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FADO E-LIST (June 2016)INDEX +++ 1. EVENT: Rapid Pulse 2016 For five days in June over fifty artists, administrators and volunteers from around the world will come together to contribute to an international conversation about performance art. 2016 is a five day marathon of performance art at Defibrillator Gallery in the Noble Square neighborhood of Chicago. June 1-5, twenty-five international, national, and local performance artists will present their work in the streets, in the windows, and in the gallery. In addition to live work, each day also features a screening of performances for the camera. Each day will end with a group meal created by a Gastronomy Artist in response to the four other works that took place that day. In addition to producing remarkable events, Rapid Pulse aims to provide opportunities for performance artists from around the world to build community and share their work with other artists, international curators, and respected academics. Rapid Pulse requests a donation at the door beginning at 7PM each day of the festival: $15 general public / $10 students. The Gastro Pop Up Supper and the Workshop have additional donation requests. ELECTRODE and IN SITU performances are always free. RAPID PULSE is produced by DEFIBRILLATOR GALLERY, a 501c3 organization dedicated to performance art programming and discourse, your contributions may be tax deductible. For more information about the festival, the venues, the video series and the presenting artists, please visit: http://rapidpulse.org/ +++ 2. EVENT: OFFTA 2016: Maria Hupfield and Nos Terres Louables Sunday June 5 at 1pm 1) Maria Hupfield presents Post Performance / Conversation Action, a hybrid performance and conversation with guest artists on the topics in their work as a form of intergenerational community building and solidarity. Currently based in Brooklyn New York, Maria Hupfield is a member of the Anishinaabe Nation at Wasauksing First Nation, Ontario. Her work traveled across Canada for the exhibit Beat Nation: Aboriginal Art and Hip Hop and have shown at the Museum of Arts and Design New York, Toronto Power Plant, and 7a*11d International Performance Festival. Her project Artist Tour Guide was commissioned by The Smithsonian’s National Museum of the American Indian, New York with an iteration at The McCord, Montreal Quebec Canada. In 2015 she designed a nine foot birchbark style hunting canoe out of industrial felt to be assembled and performed in Venice Italy for the premiere of Jiimaan. Her work is represented by Galerie Hugues Charbonneau in Montreal. Presented in conjunction with #callresponse, a Canada Council {Re}Conciliation initiative project that positions the work of First Nations, Inuit and Métis artists as central to the strength and healing of their communities. Creation and performance: Maria Hupfield / Special guest : Alanis Obomsawin / Assistant : Lindsay Nixon Presented as part of Indigenous Contemporary Scene (ICS), a programming produced by ONISHKA. 2) The multidisciplinary event Our Glorious Land will bring together artists, authors, activists and performers interested in the socioeconomic challenges of the mining industry and in the poetico-political allegory of the figure of the resistant. The event is linked to a video performance, with the same title, projected live in the small gallery of the Galerie de l'UQAM. Alain Deneault: Philosopher and author of Noir Canada, and La Médiocratie To get tickets: +++ 3. PERFORMANCE: Every Song I've Ever Written by PME-ART / Jacob Wren (Montréal) Every Song I've Ever Written by PME-ART / Jacob Wren (Montréal) From 1985 to 2004, Jacob Wren wrote 58 songs that few people have ever heard. In a way, because hardly anyone has listened to them, they don’t yet exist—not without you. Spanning performance platforms, Every Song I’ve Ever Written is an interactive project with ambitious ideas and a mixtape heart. It examines certain personal regrets about the past, while also exploring the much larger cultural shift in how we listen to and understand music. Lend an ear and discover what songwriting, musical community and collaboration mean in the internet age. This work is divided into three parts: The Website The Solo Performance - June 9 at The Power Plant The Band Night - June 11 at Harbourfront Centre More: http://www.harbourfrontcentre.com/worldstage/every-song-ive-ever-written +++ 4. EVENT: PAErsche has the pleasure to announce the JUNE issue 2016: INTERVAL °8 June 10, as part of Kulturpfadfest Essen 2016
Vivian Chinasa Ezugha (UK) Organized by Marita Bullmann info:
+49 176 23512133
Carte Blanche Invited artists:
more infos:
