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FADO E-LIST (August 2015)INDEX +++ 1. CALL FOR PARTICIPANTS: Performative Writing Workshop with Teena Lange Performative Writing Workshop Co-presented by FADO Performance Art Centre + LINK & PIN Performance Art Series Performative Writing or Creative Critical Writing is claimed to be, in itself, a form of performance, often taking as its subject a work of visual art or performance art. The core of this workshop is to develop sensitization for textures and the practice of taking the time to do the doing. Entering into performative writing allows the re/activation of the wording & being less paralyzed by the empty page, breaking through the trained fixation of meaning seeking structures of texts. Everyone can write. This workshop allows you to take time to experience another writing practice or develop one if you don’t currently have an active writing practice. Through a series of exercises the workshop will deal with linguistic matters, performative utterances, writing styles, the playground of proverbs, documentation dots & lines, various mechanisms of memory and referentiality, readership & queer quality management. DATE: September 30 – October 2, 2015 This workshop is open to all: artists, performance artists, writers, students, bloggers, non-writers, curators, academics, life witnesses. All are welcome. There is room for a maximum of 12 participants. HOW TO ENROLL: email adriana.disman@gmail.com with the subject line “Performative Writing Workshop”. ABOUT TEENA LANGE www.performanceart.ca/index.php?m=program&id=290 +++ 2. EVENT: Braid of Resistance and Live Performance Ombaasin is a collective of First Nations word and image warriors committed to innovative programming that builds community and helps the arts grow through spaces of experimentation and exchange. Ombaasin means to be lifted by the wind in Anishiinaabemowin. Its members include Wanda Nanibush, Elwood Jimmy and Brian Norton. Braid of Resistance and Live Performance The collective will collaboratively create new work that honours the active and prolonged resistance of Indigenous people, in particular Indigenous women and two spirited people, to violence and colonization. We invite Indigenous community members to create a huge braid with us in the days leading up to the performance. An elder will guide the group through the sweet grass and braid teachings. During the Live Performance, the braid will be presented to the public and we will sing our songs to its spirit. Celebrated Cree singer Rosary Spence will conduct free song workshops in advance of the performance. Events Schedule Braid of Resistance community creation with Ombassin Collective Live Performance at The Power Plant (South Terrace) ALL EVENTS ARE FREE. Addresses: Power Plant Contemporary Art Gallery For more information: www.thepowerplant.org/ProgramsEvents/Programs/Other-Programs/Ombaasin.aspx +++ 3. EVENT: LIVE ACTION 10 – Love & Freedom Live Action celebrates its 10th anniversary as one of Europe's essential performance art festivals with a new, innovative and expansive event design with the announcement of a new groundbreaking international project, which will be realized in conjunction with the festival’s 11th edition in early June 2016. Because Live Action is always thinking ahead while avoiding the ordinarity of the spectacular, we continue with our generous and free asylum policy where freedom of speech anarchists, feminists, murder threatened and black listed artists, yes artistic dissidents of various kinds are given place. We are conscious that we do it in a time when anti-semitism, racism and nazi leanings thrive, where historical revisionism is accepted, hate-speech is described as freedom of speech, and bullying is seen as pedagogy. The only counter-weapon in such a time is the love and freedom that these extremists hate. A freedom that they invoke, but that they basically despises. Our 10th anniversary is celebrated with a new event design, presented in the strand Live Time, whose key notion is extended audience time. A concept that we have developed with the intention to simplify the audience's access and ability to assimilate, see and experience today's most avant-garde art form. At the same time, it provides a possibility for us to present one the most exciting formats in performance art: durational works. We know that direct experience of artistic creation fascinate most people. Thus, we have invited an artist to create a work live outdoors for 72 hours at selected sites in Gothenburg’s urban space. Live Time presents five artists in as many weeks and starts on July 30 with finish on 30 August, with each work being realized from Thursday at 2 pm to Sunday at 2 pm. But if Live Action 10 expresses a vision, it is in continuity. We keep going with the former, albeit changing, festival format at Akademin Valand, Gothenburgs’ Academy of Fine Arts, from September 2 to 6 2015. If we previously featured 18 artists over three evenings, we have