FADO E-LIST (November 2014)


1. EVENT: What Tammy Needs to Know About Getting Old and Having Sex
Date: November 6-23, 2014; City: NYC, USA: Source: Facebook
2. EVENT: Tempting Failure
Date: November 7-8, 2014; City: Bristol, UK; Source: Facebook
3. EVENT: acting / performing / audience
Date: November 9, 2014; City: Toronto, Canada; Source: Jess Dobkin
4. EVENT: Spazio temporal °6 - Free Radicals
Date: November 14-16, 2014; City: Essen/Köln, Germany; Source: asabank
5. EVENT: PAO Festival 2014 / Visual Poetry in performance art
Date: November 14, 2014; City: Oslo, Norway; Source: Facebook
6. WORKSHOP: IPA Winter 2015 Performance Art Workshop
Deadline date: November 20, 2014; City: Engelberg, Switzerland; Source: IPA
7. EVENT: International Laboratory for Performance - Conflicta 2014
Date: November 16-30, 2014; City: Punta Arenas, Chile; Source: Conflicta
8. CALL FOR PARTICIPANTS: Public Recordings 8 Days IV
Deadline date: December 1, 2014; City: Toronto, Canada; Source: Ame Henderson
9. CALL FOR SUBMISSIONS: Volume 20, Number 5: On Repetition
Deadline date: December 5, 2014; City: the world; Source: Performance Research
10. EVENT: 2nd Venice International Performance Art Week

Date: December 13 to 20, 2014; City: Venice, Italy; Source: VestAndPage
Deadline date: December 15, 2014; City: Montreal, Canada; Source: Studio 303
12. OPEN CALL FOR SUBMISSIONS: The lying on the floor, abandoned to lie
Deadline date: December 31, 2014; City: Bonn, Germany; Source: asabank

13. MESSAGE: From Franklin Furnace
Date: unspecified; City: NYC, USA; Source: Franklin Furnace


1. EVENT: What Tammy Needs to Know About Getting Old and Having Sex
Date: November 6-23, 2014; City: NYC, USA: Source: Facebook

What Tammy Needs to Know About Getting Old and Having Sex: The Concert Tour
By Lois Weaver

La MaMa Experimental Theatre Club
66 East 4th Street, New York, New York, 10003

Split Britches co-founder Lois Weaver returns as Tammy WhyNot, an aging trailer trash blonde who threw away Nashville for a career as a contemporary performance artist.

What Tammy Needs to Know about Getting Old and Having Sex is a special concert performance at New York's La Mama launching her comeback album, a musical exploration into aging, desire, pleasure and intimacy. 

Tammy has investigated her favorite subjects of sex and aging in workshops and conversations with seniors in London, Zagreb and New York. She will share the stage with some of the friends that she has met along the way. Get into the Tammy spirit and watch Tammy's teaser trailer here!

Come and join the fun as Tammy’s VIP guest!

Interview with Lois Weaver: http://vimeo.com/110812415

November 6 - 23, 2014





2. EVENT: Tempting Failure
Date: November 7-8, 2014; City: Bristol, UK; Source: Facebook

November 7-8, 2014
7pm start time / doors at 6:30pm


We are bringing a wide range of artists from all over the world to Bristol in a diverse range of sites such as The Island (the former Victorian city police station) on the 7th & 8th November. 

As well as the Edwardian Cloakroom, Birdcage cafe, The Bear Pit (a brutalist roundabout currently undergoing regression), Castlepark, and the streets of Stokes Croft, Redland & Clifton. 

Artists of note include:

Joke Lanz (Germany) premiere of a new work

FK Alexander (Scotland) 
Hancock & Kelly (UK & Germany)
NW (France)

Synthetic Life Group (Bristol & Canada)

Juan Carlos Vasquez (Columbia)
Gertjan Biasino (Belgium)

William Bilwa Costa (USA) & Jasmin Schaitl (Austria) 

VestAndPage (Italy & Germany) 

Tom Marshman (Bristol) 
Kali Rose (Netherlands/Australia)

Dan Copper with Party Levitation (Cheltenham)
Chelsea Coon (USA) 

Alice Kemp (Devon) and many more….

This is our teaser trailer: https://vimeo.com/103118917

Tempting Failure is a one week festival of the best daring, exciting and latest Live Art, Noise Art & Performance Art. It brings a host of free events to the city including the LADA Study Cafe located in the unique Birdcage, free performances, masterclass workshops, and free talks featuring among other panels, a conversation between Lois Keidan (LADA) & Lyn Gardner of The Guardian. 

