FADO E-LIST (October 2009)

FADO Performance Art Centre

E-Bulletin October 2009
1. FADO NEWS: New critical writing on the FADO website
2. FADO presents TallBlondLadies (Anna Berndtson and Irina Runge)
Date: Monday October 26, 2009
3. EVENT:  Catalyst Arts presents FIX09
Dates: September 26-October 4, 2009; Source: Catalyst Arts
4. EVENT:  Zoom Western Europe Festival
Dates: September 30-October 3, 2009; Source: Kurt Johannessen
5. EVENT: Performance by Mariel Carranza
Date: Friday October 2, 2009; Source: Sinead O’Donnell
6. EVENT: Dan Graham at Art Metropole in Toronto
Date: Sunday October 4, 2009; Source: Art Metropole
7. CALL FOR PROPOSALS:  Poetry Projections III
Deadline date: October 5, 2009; Source: LIFT
8. EVENT:  Annie Onyi Cheung presents Mi 
Dates: Friday October 16, 2009; Source: Akimbo
9. EVENT: LIFT Performative Film Screening: IN THE DARK
Date: October 19, 2009: Source: LIFT
10. EVENT: Exhibition Cait Harben & Leena Raudvee & Performance by Leena Raudvee
Date: Opening Monday October 19, 2009; Source: Pam Patterson
11. CALL FOR SUBMISSIONS: Auxesis Live Art Festival
Deadline date; October 10, 2009: Source: Denis Romanovski
12. CALL FOR PROPOSALS: Annual Conference of Performance Studies International
Deadlines: see below; Source: Laura Levin and Johanna Householder
13. CALL FOR SUBMISSIONS:  Arts interdisciplinaires: Hi-Tech, Lo-Tech, No-Tech?
Deadline date: November 16, 2009; Source: RAIQ
14. EVENT: Live Action New York 09
Dates: November 6-11, 2009; Source: Jonas Stampe
15. EVENT: Live Biennale of Performance Art (Vancouver)
Dates: October 15-31, 2009; Source: Randy Gledhill
16. CALL FOR PAPERS:  esse arts + opinions no. 69
Deadline date: January 10, 2010; Source: Sylvette Babin
1. FADO NEWS: New critical writing on the FADO website
"Wall against Wall against Wall: Art and Cultural Boycott"
"The Cult of Delicate Glut: On Pleasure Addicts by Brenda Goldstein"
2. FADO presents TallBlondLadies (Anna Berndtson and Irina Runge)
Date: Monday October 26, 2009
YYZ Artists Outlet
140-401 Richmond Street West, Toronto
info: www.performanceart.ca
Two nearly identical tall blonde women, wearing white folklore blouses, grey leather short and white moon boots strapped into traditional wooden snowshoes manipulate large red exercise balls, enacting a traditional invocation rite by utilizing non-traditional gesture, action and costume.
The TallBlondLadies, in a 5-hour performance movement, repeat a ritualized synchronized dance, walking towards and away from each other in the shape of a Celtic knot. Performing mirror actions of each other (childish clapping games, the impossible dribbling of giant rubber balls), they manipulate the exercise balls in rhythm to the sound of the snowshoes. When one cycle of the dance ends, the performers exchange exercise balls, and begin again.
FADO is pleased to present Potential Fertility by TallBlondLadies (Anna Berndtson and Irina Runge). FADO is also excited to be working with the Hysteria Festival, an annual festival of women hosted by Buddies in Bad Times Theatre (Festival Director Moynan King) to present Tall Blonde Ladies in Toronto for the first time. 
TallBlondLadies will be performing at the Hysteria Festival on Saturday October 24, as well as presenting the durational work for FADO on October 26 at YYZ Artists Outlet. For more information on the Hysteria Festival, go to the Buddies in Bad Times Theatre’s website.
3. EVENT:  Catalyst Arts presents FIX09
Dates: September 26-October 4, 2009; Source: Catalyst Arts
It’s almost over, but check out the website for a last minute performance FIX!