for our tenth anniversary reduced the number of artists to ten but extended the time to five days, thus presenting two artists and works per night. The intention is to create a sharpness in the experience, and give the reception more depth. Of course Live Action continues also with its pillar strand, Common Ground. An example of a true cultural democracy and freedom. Through which we create an encounter between the artists work, our common urban space and the public at large. It will be an exciting encounter, which takes place on Friday September 4 at Kungstorget and Saturday September 5 at Brunnsparken. Live Actions celebrates its tenth year anniversary furthermore with Live Talk, a series of artist presentations in the context of Live Time at Röda Sten and the City Library, with Lilibeth Cuenca Rasmussen and Joakim Stampe at Röda Sten continuing with Arahmaianiand Xiao Lu at the City Library. Last but surely not least Live Action 10 presents a two-week exhibition, Live Global, at the City Library from August 4 to August 16. The show coincides with the city’s annual and popular celebration, Göteborgs Kulturkalas, and presenting a great number of large format photographs of performance artists from around the world. Our new event design and format for this 10th anniversary gives us hope of a development of how performance art can be showcased. Where focus, prolonged audience time and a deepening of our understanding lives together. We do hope that you will appreciate it. Welcome! LIVE TIME (72h) invited Artists: Rerun by Nigel Rolfe (Ireland) Being Human by Lilibeth Cuenca Rasmussen (Denmark) Black Carboniferous Poetry by Joakim Stampe (Sweden) Shadows of the Past by Arahmaiani (Indonesia) China Emptiness by XIAO Lu (China) LA10 Invited Artists: Wednesday September 2, 2015 Thursday September 3, 2015 Friday September 4, 2015 Saturday September 5, 2015 Sunday September 6, 2015 +++ 4. EVENT: Streetlevel: Performance Art in Public Space Streetlevel: Performance Art in Public Space Thursday 6th of August +++ 5. EVENT: HYPER_ at the SummerWorks Performance Festival ***Summerworks has offered FADO Performance Art Centre a LIMITED number of comp tickets for the Friday, August 7 (5:30pm) performance of HYPER_ by Freya Bjorg Olafson. If you would like a chance to win tickets to this performance, please email: clayton@summerworks.ca Wednesday, August 5 at 5:00pm.*** At the intersection of performance, visual and digital arts, HYPER_ explores the limits of perception. By shifting the dimensionality of the live body in relationship to the immersive screen Hyper_ moves between 2D and 3D representations of corporeality. HYPER_ inherently becomes a site for expanded choreography where virtual bodies, cyber dancers and the contemporary reinterpretation of everyday gestures converge. The performer’s physique is dissected and transformed, disappearing and merging with the stage and screen. Animated by a series of transformations, layered and colorful, the body becomes our dreamscape. HYPER_ deploys a deliberate combination of UV light, body paint, 3D glasses for the audience and large video projections on a black scrim. Website: http://summerworks.ca/2015/artists/hyper_/ HYPER_Performed & Created by Freya Björg Olafson www.freyaolafson.com +++ 6. EVENT: Offending the Audience at the SummerWorks Performance Festival Christian Lapointe takes on the founding text of anti-play – the playful and destabilizing Offending the Audience by Peter Handke. Nearly fifty years after its creation, Lapointe reinvents the play’s celebratory radicalism. Taking the show’s title and the line “This is not a play” quite literally, he casts the audience as the only living character in the piece, placing the spectators face to face with themselves. They are both the subject and the object of this unusual performance, where theatrical representation is turned inside out. In this refreshing and fun-loving recreation, Christian Lapointe leads the affront using astonishing synthesized voices. Subjected to the orders of dehumanized robots, the spectators will be chased out of the theatre – we won’t tell you how! – by the infamous cascade of insults at the end of Handke’s play. Is it an object of live cinéma-verité, sound art or digital theatre? Who knows? “With Offending the Audience, Handke brings to the theatre the issues of the day: what is the public, what does the representation, what is the function of theater, what are the effects of time on our perception of the world? ( …) [Christian Lapointe] offers an amazing sight here where humor plays with the intelligence of the public rather than its resilience. And doing so he revealed the full scope and timeliness of the apostrophe, over 40 years after its original creation.” –Revue Jeu Website: http://summerworks.ca/2015/artists/offending-the-audience/ +++ 7. WORKSHOP: SummerWorks Lab with Olafson/Lapointe/Robinson SummerWorks Lab SummerWorks Performance Festival is excited to announce their inaugural SummerWorks Lab, a series of