50 Artists from all over the world including Joke Lanz, Hancock & Kelly, FK Alexander, Katy Baird, Hellen Burrough, and Chelsea Coon will perform, as on the final two nights in a visceral celebration of performance like no other is held in a former victorian police station in the city centre now called, The Island.

Tickets for 7th - 8th cost £15 to £30 and can be bought in person at Bristol Ticket Shop or via: www.temptingfailure.com/p/tickets.html


3. EVENT: acting / performing / audience
Date: November 9, 2014; City: Toronto, Canada; Source: Jess Dobkin

Please join us on Sunday, November 9 as five actors present the Sunday, November 2 program of the 7a*11d International Festival of Performance Art (www.7a-11d.ca).

This public presentation is the third and final component of a three-part experiment with actors, performance artists and audience. You are invited to be our audience.

Artscape Youngplace Gold Studio (1st floor)

180 Shaw Street, Toronto
PWYC / Wheelchair accessible

Project Actors:
William Ellis
Margaret Evans
Shaista Latif
Darwin Lyons

Jeff Yung

Project Directors:

Jess Dobkin
Shannon Cochrane

Project Photographer:
Tania Anderson

Project Videographer:

Chris Behnisch


4. EVENT: Spazio temporal °6 - Free Radicals
Date: November 14-16, 2014; City: Essen/Köln, Germany; Source: asabank

On behalf of PAErsche – Action Lab we have to announce following project: Spazio temporal °6 - Free Radicals

Free radicals is not new, it radicalizes the encounter into the raw, they stripped of any 'coincidence'. Free radicals differs quantity and quality through stringent targeted 'invitation'. The invitation is to pronounce. Form the time and the space. Directly and immediately out from the situation. Produce respectively every time 'The First Time'. Free radicals ensure that every performance is a 'singularity'.

Invited are three Polish performance artists:

Antoni Karwowski
Creating new performance situations, I try to recall, from my inner self, fragments of situations that are already non-existant, traces of emotions, remembered pictures, sounds, words, smells.

Arti Grabowski
Son of a forester and a nurse. Molded from two opposite traits. He was a boxer, a sculptor, actor, painter, played drums, founded the first local councils and youth parliaments in Poland and Ukraine, co-organized the first concerts of Wielka Orkiestra Świątecznej Pomocy Foundation, was president of the Academic Sports Club at the Academy of Fine Arts in Cracow.

Artur Tajber
What is the core of my work? My interests are focused around what can be defined as shaping the environment by an individual and collective. I am interested in it in a historical as well as present-day aspect. I am much intrigued by the matter of shapes and physical frames of civilization since they convey the message more clearly and broadly than theoretical speculations (these I leave for myself).

Venue 1 - Festival Interval °5
ERDgeschoss, Emmastrasse 1a, 45130 Essen
14. November bis 16. November

Venue 2 - Spazio temporal – Free Radicals
Orangerie-Theater, Volksgartenstrasse 25, 50677 Köln
18. November 2014, 20:00 Uhr

Thanks for the kind support from Polish Institute Düsseldorf, Kulturamt Essen and Kulturamt Köln.



5. EVENT: PAO Festival 2014 / Visual Poetry in performance art
Date: November 14, 2014; City: Oslo, Norway; Source: Facebook

Performance Art Oslo presents:
PAO Festival 2014 / Visual Poetry in performance art

Friday 14 November: 18:00 - ca 21:00
Opening / Artist talks / Group performance by Nedregård workshop

Saturday 15 November 14:00 - ca 18:00: Live performance 
Sunday 16 November: 14:00 - ca 18:00: Live performance

Entrance: By donation! Give as much as you want and can!!

Atelier Nord ANX
Olaf Ryes plass 2 (Inng. Sofienberggt.)
0552 Oslo, Norway

In the festival, we wish to explore poetry in performance. How do artists respond to this theme when working visually with performance as an art form? How can poetry be translated into performance art? By setting this theme, we wish to convey the various ways and approaches in which artists work. The topic can be beautiful and soft, or dramatic and dark. Poetry can be absurd, weird, incomprehensible, humorous, grave, light or heavy. In poetry one can explore rhythm and repetition in the language, the symbolism in words and the elaborate in texts.

