INDEX
1. FADO CALL FOR PROPOSALS: Performance Resolution(s)
Deadline date: February 15, 2021; City: Canada-wide
2. READ: Lockdown List 3 on Live Art and Time
Date: unspecified; Location: on-line; Source: LADA
3. READ: Performance Drawing: New Practices since 1945
Date: just released; City: the world; Source: Carali McCall
4. EVENT: RAW – Recorded Action Web-Exhibition
Date: January 15–December 15, 2021; Location: on-line; Source: Bbeyond
5. EVENT: Queer Performance Camp
Date: February 1–14, 2021; Location: on-line; Source: Studio 303
6. EVENT: Le Mois Multi
Date: February 4–14, 2021; Location: on-line; Source: Le Mois Multi
7. WORKSHOP: Internet Choreographies: Performing for the Online Audience
Date: February 6, 2021; Location: on-line; Source: InterAccess
8. PANEL: Pixels, Programming, and Pragmatism
Date: February 6, 2021; Location: on-line; Source: The Orillia Centre
9. CALL FOR SUBMISSIONS: Emergenyc
Deadline date: February 8, 2021; Location: on-line: Source: the Hemi
10. EVENT: Rhubarb Festival
Date: February 10–21, 2021; Location: the world; Source: Clayton Lee
11. EVENT: Speaker Series / Politics of seduction: Desire and the radicalized body
Date: February 10, 2021; Location: on-line; Source: Dainty Smith
12. COURSE: Performance Art: the human body, intimacy and taboo
Date: February 24–March 24, 2021; City: on-line; Source: Kate Barry
13. COURSE: Performance Art Archives and Documentation
Deadline to apply: February 27, 2021; Location: on-line: Source: ECC
14. CALL FOR PROPOSALS: Performance Research ‘On Protest’ (Vol. 27, No. 1)
Deadline date: March 8, 2021; City: the world; Source: Performance Research
15. CALL FOR SUBMISSIONS: The Franklin Furnace Fund
Deadline: April 8, 2021; City: New York City, USA: Source: The Franklin Furnace
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1. FADO CALL FOR PROPOSALS: Performance Resolution(s)
Deadline date: February 15, 2021; City: Canada-wide
FADO is seeking proposals for Performance Resolution(s), our at-home residency series for winter/spring 2021. Performance Resolution(s) invites performance-based project proposals that engage with the theme of ‘resolution.'
Resolution:
a firm decision to do or not to do something.
the quality of being determined or resolute.
the action of solving a problem.
the process of reducing or separately something into its components.
the smallest interval measurable by an optical instrument.
the conversion of something abstract into another form.
It goes without saying that 2020 changed everything and the world is a different place. (We resolve never to say, "it goes without saying" again.) For artists working in live art and performance, events were cancelled and festivals postponed. What happens to embodied practice when the bodies can’t be together irl? With dizzying speed, we were compelled to bring performance to the tiny back-lit screen as an alternative. Sometimes that worked. Without being able to gather in large groups, sometimes we leaned on old tricks (what performance artist doesn’t know what it’s like to perform in a half-empty theatre?) to shoehorn our work into the current context. More often than not, to keep moving, we stuck with the script—over producing and addicted to presentation.
But thankfully the new year brings with it fresh starts, new directions and an opportunity to reflect. We make promises in the form of new year’s resolutions—a private or public personal commitment to change. Most resolutions dissolve by the end of March, or sooner. If 2020 taught us anything, it taught us that transformation comes slowly. The real breakthroughs are still in the (social) distance, but a seed has been planted.
Performance Resolution(s) invites performance-based project proposals that engage with the theme of ‘resolution.' Our inspirations for Performance Resolution(s) are the hope for a better 2021 for all, and a profound performance exercise designed by Marilyn Arsem that we think about from time to time. Read Marilyn's exercise HERE.
FADO's goal is to support up to 15 proposals. Artists will receive between $1,000 to $2,500 depending on the project scale and the number of applications received.
WHAT WE ARE LOOKING FOR
We are interested in proposals that are process-, research- and practice-based; that are open-ended and investigative. We are interested in conceptual one-offs and elaborately dreamed up performance journeys, in equal measure. We are interested in radical ephemerality, experimentation, and performances that are not really performances (but are still deeply engaged with time, material, site, context). We are less interested in the outcome, and more curious about your resolve.