4. EVENT:  Zoom Western Europe Festival
Dates: September 30-October 3, 2009; Source: Kurt Johannessen
IPAH e.V. proudly presents the one and only
Festival of Performance Art
ZOOM! Western Europe
30. September - 3. October 2009
City Church St. Jacobi
Hildesheim, Germany
Artists curated by Boris Nieslony: Wathiq Al-Ameri, Switzerland; Ali Al-Fatlawi, Switzerland; Brian Catling, UK; Charles Dreyfus, France; Esther Ferrer, Spain; Nicola Frangione, Italy; Mike Hentz, Germany; Joa Iselin, Switzerland; Kurt Johannessen, Norway; Monica Klingler, Belgium; Rafael Lamata, Spain; Boris Nieslony, Germany; Irma Optimist, Finland; Christoph Ranzenhofer, Switzerland; Jaime Vallaure, Spain; Aaron Williamson, UK; Herma Auguste Wittstock, Germany; 
Artists curated by IPAH e.V.: Romina Abate, Germany; Charlotte Bean, UK; Malte Beisenherz, Germany; Adina Bier, USA; Rebecca Cunningham, Australia; Tina Kramer, Germany; Sian Robinson Davies, UK; Christina Schelhas, Germany; Sina Wachenfeld, Germany; Susanne Wagner, Germany
Make sure to be here!! 
Don´t miss the Performances, Lectures, Artist Talks, ZOOM! Lounge, ZOOM! Bar. 
Curator: Boris Nieslony
Artistic Director: Jürgen Fritz
Public Relations: Isa Lange
Office: Caroline Gerlach
Artist support: Verena Wallor, Hannah Damm
Documentation: Paula Reissig
Webdesign, Graphics: Christoph Englich
Technique: Rebecca Cunningham, Owen
Finances: Adina Bier
IPAH e.V. Hildesheim 2009
Thanks to our Supporters: Stiftung Niedersachsen; Land Niedersachsen; Sparkasse Hildesheim; NORD LB; Pro Helvetia; Italienisches Kulturinstitut, Wolfsburg; in Cooperation with Citykirche St. Jakobi Hildesheim; Theater für Niedersachsen (TfN); 
More information soon at http://www.zoom-festival.org
5. EVENT: Performance by Mariel Carranza
Date: Friday October 2, 2009; Source: Sinead O’Donnell
October 2009 - February 2010 at Sea and Space Explorations
First Performance: Mariel Carranza, Living Matter, Performance #1
Friday - Sunday, October 2-4, 2009
4am - 6pm
72-hour solo durational performance 
viewable to the public Friday Oct 2 - Sunday Oct 4, 12-5pm
Performance is up and out of the margins again, lately as a hybrid of practices that highlight the collective exchange between performer, gesture, spectator, and space, whose lineage can be traced back to performance constructions of the 1970s. Beginning the first weekend of October and continuing through February 2010, INSTRUMENTS OF RISK will present a new performance work each month at Sea and Space Explorations. In this series of events, we see artists performing the social choreographies of our personal and cultural lives. What moves our bodies today? This is physical conceptual performance with an unabashed theatricality and rigorous abstraction, steering through the unresolved complexities of our world.  Focusing on the body as a compass, the artists in this series grapple with multiple means through which we understand history, speech, location, culture, force, and self in relation to the world around them and within.
Mariel Carranza opens this performance series with a 72-hour solo durational performance event called Living Matter, Performance #1. In November, Traces and Translations inspires a dancing installation created by hybrid classical Indian and postmodern American dancers, Cynthia Lee and Shyamala Moorty with the PostNatyam Collective. Francesco Gagliardi continues his riotous theatrical lectures on Rope, and Marcus Civin will perform a wild new conceptual script construction in December. In January 2010, we begin the New Year with the next installment of Ashley Hunt and Taisha Paggett’s ongoing project on thought, movement, and politics. Aggression | Acoustics | Meditation | Movements artist Dawn Kasper will perform a new visual poem in February 2010. Curated by Asher Hartman and Carol McDowell.
Mariel Carranza, 
Living Matter, Performance #1
Friday - Sunday, October 2-4, 2009
4am - 6pm Friday – Sunday
In her solo performance, “Living Matter,” Mariel Carranza will be confined to the gallery space for 72 hours, kneading dough, stretching it, pressing it, warming it, and manipulating it until it is elastic and smooth, then throwing it against the walls. “Living Matter, Performance #!” is a study in the transfer of energy from one physical system to another and the degree to which a body is moved toward the force of the transfer, both in reality, in the concrete sense of experience, and in the abstract.
Mariel Carranza was born in Peru. She received her MFA in sculpture from UCLA. Notable performances include: “Nidje Israel”, Mexico City DF, “Blank Space” at Irrational Exhibit 7, Track 16, LA, “Cage Free Born Free” at Highways, LA, "Ungrounded", Glasgow, Scotland, "Offering", Depicting Action, An International Exhibition of Time Based Art, 18th Street Art Center, Santa Monica, and “Corners” at Crazy Space, Santa Monica, “Lemon Piece” at “Performance Art Happening,” and “Full Nelson” at Del Mar Theater, Los Angeles.