Live performance by:
Fernanda Branco (BR/NO)
Amelia Beavis-Harrison (UK/NO)
Tereza Buskova (UK/CZ)
Anja Carr (NO)
Maline Casta (SE)
Bartolomé Ferrando (ES)
Kurt Johannessen (NO)

Rita Marhaug (NO)
Agnes Nedregård (NO)
Álvaro Terrones & Santiago López (ES)
Justyna Scheuring (PL) 
Łukasz Trusewicz (PL)

Artist talks: Agnieszka Szablikowska (PL - curator at Galeria Raczej), Amelia Beavis-Harrison (UK/NO), Bartolomé Ferrando (ES), Rita Marhaug (NO), Álvaro Terrones & Santiago López (ES) and Justyna Scheuring (PL).

Artists will give short presentations of their work followed by discussion and dialogue with the public.

Video exhibition programme:
We will show photography by Monika Sobczak and 3 video programs: Curator Margarida Paiva presents three work by Johanna Pawlik;  Curator Lilith Performance Studio presents Jannicke Låker (NO), Henna- Riikka Halonen (FI), Elin Lundgren & Petter Pettersson (SE)
;  Curator Tanja Thorjussen presents The Icelandic Love Corporation (IS), Miho Shimizu (JP) and Anna Prikhodko (RU)

PAO has also invited two collaborators to curate artists to the festival: 
Galeria Raczej, Poland presents the artists Justyna Scheuring and Łukasz Trusewicz, and Open Forum, Oslo presents Tereza Buskova which will have a lecture at Open Forum on 17 November.

PAO Festival 2014 is supported by Fritt Ord, Billedkunstnernes Vederlagsfond, Kulturetaten / Oslo Kommune and The Spanish Embassy in Oslo

For more detailed info on artists and programme:


6. WORKSHOP: IPA Winter 2015 Performance Art Workshop
Deadline date: November 20, 2014; City: Engelberg, Switzerland; Source: IPA

The IPA Winter 2015 is an unique event in the series of meetings organized by IPA and FWD - the mobile artspace. All living and working spaces are in the same house – and there is nothing else to do than to develop your work! So IPA Winter 2015 will be an intense experience and for sure the right place to be if you are interested in bringing further your own approach in Performance Art and to meet with people from all over the world who are professionally engaged in this field.

You will stay in the Roverzentrum Engelberg in midst of one of the most beautiful regions of the Swiss Alps. Altitude 3950 ft. Like in all IPA Workshops the participants are young artists who are professionally engaged in the practice of performance art. The workshops are open to all ages, and the average age is between 20 and 35 years.

The number of participants is limited to 16. We work in two groups of 8 participants. These are led by VestAndPage and Christine Biehler / Jürgen Fritz.

Be willing and prepared to work outdoors - we would like to benefit from this unique environment - the snow, the cold, the ice, the darkness, the unique light, ...

IPA is a non-commercial organization. The fee is only used for organizing the events.

The owner can reserve the house only until 20/11/2014, so the fee must be received by then to our account. We have to pay the rent in advance.

For more information on the instructors, or to apply:


7. EVENT: International Laboratory for Performance - Conflicta 2014
Date: November 16-30, 2014; City: Punta Arenas, Chile; Source: Conflicta

Create experiences and visible processes is beyond the scope of the First International Laboratory for Performance initiative undertaken by the Centre for Inquiry Territorial Conflicta, which will run from 16 to 30 November in the city of Punta Arenas.

The laboratory, the first recorded in the region of international court will feature six established artists who come to our southernmost city from various latitudes: Snezana Golubovic (Serbia), Shannon Cochrane (Canada), Jason Lim (Singapore), Soledad Sanchez (Argentina), Gwendoline Robin (Belgium) and Louis Almond Talcahuano (Chile).

These artists have developed a strong work and presented their work at festivals, biennials and meetings in different countries, and will be responsible for giving life to this project, for two weeks of research and action in the area. For the first week territorial exploration residences and second, practice creating and presenting free performances for the local community are considered. Perich Macarena Rose, performer and director Conflicta underlines this activity as an important opportunity to unite art with the territory:

"With this activity we intend to establish an interdisciplinary art form in Magallanes where content is developed from experimental body associated territory, then crossed with other disciplines, in addition to documents, publications and general files."

The artists of the 1st International Performance Lab will showcase their works with musician Derek Biskupovic Groom, a researcher who is creating the sonic image Conflicta. According to the published manifesto, Derek will present the results of specially raised for the introductory chapter titled "Letter Home" live sound design.