WHO SHOULD APPLY
We are only accepting proposals from performance artists living in Canada. Applications from international artists will not be considered at this time. Artists at all levels in their careers are encouraged to apply, as are artists who are new to FADO’s platform.
Please use this ONLINE GOOGLE FORM for your submission.
Your proposal will include the following information:
–contact information
–description of your performance proposal/project (500 words)
–description of process/resolution/goals (250 words)
–bio/statement, CV, documentation
Please visit the website for the specific submission guidelines and / or to download the questions that are asked on the submission form.
If you don’t have a google account, or would feel more comfortable submitting your proposal in a different way, please email us info@performanceart.ca and we will make the necessary accommodations. Submissions will be reviewed and artists will be notified by the end of February.
DEADLINE: February 15, 2021
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2. READ: Lockdown List 3 on Live Art and Time
Date: unspecified; Location: on-line; Source: LADA
From the LADA (Live Art Development Agency) website:
“Responding to the social conditions and lived experiences of Covid-19, we are compiling a series of reference lists of writings and films which draw attention to examples of historic and contemporary Live Art practice producing states and encounters that are in some way akin to, or speak to, some of the experiences of lockdown or issues a lockdown raises. These lists are imagined as resources where artists, researchers and curious folk might start their own investigations into the relationships between art-making and periods of isolation, distancing, stasis, contagion and the passing of time.
Lockdown List 3 is on Live Art and Time. Covid-19 has made us all rethink and experience time in different ways. Weeks have sometimes felt like minutes, and hours have sometimes felt like years. And we are all still suspended in time – waiting for the next wave, waiting to know when we will be able to gather again, waiting to see what the future will hold.
For many artists, time is as critical a material as the body, and embodied experiences in space and time are central tenets of much Live Art.”
See Lockdown List 3 on Live Art and Time HERE.
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3. READ: Performance Drawing: New Practices since 1945
Date: just released; City: the world; Source: Carali McCall
Performance Drawing: New Practices since 1945
By Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall
Forewords by Anna Furse and Bonnie Marranca
Published by Bloomsbury Visual Arts (2020)
The first book published on ‘Performance Drawing’. A visual arts book that features a wide range of artists involved in the expanded field of drawing, demonstrating rigorous academic research. It establishes performance drawing as a vibrant art movement that has been progressively burgeoning since 1945 and contextualises today’s contemporary approaches – questioning what is drawing and what is performance? Each chapter focuses on a different perspective of performance drawing. Embracing the different voices and various lenses, the authors combine individual yet critical methodologies. While embedded in ephemerality and immediacy, the themes encompass body and energy, time and motion, light and space, imagined and observed, demonstrating how drawing can act as a performative tool. The dynamic interaction leads to a collective understanding of the term performance drawing and addresses the key developments and future directions of this applied drawing process.
This publication is part of the “Drawing In” series, edited by Russell Marshall, Marsha Meskimmon and Phil Sawdon.
About the Authors:
Artist, Maryclare Foá was awarded her PhD at Camberwell, UAL; featured in Drawing Now: Between the Lines of Contemporary Art; and recently shortlisted for the TBW Drawing Prize.
Artist, Jane Grisewood was awarded her PhD at Central Saint Martins, UAL, where she teaches experimental drawing; artworks and artist books are acquired in international collections, and recent exhibitions include the Line/Extended at University of Hertfordshire (UHArts).
Artist, Birgitta Hosea is a Professor of Moving Image at the University for the Creative Arts, UK. Previously, Head of Animation at the Royal College of Art and Central Saint Martin’s where she completed her PhD in animation as a form of performance.
Artist, Carali McCall studied at The Slade School of Art and was awarded her PhD at Central Saint Martins, UAL where she continues to be part of research groups; a finalist in the 2017 Jerwood Drawing Prize and recently awarded Arts Council England for performance-based artwork RUN VERTICAL.
“Performance Drawing represents a highly-developed record of practice-based research, tracing the developments in contemporary drawing, building on precedents that have led to emerging trends. It analyzes the radical departure from the acceptance of drawing as a canonical medium based on mark-making on two-dimensional surfaces, into real space towards performance, light projections, film and the use of new technologies. The texts brilliantly place all these developments into a clearly articulated context.”