Links: http://marielcarranza.com/index.htm
Sea and Space Explorations
4755 York Blvd, LA, CA 90042
email: info@seaandspace.org 
Directions  from Los Angeles: From the 5, take the 2 north. Take the Verdugo Road exit. Left onto Eagle Rock Boulevard. Right onto York Boulevard (major cross street is Armadale Blvd). 
6. EVENT: Dan Graham at Art Metropole in Toronto
Date: Sunday October 4, 2009; Source: Art Metropole
Art Metropole
788 King Street West 2nd Floor, Toronto
Dan Graham Pavilions: A Guide 
By Josh Thorpe 
Toronto Book Launch with Dan Graham at Art Metropole
Sunday October 4, 2009
1:00 p.m. - 3:00 p.m.
Public Lecture by Dan Graham at the John H. Daniels Faculty of Architecture
Landscape and Design, University of Toronto
Monday October 5, 2009
6:30 p.m. - 8:30 p.m.
Room 103, 230 College Street
Tel. 416 978-2253
7. CALL FOR PROPOSALS:  Poetry Projections III
Deadline date: October 5, 2009; Source: LIFT
(LIFT) Call for Proposals: Poetry Projections III
Just a reminder the Poetry Projections III deadline is rapidly approaching. The deadline is MONDAY, OCTOBER 5, 2009 by 6:00PM.
The Liaison of Independent Filmmakers of Toronto (LIFT) is seeking proposals from artists and writers for the third series of Poetry Projections, provisionally titled "Poetry Projections III: On Correspondence." Revisiting the film poem as an avenue for creative collaborations, LIFT is seeking proposals for 10 commissioned films to be screened in Fall of 2010. Each new work will provide a stimulating perspective on the intersection of film and poetry in "correspondence.
We are seeking proposals that reflect on the possibilities and potentials of this intersection, films that intrinsically incorporate the two mediums rather than follow an illustrative approach. We are looking for works that might provide a cinematic sensibility through poetry or/and a poetic sensibility through film.”
Complete Call for Poetry Projections III:
Contact: submissions@lift.on.ca
8. EVENT:  Annie Onyi Cheung presents Mi 
Dates: Friday October 16, 2009; Source: Akimbo
Fleishman Gallery
Opening Reception & Performance: Friday October 16th, 7 - 9pm
Exhibition continues through Friday November 20th 2009
Annie Onyi Cheung's work in time-based and three-dimensional media explores themes of memory, identity, shame and vulnerability, as well as generational and cultural difference. She is drawn to concepts that can be investigated through experiential environments, unraveling imagery and narratives, and bridging gaps between disparate perspectives. Her art manifests as combinations of performance, video and installation.
This emerging artist is a recent graduate of Art History and Studio Art from the University of Toronto. The Fleishman Gallery is very pleased to present her first solo exhibition. 
Please visit: www.onyi-ajar.com
The exhibition, Mi, includes a wall-mounted paper grid that documents calligraphy practice of elementary-level traditional Chinese vocabulary and family vernacular, examining each character's construction and pronunciation. The video component, Untitled (She Me), features a dream-like narrative that is projected as a continuous loop. The video, presented as a triptych, attempts to reveal the various manifestations of femininity that compete within certain social structures such as family, gender and nationality. The video contains no dialogue, instead opting to communicate through a vernacular of gesture to find relationships between tradition, gender and identity. The subtitle, ‘She-Me' refers both to the phonetic Chinese pronunciation of ‘wash rice' as well as the self-reflective quality of the video's world of interiors.
The installation will also be accompanied by a third element, a performance piece to take place during the opening reception. The live performance featuring both the artist and her mother, will further explore the complicated and conflicting notions of femininity and womanhood that influence and inform the artist's relationships with her mother and with her cultures.
