 |
 |
 |
 |
|
|
|
FADO E-LIST (April 2022)INDEX 1. CALL FOR PROPOSALS: Franklin Furnace Fund Deadline: April 8, 2022; Location: New York City, USA; Source: Franklin Furnace 2. WORKSHOP: Repeating With a Difference […] with Francisco-Fernando Granados Date: April 8, 2022; Location: Toronto, Canada; Source: C Magazine 3. EVENT: Out of Site Chicago / Artist Focus with Beau Coleman (Canada) Date: April 9, 2022; Location: on-line; Source: Out of Site Chicago 4. EVENT: Performance O Morir Date: April 11–16, 2022; Location: Norogachi, Mexico; Source: Gustavo Alvarez 5. CALL FOR SUBMISSIONS: Performance Research: Vol. 28, No. 1: ‘On Meeting’ Deadline date: April 13, 2022; Location: the world; Source: Performance Research 6. EVENT: Out of Site Chicago / Artist Focus with Odun Orimolade (Nigeria) Date: April 16, 2022; Location: on-line; Source: Out of Site Chicago 7. CALL FOR SUBMISSIONS: Out of Site Chicago presents Open Air Deadline date: April 17, 2022; Location: Chicago, USA; Source: Carron Little 8. EVENT: 2nd Annual Live Art Lecture with Morgan Quaintance Date: April 21, 2022; Location: on-line: Source: LADA 9. WORKSHOP: C Magazine Workshops with Jess Dobkin Date: April 22, 2022; Location; Toronto, Canada: Source: Toronto Biennial of Art 10. WORKSHOP: C Magazine Workshops with Erika DeFreitas Date: April 29, 2022; Location; Toronto, Canada: Source: Toronto Biennial of Art
----
1. CALL FOR PROPOSALS: Franklin Furnace Fund Deadline: April 8, 2022; Location: New York City, USA; Source: Franklin Furnace
Deadline EXTENDED: April 8, 2022
Initiated in 1985 with the support of Jerome Foundation, Franklin Furnace annually awards grants to early career artists selected by peer panel review to enable them to produce major performance art works in New York City.
In the spring of 2008, Franklin Furnace combined the Franklin Furnace Fund for Performance Art and The Future of the Present into one program, entitled the Franklin Furnace Fund. Franklin Furnace made the decision to combine these programs because during the past decades, artists have created temporal works on every point of the spectrum between the body of the artist and the circulatory network of the Internet.
The Franklin Furnace Fund is supported by Jerome Foundation and the NYC Department of Cultural Affairs in partnership with the City Council. Fund 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 Raful Espejo Ovalles, Ayana Evans, Karen Finley, John Fleck, Coco Fusco, Kate Gilmore, Pablo Helguera, Donna Henes, Murray Hill, Holly Hughes, Liz Magic Laser, Shaun Leonardo, 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 Franklin Furnace Fund recipients.
For more information and to apply:
---
2. WORKSHOP: Repeating With a Difference […] with Francisco-Fernando Granados Date: April 8, 2022; Location: Toronto, Canada; Source: C Magazine
Repeating With a Difference: Tracing as a Counter-Archival Practice With Francisco-Fernando Granados
Friday, April 8 4:30–7:30pm 72 Perth Ave, Toronto
This program is co-created and co-presented by C Magazine and the Toronto Biennial of Art.
Drawing is a task of observation, mark-making, and composition that allows us to understand the world from an embodied perspective. This workshop aims to explore the medium as an expanded practice in the making of embodied cultural histories. Together with Granados, participants will engage in multidisciplinary experiments with images, movement, and words that aim to open up the possibilities of tracing as a relational instrument with which to engage (and build) archives.
Tracing might be thought of as a counter-archival tool that can connect moments of keen insight with experiences that resist the structures of language. It transcends boundaries of institutional belonging and can enable multidirectional community connections. Tracing may entail the articulation of particular social/political/cultural formations, the timely telling of memories when the present urgently echoes the past, or the careful contouring of what cannot yet be known. The hand may tremble as it traces. It lingers in the spaces around judgement, making room for doubt and slippage as entry points for dialogue, seeking to use the space of the aesthetic in service of equitable futures that must be affirmed, even as they remain unpredictable.
