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FADO E-LIST (December 2015)INDEX +++ 1. FADO Performance Art Centre presents MONOMYTHS Conceived and curated by Jess Dobkin and Shannon Cochrane ARTISTS February 3-7, 2015 ADMISSION: The events in the MONOMYTHS series are offered on a sliding donation scale (PWYC). Please note that there is limited seating for each performance. Reservations are suggested. You will be able to do this through Eventbrite in January (stay tuned). Performed in English / Nêhiyawêwin / L'nuwi'ktuk / Most performances ASL Interpreted MONOMYTHS invites a diverse collection of artists, scholars, and activists to revise Joseph Campbell’s conception of the hero’s journey through performance art, lectures, workshops, and other offerings. This new assemblage of non-linear un-narratives proposes a cultural, political and social feminist re-visioning of the world. The MONOMYTHS perception of the universal journey dispels the notion of the lone patriarchal figure on a conquest to vanquish his demons–both inner and outer–in consideration of community, collectivity, and collaboration. Joseph Campbell’s influential book, The Hero with a Thousand Faces (1949) prescribes a common pattern to all of the world’s mythic narratives. According to this fundamental structure, the archetypal hero is challenged to embark on a monumental quest. Over the course of the hero’s journey, trials and obstacles must be overcome until a victory is won and the hero returns home with new knowledge about himself and the world. Campbell’s concept of the monomyth (‘one myth’) is a recognizable motif in both ancient mythology and contemporary culture, including film, music, literature, sports, and advertising. A current trend in popular visual culture replaces the male character with a female one, in spite of the fact that our heroine–from the get-go–would make different choices if the conditions, and conditioning, allowed. The year-long MONOMYTHS project is presented in three sections. Radically interpreted by artists from First Nations, Canada, Mexico and the USA, part one of MONOMYTHS at Progress presents the first five stages of the journey: The Ordinary World / Call to Adventure, Refusal of the Call, Meeting of the Mentor, Crossing the Threshold, and Belly of the Whale. While each MONOMYTHS stage stands alone, the work of each presenting artist is interdependent and connected. These independent visions, when stitched together through the audience’s collective presence, form an exquisite corpse of a larger experimental narrative. The MONOMYTHS Kiss ARTISTS/SCHEDULE/STAGES Stage 1: Nikamon Ochi Askiy (Ke'tapekiaq Ma'qimikew): The Land Sings is an audio-based endurance performance by Ursula Johnson created in collaboration with Cheryl L’Hirondelle. Part of a larger project on Reconciliation, The Land Sings is an apology to the land for the ways in which our human impact has shifted and shaped the landscape, displacing the voices of many First Nations. Maria Hupfield also facilitates a conversation on how revitalization, collaboration, and the act of refusal are used in performance art to shape current dialogue on Reconciliation. Ursula Johnson is a performance and installation artist of Mi’kmaw First Nation ancestry. Her performances are often place-based and employ co-operative didactic intervention. Cheryl L’Hirondelle is an Alberta-born, Métis/Cree interdisciplinary artist and singer/songwriter. Her creative practice investigates a Cree worldview (nêhiyawin) in contemporary time-space. Maria Hupfield is an interdisciplinary artist of Anishinaabe heritage. Her live performances activate space and locate the body in relationship to self, object and place as shared experience. Stage 2: Part planetarium show, part rumination on Alice in Wonderland, the nature of rabbits and heroes, in The Call Refused or Your Local Sky Tonight by Shawna Dempsey and Lorri Millan, the artists deliver an off-kilter guide to the stars. Collaborators since 1989, Shawna Dempsey and Lorri Millan were catapulted into the international spotlight with their performance and film We’re Talking Vulva (1986/1990). Their humourous, feminist, and provocative works work has been exhibited in diverse venues as far ranging as women's centres in Sri Lanka to the Museum of Modern Art in New York City. To most, however, they are known simply as the Lesbian Rangers of Lesbian National Parks and Services. Stage 3: The Exquisite Course, presented by the Feminist Art Gallery (FAG), is an evening of short lectures by feminist and/or queer artists and creative folks from a variety of disciplines, interests, and positions. A mixture of fiction and non-fiction, The Exquisite Course collages real-life stories and performance mythologies around the microphone campfire to stitch together tales of meeting real-life mentors. *Speakers/topics will be announced in January.* The Feminist Art Gallery is–a response, a process, a site, a protest, an outcry, an exhibition, a performance, an economy, a conceptual framework, a place, and an opportunity. We host we fund we advocate we support we claim. The Feminist Art Gallery (FAG) is our geographical footprint located in Toronto, Canada and is run by Allyson Mitchell and Deirdre Logue. Stage 4: Armando Minjarez presents an afternoon Artivism workshop followed by an evening performance as part of his long-term international participatory art project, AlieNation: A Visual Story of our Generation's Global Migration. AlieNation examines mass migration and the disturbing trend of dehumanizing the migrant–an alien without a home, without rights or a defined identity. *Details about the workshop will be announced in January.