 |
 |
 |
 |
|
|
|
FADO E-LIST (September 2019)FADO PROGRAMMING INDEX
1. FADO PROGRAMMING: Performance Club 4–6
INDEX 6. CALL FOR PROPOSALS: Performance Research Vol. 25, No. 3: On Microperformativity 7. EVENT: NEW NORMAL: an embodied novel by Margaret Dragu Date: September 4, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 8. EVENT/EXHIBITION: das es geschieht (exhibition) by Boris Nieslony Date: September 8 & 27, 2019 (performances); City: Ratingen, Germany; Source: asabank 9. EVENT: waters/edge by Robin Poitras Dates: September 7, 8 & 14, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 10. WORKSHOP: Boundaries of the Everyday Body: a post-studio performative intensive Date: September 9–13, 2019; City: Montreal, Canada; Source: Victoria Stanton 11. EVENT: ANTI - Contemporary Art Festival Date: September 10–15, 2019; City: Kuopio, Finland; Source: ANTI 12. WORKSHOP: Introductory Performance Art Workshop with VestAndPage Date: September 12–15, 2019; City: Düsseldorf, Germany; Source: VestAndPage 13. EVENT: DoubleBind by Jessica Thompson Dates: September 18–22, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 14. EVENT: Day of Public Action: for Freedom and Democracy (around the world/Toronto) Date: September 20–25, 2019; City: the world; Source: Marita Bullmann 15. EVENT: PATH by Louise Liliefeldt Date: September 21, 2019; City: Toronto, Canada; Source: TPAC (7a*11d) 16. EVENT: VIVA! Art Action Date: September 25–28, 2019; City: Montreal, Canada; Source: VIVA! 17. EVENT: Art Nomade Date: October 3–6, 2019; City: Saguenay, Canada; Source: Art Nomade
+++
1. FADO PROGRAMMING: Performance Club 4–6
FADO invites you to your favourite autumn performance series, Performance Club!
Performance Club 4–6 September 10, 12, 14 & 19
WITH Moe Angelos Hope Thompson David Bateman
This year's Performance Club takes up a variety of literary texts and references including the noir mysteries of (and the mysetery of) crime novelist Cornell Woolrich, that famous “never-having-to-say-you’re-sorry-story" Love Story, and the return of Queer/Play: Anthology of Queer Women's Performance and Plays. Among other, unrelated but interconnected and surprising text-based signposts. The three performance offerings in FADO's master-mini Performance Club 4–6 are unique but interconnected, rooted in theatre but based in performance, and are best enjoyed in rapid succession!
THE SYLLABUS Join us for Performance Club and get your own copy of Performance Club: THE SYLLABUS, a brand new addition to FADO's Golden Book series (as always, designed by Lisa Kiss). This time, it's bigger (it won't fit in your pocket, think book bag) and it contains three performance texts and a scholastic themed intro, entitled "This is a Queer Series..." written by Moynan King. Essential reading for your Performance Club experience.
ABOUT PERFORMANCE CLUB As a proposition for a performance or the framework for an actual book club, Performance Club redefines the historical and contemporary performance art canon, one book club, and one book / article / essay / anthology at a time. Invited artists perform the role of book club facilitators, leading the audience through a performance of a reading, a reading performance, a performance about a book, or a bookish performance. This series is on-going. Sometimes we pick the book and invite an artist; sometimes we invite an artist and they pick a book. Just like a real book club, we ask the audience to read the suggested material before coming to the performance. But don't worry, just like a real book club, no one ever does.
FREE / All welcome / snacks & drinks & all your friends
The Commons @ 401 401 Richmond Street West, 4th floor, Toronto (Accessible space & washroom)
Performance Club 4 Tuesday, September 10 @ 7:30pm Book Club: snowflakes in the echo chamber Performed by Moe Angelos ***Note: NEW DATE***
Performance Club 5 Thursday, September 12 @ 7:30pm The Talking Grave Performed by Hope Thompson
Saturday, September 14 @ 2:00–5:00pm WORKSHOP: Death, Sex, & Macrame With David Bateman The workshop will consider Bateman's past performance work, and ways in which he has re-considered various narratives/performance texts around sex and gender over the past thirty years. Expect snacks and macrame.
Performance Club 6 Thursday, September 19 @ 7:30pm Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? Performed by David Bateman
+++
2. FADO EVENT: Conjuring the Archive with Jess Dobkin Date: Wednesday, September 18
performance / talk / conversation with Jess Dobkin
Wednesday, September 18
The Commons @ 401
In 2018–2019, Jess Dobkin received a Chalmers Art Fellowship in support of her current on-going research project looking at the performance art archive—her own personal archive and the archives of notable organizations and artists in the USA, UK, Mexico, Hong Kong and Canada.