For more information and to register:
ABOUT THE WORKSHOPS In this series of artist-led workshops, participants develop approaches to alternative archival practices that are rooted in community rather than established by an institution. Informed by the tenets of C Magazine’s Experiments in Criticism program, which was formed in consultation with experts in critical art pedagogy in 2019, these workshops pose questions for contemplation, discussion, and activation, such as: How can we develop embodied historiographic practices using creative-critical methods? How can we immediately begin to write a future that doesn’t perpetuate the same erasures we’ve witnessed to date? How do we record select details of our present in ways that will ensure they retain their vivacity over time, and by extension, how do we decide what to commit to memory?
---
3. EVENT: Out of Site Chicago / Artist Focus with Beau Coleman (Canada) Date: April 9, 2022; Location: on-line; Source: Out of Site Chicago
Out of Site Chicago presents: Artist Focus with Beau Coleman (Canada) Facilitated by Carron Little (Scotland/USA)
April 9, 2022 Time: 11:15am–12:15pm CST
On Out of Site’s Twitch Channel: www.twitch.tv/out_of_site On Out of Site’s YouTube Channel: www.youtube.com/channel/UCk0xfcBYCUs_SBM7pmWMa-A
ABOUT BEAU COLEMAN Beau Coleman is a Canadian and British interdisciplinary artist and curator from Treaty No. 6 Territory, Edmonton, Canada. Her artistic practice includes performance art, interdisciplinary creation, intermedia, site-specific practices, theatre, video and installation. She has received exhibitions widely across North America and Europe, and in Africa, South America, Asia and Oceania. Recent performances include: Birth of the Decay: a Performance for Dogs, Out of Site Chicago, Chicago, United States (online, 2021); Time Regained, Nieuwstraat Festival, Dordrecht, the Netherlands (2021); Breathe, Art-Mutation, Braunschweig, Germany (online, 2020–2021) and Bedurfnisanstalt, Hamburg, Germany (2021), Lost/GAINED, FLOW: Embody, In Site, Out of Site Chicago, Chicago, United States (online, 2021); The Divide, Dy3corpia, About Light Gallery, Edmonton, Canada (2021) and the Lock Unlock Performance Art Project (core artist, multiple performance actions, online, 2020-present). Beau’s work as an art curator includes and Performances for Urgent Times, SPAR²C, Edmonton, Canada (2021) and the Zero Gravity International Performance Art SUMMIT, Edmonton, Canada (2019). She is Co-Founder and Co-Director of SPAR²C (Shifting Praxis in Artistic Research / Research-Creation), an international research-creation hub located at the University of Alberta, where she is a professor of theatre and performance studies. Beau serves on the Board of Directors of Performance Studies International (PSi).
---
Date: April 11–16, 2022; Location: Norogachi, Mexico; Source: Gustavo Alvarez
Performance O Morir Organized and curated by Gustavo Alvarez
This year marks the Tenth Performance Meeting of Performance O Morir.
April 11–16, 2022 Norogachi, Mexico
Sharing is the key tacit agreement of the entire experience, with this spirit the meeting-experience "perform or die" is carried out, where we can bring out feelings, knowledge and immaterial resources that allow us all to express, understand and solve our respective problems. and mutual disabilities in the dance of life. ~Valentin Torrens
2022 PARTICIPATING ARTISTS Michelle Lacombe Peter Baren MURTA Doris Steinbichler Olga Vallejos CiNdy Baker Dino Dinco Gabriel J. Correa Steven Girard Olga Prokhorova Jordina Ros Pere Estadella Edgar M Vega
https://performancearomorir.blogspot.com/
---
5. CALL FOR SUBMISSIONS: Performance Research: Vol. 28, No. 1: ‘On Meeting’ Deadline date: April 13, 2022; Location: the world; Source: Performance Research
Performance Research: Vol. 28, No. 1: ‘On Meeting’ (Jan/Feb 2023) Proposal Deadline: 13 April 2022
Issue Editors: Simon Bayly (University of Roehampton, London) Johanna Linsley (University of Dundee) As editors of a journal issue ‘on meeting’, we had to ask: is ‘meeting’ really a promising object for performance research? It seems more like a pseudo-concept, somehow far too human, too middling-sized, too white or simply too boring, lacking the charismatic aura of other concepts that name the insurgent possibilities of sociality: assembly, commons, encounter, mutual aid, study, crowd or congregation. By comparison, meeting lacks all conviction. Yet, it is precisely in its ubiquitous lack of promise and its promising ubiquity that meeting subtends the doing of all kinds of politics. As spaces and places where two or more people come together to talk about and decide on a common course of action, meeting is both abjected and idealized, made up of an intense but contingent sociality that is routinely ridiculed as useless and dreary. Yet it is also held up as an exemplary form for the realization of collective desires: after the Winter Palace has been stormed or the Vendôme column toppled or Gezi Park occupied, the time quickly comes for committees, communes, commissions and working parties to secure and sustain the revolutionary event – but they are also where the revolution will be clandestinely betrayed. But are we talking about ‘the meeting’ or just ‘meeting’? ‘Meeting a friend’ feels like a pleasurable and ordinary thing. But ‘having a meeting with a friend’ seems to portend a more transactional affair involving some potentially unfriendly business. Perhaps there are too many meetings and not enough meeting. Meetings are both essential to the smooth functioning of institutions and tiresome barriers to that functioning. Meeting can lift the spirits towards autonomous self-determination