* Armando Minjarez is a Mexican visual artist and social justice activist. In 2004 he became involved in the national campaign to pass legislation entitled the DREAM ACT (Development, Relief, and Education for Alien Minors), and in the same year became the first undocumented student at Garden City Community College to enroll through the In-State tuition legislation passed in his new home state. His organizing experience has evolved into a multidisciplinary social practice where collaboration and community engagement are guiding themes. Stage 5: In Jefferson Pinder’s Thoroughbred, four performers work themselves to exhaustion running on treadmills that are remote controlled by the artist who sits at a single controller. Thoroughbred, “skillfully exhumes a corpse of black captivity and subjugation of black bodies in America that started four hundred years ago and brings it in into the foreground into our present day experience.” (Fo Wilson, The Evidence of Things Not Seen) *Performers will be announced in January.* Jefferson Pinder’s is an interdisciplinary artist based in Chicago. His work explores the tangle of representations and misrepresentations, visual tropes, and myths–often referencing historical events and invoking cultural symbolism. His work portrays the black body both frenetically and through drudgery in order to convey relevant cultural experiences. ABOUT PROGRESS www.thisisprogress.ca For complete information and links to artist bios: +++ 2. EVENT: Process15 Process15 Start time: 7:00pm Process15 ARTISTS (alphabetically) Each PROCESS event presents the work of artists from different disciplines, with a focus on performance art and aspects of process that are performative. We encourage conversation with the audience via a talk back with each artist. PROCESS is a space to investigate, witness, feedback, collaborate, converse, chill out, meet friends, find new perspectives on your own artistic process, and recalibrate your interpretive channels. More info: http://processperformances.tumblr.com/ COME. Be part of the process. For enquiries regarding programming or participation in future PROCESS events please contact lo bil: lbil@rogers.com +++ 3. EVENT: Bone 18 BONE 18 PROGR_Zentrum für Kulturproduktion For information about the program and participating artists: www.bone-performance.com Since 17 years BONE Performance Art Festival BERN has been a meeting point of the national and international performance art scene and a fixture of cultural life in Bern. The Schlachthaus Theatre in the old town of Bern–a trusted co-production partner since the early days of the festival–as well as the new performance venues Stadtgalerie and Kunstmuseum / Fenster zur Gegenwart at Progr Centre for Cultural Production traditionally devote the first week of December to performance art. BONE aims to establish Bern prominently on the international map of performance art and to encourage interdisciplinary artistic networks. Very much in the spirit of performance art, BONE eludes simple categorizations, thus making the trip to Bern particularly worthwhile. BONE simultaneously makes and describes the history of performance; it integrates historical work of the young genre with current performative practices to create a program of exceptionally high quality. Since its foundation in 1998 by Ralf Samens, the festival has been dedicated to contemporary artistic practices. Under the direction of Norbert Klassen (2001-2010) the festival increasingly focused on thematic issues, such as Performance Scene Switzerland (2001), Performance by Female Artists (2003), Performance-Duos (2004) or Performance by Gay Artists (2010). Since 2011 the festival, now directed by Valerian Maly and co-director Peter Zumstein (until 2012), was able to expand its networks both in international and national contexts. This change in direction was also reflected in the content of the festival. BONE increasingly moved performance art out of the auditorium and into the city. This exit goes both ways and also implies an entrance: leaving the theatre, performance art engages the unpredictability of public space, while exiting public space it invades the defined space of the theatre. The directors of BONE foster cooperation with important cultural institutions in the town of Bern: apart from Schlachthaus Theatre, Kunstmuseum and Stadtgalerie, regular festival partners include the University of the Arts Bern, the Institutes of Art History and Theatre Studies at the University of Bern, as well as the upper level schools Kirchenfeld, Neufeld and Campus Muristalden, which are involved in the educational formats «bucky’s classroom» and «symposium». From year to year, the festival reaches a growing public of all age groups and from all the linguistic regions of Switzerland. This year the co-directorship has been replaced with Maya Bösch as co-curator. Building on her previous tenure as director of the Théâtre du Grütli in Geneva, the festival this year will particularly encourage relations with French-speaking Switzerland. Intending to remain