Jess Dobkin approaches the archive as both site and material to investigate the lifespan and spirit life of performance art. Building on her ongoing research in international performance archives, she interrogates the relationship between live performance and documentation to explore the dynamic ways that performance can exist before and beyond the live event.
Her performance will invite the audience to create a DEMPSEY AND MILLAN TALIXMXN, an energetic archive of the performances and projects of Shawna Dempsy and Lorri Millan. On July 22, 2019 a fire destroyed a warehouse in Winnipeg that housed the studios of more than two dozen artists. Shawna and Lorri lost 30 years of artwork, costumes, ephemera, books, equipment and materials. This TALIXMXN is an honouring of Shawna and Lorri’s archive and an offering of archival magic.
ABOUT JESS DOBKIN Jess Dobkin has been a working artist, curator, community activist and teacher for more than 25 years, creating and producing intimate solo theatre performances, large-scale public happenings, socially engaged interventions and performance art workshops and lectures. Her practice extends across black boxes and white cubes, art fairs and subway stations, international festivals, and single bathroom stalls. She’s operated an artist-run newsstand in a vacant subway station kiosk, a soup kitchen for artists, a breast milk tasting bar, and a performance festival hub for kids.
+++
3. FADO EVENT: Marita Bullmann, Liina Kuittinen & Ignacio Pérez Pérez Date: Friday, September 20
International Visiting Artists 2019:
Friday, September 20
TMAC (Toronto Media Arts Centre)
Please join us for this special night of performances in FADO's on-going International Visiting Artists series.
Marita Bullmann: "My works are engagements with everyday objects: familiar materials, actions, spaces and places. I am seeking a direct encounter between body and space. My working method can be understood as a temporally ephemeral, site- and situation-specific process."
Liina Kuittinen: "Digestion is process that involves the body with other processes, one point in the circle of matter. Performance operates on the same plain with digestion. Performance and process of digesting are equally real. They are meeting points for material flows, actual events transforming material into other."
Ignacio Pérez Pérez: "We are together in this. Now or never. Now or never. Now or never. I creates experiences of ritualistic playfulness and worldly contemplation to observe and encounter otherness and its permanent state of transformation in the realm of everyday life."
ARTIST TALKS: Please join us on Saturday, September 21 at 1:00pm for artist talks by Marita Bullmann and Ignacio Pérez Pérez.
The presentation of new performance works by Marita Bullmann, Liina Kuittinen and Ignacio Pérez Pérez at FADO is made possible through a collaboration with VIVA! Art Action, one of FADO's enduring partners. FADO and VIVA! have partnered several times over the years to share the presentation of international artists to both platforms in order to bring exceptional artists and their work to audiences in both cities; in addition to giving visiting artists the unique opportunity of engaging with performance communities in both Toronto and Montréal.
ABOUT VIVA! ART ACTION Initiated by Patrick Lacasse and Alexis Bellavance, VIVA! was founded in 2006 by six artist-run centres from Greater Montréal to support the production of events dedicated to the presentation and advancement of action art practices and knowledge. The organiZation’s energies are primarily focused on VIVA! Art Action, an international biennial whose sixth edition took place in October 2017. Currently the fruit of a partnership with nine artist-centred organisations, the festival provides the public with an accessible and convivial context in which to encounter performance art in its most striking and avant-garde forms.
+++
4. FADO EVENT: Performance Art Workshop with Liina Kuittinen Date: Saturday, September 21
Blowing because mouth knows how to blow and makes a sound for ears to hear Performance Art Workshop with Liina Kuittinen
September 21, 2019 @ 11:00am–1:00pm
I consider my artistic practice as minor scale resistance to the dominance of language. For example, it is difficult to say anything new about blowing, without blowing; whereas every blow is different from the previous. My performance practice evolves from the physicality of being and action. The body and its habits are my main material.
This workshop is, in itself, an experiment in process sharing, modest but direct. During the 2-hours participants will spend together, Liina will expose the process of creation behind the performance work presented at FADO the previous night on September 20 and using this as the starting point, will suggest a series of practical experiments that participants will elaborate on together.
DETAILS of the workshop: This workshop is offered free of charge. The space that the workshop is offered in is accessible. More INFO here. The maximum number of participants is 15. The workshop will be offered in English. You will be asked to participate in various exercises which may involve movement and voice. It is not necessary to have previous experience in performance-making to take part; however it is highly recommended that participants attend Liina’s performance on September 20th as a precursor to the workshop (see above).
