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FADO E-LIST (December 2011)

INDEX

1. EVENT: GUANGHZHOU LIVE 11

Dates: Nov. 28-Dec. 4, 2011; City: Guanghzhou, China; Source: Jonas Stampe

2. CALL FOR PAPERS: Performance Research, Volume 17, No. 5 (October 2012)

Deadline date: December 1, 2011; City: worldwide; Source: Rebecca Curtis

3. CALL FOR PROPOSALS; Articule’s PROGRAMMING 2012-2013

Deadline: December 1, 2011l; City: Montréal, Canada; Source: articule

4. EVENT: Lilith Performance Studio presents The Icelandic Love Corporation

Dates: December 1-4, 2011; City: Malmö, Sweden; Source: Lilith

5. CALL FOR SUBMISSIONS: Theatre In My Basement

Deadline date: December 8, 2011; Source: Christopher Danowski

6. CALL FOR SUBMISSIONS: Total Art Journal

Deadline date: unspecified; CITY: THE WORLD; Source: Total Art Journal

7. EVENT: EXTENSION SERIES 12

Date: December 1, 2011; City: Berlin, Germany: Source: Andrés Galeano

8. WORKSHOPS: Nov/Dec 2011 Film/Video/Interactive Art Workshops
Registration continues; Source: LIFT

9. CALL FOR SUBMISSIONS: Ugly Duckling Presse

Deadline date: January 3, 2012; City: the world; Source: Natalie Loveless

10. CALL FOR PARTICIPATION: Month of Performance Art (MPA)

Deadline date: March 1, 2012; Source: Andrés Galeano

 

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1. EVENT: GUANGHZHOU LIVE 11

Dates: Nov. 28-Dec. 4, 2011; City: Guanghzhou, China; Source: Jonas Stampe

 

ARTISTS

 

Marilyn Arsem, USA 

Julien Blaine, France

Maline Casta, Sweden

Mina Cheon, Korea

Chuyia Chia, Singapore

Mideo M Cruz, the Philippines

Johannes Deimling, Germany

Jean-Claude Gagnieux-Mahoudj, France

He Yun-chang, China

Stein Henningsen, Norway

Huang Rui, China

Joszef Juhasz, Slovakia

Pekka Kainulainen, Finland

Pia Lindman, Finland

Magnus Logi Kristinsson, Finland/Iceland

Lee Wen, Singapore

Liu Wei, China

Rita Marhaug, Norway

Jamie McMurry, USA

Monali Meher, the Netherlands

Christian Messier, Canada

Guadalupe Neves, Argentina

Ou Zhihang, China

Nyan Lin Htet, Burma

Rainer Pagel, UK

Zygmunt Piotrowski, Poland

Peter Rosvik, Finland

Tomas Ruller, Czech Republic

Joakim Stampe, Sweden

San Mu, Hong Kong

Shu Yang, China

Marcel Sparmann, Germany

Dominic Thorpe, Ireland

Valentin Torrens, Spain

Gusztav Uto, Romania

Iwan Wijono, Indonesia

Elin Wikström, Sweden

Xu Tan, China

 

www.guangzhoulive.org

 

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2. CALL FOR PAPERS: Performance Research, Volume 17, No. 5 (October 2012)

Deadline date: December 1, 2011; City: worldwide; Source: Rebecca Curtis

 

'On Duration’

Proposal Deadline: 1st December 2011 (see below for details)

Issue Editor: Edward Scheer

 

On Duration

The idea of duration has always been essential to the experience of performance from the briefest execution of the smallest gesture on a stage to the expansive Ram Lila events in India or Tehching Hsieh’s One Year Performances. Duration often refers to the actual time it takes to do things, like drop a brick onto your foot or nail your arm into a wall (Mike Parr), or cut a star onto your stomach or even to walk the Great Wall of China (Abramovic and Ulay). For performance artists, duration refers to the time it takes to break away from the things that inhibit creativity, empathy and intuition, yet the extent to which any performance develops its object in real time forms the basis of what we might call the durational aesthetic.

 

In recent times, the citational performance forms of postmodernity have constructed a temporality of the eternal return, an endless loop or action replay within which the object's precarious place in the flux of time became key to the aesthetic strategy. We might think of re-enactment in this regard, as a key marker of the postmodern turn in performance art. The time based work of multimedia artists with its renewed emphasis on replay and remix might also constitute a useful example of this notion of temporal circuitry.

 

In performance, duration can mean a specific quantity of time as in a musical rhythm or even in Henri Bergson’s terms, a quality of time, characterised as the absolute time of the lived body, multiple and heterogeneous. This issue will explore the aesthetics of duration in performances which foreground the passage of time in the work and the experience of time for the spectator. ‘On Duration’ intends to develop ways of re-thinking the perceived space/time templates of performance, its modes of presencing, and to suggest different models for its interpretation.