~Therese Bolliger, artist, Canada
“While narrative forms of drawing have found favour through numerous exhibitions and publications world-wide, drawing as an inherently process-driven performative event is still lacking accessible comprehensive theoretical research. Bridging two centuries of contemporary practice, Performance Drawing will fill a huge gap for artists, teachers, scholars and art publics.”
~François Morelli, Concordia University, Canada
“A valuable historical primer that examines key examples of performance drawing from the last half-century and challenges established definitions and categorisations. The authors draw a picture of the changing boundaries between art forms, showing how the blurred lines between artistic disciplines are the product of an active performative process. In addition to practitioners, this should be read by anyone interested in emerging art practices.”
~Malcom Cook, Associate Professor in Film, University of Southampton
Please contact us for information:
Maryclare Foa: watchoutmary@gmail.com / @r.andf.mo
Jane Grisewood: janegrisewood1@gmail.com / @janegrisewood
Birgitta Hosea: b@birgittahosea.co.uk / @birgittahosea
Carali McCall: carali@caralimccall.com / @caralimccall
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4. EVENT: RAW – Recorded Action Web-Exhibition
Date: January 15–December 15, 2021; Location: on-line; Source: Bbeyond
Bbeyond presents RAW – Recorded Action Web-Exhibition
January 15–December 15, 2021
An Online Exhibition of Performance Art Video Works from around the Globe
40 Works Posted Over 20 Days
Please view the exhibition on our VIMEO.
ARTISTS
Abel Loureda & Nieves Correa
Áine Philips
Alice De Visscher
Alison Farrelly
Analía Beltrán i Janés & Pedro Déniz
Artur Tajber
Andriy Helytovych
Chumpon Apisuk
Dagmar Glausnitzer Smith
Dimple B Shah
Eduardo Cardoso Amato
Emily Lohan
Fausto Grossi
Guillaume Dufour Morin
Hori Izhaki in Collaboration with Chen Cohen & Jasper Llewellyn
Isil Sol Vil & Marina Barsy Janer
Johanna Householder & Judith Price
John G Boehme
Jolanda Jansen
Julie Isabelle Laurin
Kate Stonestreet
Laurence Beaudoin Morin
Marion Henry
Marta Lodola & Valerio Ambiveri
Monique Yim & Noel Molloy
Paola Catizone
Patrícia Corrêa
Peta Lloyd
Rachel MacManus
Sarah Gerats
Seiko Kitayama & Yohei Kina
Selene Citron & Luca Lunardi
Stein Henningsen
Surya Tüchler
Tania Bohuslavska
Thomas Wells
Verónica Peña & Tara Gladden
Yu Yang
Organized by Sandra Corrigan Breathnach
Bbeyond are very happy to announce that "The Water Tank Sessions I" by Verónica Peña (Spain) with sound by Tara Gladden (USA) has been invited to take part in one our 20th anniversary events later this year. More details to follow!
http://bbeyond.live/
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5. EVENT: Queer Performance Camp
Date: February 1–14, 2021; Location: on-line; Source: Studio 303
Queer Performance Camp (QPC) turns FIVE years old! We are hosting another winter edition to promote queer self-care in this cold dark time of year. QPC aims to create new ways to connect, grow and build community, while supporting the development of Queer artists. For this special fifth edition, Justin De Luna and Winnie Ho have been invited as curators, and have put together an exciting line-up of 100% online events!
This year we’re offering a Queer Performance Camp pass, pay what you can ($1 to 40 suggested payment—no one turned away for lack of funds) and receive access to all five events and the Queer DisAbled Joy workshop!
Workshops, activities, conversations, dance experiments & parties, screenings, shows and more!
PARTICIPANTS / presenters / facilitators include:
Seeley Quest, Aimee Louw, Alexis O’hara, Be Heintzman Hope + Baco, Elle Barbara, Francesca Chudnoff, Kijâtai-Alexandra Veillette-Cheezo, Andrew Tay and others.
DON’T MISS:
2:59’s
Sunday, February 14, 2021
2:00–3:30pm / online event / French & English
A series of short, experimental, DIY performances by local Queer artists. Given carte blanche and encouraged to take risks, the invited performers will each have two minutes and fifty-nine seconds to take the virtual stage. You’ll experience a variety of styles in this fast paced, casual, and celebratory show.