If you would like to participate in the workshop, please email: info@performanceart.ca
+++
5. FADO EVENT: single use salmon plogging by Ayumi Goto Date: Sunday, October 20
single use salmon plogging by Ayumi Goto
Curated by FADO Performance Art Centre Co-commissioned by FADO and The Toronto Biennial of Art
Performed during the 2019 Toronto Waterfront Marathon
Sunday, October 20 9:00am–3:30pm (approximate) Starting/ending location: Bay Street & Queen Street West
single use salmon plogging addresses the labour required for enacting upon human responsibilities for taking care of the environment. The performance meditates upon the all too human compulsion to purchase and then discard that which is easily accessible, mass-produced, and presumably replaceable.
In this performance, Toronto audiences are introduced to Ayumi Goto’s performance-alter ego, geisha gyrl, who is part salmon and part human. A performative shadow of Adrian Stimson’s Buffalo Boy, geisha gyrl and her team of scavenger-collectors intervene with the Toronto Waterfront Marathon and run the 42 kilometre route, collecting plastic and other debris along the way. single use salmon plogging culminates at the finish line of the marathon.
This performance is dedicated to the Anishinaabe grandmother, activist and water walker, Josephine Mandamin, who circumnavigated the Great Lakes, covering over 17, 000 kilometers to raise awareness about the pollution in the river and lake systems. The performance is also dedicated to David S. Buckel, an LGBTQ rights lawyer, environmental activist, and runner, who self-immolated in Brooklyn to protest humanity’s addiction to fossil fuels.
The route run by geisha gyrl and her team of scavenger-collectors references and at points overlays the site of the Toronto Biennial’s curatorial activities, located along the original boundaries of the so-called Toronto Purchase of 1805 which stretch from Ashbridges Bay to Etobicoke Creek.
Scavenger-collectors: Shannon Cochrane, Deb Lim, Peter Morin and Soleil Launiere.
ABOUT the Toronto Biennial of Art Launching September 21, 2019, the Toronto Biennial of Art is a new international contemporary visual arts event as culturally connected and diverse as the city itself. For 72 days, Toronto and surrounding areas will be transformed by free exhibitions, talks, workshops and performances that reflect our local context while engaging with the most pressing issues of our time. The inaugural Biennial will present over 100 works by Canadian, Indigenous, and International artists installed at more than 15 sites on or near Toronto's waterfront.
+++
6. CALL FOR PROPOSALS: Performance Research Vol. 25, No. 3: On Microperformativity Deadline date: September 2, 2019; City: the world; Source: Performance Research
Performance Research Vol. 25, No. 3: ‘On Microperformativity’ (April/May 2020) Proposal deadline: Monday, September 2, 2019
Issue Editors: Jens Hauser, Medical Museion, University of Copenhagen Lucie Strecker, University of Applied Arts Vienna
The aim of this issue is to scrutinize both the epistemological and aesthetic potential of the notion of ‘microperformativity’ (Hauser 2006, 2014). The concept denotes a current trend in theories of performativity and performative artistic practices to destabilize human scales (both spatial and temporal) as the dominant plane of reference, and to emphasize biological and technological micro-agencies that, beyond the mesoscopic human body, relate the invisibility of the microscopic to the incomprehensibility of the macroscopic. Investigations into microperformativity redefine what art, philosophy and the technosciences actually consider a ‘body’ today, in times when performance art shifts towards generalized and pervasive performativity in art. Agencies of genetic sequences, cellular ‘machineries’, bacteria, fungi, enzymes and other proteins and so forth are no longer conceived of as mere functions, but staged as aestheticized actions, employed to either act as identity proxies, or to stage non-human agencies in relation to performative techno-scientific systems, thus addressing contemporary dynamics linking the machinic and the organic (Salter 2010). This tendency to include ‘aliveness’ at all levels completes the scope of the previously ambiguous term ‘live arts’ (Heathfield 2004).
Microperformative positions enquire how artistic methods can engage critically with technologies that exploit life on a microscopic and molecular level to merge bio- and digital media, including for global capitalization (Spiess and Strecker 2016, 2017). In parallel to algorithmic finance and high-frequency trading, the instrumentalization of sequential micro-transformations in bioindustrial production lines marks society’s shift from human and machine labour to increasingly pervasive forms of microbial manufacturing and computerized bio-optimization. Meanwhile the anthropocentrism of ‘artificial intelligence’ in its preference of computational approaches to model human-like capacities and consciousness has come under critical scrutiny, microperformative postures may search for ‘natural intelligence’ in an eco-systemic logic within a larger bio-semiotic web. Such postures insist on the production of meaning and mutual interpretation between organisms in their environments, thus bringing the field of biosemiotics into play as a new modality for contemporary performance studies. With regards to both artistic production and perception that subvert the mesoscopic tradition in which human phenomenological considerations are still rooted, we look for contributions that demonstrate how performative art forms and discourses can inform these processes to think biopolitics and necropolitics in relation to the dystopia of economy and the utopia of ecology alike.