www.paersche.org +++ 5. EVENT: 4th Cyprus International Performance Art Festival (CIPAF) 4th Cyprus International Performance Art Festival (CIPAF) The 4th Cyprus International Performance Art Festival (CIPAF) takes place at the Nikos Kouroussis Foundation, the Mine Kokkinopezoulas (Acid/Red Lake), and the Mine Kokkinogias in Mitsero, Nicosia on the 11th and 12th of June 2016, where the audience will have the opportunity to experience a combination of outstanding landscapes and Live Performances. The Cyprus International Performance Art Festival (CIPAF) is a thematic festival with its 4th edition focusing on site-specific and site-sensitive performance. This year’s festival is entitled “New Synchronicities: (no)one’s action, everyone’s celebration”, and aims to build New Synchronicities and perceptions inspired by nature while questioning our human condition. Prior to the public event the founder and curator of the CIPAF, Christina Georgiou, will conduct a 7-day intensive workshop for the participating artists. The workshop takes place at the festival locations, stimulating the creation of new performance art works, devised especially for the concept of this year’s festival. On the 11th and 12th of June the audience will visit the natural locations of Mitsero, in order to experience the live performances, with bus services (booking required) arranged from Nicosia to Mitsero and Limassol to Mitsero on both days. The festival’s program also includes screenings, the CIPAF’s Study Room and social activities for the audience in the indoor and outdoor spaces of the Nikos Kouroussis Foundation. ARTISTS PROGRAM Screenings, Study Room & Social Activities: 21:00–23:00 IMPORTANT INFORMATION Admission: Concession: €10 one day ticket, €15 festival pass–valid for students, soldiers, retired, unemployed, members of the CIPAS. www.cipafestival.com/?wp=tickets Background of the CIPAF The Cyprus International Performance Art Festival (CIPAF) aims to introduce the essence and compound nature of Performance Art in the local community and enhance Cyprus’ art scene, whilst encouraging relationships with local, national and international networks. The festival’s activities are addressed to both the artists and the public. The festival creates a common ground for artists, curators, critics, cultural producers, art students and the audience, by shaping a platform for exchange, encounter and collaboration. The Cyprus International Performance Art Festival (CIPAF) is a not-for-profit initiative realized through the immense effort to establish an innovative yearly event, which is accomplished due to the continuous effort of its founder and team, the support of the participating artists and the generosity of its collaborating partners, supporters, sponsors and volunteers. The Cyprus International Performance Art Festival (CIPAF) exists under the umbrella of the Cyprus International Performance Art Society (CIPAS), a non-profit and non-governmental organization founded in 2013. Organizer: Cyprus International Performance Art Society (CIPAS) +++ 6. PERFORMANCE: PAE and Alliance Francaise June 11, 2016 Performances: PAE is pleased to announce a late afternoon with 8 performances, hosted by Alliance Française and in collaboration with Montagne Froide / Blago Bung #10 / 100th anniversary of DADA celebration. Performance art, the French language, and poetry will occupy the attention of artists from France, Belgium and the Netherlands. La connection des performances artistiques Françaises promises to become a thought-provoking event using voice, word, sound, image, action and object. Montagne Froide (Cold Mountain) is artists Valentine Verhaeghe and Michel Collet, who explore language, image and sound by means of live performance. Montagne Froide also organizes exhibitions and publications, functioning as a mobile laboratory to connect with networks abroad. This event is financially supported by the City of Rotterdam and the Prince Bernhard Culture Fund of South-Holland. June 18, 2016 Artists: As part of the art manifestation Charlois Speciaal (formerly known as Kunstweekend Charlois) five performances will take place during one day in the public area of Zuidplein. The artists are asked to choose from one of the five proposed themes–dogs, tattoos, textiles, food or gardening–as the starting point of their performance. Shoppers, dogs on leashes, vendors, stuffed trash bins, maintenance workers, subway cars and buses, trolleys and the smell of fried food, but also revolving doors and escalators, activities of consumption and exchange, "thank you" and "please," the coming and going of travelers, all of these provide the terms to be used for preparing and conducting the performances. Performance art, as a volatile medium, is continually confronted with fleeting glances. The standards here are different from those in the usual spaces in which one encounters art. The majority of pedestrians are not prepared for the spontaneous encounters with performance art. The artist is challenged to make continual adjustments in order to adapt to changing circumstances and reactions from the people passing by. For more information on the performances and locations visit www.performanceartevent.nl This event is made possible by the City of Rotterdam, the Mya fund and Charlois Speciaal. PAE is a non-profit initiative that is run by the artists Nina Boas and Ieke