FADO E-LIST (October 2010)

FADO Performance Art Centre E-Bulletin (Part #1 of 2)


1. EVENT: FADO presents: Amanda Heng, Kai Lam, Lee Wen (Toronto)

Date: Friday October 1; Source: FADO

2. WORKSHOP: Performance As Encounter with Agnes Nedregard (Toronto)

Dates: October 16-20; Source: FADO

3. CALL FOR PARTICIPANTS: Small Acts of Great Significance (Toronto)

Date: unspecified; Source: 7a*11d Festival

4. PERFORMERS WANTED: Sylvie Tourangeau at 7a*11d (Toronto)

Deadline date: October 8, 2010; Source: Sylvie Tourangeau

5. CALL FOR PERFORMERS: Historical work by Marina Abramovic (Toronto)

Deadline: already past, but some spots still open: Source: Rebecca Gimmi

6. NOTICE: Rebecca Belmore is being sued by Pari Nadimi Gallery

Date: now; Source: everybody

6. CALL FOR PROPOSALS: PSi #17 Camillo 2.0

Deadline date: October 1, 2010; Source: Laura Cull


Deadline: October 1, 2010: Source: Studio 303

8. CALL FOR PROPOSALS: Studies in Memory

Deadline date: October 5, 2010; Source: aka

9. EVENT: POW! POW! POW! ACTION Art Festival 2010

Dates: October 14-17, 2010; Source: Bernard Roddy

10. SEEKING: Buddies in Bad Times Theatre seeks Festival Director (Toronto)

Deadline date: October 11, 2010; Source: Erika Hennebury

11. WORKSHOPS: Fall 2010 Film and Digital Workshops (Toronto)

Registration opens Sept 14th; Source: LIFT

12. WORKSHOPS: Artsadmin Weekenders 2010

Dates: various; Source: Sinead O’Donnell

13. CALL FOR APPLICATIONS: ComPeung's Artist-in-Residence Program 2011

Deadline date: November 1, 2010; Source: ComPeung

14. SYMPOSIUM: Performing Feminist Culture (Toronto)

Dates: November 5-6, 2010; Source: Pam Patterson

15. CALL FOR PROPOSALS: Stromereien 11 Performance Festival

Deadline date: November 19, 2010; Source: Stromereien

16. WORKSHOP: Black Market at New Territories Festival Winter School

Date: March 2011; Source: Helge Meyer




1. EVENT: FADO presents: Amanda Heng, Kai Lam, Jason Lim, Lee Wen (Toronto)

Date: Friday October 1; Source: FADO


FADO Performance Art Centre presents: Survey From Singapore

Performances from Amanda Heng, Kai Lam, Jason Lim, Lee Wen


Friday October 1, 2010


PWYC / $10


Toronto Free Gallery

1277 Bloor Street West, Toronto


FADO Performance Art Centre is pleased to present an evening of performance from Singapore’s most influential contemporary performance artists. From participatory to material based – the work these four artists make traverses a range of approaches, often incorporating social and political commentary. Often audience participatory in nature, Amanda Heng’s work mixes eastern and western values, traditions and gender roles. Regarded as a maverick in the ceramics field, Jason Lim’s performances often play on the edge of a risky and precarious situation, teasing audiences with the use of material and space. Kai Lam’s performance works are created as a creative response to urban pluralistic society. And finally, Lee Wen’s performances and installations expose and question the ideologies and value systems of individuals, as well as social structures. 




2. WORKSHOP: Performance As Encounter with Agnes Nedregard (Toronto)

Dates: October 16-20; Source: FADO


FADO Performance Art Centre is pleased to offer a 5-day performance art workshop facilitated by Norwegian performance artist and educator Agnes Nedregard. This workshop is offered leading up to the dates of the 7a*11d International Festival of Performance Art (October 21-31, 2010). Workshop participants will then present short works in early afternoon sessions and in the public realm on the first two days of the festival for festival audiences and visiting artists, organizers and curators. 


Performance As Encounter

Facilitated by Agnes Nedregard


Dates: October 16-20, 2010

Location: Toronto Free Gallery

Cost: $250 (does not include food, materials or accommodation)


FADO will not turn anyone away due to inability to pay the full fee for the workshop. We offer this workshop at a reasonable fee so no one is restricted. If you have financial concerns, please contact us. If you are traveling from outside of Toronto, we can help you to find reasonable accommodation to fit your budget.