These presentations will be held on Saturday, November 29 at 17:00 in the former cinema Cervantes Punta Arenas, in a free and open to the entire community sample.



8. CALL FOR PARTICIPANTS: Public Recordings 8 Days IV
Deadline date: December 1, 2014; City: Toronto, Canada; Source: Ame Henderson

A gathering of choreographers at Artscape Gibraltar Point, Toronto Island
June 14-23, 2015

8 DAYS is an intensive encounter open to Canadian contemporary choreographers. The gathering values curiosity, questioning and reflection on how we work in order to deepen choreographic practices. The ongoing 8 DAYS project addresses a need for peer-to-peer choreographic development in Canada, insisting that this mode is crucial to the continued relevance of the art form. Originally instigated in 2012 by Ame Henderson and
Tedd Robinson, 8 DAYS IV stems from the desire to continue this artistic exchange.

How dance artists work is intimately related to what they create. Theory and practice, talking and making, doing and reflecting, and the systems we do and don't rely on are understood as interwoven threads of creative development. 8 DAYS is an opportunity to share artistic practices and concerns and to challenge, invigorate and inspire each other. This is an occasion to contextualize oneself within a larger frame. 8 DAYS escapes the pressures of production-driven work. It creates space to reflect on one’s current practice and through rigorous dialogue and experimentation encourages new artistic possibilities.

SIX Canadian choreographers working in Canada or abroad will be invited to join 20 past participants of the three previous 8 DAYS encounters. A cohort of 26 artists will embark on a co-authored adventure influenced by its surroundings, created by those present, and guided by their overlapping and divergent experience. Participants are asked to arrive with an openness about what this encounter can be, a willingness to expose and share, and a criticality around intellectual and artistic exchange. As the number of participants grows every year, we ask that everyone be open to new ways of being together in this ever-evolving constellation. The selection committee is comprised of three past participants and a guest.

Each participant is responsible for planning a portion of the time spent together. Days are primarily structured around preparing, cooking and facilitating group meals, which becomes a fundamental way of thinking about shared work. Subsistence informs how we can function within a group. The days also include sharing research and exploring methods, reading, open discussion, as well as time for leisure and personal reflection.

It is imperative that 8 DAYS engages with the community at large. To this end, each participant will be asked to respond to the concept of documentation in order to share the experience. So far 8 DAYS has self-produced two books financed by the personal contributions of the participants. Each artist proposes and creates responses specific to 8 DAYS during or immediately following the gathering. This co-authored documentation is then distributed via a framework determined by the contributors in order to share the process and its outcomes.

Logistical Details
8 DAYS will be held at Artscape Gibraltar Point on Toronto Island. Housed in a former school, Artscape Gibraltar Point, offers 35,000 square feet of multi-use space. Artists will enjoy semi-private accommodations, bright and spacious studios, a shared kitchen and lounge, free wi-fi, and bike rentals. This idyllic beachfront property has the feeling of a remote cottage getaway but is a short fifteen-minute ferry ride from downtown Toronto.

The participating artists will arrive on Sunday, June 14th, and depart Tuesday, June 23rd, 2015. Public Recordings has applied for funding to cover travel costs and meals. Funding results should be known by the end of March 2015. Applicants are encouraged to seek further funding to support their participation.


Please submit a letter of interest and a recent biography in addition to any work samples that are relevant to contextualize your application. As the jury changes each year, previous applicants are encouraged to reapply. Detail your current choreographic concerns in relation to the milieu, address how this encounter might enrich your practice and position yourself in regard to the documentation process. Propose an idea of what you would like to share with the group and what kind of activity you would like to facilitate. Please keep your responses brief and select any support material carefully with the aim of addressing this specific opportunity. Applications can be submitted in English or French. Please note: the working language will be primarily English.

All materials must be submitted electronically. Support materials must be included as an attachment or available online. Make sure to include all necessary links and access information. Please note, applications sent by mail cannot be processed.

