a collective that focuses on interdisciplinary performance, publication, and learning. He is honoured to have collaborated with many dance artists over the past decade as a sound-maker and dramaturge.

www.christopherwilles.com

www.publicrecordings.org

VENUE ACCESS: Regrettably, there is an outside set of stairs to enter the building. The first floor studio has two washrooms on this floor and a sink with water in the studio. Washrooms are designated gender-neutral during our events.

https://tolovein.com/christopher-willes-imageless/

https://facebook.com/events/571332603689370

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4. EVENT: Dream Parliament: An Exercise in the Democracy of Sleep

Date: February 6, 2020; City: Toronto, Canada; Source: Aidan Cowling

Dream Parliament: An Exercise in the Democracy of Sleep

Matthew Spellberg and David Leo Rice

Thursday, February 6, 2020

6:00–8:00pm

Architecture and Design Gallery, 1 Spadina Crescent, Toronto

 

Registration is required for this event:

 

Join us for an evening of discussion, organized by Matthew Spellberg with the help of David Leo Rice, about the long history and possible future of dream-sharing, with some case studies and experimental exercises. We’ll introduce you to some of the many strategies by which dreams have been negotiated and enlivened so as to become a part of waking life; we’ll discuss some of the last refuges for dream-sharing in the present, including among Arctic hermits and spiritual recluses; and we’ll give a demonstration of some old and new dream-sharing techniques. Often when we talk about dreams now, we think about interpreting them, but at this event we’ll be looking instead at the possibility of full immersion in the dream-world of others—its places, feelings, colors, smells, movements, and gestures. And we’ll consider the political complexities and democratic urgency of building a communal vision of reality from the raw material of the individual imagination. Audience participation will be welcome.

Matthew Spellberg is a scholar of dreaming and the imagination, with a focus on the histories of Europe and Native North America. His work appears in Cabinet, Yale Review, and elsewhere. A book on storytelling and cognition is forthcoming from Juxta Press. He is a Junior Fellow at the Harvard Society of Fellows, and was for six years a teacher with the Prison Teaching Initiative at Princeton University.

David Leo Rice is a writer and animator living in NYC. His interests cluster around dreams/ nightmares, small towns, nostalgia, hauntings, outsider art, and the interrelations of mysticism and modernism. He is the author of three novels, two of which are out now, with a third forthcoming this year, and a story collection, forthcoming in 2021. 

This event is part of the New Circadia (Adventures in Mental Spelunking) exhibition taking place at the Daniels Faculty.

More information about the exhibition here:

www.daniels.utoronto.ca/events/2019/11/07/new-circadia-adventures-mental-spelunking

 

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5. EVENT: What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art

Date: February 7–28, 2020; City: Chicago, USA: Source: Defibrillator Gallery

What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art

Presented by Defibrillator Gallery

ARC Gallery, 1463 W. Chicago Avenue, Chicago

PARTICIPATING ARTISTS

Madison Juliana Alexander [Chicago]

Peter Baren [Netherlands]

Nina Boas [France/Netherlands]

Christian Bujold [Canada]

Renan Marcondes [Brazil]

Eunjin Choi [South Korea/Los Angeles]

Erin Evans Delaney/Maria Luisa [Chicago]

Jessica van Deursen [Netherlands]

Christine Ferrera [Chicago]

Jacqueline van de Geer [Canada]

Nicole Goodwin [New York]

Lola Blake + Ezra Hawkins [Chicago]

Kirsten Heshusius [Netherlands]

Ashley Hollingshead [Minneapolis

Patrícia Janeiro [Netherlands

Jolanda Jansen [Netherlands]

SUNGJAE LEE [Chicago]

Frans van Lent [Netherlands]

A_Marcel [Boston]

Kristin N McWharter [Chicago]

Owen Moran [Wisconsin]

Esther Neff + Kaia Gilje [St. Louis]

Maya Nguen + Noah Fields [Chicago]

Heinrich Obst [Belgium]

Katya Oicherman [Minneapolis]