professional development workshops led by some of Canada’s most innovative performance makers. Hosted at the Factory Theatre from August 10th-14th, this diverse line up of workshops explore facets of contemporary performance as varied as the mechanisms of immediacy, cross-disciplinary video work, Ukrainian folk singing, site specific dance, and multi-disciplinary creation methods - all at accessible prices. Open to all who are interested, these workshops have limited capacities and are sure to fill up quickly. You can register by completing this form (https://goo.gl/JazkiZ) or visit www.summerworks.ca for more details. Registration closes August 7, 2015. Immediacy - to please or not with Christian Lapointe Media & Performance with Freya Björg Olafson The Space Wants You: Nature in the Wild City with Aimée Dawn Robinson +++ 8. EVENT: Ring of Fire by Marlon Griffith in Toronto! Toronto: its time to get out there and take to the streets. Trinidadian artist creates 300-person street procession staged at the TO2015 Parapan American Games, August 9, along University Avenue, Toronto. Featuring persons with disabilities, the Mississaugas of the New Credit First Nation, Capoeira Athletes, and young spoken word poets from Jane-Finch, Malvern, and Regent Park, this procession re-defines public ritual in the City of Toronto. On August 9 at 12pm, Toronto will bear witness to one of the most extraordinary images of its cosmopolitan self. Ring of Fire, a commissioned procession by internationally renowned artist Marlon Griffith, takes to the streets—and not just any street in any city. This kind of event can only happen in Toronto. This not-to-be-missed, 300-person strong street procession, punctuated by spoken word poetry by some of Toronto’s most promising “word-warriors,” weaves through the heart of Toronto’s downtown core along University Avenue from Queen’s Park to City Hall. At 2 pm the procession culminates in a Round Dance worthy of the Guinness Book of World Records—an unbelievable image to open TO2015’s cultural program at Nathan Phillips Square that day. The procession is based on the Anishinaabe Seven Grandfather Teachings: Wisdom, Courage, Respect, Honesty, Truth, Humility, and Love—themes that are dramatized in the elaborate, custom designed costumes and newly conceived mobility devices and that structure the “bands” of the procession. Importantly, these Teachings are also the ethical basis of the project and inform the working principles of its making. A project over two years in the making, Ring of Fire brings together members of local First Nations, Disability, Capoeira, and Spoken Word communities in an unprecedented collaboration. As a project dedicated to the future of Toronto, this project is made by Torontonians for Torontonians through the multi-generational and trans-cultural contribution of hundreds of people from across the Greater Toronto Area and beyond. Members of the public are invited to join Ring of Fire by emailing: procession@theAGYUisOutThere.org Using the structural dynamic of Trinidadian Carnival and appropriating the “mas camp” as a site of coauthored exchange, this elaborate and multi-faceted project innovates a new kind of pedagogy. From spoken word poets learning from First Nations and deaf youth who sign their poems in the procession, to institutions and organizations learning from persons with disabilities (and becoming more accessible in the process), to mixing integrated dance with traditional forms of Capoeira, this project seeks to mobilize Toronto’s latent energy and position it as a place for a new form of collective, and performative cultural resistance that is also a contemporary form of festive celebration. Marlon Griffith has participated in residencies and exhibited extensively across the globe. Recent projects include new commissions for 7th GWANGJU BIENNALE (Gwangju, Korea, 2008), CAPE09 BIENNIAL (Cape Town, South Africa, 2009), MANIFESTA 9 Parallel Projects (Hasselt, Belgium, 2012), AICHI TRIENNALE (Nagoya, Japan 2013), TATE MODERN (London, England, 2014) and the ART GALLERY OF YORK UNIVERSITY (Toronto, Canada, 2015). In 2010, Griffith was the recipient of a John Simon Guggenheim Fellowship and of a Commonwealth Award. Ring of Fire is commissioned by the Art Gallery of York University (AGYU) and curated by Emelie Chhangur. The project is produced in partnership with York University’s School of the Arts, Media & Design, Art Starts, and SKETCH, where “mas camps” have been developed and hosted. Legendary Artists, Activist Rose Jacobson and Elder Duke Redbird are project mentors. For more information on the project and to view images of the work in progress, please visit: www.Ringoffire.theAGYUisOutThere.org Follow (all of) us on Twitter: #RingofFireTO And take to the streets with us by emailing: procession@theAGYUisOutThere.org Ring of Fire is generously supported by the Ontario Arts Council, IGNITE Ontario and IGNITE Toronto, Ontario Trillium Foundation, Toronto Arts Council, York University’s