 

Possible Topics:

Forms of Duration

-The chronotopes of performance: Bakhtin and time

-Bergson’s Matter and Memory as a paradigm for thinking about time as real duration

-Time signatures in performance

-The loss of temporality

-Micro-narratives v. durational events

-Inverted and intensified temporalities

 

Real Time Performances

-Happenings, John Cage and the emergence of time based art

-Fluxus and after

-Endurance art: Marina Abramovic, Tehching Hsieh, Mike Parr

-Time is money: Antony Gormley, Martin Creed, Coco Fusco, Santiago Sierra

 

Time Shifting in Video Performance

-Video and the remediation of art and performance traditions

-Re-enactments

-Manipulations and distortions of time: Martin Arnold, Douglas Gordon

 

Temporal Environments and Architectures

-Temporal embodiments of place /the trans-architectural

-Temporary architectures: Diller and Scofidio

-Projections and ‘relational architectures’: Lozano-Hemmer, Krzysztof Wodiczko

 

The volume will gather perspectives from a range of fields, including architecture, sound-art, media-art and a range of performance practices: proposals are invited from any relevant area. The format of Performance Research allows for artists’ pages and other visual representations alongside articles, interviews, documents or reviews.

 

SCHEDULE

-Proposals: 1st December 2011

-First drafts: 8th March 2012

-Final drafts: 1st May 2012

-Publication date: October 2012

 

ALL proposals, submissions and general enquiries should be sent direct to: Becci Curtis (rec12@aber.ac.uk) Issue-related enquiries should be directed to the issue editor: Edward Scheer (e.scheer@unsw.edu.au)

 

General Guidelines for Submissions

Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side. Please DO NOT send images electronically without prior agreement.

 

Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research.

 

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3. CALL FOR PROPOSALS; Articule’s PROGRAMMING 2012-2013

Deadline: December 1, 2011; City: Montréal, Canada; Source: articule

 

PROGRAMMING 2012-2013

DEADLINE: DECEMBER 1, 2011

articule is an artist-run centre dedicated to the dissemination of a broad range of contemporary art practices with a particular interest in social engagement, interdisciplinarity and artistic experimentation. articule supports emerging artists and those who have established important precedents and continue to commit themselves to the ideals of experimentation and risk-taking.

 

articule invites local, national and international artists, groups of artists, curators and all individuals interested in establishing a dialogue within the field of contemporary art to propose projects for its September 2012 to June 2013 programming season. We accept projects and research of diverse nature taking place at the gallery, online, or off site, along with collaborations (between individuals, organizations, institutions, fields of thought...). articule welcomes projects which unfold over timelines differing from the standard 4-week timeframe.

 

Prior to sending a proposal, we invite you to consult our website for current and recent exhibits, our mandate, gallery images and floor plan. articule respects CARFAC standards in payment of artists fees.

 

SPECIAL PROJECTS 2011-2012

Deadline: On-going

For over ten years, articule has been presenting public interventions, live art projects, happenings, new artistic practices, as well as public talks, workshops, video/film screenings, etc. through its special projects programming. This year, we invite artists and people working in other fields to question with us what is undisciplinarity today. How, by example, do we draw the line between art and community or activist projects, between aesthetic, political, scientific, or philosophical research? How are these limits transgressed? Projects can happen at the gallery, online or off site. We are also open to collaborations with other organisations. In order to respond quickly to proposed initiatives, the committee will meet regularly throughout the year to review submissions.

 

Support by articule for special projects can take many forms: promotional and logistic support, access to the center’s equipment, administrative infrastructure, venue, and financial support (up to a maximum of $500). People with an idea they would like to discuss and develop further with the committee are also invited to do so.

 

See website for details on how to apply: www.articule.org

 

articule

262 Fairmount Ouest

Montréal, QC, Canada H2V 2G3 

info@articule.org

 

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4. EVENT: Lilith Performance Studio presents The Icelandic Love Corporation

Dates: December 1-4, 2011; City: Malmö, Sweden; Source: Lilith

 

The Icelandic Love Corporation 

Think less - Feel more 

 

Performance: December 1-4, 2011 from 7-10pm 

Bragegatan 15, Malmö 

Admission: 60 kr

 

In a giant web of nylon pantyhose the Icelandic Love Corporation creates a singular visual experience that works on irrational levels of the thinking process. Lilith’s 300 m2 space is women in and becomes the scene for the performance, which has its starting point in the visible and invisible contacts between people, control and lack of control, conflict, sensitivity and elasticity. 