We invite to apply the notion of microperformativity as an interdisciplinary ‘travelling concept’ (Bal 2002) that synchronically crosses disciplinary and cultural boundaries, and diachronically links a given context to earlier epistemological contexts, while paying ‘increased attention to its material and medial foundations’ (Neumann and Nünning 2012: 9) in the light of the emerging arsenal of associated discursive and symbolic relations. This encompasses post-anthropocentric notions of performativity—including material, affective, scientific and natural-cultural hybrids and ‘epistemic things’ (Rheinberger 1997)—and addresses artistic explorations at the vibrating threshold of aliveness and living matter (Bennett 2009), challenging current understandings of aliveness as such. Through the lens of the performing arts in their broadest possible definition, this issue welcomes submissions for theoretical essays, interviews, manifestos, artistic research and process documentation, as well as performance reviews.
Suggested topics include (but are not limited to):
—Dramaturgical approaches: If performances engage microperformative flows of dynamic systems and materials dramaturgical tools need to expand. But do Aristotelian poetics or models of mimesis become obsolete in narrations, compositions and material transformations beyond the human? We are looking for criteria in dramaturgy that consider the processes’ ethics, aesthetics and techno-ecological entanglements as crucial to the materiality of production (Trencsényi and Cochrane 2014)
—Microperformativity through the lens of biosemiotics: Biosemiotics study the meaning and interpretation of signalling processes between an organism and its environment. They have never been approached expressly from the perspective of performance studies up to date. We encourage articles that highlight an understanding of the relation between Umwelt, technology, living organisms and their performative agency from a biosemiotic viewpoint.
—Historical layers of microperformativity: We are looking for art historical analysis that highlights contemporary artistic practices of microperformativiy: Ancient Greek and Roman philosophy as well as medicine conveyed complex theories about the circulation of bodily fluids and inanimate matter. In early modern times the science of alchemy showed differentiated forms of rituals and theatricality. A modernist embrace of biological concepts from Dada and the Situationists to non-representative theatre concepts following Antonin Artaud, Jerzy Grotowski, Happening and Fluxus Art, or bio-cultural narratives in Viennese Actionism may have paved the way for post-anthropocentric artistic methods, entangled with microperformativity.
—Reception aesthetics: Theories of reception emphasize the meaning making by the audience. How does a recipient comprehend, decode and appraise artistic practices that foreground microperformative processes? Aesthetics asks for new modalities of microperformative perception and associated modalities of co-corporeality and proprioception. Within performative (biological) artworks, the relation between audience, technologies, living matter and the artistic content shows characteristics of Simondon’s concept of associated milieu (2000). Related schools of thought also address ways in which humans relate affectively to technical objects in relation to living matter.
Schedule: Proposals: September 2, 2019 First drafts: November, 2019 Final drafts: January, 2020 Publication: May, 2020
Issue contacts: All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org
Issue-related enquiries should be directed to the issue editors: Jens Hauser: hauser@hum.ku.dk Lucie Strecker: lucie.strecker@uni-ak.ac.at
General Guidelines for Submissions: –Before submitting a proposal, we encourage you to visit our website and familiarize yourself with the journal. –Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)). Proposals should not exceed one A4 side. –Please include your surname in the file name of the document you send. –Please include the issue title and issue number in the subject line of your email. –Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images. –Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. –If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.
+++
7. EVENT: NEW NORMAL: an embodied novel by Margaret Dragu Date: September 4, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
Presented by TPAC (7a*11d) in the context of KinesTHESES
NEW NORMAL: an embodied novel by Margaret Dragu with the assistance of dance captains Claudia Moore, Rob Abubo and Mikiki
September 4 | 7:30pm TTC Oakvale Greenspace (in front of the Oakvale Greens Community Gardens) 77 Oakvale Avenue
NEW NORMAL is a walk’n’roll dusk-to-dark performance-for-camera where the audience is inside the performance as they walk’n’roll with easily-learned-gestures from Dragu’s urban stories of negotiating public transit with mobility aids, wheelchairs and baby strollers that the performing public listen to on their cellphones.