School of the Arts, Media, Performance & Design, and through the passion and commitment of every individual and organization involved in this project. “Mas camps” are produced in collaboration with Art Starts & The Lawrence Square Shopping Centre and SKETCH. Workshops in movement are produced in collaboration with SKETCH, Picasso PRO, and Escola de Capuêra Angola. AGYU’s year-long spoken word poetry program was developed in partnership with the Malvern S.P.O.T, Success Beyond Limits, and COBA with the support from the Honey Family Foundation and the Vital Toronto Fund at the Toronto Foundation and the Toronto Arts Council: Targeted Enhanced Funding. Special thank you to Community Living Toronto for their incredible in-kind support of Ring of Fire and Strathcona Paper LP for donating the paperboard material for masks. An exhibition of Ring of Fire takes place at the Art Gallery of York University (AGYU) from 23 September – 6 December 2015 and a book, generously supported by the Partners in Art (PIA), will be published in 2016. The Art Gallery of York University (AGYU) is a public, university-affiliated, non-profit contemporary art gallery supported by York University, the Canada Council for the Arts, the Province of Ontario through the Ontario Arts Council, the City of Toronto through the Toronto Arts Council, and by its membership. +++ 9. CALL FOR PAPERS: Performance Research Volume 21, No. 4 On Game Structures “To be or, actually, not two sentences to be, that is the question, combined.” -Douglas R. Hofstadter Entire fields of human endeavour have been subsumed under the term ‘game’—art in the case of Marcel Duchamp, language in the case of Ludwig Wittgenstein, social performance in the case of Pierre Bourdieu. Game structures—recurrent, interactional procedures with semi-predictable results—have appeared in many forms: as methods of communication (inter-species play), as cognitive practices (koans, riddles), as creative procedures (frottage, exquisite corpse), as sensorial titillation (seduction), as a military strategy (game theory), as a form of resistance (culture jamming). Whether referring to spatio-temporally delimited behaviours of specific actants (particles, bees, human beings, inanimate objects), or to complex systems (stock brokering, swarms), game structures are dynamic systems of configuration. They consist of transformation. Within a game structure, every position is an intersection of moves related to other positions. This means that each new move—intended or incidental—creates new configurations that affect all constituent elements. There is a long tradition of employing game structures to change the way that we perceive the world in spatio-temporal, formational and interactional terms. Duchamp’s Large Glass (1915–23) is a residue of language games, jokes and chance operations. Salvador Dalí’s paranoid-critical method relies on the obsession of paranoia to interpret and ‘reassemble’ everyday life. John Cage’s use of I-Ching reconfigures the sequence and circumference of sensorial perception, as do Luigi Nono’s, Iannis Xenakis’s and Agostino di Scipio’s musical strategies that encompass complex ecosystems. Karl-Martin Holzhäuser, Gottfried Jäger and Walter Steffens have used physical laws—gravity, motion, thermodynamics—to create musical-graphic works. The Fluxus artists have cast existing games—football, chess, table tennis—in the role of dramaturgical ready-mades thus re-conceptualizing social relations. In literature, Alain Robbe-Grillet and William Burroughs have created dechronological novels through the use of mathematical games, translated into narremes. Jorge Borges’s multiply coded and self-referential texts have, for their part, acted as a hall of mirrors where author, character, setting, culture and epoch reflect (on) one another in a ludic way. Philosopher Peter Stuber invented a game—Nomic—whose primary activity is the continual alteration of existing rules. Much conceptual art (for example, Joseph Kosuth’s, Bruce Nauman’s) has derived from mathematical and/or linguistic iteration, which relies on recursive loops. But game structures have also been used in epistemological lineages. A case in point is Per Bak’s theory of self-organizing criticality (SOC), which combines constitutive materialism with holism in a twist-in-the-tale manner. SOC has been ‘dramaturgically reconfigured’ by Humberto Maturana’s and Francisco Varela’s theory of autopoietic systems (APS) in which internal regulation of mechanisms and programmes (present in SOC) is replaced by self-production. In a similar vein, albeit in very different fields of endeavour, George Bataille (1967), Slavoj Žižek (2006) and Byung-Chul Han (2015) have all engaged with the game structures of social and libidinal economies. Relying on the intricate networks of implicit and explicit rules, Bataille’s theory of general economy mobilized Mauss’s notion of the gift as a dynamic social force. A gift cannot be reciprocated with the same gift, nor can it be