Erin Peisert + Amy Whitaker [Minneapolis]

Zander Porter [Germany]

Marval A Rex [Los Angeles]

Bernard Roddy [Chicago]

Marina Resende Santos [Chicago]

Jeremy Saya [Canada]

Janneke Schoene [Sweden]

Doro Seror [Germany]

will sōderberg... [Chicago]

Nora + Mána [Chicago]

John Thomure [Chicago]

Nick Tobier [Detroit]

Angeliki Chaido Tsoli [Greece]

Alice Vogler [Atlanta]

Emilia White [Ann Arbor] 

What Remains is a performance art series and visual art exhibition featuring artists from around the world who responded to an open call to reanimate Defibrillator’s unique collection of relics from performances that took place over the past nine years. Retrospective by nature, this project was initiated and is curated by Netherlands-based artist, ieke Trinks. What Remains will take place at Defibrillator’s former home on Chicago Avenue—framing the site itself as a relic.

 

SCHEDULE

FRI 07 FEB | 6PM | Performances #1: FIXING

SAT 15 FEB | 6PM | Performances #2: MERGE + A Late Night Program in Bridgeport!

SAT 22 FEB | 6PM | Performances #3: REFERENTIAL

FRI 28 FEB | 6PM | Performances #4: CONSUME

Two satellite events will take place at nearby art spaces:

THU 20 FEB | 7PM | Sound-based Performances: No Nation Unspace Lab

TUE 25 FEB | 7PM | Video Program: Nightingale Cinema

Two discussions will take place on SUN 09 + SUN 23 FEB at 2PM (topics and speakers TBA). The visual art exhibition will evolve throughout the month with gallery hours Wednesdays through Saturdays from 12–6pm, and Sundays 12–4pm, from February 7–28, 2020. 

 

For a detailed schedule, please visit: www.DFBRL8R.org

 

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6. RESIDENCY: Alchemy Island Spring 2020

Deadline date: February 12, 2020; City: Toronto, Canada; Source: Claire Tallarico

Alchemy Island 2020

Dates: April 20–27, 2020

Facilitator: Claire M Tallarico

Cost: $925 + HST / Private Accommodation

Application Deadline: February 12, 2020

Alchemy is an international artist led residency devoted to exploring the synergy between artistic practices and the cooking and sharing of food in community settings. Since 2015, this residency has taken place both on theToronto Islands and in rural Prince Edward County Ontario, Canada. Alchemy Island, at Artscape Gibraltar Point, will be our only traditional programmed residency in 2020.

A community setting for inquiry and discovery. Shared meals, readings and discussions probe the creative intersection of food and art in a community setting. Guest talks from artists, chefs and makers help us better understand the magic and inspiration created by making and sharing art and food. This residency brings together selected working artists working in a variety of mediums ranging from visual arts, sculpture, photography, craft, food, performance art, writing and video. Participants share their work and practices while also contributing culinary creativity to lively salon style communal discussions and dinners.

ABOUT THE FACILITATORS: Claire M. Tallarico, a visual artist, chef and urban gardener whose practice explores how the everyday activities of art making and food sharing, can make a difference to the well being of communities. Tonia Di Risio, a visual artist whose work has developed through ongoing investigations of the growing, making, preserving, celebrating, and sharing of food.

For more information or questions about Alchemy programming visit:

https://makealchemy.com or contact: claire@makealchemy.com

DISCIPLINES, WORK EQUIPMENT & ASSISTANCE: The residency is open to artists working in all disciplines. Artists should plan to bring all materials relevant to their practice.

ACCOMMODATION: Private and shared accommodation is available for artists. Fees cover accommodation, several shared meals, guest artist talks and programming. Artists contribute up to $100.00 in food costs for the residency.

STUDIO/WORKSPACE: Shared, furnished, large studio space provided.

FEES & SUPPORT: Regretfully, we are unable to provide honoraria or stipends to cover travel or the fees associated with attending this residency. Artscape Gibraltar Point is happy to provide letters of support to any funding programs to which artists wish to apply. We encourage applicants to pursue funding opportunities afforded them by their national, regional, local and departmental funding agencies.

