FADO E-LIST (July 2015)

Deadline: July 6, 2015; City: the world; Source: Performance Research
2. PERFORMANCE EVENT: Where the body is/was by Beatrice Didier and River Lin
Date: July 7-17, 2015; City: Brussels, Belgium; Source: Beatrice Didier
3. EVENT: Animating Historic Spaces by Alias Dance Project
Date: July 10-12, 2015; City: Toronto, Canada; Source: Una Wabinski
4. PUBLICATION LAUNCH: Performance photography by Bob Raymond
Date: current; City: Boston, USA; Source: Jed Speare
5. PERFORMANCE ART WORKSHOP with Victoria Stanton
Deadline date: July 6, 2015; City: Toronto, Canada; Source: Victoria Stanton
6. PERFORMANCE EVENT:  Between Intimacy & Architecture
Date: July 15, 2015; City: Toronto, Canada; Source: Victoria Stanton
7. WORKSHOP: Inhabiting: Body, Materiality, Story with Vicki Tansey and Vida Simon
Deadline date: July 31, 2015; City: Eastern Townships, Quebec; Source: Vida Simon
Deadline date: July 31, 2015; City: Calgary, Alberta; Source: Ashley Bedet
9. EVENT: Dusk Dances
Date: August 3-9, 2015; City: Toronto, Canada; Source: Una Wabinski
10. WORKSHOP: MayDay with VestAndPage
Date: August 20-26, 2015; City: Düsseldorf, Germany: Source: VestAndPage
11. EVENT: An Annotated Bibliography in Real Time: Performance Art in Quebec & Canada
Dates: various; City: Montreal, Quebec; Source: Artexte
12. WORKSHOP: Arti Grabowski / Johannes Deimling at Art Nomade Festival
Date: October 3-4, 2015; City: Chicoutimi, Quebec; Source: Francis O’Shaunghnessy


Deadline: July 6, 2015; City: the world; Source: Performance Research

Volume 21, Number 2: On Sea / At Sea (April 2016)
Issue editors: Sam Trubridge and Richard Gough 

ON SEA / AT SEA considers how performance practice and critical perspectives on performance can be affected by the fluidity, endless motion, unchartable terrains, and endless liquid condition of the sea.

Stories about the sea or set on the sea are almost always performed on dry stages. How often does performance go to sea, as a place? Does the need for survival in this place render artistic, performative expression as something superfluous and trivial? How can a performance culture be shaped by this liquid, ever-moving terrain? Is perhaps, the sea a place where performance is suspended momentarily? - lost, at sea? For we are seldom actually ON the sea: a boat may seem to float on it, but it is always half-submerged, half-sinking into this medium. And being AT sea is a giving over to the elements, a risk taken, and a casting off from attachments and moorings.

The sea is a space just beyond every coastline of the world: to many a homogenous surface of restless, endless movement that connects all the coastlines of the world. The sea is said to be just as unknown to us as the stars and galaxies. But this unknown is an 'inner space', within our planetary atmosphere: a place of submerged things and intimate secrets, that lie so close to us yet remains a mystery. Beneath the planetary cortex where synapses flash between cities and grids of terrestrial industry, there is the ocean, our space within. The odd fibre-optic cable is laid down, occasionally a submarine blinks its lonely lights here, and wreckage drifts to rest here… but on the whole this space sleeps beneath us, detached, and at a different speed. The sea is our planetary subconscious, keeping secrets, then revealing them with a theatrical power: with the wreck of the Titanic, the ruins of Heracleon, the horrors awaiting the salvagers of the tomblike Kursk submarine a year after it was disabled on the Russian seabed, and the [as yet] unfound wreck of Air Malaysia Flight 370. Most recently, it has been revealed as a tragic space of border-crossing, with the attempted crossing of oceans by refugees from North Africa, Indonesia, and Haiti into westernised ‘promised lands’ (Europe, North America, Australia). As well as a site for human fears and tragedies, the sea also carries within it environmental anxieties and portents of collapse: the giant North Pacific gyre, the dismembered trunks of finned sharks, the explosion of Deep Water Horizon in 2011, or the bellies of dead fish and animals filled with plastic.