Margaret has some advance instructions/suggestions to enhance your participation in the performance: a. Please download the 4 audio files (mp3 format) from http://7a-11d.ca/festival_artist/margaret-dragu/ to your cellphone before the performance so that you can be part of the soundtrack. b. We’ll ask you to play them live, so remember to bring your cellphone to NEW NORMAL. c. Wear your reflective safety gear for night visibility – vests, armbands, stickers, etc.
ABOUT MARGARET DRAGU Margaret Dragu works in video, installation, web/analogue publication and performance. Spanning relational, durational, interventionist and community-based practices, she has presented her work across Canada, the United States and Europe. An innovator and pioneer in Canadian art, Dragu is a 7a*11d Éminence grise (2012), was the first artist featured in FADO’s Performance Art Legends publication series, and was the recipient of the Governor General’s Award for Visual and Media Arts in 2012.
ABOUT KinesTHESES This event takes place as part of KinesTHESES, curated by Paul Couillard for TPAC (7a*11d), a series of Toronto-based performance art between August and December 2019 with featured artists Barak adé Soleil, Margaret Dragu, Esther Ferrer, Fiona Griffiths, Louise Liliefeldt, Stephanie Marshall, Robin Poitras, Jessica Thompson, claude wittmann, and Sakiko Yamaoka. KinesTHESES features works that take the notion of “moving” their audiences in the most literal sense. Rather than engaging audience members simply as sets of eyes and ears, these projects remind us that we are, above all, animate forms: tactile-kinesthetic creatures that first learn who we are and discover our world by moving through our environment as bodies experiencing dynamic flows and encountering surfaces and textures. These are the building blocks of what we come to recognize as time, space and matter.
ABOUT TPAC (7a*11d) TPAC, best known for its biennial 7a*11d festival, was established in 1997 by a group of local performance artists and organizers, keen to create a forum for performance, live and action art in Toronto. Since then, Toronto has proven itself to be performance art-centric, and what began as the first 7a*11d International Festival of Performance Art has continued to grow and offer audiences the best of contemporary performance art from around the world. Thanks to the Canada Council for the Arts, Ontario Arts Council, and the City of Toronto through the Toronto Arts Council for their generous support of this project. For more information, please visit: www.7a-11d.ca
+++
8. EVENT/EXHIBITION: das es geschieht (exhibition) by Boris Nieslony Date: September 8 & 27, 2019 (performances); City: Ratingen, Germany; Source: asabank
The Kunstmuseum Ratingen/D organizes two performance events in the exhibition "das es geschieht" by Boris Nieslony. The first event is on September 8, 2019 and the second one is on September 27.
Antoni Karwowski (solo performance ) and Myriam Laplante (solo performance) Date: September 8 Time: 04:00 pm Place: Art Museum Ratingen, Peter-Brüning-Platz 1, 40878 Ratings Info: +49 2102 5504180
The second one: The Action Lab PAErsche will show a three hours Open Source Performance. This action, called Open Source, is a form of group performance based on free interaction and free intervention. Various performers from NRW and Germany come together for this performative dialogue. Arrangements are made minimally. The conversation with objects, gestures and body language does not exclude voice, sound and word language. All in all, a poetic atmosphere is created in the direct communication process with all diverse voices and languages.
Open Sourxe Date: September 27 Time: 07:00 pm–10:00 pm Place: Art Museum Ratingen , Peter-Brüning-Platz 1, 40878 Ratings Info: +49 2102 5504180
+++
9. EVENT: waters/edge by Robin Poitras Dates: September 7, 8 & 14, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
Presented by TPAC (7a*11d) in the context of KinesTHESES waters/edge by Robin Poitras
September 7 | 2pm Sunnyside Park
September 8 | 2pm Toronto Islands
September 14 | 8pm Toronto Beaches boardwalk
waters/edge invites a group of participants to engage in group walks that result in making ensemble sound / bell songs, at places where the water’s edge meets the land. A sounding exploration and sonar reading, waters/edge invites an aural reflection of both the body’s own fluid systems and bodies of water. All are welcome to come and listen/observe. The walks will take place outdoors on public beaches with uneven terrain.
For those wishing to participate as bell ringers, Robin will offer several prelude workshop sessions (advance registration required; visit http://7a-11d.ca/festival_artist/poitras-robin/). Through several somatic based workshop rehearsals, participants will be introduced to a walking, sitting, and bell ringing journey near the water’s edge. Those attending one or more of the prelude sessions are expected to commit to participating in at least one of the scheduled walks.