The Fleishman Gallery is located at Wonderworks
79a Harbord Street, Toronto
Contact: Rochelle Holt 416-323-3131
9. EVENT: LIFT Performative Film Screening: IN THE DARK
Date: October 19, 2009: Source: LIFT
(LIFT) Strategies of the Medium III: In The Dark – October 10th
Kick off the Fall 2009 Workshop Season with
This season’s Special Focus explores the Bolex camera and the transformative possibilities of the darkroom. We host two evenings: one performance by Vancouver’s Alex MacKenzie and one screening of films (SOTM IV on November 21st). Each night includes a panel of cutting-edge film artists who have chosen to invest them-selves in these unique film-based practices -with diverse and challenging results. Come hear their thoughts on the rewards, risks, and ‘realities’ that lie in wait for those who engage with the most extraordinary of film genres. These programs introduce and complement this season of specialized workshops in darkroom practices and camera techniques.
Strategies of the Medium III
 “the wooden lightbox: a secret art of seeing”
Cinematic live performance by Alex MacKenzie
Co-presented with Pleasure Dome
Saturday, October 10, 2009
Starts at 8:00pm
Cinecycle, 129 Spadina Avenue (down the alley)
Suggested donation: Members $5, Non-Members $8
The Liaison of Independent Filmmakers of Toronto (LIFT) presents “Strategies of the Medium III: In The Dark” featuring a live film performance of “the wooden lightbox: a secret art of seeing” by Vancouver’s Alex MacKenzie on Saturday October 10th, 2009 at 8pm, CineCycle, 129 Spadina Avenue (down the lane). Admission is $5.00 for LIFT members & $8.00 for non-members. Contact LIFT at 416-588-6444 or visit 
http://www.LIFT.on.ca for more information.
In this performative screening, LIFT continues with its medium-specific programming series to explore work produced through chemical manipulation in the lab. Alex MacKenzie’s “the wooden lightbox: a secret art of seeing” is a vivid example of the possibilities of self-sufficient filmmaking. “the wooden lightbox: a secret art of seeing” is an exploration and reconfiguration of cinematic apparatus and emulsion. Using the early development of cinema as a marker for cultural, technological and economic change, these film cycles draw from turn of the century cinematic prototypes and long forgotten ideas surrounding the moving image and its early promise.
At the core of this approach is the use of a homebuilt hand-cranked projector in an expanded cinema format to present a striking array of handmade and processed emulsion. The vast potential of the film frame is drawn out through imagery both archaic and contemporary in shape and form. Hypnosis, panorama, motion studies, expectation, magic, the dream world and slight of eye conspire in this intimate and immersive framework.
Alex MacKenzie has been working as a media artist for over 15 years with a focus on various models of expanded cinema and light projection involving the handmade image. He was the founder and curator of the Edison Electric Gallery of Moving Images and Blinding Light Cinema and the Vancouver Underground Film Festival. His live media works are presented at festivals and underground screening spaces throughout Europe and North America -- most recently at the Rotterdam International Film Festival, Lightcone in Paris, the WNDX festival in Winnipeg and the Halifax Independent Film Festival. He is currently a guest teacher at LIFT.
The “Strategies of the Medium” series is supported by the Canada Council for the Arts. Since 1981 LIFT has been Canada’s foremost artist-run-centre for independent filmmakers.
10. EVENT: Exhibition Cait  Harben / Leena Raudvee & Performance by Leena Raudvee
Date: Opening Monday October 19, 2009; Source: Pam Patterson
WIA projects at the Centre for Women's Studies in Education OISE University of Toronto
252 Bloor Street West (above the St. George subway station)
2nd floor Rm: 2-225 All events are free (donations welcomed!)
More info: cwse@oise.utoronto.ca or 416-978-2080
Exhibition with Cait Harben & Leena Raudvee & Performance by Leena Raudvee
Exhibit runs Oct. 5 - Nov 1. 9am-10pm daily.
Opening event with performance: Monday Oct 19, 5.30-7pm (performance at 6pm)
Cait Harben  
“AH, but what can you do?” Presents a series of photographs taken by my grandmother while living in her nursing home. She had been given a cell phone to use instead of a landline, but had difficulty using it; the camera function was easy to set off. I found the photos after the phone was given to me. Each one a record of the places we end up at, of all the things which we cannot change but wish we could and all the time spent waiting for the inevitable. And after she tells me her fears, her loves, her regrets and her dreams, she will sigh and say to me “AH, but what can you do?” 
Caitlin Harben was born in Toronto. She recently received her BFA from NSCAD University, Halifax and has now returned to the Toronto area.  A multi-disciplinary artist, Harben uses narrative space to explore the body as both private shelter and public stage. She is acting as Coordinator for Educational Programs at the Oakville Galleries.