This editorial interest focuses on the sea as an unbounded, unfixed territory with no recognizable performance cartographies, asking the question – how often does performance go to sea? This is both a literal and poetic question, thus inquiring about specific nautical performances ‘on the sea’, as well as the poetic state of being ‘at sea’, that is, within a fluid, unfixed, or liquid condition. The editors invite contributions that:

-Gather texts on the sea and its relation to performance
-Examine performance at sea, under the sea, on boats, or in coastal/tidal areas
Consider unknown spaces beyond and within, especially where the sea and oceans are concerned
-Draw on discourses from the PSi Fluid States dispersed conference
-Develop new definitions for fluidity and nomadism as philosophic, relational paradigms
-Investigate ‘liquid dramaturgies’, moving away from perspectives on performance as a linear experience beholden to dramaturgical or narrative structures
-Present new perspectives for performance, emerging from a philosophy born from the endless movement of the ocean, celebrating liquid, restless, and volatile contexts or processes
-Examine new cartographies and navigation for performance in liquid states
-Address issues of migrancy, temporality, flux, uncertainty, and transience in relation to contemporary performance, contemporary culture, and oceanic concerns

'On Sea / At Sea' invites artists, practitioners, and theorists to submit proposals for critical articles (between 2,000 and 8,000 words), documents or artist's pages, which examine, re-perform, or re-present performance in relation to the sea and liquid, fluid conditions.  Submissions are invited from a broad spectrum of perspectives and practices, focusing on a common relationship with liquidity, the sea, and oceanic states.

Sam Trubridge is the Artistic Director of The Performance Arcade in Wellington, NZ and the convenor for ‘Deep Anatomy’ – the Bahamas cluster for Psi #21 Fluid States.

Richard Gough is Artistic Director of the Centre for Performance Research, Professor of Performance Research at Falmouth University and a Fellow of the International Research Center "Interweaving Performance Cultures", Freie Universitat, Berlin. He is the general editor of Performance Research and was founding president of PSi.

Proposals: 6 July 2015
First Drafts: October 2015
Publication Date: April 2016

ALL proposals, submissions and general enquiries should be sent direct to the Journal at: info@performance-research.org

Issue-related enquiries should be directed to issue editors: Sam Trubridge (samtrubridge@gmail.com) and Richard Gough (cprgough@gmail.com)

General Guidelines for Submissions:
-Before submitting a proposal we encourage you to visit our website (www.performance-research.org/) and familiarize yourself with the journal.
-Proposals accepted by e-mail (MS-Word / RTF). Proposals shouldn't exceed one A4 side.
-Please include your surname in the file name of the document you send.
-Submission of images and visual material is welcome, PROVIDED that all attachments DO NOT exceed 5MB, and a maximum of 5 images.
-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.


2. PERFORMANCE EVENT: Where the body is/was by Beatrice Didier and River Lin
Date: July 7-17, 2015; City: Brussels, Belgium; Source: Beatrice Didier

Where the body is/was
With Beatrice Didier and River Lin 

July 7-9, from 16:00-20:00

Vernissage: July 9 @ 18:30
July 10-17 from 4pm-8pm

Rue de la Grande Ile 12, 1000 Brussels

What would it mean if performance artists make exhibitions without showing their own bodies in live and how would those called the documentation be able to represent the live performance? Conceived by the artists Béatrice Didier and River Lin, Where the body is/was is a presentation questioning the relationship between the presence and absence of the artist’s body before,during and after performance.

For transforming the meaning between the formation of exhibition and performance, the artists will be performing in the gallery until the opening of this exhibition and the audience is welcome to spectate and participate the making of the performance/ exhibition. The exhibition would be therefore conceptually closed and completed whilst it opens. During the exhibition Where the body is/was, you might see those called the remains, trace, archive, or something needs to be redefined.

Born in 1971 in Belgium, Béatrice Didier is an artist who has worked in performing arts, focusing her research on the actor as a creator. Upon meeting M.Klingler and B.Nieslony In 2005 she discovered Performance Art as a practice and has dedicated herself to it, as a vital way of questioning her human presence in the world. Based in Brussels, her work has been presented in different countries like Germany, Austria, India, Ireland, Finland or Burma.

Born in 1984 in Taipei, Taiwan, River Lin is an artist working with body across the fields of visual and performing arts. Taking cultural studies as a point of departure, River’s work revolves around transforming the relationship between ritual and body in the specific social and spatiotemporal context. His work has been presented in Berlin, Bonn, Paris, Brussels, London, Glasgow, Chicago and Taipei. He is currently artist in residence at Cité des Art in Paris.