Queer Performance Camp is a collaboration between Studio 303, MAI (Montréal, arts interculturels) and La Chapelle Scènes Contemporaines, with the support of CCOV.
BUY YOUR PASS HERE.
ABOUT STUDIO 303
Based in Montréal, Canada, for the last 30 years, Studio 303 has been supporting artists engaged in critical and experimental practices in dance and interdisciplinary performance.
www.studio3030.ca
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6. EVENT: Le Mois Multi
Date: February 4–14, 2021; Location: on-line; Source: Le Mois Multi
Le Mois Multi, international festival of multidisciplinary and electronic arts, is offering a predominantly virtual programming for their brand-new edition, which will take place from February 4–14, 2021.
Read the PROGRAMME HERE.
ABOUT Le Mois Multi
Presented each year in February, Mois Multi is an event produced and organized by Les Productions Recto-Verso. The festival program features innovative works in the fields of multidisciplinary and electronic art. Mois Multi reflects the conceptual and technological changes that have led to unprecedented forms and practices in the “multi arts.” The uniqueness of the event stems from its interactive performances, installations, immersive environments, and works that fuse languages, materials, techniques, forms and artistic procedures of all kinds.
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7. WORKSHOP: Internet Choreographies: Performing for the Online Audience
Date: February 6, 2021; Location: on-line; Source: InterAccess
Internet Choreographies: Performing for the Online Audience with James Knott
Presented by InterAccess
February 6, 2021
1:00–4:00pm
PWYC admission
Learn to creatively navigate the unique constraints and characteristics of performing for screen-based platforms.
How does the mobile or computer screen affect performance? This workshop by James Knott looks at ways to creatively navigate the unique constraints and characteristics of performing for screen-based platforms. Find out all the different ways you can utilize and design performance work for online spaces, including Zoom, Instagram Live, and YouTube.
More information (workshop set-up / requirements / cancellations etc.) and TO REGISTER.
ABOUT JAMES KNOTT
James Knott is an emerging, Toronto-based artist, having received a Bachelor of Fine Arts in Integrated Media from OCAD University. Their performance-based practice combines theatre, video, and audio art to create immersive and emotionally resonant experiences for the viewer. Currently their practice looks to house personal narratives and queer experience through poetic retellings, self-mythologizing, and auto-iconographic aestheticism. An alumnus of The Roundtable Residency, they’ve exhibited/performed at Xpace Cultural Centre, the Toronto Feminist Art Conference, The Artist Project Contemporary Art Fair, the 7a*11d International Festival of Performance Art, the Art Gallery of Hamilton, and the AGO’s First Thursdays.
www.knottart.com
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8. PANEL: Pixels, Programming, and Pragmatism
Date: February 6, 2021; Location: on-line; Source: The Orillia Centre
Pixels, Programming, and Pragmatism
With Freya Olafson, Jeremy Mimnagh, Omar Rivero and Luke Garwood
February 6, 2021
11:30am–1:00pm (on-line)
REGISTER HERE
A COVID response discussion attempting to answer the following: How should we disseminate our live performance work online? Are we shooting to archive or are we shooting to be artful? How has COVID impacted art education? Is social media the new blackbox? Is a website a portfolio, a creative journal, or a stage? Do you require new digital literacy skills? What is your online presence? Do you need help? What does a digital collaboration look like?
ABOUT The Orillia Centre for Arts and Culture
The Orillia Centre for Arts and Culture is dedicated to building a multidisciplinary centre for creative practice, education and innovation that serves Ontario. Since 2014, the company has presented critically challenging and non-commercial programming in the city of Orillia and surrounding area. We curate dance, music, literary festivals and visual arts exhibitions, which would otherwise not be seen locally. 2019 marked an important growth for our company, as we launched an artist's residency program that works in tandem with our education program. First conceived as one campus on the grounds of the Huronia Regional Centre property, our vision has evolved to embrace programming in several venues until we can create the perfect home. This vision has attracted the support of business and cultural leaders, from Orillia and further afield. Our dream anticipates the Orillia Centre for Arts + Culture will house a performance space, sculpture garden, gallery, rehearsal space and live/work studios.