but also smother radical action with boredom and despair. To attend a meeting is often to feel that the real work, politics or pleasure is happening somewhere else – perhaps in another meeting to which you haven’t been invited. Accordingly, this call for papers intentionally elides meeting as noun and verb, slipping between intimate scenes of fleeting contact, mutinous forms of social solidarity and the numbing protocols of bureaucracy: agendas, minutes, action points and AOB. Coming through the pandemic, imposed measures of social distance meant that many experienced the blanket withdrawal of much social contact for the first time. As a soft furnishing of structure that makes structure just about bearable, meeting becomes visible as a thing in itself not when it merely fails – on some level it always fails – but when it is withdrawn. After a period without the contact offered by the varieties of in-person gathering, meeting now reveals itself as a thoroughly ambiguous infrastructure, flecked as much with awkwardness, aggression and envy as it is with recognition, care or respect. Isn’t that why many people now want to return to a physical workplace whilst simultaneously dreading that return? This issue comes in part from the research project Acts of Assembly (2016-18, funded by the Leverhulme Trust), which considered face-to-face meeting as a social genre. It builds on the definitions and frameworks developed through that project while acknowledging the need to update and reflect on them, not just in the wake of the pandemic, but also of the urgent social movements – from racial justice to climate change – that have emerged with renewed force since 2020. As noted above, ‘meeting’ has become the precise locus for dramatic changes in social practice. This is at least in part because of the centrality of (the) meeting to collective action in a much wider contemporary field. This dimension of power has only increased as questions of risk and exposure have been negotiated. Who can work from home – presuming that is even desirable – and who is an ‘essential’ or ‘frontline’ worker? Whose body has been exposed to harm so other bodies could be protected? How are sociality, solidarity and action connected now? Models of democracy and social relations that were exported and imposed as part of European colonial expansion sought to impose their own styles of meeting on ‘subjects’ who had other ideas, other ways of meeting. How might paying attention to those traditions – such as the Māori hui (community meeting), Indonesian nongkrong (hanging out) or the aujmatin (ceremonial dialogues) of the Achuar people in Ecuador – reveal that what often passes as a way of ‘doing business’, governing or simply being together is the product of a very restricted economy of sociality? Finally, as remote encounters of all kinds continue to soak up the available spaces and times of sociality, what are the prospects for ‘liveness’, that long-cherished modality of performance, for bodies coming together in the same physical place and time to discuss, decide, act – or simply become intimate in other ways? As institutions and corporations grapple with how to manufacture and profit from the chance encounters and spontaneous creative collaborations that mediated or ‘in-person’ proximity is supposed to generate, the moment seems ripe to think about what we want when we talk about meeting.
Schedule: Proposals: April 13, 2022 First drafts: July 2022 Final drafts: October 2022 Publication: February 2023
Please visit the Performance Research website for the complete call for proposals and guidelines:
----
6. EVENT: Out of Site Chicago / Artist Focus with Odun Orimolade (Nigeria) Date: April 16, 2022; Location: on-line; Source: Out of Site Chicago
Out of Site Chicago presents: Artist Focus with Odun Orimolade (Nigeria) Facilitated by ieke Trinks (Netherlands)
April 16, 2022 Time: 11:15am–12:15pm CST
On Out of Site’s Twitch Channel: www.twitch.tv/out_of_site On Out of Site’s YouTube Channel: www.youtube.com/channel/UCk0xfcBYCUs_SBM7pmWMa-A
ABOUT ODUN ORIMOLADE Odun Orimolade PhD is an artist, academic that continues to evolve in an experimental, trans disciplinary approach to her practice, incorporating and exploring different media including performance art. She keeps an open contexture to her approach to creative production and is attracted to the impact on and perception of individuals on issues that spread through a variety of genres. These are attended with a mix of ideologies. Her work recurrently engages possibilities in overlapping realities and the intangible, also the impact of external influences and their reflection on human behavioural tendencies, orientation and interaction. A lot of this is largely introspective with a view to connect on a more individual, generative if not ethereal auspice. Orimolade consistently collaborates and contributes to different art projects and development programmes in exploration and research for creative practice. She lectures at the Yaba College of Technology Lagos, where she currently serves as the Sub-Dean of the School of Art Design and Printing. She also was instrumental in developing the Yaba Art Museum where she functions as curatorial director. She introduced and has coordinated the annual Performance Art Intensive workshops since 2012. Her performance work has been presented in the Museum of Contemporary African and Diasporan Art New York, Bern Performance Art Festival, Switzerland, the Overgaden, Institute of Contemporary Art, Copenhagen Denmark, Lilith Performance Studio, Malmo, Sweden, Centre for Contemporary Art, Lagos, Art 21 Space Lagos amongst several others. She is based in Lagos, Nigeria.