 

“We feel that this performance will be of a great importance in these times of changes that need to be, more than ever, elastic, adjustable and transparent”. The Icelandic Love Corporation

 

The Icelandic Love Corporation creates colorful and multifaceted art with a peculiar combination of urban irony and the seriousness of the desolated Icelandic lava fields. The Icelandic Love Corporation is a group of three artists: Sigrún Hrólfsdóttir, Jóní Jónsdóttir and Eirún Sigurdardóttir. Since 1996 they have made a numerous of acclaimed performances, art installations, stage sets and costumes both on Iceland and in cities such Genova, Helsinki, Copenhagen, San Francisco, New York, Warsaw, and Tokyo. 

 

Lilith Performance Studio is the first combined production studio and arena for visual art performance in Europe. The studio originates new large-scale performances by inviting visual artists to create exceptional performance pieces in a close collaboration with the Studio. Since the start in 2007 Lilith Performance Studio has originated over 30 large-scale performances in collaboration with visual artists from around the world. 

The studio is founded and run by the Artistic Directors Elin Lundgren and Petter Pettersson. 

 

For more information: info@lilithperformancestudio.com

Tel: +4640 78997

www.lilithperformancestudio.com

 

Lilith Performance Studio is kindly supported by: Malmö Kulturnämnd, Statens Kulturråd and Region Skåne. For this production sponsored by Vogue Tights. 

 

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5. CALL FOR SUBMISSIONS: Theatre In My Basement

Deadline date: December 8, 2011; City: Pheonix USA; Source: Christopher Danowski

 

The curatorial committee of Theater In My Basement is accepting proposals for the 2012 ¡Teatro Caliente! festival. This year’s festival will be held in downtown Phoenix, January 26-28.  Like usual, we are looking for highly experimental, transcultural (and transgender) work in all fields of performance (including, but not limited to: Performance Art, Dance, Multi-media, Solo Performance, Theater, Music and any Interdisciplinary work that falls outside of mainstream categories, whatever those might be). We’re looking for pieces of various lengths, but between 10 minutes and 55 minutes is a good guideline. In keeping with the mission statement of the festival, work that represents the diverse populations of Phoenix, in any language, will be given priority. Entry into the festival is based on Innovation, Experimentation, and Transculturality.

 

To apply, please send:

-1-page description of the project

-1-page description of the group or performer

-link (to your website, dropbox, or something along those lines)

-two video/audio samples of the proposed work (or, if the work is brand new, samples of prior work).

 

In any case, we will make every effort to send a member of the committee to see the work in person. The deadline for consideration is December 8, 2011. Please e-mail proposals, and any inquiries, to: teatrocaliente@gmail.com

 

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6. CALL FOR SUBMISSIONS: Total Art Journal

Deadline date: unspecified; CITY: THE WORLD; Source: Total Art Journal

 

Total Art Journal is a peer-reviewed journal that seeks to establish a dynamic forum for interdisciplinary discourse grounded in the arts. We are committed to nurturing new ways of understanding and interrogating work that crosses the practice-theory lines endemic to traditional academic and artistic worlds. The journal takes its name from Alan Kaprow’s 1958 essay, “Notes on the Creation of a Total Art,” and sees performance, understood as a broad category of analysis, as central to the post-disciplinarity at stake in the concept of a Kaprowian “Total Art.” Grounded in local attention, performance here names an approach rather than a discrete artistic practice – an approach that brings with it new ways of doing work at the intersections of art/life, theory/practice, and academia/activism. The editors seek submissions of innovative work from any disciplinary background, although work dealing with new and contemporary practices and work that challenges disciplinary distinctions is especially welcome.

 

Total Art Journal is comprised of both an online edition and a print edition. Our inaugural web-issue will appear Summer 2011.

 

We publish work in the following formats:

1) Peer-reviewed essays of 4,000 - 6,000 words in length.

2) Interviews in traditional and experimental forms, both transcribed and in video format.

3) Manifestos of 1,000 – 2,000 words.

4) Reports written from the midst or in the aftermath of artmaking and/or research practice.

 

We are also looking to develop other types/forms of projects and welcome proposals for experimental and multi-format submissions.

 

Submissions:

The author’s name should appear only on the title page and in the file name of the submitted document (e.g., jones.doc). Please direct inquiries and submit manuscripts to Natalie S. Loveless at editor@totalartjournal.com. For video, phototographic and web-based project content please send inquiries to jeff@totalartjournal.com. For safe delivery please write “TotalArtJournal Submission” in the subject line. 