https://www.orilliacentre.com/
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9. CALL FOR SUBMISSIONS: Emergenyc
Deadline date: February 8, 2021; Location: on-line: Source: the Hemi
EMERGENYC is an incubator for artist-activists interested in developing their creative voice, exploring the intersections of art and activism, and connecting to a thriving community of independent practitioners—most of them POC, women, and LGBTQIA+ folks. First launched in 2008 at NYU’s Hemispheric Institute—and now independent, in partnership with BAX/Brooklyn Arts Exchange and Abrons Arts Center—EMERGENYC offers varied entry points into art and activism, prioritizing process, discovery and reflection, and fostering a brave space for experimentation, risk-taking and community-building. The annual program encourages participants to take interdisciplinary leaps, mix styles and traditions, and develop incisive new work at the intersection of performance and politics. Over the years, EMERGENYC has activated a strong network of artivists—in NYC and beyond—who have built solidarity across differences and challenged dominant narratives through artistic cultural resistance.
The Program: 2021 Zoom Version
While we miss the in-person experience, this pandemic-era virtual iteration has allowed for an expansion of the network of participants—folks can now be anywhere and still be a part of the cohort—which in 2020 brought us unforeseen magic and pleasure. For 2021, we will continue creating in our virtual playhouse: with a decolonial lens, we will explore the intersection of art and activism through creative writing, autobiographical narratives, group work, and other multi-disciplinary adventures—all while creating and re-creating a space in which all participants build community with one another, actively listen with their bodies, and build intentional trust to lay a foundation where compassion and risk-taking guide our work together.
The deadline to submit materials via Submittable is February 8, 2021 at 5pm (ET).
Selected participants will take part in weekly Sunday workshops facilitated by George Emilio Sánchez and Marlène Ramírez-Cancio, as well as workshops by established artists who are leaders in the field of performance and politics. Workshop leaders for 2021 will be announced closer to the date. (See the Faculty page to see past instructors.) We ask applicants to define issues that are important to them and explore how creative practices can harness their political voice. Participants have explored themes of racism and racial violence; police brutality and mass incarceration; joy as resistance; queer world-making; disability rights; undocumented immigrant activism; war and human rights; environmental justice; and myriad topics that affect their lives. These engagements have resulted in the creation of performance art pieces, multimedia installations, theatrical explorations, street performances, video art, and more. The program will take place every Sunday (10am–2pm Eastern Time) from Sunday April 4 to Sunday July 11 (*except for July 4), with the final works-in-progress presented on July 8, 2021 via Zoom.
This 3–month program has a fee of USD $500. A modest amount of financial aid will be available to cover part of the tuition on a need basis. If your enrolment depends on financial aid, please let us know in your application.
Who can apply:
EMERGENYC is now open to ALL emerging activists/artists/performers (not just NYC-based) who are fluent in English and can participate in online workshops from 10am–2pm Eastern Time. Applicants must have prior experience in various performance genres and/or activist practices. Age is not a factor (past participants have ranged in ages 18–45, all bringing their best selves to the experience); what we define as ’emerging’ is fluid, and has more to do with how you self-define than anything else. We very much encourage BIPOC, LGBTQIA+, and disabled artists to apply.
Visit the website for the online application form: www.emergenyc.org
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10. EVENT: Rhubarb Festival
Date: February 10–21, 2021; Location: the world; Source: Clayton Lee
Canada’s longest-running new works festival is a hotbed of experimentation, where artists explore new possibilities in theatre, dance, music, and performance art. This year, Rhubarb proposes an alternative: the creation of a physical performative publication that attempts to capture the energy of Rhubarb and, perhaps, recreate the live performance experience itself.
Over 20 artists respond to the prompt to bring performances to the page, with some projects published in the festival publication itself, and other interventions performed on the book after printing. Contributions range from colouring pages to a fever-dream drag performance; from a meal to music inspired by the turning of a page; and from choreographic scores to unearthed histories, real or imagined.
The limited edition run of 888 books is available for pre-order now, with distribution beginning shortly before the festival’s opening night on February 10, 2021.
Contributions include new works from Ravyn Wngz, Njo Kong Kie, Aria Evans, Louise Liliefeldt, Sue Balint and many others. Look out for artist responses and activations throughout the festival's run: February 10–21, 2021.