Workshop Description

This workshop will focus on the performance as an encounter in real time.


Encounter with space

Encounter with material

Encounter between performer(s) and audience


Question: You might know something about what you are bringing as performer, but what does the audience bring to the performance? 


There will be an emphasis on process through exercises, using our bodies and creating material, trying to get a bit further in how to be present in a performative encounter. The students will work individually and in groups. Students are asked to bring an open mind and wear loose clothes.



Day 1: Encounter between body and space

Day 2: Encounter between body and material

Day 3: Encounter between bodies

Day 4: Encounter with time and memory

Day 5: Encountering yourself in meeting with the other



Please send a short description of your experience as it relates to the workshop, performance art or related interests, including a brief statement of what you hope to gain from this experience. If you have a CV, artist bio and images of previous work, you are welcome to send those as well. 


The workshop is open to students, visual artists, performance artists, as well as non-artists, non-students, and non-performance artists. ALL WELCOME. Workshop will have a maximum of 8 participants. Please contact FADO as soon as possible to secure your spot.




50% non-refundable deposit of fee is due on confirmation of participation.

Remaining balance is due on or before October 16, 2010.

Cheques can be made payable to Fado Performance Inc.



Agnes Nedregard is a Norwegian performance artist based in Scotland and Norway. Her working practice is primarily based within live performance, while she explores a bodily language in other mediums like video drawings and sculptural installations. She graduated from the Masters of Fine Art programme at Glasgow School of Art in 2005, and has since showed her work in festivals, galleries and screenings in Europe, USA and Asia. Some recent projects include a solo exhibition/ performance at Stills, Edinburgh, participation in the performance festivals Beijing Open and Live Action New York, all in 2009. Frequently she enters collaborations with other artists, among others Scottish visual artist Moray Hillary and Brazilian performer and aerial acrobat Raquel Nicoletti. She teaches performance art workshops for art, theatre, film and architecture students in Europe. Agnes is currently the editor of http://www.nordictantrum.org, a web magazine for Nordic performance art.




3. CALL FOR PARTICIPANTS: Small Acts of Great Significance (Toronto)

Date: unspecified; Source: 7a*11d Festival


The 7a*11d International Festival of Performance Art needs your help.


Are you a dancer (any style), male and over 60? Would you like to take part in a short dance piece? Or maybe you have never danced before but would like to try? If you answer 'yes' to any of the above questions, I would like to invite you, to create a simple dance piece together for the 7a*11d festival.


What will you need to do? Simply to turn up and be interested in learning a simple dance and movement based routine. Be available for 1-hour rehearsals sessions on October 21,22, and 23 from 7-8pm.


No previous performance experience is required, however you must be open and comfortable to participate in a public performance (created in collaboration with Teresa Dillon and the other participants).


The performance will take place during the 7a*11d International Festival of Performance Art on the final night of events, October 30, 2010 at 8pm at XPACE Cultural Centre (58 Ossington Avenue, Toronto).


In the artist's words: "Small Acts of Great Significance" is a three-part, collective sound and dance performance, created in collaboration with 20 men from the city of Toronto who are over the age of 60 years. Over the course of the festival, I will work with the men to create a sound and dance piece, comprised of three parts which we will perform together for a live audience. As each element of the performance is delivered aspects will be captured and replayed into the gallery space, creating a layered sound and dance composition."


For information about the festival: http://www.7a-11d.ca

To sign up to participate, please email Shannon at: info@performanceart.ca

For information, please contact the artist at: teresa.dillon@polarproduce.org




4. PERFORMERS WANTED: Sylvie Tourangeau collaborative project at 7a*11d

Deadline date: October 8, 2010; Source: Sylvie Tourangeau


As part of an invitation to the performance art festival 7a*11d in the “Éminence grise” section I would like to collaborate with two performers who I don't know.


I am looking for artists who care strongly about the experimentation, discovery, and development of collaborative principles in the process and public presentation of duo performative actions. 


Work period duration: 2 to 3 intensive days

Presentation dates: Friday, October 22 and Friday, October 29 

Performers: emerging or senior 

Possibilities: Work in the gallery, in situ, furtive or relational art practices (transactional practices)

Type of work: I would like to work with an artist interested in a performative work based on presence, encounter, limited means (lo-tech), simple objects and set-ups. 