an essential hot spot during this cold week in December, the directors and the new team are striving to engage high-profile guest artists and exciting partners in the region for the upcoming edition of the festival. +++ 4. EVENT: Zaz Festival 2015 ARTISTS Artistic Director: Tamar Raban Zaz Festival is an annual event of "'Performance Art Platform", which hosts performance artists from around the world. The artists perform in different locations, with different geographical and environmental characteristics, and in front of varied audiences and communities. The Zaz Festival for performance art is a unique initiative in Israel. This dynamic and experimental laboratory of live art moves between different physical and human spaces in Israel, and between various forms of action, including frontal performances in a variety of heterogeneous spaces; simultaneous performances in multiple sites; actions on the streets and in public buildings that have a charged sociopolitical meaning; lectures and workshops for students and for the general public. Israeli artists and artists from abroad will participate in the Festival. The Zaz Festival 10th edition will be held on December 2-13, and take place, in 3 cities in Israel; Tel Aviv, Haifa, and Jerusalem. In Tel Aviv the venues are the new central bus station, which is the home of Performance Art Platform, and in the public areas; in Jerusalem the venue is the school of visual theater; and in Haifa, the performances will take place during "Holiday of holidays" festival, in the public areas are character with multicultural social. The festival will include performances, lectures and workshops. The artists come from Israel and abroad. We invited artists from Slovakia, Germany, USA, Thailand, Poland, China, Portugal, Spain, Ukraine, Japan and Canada, which will be joined to 20 Israeli artists. In this dynamic context, the Festival celebrates the live encounter of artist communities from different countries; it aims to create an experience based on a strategy of shared research and learning, and on the unique characteristics of performance art as a live art. For the general public, this is a rare and unique opportunity to experience the rich range of languages and approaches that characterize international performance art today. THE PROGRAM: Thursday, December 3, 7:30pm 9 pm Friday, December 4, 11am-2pm Saturday, December 5, 6pm 8:30 pm Sunday, December 12, 4pm Monday, December 7, 6pm Thursday, December 10, 6pm Friday, December 11, 10am-2pm 9pm Saturday, December 12, 11am Due to the festival’s dynamic character, programs and sites of activity are subject to change. For additional information and updates, please visit our website at www.miklat209.org.il +++ 5. CALL FOR PROPOSALS: Duration & Dialogue Performance Art Festival/Symposium 2015 Duration & Dialogue Performance Art Festival/Symposium 2015 This first ever festival of performance art at Katzman Contemporary, curated by Natasha Bailey, Dario Del Degan, and Johannes Zits, will run from January 29-31, 2016, exploring the theme of duration. The “Duration & Dialogue” Performance Arts Festival/Symposium takes place over three days and includes a 24-hour performance/discussion period. The intention of this festival is to explore the idea of “duration” through the medium of performance. This festival will be promoted in conjunction with two other weeks of performance programming at the gallery, each with its own 24-hour component. To enlarge the focus on performance art and to further promote the dialogue of aesthetics within our contemporary context, artists participating in this festival will be paired with an academic to lead audience members in a post-performance discussion. Artists selected to perform in the “Duration & Dialogue” Performance Arts Festival/Symposium will be paid a small honorarium for their participation. Depending on sponsorship, ticket sales, and other sources of funding, artists may be further compensated. All production costs are the responsibility of the artists; however, the gallery will offer its resources as available. This call is for 3 distinct 2-hour performance time slots with a 1-hour discussion period on Saturday, January 30, and for multiple proposals for a 22-hour performance time slot with a 2-hour discussion period starting at 10pm on Saturday, January 30 and ending at 10pm on Sunday, January 31. This 24-hour portion of the festival will also feature live streams of performance art happenings worldwide. Proposals should include: a CV; an artist statement; a detailed description of the work you wish to present or explore; and any relevant support material. Artists are also welcome to propose live stream performances from remote locations. Please send files as PDFs. You may include images, videos, print, or digital documentation of your work as links, PDFs, or image files. Please be courteous of image size and materials that you are sending. Ensure that attachments total to less than 10MB; if more space is required for time-based or intermedia work, you may provide a link to a Dropbox. Send your proposal by email to info@katzmancontemporary.com with a subject line of “Duration & Dialogue 2016.” The deadline for submissions is FRIDAY, DECEMBER 4, 2015 by midnight. Artists selected to participate will be contacted by Monday, December 21 by 5:00pm. +++ 6. WORKSHOP: "Ein Denkmal für