FADO E-LIST (March 2016)

1. EVENT: IN>TIME 2016
Date: January 8–14, 2016; City: Chicago, USA; Source: Mark Jeffery
2. PERFORMANCE: Flowchart curated by Amelia Ehrhardt
Date: February–April, 2016; City: Toronto, Canada; Source: Amelia Ehrhardt
Date: February 27–March 5, 2016; City: Montréal, Canada; Source: Studio 303
4. PERFORMANCE: Performancy Forum: Sympathetic Mimesis
Date: March 3, 2016; City: New York, USA; Source: Anya Liftig
Date: March 4–5, 2016; City: Toronto, Canada; Source: Dana Claxton
6. PERFORMANCE: Binary Night
Date: March 5, 2016; City: Helsinki, Finland; Source: David Frankovich
7. EVENT: Screening and Performance by Rachel Echenberg
Date: March 5, 2016; City: Guelph, Canada; Source: Capacity 3 Gallery
8. EVENT: Part II: Performance series curated by Life of a Craphead
Date: March 5, 2016; City: Toronto, Canada: Source: Facebook
10. EVENT: INTER-BEING: Duration (in performance)
Dates: March 7–12, 2016; City: Belfast, N.Ireland; Source bbeyond
9. EVENT: Intra-action: Live Performance Art Evening
Date: March 10, 2016; City: Toronto, Canada; Source: Xpace
11. PERFORMANCE: A Man Vanishes, a new play by Greg MacArthur
Date: March 10–20, 2016; City: Toronto, Canada; Source: William Ellis
12. CALL FOR PROPOSALS: Performance Research Vol. 22, No. 1
Deadline date: March 11, 2016; City: the world; Performance Research
13. EVENT: Performing Pedagogies
Date: March 12–20, 2016; City: Kingston, Canada; Source: Clive Robertson
Date: March 14–15, 2016; City: Brussels, Belgium; Source: Eve Bonneau
15. PERFORMANCE: No Strings (Attached) by Sunny Drake
Date: March 16–26; City: Toronto, Canada; Source: Sunny Drake
16. EVENT: Marilyn Arsem @ Samsøn Projects
Date: March 18, 2016; City: Boston, USA; Source: mobius
17. EVENT: ANIMATE ENTITIES: Objects in Performance
Date: March 18–19, 2016, City: Toronto, Canada; Source: Gabriel Levine
Deadline date: April 15, 2016; City: Toronto, Canada; Source: Claire Tellerico
19. PUBLICATION: Agnes Nedregård, Performance Works: The Big Toe
Date: available now: City: The world; Source: Agnes Nedregård


1. EVENT: IN>TIME 2016
Date: January 8–14, 2016; City: Chicago, USA; Source: Mark Jeffery

IN>TIME 2016
A Winter Long, City Wide, Multi Venue Performance Festival for Chicago
January 8th–March 4th

Participant highlights include Forced Entertainment (United Kingdom), Ingrid Fiskdal (Norway) Sally J Morgan and Jess Richards (New Zealand), Anna Martine Whitehead (Chicago, IL), Vlatka Horvat (United Kingdom) Jillian Pena (New York, NY), Eva Meyer – Keller (Berlin, Germany, ) Marie Cool and Fabio Balducci (Paris, France), Steve Dixon (Singapore), Temporary Distortions New York, NY) Michal Samama (Chicago, IL) and Every House Has A Door (Chicago, IL).

The city of Chicago and the School of the Art Institute of Chicago (SAIC) host the IN>TIME performance art festival, featuring both international and local artists exhibiting in 15 diverse venues across the city. Organized by SAIC faculty member and Graduate Coordinator Mark Jeffery, the festival will showcase a diverse sampling of performance work from January 29th–March 4th, 2016.