reciprocated with a gift of lesser value, which is why gift giving introduces a stake-raising element into social relations. Likewise, Žižek’s analyses of postmodern ideology have relied on the dramaturgy of explicit/implicit moves and countermoves. Byung-Chul Han has similarly theorized the current cultural condition as that of shanzhai. Originally meaning ‘mountain village’, shanzhai refers to the widespread Chinese practice of imitation and reconfiguration of brands, advertising strategies and cultural practices. Not only do these seemingly endless variations resemble Dadaist games, they introduce new recombinant strategies where notions of ‘originals’ and ‘copies’, ‘ownership’ and ‘piracy’ have no currency. Recent years have seen ceaseless irruptions of economic, political, meteorological, demographic, biological and psychological disorder. However, they have also seen the rise of new semantic, cultural and environmental systems. Examples of this can be found in recombinant multi-sports, in fusion music (noise-fugue-R’n’B) and in genetic engineering—in particular, in transformational hybrids such as plantimals (plants with animal cells), which, in being altered, alter their environment. The aim of this issue is both polemical and creative. By focusing on the relations between the various elements that make up a game we seek to shift the focus away from ‘endgame’ conceptions of failing social scripts and ecological disasters. Purely goal-orientated notions of games inherent in the current economic Darwinism’s foregrounding of game theory as a form of ‘reality-gaming’ is of no interest to us either. Instead, we aim to explore the bio-social, political, cultural, aesthetic and environmental contexts in which game structures cross-pollinate to create transformational epistemological, social and phenomenological matrixes. To this end the issue is divided into three parts: Within this structure we aim to examine the recombination, configuration and transplantation of artistic, scientific and philosophical procedures/matrixes from one context, field or time to another. However, this issue also aims to address questions like: how do contemporary pluralistic tendencies and hyperculturality (the Internet mix of TV, music, shops, games, banking and communication terminals) create new variations/permutations of acceptability and transgression? What is the role of inverted values/rules (for example, inverted snobbism, toleration as a form of dominance) in the current (global) cultural game? Is the continual proliferation of hybridity radically different from essentialism, or does it merely produce (consumerist) sameness in the place of qualitative difference? We invite theoretical and scientific examinations, artists’ writings and ludic interventions related (but not limited) to the following topics: Goals, Rules, Obstacles and Constraints: Time and Space: Systems and Meta Systems: Issue contacts: All proposals, submissions and general enquiries should be sent direct to the journal at info@performance-research.org Issue-related enquiries should be directed to the issue editors: Mathias Fuchs pioneered the use of game engines in art installations. He is currently a professor at the Leuphana University of Lüneburg and Director of the Gamification Lab at the Centre for Digital Cultures (CDC) at the Leuphana University of Lüneburg. Mathias’s sound and media installations have been shown in Vienna, London, Mexico City, Tokyo, Helsinki, Stockholm, Norwich, Cairo, Vancouver, Paris and Providence. His work has been commissioned by ISEA94, ISEA2004, resfest, ars electronica, PSi #11, futuresonic, EAST and the Greenwich Millennium Dome. Natasha Lushetich lectures at the University of Exeter where her specialist areas include intermedia, live art, theories of hegemony, and performance and philosophy. Her recent writings have appeared in Babilonia, Performance Research, TDR, Text and Performance Quarterly and Total Art Journal as well as in a number of edited collections. Natasha is author of Fluxus: The practice of non-duality (Rodopi 2014) and Reformatting Reality: Interdisciplinary performance 1910–2010 (forthcoming with Palgrave). Schedule General Guidelines for Submissions: +++ 10. WORKSHOP: La Pocha Nostra in Vancouver ATTENTION REBEL ARTISTS! Submission Deadline Extended to August 15, 2015 Vancouver’s Performance Art Celebration, the LIVE International Performance Art Biennale offers a new opportunity for emerging artists to participate in a unique mentorship/workshop with the infamous trans–art super–group La Pocha Nostra! This one–time mentorship/workshop is taking place September 20 to 23, and culminates with a grand spectacle on September 23 to open LIVE 2015. Up to 12 artists will be selected by La Pocha Nostra from submissions. There is NO CHARGE for participation. If selected, LIVE will PAY YOU an artist fee of $150, and offer food and hospitalities. If you are coming from out of town, we unfortunately cannot cover travel costs, but can arrange