3. EVENT: Animating Historic Spaces by Alias Dance Project
Date: July 10-12, 2015; City: Toronto, Canada; Source: Una Wabinski

Join Alias Dance Project as they animate the Historic Zion Schoolhouse with contemporary and urban elements challenging the perception of time and place. Featuring new creations by celebrated Canadian dance artists and Dora-nominated guest choreographer, Hanna Kiel. Alias has brought together dance artists of diverse backgrounds along with visual effects designer Dean Vargas to reimagine this historic backdrop. Powerful and expressive, this promises to be a stimulating performance that is alive and in the moment – a must see!

Featured Artists: Marcel ‘Frost’ DaCosta of Ground illusionz, Victoria “VicVersa” Mackenzie, Nick Robinson of GWS, Lauren Cook, Francesca Chudnoff, Amanda Davis, Nigel Edwards, and guest choreographer Hanna Kiel featuring dancers Catherine Turcotte and Caitlin Amodeo.

Website: www.aliasdanceproject.com
Where: North York Historic Zion Schoolhouse (1091 Finch Ave E., North York)
When: July 10th - July 12th 2015 | 7:30pm (Space is limited)
Price: Free Admission


4. PUBLICATION LAUNCH: Performance photography by Bob Raymond
Date: current; City: Boston, USA; Source: Jed Speare

this moment: missives from another world, thirty years of performances photographed by Bob Raymond

Mobius’s new publication is a 10”x10” book containing 70 color photographs of performances, as well as essays on the history of Mobius and the challenges of documenting ephemeral art. The artists pictured in the images have also written about the work. Bob was a fixture at Mobius for 30 years, photographing performances every week.

Both paperback and hardcover versions are available. They can now be purchased through the Mobius website. Just click on the ‘store’ button in the navigation bar and follow the instructions. 



5. PERFORMANCE ART WORKSHOP with Victoria Stanton
Deadline date: July 6, 2015; City: Toronto, Canada; Source: Victoria Stanton

Between Intimacy and Architecture: subtle and relational performance in public place

Location: Artscape Youngplace, 180 Shaw Street, Toronto
Dates: July 10, 11, 12, 2015 (with a final performance by participants on July 15)
Cost: $300 (possible sliding scale/service exchange for limited number of participants)
Max number of participants: 12
Deadline to register: July 6, 2015 ($50 deposit required to reserve your spot)

TO REGISTER or for more info: info@bankofvictoria.com

Description of Workshop
How do we listen to each other? How do we interact? How do we respond to the landscape around us? How do we engage with time and space? Cultivating attentive awareness, empathetic presence and peripheral vision, this workshop will explore the multiple and very personalized ways in which we experience and foster intimacy and connection – in ourselves, towards others, and in relation to place. We will explore how time and space are intimately connected and linked to how we develop a relationship to the space and people around us; how repetition of an action (over time) within a particular space necessarily creates familiarity with that space, within the various contexts in which we find ourselves to be. We will also explore how the ways in which a "non-productive" use of time, as carried out in public (place) activates a space. Finally, we will attempt to create contexts to explore ways of experiencing various kinds of “in-betweens,” (the spaces between thought and action, between actions, between each other, between ourselves and the spaces around us.)

Key ideas:
-Activating space
-Holding space
-Connecting to space
-Connecting to others

The importance in relational/public practices to be able to also activate:
-Empathetic / compassionate presence (1. towards yourself, 2. towards others)
-Attentive awareness/ full observation
-Groundedness (what is your container)
-Faith, Trust

Performance Philosophy
Whether working in participatory, durational, task-based or audio-visual performance, the constant thread in my work is an investigation into the ability (and the desire) to hold a space, to appropriate and disrupt the quotidian, to create spontaneous intimacy, to tread vulnerability. Investing a performative presence and consciousness within multiple spaces/times, I continuously underscore the complex aspects of “transaction” and the possibility for transformation.