Trinks who find it important that performance art can be experienced live in order to contribute to a lively discourse about the form. +++ 7. WORKSHOP: entrée with Yorgos Bakalos and Christina Georgiou OPEN CALL to Artists Dates July 10–17 Description: Koumaria Residency in collaboration with Yorgos Bakalos and Christina Georgiou are thrilled to invite artists from all over the world to participate in the performance project and workshop: entrée for the creation of an innovative event held in the premises of Koumaria Residency and the surrounding areas. The aim of this 8-day performance project and workshop is to bring together artists from a variety of backgrounds in order to create an artistic platform of mutual exchange. Therefore entrée is about the action of joining a particular sphere or group. And its main idea is to expand individual principles and create transpersonal dialogues within a collaborative environment. With this event we are seeking a new channel of personal communication through artistic means in order to rekindle and shape a new relationship between each other. This project is addressed to artists at any stage of their career, coming from any artistic discipline or working with time-based and body-based art and practices. The workshop’s methodology employs practical exercises, short solo and group performances, theoretical analysis, constructive commentaries, group and individual discussions, reflections, feedback and individual tutoring. The selected artists will work and live collectively in Koumaria Residency, and from this process devise new works that will be presented to the audience during the public part of the project, which takes place on the 17th of July 2016. Yorgos Bakalos will work with the symbiotic relationship between text - actions - objects through this physical theater workshop. The method: Through extensive exercises and intense physical movement, Yorgos aims to link the artist - performer - actor with their center and retract authentic action / actions. This will be achieved through the liberation of the spirit from stereotypical models and clichés, the freedom of the body within any form of motion, the pleasure that the body feels when is autonomous and follows what it wants, the grounded voice and speech. The outcome of this process will lead performers to experience how the performance of a text when tuned and arisen through physical actions and actions with an object can be attributed with honesty, depth, and their personal blueprint. The sessions are characterized by "playfulness", eccentricity, and the creation of personal space. Yorgos’ intensive sessions consist of a composition of different techniques structured from his practical work in the last decade. In this specific workshop, Yorgos will mainly focus on Tadeusz Kantor and the technique he introduced in connection with the paltry everyday object - "poor object". The technique is suited in the artistic pursuits of the now, approaching the stage (spatial) performance over the uniqueness and specificity of each performer through an immediate correlation with their development through personal research and group experience. www.yorgos-bakalos.com Christina Georgiou will work with the compositional aspects of creating a performance piece through this Performance Art-based workshop. The method: Christina will introduce a variety of physical exercises and techniques from her workshops “SenseSelfEssence”, while presenting tools to the artists in order to connect the Self and it’s existence in the “here and now”. This state will be achieved through a repetitive and continuous process while experiencing and observing the body-mind processes through mindful actions. This process concentrates on the connection of physical and mental functions in relation to real time and space, and the constant process of witnessing and observing the Self. It also focuses on the construction of presence through energy work in order to transmit intensity channeling to the spectator. And to connect with one’s self through finding one’s authentic action and centre, and developing awareness and sensorial abilities through a constant connectivity of inner and outer awareness. Christina’s method is formulated as a somatic method emphasizing internal physical perception, and is created through her personal work and experience within the field of Performance Art – as a conceptual form of art that exists between image and praxis – and other spiritual practices. Christina aims to offer practical and theoretical keys for the development and process of the artists’ work by using the body and Self as the basic elements of the intended action. The participants will be able to work on the compositional aspects of creating a performance piece through the exploration and understanding of time, space/ site and object in relation to their main tool: the body, as a manifestation of the Self and the Soul. The workshop is constructed to increase and utilise personal insight and intuition, while building