ABOUT ROBIN POITRAS Robin Poitras is one of Saskatchewan’s most prolific dance and performance creators. Creating dance, performance and installation works, she has been actively engaged in contemporary dance practice since the early 1980s. Robin’s works have been presented across Canada, in Spain, France, Germany, Mongolia and Mexico. She is a recipient of the 2016 Lieutenant Governor’s Lifetime Achievement Award, the 2006 Mayor’s Awards for Business & The Arts Lifetime Achievement Award, and the 2004 Women of Distinction Award for the Arts. In 2008, she was one of 7a*11d’s Éminences grises.
This event takes place as part of KinesTHESES, curated by Paul Couillard for TPAC (7a*11d). For more information, please visit: www.7a-11d.ca
+++
10. WORKSHOP: Boundaries of the Everyday Body: a post-studio performative intensive Date: September 9–13, 2019; City: Montreal, Canada; Source: Victoria Stanton
Boundaries of the Everyday Body: a post-studio performative intensive Les frontières du corps quotidien: pratiques performatives post-studio
A bilingual (EN+FR) workshop offered by Victoria Stanton Studio 303 (Montreal)
September 9–13, 2019 9:30am–12:30pm daily
Fee: $75 with the support of *Emploi-Québec (or $170, non-eligible rate) Open to artists of all disciplines To register or for more info: www.studio303.ca
DESCRIPTION This workshop intensive will specifically locate our process in public settings, surrounded by elements of the “everyday.” An opportunity to deepen our explorations about how we consider, construct, and witness performance in public (non-art) contexts, participants will be invited to experiment with in-situ and in-socius performative practices as we move from one location to the next on a daily basis. How does place inform our behaviour? How do we move, walk, relate, receive – depending on where we are? How do weather, air, walls, others inform our performative choices? With an emphasis on post-studio methodologies, and infiltrating practices (i.e.: more invisible, liminal actions that subtly imprint themselves into the fabric of daily life), through embodied research we will also examine the im/practicalities (challenges, surprises, joys, unpredictability of dynamics) of making/showing work literally “outside the box.”
FACILITATOR BIO Victoria Stanton is an interdisciplinary artist whose 25 years of practice spans the realms of live action, human interaction, video, film, photo, drawing, and writing. Since 2001, Victoria has been delving into an expanded engagement with performance art, combining infiltrating and transactional/relational processes within a variety of communities and contexts across Canada and internationally. Considered a pioneer of transactional practices in Quebec, she has facilitated several workshops with TouVA (a collective comprised of Stanton, Sylvie Tourangeau and Anne Bérubé) and been developing a pedagogy via the exploration of human geography, architecture and the body as well as the micro-event – elements that have become fundamental to her workshops. She has previously given classes in Montreal (RAIQ, SKOL, Studio 303, Concordia University) Durham (Words Aloud Festival), Toronto (Hub 14, Artscape Gibraltar Point, Artscape Youngplace), Sudbury (Galerie du Nouvel-Ontario), Mexico (Centre FRONDA), and Melbourne (Overload Festival). Victoria has presented exhibitions, performances, interventions, and films/videos nationally and internationally, and has co-authored two books: with Vincent Tinguely (Impure, Reinventing the Word: The Theory, Practice, and Oral History of Spoken Word in Montreal, conundrum press, 2001) and TouVA (The 7e sens: Practicing Dialogues/ Practicing Workshops/ Practicing the Daily Performative/ pratiquer l’art performance, 2017).
+++
11. EVENT: ANTI - Contemporary Art Festival Date: September 10–15, 2019; City: Kuopio, Finland; Source: ANTI
The 18th edition of ANTI - Contemporary Art Festival will take place between 10th and 15th September 2019. Internationally celebrated, award-winning artists from around the world will once again present their projects in Kuopio.
The theme and focus for the 18th edition of ANTI - Contemporary Art Festival is death. The programme traces various iterations of death in an attempt to open-up thinking around our relationship to it and to the many sets of phenomena that surround it. Ideas die, eras end, materials become obsolete, things break, technology supersedes itself, places are abandoned, the natural world is destroyed, social and political ideals are overthrown, and plant, animal and human life is finite.
ARTISTS Nesterval (AT) Lara Thoms (AU) Loren Kronemyer (AU) J. A. Juvani (FI) Lucy Willow (UK) Mimosa Norja (FI) Maria Lucia Cruz Correia (BE) Kristoffer Orum & Nilas Dumstrei (DK) Mammalian Diving Reflex (CA) Cuqui Jerez (ES) Dana Michel (CA) Keijaun Thomas (US) Moth (UK)
For more information about each project, and other events in the festival, please visit: http://antifestival.com
+++
12. WORKSHOP: Introductory Performance Art Workshop with VestAndPage Date: September 12–15, 2019; City: Düsseldorf, Germany; Source: VestAndPage
Atelier Performative Künste is glad to present a four-day workshop in Düsseldorf: Introductory Performance Art Workshop with VestAndPage
Atelier Performative Künste, Düsseldorf, Germany September 12–15, 2019
Applications of artists from all disciplines and levels of experience are now being accepted on a rolling basis.