-give oneself to the performative and a particular coherence which escapes our usual ways of working.

-opt for a certain state of mind that is at the same time engaged, detached and empathetic.


Specifics: Since I am not bilingual, we will have to explore a variety of communication means. The interventions can therefore not rely primarily on the linguistic dimension.  In looking forward to working with you. Please send your information to stsylvietourangeau@gmail.com. DEADLINE:  Friday, October 8, 2010


More details about Sylvie’s work at:





5. CALL FOR PERFORMERS: Historical work by Marina Abramovic

Deadline: already past, but some spots still open: Source: Rebecca Gimmi


Call for performers of historical work by Marina Abramovic. Toronto-based performers needed for reperformance of long duration, Imponderabilia, for Nuit Blanche at Hart House, University of Toronto. Participants will be trained on Friday and Saturday by two of the performers from the MoMA exhibition. Please e-mail letter of interest with background information to rebecca.gimmi@utoronto.ca by September 24. 




6. NOTICE: Rebecca Belmore is being sued by Pari Nadimi Gallery

Date: now; Source: everybody


This battle began in November 2006. Rebecca Belmore, a prominent Canadian contemporary artist, was unsatisfied with the services of Pari Nadimi Gallery, which had failed to notify Belmore of a sale made in October 2004, and failed to pay Belmore her share. She notified the gallery that she wished to dissolve the relationship. In response, gallery owner Pari Nadimi both refused to return Belmore’s unsold artwork and commenced action in 2007, alleging that her gallery had lost “potential” profits on the future sale of Belmore’s art, and other spurious claims. Belmore made a Chambers application on October 30, 2008 for the return of artwork, documentation, and archival material, and an Order was consented to in those terms by Nadimi’s lawyer at the time. At that point, Belmore was advised that in December 2004 Nadimi had sold a second artwork by her without giving her notice, or paying the artist her share. Nadimi filed an amended statement of claim in early July 2010, making further unsubstantiated claims dreamed up by her new, “pro bono” counsel.


The recent claim by Nadimi is for damages resulting from breach of contract, recovery of marketing costs and other expenses, recovery of revenues from “potential” sales, punitive damages for Belmore’s “egregiously high-handed behaviour” and for “wrongful interference with the economic relations of the plaintiff.” The claim against breach of contract is specified as $750,000. The other claims are unspecified. Pari Nadimi contends that Belmore did not have the right to end their relationship until the gallery had recovered all of its expenses and realized all of its “potential” profits from selling Belmore’s inventory of work. Pari Nadimi claims that Belmore interfered with “potential” sales that were in progress at the time of the termination.


In her defence, Belmore states that no part of her agreement with Pari Nadimi Gallery required Nadimi’s permission to terminate the relationship, nor did it include any provisions to guarantee the gallery any specific profit. Marketing costs have always been the sole risk and responsibility of any commercial gallery, and are offset by high commission rates (50% of sales). Furthermore, there was never any expectation or requirement that all or any specific portion of Belmore’s inventory had to be sold prior to either party ending the relationship. Despite this, Belmore did allow Pari Nadimi Gallery to complete two pending sales after November 2006. Other “potential” sales cited by Nadimi were far from any realistic expectation of completion.


Though Belmore is confident that the case brought by Pari Nadimi is unfounded and unreasonable, it will still cost an enormous amount to defend herself in court. There is much at stake for Belmore. Should she lose, this lawsuit will likely bankrupt her and severely jeapordize Belmore’s career as an artist. Should she win, she may not be much better off: she will still face substantial and potentially crippling legal bills. This website was created to help Belmore raise funds needed to retain a lawyer, pay court costs, and cover the many other expenses related to the upcoming trial.






7. CALL FOR PROPORSALS: PSi #17 Camillo 2.0

Deadline date: October 1, 2010; Source: Laura Cull


Camillo 2.0: Technology, Memory, Experience

Performance Studies international #17

 25-29 May 2011, Utrecht, the Netherlands


Camillo 2.0: Technology, Memory, Experience combines science, scholarly pursuit and art in a five-day program consisting of lectures, presentations of current research (both theoretical and practical), performances, debates, and workshops. In addition, hybrid program components, or ‘shifts’, introduced by participants or inititiated by the organisers will pave the way to unconventional presentation situations. This PSi conference is an initiative of the Theatre Studies department at Utrecht University and Utrecht’s annual Theatre Festival aan de Werf. The conference will be organized in collaboration with the Utrecht School for the Arts (HKU).