The 4th edition of IN>TIME Festival is a convergence of performance practices in Chicago. It is borne from deep engagement: engagement with local performance practices, with friends and artists internationally, with structures and concepts of performance itself. It has evolved from a biennial to a triennial festival, encompassing venues all over Chicago, and pieces ranging from dance to performance art to experimental theatre. It’s IN>TIME because it comes just in the dead of winter, when things seem bleakest; because it provides a snapshot of what is happening in contemporary performance right now; because performance is a time-based medium that requires that we all be present with one another. IN>TIME is a coming together for a moment within performance.

Festival venues range in size and scope; from MCA Chicago, Block Museum and the Chicago Cultural Center, to the High Concept Laboratories, Defibrillator, 6018 North, Links Hall and Hyde Park Art Center. These venues have collaborated with Jeffery to curate and exhibit performance art, video screenings, lectures, and symposia that investigate intersections of body, text, object, sound, and technology, all within the context of performance.

Keeping with the festival’s exploration of “deep engagement,” this year the festival is supporting the cultivation of new work in Chicago by connecting artists to local residencies at the Hyde Park Art Center, High Concept Laboratories, The Bridge Performance Space, and Defibrillator Performance Art Gallery. In addition, the School of the Art Institute of Chicago will be hosting artists Vlatka Horvat, Anthea Behm, Sally Morgan and Jess Richards in a special winter course, “FROZEN IN>TENSITIES,” where students will be introduced to several performance pedagogies in three separate week-long courses.

In order to cultivate deeper conversation, artists in the IN>TIME Festival will gather on Saturdays in February at the Chicago Cultural Center to participate in the IN>TIME HUB, a series of panels and workshops which will allow audiences to engage more deeply with the artists and their work. This expanded programming is a first for the Festival, and a demonstration of its commitment to the cultivation of dialogue within the performance community both locally and globally.

Festival Venues include: Museum of Contemporary Art (MCA) Chicago, Chicago Cultural Center, Links Hall, The Bridge, High Concept Laboratories, Sullivan Galleries, 6018 North, Hyde Park Art Center, Block Museum, Red Rover Series and Defibrillator Performance Art Gallery.



2. PERFORMANCE: Flowchart curated by Amelia Ehrhardt
Date: February–April, 2016; City: Toronto, Canada; Source: Amelia Ehrhardt

Here we go–it is happening
The third ever edition of the full series of

Artscape Sandbox
301 Adelaide Street West, Toronto

Three nights!
February 25, 8pm, $10
March 24, 8pm, $10
April 7, 8pm, $10


February 25:
Cara Spooner
Leelee Davis

March 24:
Laura McCoy
Evan Webber
Andrew Zukerman

April 7:
Germaine Liu
Andrea Spaziani
Greg Holt

Flowchart is a series of small-scale multidisciplinary performance curated by dance artist Amelia Ehrhardt. It shows work by artists engaging with the choreographic from the perspective of multiple fields; work which pays attention to organizing movement in space & having it be affected by/also itself affect time. By contextualizing non-dance works within the choreographic, an engagement with these ideas becomes newly visible. Flowchart is interested in works that centralize the body and offers a curiosity about what happens to non-dance works when they are presented in the scope of a field that inevitably does so.