In this Introductory Performance Art Workshop, you will work together practically for four days with artist duo VestAndPage in their collaborative, body-based practice. This workshop has a focus on the use of the three bodies (physical, mental and spiritual) as primary artistic tools. This means focusing on the human body as a poetic and imaginary landscape, being at the same time subject and object of artistic creation, as well as expanding to the social and the political. The process of physical exercises offers insight into VestAndPage's process-led performance art practice to unveil universal meanings through a "Poetic of Relations." This involves a relational perception of issues such as the Self, Otherness, Memory Activation, and Personal Experience. VestAndPage will work on a range of techniques, methods and approaches, which reflect their artistic practices and backgrounds along the interface of visual arts, performance art, philosophy, creative and theoretical writing, as well as Social, experimental and oriental theatre, movement practices and martial arts.
German artist Verena Stenke and Venetian artist and writer Andrea Pagnes have been working together since 2006 as VestAndPage and gained international recognition in the fields of performance art, performance-based film, writing, publishing and with temporary artistic community projects. They are the independent force behind projects such as the Venice International Performance Art Week, have performed and produced numerous live and film works, and offer introductory performance workshops, intensive classes and co-creation processes in art institutions and organizations all over the world.
Workshop hours: daily from 10am–7pm (incl. 1 hour lunch break, for a total of 32 hours) . Places are limited to 15 participants Workshop language is English Costs: 300€
To fill out the application form, and for more information, please visit: www.vest-and-page.de
+++
13. EVENT: DoubleBind by Jessica Thompson Dates: September 18–22, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
Presented by TPAC (7a*11d) in the context of KinesTHESES DoubleBind by Jessica Thompson
September 18–22 | 12pm–6pm Dames Making Games, Toronto Media Arts Centre, 32 Lisgar Street, 3rd floor
DoubleBind is a wearable media project that examines the intersections between place, identity and activism through a hooded sweatshirt connected to Twitter. The piece is designed to be worn in two ways—with the hood covering your head, or zipped into a collar around your neck. Tweets will be generated in your personal account based on where and how it is used, affecting your social identity in both physical and virtual environments.
Book a 45-minute appointment to test out the hoodie in the neighbourhood surrounding Dames Making Games. You will need a Twitter account, and a cell phone with Twitter and a QR code reader installed, to activate the work. Advance registration is required. You can book your spot at https://calendly.com/jtdoublebind
ABOUT JESSICA THOMPSON Jessica Thompson is a media artist working in sound, performance and mobile technologies. Her practice investigates the ways that sound reveals spatial and social conditions within cities, and how the creative use of urban data can generate new modes of citizen engagement. Her work has been shown across Canada, the United States and Europe. She is an Assistant Professor in Hybrid Practice at the University of Waterloo.
This event takes place as part of KinesTHESES, curated by Paul Couillard for TPAC (7a*11d). For more information, please visit: www.7a-11d.ca
+++
14. EVENT: Day of Public Action: for Freedom and Democracy (around the world/Toronto) Date: September 20–25, 2019; City: the world; Source: Marita Bullmann
Day of Public Action: for Freedom and Democracy Join us on for a day of world wide performances by artists working together in public spaces to mark the September Equinox as a celebration for Freedom and Democracy. As more and more countries are experiencing social unrest due to the rise of governmental cut backs on civil liberties, environmental issues, women’s rights, migration, slavery, etc., every continent is experiencing some form of repression of civil liberties, be they individual, social, economic, political, religious, cultural or environmental, these rights are at the forefront to what makes us human and civil society.
We understand that Freedom comes with responsibility, not irresponsibility—the licence to do as one wants, but responsibility—because it comes from our ‘ability’ to ‘respond,’ this is what makes us truly human.
In 2017, Thai performance artist and activist Chumpon Apisuk proposed a "Day of Public Action" as a follow-up to "Same Difference: Equinox to Equinox" (September 2016), which was realized when 283 artists from across the world (45 locations in 29 countries) worked together in public spaces.
It is the day that all states must recognize and allow actions from the people which are ‘peaceful’ and ‘non-violent’. This day of action can be with or without context, but for the recognition of all people’s rights to share the public space together, in solidarity with each other, in respect of each others rights to share the same public space, as well as the time.”