EXPECTATIONS TOWARD THE ARTIST: Artists are required to share a short artist presentation of their work and expected to contribute to the ongoing dialogue surrounding the residency. An appetite for shared meals is necessary, a willingness to spend a few hours helping in the garden is appreciated and enthusiasm to participate in an open studio setting is expected.

TO APPLY: Fill out an application on website. Please clearly indicate that you are applying to Alchemy Island 2020. Applicants are required to provide a link to their web site, an artist CV and up to 500 words about the synergy between your practice and the cooking and sharing of food and what work you would consider during this Residency.

Link to apply: http://artscapegibraltarpoint.ca/artist-residences/book-a-residency//

 

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7. EVENT: The Rhubarb Festival

Date: February 12–22, 2020; City: Toronto, Canada; Source: BIBT

The Rhubarb Festival

February 12—22, 2020

Buddies in Bad Times Theatre, 12 Alexander Street, Toronto

Canada’s longest-running new works festival transforms Buddies into a hotbed of experimentation, with artists exploring new possibilities in theatre, dance, music, and performance art. Curated by Festival Director Clayton Lee with curatorial collective members Vanden Boomen, Theresa Cutknife, Claudia Edwards, and Victoria Mata, this year’s festival features over 100 artists from Toronto and beyond, including Francesco Gagliardi, Violeta Luna, Last Yearz Interesting Negro, and ANTI Live Art finalist Keijaun Thomas, as well as a special Rhubarb edition of Shannon Cochrane’s A Manifesto in Support of the Death of the Festival.

Festival Director: Clayton Lee

Curated by: Vanden Boomen. Theresa Cutknife, Claudia Edwards, Victoria Mata

Tickets and info:  https://buddiesinbadtimes.com/show/the-rhubarb-festival-2020/

 

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8. CALL FOR PAPERS: Performance Research Vol 25:7 ‘On Hell’ (November 2020)

Deadline date: February 14, 2020; City: the world; Source: Performance Research

 

Performance Research: Vol 25:7 ‘On Hell’ (November 2020)

Proposal Deadline: February 14, 2020

Issue Editors: Geraint D’Arcy & Richard Gough

 

"Hell is empty and all the devils are here."  ~The Tempest Act 1, Scene 2

 

In Kabuki the under-stage is known as the Naraku, literally translated as ‘Hell’. From the seriand suppon (types of trapdoor) demons ascend to the world of humanity and engage with the stage action. This issue of Performance Research is about the dark places under the stage, where things await their entrance.

 

David Wiles argues that the Greek and Roman stages may have been concerned with the horizontal action of human existence, but those theatres ‘used the vertical axis to articulate relations of human and divine’, while later theatre ‘focused its attention on … movement down to Hell, back up to earth and finally to heaven’ (Wiles 2003: 40). Pamela Howard established that there has long been an association with the ‘vertical height from above’ the stage used ‘to indicate divine space’ and, in contrast, ‘the depth below the stage floor as the demonic space’ (Howard 2009: 4). Under the wood-stage of nineteenth-century Europe was a hot, dark space of activity and anticipation. That depth was once vast and filled with machinery, devices, technicians and even menageries. Such spaces were used to reveal delights and create spectacle, acting as magic boxes full of wonder (D’Arcy 2012).

 

Contemporary theatre can be found in a multitude of spaces. All of them have an ‘above’, but very few now have an ‘under’. Those that do are either voids, spaces used for storage containing derelict machines or their traces, or rooms with modern contraptions rarely activated in the day-to-day running of the space above.

 

So where has Hell (and all its devils and magic) gone? In a contemporary theatre of presence and immediacy what now underlies the stage? How does what is not seen affect what is? This issue invites proposals that challenge or contribute to the histories or aesthetics of theatre technology and explore that which is specifically hidden or beneath the politics of space and body on the contemporary technologized stage.