Date: February 27–March 5, 2016; City: Montréal, Canada; Source: Studio 303
After 23 years of exploring the complexity of contemporary feminism, through fun, experimental, and community-building artistic events, Edgy Women/Redux is on its way out as 2016 marks the final edition of Edgy activities at Studio 303. A meditation on Edgy's 23-year history, this last offering looks back on the festivals' love of experimentation and thrill for emerging performance practices by guiding our audience through a 3-step grieving process in the form of visitation, famous last words, and digital interment.
Saturday, February 27, 2016
Studio 303 (372 Ste-Catherine O.)
In keeping with mourning traditions of the funeral wake, we invite the audience to come and stay up late to view the (Edgy) body (of work). For this open (video) casket, Miriam Ginestier, founder and long time artistic director, will curate a retrospective of Edgy Women videos while Sonja Zlatanova serves provocative dishes and a funereal cocktail.
Saturday, March 5, 2016
8 pm
Lion d’Or (1676 Rue Ontario E.)
$10 to $20 sliding scale
Featuring the highly anticipated return of EmCees Nathalie Claude and Dayna Mcleod, this ultimate farewell edition of Cabaret Edgy offers a mix of six familiar and fresh faced feminist performers. Alexis O’Hara, Alvis Parsley (TO), Claudia Chan Tak, Judy Virago (TO), Marie-Chantal Scholl, and T.L. Cowan (NYC) will guide the audience to the light at the end of the tunnel via eclectic explorations of the theme: The End
Saturday, March 12 2016
Studio 303 (372 Ste-Catherine O.)
Edgy is dead; long live Edgy. This Wikipedia digital internment is a chance for anyone to help us archive 23 year history online for posterity’s sake while increasing the web-visibility of feminist interdisciplinary performance and the artists that have been featured in the festival over the years. Amber Berson will provide a tutorial (see website for all information).
Information and artists' biography: www.edgywomen.ca 
4. PERFORMANCE: Performancy Forum: Sympathetic Mimesis
Date: March 3, 2016; City: New York, USA; Source: Anya Liftig
Panoply Performance Labortory
104 Meserole Street, Brooklyn, New York
8pm / PWYC $5 to 20 (goes to the artists)
Joern Burmester (www.joernburmester.de)
Marcelline Mandeng (www.mandengarchives.tk)
Zhenesse Heinemann (www.zhenesse.com)
Anya Liftig (www.anyaliftig.com)
does an effect resemble what it causes or what has caused it / is this body like any other bodies / will your sympathy do a damn thing for me or mine for you / do objects and subjects, having been in contact with each other, continue to react upon one another / am i a contagion / does this remind you of anything / watch my face closely / look into my eyes / am i feeling you or is this a representation of somewhere else / are you somewhere else or are you in me already / ...?
Date: March 4–5, 2016; City: Toronto, Canada; Source: Dana Claxton
Two days of performances and discussions
Admission is free, but space is limited and registration is required. Please register by February 25 to rsvp.belkin@ubc.ca
Michi Saagiig Nishnaabeg and Leanne Betasamosake Simpson describe resurgence as “the rebuilding of Indigenous nations according to our own political, intellectual and cultural traditions.”