For more information and to apply: eightdays@publicrecordings.org

Project History
8 DAYS was held at la B.A.R.N. on Lac Leslie in the Pontiac Region of Quebec, from June 16 – 24, 2012. It was hosted and supported by 10 Gates Dancing Inc. and Public Recordings. Selection committee: Sara Coffin, Ame Henderson, Tedd Robinson, Stephen Thompson. Participants: Justine A. Chambers, Claudia Fancello, Marie Claire Forté, Ame Henderson, Benjamin Kamino, Davida Monk, Tedd Robinson, Stephen Thompson, Michael Trent

8 DAYS II was held at ten fifteen maple and The Dance Centre from August 10-18, 2013. It was hosted by Justine A. Chambers and Public Recordings, and received support from the Canada Council for the Arts, Public Recordings, The Dance Centre and ten fifteen maple. Selection committee: Martin Bélanger, Justine A. Chambers, Benjamin Kamino, Davida Monk. Participants: Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Davida Monk, Andrew Tay, Stephen Thompson, Michael Trent, Laurie Young

8 DAYS III was held at Artscape Gibraltar Point from June 16-24, 2014. It was hosted by Public Recordings, and received support from the Canada Council for the Arts, Artscape Gibraltar Point, Toronto Dance Theatre and 10 Gates Dancing Inc. Selection committee: Naomi Brand, Caroline Gravel, Robin Poitras, Laurie Young. Participants: Martin Bélanger, Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Benjamin Kamino, Jennifer Mascall, Freya Olafson, Bee Pallomina, Tedd Robinson, Andrew Tay, Stephen Thompson, Michael Trent, Peter Trosztmer, Katie Ward, Laurie Young


9. CALL FOR SUBMISSIONS: Volume 20, Number 5: On Repetition
Deadline date: December 5, 2014; City: the world; Source: Performance Research
Vol. 20, No. 4: ‘On Repetition’ (October 2015)
Eirini Kartsaki (Anglia Ruskin University) and Theron Schmidt (King’s College London)
‘The love of repetition is in truth the only happy love’, Constantine Constantius argues in his attempt to re-live a love affair, always already lost. In this playful account of repetition, written in 1843, Søren Kierkegaard proposes that life itself is a repetition.

Across visual arts, music, contemporary performance, dance practices, craft, and writing, repetition can be seen as a strategy to connect the formal properties of a work to thematic concerns about originality, desire, and the work’s own material conditions of production. Within performance studies, repetition has often been depicted as the enemy of liveness or live presence. As Derrida described, Artaud dreamed of an impossible theatre that never repeats itself, nor anything else: ‘The stage will no longer operate as the repetition of a present, will no longer represent a present that would exist elsewhere and prior to it, a present whose plenitude would be older than it, absent from it, and rightfully capable of doing without it’ (1967). On the other hand, Rebecca Schneider suggests that performance can be approached not as that which disappears, but ‘as both the act of remaining and a means of reappearance’ (2001).  

Indeed, from Diderot through Stanislavski, a central problem of theatre has been to stage a repetition that is consistent in its emotional effect. But at the same time, through the repetition of practice, the rehearsed act becomes spontaneous and unthinking – and such is its desired effect, not only within theatre but also other forms of bodily training.  Theatre itself is a terminal form, one that finds a particular ending within each dramatic instance, but in its reception it appears to perform an endless repetition, night after night and season after season. As Zola wrote in 1881, ‘Each winter at the beginning of the theatre season I fall prey to the same thoughts.  A hope springs up in me, and I tell myself that before the first warmth of summer empties the playhouses, a dramatist of genius will be discovered…. Unfortunately, this dream I have every October has not yet been fulfilled, and is not likely to be for some time.  I wait in vain, I go from failure to failure.’  

Zola’s repeated visits to the site of his own disappointment is typical of the compulsive structure of desire. ‘I’ll just keep on/ ’til I get it right,’ sings Tammy Wynette in Ceal Floyer’s audio installation from Documenta 13, and in Exquisite Pain, Sophie Calle tells us: ‘I decided to continue until I got over my pain by comparing it with other people’s or had worn out my own story through sheer repetition’.  As a structuring dynamic in dance, performance art, or the repetitive lists of some theatrical texts, repetition causes the event to slip in and out of the present, insisting on its now-ness at the same time as this present appears always-already to be gone.  For listeners and spectators, these structures can transform their states of attention, absorbing them within the very dynamics being described.

The aim of this issue is to open a dialogue about notions of repetition in all of the above areas, and we invite proposals that reflect on repetition’s philosophical, historical, aesthetical and sociological implications. Contributors may draw from wider fields of thought that address understandings of time, memory, and history (Žižek via Marx’s ‘first as tragedy, then as farce’), or incorporate philosophical and psychoanalytic notions of exhaustion, difference through repetition, processes of becoming, and the possibility of finitude. Contributors may also refer to the Deleuzian investigation of repetition as symptomatic of the contemporary mode of being, as well as the Freudian pathology of repetition.