Camillo’s Theatre of Memory is a 16th-century invention meant to allow the spectator access to all existing knowledge via a wooden theatre-shaped construction. Once world-renowned, Camillo’s theatre was forgotten after the death of its inventor, only to make an impressive comeback in the second half of the 20th century as a foreshadowing of both computers and the World Wide Web. Today, technological developments allow more people access to more information than ever before. These technologies alter what and how much can be stored; they also transform how memory is shaped, how what is stored is experienced, how memories become entangled in the here-and-now, and, finally, even the processes of thinking and imagination. Camillo 2.0: Technology, Memory, Experience approaches this co-evolution from the vantage point of performance as a triad of artistic practice, embodiment of culturally specific symbolic systems, and functional technology.

Within this overarching notion the following focal points are distinguished:


Performing memory: The performing arts haves a long history as a memory machine while also functioning as a means for questioning the various processes of individual or collective remembering. What can performance, in both theory and practice, teach us about the relationship between technology, memory, and experience? How do the performing arts give space to intermedial explorations of the possibilities, implications, and consequences of how divergent technologies mediate the way we remember and experience?


Save As: Camillo’s invention took place as developing printing technology allowed for storage of knowledge and information to move outside the brain. Today the ‘performative turn’ and the developments of Web 2.0 make the restrictions of the archive as memory machine tangible and pay homage to the processual, embodied and (inter)active nature of memory. How do performance and notations such as repertoire and performative remains provide a perspective into the possibilities and restrictions of the archive as memory machine? What can we learn, at this point in time, from re-enactment both as performative practice and as a mode of thinking?


Ghosts: Technologies of memory facilitate new psychic entities and objects of belief that, under appropriate circumstances, emerge as self-enunciating entities. Theatre is haunted by such ghosts, but they populate other media as well. How might theatre and performance illuminate how these medial ‘ghosts’ act as agents of memory and experience, both produced by and emerging from media technology?


No Match Found: Contemporary technological developments that allow for endlessly expanding memory storage conceal that memory machines are always simultaneously technologies of forgetting. This forgetting can be traumatic, and can also be part of (conscious or unconscious) strategies of exclusion. It can be an active choice, an act of resistance, or a strategy for survival. How does performance mediate processes of forgetting?  How does it focus its attention on that which is not or cannot be remembered (trauma and exclusion); to blind spots, or black holes; to what is lost in translation?


Memory Lab: Presently, science and art (re)connect in exploring the possibilities that new technologies provide in storing and transferring knowledge. Makers, in collaboration with scholars, develop new technological means of archiving and re-experiencing divergent forms of live art. New insights concern not only archival practices but also reflect upon how technology mediates how knowledge and experience are transferred, how we think, and what is considered knowledge. What are the possibilities for and the potential of a renewed collaboration?


A more extensive description of conference themes and topics can be found at http://www.psi17.org


The organizing committee of PSi #17 invites proposals for individual papers (20 minute presentations), panels (consisting of 3-4 paper presentations) and ‘shifts’.


Papers: Proposals for individual papers should include a 350-word abstract, title, and a 150-word bio of the presenter. Proposals for papers are due October 1, 2010.


Panels: Panel proposals and proposals for other discursive formats (roundtable discussions, position papers, etc.) should include a 350-word abstract describing the rationale of the panel, 350-word abstracts and titles of the individual papers (if applicable), and the names and 150-words bios of participants. Proposals for panels are due October 1, 2010.



Continuing the explorations of PSi #15 and #16, we invite proposals for ‘shifts’ i.e., alternative presentational models that push the boundaries of the conference presentation. Shifts take the notion of performance in the broad sense (aesthetic, cultural, durational, etc.) as their organizing principle. They can accommodate a wide range of formats: various kinds of performative presentations, round-table discussions on performances presented, lecture performances, workshops, interactive events, seminars, etc. They are non-conventional investigations into the themes of the conference and are designed to accomplish a higher level of interaction between the conference participants  and especially between artistic and theoretical work. Proposals for shifts should include a 350-word description of the proposed events and 150-word bios of the organizers of the proposed shift as well as a clear description of the (technical) facilities required. Proposals for shifts are due October 1, 2010.