Much recent work explores the elusive “in-between” – that invisible, liminal space between myself and the audience (whether a group or just one person) or between myself and my object/action/location – whether appearing “on stage” (in a black box, white cube, bar or loft) or “out in the world” (in public sites and “non-art” contexts). The “in-between” is my inquiry into transitional space: as manifested on stage (has the performance ended?), as presented through relational exchange (is this a performance? Is this Art?), and as experienced out in the world through geopoetic meandering, and the conscious inhabiting of non-places found in the built environment.  These subtle forms of testing the limits of vulnerability make up an overall practice (and multiple research processes) as an artist working in – and with – space and time.

About the Workshop Facilitator
Victoria Stanton is an interdisciplinary artist whose 20+ years of practice spans the realms of live action, human interaction, video, film, photo, drawing, and writing. Since 2001 Victoria has been delving into an expanded engagement with performance art, combining public intervention and transactional/relational processes within a variety of communities and contexts across Canada and internationally. She has facilitated several workshops with TouVA (a collective comprised of Stanton, Sylvie Tourangeau and Anne Bérubé) and been developing a pedagogy via the exploration of human geography, architecture and the body as well as the micro-event – elements that have become fundamental to her workshops. She has previously given classes in Montreal (RAIQ, SKOL, Studio 303) Durham (Words Aloud Festival), Toronto (Hub 14, Artscape Gibraltar Point, Artscape Youngplace), Sudbury (Galerie du Nouvel-Ontario), Mexico (Centre FRONDA), and Melbourne (Overload Festival). Victoria has presented exhibitions, performances, interventions, and films/videos nationally and internationally, and is currently working on a book with TouVA, developing salient notions on how performance is practiced and on the question of ‘the performative.

“I learned more in your weeklong workshop than I have in 5 years of art school.”

“Aside from your impressive knowledge of the discipline, which I trusted all along, I was moved by your capacity and willingness to listen deeply to the issues we were all grappling with in our work as participants, and nurturing a safe space for us to re-visit them from a new place.”

“I like the workshop structure very much. Masterful. Plus the time and opportunity to integrate and test experiential and discursive realizations/dilemmas.”

“As a university professor, I was extremely impressed by Victoria’s finesse and confidence in the room. She is subtle and deft in her ability to guide and shape our conversations without imposing in any way or intervening in the time and space that people need to tell their stories and express their nuanced perspectives. She let things unfold at their own pace and made the workshop collaborative in the best possible way – so that we were all sharing skills and learning from each other almost as much as from her. This workshop has inspired me to introduce similar methods into my teaching, which has produced incredible results.”


6. PERFORMANCE EVENT:  Between Intimacy & Architecture
Date: July 15, 2015; City: Toronto, Canada; Source: Victoria Stanton

Wednesday July 15 @ 7pm
Artscape Youngplace, 180 Shaw Street, Toronto
Free admission

Participants from the workshop “Between Intimacy and Architecture: Subtle and Relational Performance in Public Place” present site-specific and participatory performances after a three day intensive at Artscape Youngplace. Special guests round out the program of performance, which will consider the building, its environs and the audience as possible points of departure into new, evocative works and works-in-progress.



7. WORKSHOP: Inhabiting: Body, Materiality, Story with Vicki Tansey and Vida Simon
Deadline date: July 31, 2015; City: Eastern Townships, Quebec; Source: Vida Simon

Inhabiting: Body, Materiality, Story
a workshop co-led by Vicki Tansey & Vida Simon
August 14–16, 2015 (Friday, Saturday, Sunday; 10–5 each day)

This intensive 3-day workshop is an opportunity to engage in a multi-layered exploration incorporating visual forms, writing, movement and voice. Guided exercises, discussion, and solitude will be combined to help inspire personal work. Emphasis will be on the immediate, the improvisational and the experimental. By the workshop's end, everyone will present a piece in whatever form they choose – performance, site-responsive installation, writing, drawing, miniature museum, etc. – resulting from this focused and condensed period of creative time.

The workshop will take place in both a spacious barn-theatre-studio, and outside (forest, fields, gardens, pond) on a private, 80-acre property on Pinnacle Mountain, in the Eastern Townships of Quebec.

The facilitators are: Vida Simon and Vicki Tansey, each widely recognized for their work in performance and visual art practices. They have followed one another’s work for years and have collaborated in various capacities. This workshop is a way of sharing their passion for combining different art forms, and teaching in intimate contexts.

Whether you are a visual artist craving movement, a writer curious about drawing, a dancer leaning out into voice and environmental influence, you will find great inspiration and expansion in this cross-disciplinary and unusual setting.