Themes that proposed contributions might address include, but are not limited to:
-Rhythm, seriality, formal patterns, and structures of attention
-Desire, pleasure, and terror of repeating
-Seduction, enthrallment, obsession, and compulsive repeated viewings
-Acting, re-enactment, and originary repetition; liveness; performance remains; ontology of performance
-Notions of termination and exhaustion, as well as renewal
-Citation and transformation in performance (and theories of performativity); queer repetitions
-Ritual; meditation; mantra; training; life practice
-Economic conditions; affective labour; one-to-one and serial performance
-Repetition, reconstruction, and memory; trauma and repetition; performance practices that engage with these

In addition to full articles, we would also welcome proposals for creative responses to the theme, including responsive writing, textual performances or visual works for the printed page, or other ideas for submissions that work with repetition in their form as well as content.

Proposals: 5 December 2014
First Drafts: March 2015
Final Drafts: May 2015
Publication Date: October 2015
ALL proposals, submissions and general enquiries should be sent direct to:
Issue-related enquiries should be directed to the Issue Editors:
Eirini Kartsaki:  eirini.kartsaki@anglia.ac.uk
Theron Schmidt:  theron.schmidt@kcl.ac.uk
General Guidelines for Submissions:
-Before submitting a proposal we encourage you to visit our website and familiarize yourself with the journal.
-Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side.
-Please include your surname in the file name of the document you send.
-DO NOT send images electronically without prior agreement.
-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.


10. EVENT: 2nd Venice International Performance Art Week
Date: December 13 to 20, 2014; City: Venice, Italy; Source: VestAndPage

“Ritual Body - Political Body”

Palazzo Mora, Strada Nova, 3659, Venice, Italy
13 - 20 December 2014

Following the first edition “Hybrid Body - Poetic Body” that took place in December 2012 at Palazzo Bembo, the 2nd VENICE INTERNATIONAL PERFORMANCE ART WEEK will take place at Palazzo Mora in Venice from 13th to 20th December 2014 under the focus "Ritual Body - Political Body".

For the second edition with the focus “Ritual Body - Political Body” the 2nd VENICE INTERNATIONAL PERFORMANCE ART WEEK 2014 aims to investigate a wide range of concepts such as: art as a space for civil negotiation where human ethical values are the core; interconnectivity; political confrontation; utopia; ecological issues; social and individual conflicts and responsibilities, and how the self relates to them, at the same time concentrating on the fact that the presence of human beings in this world is always more than a temporary condition.

The communication that can be triggered between artists and the audience is an essential element. The topics addressed during the week will relate to the need to look at social relations and the lives of individuals with greater care. Due to the specificity of the theme of this second edition “Ritual Body - Political Body”, the live performances and works on display will also seek to provide reflection and further considerations on how to find meaningful mechanisms to foster positive change through contemporary art and culture in a clearly vital way.

The VENICE INTERNATIONAL PERFORMANCE ART WEEK wishes to enrich the highly renowned art scene in Venice with the audacious art form of performance art.
Vito Acconci, Alain Arias-Misson, Richard Ashrowan, Jelili Atiku, Joseph Beuys, Waldo Bien, Chris Burden, Terry Fox, Guillermo Giampietro, Allen Ginsberg, Tehching Hsieh, Zhang Huan, Waldemar Januszczak, Norbert Klassen, Sigalit Landau, Legend Lin Dance Theatre, Boris Nieslony & Gerhard Dirmoser, Omen Teatar, Gina Pane, Bob Raymond, Pedro Reyes, Rong Rong, Inder Salim, Carolee Schneemann, Gerry Schum, Ulay, Paul Wong.

Andrigo & Aliprandi, Marilyn Arsem, Adina Bar-On, Bean, Tania Bruguera, Barbara Campbell, Shannon Cochrane, Angel Delgado, Norma Flores, Regina José Galindo, Melissa García Aguirre, Arti Grabowski, Andrea Hackl, Enrique Ježik, Sandra Johnston, Zai Kuning, La Pocha Nostra, Alastair MacLennan, Sarah-Jane Norman, Vela Phelan, Martin Renteria, Olivier de Sagazan, Benjamin Sebastian, Gianni Emilio Simonetti, Terry Smith, Alice Vogler, Julie Vulcan, Wen Yau. | ART WEEK Fringe.