 

Topics may include but are not in any way limited to:

–Performance ResearchThe politics of technology in the theatre, of technical bodies or the politics of stage technology itself.

–Historical accounts of stage devices and technologies and the intersections between stage technologies and the industry of visuality and spectacle.

–Scenography and scenographic analyses of contemporary or historical theatrical or performative devices or spectacle.

–Technologies of representation (of Hell or the Underworld) advanced through costume, make-up and stagecraft—for example in Kathakali or Balinese Dance.

–Accounts of how new technologies update ancient narratives and how great world theatre traditions embrace technological advances in stage devices, apparatus and the inter-medial to evoke and populate the underworld (or other worlds).

–Fresh takes on the aesthetics or poetics of stage machinery or theatre technologies.

–The practices of spectacle creation, effect design or technologized staging.

–Analysis of site-specific/site-responsive performances that have utilized underground spaces (caves, caverns, cellars, bunkers) to explore a scenography of the underworld.

–The absence of stage technology (for example in Butoh) to evoke other worlds of darkness and catastrophic consequences of the technologies of destruction.

–Contributions to the field of philosophy of theatre technology.

 

Schedule:

Proposals: 14 February 2020

First Drafts: June 2020

Final Drafts: September 2020

Publication: November 2020

 

Format:

Building on the Journal’s emphasis on the intersection of practice and theory, we welcome contributions from technicians, designers, scenographers, artists, poets, musicians, dancers and performance-makers, as well as scholars. 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. 

 

References:

D’Arcy, Geraint (2012) ‘The Yellow Soundan unstageable composition: Technology, modernism and spaces that should-not-be’, Body, Space & Technology12.

 

Howard, Pamela (2009) What Is Scenography?2nd ed., London: Routledge. Wiles, David (2003) A Short History of Western Performance Space,Cambridge: Cambridge University Press.

 

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: 

Geraint D’Arcy: geraint.darcy@southwales.ac.uk

Richard Gough: richard.gough@southwales.ac.uk

 

General Guidelines for Submissions: 

–Before submitting a proposal, 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.

 

www.performance-research.org

 

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9. CALL FOR SUBMISSIONS: Experiments in Criticism Symposium 

Deadline date: February 16, 2019; City: Toronto, Canada; Source: C Magazine

 

Experiments in Criticism Symposium 

Presented by C Magazine

How can we encourage, facilitate and produce deep, meaningful engagement with the objects, texts and experiences that we encounter in the art world and beyond? What practices foster this production? In Experiments in Criticism, we bring together writers, critics, curators, artists and other artistic practitioners and culture workers to reconsider how we approach the work of criticism by experimenting with practices of approaching, looking at, reflecting on, thinking about, talking about, writing about and otherwise responding to contemporary art and culture. 

Experiments in Criticism is less interested in creating more “experimental” critics per se, and more interested in imaginatively challenging didactic, categorical and canonical thinking, toward a more capable, inclusive and polyvocal critical landscape. We each come to art with our particular embodied perspectives, sensorial systems, subjectivities, histories, values, politics and ethics. How can we attune ourselves in ways that increase our abilities to detect, intuit and explore nuance and associations that may not be hardcoded in the subjects in question? How can we foster a rigorous, accessible, engaged and compelling climate of criticism here in so-called Canada that is as much about the art and the artist’s practice as it is about the larger politics, concepts and contexts that surround it? Who is the public of Canadian art criticism today? Who is writing? Who is reading? What does generous, constructive criticism look like today, when a crisis of politeness might preclude some forms of generative intersubjective difficulties? How can we strengthen, support and amplify non-Eurocentric critical modalities? 

Through workshops, panels, roundtables, performances, screenings, lectures, and other programming and space-making, participants will consider what it means to cultivate an environment of experimentation, and productively complicate processes of perception, reflection, discussion and writing about art. We are interested in approaches that are intertextual, intergenerational, intersubjective, embodied, playful, literary, and capacity-building. 