Enrollment is limited in order to provide each participant with the supportive conditions necessary to focus on his/her work. You are encouraged to register early to reserve your place ($100 deposit required). Registration deadline: July 31, 2015

Cost: $300
Materials: Participants are expected to bring their own supplies.
Location: Pinnacle Mountain (near Sutton & Frelighsburg), Eastern Townships, Quebec
Accommodation: local B&Bs or campgrounds

For further information or to register please contact Vicki Tansey or Vida Simon:
Vicki Tansey: vickitansey@gmail.com
Vida Simon: vidaatwork@gmail.com

A pioneer in the art of improvisation, Montreal born Vicki Tansey, dancer, singer, writer and visual artist, has been performing and teaching for over 45 years. She has been on the faculties of Concordia’s Dance, Fine Arts and Theatre departments, as well as the Saidye Bronfman and Visual Arts Centres. She has worked with the Bread and Puppet Theatre in Vermont over the last 40 years, and has created the Pinnacle Mountain Centre for the Arts in Quebec’s Eastern Townships, where she has lived and worked since 1982. Trained in both classical and contemporary dance, she was drawn to improvisation and cross-discipline collaboration in the 1960’s. Since then, most of her work has been focused in the making of performance with artists both inside and outside the field of dance. Since 2010, she has created installation and performance works during residencies in Newfoundland, Slovakia and Cuba, and these experiences have inspired her not only to continue such projects on a personal basis, but to open her own home and studios to other artists in need of similar conditions towards creative focus and exploration.

Vida Simon’s work has been presented internationally, in a wide range of contexts – galleries, hotel rooms, storefronts, theatres, rooftops, a former synagogue, an old horse stable, and in an abandoned house on Fogo Island, Newfoundland with TO MAKE ENDS MEET (2013). Other recent projects include performances at the ZAZ Festival of Performance Art (Israel), Interakcje (Poland), a collaboration with Jack Stanley at At Home Gallery (Slovakia), and exhibitions at Oboro (Montreal) and Badstrasse (Germany). A running thread throughout her work is drawing: a form that most directly expresses her interests in visual storytelling, improvisation, and elemental materials. Whether through miniature handmade objects or fragments found in nature, her work often draws attention to the detail, the intimate, the ephemeral. As an extension of her practice, Vida collaborates with other artists and leads art workshops. She has taught at the Visual Arts Centre, Explorations, Saidye Bronfman Centre, and has given workshops out of her studio in Montreal for many years. From 2012–2014 she offered workshops for guests at the Fogo Island Inn (Newfoundland).


Deadline date: July 31, 2015; City: Calgary, Alberta; Source: Ashley Bedet

The New Gallery (TNG) currently programs two exhibition spaces (the main space and the window space) as well as an artist-in-residence program and various offsite projects. Proposals are accepted on an ongoing basis, although specific calls are issued from time to time. All submissions are adjudicated by our Programming Committee, which is comprised of members of our Board, staff, and professional artists from the local community. Successful applications will be chosen for their congruity with the Gallery’s mandate, artistic merit, critical and conceptual mindfulness, and evidence of the applicant’s ongoing dedication to their career and practice.

Our Main Space is currently located at 208 Centre St SE in Calgary’s Chinatown neighbourhood. Submissions for our Main Space general programming are due by July 31, 2015.

Our +15 Window Space is a shallow vitrine located at the Arts Commons building on a high-traffic pedestrian walkway. Submissions for our +15 Window Space programming are due by July 31, 2015.

Offsite projects and collaborations are programmed on an ongoing basis. Please feel free to send us any ideas or propositions you might have.

For more information, please visit the gallery’s website: www.thenewgallery.org


9. EVENT: Dusk Dances
Date: August 3-9, 2015; City: Toronto, Canada; Source: Una Wabinski

In its 21st season, Dusk Dances is an enchanting outdoor dance festival that brings high quality urban, contemporary and traditional dance to Withrow Park. Audiences are invited to enjoy works by top Canadian choreographers and participate in free salsa dance classes. An event for all ages, bring your chairs and blankets, and get ready for a breathtaking evening of live performances!