for you to be billeted with local rebel artists. You are also invited to attend LIVE 2015, September 23-27. E-mail info@livebiennale.ca a short description of yourself and why you want to work with La Pocha Nostra. Images should be attached as pdf or jpg. Selected artists are required to participate in the entire mentorship/workshop. LIVE is a celebration of cultural diversity and personal identity inclusive of and sensitive to First Nations, visible minorities, sexual orientations, gender identities, and people of different histories and beliefs. This opportunity is sponsored by the British Columbia Arts Council. info@livebiennale.ca +++ 11. WORKSHOP: Performing Memory with Holly Timpener Artscape Young Place COST: $40 per class or $200 for all five *If money is a deterrent please email me at htimpener@hotmail.com to discuss alternative arrangements, and to secure a spot. To attempt to grasp memory is to reach for an experience that encases another elusive experience: the event itself. It is to temporally displace oneself and plunge into emotional conundrums, societal complexities, and sweeping abstractions. What is this thing, memory? How can we experience it? How can we re-inscribe our experience of it? This workshop will be an intensive thought lab where we will play with text, ideas, actions, moments, objects, and documentation, in an attempt to live out and perform our enduring questions and illuminations on Memory. Each day will have a corresponding theme and text. Themes tentatively include involuntary memory, collective memory, and body memory. We will begin with a warm up of a guided meditation/movement/ritual, we will then try out a method of activating the theme/text. This will lead us to a focused exploration and performances by individual group members. This workshop is based on a collaboration built at the Earth Dance, EMERGE residency consisting of Michelle Bentsman, Aaron Finbloom, Carlos Castilian, Utam Moses, Aazya Barron and myself; Holly Timpener. ABOUT HOLLY TIMPENER Holly Timpener completed her studies in musical theatre in Toronto at the Randolph Academy for the Performing Arts, where she earned a certificate in the Triple Threat program. After graduating, she became involved in interpretative dance and authentic movement; studying with Dawne Carlaton, and began exploring performing arts with Sylvie Tourangeau, Claude Wittman, Victoria Stanton, and Johannes Zitts. Holly has taken part in workshops with astounding performance artists all over Canada, and has had the pleasure of showing her work in Summer Works, Long Winter, the Art Gallery of Ontario, and the University of Toronto. She has performed in the Phantom Wing project, Nuite Blanch (Calgary), and at VIVA in Montreal. Holly performs as a way to challenge and understand her place in this world . She uses performance as a way of investigating connecting to others and confronting issues related to gender, intimacy and beauty. The themes of trust, power, control and consent resonate within her work. These themes are approached from a personal perspective combined with research collected from within community. She uses one on one performances of a way of gathering stories and materials that is then translated into performances. Holly seeks to communicate femininity, sex, sexuality and identity and creates strong images that transmute the space, public and herself into a new awareness. Holly took part in the EMERGE residency in Massachusetts this February and was invited to perform at Link in Pin in Montreal. She has returned from a two-month stay in Berlin where she had the pleasure of performing in the final addition on Month of Performance Berlin, N.Y.U. Berlin, SOMA Gallery and Gallery Art Von Frie. Most recently she has completed a performative installation that she has been invited to create with Jack Bride at the Stride Gallery in Calgary and performed in the Sled Island Festival. +++ 12. CALL FOR CONTRIBUTIONS: Images from performances/artists/historians Hello/Bonjour, I am preparing a conference for the colloquium, “Archi-féministes! : au croisement des savoirs et des pratiques artistiques” that will be presented during the 7th Edition of CIRFF (for conference description, see below, in French only). The colloquium is co-directed by Marie-Ève Charron, Marie-Josée Lafortune and Thérèse St-Gelais. More info here: http://cirff2015.uqam.ca For my conference, I am collecting images from performances and actions etc. that show fire (as a material) being used by female performance artists. This is a call for images from performance artists, historians etc. If you have images from your own work, or the work of other female artists that you would like to contribute to this lecture, please send the images to me with the following information: Send the images to: arkadi@live.fr Conference description (fr) +++ 13. CALL FOR SUBMISSIONS: Intersite Visual Arts Festival 2015 INTERSITE VISUAL ARTS FESTIVAL: 2015 CALL FOR SUBMISSIONS The Mandate of the IVAF is to advocate