Leena Rauvdee
"the fear of pleasure" deals with the conscious act of collecting things and the unconscious act of collecting memories. Both involve a process of selection, a preference for one over another, both reveal and hide in equal measure. This is an attempt to look below the surface, to examine the mechanisms for remembering / saving and forgetting / deleting that govern the formation of self and identity.
Leena Raudvee is a Toronto-based visual and performance artist whose drawings, mixed-media works and performances have appeared over the last 20 years in Ontario galleries. She is a founding member and co-artistic director of Artifacts, a performance art company, and a member of the WIAprojects collective. She has designed and printed catalogues for the WIA/ /program/ exhibitions as well as curating and facilitating WIA  programs. She was included in the performance anthology, " Caught in the Act", edited by Tanya Mars and Johanna Householder.
Oct. 14, 12-1pm Brown Bag Event: 
Nancy Halifax
Failed accounts of homeless/ness....A performative encounter
In this hour I would invite us to share moments in our lives as researcher/artists where incoherency is in ascendance. I will extend to you the shuddering and raw remains of language – leftovers from recent inquiries where loss of focus, fragmentation, and erasure work together, as a defense against linear narratives and the consumption of the subject. 
Please bring your knitting needles and crochet hooks along with any bits of wool that you have as we will be creating a representation of our moment using these modes. Don't worry if you don't know how - learning and teaching will both be honoured.
Nancy Viva Davis Halifax is an artist/community artist, mother, researcher, educator and writer. She explores issues of social justice as she collaborates with communities who are economically displaced, insecurely housed and homeless, and where chronic illness and disability are pervasive. Her understanding of community is as a radical place for transformation using the arts as one of the tools for social justice and engagement. Her work includes the cultivation of imagination, empathy, social justice, compassion and awareness. She is currently teaching in the M.A. and Ph.D. Program in Critical Disability Studies at York University.
11. CALL FOR SUBMISSIONS: Auxesis Live Art Festival
Deadline date; October 10, 2009: Source: Denis Romanovski
Call for durational Performance Art work proposals
Auxesis: Performance
Live Art Festival
tactileBOSCH Gallery & Studios
Opening Night 10th November 6:30- late
11th – 15th November 10am- 8pm
Dead Line for Submissions: 10th October 
 From the 10th to the 15th of November, TactileBOSCH Gallery & Studios will host Auxesis: Performance a five day performance Art festival showcasing the work of some of today’s most established names in Live Art from across Europe including; Falmouth College of Art lecturer Mark Greenwood, Brighton based performance group ProtoPlay and SPART Member Justin McEwen. Alongside the twelve invited artists and collectives the curator is looking to select an additional Performance artist to participate in the festival through an open submission process. 
Auxesis: Performance will open with an evening of Live Art on the 10th November with each invited artists creating instant, durational and interventionist work in their own specific space within the vast gallery complex. Over the following four days the physical remnants and photographic documentation of each performance will be exhibited in-situ alongside a continuing program of performances.
The Curator is looking for a performance to take place through the entirety of the festival to act as the cohesive factor binding together the diverse and energetic performance line-up and exhibition. 
The remit for this performance is flexible and the curator will discuss with the chosen artists their work and how it will fit in with the rest of the festival. The selected artist would not have to perform for the entirety of the festivals opening times if they did not wish too but would be expected to create at least one durational act each day.
This will not only be an opportunity to exhibit work alongside some of today’s most established names in Live Art but will also be a rare opportunity to develop extended length durational work. Please find attached a press release containing more information about the festival and a submissions guideline form. 
The selected artist will receive a £120 stipend to cover expenses. If you have any problems opening the attached document or have further questions please contact me at gallery@tactilebosch.org
12. CALL FOR PROPOSALS: Annual Conference of Performance Studies International
Deadlines: see below; Source: Laura Levin and Johanna Householder
Call for Proposals: Annual Conference of Performance Studies International  
PSi 16 Performing Publics
Toronto, 9-13 June 2010
PSi 16, Performing Publics, will take place in Toronto as part of a collaboration between York University’s Faculty of Fine Arts and the Ontario College of Art & Design. The conference will investigate the power of performance to intervene in, reshape, and reinvigorate the public sphere at the beginning of the twenty-first century. We invite proposals that take up notions of “public” in a variety of ways, pointing to the critically generative and fraught aspects of the term as it has been adopted within performance studies.