All presenters and facilitators will be paid professional fees that meet or exceed the CARFAC recommended fee schedule. The Symposium will take place in May 2020. Applicants will be notified by early March 2020 with results. The symposium also coincides with C Magazine’s Spring 2020 issue 145 “Criticism, Again.”

Submissions

To submit, please send the following to symposium@cmagazine.com by February 16: 

–CV;

–a maximum 500-word proposal, including a working title of your proposed program, and, if relevant, the names of those you would like to include (including a note on whether you have reached out/confirmed participation with those people or not);

–Estimated length of the presentation (most will be between 60–90 minutes, but we're open to longer proposals);

–A proposed budget for any foreseeable presentation expenses, not including travel and accommodations or CARFAC compensation (for the approved presenters).

 

C Magazine engages in an affirmative action framework to actively increase the representation of equity-seeking groups in the arts sector. If you identify as a member of one or more of these groups, you are invited to voluntarily self-identify. Please let us know of any accommodation we may provide during the application or selection process, or for your participation in the symposium. If you have accessibility concerns or requests, please contact us. 

The symposium will mark the conclusion of the first installment of C Magazine’s “Experiments in Criticism,” a public education program aimed at helping young writers, critics and other artistic practitioners develop their critical thinking, perceiving, conversing and writing skills through workshops on criticism that are variously experimental in form and content. The workshop series is ongoing and has been guided by artists, writers, critics, cultural producers, performers and activists including Peter Morin and Ayumi Goto, Syrus Marcus Ware, Lindsay Nixon, and more. 

 

For more information, see: https://cmagazine.com/events/ec-symposium-cfp

Facebook: www.facebook.com/events/558778578013767/

 

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10. EVENT: Up To and Including Their Limits / performance by Cassils

Date: February 20, 2020; City: Toronto, Canada; Source: The Gardiner Museum

Up To and Including Their Limits

performance by Cassils

Thursday, February 20, 2020

7:00–8:30 pm

Tickets on sale January 30 at 10am. Only 100 tickets will be sold!

General admission: $25 or $10 (students/artists/arts workers/unemployed/underemployed)

There will be a limit of 3 tickets per person.

Pay it forward: Donate a ticket to be gifted to one of our community partners

Join us for the world premiere of a new performance work titled Up To and Including Their Limits by internationally-acclaimed artist Cassils. Known for testing the limits of physical endurance, Cassils’ provocative and often startling work centres narratives of trans and non-binary visibility within a complex visual world.

In this newly-commissioned work, Cassils pays homage to the late feminist icon Carolee Schneemann, using raw clay to reimagine her historic performance piece Up To and Including Her Limits (1971-1976) from a trans non-binary perspective.

Suspended from a harness in a plexiglass box with walls covered in thick raw clay, Cassils will launch themselves back and forth, clawing, swinging at the walls, and hurling chunks of clay to the floor. As they remove swaths of clay, Cassils will create “windows” through which the audience can see the performative action, problematizing and complicating the audience’s gaze by engineering voyeurism into the work itself.

The remnants of Cassils’ performance, including the plexiglass structure, harness, and clay mound, will remain on view alongside video documentation of the piece as part of the exhibition RAW, opening March 5.

If you have any accessibility questions or requests related to the performance, please contact Nahed Mansour, Senior Manager, Programs: nahedm@gardinermuseum.com

ABOUT THE ARTIST

CASSILS is a visual artist working in live performance, film, sound, sculpture and photography. Cassils has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. It is with sweat, blood, and sinew that Cassils constructs a visual critique around ideologies and histories. Cassils received their Bachelor of Fine Arts from the Nova Scotia College of Art and Design, Halifax (1997) and their Master of Fine Arts in Art and Integrated Media from California Institute of the Arts, Valencia (2002). Their work has been shown in exhibitions worldwide; solo exhibition venues include Perth Museum of Contemporary Art, Perth; Station Museum, Texas; and Ronald Feldman Gallery (NYC) and Trinity Square Video (Toronto). They have also received several awards, fellowships, and residencies, including support from the Canada Council for the Arts (2020), John Simon Guggenheim Fellowship (2018), Creative Capital (2015), and is a Villa Bellagio Rockefeller Foundation Fellow.

www.gardinermuseum.on.ca/event/up-to-and-including-their-limits/

 

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11. EVENT: PAErsche meets...

