INDEX
1. EVENT: Out of Site Chicago Performance Art Documentation Screening
Date: December 3, 2014; City: Chicago, USA; Source: Carron Little
2. EVENT: Lilith Performance Studio presents a new performance by Tori Wrånes
Date: December 4-6, 2014; City: Malmö, Sweden; Source: Lilith Performance Studio
3. EVENT: Negotiating the Unknowing Witness
Date: December 5, 2014; City: Boston, USA; Source: Sandrine Schaefer
4. CALL FOR SUBMISSIONS: Volume 20, Number 5: On Repetition
Deadline date: December 5, 2014; City: the world; Source: Performance Research
5. EVENT: LINK & PIN presents Victoria Stanton’s The Listening Sessions MTL #1
Date: December 12, 2014; City: Montreal, Canada; Source: Adriana Disman
6. EVENT: 2nd Venice International Performance Art Week
Date: December 13 to 20, 2014; City: Venice, Italy; Source: VestAndPage
7. EVENT: Artspace End of Year Finissage
Date: December 13, 2014; City: Sydney, Australia; Source: Artscape
8. CALL FOR SUBMISSIONS: Studio 303’s REMIX
Deadline date: December 15, 2014; City: Montreal, Canada; Source: Studio 303
9. CALL FOR PROPOSALS: LAPSody 2015
Deadline date: December 31, 2014; City: Helsinki, Finland; Source: David Frankovich
10. CALL FOR SUBMISSIONS: The lying on the floor, abandoned to lie
Deadline date: December 31, 2014; City: Bonn, Germany; Source: asabank
11. CALL FOR SUBMISSIONS: Feminist Art Conference (FAC)
Deadline date: January 15, 2014; City: Toronto, Canada: Source: Jordana Franklin
12. DONATE NOW: Operation Renovation at Defibrillator Performance Art Gallery
Date: NOW; City: Chicago, USA; Source: Joseph Ravens
13. NEW PUBLICATION: Monika Günther/Ruedi Schill
Launch Date: December 10, 2014; City: Luzern, Switzerland; Source: Ruedi Schill
14. CALL FOR SUBMISSIONS: RIPA (Rencontre Interuniversitaire de Performance Actuelle)
Deadline date: January 11, 2015; City: Montreal, Canada; Source: RIPA
15. CALL FOR SUBMISSIONS: Link & Pin performance art series
Deadline date: January 20, 2015; City: Montreal, Canada; Source: Adriana Disman
16. EVENT: Progress: an International Festival of Performance and Ideas
Date: February 4-15, 2015; City: Toronto, Canada; Source: Progress Festival
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1. EVENT: Out of Site Chicago Performance Art Documentation Screening
Date: December 3, 2014; City: Chicago, USA; Source: Carron Little
Out of Site Chicago Performance Art Documentation Screening 2014
Wednesday, December 3, 2014 at 7pm
The Nightingale Cinema
1084 N. Milwaukee, Chicago USA
For the third year in a row, The Nightingale Cinema hosts the end of year screening of Out of Site Chicago’s 2014 performance season documentation. Out of Site curates cutting edge unexpected encounters in public spaces. Out of Site supports contemporary performance artists to create new work that engages directly with the public in the Wicker Park and Bucktown neighborhoods. The Nightingale screening will include nine short videos of Out of Site’s jury-curated public performances that took place in 2014.
Films document artists Emilio Rojas (Out of Site’s Featured International Artist from Canada); Elena and Erin; Jake Vogds; Free Air: Regin Igloria and Amy Sinclair; Christian Cruz; Blushing Poppy Productions – Nicole Legette; Ginger Krebs and Sara Zalek; Stephanie Acosta; and Keijaun Thomas.
The documentation team for 2014 was Jamie Gannon, Laura Moore, Josh Perez, and Emerson Sigman. All videos are edited by videographer and editor Laura Moore.
The annual Out of Site performance series invites artists to select sites in Wicker Park and Bucktown that resonate with their practice, and to create and perform work at these sites. Out of Site’s mission is to bring cultural experiences to everyone, facilitating unique surprises for people as they come home from work, curating work that brings joy and transports people out of their daily routines to create a moment of reflection and wonder in their lives.
http://outofsitechicago.org
Twitter: @outofsite_chi
Facebook: https://www.facebook.com/outofsitechi
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2. EVENT: Lilith Performance Studio presents a new performance by Tori Wrånes
Date: December 4-6, 2014; City: Malmö, Sweden; Source: Lilith Performance Studio
YOUR NEXT VACATION IS CALLING a new performance by Tori Wrånes
December 4-6, 2014
Lilith Performance Studio, Bragegatan 15, Malmö Sverige
Open hours: 7 pm-9 pm
Booking is required: boka@lilithperformancestudio.com
Featuring: Kjell Mardon Gunvaldsen, Gustav Gunvaldsen, Monika Lyko, Tove Bruun Munch, Eirik Slyngstad, Pether Lindgren, Ida Mårdhed, Vladica Culic, Rabia Sirag Ali, Selma Kjellsson, Joar Dahlskog, Giselle Munnier Escobar. Soundscapes: Simona Barbera
"I dream of a mental holiday. A sort of abstract desert of images, movement and sound."
-Tori Wrånes Nov 5, 2014
The Norwegian artist Tori Wrånes has embedded Lilith Performance Studio in color and done every inch of the room to an explosive abstract painting where the furniture has left the floor and begun to soar. It is in this landscape Wrånes like to be, where everyday objects are reinterpreted and invalidated, as small adventures in soundscapes, oscillating between sports and melancholy. A musical flood of color and movement evoking a floating chaos without words and logic, determined by rhythm and moods.