Fondazione Bonotto, Fundación Alumnos47, Live Art Development Agency (LADA).

FADO Performance Art Centre, Daniel S. DeLuca | Mobius Inc., Open Space Arts Society, ]performance s p a c e [, Prem Sarjo | Ejercicios Mosqueto, Leisa Shelton | Fragment31, Martin Renteria | TRANSMUTED Network, Silvio de Gracia | Videoplay, ART WEEK | Workshop Series by VestAndPage.

STUDY ROOM kindly provided by Live Art Development Agency (LADA), London.

CURATORS: VestAndPage (Andrea Pagnes & Verena Stenke)

VENICE INTERNATIONAL PERFORMANCE ART WEEK is an independent, nonprofit, non funded and noncommercial live art exhibition project by Studio Contemporaneo nonprofit Cultural Association of Venice and artist duo VestAndPage, co-organized in its second edition 2014 with Venice Open Gates, We Exhibit and Global Art Affairs Foundation. The event is made possible thanks to the cooperation and logistic support of local enterprises such as ConCaVe and Riviera, among others. Under the patronage of the Regione Veneto, Provincia di Venezia and Comune di Venezia.



Deadline date: December 15, 2014; City: Montreal, Canada; Source: Studio 303

Re-interpreting, remixing or covering are rhetorical conventions in some performing art forms such as music or theatre where the same raw material can be radically reshaped by a new director, musician or conductor. What happens if we apply the same principle to dance?

Want to see your piece in a brand-new light? Studio 303 is looking for two choreographers interested in having their work remixed by Catherine Lavoie-Marcus or Sasha Kleinplatz & Andrew Tay (Wants&Needs). Take advantage of this opportunity to have mid-career artists reinterpret your work through their lens.

With an atypical background, Catherine Lavoie-Marcus examines the multiple facets of contemporary dance. Trained in the Axis Syllabus, Butoh, Contact Improvisation and theatre, she also earned a master’s degree in philosophy. She moves between choreographic and theoretical research, dance teaching and artistic mediation. She has presented her choreographies in Montréal since 2009, and most recently for Tangente with Acéphales (2012) and Schizes sur le Sundae (2013). Since finishing their B.F.A’s in Contemporary dance at Concordia University, Andrew Tay & Sasha Kleinplatz have presented their separate choreographic work in dance venues across Canada, New York City and in Europe. In 2005 they co-founded the company Wants&Needs Danse. Since then, the company has produced the wildly popular dance events Piss in the Pool, Short&Sweet and Involved. They will be part of Danse Danse 2014-15 season with the piece Chorus II

Practical details:
-Performances will be held at Studio 303 on Saturday, April 18th 2015, at 6pm and
Sunday, April 19th 2015, at 4pm.
-Original works and their remixes should last about 12 minutes each. Each evening will close with a public discussion.
-Studio 303 will provide 20 studio hours per project.
-To the project proposal, you will receive an honorarium of $1,250 including residency and performance.
-Only selected artists will be contacted.

To apply, fill out the online form here:



12. OPEN CALL FOR SUBMISSIONS: The lying on the floor, abandoned to lie
Deadline date: December 31, 2014; City: Bonn, Germany; Source: asabank

PAErsche, the E.P.I. Zentrum and the Künstlerforum Bonn/D organize together the second diagrammatic exhibition: The lying on the floor, abandoned to lie

The topic of this experimental and research exhibition are the views of:
lying – sitting – standing – walking – jumping – flying/falling – carrying
what the human is doing and how

The exhibition take place February 2015. The exhibition is included in the Videonale 2015. Some video-essays for this topic are in the production. (Roland Bergére)

The exhibition is not a commercial exhibition, the exhibition is the knowledge in the performance art owed. It is a network to bind the different artistic works in a diagrammatic overview. 

The matter for this exhibition will generated in three ways
A) we invite cordial performance artists and theorists to send documents about this topic. text, photos, (till A3) and exceptional video;
B) the performance archive Black Kit generate material from the history in performance and performiung arts;
C) the research project Anthropigtnostical Dishes generated material from an anthropological and ethnographical perspective of human movments of this topic.