FOR MORE INFO & to order YOUR BOOK
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11. EVENT: Speaker Series / Politics of seduction: Desire and the radicalized body
Date: February 10, 2021; Location: on-line; Source: Dainty Smith
PUSH.PULL is a six-month online series of interdisciplinary events examining emergent and intersectional developments in performance art and QT BIPOC cabaret. Curated by storyteller, producer and stage performer Dainty Smith and multidisciplinary artist Golboo Amani highlights QTBIPOC cabaret performers at the intersections of live stage performance and radical political performativity. PUSH.PULL also includes a three-part speaker series inviting performers and cultural creatives to engage in conversations at the intersections of visual culture, sex work, performance and politics by recognizing cabaret as a site of cultural production and community engagement. Speaker series and various workshops are presented in partnership with Aluna Theatre.
Speaker Series / Politics of seduction: Desire and the radicalized body
February 10, 2021
6pm–8pm
ASL interpretation provided
For more INFO and to REGISTER
Cabaret gives space to cultivate the audacity to highlight bodies as visible, valuable, and worth considering. We begin by imagining our bodies as important and worthy of being centre stage. Addressing how race is sexualized in ways that implicate class, respectability politics and policing.
FEATURING
Ravyn Wngz Ravyn Ariah Wngz
Rania El Mugammar Rania El Mugammar
Ivory Steff Ivory Conover
Cat Zaddy
Dolly Berlin Dolly Berlin
Moderated by Dainty Smith
PUSH.PULL is presented in association with Aluna Theatre and Buddies in Bad Times Theatre, and is sponsored by FADO Performance Art Centre.
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12. COURSE: Performance Art: the human body, intimacy and taboo
Date: February 24–March 24, 2021; City: on-line; Source: Kate Barry
Performance Art: the human body, intimacy and taboo
Kate Barry and Vanessa Dion Fletcher
February 24—March 24, 2021
Wednesdays, 7–9pm EST (4–6pm PST)
The Abrons Art Center & The School of Making Thinking presents this on-line (zoom) studio course facilitated by Kate Barry and Vanessa Dion Fletcher. The course explores body art, performance and practice. Through a series of lectures, workshops, performances as well as group discussions we explore representations of the human body, intimacy, taboo and the menstrual cycle.
Spaces are limited.
Trans and queer friendly studio environment.
Sliding scale available for BIPOC folks.
For more info & TO REGISTER.
The School of Making Thinking is an artist-thinker residency program, experimental college, and nomadic investigation into collaborative practice. Abrons Arts Center is a home for contemporary interdisciplinary arts in Manhattan’s Lower East Side neighbourhood.
ABOUT THE FACILITATORS
Vanessa Dion Fletcher is a Lenape and Potawatomi neurodiverse artist. Reflecting on an Indigenous feminist body with a neurodiverse mind Dion Fletcher creates art using composite media, primarily working in performance, textiles and video. She graduated from The School of the Art Institute of Chicago in 2016 with an MFA in performance, and York University in 2009 with a Bachelor of Fine Arts. She has exhibited across Canada and the USA. Vanessa is a 2020-2021 Jackman Humanities Institute fellow at the University of Toronto.
Kate Barry is an artist, educator and curator with a concentration in performance art. She is currently based on the unceded, traditional territories of the Coast Salish nations in Vancouver, Canada. Barry’s research investigates the performative capacities of the human body through live art, painting and video. She works through themes of subjectivity, queerness, and feminist ancestry focusing on the subject/object binary. Her works have been performed or exhibited in galleries and festivals throughout Canada and internationally.
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13. COURSE: Performance Art Archives and Documentation
Deadline to apply: February 27, 2021; Location: on-line: Source: ECC
Performance Art Archives and Documentation
With Anja Foerschner
March 1–22, 2021
Mondays, 6pm–8pm (CET)
On-line course / English
Cost: 175 Euros
Application deadline: February 27, 2021
This course will examine how the time-and site-specific experience of performance art is translated into physical material with sustainability. It investigates into the relation of physical remains to ephemeral artistic practice, their meaning for the inscription into history, and ways of use for artists, scholars, and curators.
The course will present various theories related to the concept of the archive, modes of documentation ranging from traditional to contemporary, as well as examples of use of archival material in artistic and exhibition practice. Students will consider how documenting strategies are changing in relation to new technologies and media and what the implications are for the concept of the “archive”.