Date: February 21, 2020; City: Bochum, Germany; Source: Marita Bullmann

PAErsche meets...

Alice de Visscher (BE) and Greig Burgoyne (UK)

Date: February 21, 2020

Time: 19.30h

Venue: Rottstr.5 Kunsthallen, Bochum, Germany

PAErsche meets...

invites you to the Rottstr.5 Kunsthallen in Bochum, Germany.

PAErsche meets..

is a format that presents Solo-Performances from national and international artists that will come or travel through Germany.

PAErsche meets..

is a collaboration with adhoc art space and supported by the Rottstr.5 Kunsthallen and INTERVAL in cooperation with PAErsche.

ABOUT THE ARTISTS

Alice de Visscher is from from Brussels, Belgium. She is interested in the image of her body, the structure of the space, the properties of the material. By putting those three elements into a relationship, she is looking for unusual, somewhat minimal actions which stimulate the interpretation of the audience. She follows her intuitions, in the belief that they will translate her way to live in this world nowadays. Also she trusts her body, intuition and improvisation more than mental reflexion and widens on this way the given perceptions of the body and its surrounding. Alice was born in 1979 and currently lives and works in Brussels. She studied theatre (graduating in 2004) and did some visual and experimental theatre in Belgium. Her artwork has been mainly focused on performance and video since 2006, then also on drawing and installation with paper (since 2014). It has been presented in Europe, Singapore, Thailand, Korea, Israel, USA and Canada.

Greig was born in Glasgow Scotland, studied at Academy of Fine Arts Vienna Austria and MA Royal College of Art London UK. He unites materials often sourced in and around the proximity of the site each project takes place within, alongside process-led, rule based strategies. Theoretical frameworks specific to phenomenology, literary structures around the fragment, and dilemmas about space found in modern Russian fiction also inform that evolution. He immerses in concepts of play and the speculative, that are ultimately driven by curiosity and risk, that often conclude with a de/materiality of the precarious, akin to the pathetic. Residual scraps of that forming/unformingTaking the anomalies of the space, he seeks to test, measure or expand the paradoxes of body/site relations with regard to space and our experience in it, of it and alongside it. The results are immersive, often absurd and beguiling re-navigations or configurations specific to the site and /or subject. Burgoyne proposes new dialogues that seek to generate a condition of becoming, translation and flux instead of stasis; a site of experience rather than merely location.

www.paersche.org

 

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13. CALL FOR SUBMISSIONS: //BUZZCUT// 2020

Deadline date: March 1, 2020; City: Glasgow, Scotland; Source: //BUZZCUT//

 

//BUZZCUT// FESTIVAL IS BACK! 

May 29–30, 2020

 

Between 2012–2017, //BUZZCUT// ran a pay what you can performance festival across the bars, galleries, shops and community centres across Glasgow. Founded with no funding, the festival was completely DIY and championed the values of grassroots community support, aiming to create a welcoming, friendly place for artists making raw and challenging work to experiment, and take genuine risks with their practises, and for audiences to encounter new forms and ideas in a supportive risk-embracing environment.

 

After a 3-year break the Festival will return from May 29–30, based at Tramway & the surrounding area, as part of the closing weekend of Take Me Somewhere Festival (https://takemesomewhere.co.uk/) The festival will bring together up to 15 artists for a 2-day celebration with good performance, good food and good chat.

 

WHAT THE FESTIVAL IS

The Festival is an attempt to build a temporary artistic community; for artists at all levels of experience to share their work with each other, making longstanding friendships & collaborations, and for audiences to experiment with experimental performance practises & ideas in a super relaxed, warm and welcoming environment. The festival is pay what you can afford to attend, with resources put towards accessibility for deaf & disabled artists & audience members, including rest areas, BSL Interpretation, captioning and audio description where possible. 