Website: http://duskdances.ca
Where: Withrow Park, Toronto
When: Aug 3 - Aug 9, 2015

Nightly Performances: Monday, August 3rd to Sunday, August 9th
Opening band (Guaracha Y Son) and salsa class at 6:45 pm (by master teacher Miko Sobreira)
Dance performances at 7:30 pm 

Daytime Performances: Thursday, August 6th and Sunday, August 9th:
Opening band and salsa class at 1:45 pm
Dance performances at 2:30 pm
**Thursday and Sunday will have both daytime and evening performances

Price: Pay-What-You-Can

Recuerdos (Taranto) by Esmeralda Enrique Spanish Dance Company
Bella by Danny Grossman Dance Company
Photuris Versicolor by Sylvie Bouchard and Marie-Josée Chartier
Murmure de Femme/Woman's Whisper by Lua Shayenne and Company
Special 30 minute performance: Disconcertante by Moonhorse Dance Theatre (Tedd Robinson)


10. WORKSHOP: MayDay with VestAndPage
Date: August 20-26, 2015; City: Düsseldorf, Germany: Source: VestAndPage

Atelier Performative Künste presents: MAYDAY
One-Week Intensive Workshop On The Praxis Of Performance Art
Facilitated by VestAndPage (Verena Stenke/DE & Andrea Pagnes/IT)

Atelier Performative Künste, Düsseldorf-Kaiserswerth
20 - 26 August 2015 / final public presentation on Wednesday, August 26.

For more information on the workshop, costs and how to apply please contact:

-Places are limited. Applications are being accepted until July 15th, 2015.
-Workshop languages are English and German.
-No previous experience in the arts is required.

The intensive MAYDAY workshops follow VestAndPage’s unique method through the process of making a performative piece. Through practical exercises, participants will be provided with the means to conceive, develop and realise their own performance piece. Through reflecting on the use of the body as a tool, the workshop will focus on introspection as a way to develop authentic modes of expression and artistic action. Through methodology aimed at understanding prevailing behavioural patterns as well as the individual and social responsibility of art, participants will develop new ways of communicating and even overcoming the fears of our conflicting contemporary conditions. The workshops will also offer insight into the framework of process-led and conceptual art practice, with the aim to provide basis for future artists’ material. Therefore, as well as gaining further understanding of VestAndPage’s collaborative art practice, participants will develop a heightened awareness of mind and body, with the means to stimulate artistic personal action though inner sensitivity.

The facilitators will lead exercises on a range of performance techniques and approaches, which blur the boundaries between fine art, live art and contemporary performance practices:
-Working solo and as a group;
-Creating intimate solo performance material;
-Devising and improvisation techniques;
-Actions/rules/chance-based techniques;
-Objects and actions in space as performance;
-Developing quality of presence;
-Confidence in using the physical self as a vehicle for meaning in performance;
-Audience-performer relationships – levels and modes of interaction;
-Exploring the role of time and pattern – e.g. duration, endurance, speed, and repetition.

Through the following processes:
-To work towards touching point zero in judgment and intention, heightening perception, introspection, to then rebuild an authenticity
-based expression, for finally transforming visions and ideas into a concrete artistic action.
-To take distance from being virtuous by establishing, evaluating, and energizing the personal action in se.
-To free oneself from common behavorial patterns so as to create new ways of encountering, collaborating and living.
-To investigate personal and collective social responsibility through artistic acts.
-To overcome the fragile constituent limits, may they be based on physicality, fears or social patterns.
-To touch and strengthen the most human inner sensors in order to activate personal and universal memories, for using as germinal matter for future artistic substance.
-To enter a state of heightened awareness and perception, in order to conceive out-of-the-ordinary artistic visions, being in first instance process-led.