ABOUT OUT OF SITE CHICAGO Out of Site Chicago (OoS) has been curating unexpected encounters in public places since 2011. OoS has developed a methodology of working in urban space that supports diverse ideas and representations of artistic work. We have a trained steward team that supports the artist’s work and facilitates public engagement with the performance. In 2020, Out of Site partnered with Experimental Sound Studio to create live stream performances to support our performance community. In 2021, OoS organized Flow • embody in site, 2021 to foster international conversations about public performance practice.
---
7. CALL FOR SUBMISSIONS: Out of Site Chicago presents Open Air Deadline date: April 17, 2022; Location: Chicago, USA; Source: Carron Little
Out of Site Chicago Dedicated to working in public space since 2011 OPEN AIR - OUT OF SITE 2022 - PUBLIC PERFORMANCE IN CHICAGO
Out of Site Chicago is inviting applications from local, national and international performance artists, to create public performances in outdoor places on the West and North neighborhoods of Chicago, USA. Out of Site prioritizes work that is interactive, socially engaged and facilitates public engagement. Open Air is part of a collaborative project with Worm in the City of Rotterdam, Netherlands. Artists selected to perform in Chicago will have their work live streamed into public places in Rotterdam and vice versa. Out of Site is looking to support artists whose concept of public engagement is broad and outside the box. Do you have an idea for a socially engaged project – build a textual picture for us in a written proposal. The concept of this festival is to facilitate surprise encounters with a diverse public in outdoor places throughout the month of September 2022.
Submission Requirements: Submit a proposal by email. Please include the following in one pdf: –A detailed description of the performance/project including the location, time, duration and or route of performance –A short biography –Artist Statement –Six images of relevant work and a website address –A proposed budget for the performance (please include the number of performers and equipment needed)
Artist Stipends: $500 minimum for solo performances Up to $2000 for international artists Up to $2000 for public engagement projects Circumstances may change due to pandemic circumstances.
Deadline for Submissions: Sunday April 17, 2022 at midnight CST. NO LATE ENTRIES WILL BE ACCEPTED.
Please send entries to: outofsitechicago@gmail.com Subject line: OoS2021_yourlastname
ABOUT OUT OF SITE CHICAGO Out of Site Chicago (OoS) has been curating unexpected encounters in public places since 2011. OoS has developed a methodology of working in public places that supports diverse ideas and representations of artistic work. We have a trained steward team that supports the artist’s work and facilitates public engagement for the duration of the performance. In the selection process, OoS prioritizes work that is interactive but we are open to innovative approaches within the discipline of performance art and public dance. Out of Site organizes the public performance symposium Flow • embody in site with practice-based workshops, artist presentations and performance lectures and a final curated weekend of live public performance from around the globe.
---
8. EVENT: 2nd Annual Live Art Lecture with Morgan Quaintance Date: April 21, 2022; Location: on-line: Source: LADA
2nd Annual Live Art Lecture with Morgan Quaintance April 21, 2022 6:00–8:00pm
Online, on zoom Free, but please RSVP The Live Art Development Agency and Queen Mary University of London are pleased to announce that the 2nd Annual Live Art Lecture 2021 will be presented online by the critic and artist Morgan Quaintance, and titled Only Connect: Affect and Transcendence After Isolation.
Following prolonged periods of isolation and solitude caused by social conditions brought on by Covid 19, is it time to reemphasize and explore the value of affect, connection and presence (over telepresence), as artistic devices, in a post-pandemic reality? Drawing on experiences of performance in theatre, art and film, Morgan Quaintance will talk through why he feels the answer is yes.