All proposals should be submitted online by filling out the submission form at: http://www.psi17.org by October 1, 2010. All proposals will be evaluated by the Organizing Committee of PSi # 17 by December 15, 2010. Questions can be directed to conference manager Laura Karreman (L.L.Karreman@uu.nl). More information can be found at http://www.psi17.org





Deadline: October 1, 2010: Source: Studio 303


Studio 303's annual feminist fiesta presents a programme of politicized, experimental, and playful performance and workshops, lectures.


Edgy Women presents performance work with a feminist flavour by emerging and established professional artists of any gender. While the festival spotlights work by women, we are keen to show work which whether overtly or not, addresses contemporary and ever-evolving issues around gender and/or feminism. Edgy highlights new artistic practices, non-verbal expression, and content-driven work. For artists who have not yet presented work at Edgy, we recommend that you submit finished pieces vs. new creations. Honorariums are paid, but there is no budget at this time for travel or hosting expenses. The La Centrale program is by invitation this year, but we are accepting submissions for the following 4 categories:


-Edgy Cabaret (Sala Rossa, March 19): 5-7 min. works in a bar atmosphere);

-Tangente programme (stage work, March 24-27): 15 to 30 min. works, dance-friendly venue;

-Mainline (stage work, March 30-April 1): 40 min. to 1h piece (important: the MainLine has a cement floor, audience on 3 sides and a low ceiling) ;

-Edgy Boum (Mainline, April 2nd): party with performances or installations (mostly interactive site-specific performances)


How to apply 

We must receive your submission by the deadline by email including the following documents:

- MANDATORY: application form

- Biography (max. 1 page)

- Project Description (max. 1 page)

- Link to an online video and viewing notes. NO DVDs ACCEPTED.


Please send your submissions by EMAIL ONLY at edgy@studio303.ca

Note: We aim to give an answer within 3 months after the deadline.




9. CALL FOR PORPOSALS: Studies in Memory

Deadline date: October 5, 2010; Source: aka



Artists experimenting in movement, performance, process, dance, text, sound, voice, music, visual arts and other media wanted for Studies in Memory, a half-day, outdoor, live art event, 1PM–6PM, on Saturday 23 October in Juanita Bay Park (Kirkland, WA). Select from 15-minute to 5-hour time slots. Engage in a stationary or moving study anywhere in the 110-acre park. Studies overlap and continue for the length of the event. STUDIES IN EVERYTHING is supported in part by 4Culture.


APPLY: Send an informal e-mail to mimiallin@gmail.com with the following six points your: (1) name, (2) tel # & e-mail (3) link to your website if you have one, (4) very brief work history (<100 words), (5) preference for study length: 15-min, 30-min, 1-hour, 2-hour or 5-hours, and (6) one sentence loosely expressing your medium or idea. DEADLINE: 5



STUDIES IN EVERYTHING: Studies in Memory is 4th in a quarterly series called STUDIES IN EVERYTHING, preceded by Studies in White (January), Studies in Monk, Mompou and Melancholy (April) and Studies in Forgiveness (July). The goal of STUDIES IN EVERYTHING is to form a temporary community and to have that community study, in a collectively and public way, a topic, mood, color, place or idea. Studies aren’t about finished, choreographed work, they are about the artist’s process. We do not spend a great deal of time preparing for or reporting on studies, but spend time partaking in studies and thus evolve as artists. 10-20 artists participate in each study. Funding helps organize, announce video-document the event. Visit the Facebook Group STUDIES IN EVERYTHING to view past studies.



Memory is the ability to store, retain and recall information and experiences. They say one brain cell is capable of holding a memory. We know that sleep can improve and stress can impair our ability to remember. Our collective set of memories make us who we are. We remember in order to know ourselves.