The conference will theorize the relationship between performance, “official” public culture (public culture framed and sanctioned by state and/or corporate institutions), and the production of what Michael Warner calls “counter-publics” (social formations developed in opposition to the discourses and interests of the official public sphere). As such, it will explore the coming together of individuals as a social totality – as a community, nation, organization, etc. – and the enactment of public as a form of social activism, as a means of rehearsing, querying, and producing alternative forms of local and global citizenship. In both contexts, performance has the potential to frame affective and critically nuanced responses to public events, issues and crises and thus to model politically and ethically engaged forms of public life. The conference also seeks to problematize the idea of “publics” as it has been applied to performance by exploring the limitations of this term and the kinds of social exclusions that it often has been used to rationalize.
Guiding questions will include: How are we hailed by various publics, and how does this shape our behaviors and social interactions? How are publics spatially and temporally constituted? In what ways do publics participate in forms of activism, civic engagement, and “poetic world-making” (Warner)? What affects and effects are produced by such utopian interventions? Our discussion of these issues will reflect the vibrant history of urban intervention and “public spacing” movements in Toronto in which artists and activists have worked together to change the shape of our shared local and civic spaces.
Proposals might address (but are not limited to):
- publics and counter-publics
- issues of public space
- performance and civic engagement
- performance as an act of public witness
- performance and public relations
- the audience (live or virtual) as public
- public events: rallies, protests, flash mobs, etc.
- the relationship between the public and the private
- the role of gender, sexuality, race, and class in performing publics
- public feelings and affects
- performative utopias and utopian performatives
- site-specific performance and urban intervention
The conference will be staged during Toronto’s annual Luminato Festival, and will provide several opportunities for participants to experience and reflect on its dynamic arts programming. Luminato is a multidisciplinary festival that celebrates music, dance, theatre, film, literature, and the visual arts, and showcases the work of local, national, and international artists.  As part of its mandate to offer “accidental encounters with art,” Luminato is committed to presenting a variety of free events in public spaces. These public art projects run concurrently with exciting performance premieres at venues throughout the city.
Paper proposals (Due November 15):
Proposals for individual papers should include a 250-word abstract. Conference papers are normally allotted 20 minutes. Traditional and performative papers are welcome.
Panel proposals (Due November 15):
Panel proposals and proposals for other discursive formats (roundtable discussions, position papers, etc.) should include a 250-word abstract, along with the names, paper titles (if applicable) and affiliations of participants. Panels are normally allotted 1.5-2 hours. Proposals that interweave traditional and performative papers are welcome.
Shift proposals (Due November 1):
Continuing the explorations of PSi 15, we invite proposals for “shifts”: innovative session formats that push the boundaries of the well-constructed panel. These may include workshops, performances, and interactive events. We welcome shifts that engage with “Performing Publics”—e.g., site-specific projects that activate public space, the urban landscape, or the immediate environs of the conference site. Proposals should include a 250-word abstract. Please note that shifts and panels will receive the same basic level of AV support, and there will be a limited number of places for shifts at PSi 16.
All proposals should be submitted online by filling out the PSi 16 “Proposal Form” at: http://psi16.com/cfp/submissions/
Questions about the conference can be directed to: info@psi16.com
13. CALL FOR SUBMISSIONS:  Arts interdisciplinaires: Hi-Tech, Lo-Tech, No-Tech?
Deadline date: November 16, 2009; Source: RAIQ
The Regroupement des arts interdisciplinaires du Québec (RAIQ) http://raiq.ca
is currently seeking proposals for its upcoming interdisciplinary conference: Arts interdisciplinaires: Hi-Tech, Lo-Tech, No-Tech? to be held in Montreal in May 2010.
Interdisciplinary arts practice manifests in multiple forms and the proposed theme of Arts Interdisciplinaires: Hi-Tech, Lo-Tech, No-Tech? is intentionally wide-ranging – with a goal of bringing together and showcasing this intersection of technologies and widely varied practices and forms of research being carried out today. It also encourages a focused reflection on the utilization, rejection, or appropriation of technology towards artistic ends. 
At this particular juncture, the sciences are increasingly a preoccupation among artists. Many university-arts programs are a reflection of this, offering cross-disciplinary courses in art and robotics, computer-programming, environmental science, and biology, among others. Dance productions are integrating highly sophisticated sensing devices, creating meta-performances around the movement of bodies in space while theatre is increasingly multi-media based. Installation, itself an inherently interdisciplinary form, and often integrating technologically advanced tools, takes cues from architecture and the organization of spatial arrangements. 