The 2nd Annual Live Art Lecture is organized in association with MA Live Art, the first postgraduate programme in the UK dedicated to studying and making Live Art. Founded in 2018, MA Live Art is a partnership between the Department of Drama at Queen Mary University of London and Live Art Development Agency. In 2019, Brian Catling RA presented the 1st Annual Live Art Lecture 2019.
For more information and to register your spot: www.thisisliveart.co.uk/events/2nd-annual-live-art-lecture-lada-qmul/
---
9. WORKSHOP: Conjuring the Archive with Jess Dobkin Date: April 22, 2022; Location: Toronto, Canada; Source: C Magazine
Conjuring the Archive With Jess Dobkin
Friday, April 22 4:30–7:30pm 72 Perth Ave, Toronto
This program is co-created and co-presented by C Magazine and the Toronto Biennial of Art.
In this participatory performance art workshop, we will delve into experiences, ideas, and questions about the lifespan and spirit life of archival materials. Objects perform in past, present, and future, inhabiting all dimensions and directions, with new resonance and meaning available in every possible context. Participants will bring three items that they consider to be part of their personal or community archive and through sensory, embodied, and energetic encounters, we will collaboratively explore connections and intersections of live performance, documentation, and archival practice. Prompts and discussions will have us consider: How can archival materials be used in the creation of new work? How might we understand performance documentation as an artistic practice and as a potential tool with which to write archives differently?
All artists, archivists, activists, finders, keepers, scholars, collectors, witches, and mystics are welcome.
For more information and to register: https://cmagazine.com/events/conjuring-the-archive-jess-dobkin
ABOUT THE WORKSHOPS In this series of artist-led workshops, participants develop approaches to alternative archival practices that are rooted in community rather than established by an institution. Informed by the tenets of C Magazine’s Experiments in Criticism program, which was formed in consultation with experts in critical art pedagogy in 2019, these workshops pose questions for contemplation, discussion, and activation, such as: How can we develop embodied historiographic practices using creative-critical methods? How can we immediately begin to write a future that doesn’t perpetuate the same erasures we’ve witnessed to date? How do we record select details of our present in ways that will ensure they retain their vivacity over time, and by extension, how do we decide what to commit to memory?
---
10. WORKSHOP: There Are Fragments with Erika DeFreitas Date: April 29, 2022; Location: Toronto, Canada; Source: C Magazine
There Are Fragments With Erika DeFreitas
Friday, April 29 4:30–7:30pm 72 Perth Ave, Toronto
This program is co-created and co-presented by C Magazine and the Toronto Biennial of Art.
DeFreitas will share her process of working with found images, sharing space with their subjects, and attempting to unearth narratives through research, writing, and imaginings. How might the artist’s archive—the accumulation of images and items they gather as inspiration for art, life, or both—reveal stories that have yet to be centred? What lies beneath the surface? How do we unfold, uncover, and complicate institutional archives “once immobilized for preservation”? How can we forge artistic archival practices?
We graciously request that participants prepare by:
1) Reading “‘The Camera Made Me Do It’: Nicole Jolicoeur, Female Identity and Troubling Archives” by Patricia Levin and Jeanne Perrault (from which the citation above is drawn). 2) Bringing one or more images that stir their curiosity and/or have contributed to their practice, research, thinking. Hard copies are recommended, but accessing on a device is also welcome. 3) Bringing a device with which research can be conducted if needed and/or any existing research or work related to the images (e.g., notes, journal entries, articles, sketches, etc.).
We will spend time with these images individually and as a group, engaging in different frameworks for writing with, to, about, and through them. If comfortable, participants will be encouraged to share.
For more information and to register: https://cmagazine.com/events/there-are-fragments-erika-defreitas
ABOUT THE WORKSHOPS In this series of artist-led workshops, participants develop approaches to alternative archival practices that are rooted in community rather than established by an institution. Informed by the tenets of C Magazine’s Experiments in Criticism program, which was formed in consultation with experts in critical art pedagogy in 2019, these workshops pose questions for contemplation, discussion, and activation, such as: How can we develop embodied historiographic practices using creative-critical methods? How can we immediately begin to write a future that doesn’t perpetuate the same erasures we’ve witnessed to date? How do we record select details of our present in ways that will ensure they retain their vivacity over time, and by extension, how do we decide what to commit to memory?
----
ABOUT FADO PERFORMANCE ART CENTRE
Copyright © 2021 Fado Performance Inc., All rights reserved.
|