INFO FOR ARTISTS: http://thepoetessatgreenlake.blogspot.com/

JUANITA BAY PARK: 2201 Market Street in Kirkland, WA 98033

MAP & INFO: http://www.ci.kirkland.wa.us/depart/parks/Parks/Juanita_Bay_Park_Tour.htm




10. EVENT: POW! POW! POW! ACTION Art Festival 2010

Dates: October 14-17, 2010; Source: Bernard Roddy


Thursday & Saturday: Performance Installations

Friday & Sunday: Raw Staged Performances 



PLACE: Viracocha, 998 Valencia Street San Francisco CA – Look for the Dragon Door! 

ADDITIONAL VENUE (THURSDAY NIGHT ONLY): Artists’ Television Access, 992 Valencia Street San Francisco CA. CURATED/PRODUCED by: gal*in_dog AKA Guillermo Galindo, Alyssa Lee, and Guillermo Gómez Peña.


FESTIVAL SITE: http://www.myspace.com/powminiperformanceartfestival

$12 in advance - $15 at door 



Just in time for the next credit crunch and as the main cultural institutions 

of the country, in panic, join forces with the corporate media to save their culo, POW!POW! POW! arrives once again to the scene as uncompromising and independent as ever.

 Appealing to a primal desire of free expression without limits, POW!POW! POW! is, today, one of the few remaining uncensored performance festivals in the US. As major art institutions continue to play it safe and impose their political agendas on the artists, POW! POW! POW! declares, once and for all, total freedom of expression with no limits and no strings attached. 


Now an internationally renowned festival, this third edition of the original POW! will bring together an array of local and international multigenerational action artists more willing to ask for forgiveness than for permission. Designed and run by artists, this year’s festival was irreverently curated by co-founders Alyssa Lee, gal*in_dog aka Guillermo Galindo and Guillermo Gómez Peña.




11. SEEKING: Buddies in Bad Times Theatre seeks Festival Director 

Deadline date: October 11, 2010; Source: Erika Hennebury



Buddies In Bad Times Theatre seeks a Festival Director to oversee artistic programming for its 6th Hysteria Festival, a biennial festival of interdisciplinary performance work by women artists. Buddies is looking for bold and visionary interpretations of Hysteria’s focus and mandate for its future incarnations. 


Hysteria is an interdisciplinary performance festival with a focus on feminist and female performance practice and involves events ranging from visual art and performance installation to eclectic lineups featuring dance, film, music, live media arts and theatre performance. Hysteria is a partially submission-driven, partially curated festival. Since 2003, Hysteria has played host to established and emerging artists from across Canada, the United States and Europe - broadening our vision of not only women artists but of the very potential of art itself. The 6th Hysteria Festival will take place in fall 2011.


The Hysteria Festival Director oversees all aspects of artistic programming, in consultation with Buddies’ Artistic Director, including: creating and distributing a call for submissions; curating, planning and organizing all festival events and activities; assisting in preparing grant applications for programming activities in conjunction with Buddies’ Artistic Director and Producer; working within a production budget in consultation with the General Manager and Head of Production; negotiating artist fees and coordinating presentation dates and details for visiting artists; fostering collaborations with presenting partners locally, nationally, and internationally.


More information here: http://www.buddiesinbadtimes.com/ 




12.  WORKSHOPS: Fall 2010 Film and Digital Workshops

Registration opens Sept 14th; Source: LIFT


Liaison of Independent Filmmakers of Toronto (LIFT)


The Liaison of Independent Filmmakers of Toronto (LIFT) is an artist-run cultural and educational media arts organization dedicated to celebrating excellence in the moving image. We have over 45 workshops this season on Super 8mm, 16mm, 35mm and HD filmmaking.



Reexamine the relationship between camera and performance

This workshop is co-presented with FADO Performance Art Centre.



Tuesday, November 2nd, 6pm-10pm

Thursday, November 4th, 6pm-10pm


Cost: Members and friends of FADO $75, Non-Members $95. Enrollment is limited to 8


This workshop will cover the role of video documentation in performance art. We will consider the relationship between performer and audience, performance and documentation, and how documentation relates to enactment in performance art. This workshop will provide a practical production section and an informed discussion led by the instructor. Familiarity with performance art and video camera operation is strongly recommended.