Tori Wrånes is born in 1978 in Kristiansand, Norway. She lives and works in Oslo. Wrånes has a distinctive voice that can just as easily be placed in the music world as in the art world. Her way of combining voice and sculpture is sincere and honest. Tori has a background as a singer and was the frontwoman of a rock band before she started at the Art Academy in Oslo, 2004. In several of her art works the voice is the basic element and the main thread, where it usually is physically challenged.
Tori Wrånes has performed and exhibited around the world on art museums, art galleries, biennales and festivals. This year she showed the performance and the art piece STONE and SINGER at the 19th Biennale of Sydney, You Imagine What You Desire, Sydney, Australia. In 2013 she were commissioned by PERFORMA 13, New York, where she did the performance work YES NIX. 2015 she is in the residency program - The International Studio & Curatorial Program (ISCP) in New York.
Lilith Performance Studio is an independent arena for practical artistic research, focusing on visual art performance. The studio originates new large-scale performances by inviting visual artists to create exceptional performance pieces in a close collaboration with the Studio, from conceptualization to presentation. The studio explores, produces and presents performance with continuity and professionalism aimed at a wide audience. Since its inception 2007, LPS has produced 40 large-scale site specific performances in collaboration with artists from around the world. As a production space and an arena for visual art performance, the studio is the first of its kind in the world. The Studio is found and run by the Artists and the Artistic Directors Elin Lundgren and Petter Pettersson.
www.lilithperformancestudio.com
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3. EVENT: Negotiating the Unknowing Witness
Date: December 5, 2014; City: Boston, USA; Source: Sandrine Schaefer
Negotiating the Unknowing Witness: Art Actions in Public Space and Site Sensitive Strategies Panel followed by body3
Friday, December 5, 2014
Massachusetts College of Art and Design
621 Huntington Ave, Boston, MA 02115
Pozen Center (North Building)
2:00-5:00pm- Negotiating the Unknowing Witness: Art Actions in Public Space and Site Sensitive Strategies Panel*
Performance art is a medium that has historically challenged the boundaries and potential of what art is, can be, and where it can happen. This panel addresses the practices of artists working with experiential media who use non-designated spaces as sites for their works. What are strategies that artists use to negotiate the complexities of making work in spaces outside of the safety of a gallery or museum? What is at stake and how might we manage risk while still protecting the artistic integrity of the work, especially if the content might be perceived as confrontational? How does the intention of a work shift when integrated in an unfamiliar context? How might working site-sensitively challenge the work that we make in art designated contexts? Selected artists for this panel will offer 3 unique perspectives that confront, inspire, and challenge ideas around spectatorship and how to navigate corporeal and conceptual space on an international scale.
PANELISTS: Marilyn Arsem, Daniel S. DeLuca, and Boryana Rossa
MODERATOR: Sandrine Schaefer
5:00pm-6:00pm-Break
6:00pm-9:00pm-body3
Live Performances by Caitlin Quinones, Norela Haviari, Jessica Khamarji, and Amanda Watkins
*This panel is organized in collaboration with the Performance Art Fundamentals Course through the Studio for Interrelated Media. The Panel will be followed by performances by students enrolled this course.
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4. CALL FOR SUBMISSIONS: Volume 20, Number 5: On Repetition
Deadline date: December 5, 2014; City: the world; Source: Performance Research
Vol. 20, No. 4: ‘On Repetition’ (October 2015)
Eirini Kartsaki (Anglia Ruskin University) and Theron Schmidt (King’s College London)
‘The love of repetition is in truth the only happy love’, Constantine Constantius argues in his attempt to re-live a love affair, always already lost. In this playful account of repetition, written in 1843, Søren Kierkegaard proposes that life itself is a repetition.
Across visual arts, music, contemporary performance, dance practices, craft, and writing, repetition can be seen as a strategy to connect the formal properties of a work to thematic concerns about originality, desire, and the work’s own material conditions of production. Within performance studies, repetition has often been depicted as the enemy of liveness or live presence. As Derrida described, Artaud dreamed of an impossible theatre that never repeats itself, nor anything else: ‘The stage will no longer operate as the repetition of a present, will no longer represent a present that would exist elsewhere and prior to it, a present whose plenitude would be older than it, absent from it, and rightfully capable of doing without it’ (1967). On the other hand, Rebecca Schneider suggests that performance can be approached not as that which disappears, but ‘as both the act of remaining and a means of reappearance’ (2001).
Indeed, from Diderot through Stanislavski, a central problem of theatre has been to stage a repetition that is consistent in its emotional effect. But at the same time, through the repetition of practice, the rehearsed act becomes spontaneous and unthinking – and such is its desired effect, not only within theatre but also other forms of bodily training. Theatre itself is a terminal form, one that finds a particular ending within each dramatic instance, but in its reception it appears to perform an endless repetition, night after night and season after season. As Zola wrote in 1881, ‘Each winter at the beginning of the theatre season I fall prey to the same thoughts. A hope springs up in me, and I tell myself that before the first warmth of summer empties the playhouses, a dramatist of genius will be discovered…. Unfortunately, this dream I have every October has not yet been fulfilled, and is not likely to be for some time. I wait in vain, I go from failure to failure.’