for contemporary art practices through the decentralized presentation of exhibitions, happenings, and performances outside of the traditional gallery setting. By actively engaging unsuspecting audiences in the public sphere the IVAF seeks to create a supportive and receptive climate to foster the development and innovative presentation of contemporary art. For IVAF 2015, occurring from November 3rd to 7th 2015, we are seeking works that occupy alternative spaces, engage different publics, and challenge traditional forms of presentation. “Artist Unite!” is the clarion call under which we will be presenting a combination of invited projects and works selected from this call for submissions. Revolutionary thinking and collective action are just some of the possibilities that we hope will emerge from this call. Whether you are thinking about biking performances, transit bus based actions, or offsite happenings, we welcome submissions that challenge our capacity to present contemporary art and transform the cultural landscape of Calgary. +++ 14. EVENT: Dusk Dances Salsa class at 6:45 pm (by master teacher Miko Sobreira) +++ 15. CALL FOR SUBMISSIONS: ONUFRI XXI, 2015 ONUFRI XXI, 2015 | "SiO2 – The Reason of Fragility: Contemporary Artists Facing Glass” Open call for art projects on the topic GLASS to be developed, realized and exhibited in the frame of ONUFRI XXI, 2015 | "SiO2 – The Reason of Fragility: Contemporary Artists Facing Glass", international art exhibition curated by VestAndPage. Participation deadline: October 01, 2015 Applicants must be below 40 years of age at the date of the deadline. To apply, please send a PDF file to onufri21@galeriakombetare.gov.al and pagnes@vest-and-page.de, that includes: Open Call Text: How do we spell the word C-A-R-E when staring at Glass? Glass is an exemplar material when it comes to create visibility, or discuss concepts such as transparency, refraction, resistance and fragility. Lenses, windows, mirrors, magnifiers, mobile phones, tablets, computer screens, surveillance camera, showcases, bottles, aquariums are part of our quotidian as well as our professional lives, infecting our public, social and private spheres. A pair of glasses can make the invisible visible; a bulletproof glass plate works in protection as a seeing-trough barrier, thus like any material, ballistic glass is not completely impenetrable. Paradoxically, however, beyond any tautological statement, true by definition so basically devoid of informative value, here the question is what and how we see when we look at reality through glass? How does it affect our mind and creative thinking? Already in the XIX century, Lewis Carroll saw the imaginary world of Alice shaped through a looking glass, blurring experience with dreaming. Few years later the provoking gesture of Marcel Duchamp of shuttering 50 Cc of the air of Paris in a pharmaceutical ampoule offered the opportunity to translate the infinite potentialities of glass into unprecedented dialectics, which inevitably have to do with our space, time and daily existence. For it, glass can be intended as an epistemically constitutive element of contemporary artistic language, a new linguistic tool through which to create images, although paraphrasing Pindar, just like knowledge and life, the molecular structure of glass and its weak points are likewise roads arranged randomly rather than a stable dwelling. Assuming glass as a medium, symbol and carrier of meanings addressed to the individual and social recall, the exhibition "SiO2 – The Reason of Fragility" funds and focuses on the states of alertness, attentiveness, and responsibility, to look at the configuration of things in our world with more concentrated eyes. With it, the exhibition unfolds the necessity of awareness and care in human relations both in the private and social spheres, as well as towards the surrounding, ultimately enhancing a better understanding of the irreversible impact of decisions made. Finally, from both an art-educational and technical-artistic perspective, the exhibition becomes an opportunity for students, artists and cultural operators to reflect, investigate and discuss upon what it means to approach a specific material not only for what it is or represents, but rather as a primary source of concept, thought and imagination to unveil ethical and aesthetic concerns anthro-poetically, which pertain to, fuel and enforce the development of culture. If glass allows an interdisciplinary meeting on a common ground and presents as its primary characteristic the expansion of the human vision, it can act in term of knowledge model and threshold. If so, glass can offer new possibilities of perspectivization and consequent research, to argument further on today crucial themes, such as concealment and separation in order to reduce gaps, boundaries by confronting ourselves with stagnating dichotomies. -VestAndPage (Verena Stenke & Andrea Pagnes) More information: +++ 16. WORKSHOP: Arti Grabowski / Johannes