confidence and decisiveness towards the artist’s artistic practice. www.christinageorgiou.com PARTICIPATION FEE € 600 The attendance fee includes: 12 artists will be selected to partake in the residency. The artists will be asked to reconfirm their participation and in order to secure their place in the residency the first instalment (300 euro) should be made by the 25th of June. In case of cancellation there is no refund for the first instalment. Application procedure: We welcome applications from artists from all levels of experience and at any stage of their career, working within performance art and other forms of contemporary performance, theatre, dance, interdisciplinary, body-based and time-based art and practices. We are interested in artists whose work is collaborative, but we also welcome submissions from artists who wish to expand their practice by attending this shared experience. Please submit the following: Please send the PDF document and the 5 images to: contact@christinageorgiou.com & info@yorgos-bakalos.com with “Koumaria Residency” in the subject line of the email. For general questions please do not hesitate to contact us. Selected artists will be notified via email by June 15, 2016. An invitation can be sent to the selected participants in order to acquire travel grants. Participation in this project does not include the artists’ travel and flight expenses to and from Koumaria (Greece). Co-organized by: +++ 8. CALL FOR PROPOSALS: Running with Concepts: The Choreographic Edition A three day hybrid event: September 16–18, 2016 With Julia Bryan-Wilson, Camel Collective (Anthony Graves and Carla Herrera-Prats), Mel Y. Chen, Emily Mast, Julie Pellegrin, Julien Prévieux, Sarah Sharma, and Ashley Hunt, taisha paggett & Kim Zumpfe (The School for the Movement of the Technicolor People) Co-hosted by Ame Henderson and Christine Shaw acceleration, accumulation, animation, apparatus, appropriation, arrangement, attention, bodies, borders, boundaries, capture, collaboration, commerce, composition, communication, community, complexity, contact, control, cooperation, decision, discipline, enclosure, experimentation, flexibility, fluidity, force, formation, identity, immunity, improvisation, individuation, infrastructure, intelligence, interaction, labour, location, logistics, management, market, mobility, notation, observation, operation, order, participation, performance, platform, play, preservation, procedure, property, record, security, stage, tape, territory, topography, topology, valuation, virtuosity… Capitalist imperatives, choreographic conditions, or artistic realities? Neoliberal dispositifs of power are linked with technologies to secure and enclose territories, discourses, and bodies. With the individual body and its movement as their basic unit of operation, these systems distribute and choreograph according to the necessities of the global economy, caring for the general health of bodies while simultaneously depriving them of a shared way of life. Dance, the visual arts, and artistic communities have become models for neoliberal flexibility, self-exploitation, capture, and control. How can we think about the relation between art and politics today without repeating neoliberal demands and constraints? Questions of choreography animate the Blackwood Gallery’s 2016–2017 exhibition programme which sets out to mobilize another set of terms: counterproductivity, co-immunity, choreopolitics, and care. The fourth edition of Running with Concepts poses experimental relations between the far edges of contemporary artistic and theoretical discourses such as communication, computer science, dance, critical disabilities studies, geography, queer and gender theory, theatre, visual arts, management, politics, and the global economy. It will play host to performances, workshops, talks, reading sessions, choirs, and conversations to open multiple perspectives on the ramifications of the choreographic in the 21st century. Running with Concepts: The Choreographic Edition will become a rehearsal space for possible ways of entering the social and of positioning oneself with others. FOR INFORMATION ON THE RWC FACULTY, VISIT: PROPOSALS MUST INCLUDE Participants from a wide range of disciplines are encouraged to apply. Graduate students and emerging artists, curators, dance artists, theorists, and writers will be given priority. DEADLINE: JUNE 17, 2016 +++ 9. CALL FOR SUBMISSIONS: Vol. 22, No. 3: ‘Turning Animal' (June 2017) Vol. 22, No. 3: ‘Turning Animal' (June 2017) This issue of Performance Research invites creative and critical explorations into the question of interspecies transformation or the act of 'turning into'— specifically in terms of humans turning into animals or vice-versa (therianthropy). Turning Animal will probe the human and the animal as unstable categories through the medium of performance, inviting notions of post-human and post-animal, or indeed a loss of categorical distinction in the classical Aristotelian sense (i.e. animal is slave