See the website from the first exhibition: http://thelyingonthefloorabandonedtolie.blogspot.co.at/

See the website of the performance art archive: www.asa.de/asa_broschure.pdf

See the website of Künstlerforum Bonn:

Deadline: December 31, 2014
Don’t be afraid to ask any questions!

Send the material to:
Boris Nieslony
Boltensternstrasse 16 V6
D – 50735 Köln

Boris Nieslony / Paersche, E.P.I. Zentrum
Susanne Grube / Künstlerforum Bonn
Roland Bergére / Radical-Egal Video


13. MESSAGE: From Franklin Furnace
Date: unspecified; City: NYC, USA; Source: Franklin Furnace

Dear Franklin Furnace Aficionado,

Franklin Furnace has made the decision to "nest" at Pratt Institute. Here is the back-story:

In 1975, along with a bunch of other artists, I signed a 10-year lease on a loft building at 112 Franklin Street in TriBeCa. At the time, I remember thinking ten years was forever. But a decade turns out to be short in real estate terms, so by the early 1980s I was trying to figure out where Franklin Furnace would move. (This is when William Wegman's 1983 drawing, "Visit the New Facility," was created.) Could we relocate to the block in the East Village where Claes Oldenburg once had his Store? (Not fireproof.) Should we move to a disused bank building that would project the value of our archives? (Too expensive.) What about space in the Federal Archives Building developed by Rockrose? (Residential plumbing overhead.) In the end, Franklin Furnace hired the late, great attorney, Paul Gulielmetti, whose expertise in the Loft Law kept us in our TriBeCa storefront for ten years after the expiration of our lease. When the landlord died, his daughter offered the tenants of 112 Franklin Street the opportunity to buy the building. This we did, raising the down payment through an art sale generously hosted by Marian Goodman.

At first, our plan was to renovate the loft to make it a downtown art emporium; star architect Bernard Tschumi prepared an innovative design that brought the space up to code while remaining respectful of its location in a historic district. Then we recognized that the artists' community had largely left TriBeCa for the outer boroughs; and that the Internet presented a new, free zone in which artists might create unforeseen works. We held a Board retreat; convened several town meetings; and ultimately decided to "go virtual" to provide the artists we present with the freedom of expression they had enjoyed in the loft from 1976 to 1996.  

Again in 2014, we are approaching the end of our 10-year lease; again, about two years ago, the Board of Directors of Franklin Furnace commenced a planning process-but this time we asked not only where we would move, but also how Franklin Furnace might maintain cultural influence in 100 years' time. As a result of a strategic planning process supported by the Rockefeller Brothers Fund and managed by Dunch Arts, Franklin Furnace has made the decision to nest at Pratt Institute.  Pratt is an art and design school founded over 125 years ago in Clinton Hill, Brooklyn, with the mission to educate artists and creative professionals to be responsible contributors to society. We will keep our separate corporate structures, while collaborating to provide public and pedagogical access to the emerging artists we support; as well as to ensure accessibility and preservation of our archives. Franklin Furnace has signed an organization-in-residence agreement, and plans to be fully installed at Pratt Institute by the close of 2014.

Now you might be asking yourself, if Franklin Furnace has been so smart as to figure out a sustainable model for the next 100 years, why should you continue to support us? Because by collaborating with a formidable educational institution, we will be able to undertake ambitious long-term preservation and documentation projects that will have cultural impact in the future.

Additionally, by nesting at Pratt, Franklin Furnace may serve as a model for the field. Important art space archives have been destroyed or are languishing in basements; some organizations with similar collections charge fees for online viewing; others have chosen not to publish their archives online; and still others have opted to donate or sell their records: In early 2014, the Kitchen, the storied New York art space founded in 1971 by Steina and Woody Vesulka, announced it had made the decision to sell the first thirty years of its archives to the Getty Research Institute. It is our opinion that no third-party institution, separated by time and lack of institutional memory, can adequately capture the intentions of the contemporary avant-garde artists who invented Postmodernism.  

Thank you for your warm support in the past; your continued support at this critical juncture will ensure that Franklin Furnace will have the capacity to make the world safe for avant-garde art for a long time to come! Please visit this link to join:

Very truly yours,
Martha Wilson
Founding Director

Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place, #301
Brooklyn, NY 11217-1506
T 718 398 7255
F 718 398 7256


Martha Wilson, Founding Director
Harley Spiller, Deputy Director
Michael Katchen, Senior Archivist
Jenny Korns, Program Coordinator
Mary Suk, Financial Manager


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. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and 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.

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