das (Un)sichtbare“ with Nathalie Bikoro / Marcel Sparmann "A monument to the (In)Visible" is a workshop format by two performance artists who deal in various ways with the issues of identity, origin, biographical localization, the (in)visible, but also activism, postcolonialism and escape. Nathalie Mba Bikoro focuses on creating safe spaces responding to daily conflicts of living and racial experiences and privileged positional hierarchies and propose a different dialogue about integration. This workshop combines physical and vocal performance intervention and will bring together international narratives and create spaces for memory to be enacted and consider a theatre of the living monument as a transient space where identities are not fixed. The participants will share experiences and negotiate spaces they create contesting their own and others' histories to re-invent the notion of Integration, exiting spaces of segregation and breaking colonial exhibitionary impulses. Marcel Sparmann understands performance art as a translation medium for political, emotional, personal speechlessness and aims to propose situations in which body based imagery and text based created meaning, overlap and intervene in order to charge and drive a third representation. This part of the double workshop "a monument to the invisible", can be considered as an entry for performative images, their traces and marks to help to discover an own personal visual language and physical correspondences. Different artistic strategies will be introduce and explored in respect of their potential use to touch speechlessness and the non-pronounceable. Organiser: LAG Spiel und Theater in Thüringen e.V., in cooperation with "Thüringer Performance Netzwerk“ and sponsored by Thüringer Staatskanzlei Schedule: Location: M18, Marienstrasse 18, 99423 Weimar 99423, Weimar, Germany www.facebook.com/events/1716421648587755 +++ 7. CALL FOR PROPOSALS: Biennale d'art performatif de Rouyn-Noranda Founded in 2002 by the artist-run centre L’Écart in Rouyn-Noranda, this biennial event presents evenings of performances, concerts, workshops and other performative work. The event features a selection of artists working in performance, visual arts, music, spoken word and interdisciplinary art. We invite artists and collectives to submit proposals for programming for this 8th edition. Deadline for submissions: December 13, 2015 Submissions must include: Artists and collectives can send their proposals by email with the subject "Proposal - Biennale d’art performatif" to: matthieu.dumont@lecart.org www.lecart.orgwww.facebook.com/events/1506859906278342 +++ 8. 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 +++ 9. CALL FOR PROPOSALS: Performance Research / 'On Radical Education' Performance Research Issue Co-Editors: Michael Hiltbrunner (Institute for Contemporary Art Research (IFCAR) Zürich University of the Arts) and Ric Allsopp (Academy of Music & Theatre Arts/ Falmouth University) What is happening to art school? The cultural climate of the 1970s particularly in the UK, Europe and the USA, saw a series of radical shifts in approaches to arts education and research that responded to a growing sense of crisis both in the purpose of art and design, and performing arts education and, more broadly, the role of the arts in society. Forty years later in very different cultural, economic and technological circumstances, what has changed for approaches to radical, innovative arts education and research and what does such education and research look like for the future? The 'educational turn'–particularly in the visual arts over the last decade–has seen the development of a wide variety of frameworks and provisions for artist-run and collaborative arts education and research as a reaction (in part) to the increasing neo-liberalization of arts education and research, as well as to the decline in funding and in increasingly expensive embodied, heuristic, hands-on approaches to making, thinking and doing in the arts. Recently there has been a renewed interest in the radical models of education and artistic research that emerged in the US and Europe in the post-war period of the mid-to-late 20th century that emphasized the social values of the arts and creativity. A rhetorical shift away from 'arts education' towards a proliferation of 'creative innovation hubs' and 'centres for creativity', as well as increased screen-based learning and the social and educational impact of digital technologies, arguably finds arts education and arts research once again at a point of transition as creative and experimental modes of education in the performing and visual arts become absorbed into normative, market-driven systems with an increasing emphasis on the value of the arts as instrumental forms of 'creativity' at the expense of social values, inclusivity and public engagement. Artistic practice, artist training and education, and artistic research form a closely interrelated triad, and framing them in experimental, radical and free ways is arguably a core quality for their development. Until the late 20th century, researching artists and artists that advocated a pedagogical approach comprised a small group with utopian goals. Since the 1970s artists have had increasing access to a variety of post-graduate education and research opportunities within the academy. Sharing