 

We invite you to subscribe to our Facebook page: http://www.facebook.com/pages/Total-Art-Journal/175901282459442

 

TotalArtJournal.com

 

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7. EVENT: EXTENSION SERIES 12

Date: December 1, 2011; City: Berlin, Germany: Source: Andrés Galeano

 

Grimmuseum Berlin, Fichtestr. 2 Berlin, presents:

EXTENSION SERIES 12

curated by Andrés Galeano

http://grimmuseum.com/

 

Stefanie Trojan (DE)

johnicon alias: Johannes L. Schröder (DE) 

 

Performances: 1.12. 19:30h (3€ Entrance)

Documentation: 2-4.12.

Lecture: 4.12. 18:30 Lose aus Vase by johnicon alias: Johannes L. Schröder

 

Extension Series 12 aims to open a high-contrast dialogue and reflection between the subtle performance work of Stefanie Trojan, usually based on the interaction with the audience and the play with the situation, and the exhibition of part of the performances photo archive of johnicon alias: Johannes L. Schröder. 

 

Jonhicon will display a selection of photos of performances by Paul McCarthy, Tatsumi Orimoto, Chris Burden, Guillermo Gómez-Peña, Nezaket Ekici, John Bock and many others that he took  in the last three decades, and will face the question of documenting and archiving performances, performing his personal “archive” through some re-doings and performance-lectures.  

 

As a counterpoint, Stefanie Trojan´s performance will embody essential features of the medium, like site-specificity, ephemerality, immateriality and unmediated co-presence. Thanks to her minimal and sharp infiltration in the social situation and her body-to-body actions, Trojan´s work will confront radically a performance experienced in flesh with the experience of its mediated documentation shown by johnicon alias Johannes L. Schröder.

 

Dr. Johannes L. Schröder is based in Hamburg. His freelance research has backgrounds in art-history and visual arts and focuses on Futurism and Performance Art. He is concerned with the recycling of his archive into objects, performances and installations like “Relic-Lounge”. Schröder is also member of the board of Einstellungsraum (www.einstellungsraum.de) and co-editor of the „journal oriental“ (www.amokkoma.eu.) Ever since johnicon alias Johannes Lothar Schröder began doing research on performance art around 1979 he has also photographed them. A couple of the pictures made it into magazines, books and catalogues and some also on covers of High Performance, Los Angeles #29,1985; AMOKKOMA, Kiel; Kunstforum intl., Köln; Kataloge: 80 Langton Street, San Francisco 1985; Blende und Traumzeit, Kiel 1992, McCarthy: Brain Box Dream Box, Eindhoven 2004.His photography was also exhibited in artshows at Schwäbisch-Hall (Städtische Galerie) in Hamburg (Galerie Jans) and this year in Utrecht (CBKU).

 

Stefanie Trojan graduated 2003 with the diploma as a Masterstudent of Asta Gröting at the Academy of Fine Arts in Munich. Since 2000 she did various performances in- and outdoors for example at the Kunstmuseum Stuttgart, Museum Folkwang, Essen, Arp Museum, Bahnhof Rolandseck, Remagen, Gerhard Marcks Haus, Bremen , Hof van Busleyden, Mechelen (BE), Kunsthalle Basel (CH), De Appel Amsterdam (NL), Marta Herford, PS1,New York (USA), Kunsthalle Bielefeld, Lothringer 13, städtische Kunsthalle München and  at the Kunstbau/Lenbachhaus München. She received Awards and Grants like a Residency at the Cité of Paris, or the DAAD for New York and the Franklin Furnace Fund for Performance with a  Artist in Residency at the Parsons School of Design, New York, or the Debutantenpreis of the State Ministry of Bavaria and other Residencies in Lemgo and Halle.

 

“I am not producing images. I work with the experience. In times where everything is shiny, fast and loosing itself I try to focus on the spaces between humanity. My observations are leading into site specific performances. Some parts of the performances seem to be familiar, quiet normal but there are those small displacements that make us inert and perplex. We would like to react correct. But what is right and what is wrong. Mainly when we are acting in our daily routines and codes sometimes their meaning is external to us or we do not know it any more.  When are we free enough to be different? I try to extend the idea of performance while passing the action over to the observer. His or her reaction completes my work.” www.stefanietrojan.de

 

About the Lecture  & redoings: “L o s e a u s V a s e” by johnicon alias: Johannes L. Schröder

4.12. 18:30 - Entrance free

Hardly does an art depend more on photography and video than performance-art. You can even say that performance-art became what we know about it today by lens-based media. That makes a symbiosis, which however is divergent from other symbiotic art forms like opera and theatre. They are linked to architecture, as the same word indicates the building, where you go to attend theatrical performances. Performance art has no specific place or architecture and rarely is there a repertoire, it is seen just by a small number of visitors in various spaces. That is why a general reception of the transitory and ephemeral activities is based almost exclusively on photography and time-based media, which make it feasible to realize the phenomenology and historicity of performances. 