Zola’s repeated visits to the site of his own disappointment is typical of the compulsive structure of desire. ‘I’ll just keep on/ ’til I get it right,’ sings Tammy Wynette in Ceal Floyer’s audio installation from Documenta 13, and in Exquisite Pain, Sophie Calle tells us: ‘I decided to continue until I got over my pain by comparing it with other people’s or had worn out my own story through sheer repetition’. As a structuring dynamic in dance, performance art, or the repetitive lists of some theatrical texts, repetition causes the event to slip in and out of the present, insisting on its now-ness at the same time as this present appears always-already to be gone. For listeners and spectators, these structures can transform their states of attention, absorbing them within the very dynamics being described.
The aim of this issue is to open a dialogue about notions of repetition in all of the above areas, and we invite proposals that reflect on repetition’s philosophical, historical, aesthetical and sociological implications. Contributors may draw from wider fields of thought that address understandings of time, memory, and history (Žižek via Marx’s ‘first as tragedy, then as farce’), or incorporate philosophical and psychoanalytic notions of exhaustion, difference through repetition, processes of becoming, and the possibility of finitude. Contributors may also refer to the Deleuzian investigation of repetition as symptomatic of the contemporary mode of being, as well as the Freudian pathology of repetition.
Themes that proposed contributions might address include, but are not limited to:
-Rhythm, seriality, formal patterns, and structures of attention
-Desire, pleasure, and terror of repeating
-Seduction, enthrallment, obsession, and compulsive repeated viewings
-Acting, re-enactment, and originary repetition; liveness; performance remains; ontology of performance
-Notions of termination and exhaustion, as well as renewal
-Citation and transformation in performance (and theories of performativity); queer repetitions
-Ritual; meditation; mantra; training; life practice
-Economic conditions; affective labour; one-to-one and serial performance
-Repetition, reconstruction, and memory; trauma and repetition; performance practices that engage with these
In addition to full articles, we would also welcome proposals for creative responses to the theme, including responsive writing, textual performances or visual works for the printed page, or other ideas for submissions that work with repetition in their form as well as content.
Schedule:
Proposals: 5 December 2014
First Drafts: March 2015
Final Drafts: May 2015
Publication Date: October 2015
ALL proposals, submissions and general enquiries should be sent direct to:
info@performance-research.org
Issue-related enquiries should be directed to the Issue Editors:
Eirini Kartsaki: eirini.kartsaki@anglia.ac.uk
Theron Schmidt: theron.schmidt@kcl.ac.uk
General Guidelines for Submissions:
-Before submitting a proposal we encourage you to visit our website and familiarize yourself with the journal.
-Proposals will be accepted by e-mail (MS-Word or RTF) and should not exceed one A4 side.
-Please include your surname in the file name of the document you send.
-DO NOT send images electronically without prior agreement.
-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.
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5. EVENT: LINK & PIN presents Victoria Stanton’s The Listening Sessions MTL #1
Date: December 12, 2014; City: Montreal, Canada; Source: Adriana Disman
LINK & PIN Performance Art Series is excited to announce its first event at its new home: Montreal's queer, anti-racist, feminist gallery RATS 9!
Our first event is Victoria Stanton's "THE LISTENING SESSIONS MTL #1"
December 12, 2014
8-10pm
Belgo Building
372 Stainte-Catherine Ouest, Suite 530
ABOUT
"The listening session is an occasion to get together and spend quality time listening to music. The joy that I have known in this process is something that I have always appreciated sharing with others and I am curious to explore how this kind of non-verbal engaging can potentially create connection, even a kind of intimacy, among acquaintances, but especially among 'strangers'. As music is so very evocative of other times/places and emotions, the experience of the music/listening, in an intentioned, quiet and focused setting, creates a particular zone of ‘communion.’
In this performance the audience is invited to bring a song of their choice which is played off mp3 players in a round-robin dj session. I sit with the audience and we stare at a blank wall, while listening to music together. Participants are invited to say something about the song they’ve selected (if they choose to) which turns into a second stage of presentation: performances of memory through spontaneous storytelling."
VICTORIA STANTON: http://bankofvictoria.com/
LINK & PIN: http://cargocollective.com/LINKPIN
RATS 9: www.facebook.com/we.are.rats.9
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6. EVENT: 2nd Venice International Performance Art Week
Date: December 13 to 20, 2014; City: Venice, Italy; Source: VestAndPage
2nd VENICE INTERNATIONAL PERFORMANCE ART WEEK
“Ritual Body - Political Body”
Palazzo Mora, Strada Nova, 3659, Venice, Italy
13 - 20 December 2014
Following the first edition “Hybrid Body - Poetic Body” that took place in December 2012 at Palazzo Bembo, the 2nd VENICE INTERNATIONAL PERFORMANCE ART WEEK will take place at Palazzo Mora in Venice from 13th to 20th December 2014 under the focus "Ritual Body - Political Body".
For the second edition with the focus “Ritual Body - Political Body” the 2nd VENICE INTERNATIONAL PERFORMANCE ART WEEK 2014 aims to investigate a wide range of concepts such as: art as a space for civil negotiation where human ethical values are the core; interconnectivity; political confrontation; utopia; ecological issues; social and individual conflicts and responsibilities, and how the self relates to them, at the same time concentrating on the fact that the presence of human beings in this world is always more than a temporary condition.
The communication that can be triggered between artists and the audience is an essential element. The topics addressed during the week will relate to the need to look at social relations and the lives of individuals with greater care. Due to the specificity of the theme of this second edition “Ritual Body - Political Body”, the live performances and works on display will also seek to provide reflection and further considerations on how to find meaningful mechanisms to foster positive change through contemporary art and culture in a clearly vital way.