This course is aimed both at practicing performance artists seeking to gather insights into historical precedents as well as modes of documentation and archiving practice relevant to contemporary practice, and scholars/curators who wish to explore theories related to the archive and learn about ways how to use documentation in their scholarly or exhibition work.
READ THE SYLLABUS HERE.
ABOUT Anja Foerschner
Anja is the founder of ECC Performance Art. Originally trained as a visual artist, she holds an MA in Art Pedagogy, Art History and Philosophy and a PhD in Contemporary Art History from Ludwig-Maximilians-University Munich. Anja has researched and curated performance art for almost a decade and worked with institutes such as Munich’s Haus der Kunst, the Getty Research Institute in Los Angeles and PerformanceHUB in Belgrade. She is passionate about exploring the many facets of performance art and the various ways in which it engages with our cultural, social, and political landscape.
What is ECC Performance Art?
ECC Performance Art is an online teaching and research platform dedicated to strengthening the discipline of performance art by providing artists, scholars, and curators with a range of tools and insights for their professional growth. ECC Performance Art offers an extensive course program related to key aspects of performance art practice, its theoretical investigation, as well as its documentation and forms of curation and exhibition. Artistic and research projects developed in collaboration with ECC Performance Art cross theoretical and disciplinary boundaries and pioneer approaches to how we think about, study, exhibit, and produce performance art.
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14. CALL FOR PROPOSALS: Performance Research ‘On Protest’ (Vol. 27, No. 1)
Deadline date: March 8, 2021; City: the world; Source: Performance Research
Performance Research ‘On Protest’ (Vol. 27, No. 1)
Publishing date: Jan/Feb 2022
Issue Editors:
Andy Lavender, Guildhall School of Music and Drama
Julia Peetz, University of Warwick
Storming the Capitol. Dismantling Confederate and slave trader statues. Refusing to wear a mask. Booing Belarusian President Alexander Lukashenko. Sabotaging 5G towers. Buying stamps in an attempt to prop up the United States Postal Service. Defying lèse-majesté laws to criticize Thai royalty. Writing ‘Black Lives Matter’ on roads, so large that the message can be read from Earth orbit. All these actions have been performed as protests in 2020 and 2021, marking this as a year of significant dissent. In the United States alone, the Black Lives Matter actions may be the largest protest movement in the country’s history, eclipsing even the protests of the civil rights era. The US presidential election, meanwhile, was a site for trenchant protests that dramatize the situation of commitment-amid-division that protest typically represents—and that beg wider questions of protest as a contemporary mode of political insistence.
While many of the recent protests around the world mark a resurgence of the popular voice, the language of resistance and opposition has become ubiquitous on the political right as well as for progressives. Right-wing populists paint themselves as perennial outsiders, embattled by and protesting against deep state powers and global cabals. Protestors have weaponized ideals of personal freedom to rage against COVID-19-specific health guidance regarding the wearing of face coverings in public. Social media are increasingly sites of and means of coordinating protest actions; even so, social media posts framed as protest actions are frequently denounced as merely ‘performative’ forms of protest and allyship. Debates on the correct and most effective manner of performing protest abound, and once-controversial civil rights heroes are invoked as exemplars of ‘right’ and ‘wrong’ ways to protest. Protest has mainstreamed, and it has become more volatile. It belongs not to any single faction or persuasion but has become pervasive—even while it is fostered as part of the repertoire of political sway, a system-theatre of power.
This issue calls for critical examinations of contemporary performances of protest across the globe. It is interested in ways that protest can be understood as theatre, but more particularly—in a multimodal, interconnected environment—as a form of public manifestation that draws upon a wide repertoire of representational devices. It seeks to address the relationship between embodied action, affective presence, communication and ideological affiliation. How does protest feel, and who is doing the feeling? It considers the performativity of protest. It pays particular regard to the extent to which protest achieves change (however this is defined) and the ways in which historical protests help to inform judgements of the conduct, legitimacy and efficacy of current protest actions. What historical instances are invoked to draw comparisons to current forms of activism and resistance? How do contemporary protests draw on historical repertoires of protest that reflect or extend beyond their specific political contexts? Do protest strategies and tactics need to evolve as languages of protest become a default mode of mainstream political discourse? Our concern with the modal nature of protest, we suggest, might also be historicized. What is it about our times, our modes of communication, our political systems, that help to produce protest as a defining feature of contemporary political process?