In light of recent worldwide developments the importance of universal suffrage comes to the fore and to show our solidarity and support for these struggles worldwide.
Between September 20–25, 2019, look for performance events in public space in your city, town, country. A list of the artists and organizations that are participating will be circulated after September 15. Initiated and facilitated by PAErsche (Germany) and Bbeyond (N.Ireland)
DAY OF PUBLIC ACTION in TORONTO Led by Marita Bullmann September 21, 3:00pm Meeting point: 36 Lisgar Street, Toronto
To participate in this Day of Public Action in Toronto, please contact: Marita Bullmann: maritabullmann@gmail.com +++
15. EVENT: PATH by Louise Liliefeldt Date: September 21, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)
Presented by TPAC (7a*11d) in the context of KinesTHESES Path by Louise Liliefeldt
September 21 | 11am–5pm West Toronto Railpath
Path is a conceptual performance consisting of a series of tableaux and in some cases actions that represent both the loving and the destructive nature of humans. They represent various stages of a life journey in no particular order, exploring ideas of realization of the self, loneliness, as well as an honouring of nature. The work reminds us also that we must celebrate the self.
ABOUT LOUISE LILIEFELDT Louise Liliefeldt is a Toronto-based performance artist and painter. Her work has been described as “iconographic portraits” and is predominately concerned with the politics of identity as it intersects with gender, race and class. She examines the cultural conventions of spectatorship and the links between emotional/psychological states and physical experience. The methodology of her performance art practice is shaped by the notion of always taking into consideration the significance of a site or changes in circumstance.
This event takes place as part of KinesTHESES, curated by Paul Couillard for TPAC (7a*11d). For more information, please visit: www.7a-11d.ca
+++
Date: September 25–28, 2019; City: Montreal, Canada; Source: VIVA!
The programming of the seventh edition of the VIVA! Art Action biennial has officially been launched! From the 25th to the 28th of September, join us at the festival's headquarters, Ateliers Jean Brillant in St-Henri, for a four-day celebration of action art!
VIVA! headquarters 661 Rose-de-Lima, Montreal
ARTISTS Alastair MacLennan (GBR/NIR) Alejandro Sajgalik (QC) auto-workshops (QC) Cindy Baker (AB) Clayton Windatt (ON) David Sebastian Lopez Restrepo (COL/DNK) Emma-Kate Guimond (AB/QC) Guadalupe Martinez (ARG/BC) Hugo Nadeau (QC) Ignacio Pérez Pérez (VEN/FIN) Kamissa Ma Koïta (QC) Kris Grey & Rajni Shah (USA & IND/GBR/AUS/QC) Lauryn Mannigel (DEU) Liina Kuittinen (FIN) Maria Evelia Marmolejo (COL/USA) Marita Bullmann (DEU) Miao Jiaxin (CHN/USA) Mikiki (NL/ON) Nezaket Ekici (TUR/DEU) Rosamond S. King (USA) Seiji Shimoda (JPN) Simon Brown (NB/QC) WWKA (Women With Kitchen Appliances) (D'ici et d'ailleurs)
In parallel, the seventh edition of VIVA! also offers a series of conferences, public and professional workshops, interventions occurring in neighbouring public space, and performative works that will infiltrate and takeover the festival's social media platforms.
Check out all the details for festival performance events, workshops and more! +++
Date: October 3–6, 2019; City: Saguenay, Canada; Source: Art Nomade
We are pleased to present the fifth edition of ART NOMADE, under the theme PROGENITURE. Through different configurations, we invited invited artists to work with family members.
Helge Meyer (Germany) Alejandra Herrera Silva (Chile) Jamie McMurry (USA) John G. Boehme (Canada( Rachel Echenberg (Canada) L'Eau du Bain (Canada) Marilou Desbiens (Saguenay) Seiji Shimoda (Japan) Serge Olivier Fokoua (Cameroon/Canada) Ruth Feukoua (Cameroon/Canada) François Morelli (Canada) Didier Morelli (USA/Canada) Jean-Paul Quéinnec (Saguenay)
LOBE: 114 Rue Bossé, Chicoutimi, Canada
+++
ABOUT FADO PERFORMANCE ART CENTRE Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.
Administrative Director: Shannon Cochrane Board of Directors: Cara Spooner, Francesco Gagliardi, Jennifer Cruise, Cathy Gordon, Clayton Lee, Julian Higuerey Núñez
Office: 401 Richmond Street West, Suite 445, Toronto, Canada M5V 3A8 info@performanceart.ca www.performanceart.ca
|