The VENICE INTERNATIONAL PERFORMANCE ART WEEK wishes to enrich the highly renowned art scene in Venice with the audacious art form of performance art.
EXHIBITION:
Vito Acconci, Alain Arias-Misson, Richard Ashrowan, Jelili Atiku, Joseph Beuys, Waldo Bien, Chris Burden, Terry Fox, Guillermo Giampietro, Allen Ginsberg, Tehching Hsieh, Zhang Huan, Waldemar Januszczak, Norbert Klassen, Sigalit Landau, Legend Lin Dance Theatre, Boris Nieslony & Gerhard Dirmoser, Omen Teatar, Gina Pane, Bob Raymond, Pedro Reyes, Rong Rong, Inder Salim, Carolee Schneemann, Gerry Schum, Ulay, Paul Wong.
LIVE PROGRAM:
Andrigo & Aliprandi, Marilyn Arsem, Adina Bar-On, Bean, Tania Bruguera, Barbara Campbell, Shannon Cochrane, Angel Delgado, Norma Flores, Regina José Galindo, Melissa García Aguirre, Arti Grabowski, Andrea Hackl, Enrique Ježik, Sandra Johnston, Zai Kuning, La Pocha Nostra, Alastair MacLennan, Sarah-Jane Norman, Vela Phelan, Martin Renteria, Olivier de Sagazan, Benjamin Sebastian, Gianni Emilio Simonetti, Terry Smith, Alice Vogler, Julie Vulcan, Wen Yau. | ART WEEK Fringe.
SPECIAL GUESTS:
Fondazione Bonotto, Fundación Alumnos47, Live Art Development Agency (LADA).
CURATORIAL CONTRIBUTIONS:
FADO Performance Art Centre, Daniel S. DeLuca | Mobius Inc., Open Space Arts Society, ]performance s p a c e [, Prem Sarjo | Ejercicios Mosqueto, Leisa Shelton | Fragment31, Martin Renteria | TRANSMUTED Network, Silvio de Gracia | Videoplay, ART WEEK | Workshop Series by VestAndPage.
STUDY ROOM kindly provided by Live Art Development Agency (LADA), London.
CURATORS: VestAndPage (Andrea Pagnes & Verena Stenke)
VENICE INTERNATIONAL PERFORMANCE ART WEEK is an independent, nonprofit, non funded and noncommercial live art exhibition project by Studio Contemporaneo nonprofit Cultural Association of Venice and artist duo VestAndPage, co-organized in its second edition 2014 with Venice Open Gates, We Exhibit and Global Art Affairs Foundation. The event is made possible thanks to the cooperation and logistic support of local enterprises such as ConCaVe and Riviera, among others. Under the patronage of the Regione Veneto, Provincia di Venezia and Comune di Venezia.
info@veniceperformanceart.org
www.veniceperformanceart.org
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7. EVENT: Artspace End of Year Finissage
Date: December 13, 2014; City: Sydney, Australia; Source: Artscape
Join us for the Artspace End of Year Finissage on Saturday 13 December, 2014.
Featuring an exciting line up of performances, open studios, music, and an exclusive keynote public talk with Claire Bishop (leading theorist, art historian and Professor of Contemporary Art at City University of New York), this special afternoon celebration will bring a successful 2014 to a close.
PROGRAM OF EVENTS
FROM MIDDAY TO 6PM
Open Studios at Artspace
LOCATION: Artspace Level 2
BOOKING: n/a, free and open to the public
The 2014 Artspace studio artists will open the doors to their studios for visitors to join them for informal discussions about their practice and to view work created whilst in residency at Artspace.
WITH: Khadim Ali, Tane Andrews, Ella Barclay, David Burns, Brian Fuata, Agatha Gothe-Snape, Natalya Hughes, Anna Kristensen, Casey Legler, Todd McMillan, Adam Norton and Mark Shorter
Performance Month #4
LOCATION: throughout the building
BOOKING: n/a, free and open to the public
The second in a series of daylong performance programs throughout the Gunnery, curated by Francesca Heinz and Artspace Studio Resident Mark Shorter.
WITH: Ella Barclay, Sach Catts, Clare M Cooper, Michaela Davies, Francesca Heinz, Elise Harmsen, Shane Haseman, Jane Polkinghorne, Matte Rochford, Mark Shorter and Ben Terakes
FROM 12:30PM TO 1:30PM
Making Time with Tessa Zettel
LOCATION: Artspace galleries
BOOKING: n/a, free and open to the public
NSW Visual Arts Fellowship (Emerging) artist Tessa Zettel will host the final event of her Making Time project. Making Time is an open kitchen laboratory where participants share strategies for preservation – of food but also of the self. Following a series of preserving workshops held during the exhibition in various locations around Woolloomooloo, Making Time now opens up one last time for an informal jar swap and conversation. To participate, bring along a jar of something you've preserved yourself to exchange for someone else's.
FROM 3PM TO 4PM
Keynote Presentation with Claire Bishop, Dance in Museums
LOCATION: Artspace, Level 2
BOOKING: recommended, via eventbrite
Leading theorist Claire Bishop (Professor, City University of New York) will present her keynote speech, Dance in Museums. Over the last five years, discussions about performance have focused on dance in the museum, displacing the millennial preoccupation with re-enactment. At the same time, the question of how to acquire and display performance as part of a museum’s permanent collection is far from fully resolved. This talk looks at developments in three museums (two in New York, one in London) that have attempted to integrate dance into their gallery spaces, and at two recent artist-curated projects that have approached the conjunction of dance and museums in a more discursive fashion. Following the presentation, Frances Barrett (Artist and Curator Contemporary Performance, Campbelltown Arts Centre) will lead a short Q&A session to enable the audience to engage with the discussion.