 

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8. WORKSHOPS: Nov/Dec 2011 Film/Video/Interactive Art Workshops
Registration continues; Source: LIFT

Liaison of Independent Filmmakers of Toronto (LIFT)

DECEMBER 2011 FILM, VIDEO and INTERACTIVE ART WORKSHOPS

 

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.

UPCOMING WORKSHOPS INCLUDE:
Introduction to Electronics for Artists (Nov 29 and Dec 6)
http://lift.ca/workshops/introduction-electronics-artists

Websites for Artists (Dec 6 and Dec 8)
http://lift.ca/workshops/websites-artists-3

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. Full details online at http://lift.ca/workshops

 

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9. CALL FOR SUBMISSIONS: Ugly Duckling Presse

Deadline date: January 3, 2012; City: the world; Source: Natalie Loveless

Ugly Duckling Presse would like to introduce you to Emergency INDEX, an
annual print publication documenting new performance in the words of its
creators. Because performance transcends disciplinary boundaries, INDEX
includes performances of every kind, from any genre, made anywhere in the
world for any purpose.

Emergency INDEX is modeled after the “Artist’s Chronicle” of the magazine
High Performance (1978-1997). In its pages, early performance art in the
1970s defined itself through actual works as reported by the artists who
made them. Though INDEX is not limited to performance art, it uses a
structure similar to the “Artist’s Chronicle” to allow makers of all kinds
of performance to define the state of their field.

Each document printed in INDEX will include a written description focused on
the problems driving the work and the tactics used to address them, an image
of the performance, and information about its dates, locations, and
creators. An index of terms shared by the varied contributors will serve to
connect geographically or stylistically far-flung works. We especially
welcome political, commercial, scientific, therapeutic, or other works not
typically documented as performance.

If you would like to document a performance work you made in 2011, please
proceed to the INDEX website (www.emergencyindex.com) and read the
guidelines for submission.

The deadline for submission is January 3, 2012. 

 

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10. CALL FOR PARTICIPATION: Month of Performance Art (MPA)

Deadline date: March 1, 2012; Source: Andrés Galeano

 

BERLIN – MAY 2012

DEADLINE: MARCH 1ST, 2012

 

The MONTH OF PERFORMANCE ART is a month-long platform dedicated to intersecting, promoting and highlighting Berlin’s independent and contemporary Performance Art scene and its players. Running for its second year, and due in May 2012, the MONTH OF PERFORMANCE ART brings together artists, curators, producers, venues, networks and organisations which operate beyond and across the boundaries of institutionalised performing arts structures, with the objective of:

-facilitating connections and developing actions of cooperation amongst hosting venues, curators and other independent players working in the field of Performance Art;

-promoting, and drawing attention to a thriving but often overlooked community of artists and Performance Art practitioners whose work challenges, explores and embodies a multiplicity of artistic forms and languages;

-fostering innovative critical discourses and practice-based exchanges and interactions, between Performance Art makers and audiences;

-documenting, and thus tracing as well as enriching, the contemporary history of Performance Art practices existing in the city through the annual Berlin Performance Art Report.

 

With this Call for Participation, we would like to hear from potential venues, organisations, and networks, as well as curators and producers interested in contributing to the programming of the MONTH OF PERFORMANCE ART as hosting partners. As a hosting partner you will be in charge of curating the artistic programming of your space during the MONTH OF PERFORMANCE ART in May 2012. In return, we will provide a platform (website, promotion, production support), which will:

-bring wider exposure of your activities and curatorial practices, through press/PR work;

-establish a broad intersecting national and international network of independent Performance Art practitioners, which you will be part of;

-include your activities in the annual Berlin Performance Art report

 

If you would like to participate to the MONTH OF PERFORMANCE ART 2012 please fill out the application form found on the website, and email it back to info@mpa-b.org by MARCH 1ST, 2012. We look forward to hearing from you, and should you have any query please do not hesitate to contact us.

 

www.mpa-b.org

www.performberlin.wordpress.com

www.facebook.com/pages/Perform-Berlin/151724864888247

www.flickr.com/photos/mpa-berlin

 

Nathalie Fari, Hosting Partners Coordinator

nathalie@mpa-b.org

 

For further information please contact:

Francesca Romana Ciardi: francesca@mpa-b.org

Stefan Riebel: stefan@mpa-b.org

 

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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.