We invite contributions in the form of longer essays (up to 7,000 words), shorter provocations (2,000 words) and artist pages. We also welcome suggestions for unique or hybrid formats.
Contributors may wish to draw on the following list of topics as a source of inspiration, although the list is not intended to be exhaustive or restrictive:
Staging/Representation of protest in mainstream media
Contemporary theatres of protest
Violent and non-violent protest
Criteria for the efficacy of protest
The triviality and ubiquity of protest
Populism and protest
Protest and the political right
Protest and the political left
The protestor as actor
The affective nature of protest
Protests and conspiracy theories
Hyperbole and protest
Social media and the performance of protest
Performative protest/Performativity of protest
Collective/Cultural memory of protest
Protest and national identity
Heroes of past/present protests (and their representation)
Protest in the social sciences versus protest in the humanities
Protest and change
The purpose of protest (thinking of performance)
Schedule
Proposals: March 8, 2021
First Drafts: July 2021
Final Drafts: September 2021
Publication: Jan/Feb 2022
ALL proposals, submissions and general enquiries should be sent direct to the PR office: info@performance-research.org
Issue-related enquiries should be directed to the issue editors:
Andy Lavender: andy.lavender@gsmd.ac.uk
Julia Peetz: julia.peetz@warwick.ac.uk
General Guidelines for Submissions:
–Before submitting a proposal, visit our website and familiarize yourself with the journal.
–Proposals accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side.
–Please include your surname in the file name of the document you send.
–Submission of images and visual material is welcome provided that all attachments do not exceed 5MB, 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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15. CALL FOR SUBMISSIONS: The Franklin Furnace Fund
Deadline: April 8, 2021; City: New York City, USA: Source: The Franklin Furnace
2020 is the 35th anniversary of the Franklin Furnace Fund. Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace has annually awarded grants to early career artists selected by peer panel review to enable them to produce major performance art works in New York.
In the spring of 2008, Franklin Furnace combined the Franklin Furnace Fund for Performance Art and The Future of the Present programs into one, entitled the Franklin Furnace Fund. Franklin Furnace made the decision to combine these programs because during the last decade, artists have created works on every point of the spectrum between the body of the artist and the circulatory network of the Internet in the creation of temporal work.
The Franklin Furnace Fund is supported in 2021–22 by Jerome Foundation and the NYC Department of Cultural Affairs in partnership with the City Council. Grants range between $2,000 and $10,000 based on the peer review panel allocation of funding received by Franklin Furnace. Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York City. Full-time students are ineligible.
Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of "early career artist" and "performance art." So, if at first you don't succeed, please try again.
Since 1985, the Fund has helped launch the careers of Jo Andres, Tanya Barfield, Jibz Cameron aka Dynasty Handbag, Lenora Champagne, Patty Chang, Papo Colo, Brody Condon, Nicolás Dumit Estévez, Karen Finley, John Fleck, Coco Fusco, Kate Gilmore, Pablo Helguera, Donna Henes, Murray Hill, Holly Hughes, Liz Magic Laser, Taylor Mac, Robbie McCauley, Jennifer Miller, Naeem Mohaiemen, Rashaad Newsome, Clifford Owens, Pope.L, Dread Scott, Pamela Sneed, Fiona Templeton and Diane Torr, among other fund recipients.
For more information about The Franklin Furnace Fund, please read the GUIDELINES.
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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 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.
LAND ACKNOWLEDGEMENT
FADO acknowledges that as settlers, we are not the first people to gather, live and work on the land where we currently operate and present our activities, currently referred to as the city of Toronto. In truth, Toronto's real name is tkaronto, meaning "place where trees stand in the water" and it is the traditional and unceded territory of many First Nations and peoples including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples. We work and live here in the spirit of the traditional treaty—the Dish with One Spoon treaty between the Anishinaabe, Mississaugas and Haudenosaunee—that binds and protects the land.
Artistic + Administrative Director
Shannon Cochrane
Board of Directors
Julian Higuerey Núñez, Chair
Jennifer Snider Cruise, Vice Chair
Cathy Gordon, Treasurer
Clayton Lee, Secretary
Francesco Gagliardi
Freya Björg Olafson
FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.
Copyright © 2021 Fado Performance Inc., All rights reserved.