FROM 4PM ONWARDS
Drinks, music and celebration at Artspace
LOCATION: throughout the building
BOOKING: n/a, free and open to the public
Following the presentation of Dance in Museums, Artspace invites visitors to relax in the galleries and Level 2 for a refreshing afternoon drink and music. DJ Bla-bla Kruger will help us celebrate the close of an exciting 2014.
Artscape
43 - 51 Cowper Wharf Road
Woolloomooloo NSW 2011
Sydney, Australia
T: +61 2 9356 0555
artspace@artspace.org.au
www.artspace.org.au
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8. CALL FOR SUBMISSIONS: Studio 303’s REMIX
Deadline date: December 15, 2014; City: Montreal, Canada; Source: Studio 303
Re-interpreting, remixing or covering are rhetorical conventions in some performing art forms such as music or theatre where the same raw material can be radically reshaped by a new director, musician or conductor. What happens if we apply the same principle to dance?
Want to see your piece in a brand-new light? Studio 303 is looking for two choreographers interested in having their work remixed by Catherine Lavoie-Marcus or Sasha Kleinplatz & Andrew Tay (Wants&Needs). Take advantage of this opportunity to have mid-career artists reinterpret your work through their lens.
With an atypical background, Catherine Lavoie-Marcus examines the multiple facets of contemporary dance. Trained in the Axis Syllabus, Butoh, Contact Improvisation and theatre, she also earned a master’s degree in philosophy. She moves between choreographic and theoretical research, dance teaching and artistic mediation. She has presented her choreographies in Montréal since 2009, and most recently for Tangente with Acéphales (2012) and Schizes sur le Sundae (2013). Since finishing their B.F.A’s in Contemporary dance at Concordia University, Andrew Tay & Sasha Kleinplatz have presented their separate choreographic work in dance venues across Canada, New York City and in Europe. In 2005 they co-founded the company Wants&Needs Danse. Since then, the company has produced the wildly popular dance events Piss in the Pool, Short&Sweet and Involved. They will be part of Danse Danse 2014-15 season with the piece Chorus II
Practical details:
-Performances will be held at Studio 303 on Saturday, April 18th 2015, at 6pm and
Sunday, April 19th 2015, at 4pm.
-Original works and their remixes should last about 12 minutes each. Each evening will close with a public discussion.
-Studio 303 will provide 20 studio hours per project.
-To the project proposal, you will receive an honorarium of $1,250 including residency and performance.
-Only selected artists will be contacted.
To apply, fill out the online form here:
https://docs.google.com/forms/d/1D71nhvjBqbUHageiG84K0Koi3ZF1vSY5IXpq5pegJI/viewform
www.studio303.ca
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9. CALL FOR PROPOSALS: LAPSody 2015
Deadline date: December 31, 2014; City: Helsinki, Finland; Source: David Frankovich
LAPSody 2015
5th International Festival and Conference of Live Art and Performance Studies
Theatre Academy of University of the Arts
Helsinki, Finland
May 27–30, 2015
In our present situation we have an urgent need to come back together. The MA students in the Live Art and Performance Studies programme at TeaK invite you to join us and share your thoughts and ideas at a five day conference on emergent practice, taking place in May, 2015. We welcome proposals from artists, students and independent scholars from different fields for performances, installations, media artworks, workshops, papers and discussions for the 5th LAPSody International Festival and Conference on this year’s theme: Emergent, Emergence, Emergency
We are also requesting proposals for texts and visual projects on the same theme for a publication to be released in conjunction with LAPSody. This is an opportunity for the presented papers to be published as well as interviews, artist texts, poetry, prose, visual essays, photography and drawings.
Emergent: Coming out, emerging, appearing, arising, rediscovery, an agent and a phenomena...
Emergence: Coming together, merging, producing something hybrid, montage, assemblage...
Emergency: An urgent political need to come (back) together, to meet, to share thoughts, reintegration, reassembling...
Emergence can be understood as a process of combining smaller systems in order to form larger ones. It implies interaction, combination, (self) organization, spontaneous patterns, collective actions, randomness. It is a paradox in that it is both patterned and random but what it reveals is its own system or logic.
Snowflakes, temperature and weather phenomena can be considered to emerge. Colonies of ants, a traffic roundabout and flocking birds are examples of emergent structures. Is performance an emergent structure? Is it an emergency? Is it that for you? What makes you perform and what are the principles around which your practice forms? Emergent, emergence, emergency proposes discussions on the structures and nonstructures of performance, its ethics and politics as a decentralized(?) system.
What makes us seek each other out? What are our most pressing needs? What are the forgotten or overlooked modes of knowledge production that are in urgent need of reemergence? What forms of bodily knowledge have been covered over, and are in need of returning to?
Emergence suggests both emergency and the merging of two or more agents, substances, collaborators, disciplines or knowledges to produce something which is more than the sum of its parts. What kinds of knowledge emerge from coming together?
How to apply for the festival and conference: To apply please email your CV, short bio, 300 word abstract or description of your proposed activity, any technical requirements, and the name of your programme and university if applicable.
How to apply for the publication: To apply please email your CV, short bio, 300 word abstract or description of your project, and the name of your programme and university if applicable.
We can offer: Spaces available include two black box studios, one white box studio, an auditorium and seminar rooms. Performances in public spaces are also possible and encouraged. Accommodation in twin rooms and lunch is provided. Cost of travel is not included.
Deadline for proposals: 31 December, 2014.