German artist Verena Stenke and Venetian artist and writer Andrea Pagnes have been working together since 2006 as VestAndPage, generating art in the mediums of live performance, filmmaking and writing, and as independent curators. They are experienced workshop facilitators for students, art professionals of different backgrounds and non-art participants, either normally endowed or differently abled, of any age. They have been invited to hold practical workshops, research lectures and teachings in institutions worldwide. Their practice is contextual, process-led, situation-responsive and conceived psycho-geographically in response to natural surroundings, social contexts, historical sites or architecture, hence unrepeatable and subdue to the given conditions. In a poetics of relations it examines notions of perception, reality, communication, fragility and failure of the individual and the collective within social or environmental spheres. Animated by a nomadic, confrontational spirit, they apply the themes of acceptance, resistance, endurance and union with a poetic bodily approach to art practice. Their works have been produced and presented internationally in museums, galleries and a variety of sites. Between 2010-2012, VestAndPage produced the experimental art film trilogy "sin∞fin The Movie", a complex visual research realised during three years in Antarctica, South America and Asia. The project examines the relationship between the ephemeral art form of performance with filmmaking. Currently they are producing the long-term performance and new art film project “Plantain | Spitzwegerich”, which is based on a one-month performance walk through Northern Germany, Poland and Russia. VestAndPage are the initiators and independent curatorial force behind projects such as the live art exhibition project Venice International Performance Art Week (2012/2014) and the global art initiative FRAGILE global performance chain journey (since 2010). Their writings have been published in various books and magazines of contemporary art among which Performance Research, Flash Art, Art&Education, Studio Research, Re-tooling Residencies, Research Catalogue. Their book "The Fall of Faust - Considerations on Contemporary Art and Art Action" (2010) investigates the intimate tissue of creativity, questioning performance art as an urgency. 

For more information on the workshop and the facilitators please visit: www.vest-and-page.de


11. EVENT: An Annotated Bibliography in Real Time: Performance Art in Quebec and Canada
Dates: various; City: Montreal, Quebec; Source: Artexte

A research exhibition and a series of talks at Artexte
April 30-June 20 and September 3-October 24, 2015
Vernissage: Wednesday April 29, from 5pm-8pm

Videos of the artists on their selections: 

Videos of the talks: 

The research exhibition An Annotated Bibliography in Real Time at Artexte is part of a long term university research project entitled An Annotated Bibliography: Performance Art in Quebec and Canada, dedicated to an extensive bibliographic survey of writings, publications and printed matter on Quebecois and Canadian performance art since the 1950. While much has been written on performance art on a local and national level over the last thirty years, this research project is the first of its kind to gather, archive and subsequently take account of the published writings and literature on performance art, to trace how the above listed categories can be cross-read and analyzed for future research.

The first part of this research project, compiled in cooperation with the UQAM art library and Artexte, is presented within An Annotated Bibliography in Real Time, a presentation that transforms Artexte’s exhibition space into a research and discussion hub, presenting the bibliography, a series of conferences, and a collection of bibliographical selections of publications and documents chosen by local and national artists involved in performance based art practices.*

One of the aims of this project is to give insight to how performance art in Québec and Canada, over the last 75 years has developed, offering a cross-reading of its principal categories such as: time, place, subject and medium. In other words, enabling the visitors, whether consulting the bibliography or joining the talks and discussions, to contextualize and become aware of the various roles and complex networks that constitute the correlative relationship between the performer, the spectator and his or her given time.

*With a selection of documents by: Tim Clark, Sylvie Cotton, Doyon/Demers, Guy Sioui Durand, Michelle Lacombe, Tanya Lukin Linklater, Tanya Mars & Johanna Householder, Clive Robertson, Alain-Martin Richard.

Download “Une bibliographie commentée en temps reel: l’art de la performance au Québec et au Canada” (pdf) (in French) here: http://artexte.ca/wp-content/uploads/Bibliographie-FINAL-PRINT.pdf

Stay tuned to the website for info on the exhibition, and for upcoming events in the project:

2, Sainte-Catherine East, room 301
Montreal, Quebec, Canada H2X 1K4


12. WORKSHOP: Arti Grabowski / Johannes Deimling at Art Nomade Festival
Date: October 3-4, 2015; City: Chicoutimi, Quebec; Source: Francis O’Shaunghnessy

The CRC in collaboration of BANG are offering a workshop in performance art with two well-known international artists: Arti Grabowski (Poland) and Johannes Deimling (Germany). This workshop will be in English. The workshop will be held in Chicoutimi at the Bang Gallery between 9h-12h and 13h-17h on October 3 and 4, 2015 (Saturday and Sunday). This workshop is open to all people: artists and art lovers. If you are living in Saguenay-Lac Saint-Jean the price is $42 (with a prove of your address). A minimum of 8 participants is needed in order for the workshop to e realized. If you are living outside of Saguenay, the cost of the workshop is $280. Please contact us with any questions and to receive an application form. 

Please write to Francis O’Shaunghnessy at: Francosh@hotmail.com


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. www.performanceart.ca

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