Non-art actions such as flash-mob interventions that involve a quick mobilization through online or cell-phone communication artfully, and physically – if only temporarily – transform public spaces. Then there are the grey-zone stage practices of spoken word, dance-theatre, monologue, and even stand-up comedy, where literature, music, movement and mise en scène are combined to create hybrid not-representation, not-theatre, not-music performances. 
At the same time, community work among artists is on the rise and organizations working in community-based projects are offering workshops, grants and other tools to artists and community/cultural workers who are uniting their practice with endeavours that aim to empower various populations. Relational aesthetics also bring us practices that venture into the realm of the psycho-social, where potentially transformative experiences through direct contact with the artist, or other ‘participants’ in the work, create intimate meetings along with new perspectives. 
We’re looking for scholarly talks, performative lectures, performances, artistic presentations, and installation works – with a strong interest in practice as research methodologies: Bioart research/practice, Geopoetics and mapping movement, Interactive installation, Web art projects, Relational practice, Community/Activist art, Experimental theatre, Experimental dance, Performance art, Environmental action…
Proposals should include:
-Project description (1 page max);
-Budget & technical requirements for proposed work;
-For papers/performative lectures: a 100-200 word abstract and images if applicable (see next point); 
-For visual/audio presentations: digital images (15 max, no larger than 1024 x 768 pixels, 72 dpi), numbered with accompanying list; and/or DVD of video and/or CD of audio (please provide viewing/listening instructions). If sending video or audio excerpts by email, please do so through YouSendIt addressed to info@popstart.ca at a MAX file size of 100 MB. (Signing up for a “Lite” account is free: http://www.yousendit.com);
-Sketch or photomontage of proposed work (optional). 
Deadline for submission: November 16, 2009 (to be received by this date)
Questions can also be directed to: info@popstart.ca
Please send submissions by email to: info@popstart.ca
Or by post to:
372 Ste-Catherine Street W. #303
Montreal, Quebec H3B 1A2
Artist fees will be paid in accordance with CARFAC regulations.
About the RAIQ: Founded in 2005 by artists and cultural workers within the interdisciplinary arts, the Regroupement des arts interdisciplinaires du Québec (RAIQ) rallies for, and represents, artists, collectives and companies working in or presenting interdisciplinary arts practices. The RAIQ not only works towards the improvement of socio-economic conditions of its members, it also aims to promote all manner of inter-arts work by initiating activities that support research and experimentation such as conferences, events, workshops, professional development sessions and networking activities. 
The RAIQ acknowledges and thanks the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, the Conseil des arts de Montréal, the Conseil québécois des ressources humaines en culture, Emploi-Québec, as well as its members, for their support. 
14. EVENT: Live Action New York 09
Dates: November 6, 7 and 9, 2009; Source: Jonas Stampe
Scandinavian performance art is on the move. Live Action New York 09 features in its first edition some of the most important and emerging contemporary Scandinavian performance artists in an intense and exciting event going beyond the mainstream. Live Action New York 09 is here and now, it's ephemeral, it has attitude, it's fleeting, and it is avant-garde. 
Live Action New York 09: Scandinavian Performance Art is a new visual performance art event that will showcase 15 major and emerging performance artists at the Scandinavia House on November 6, 7 and 9, 2009. Live Action New York 09 is the natural outcome of a recent surge of performance art in the five Scandinavian countries, Denmark, Finland, Iceland, Norway and Sweden.
The curatorial criteria of Live Action New York 09 is to showcase different tendencies and generations of artists as to present a broad qualitative selection of what can be described as the new Scandinavian scene of performance art.
From pioneers of performance art, like Fluxus legend Eric Andersen, Denmark, to some of the most exciting young artists like Mimosa Pale, Finland, Live Action New York 09 is set to be an intense and exciting event beyond the mainstream.
It is a one-time experience that will be appreciated by those who are keen to discover this highly experimental and avant-garde art form, for an audience who feel a necessity to be in line with what can be described not only as the avant-garde but as an alternative scene in contemporary art.
Curatorial Statement by Jonas Stampe
The interest for visual performance art is growing on the international scene. In Asia the number festivals and of practicing artists is growing steadily, as well as in Latin America. In Europe there are more than 150 organizers of performance art events, of different size and magnitude. Only in the five Scandinavian countries there exist more than 20 organizers, who recently initiated a federation, Nordic Performance Art, to stimulate a broader pro-active cooperation and to promote the field more efficiently.