All applications will be responded to by 16 January, 2015.
LAPSody will be taking place 27-30 May, 2015.
Contact: lapsody2015@gmail.com
Website: lapsody.tumblr.com
Organizers: David Frankovich, Hannah Gullichsen, Vili Nissinen, Diana Soria Hernandez (MA Degree Programme in Live Art and Performance Studies, Theatre Academy of the University of the Arts Helsinki.
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10. OPEN CALL FOR SUBMISSIONS: The lying on the floor, abandoned to lie
Deadline date: December 31, 2014; City: Bonn, Germany; Source: asabank
PAErsche, the E.P.I. Zentrum and the Künstlerforum Bonn/D organize together the second diagrammatic exhibition: The lying on the floor, abandoned to lie
The topic of this experimental and research exhibition are the views of:
lying – sitting – standing – walking – jumping – flying/falling – carrying
what the human is doing and how
The exhibition take place February 2015. The exhibition is included in the Videonale 2015. Some video-essays for this topic are in the production. (Roland Bergére)
The exhibition is not a commercial exhibition, the exhibition is the knowledge in the performance art owed. It is a network to bind the different artistic works in a diagrammatic overview.
The matter for this exhibition will generated in three ways:
A) we invite cordial performance artists and theorists to send documents about this topic. text, photos, (till A3) and exceptional video;
B) the performance archive Black Kit generate material from the history in performance and performiung arts;
C) the research project Anthropigtnostical Dishes generated material from an anthropological and ethnographical perspective of human movments of this topic.
See the website from the first exhibition: http://thelyingonthefloorabandonedtolie.blogspot.co.at/
See the website of the performance art archive: www.asa.de/asa_broschure.pdf
See the website of Künstlerforum Bonn:
www.kuenstlerforum-bonn.de/typolight/index.php/das_kuenstlerforum_bonn.html
Deadline: December 31, 2014. Don’t be afraid to ask any questions!
Send the material to:
Boris Nieslony
Atelierhaus
Boltensternstrasse 16 V6
D – 50735 Köln
Boris Nieslony / Paersche, E.P.I. Zentrum
Susanne Grube / Künstlerforum Bonn
Roland Bergére / Radical-Egal Video
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11. CALL FOR SUBMISSIONS: Feminist Art Conference (FAC)
Deadline date: January 15, 2014; City: Toronto, Canada: Source: Jordana Franklin
FAC Presents: You’re Not Here
NOTE: The FAC 2015 conference will be held at OCADU September 24-27 with an accompanying exhibition. For the month of March the curator of Daniels Spectrum has invited FAC to produce an exhibition for their recognition of International Women’s Day.
CALL FOR SUBMISSIONS
The Feminist Art Conference is seeking visual artists for a month long art exhibition for International Women’s Day, at Daniels Spectrum (formerly called the Regent Park Arts and Culture Centre). Drawing upon its new home in Regent Park, where plans for revitalization have forced residents to relocate during the transition, the show will feature a spotlight theme that explores the concept of displacement, uprooting, and relocation. Artists are invited to submit work that examines this theme and its various causes, including community housing redevelopment, land disputes, immigration conflicts, and threats of violence. Priority will be given to works that explore the topic from a women's perspective and/or within a feminist framework including trans women, transfeminine persons and gender nonconforming individuals.
The deadline for submission is Thursday, January 15, 2015. Please send submissions to facmarch2015@gmail.com with “FAC Exhibition” in the subject line. Accepted artists will be notified the last week of January.
Submission questions should be sent to FAC curator Jordana Franklin at: jordanayfranklin@gmail.com
Exhibition will take place from March 3 – March 31, 2015.
This exhibition space is a public space within a community centre. The centre does have security and has a three-year history of being a safe space for numerous monthly exhibitions. However, if you are uncomfortable with your work being unattended in such an environment, consider your commitment to this unique exhibition before applying.
Submission Guidelines – Submit the following in PDF format
-An artist statement (1 page max)
-A 150-word biography and other supporting material you would like to include (web links, reviews, catalogues, etc)
-Images that are representative of the work(s) you would like to display (max 7)
-An image list indicating artist name, title, medium, dimensions in inches, and year
-Optional: A description of how this theme has personally impacted you or someone you know (1 page max). Please note: this content will not be used in any form without your permission.
SPECIAL NOTE: The Feminist Art Conference Toronto is a grassroots, not for profit, volunteered-based organization. While we actively seek and engage in a variety of partnerships, FAC functions as an independent base, not specifically affiliated with any corporation, university or non-governmental organization. We will be fundraising for the costs associated with the production of this exhibition and as such, we cannot provide artist fees
at this time.
About Feminist Art Conference
Feminist Art Conference (FAC) is a Toronto-based organization that brings together artists, academics and activists to consider feminist issues through art. Founded in 2013 by artist Ilene Sova, FAC began initially as an event to link feminist artists with each other as well as providing a forum in which to discuss our content. A call for organizing help was included in the first call for submissions and a large committee was formed to organize the FAC 2013 on March 9th for International Women’s Day. The first Feminist Art Conference caught the interest of over 70 participating artists and 175 attendees. FAC 2014 was held at OCAD University and doubled in size with 350 attendees and 90 participating artists. With astounding interest both nationally and internationally, the FAC Committee has made an on-going commitment to facilitating interdisciplinary and inclusive arenas for feminist art.