an interest in critical pedagogies, artists see graduate education and research not as a restraint, but as a new opportunity. The focus on experimental forerunners and graduate art education today allows a new perspective on the future possibilities of arts education. As Sam Thorne observed in a survey of artist-led education in Frieze (Issue 149, September 2012) many artists are 'eager for an art school today to be self-determined, flexible, small-scale and cheap or free to attend'; and goes on to identify a number of shared preoccupations including the possibilities of and limits to self-organized education; who owns art education in a ‘knowledge-based polis'; what can be 'borrowed from traditional academies', and what 'should be jettisoned'. The issue editors invite proposals for articles, papers, artist's pages, diagrams and schematics from academics, artists, educators and researchers that comment on, propose and imagine alternative educational programmes and approaches to research (both inside and outside the academy) and their relation to historical and contemporary models, their methods, processes and ethos, in both the performing and visual arts. We also invite proposals for institutional and non-institutional frameworks for exploratory education and modes of public engagement and inclusion. We are interested in contributions that build on the foundations of creativity, imagination, and experiment that are not simply predicated on new technological (digital) possibilities and potentials (for all their value) but are also rooted in embodied, experiential and hands-on modes of making, thinking, and doing, oriented towards current and future cultural and social conditions, and concerned with ways that these can be integrated into developing modes of education and research. Topics for proposal might include: Schedule: ALL proposals, submissions and general enquiries should be sent direct to the Journal at: Issue-related enquiries should be directed to issue editors: General Guidelines for Submissions: +++ 10. CALL FOR APPLICATIONS: Naked State Art Residency International Call Naked State is a 10-day residency to create artworks that explore the nude human body in context of nature, culture and art. For the duration of the residency, the artists and residency Facilitator live as *naturists (in the nude) within the Bare Oaks naturist community to create works that explore questions such as: What is nudity? Does stripping away clothing rid us of class, gender, and personal expression?; Do the connections between our bodies and the land change when nude? Is nudity always sexual? What is the role of the nude in historical and contemporary art?; Is an animal with fur naked? Is it possible to be civil in the nude?; Is there a natural state for human being? Residents work individually or collaboratively to create artworks that explore these questions through media of their choice, such as photography, video, installation, drawing, painting, performance art, dance, sound art, media art, etc. Artists will have opportunities to socialize and integrate with the Bare Oaks naturist community at campfires, swimming, and sharing meals. This programmed residency offers workshops, group discussions with naturism advocate *Stéphane Deschênes, guest visits by artists and members of the Bare Oaks community, and plenty of studio time. Critiques of residents’ works occur on a regular basis, individually with the Facilitator and through facilitated group discussions. There will be a closing event, whereby artists present their creative explorations to the Bare Oaks community. Naked State art residency welcomes people in all walks of life and genders into a journey of creative exploration and self-discovery. *Naturism is the practice of complete nudity in a social setting. Though nudity is the most obvious aspect of naturism, it is simply a tool to reach closer to a natural state. The purpose of naturism is to promote wholesomeness and stability of the human body, mind, and spirit. It also promotes wellbeing through complete contact of the body with the natural elements. For a full description of naturism, visit BareOaks.ca/index.php/en/about-naturism. Bare Oaks Family Naturist Park is a year-round naturist park near Toronto in Canada, where individuals and families experience traditional naturist values in a modern setting. It is nestled among the natural wilderness of the Ontario Greenbelt and Oak Ridges Moraine. Its varied landscape includes open spaces, forests, ponds, streams and a small lake. Amenities include a store, restaurant, sun deck, TV and sports lounge, outdoor pool, whirlpool, saunas, exercise room, laundromat, and a small common kitchen with microwave and fridge. Wireless Internet can be purchased at the front desk. The Outback common room will be dedicated as a large shared studio space for the duration of the residency. Private, shared and campsite accommodations are available. There is some wheel chair accessibility. Please discuss accessibility details with the Facilitator. Bare Oaks is located in Gwillimbury, just 30 minutes North-East of Toronto. For more information visit BareOaks.ca and watch some videos. For details and how to apply visit: www.NakedState.ca +++ ABOUT FADO 445-401 Richmond Street West, Toronto, Canada M5V 3A8 To unsubscribe from this e-bulletin, please follow this link: |