Instructor: Archer Pechawis, performance artist, new media artist, filmmaker, writer, curator and educator was born in Alert Bay, BC in 1963. He has been a practicing artist since 1984 with particular interest in the intersection of Plains Cree culture and digital technology, often merging "traditional" objects such as hand drums with “forward engineered” devices such as Mac PowerBooks.  His work has been exhibited across Canada and featured in publications such as Fuse Magazine and Canadian Theatre Review. Archer has been the recipient of many Canada Council and British Columbia Arts awards, and won the Best New Media Award at the imagineNATIVE Film + Media Arts Festival in 2007 and Best Experimental Short at the imagineNATIVE Film + Media Arts Festival in 2009. Archer works extensively with Native youth as part of his art practice, teaching performance and digital media for the Indigenous Media Arts Group and in the public school system. Of Cree and European ancestry, he is a member of Mistawasis First Nation, Saskatchewan. www.apxo.net


LIFT is supported by its membership, Canada Council for the Arts (Media Arts Section), Ontario Arts Council, Ontario Trillium Foundation, the Government of Ontario and the City of Toronto through the Toronto Arts Council. http://www.LIFT.on.ca





Dates: various; Source: Sinead O’Donnell


ARTSADMIN WEEKENDERS 2010: Six intensive weekend workshops led by artists renowned for their approaches to making, facilitation and participation. Artsadmin’s Weekenders are open to all practitioners regardless of level of experience; all that is required is an openness to meet, talk, play, perform and collaborate. The second series of Weekenders starts in September 2010 and runs through to April 2011. Come to one or all – each Weekender operates as a stand-alone while the series as a whole offers an opportunity to work with an outstanding range of artists.


The next series of Weekenders will be led by Station House Opera (Julian Maynard Smith), Simon Vincenzi, Kira O’Reilly, Oreet Ashery, João Fiadeiro and Karen Christopher. The content of each Weekender will be unique to the lead artist, reflective of their practice and responsive to the group of participants. 


13 - 14 Nov: Simon Vincenzi

11 - 12 Dec: Kira O'Reilly

12 - 13 Feb: Oreet Ashery

12 - 13 Mar: João Fiadeiro

16 - 17 Apr: Karen Christopher (ex-Goat Island)


All Saturday & Sunday 11am – 5pm. Please be sure you can attend both days in full, £60 per weekend. Limited to 16 places per lab.


Book online via http://www.artsadmin.co.uk/opportunities/bursary.php?id=17

or call 020 7650 2350




14. CALL FOR APPLICATIONS: ComPeung's Artist-in-Residence Program 2011
Deadline date: November 1, 2010; Source: ComPeung


ComPeung's Artist-in-Residence Program 2011



The ComPeung Artist-in-Residence Program is designed for local and international artists to live and work together with our team and the local community. Interested artists are encouraged to apply by providing ComPeung with a preliminary proposal of her/his/their artwork or project. As a work-in-progress we understand that the proposed project might change in the process.


Our new deadline for residency applications January - June 2011 will be:

November 1, 2010. More information, please visit http://www.compeung.org 

Tel: +66 (0) 87 694 8483 

PO Box 27 Doi Saket Post Office, 

Chiang Mai, Thailand 50220




15. SYMPOSIUM: Performing Feminist Culture

Dates: November 5-6, 2010; Source: Pam Patterson


WIAprojects (CWSE,OISE/UT), OCADU (Equity and Diversity & the Faculty of Art) & XPACE Cultural Centre are working together to present: Symposium: Performing Feminist Culture, Nov 5/6, 2010 @ XPACE Cultural Centre (56 Ossington Ave, Toronto)
Discussants are coming from across Canada and the USA. There will be an exhibition of Carolyn Jervis' Love Letters to Feminism and performances by Leena Raudvee & Erika DeFreitas. The event is free but we are asking for people to register early as space is limited.
You can register by email at : info@wiaprojects.com
Visit our website (designed by Maggie Flynn) at: http://performingfeministculture.wordpress.com/