About Daniels Spectrum
Daniels Spectrum is a platform for cultural exchange and collaboration, with programming rooted in Regent Park and open to the world. It is a place where people come to be inspired, to learn, to share, to create. It showcases artistic talent, acts as an incubator for creativity and a workshop for social and cultural innovation. This 60,000 square foot facility buzzes with energy from community members, artists, social entrepreneurs and the general public. It is home to seven tenant organizations including ArtHeart Community Art Centre, Centre for Social Innovation, COBA Collective of Black Artists, Native Earth Performing Arts, Pathways to Education, Regent Park Film Festival and the Regent Park School of Music. The facility also [and] features several performance, event, exhibition and public spaces. Daniels Spectrum is managed by Artscape, a not-for-profit urban development organization that makes space for creativity and transforms communities.
www.factoronto.org
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12. DONATE NOW: Operation Renovation at Defibrillator Performance Art Gallery
Date: NOW; City: Chicago, USA; Source: Joseph Ravens
Starting over is hard. In late September we lost our lease on the storefront that housed Defibrillator. We were only given a five-week notice and it nearly ruined us. But a tremendous outpouring of support and encouragement from around the world gave us the fortitude to persevere. Our board of directors rallied and we were able to secure a new location by the end of October. We sculpted a beautiful environment at our former location and now we must start over.
Our new storefront is a vertical move for us as an organization: a larger space on a busier street. But it is a raw space and needs a lot of renovation. Also, our new lease requires that we sound-proof the ceiling. We are physically and mentally ready for the challenge, but not financially. We struggle every month just to keep the doors open and the lights on. So we’re asking for your help.
We need funding to get our new space up and running. Our renovations include: (1) soundproofing the ceiling; (2) power-washing and pouring new cement in the basement; (3) laying a new wooden floor in the main gallery; (4) building out a window exhibition space for performances and installations viewed from the street; and (5) building out the back of the storefront with a wheelchair accessible bathroom, a kitchenette, and lofted office, greenroom, and tech booth.
We need to make $15,000 by mid-January in order to be ready for our first exhibition in February. Obviously, we have our work cut out for us! Please support performance art in Chicago by donating to OPERATION RENOVATION.
http://dfbrl8r.org/
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13. NEW PUBLICATION: Monika Günther/Ruedi Schill
Launch Date: December 10, 2014; City: Luzern, Switzerland; Source: Ruedi Schill
Performance Art
Monika Günther/Ruedi Schill
Since the 1980s, Monika Günther and Ruedi Schill have been instrumental in the development, support and dissemination of performance art. In 1995, they began working collaboratively, which has resulted in a unique body of work. They focus on human behaviour, rituals and patterns of perception, as well as engaging with social issues from a distinctly aesthetic viewpoint. Their work has attracted significant recognition internationally. This is the first compilation of their extensive performance documentation. A large selection of photographs offers an impression of the physical presence of the artists and their live performative events. At the same time, this book aims to stimulate debates surrounding performance art and the exceptional fascination it holds.
Performance Art
Monika Günther/Ruedi Schill – monograph
Edited by Helen Koriath
320 pages, 17 °— 23 cm, sewn, cloth binding with dust jacket, text in German and English
by Helen Koriath, Fanni Fetzer and Urs Bugmann
ISBN 978-3-909090-65-5
BOOK LAUNCH
10th December 2014, 6 pm at the Museum of Art Luzern
With a Performance by Monika Günther and Ruedi Schill
Published by Vexer Verlag, Josef Felix Müller
Brauerstrasse 27 b, ch-9000 St. Gallen, Switzerland
www.vexer.ch, info@vexer.ch
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14. CALL FOR SUBMISSIONS: RIPA (Rencontre Interuniversitaire de Performance Actuelle)
Deadline date: January 11, 2015; City: Montreal, Canada; Source: RIPA
RIPA (Rencontre Interuniversitaire de Performance Actuelle) is looking for emerging artists and student interested in taking part in an evening of performances to be held on May 2nd, 2015 in Montreal, Canada.
Proposals concerning performance art (whether or not including new media) and its variations; action art, public intervention, stealth art, reenactment, etc. Projects as media archive will also be considered. The performance will be a maximum of 15 minutes, but can also adopt a split-off or punctual format.
The team is ready to provide support for hosting research for the duration of the event.
Your application must include IN ONE PDF FILE (10 MB max):
-A curriculum vitae (maximum 2 pages)
-A short text on your practice (maximum 250 words)
-A description of your project (maximum 350 words)
-A maximum of 10 digital images with the following information:
title, date, duration, platform or site (s) web broadcast
-A link to a video documentation is strongly recommended (Vimeo or YouTube)
-A list of your technical requirements (hardware, the number of people required (approximate)
in the development of your installation). *
* The artist will provide installation and technology with volunteers of the organization. Some audio-visual pieces may also be provided.
Please send your application in a single PDF file to the following email address: ripa.contact@gmail.com
(contact: Manoushka Larouche and Janick Burn)
Please note that incomplete applications will not be forwarded to the selection committee.
Deadline: January 11, 2015 before midnight.
No applications will be accepted after this date.
For an overview of previous editions and to know our mandate, we invite you to visit our website and our facebook page:
ripa-performance.org
https://www.facebook.com/RIPA.performance.actuelle
https://www.facebook.com/events/1564700613762767/
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15. CALL FOR SUBMISSIONS: Link & Pin performance art series
Deadline date: January 20, 2015; City: Montreal, Canada; Source: Adriana Disman
LINK & PIN performance art series: Open call for submissions
DEADLINE: 20 JANUARY 2014
LINK & PIN performance art series is moving to Montreal for 2015-16! To broaden L&P’s knowledge of practicing performance artists and avoid insularity, we are offering this open submission. The submittal is open format—it can be as simple as your name and web site, or a description of a piece you want to present, or a text on why you want to perform here, etc. Include whatever you think we should see to get a sense of your practice. Local, international, established, and emerging artists are all welcome.