The recent surge of performance art as an expression in contemporary art is manifest, especially in what concerns a younger generation of artists. The reasons of this development may be financial, social, political or for that matter artistic, but whatever the explanation is, the movement is there. Whether it is the beginning of a shift of paradigm is not the issue, but it is a surge that gets more and more important.
We are very pleased to be able to present Live Action New York – Scandinavian Performance Art simultaneously as PERFORMA, the biennial of visual performance art directed by RoseLee Goldberg. However, it has to be clearly stated that Live Action New York 09: Scandinavian Performance Art is an independent event with no direct relation with PERFORMA, except for the fact that it occurs in the same. Nevertheless, Live Action New York 09 takes advantage of this moment when visual performance art is present all over Manhattan, as to showcase the new Scandinavian scene of performance art.
It is our ambition that Live Action New York will become a recurrent event and that it in 2010 will become an American-Scandinavian festival of performance art, as to build ties and create a pro-active dialogue between performance artists in the United States and Denmark, Finland, Iceland, Norway, and Sweden.
For this first edition we are proud to present 15 major and emerging Scandinavian performance artists during six days in New York City. One of the curatorial critera is to feature a mix of younger and emerging artists with their natural energy, ambition and inventiveness alongside the experience and quality of some of the most important artist on the international scene. We are convinced that this inter-generational blend of different tendencies in contemporary Scandinavian performance art will make Live Action New York to an artistically high-profile, experimental and thought-provoking event beyond the mainstream.
Eric Andersen (Denmark)
Roi Vaara (Finland)
Irma Optimist (Finland)
Pekka Kainulainen (Finland)
Elin Wikström (Sweden)
Kurt Johannessen (Norway)
Icelandic Love Corporation
Stein Henningsen (Norway)
Mimosa Pale (Finland)
Jane Jin Kaisen (Denmark)
Joakim Stampe (Sweden)
Agnes Nedregard (Norway)
Hans T. Sternudd (Sweden)
Curator: Jonas Stampe (Sweden)
15. EVENT: Live Biennale of Performance Art (Vancouver)
Dates: October 15-31, 2009; Source: Randy Gledhill
Artists and participants:
C. Snatch Z.
Chumpon Apisuk
Chuyia Chia
Esther Ferrer
Francis and Patrick Cruz
Francisco-Fernando Granados
Geumhyung Jeong
Gustavo Alvarez
Gwendoline Robin
Hank Bull
Instant Coffee
Jacques Van Poppel
Jennifer Campbell
Johanna Householder
Jonas Stampe
Léa Le Bricomte
Lee Wen
Les Fermieres Obsédées
Leslie Mark Overland
Loci Connanski
Maikiko Hara
Manolo Lugo
Margaret Dragu
Nadia Mancer
Naúfus Ramirez-Figueroa
Norico Sunayama
Paul Couillard
Peter Morin
Randy Gledhill
Ricahrd Tawhanga Kereopa
Rocco Trigueros
Sarah Viscardi Harruthoonyan
Shannon Cochrane
Skeena Reece
Tanya Lukin-Linklater
Tara Arnst
Todd Janes
Valentin Torrens
Zarah Ackerman
16. CALL FOR PAPERS:  esse arts + opinions no. 69
Deadline date: January 10, 2010; Source: Sylvette Babin
Theme: Bling Bling
esse arts + opinions no. 69
Deadline: January 10, 2010
Send your text (1,000-2,000 words) to s.babin@esse.ca before January 10,
2010. Please include a short biography (50-80 words), an abstract of the text (100 words), as well as postal and e-mail addresses.
We also welcome submissions (reviews, essays, analyses about contemporary art) not connected to a particular theme (deadlines: September 10, January 10 and April 15).
Excess, exuberance, junk and kitsch have literally invaded pop culture. One term is symptomatic of some of these trends: bling-bling. Initially associated with rap then with hip-hop, bling-bling is from now on part of contemporary artistic production.
Is bling-bling a derivative form of kitsch? Can it be subversive or act as a strategy for derision, even for parody? Is flashiness potentially ironic? What hides under the veneer or, for that matter, sequins? Has art become a sign of bad taste? Does bling-bling art counterbalance the return of conceptual art? And finally does it just respond to art market demands where new audiences are enthralled by aesthetic lightness and flashy apparatuses? What if vulgarity had become the norm?
Is bling-bling art what pop art was in the 1960s˜the sign of a shifting paradigm? esse wishes to highlight new practices that make abundant use of excessive materials, fashion references, pop culture flashbacks, instant stardom, a taste for impersonation, flashiness, kitsch end retro.
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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