Performing Feminist Culture is a symposium on the topic of feminist cultural production Feminist cultural practice in the 21st century has been splintered into a myriad of practices, concerns and communities. Such a shift has created more inclusive feminisms in which intersecting oppressions, privileges and needs speak across communities of difference. “Feminist artist” has been replaced by “cultural practitioner”, who in dialogue with curators, historians, critics, theorists, viewers, educators, galleries help create a space in which artifact becomes a site that acquires multiple meanings. But, what are those meanings?  Is feminist production still alive and well? Is feminist cultural production passé, racist, classist, liberal, (fill in the blank)? What does a feminist cultural producer or curator look like anyway? How do these developing configurations perform (or resist or re-perform)?
The intention of the symposium is to engage the cultural community in working through some central concerns around feminist cultural production and its role as a creative and activist strategy for both the production of culture and its presentation and dissemination. Performing Feminist Culture wishes to engage other cultural practitioners in a practice of thinking, making, presenting and theorizing about what feminist cultural workers do. With this in mind, WIAprojects has invited a wide range of discussants and participants, some who do not necessarily identify as feminist, to create this open dialogue. This includes, as well as WIAprojects collective organizers and facilitators, a diverse and complex mix of peoples who variously identify as woman, man, trans, person of colour, disabled, queer and in practice as a filmmaker, educator, poet, theatre director, opera composer, painter, performance artist, curator.
WIAprojects: http://www.wiaprojects.com/
XPACE: http://www.xpace.info/




16. CALL FOR PROPOSALS: Stromereien 11 Performance Festival (Zurich)

Deadline date: November 19, 2010; Source: Stromereien


Call for Performance Projects: dreams of rivers - dreams of cities

Stromereien 11 Performance Festival Zurich

3rd - 12th of August 2011



We are proud to announce the sixth edition of stromereien Performance Festival Zurich (3rd to 12th August 2011). stromereien takes place every two years in and around the Tanzhaus Zürich (centre for contemporary dance) and offers current trends in situational performance art a unique platform in Zurich.


For the upcoming festival stromereien 11 we are looking for performance projects. They should engage with a situation, site in the landscape along the river Limmat and the neighboring areas of the city. Performances can be visual, acoustic, moving, installative, participatory et cetera. Conceived as live actions the performances should also encourage and persuade the audience / passers by to think and to act. Stromereien Peformance Festival Zurich offers current trends in situational* performance art a unique platform in Zurich. (*situational = pertaining or referring to a specific situation)


Stromereien 11 will take place from the 3rd to the 12th of August 2011 and will explore the River Limmat as an artery and a corridor through the city. The Limmat not only traverses and dissects different parts of the city – social, cultural, architectural, economical, historical and subjective realities of Zurich are formed and opened by the river.


The artists can choose their place / space / situation from the areas along the River Limmat or the adjacent districts. The submitted projects should be characterised by an open or restrained passion for exploring the city environment and the river. The performers should function as temporary bridge builders, using their artistic practice to expand the perception of the city’s realities, and should encourage and persuade the audience / passers by to think and to act.


A project for Stromereien 11 can be visual, acoustic, movement-based, an installation, conception, participative etc. It must be a live event. The technical time and effort should be kept at a minimum, allowing the emphasis of presence and action.



A performance may last no longer than 30 minutes. This does not include installations or participative works that rely on a different form of presentation.


A project proposal comprises:

-completed application form (on website) 

-project description (max. 2 A4-pages) 

-Short CVs for all participating artists (max. A4-page per artist)

-documentation of previous relevant work (Text, Videos, Images etc.)


Project proposals will not be returned. All applicants will be notified of the decision by the middle of December 2010. Application Deadline: Friday 19th November 2010 


Stromereien Performance Festival Zürich c/o Tanzhaus Zürich

Wasserwerkstrasse 129, CH - 8037 Zürich Switzerland




17. WORKSHOP: Black Market at New Territories Festival Winter School

Date: March 2011; Source: Helge Meyer


Black Market International workshops at the Winter School 2011 of New

Territories Festival in Glasgow!


Black Market International will be artists-in-residence during the New Territories festival in March 2011 as part of its This Is Performance Art (Europe) series. Members of the collective will be mentoring three courses as part of the festival's International Winter School. The accepted participants will be assigned to a course on arrival. The fee includes tickets to all talks and performances by BMI and their guests, including BMI's own 12-hour performance on the Saturday, your attendance at these events is seen as a necessary part of the course.


More information on the following website:





About FADO

Established in 1993, FADO Performance Inc. (Performance Art Centre) is a not-for-profit artist-run centre for performance art based in Toronto, Canada. FADO exists to provide a stable, ongoing, supportive forum for creating and presenting performance art. Currently, we are the only artist-run centre in English Canada devoted specifically to this form. We present the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and new perspectives. Thanks to the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage for their on-going support of our endeavors.


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