 

THE KIND OF WORK WE LIKE

We are looking for artists working or interested in working in Live Art and contemporary performance. We understand these terms are difficult to define but we consider it as work which experiments with the possibilities of the live event. We have worked with artists whose work draws from theatre, visual art, dance, cabaret, club, music, activism, however there is always a commitment to exploring the various possibilities of live performance, pushing their forms to previously unexplored territory. As a general rule we don’t support new writing, plays, poetry, circus or bands / musicians without a highly performative element to their work. The festival is flexible in the contexts for different styles of performance which can include:

Studio based performance work


Performances for one audience member at a time / small audiences


Durational actions


Site responsive / Outdoor performance


Contemporary ritual

Club performance


Public Intervention


Participatory performance


Walking performance

 

ELIGIBILITY

–The festival is open to artists at all levels of experience.

–No university degree or formal training is required.


–Artists from Scotland, the UK or abroad are welcome to apply (please note non-UK travel reimbursement is limited). Roughly 50% of the programme will be reserved for Scotland based artists.


–We unfortunately will not accept submissions from those currently in undergraduate or postgraduate education. 


–Deaf and disabled artists are particularly encouraged to apply and we have resource available to support your access needs.

 

The Deadline for applications is 23:59 at the end of Sunday March 1st.
If you have any questions please email: buzzcutkarl@gmail.com


 

For all the info you need about ABOUT TO APPLY, what the festival offers, and a link to the online application form, visit: www.glasgowbuzzcut.co.uk/buzzcut2020

 

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14. CALL FOR SUBMISSIONS: Intonations, a Journal of Interdisciplinary Arts

Deadline: rolling; City: the world; Source: Thea Patterson

Intonations, a Journal of Interdisciplinary Arts, is currently seeking submissions from the Fine Arts, Humanities, and beyond. 

www.intonationsjournal.ca

Intonations, an online peer-reviewed graduate student run journal, is a joint project at the University of Alberta between the Department of Music, Department of Drama and the Department of Art and Design.

The objective of the journal is to promote multidisciplinary collaboration and to encourage dialogue between different modes of scholarly, artistic, disciplinary and professional engagement with a particular focus on the intersections of theory and artistic practice in various domains of the fine arts, humanities, and sciences. Our goal is to promote the work of current scholars and practitioners by generating dialogue, mutual understanding, and innovation, both locally and internationally.

Intonations is interested in submissions that address any aspect of fine arts history, theory, or praxis. Experimental, cross-disciplinary, and collaborative work and research in the areas of, but not limited to, popular and electronic music, voice, dance studies, theatre studies, performance studies and visual/sonic arts are welcome. We encourage submissions engaging with other forms: traditional research papers, multimedia projects with a substantial written component, and/or research-creation projects. We will also consider book and exhibition/performance reviews. Authors, critics, designers, artists, composers, and performers are encouraged to take advantage of the multimedia capabilities of Intonations to publish creative and scholarly works. We encourage submissions from graduate students, early career scholars, and independent researchers.

The Journal publishes on a rolling basis. We accept submissions at any time. To see formatting and media requirements, and to make a submission to Intonations, please visit: 

https://intonationsjournal.ca/index.php/intonations/about/submissions

If you have any questions or comments, please email us at intonats@ualberta.ca

Editors-in-Chief: 

Brandi Goddard (Art and Design)

Thea Patterson (Drama and Performance studies)

Nasim Ahmadian (Music)

 

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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.

 

Board of Directors: Julian Higuerey Núñez (Chair), Cara Spooner (Vice Chair), Cathy Gordon (Treasurer), Clayton Lee (Secretary), Francesco Gagliardi, Jennifer Cruise

 

Artistic & Administrative Director: Shannon Cochrane

Office: 401 Richmond Street West, Suite 445, Toronto, Canada M5V 3A8

 

info@performanceart.ca
www.performanceart.ca

FADO on Instagram: @fadoperformanceartcentre
FADO on Facebook: FADO Performance Art Centre