Deimling at Art Nomade Festival The CRC in collaboration of BANG are offering a workshop in performance art with two well-known international artists: Arti Grabowski (Poland) and Johannes Deimling (Germany). This workshop will be in English. The workshop will be held in Chicoutimi at the Bang Gallery between 9h-12h and 13h-17h on October 3 and 4, 2015 (Saturday and Sunday). This workshop is open to all people: artists and art lovers. If you are living in Saguenay-Lac Saint-Jean the price is $42 (with a prove of your address). A minimum of 8 participants is needed in order for the workshop to e realized. If you are living outside of Saguenay, the cost of the workshop is $280. Please contact us with any questions and to receive an application form. Please write to Francis O’Shaunghnessy at: Francosh@hotmail.com +++ 17. WORKSHOP/EVENT: IPA Bristol 2015: Where Performance Happens IPA Bristol 2015: Where Performance Happens Dates: 12-25 October 2015 Following on from the great success of IPA Summer, we proudly present IPA Autumn 2015, hosted for the first time in Glastonbury and Bristol, UK. Drawing upon the exceptional tradition of IPA, our Autumn 2015 performance event will be held in two locations. For the workshops, we have booked the Earth Spirit Centre (http://www.earthspirit-centre.co.uk/index.php) near Glastonbury, located in the beautiful Somerset landscape with wonderful working spaces both inside and out. The workshops will run as 3 groups with a maximum of 15 participants in each group. The platform will take place the following week in Bristol, in a 3- day event of performance, symposium and discussion taking place in public spaces and at Arnolfini, international contemporary arts centre, in the city of Bristol with networks including local artists and producers. The workshops are led by VestandPage (Italy/Germany), Jelili Atiku (Nigeria) and Jürgen Fritz (Germany), while the overall event and platform is organized by our IPA Bristol Team, curated by Fay Stevens and produced by Eva Martino. You can register online for these events here: www.ipapress.i-pa.org/online-anmeldung For more information, go to our website: www.ipapress.i-pa.org +++ 18. CALL FOR PROPOSALS: Performance Art Residency Guapamacátaro Center for Art & Ecology, Michoacán, México Residency: 20 May – 13 June 2016 Performance art curator, maker and writer Dino Dinco is assembling an intimate, diverse group of 10-12 performance art / live art makers for a unique 24 day residency at Guapamacátaro Center for Art & Ecology in rural Michoacán, México. The Center (and hacienda) derives its name from the indigenous Purépecha word, guapamacátaro, which roughly means, “something surrounded by water.” Lakes and streams are prevalent throughout the verdant region, and a lively river flows alongside the hacienda itself. During their stay, performance artists-in-residence will use the hacienda grounds as a laboratory for discovery, contemplation and development, and the chance to engage with the local community. Artists are free to work whenever desired in the provided studios and anywhere on the property. Experimentation is encouraged, as are discourse and collaboration. Two performance exhibitions will be presented during the residency (at both the Guapamacátaro hacienda and in the nearby town of Maravatío): at the halfway mark, and at the end of the residency. Please note: This residency is specifically geared for practitioners of performance art. We kindly request that artists working in the performing arts (traditional music performance, dance, acting, performance poetry, etc.), please not apply. COSTS: 2) All utilities, cleaning services, drinking water and three meals per day (self-serve breakfast, prepared lunch and dinner) at net cost (per person, per day): $31 USD / $513 MX peso / € 28 euro (all rates are approximate based on current exchange rates) 3) Total for the 21 days: $750 USD / $12,300 MX peso / € 672 euro (all rates are approximate based on current exchange rates) 4) *We DO NOT cover transportation or material expenses. FUNDING SUPPORT PER SESSION: One (1) half scholarship for a participant from Central America (Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, and Panama) or the Caribbean (Cuba, Puerto Rico, Haiti, Jamaica, Dominican Republic and other islands): pays $6,150 MX pesos for living costs for duration of residency. Awarded based on merit and financial need. Artists are always welcome to run, walk, hike the surrounding hills and countryside, including to nearby lakes and rivers, on their own. Based on interest, group activities such as morning stretch, meditation, and guided walks can be arranged. Fieldtrips to nearby cities/towns (Morelia, El Oro, Tlalpujahua, etc.) and natural areas (hot springs!) can be organized at additional cost. TO APPLY: For FAQ about Guapamacátaro Center for Art & Ecology, please visit: http://guapamacataro.org/faq/ +++ ABOUT FADO Like us on Facebook! To unsubscribe from this e-bulletin, please follow this link: |