Cutting Copper: Indigenous Resurgent Practice, a collaborative project between grunt gallery and the Belkin Art Gallery, aims to bring together a cross-disciplinary group of artists, curators, writers, educators, scholars, students and activists to explore the embodied theory of Indigenous resurgence and cultural representation – both from the perspectives of their own disciplines and one another’s. The event will focus specifically on the role that contemporary Indigenous artistic practice does and can play in redefining cultural tradition, representation, and the relations between Settler and Indigenous peoples at sites of creativity, community and dissent. A series of performances at the Belkin Art Gallery will respond to the exhibition Lalakenis/All Directions: A Journey of Truth and Unity by Kwakwaka’wakw artist Beau Dick, and will be followed by thematic discussions held at the Liu Institute for Global Issues and the Peter Wall Institute for Advanced Studies. Cutting Copper: Indigenous Resurgent Practice is presented with support from the British Columbia Arts Council.
Recognition, Refusal and Resurgence
2pm: Performance / Dana Claxton 
Location: Morris and Helen Belkin Art Gallery
Discussion following
Panelists: Linc Kesler, Leanne Betasamosake Simpson, Alfred Taiaiake; Moderator: Shelly Rosenblum 
Location: Liu Institute for Global Issues, UBC, 6476 NW Marine Drive
This panel will address some of the theoretical interventions at play when considering the ways in which Indigenous peoples have sought to overcome the contemporary life of settler-colonization and achieve self-determination through cultural production and critique.
Creations, Insertions and Rebuffs: Cultural Institutions and Practice
9:30am: Performance / Maria Hupfield and Charlene Vickers
Location: Morris and Helen Belkin Art Gallery
Discussion following
Panelists: Jarrett Martineau, Wanda Nanibush, Tannis Nielsen; Moderator: Lorna Brown 
Location: Peter Wall Institute for Advanced Studies, University Centre, UBC, 6331 Crescent Road
This panel will address the role of performative, educational, curatorial or programming models to investigate how they might challenge or alter institutions’ interactions with Indigenous peoples.
Sovereignty Across Disciplines
2pm: Performance / Tanya Lukin Linklater 
Location: Morris and Helen Belkin Art Gallery
Discussion following
Panelists: Julie Nagam, Michelle Raheja, Dylan Robinson; Moderator: Tarah Hogue 
Location: Peter Wall Institute for Advanced Studies, University Centre, UBC, 6331 Crescent Road
This panel will explore intersecting fields of literature, film, media and cultural studies and dance as modalities of resurgent cultural expression.
6. PERFORMANCE: Binary Night
Date: March 5, 2016; City: Helsinki, Finland; Source: David Frankovich
Mad House (Kaasutehtaankatu 1, 00540 Helsinki)
Tickets: 5€
At the Binary Night performance art club, artists David Frankovich, Tellervo Kalleinen and Irma Optimist approach binaries from the perspectives of mathematics, bisexuality, and binary oppositions as well as political polarisation. Between and after the performances, DJs Ville Häkkinen and Jouko Korkeasaari will play mixed music ”Between Genesis and sixsixsix”.
Binary Night is curated by performance artist and Mad House curator Leena Kela.
7. EVENT: Screening and Performance by Rachel Echenberg
Date: March 5, 2016; City: Guelph, Canada; Source: Capacity 3 Gallery
Capacity 3 Gallery