Submissions will not be treated as “accepted/not accepted” but rather accrued towards a bank of artists that we can return to whenever we are programming.
IMPORTANT: All artists should read the mandates (below) before submitting, as it’s imperative that all programming aligns with these. As well, L&P has zero funding and cannot offer any artist/material fees or housing. We are happy to provide letters of invitation for grant applicants!
RATS 9 Gallery Mandate:
RATS 9 is a DIY feminist and queer artist-run centre. Its mandate is to support and disseminate the work of artists whose practices broach questions of identity or tackle systems of oppression. RATS 9 aims to be a safe(r) space, a place where, through art, we can start a discussion about feminist, post/decolonial, and queer issues. *RATS 9 is wheelchair accessible
LINK & PIN Mandate:
LINK & PIN’s mandate is to present performance art specific works. Though I am not interested in policing what is and isn’t “performance art” the goal of this mandate is to offer space to work that is not supported via the plethora of dance and theatre institutions in Montreal. We love you but if the work you’re showing could be programmed there, go there.
Send submissions or questions to: linkandpinperformance@gmail.com
LINK & PIN: http://cargocollective.com/LINKPIN
RATS 9: https://www.facebook.com/we.are.rats.9
DEADLINE: 20 JANUARY 2014
***Note: We encourage local artists to submit as soon as possible since there may be some performance opportunities in January.
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16. EVENT: Progress: an International Festival of Performance and Ideas
Date: February 4-15, 2015; City: Toronto, Canada; Source: Progress Festival
SummerWorks, in partnership with The Theatre Centre and a roster of Toronto theatre and performance organizations/presenters and companies including: FADO Performance Art Centre, Buddies in Bad Times, Dancemakers, Why Not Theatre, Video Fag, and Volcano Theatre brings the world to Toronto with Progress: an International Festival of Performance and Ideas, February 4-15, 2015.
Artistic producer of SummerWorks Michael Rubenfeld is pleased to announce the lineup of international shows, workshops and conversations coming to Toronto this February for the inaugural Progress festival. Working in collaboration with multiple local performance-based companies, Progress brings together international performances and ideas under one umbrella, engaging in a larger conversation about language, accessibility and what progress means to Toronto’s performance ecology. Each project has been specifically curated by a Toronto company.
“I am incredibly excited and proud of how many different companies have come together to make this event happen,” says Rubenfeld. “Progress is bringing together a series of essential conversations being had by some of our city’s vital thought-leaders in performance. This is a festival led by a collective desire to collaborate in how we think about performance in Toronto, and the result is a staggeringly unique and diverse program of work”
All Progress performances take place at The Theatre Centre (1115 Queen St W), host venue of the festival. "As the home of Progress, The Theatre Centre will serve as that point of connection between international programming, innovative workshops, rich and diverse dialogues and the local community. We are thrilled to be partnering with SummerWorks Performance Festival to produce the inaugural Progress festival," notes The Theatre Centre’s General and Artistic Director Franco Boni.
FADO Performance Art Centre presents: Silent Dinner
Created in collaboration with Amanda Coogan (Ireland) and local participants
Presented in the context of Progress: an International Festival of Performance and Ideas
Saturday February 7, 2015
Performance: 1-9pm
Post performance talk: 9-10pm
Tickets: Free (audience is free to come and go during the performance)
FADO Performance Art Centre presents Silent Dinner, created with artist Amanda Coogan, and in collaboration with local artists, performers and non-performers. Silent Dinner is an 8-hour performance in which 10 people prepare, cook, and eat a dinner in complete silence. The participants are a combination of Deaf, CODA (children of Deaf adults) and hearing artists, performers and non-performers from Toronto.
In Silent Dinner, silence is transformed from a potential born of discomfort or newness, and transformed into the landscape in which direct communication between people who don’t share the same language is negotiated. The dinner table becomes a meeting place for the intersection of culture and language (hearing and Deaf culture, English and ASL, performance as language) via a performance score in which the participants arrive to an empty space, collectively arrange a rudimentary working kitchen, and then proceed to prep food, cook, set a dining table, and consume a shared meal, all in complete silence.
The audience is invited post-performance for dessert and conversation with Coogan and collaborators. ASL interpretation provided.
Amanda Coogan’s practice concentrates on durational performance installation, and group performance made in collaboration. Recent work with the Dublin Theatre of the Deaf is touring in the UK. She has performed and exhibited her work extensively in Ireland (The Irish Museum of Modern Art, Hugh Lane Gallery) and internationally in Amsterdam (Van Gogh Museum), Barcelona (Galeria Safia), New York (PS1) and Paris (Centre Culturel Irlandais) and at The Venice Biennale and the Liverpool Biennial. She was awarded the Allied Irish Bank’s Art prize in 2004.
Presented by FADO Performance Art Centre in association with Progress.
www.performanceart.ca
www.thisisprogress.ca
@SummerWorks
#ProgressTO
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ABOUT FADO
Established in 1993, FADO Performance Inc. (Performance Art Centre) is a not-for-profit artist-run centre for performance art based in Toronto, Canada. FADO exists to provide a stable, ongoing, supportive forum for creating and presenting performance art. 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 new perspectives. Thanks to the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage for their on-going support.
www.facebook.com/pages/FADO-Performance-Art-Centre/195530870502914
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