to human). Challenging the Aristotelian split, we wonder why the animal category is often inclusive of the human animal, whereas the human category is so often exclusive or prevalent. New materialist approaches are recasting these ontological categories whilst shifting the critical focus to synthetic, networked, fused forms of agency across human and animal subjectivities. Drawing on key notions such as 'becoming animal' in Deleuze and Guattari’s work (2004), the phenomenology of David Abram (2010), the work of Rosi Braidotti (2013) and Brian Massumi (2014), the idea that we are turning into animals in order to leave behind a humanistic and anthropocentric epistemology continues to gain ground in political bio-philosophy. The issue of becoming animal can be discussed not only in philosophical terms, however, but also in relation to creative practices, for instance in relation to the affordances of bio-technological research and genetic engineering, particularly in terms of the artificial manipulation of genomes in living organisms. What is at stake here is an ethical question concerning the boundaries, if any, between human and animal species, as well as the logistic and practical problems in science and technology, involving laboratory-based mutation, modification, cloning, synthesising, hybridising and chimaera-making out of manipulated bio-cellular information. Are scientific practices informing creative practice in the performing arts? How does digital performance, for instance, embody the process of turning into animal? What examples of technologically mediated performance involving therianthropy, zoomorphism, and animal guising could be used as suitable case studies? Might the focus on genetic engineering blur the distinction between human and animal categories, emphasizing genetic information that is common to and shared by different living forms? How does the fabrication of new animal forms and new animal bodies through the material agency of bio-technology inform new kinds of subjectivity and expressivity? In what way does the category of the post-animal, the animal as conceived within a posthumanist epistemology, open up new understandings of the agency of bio-things? Three possible areas of performance practice that could be explored in this issue are: We are especially keen on theoretically backed explorations that can combine performance perspectives with a related field of research in the life sciences and bio-humanities. Approaches that establish critical connections between performance research and key fields such as zoology, zoomorphology, morphogenesis, genetics, animal science, ethology, or biotechnology, are particularly welcome. Likewise, we are interested in case studies that stretch the notion of post-animal performance beyond stage-based contexts. Some indicative areas of interest that we would like to see represented in this volume include, but are not limited to: Schedule: ALL proposals, submissions and general enquiries should be sent direct to the PR office: Issue-related enquiries should be directed to the issue editors: General Guidelines for Submissions: +++ 10. PRE-ORDER: New publications from Live Art Development Agency Pre-order New LADA Publications: Two new books co-published with Intellect and Oberon are now available for pre-order and will be dispatched in early June. It's All Allowed: The Performances of Adrian Howells Adrian Howells (1962–2014) was one of the world’s leading figures in the field of one-to-one performance practice - the act of staging an event for one audience participant at a time. Developed over more than a decade, Howells’ award-winning work initiated new challenges and innovations in performance art, “intimate theatre,” and socially engaged art. It’s All Allowed is the first book devoted to Howells’ remarkable achievements and legacy. Contributors here testify to the methodological, thematic and historiographical challenges posed by Howells’ performances. Citing his permissive mantra as its title, It’s All Allowed includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into Howells’ ground-breaking process. Pre-order now: http://www.thisisunbound.co.uk/collections/books/products/its-all-allowed-the-performances-of-adrian-howells AND The Live Art Almanac Volume 4 The Live Art Almanac Volume 4 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy. Live Art is experiencing a huge surge in interest with major museums embracing this disparate area of practice, formerly cult artists becoming household names, and everyone from Shia LaBeouf, Lady Gaga and Jay Z trying to get in on the action. Reflecting the diversity of approaches and key developments from the last few years, Volume 4 is grouped into seven loosely themed sections: Locating Performance; Performance Under Attack; Speaking Up/Speaking Out; Show Me the Money; High Art in Low Places; Reviews and Dearly Departed. +++ ABOUT FADO 445-401 Richmond Street West, Toronto, Canada M5V 3A8 To unsubscribe from this e-bulletin, please follow this link: |