A space for contemporary art that engages, experiments and takes risks
Visiting Artist From Montreal Presents Video and Live Performance
The video work Family Portrait by Montréal artist Rachel Echenberg will be on display this March at the Capacity 3 Gallery. Echenberg will be in attendance on Saturday, March 5 at 2pm for the opening reception and will present a live performance art piece that thematically connects to the exhibition during the event. 
For the past few years Echenberg has been exploring themes around home, often including her own family within the work. Family Portrait is a short looped video animation in which the family sits together on a couch, each one blowing up a weather balloon. As the objects expand, the individual is blocked, and somewhat erased, as they are pushed away from the others.
Rachel Echenberg’s art practice includes performance, sculpture, photo and video. Since 1992, her work has been exhibited, performed and screened across Canada as well as internationally in the United States, Europe and Asia. Most recent performances were shown at Visualeyez Festival in Edmonton and at CIRCA art actuel in Montreal. Echenberg holds a BFA (1993) from the Nova Scotia College of Art and Design in Halifax and an MA (2004) from Dartington College of Arts in the UK. In addition to teaching at Dawson College in Montreal, Echenberg is also active with several artist-run centres, such as Optica, and VIVA! art action, a biennial performance art festival. http://rachelechenberg.net/
The exhibit Family Portrait will run from March 8–26, 2016 with a reception and performance art piece by the artist on Saturday, March 5 at 2pm. 
Hours: Noon–5pm Tuesday to Friday, 9am–3pm Saturday
Location: Capacity 3 Gallery, Boarding House Arts, 6 Dublin St. S. Guelph 
8. EVENT: Part II: Performance series curated by Life of a Craphead
Date: March 5, 2016; City: Toronto, Canada: Source: Facebook
Saturday, March 5 at 2:00 pm
Meet at the University of Toronto Art Centre
Outdoor component, so please dress warmly.
FREE / Reception to follow
Art Museum at the University of Toronto
7 Hart House Circle, Toronto
Randy Gagne
Liz Peterson
Zoe Solomon
Join us on the closing day of the exhibition Showroom for a performance series exploring the built environment and forms of lifestyle marketing.
Liz Peterson will present a new performance in the University College courtyard exploring its landscape architecture and natural elements; Zoe Solomon will present a work using Wikihow.com and its resource of articles on how to behave; and Randy Gagne’s performance transposes Alvin Lucier’s “I Am Sitting in a Room” to the soundtrack of one episode of the sitcom Friends, set inside a dumpster that stands in for that show’s iconic apartment.
January 21–March 5, 2016
Curated by Sarah Robayo Sheridan
Showroom is an exhibition that considers how artists have responded to the ubiquity of lifestyle marketing as a determining feature of the cityscape. A showroom is an aspirational space, not quite plausible except as image, devoid of the texture and details necessary to render a full life, but delivering something life-like. Where real estate sales rhetoric has appropriated the artist as a benign element in the landscape, Showroom reverses the figure/ground relationship in order to identify particular nodes of production amongst artists working here. This exhibition and related public programs sustain our engagement with developing Toronto art histories. Showroom constitutes the largest survey of Toronto artists within the combined history of the Justina M. Barnicke Gallery and University of Toronto Art Centre.
9. EVENT: INTER-BEING: Duration (in performance)
Dates: March 7-12, 2016; City: Belfast, N.Ireland; Source bbeyond
Ulster Museum
Belfast, N.Ireland
This project will explore the meaning of time in (actual) performance art, through durational performances and the way this modality of action physically engages the artist in a journey of endurance and/or of creatively uncertain processing of ideas as ‘factual’, in the mind. Emphasizing time by focussing on a single or minimal activity may have the opposite effect of concentrated 'paying attention', in which case consciousness is open to conceptual/perceptual 'journeyings', off site, in the mind. Attention 'expands' existential consciousness and time may unveil interlinked events, as being 'at one' with the artist him/her self. Whatever enters the perimeters of perception may invite 'action' through a subjective logic within the flow of (seemingly) everything.
Different perspectives of how, as humans, to approach issues of 'time' (as in performance art) are at the root of how we structure society. This gives us the opportunity to discuss the most concerning social and political issues. For instance, 'urgency' of time is one agency by which contemporary capitalism manipulates and 'massages' the public's performative sense of 'desire'. (Can we, now, tackle questions re. the structuring, etc., of our own personal desires?)
Performance art is a tool of self-knowledge, a space-time tool for analyzing desire, behaviour and identity, and at the same time, it's a vehicle for 'realization' of the artist's consciousness.
Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.
Linda Montano
Alastair MacLennan
Brian Connolly
Sandra Johnston
Dominic Thorpe
Artists Talks and Roundtable: Chaired by Dorothea Seror
Workshop: A 3-day Workshop by Linda Montano, Monday March 7 to Wednesday March 9, 11am to 4:30pm. Anyone wishing to participate in this Workshop should contact Brian Patterson at Bbeyond email: bbeyond@europe.com 
10. EVENT: Intra-action: Live Performance Art Evening
Date: March 10, 2016; City: Toronto, Canada; Source: Xpace
Xpace will be hosting our first evening of live performance for emerging artists to showcase new, old or in progress performance and/or performative art pieces on Thursday, March 10th from 6-8pm.
303 Lansdowne Avenue, Unit 2, Toronto
This performance event welcomes the public to come together to form a critical and inclusive space for the development and demonstration of performance art. There will be snacks and drinks!
Featuring performances by:
Eva Reimann 
Natalie Castrogiovanni 
James Knott
Jamee Valin
Charley Carragher 
Emily Moriarty 
Stephanie Durán Castillo 
Benjamin Hunter
Michelle Homonylo
Jean-Christophe Foolchand 
Dana Prieto 
Humboldt Magnussen
11. PERFORMANCE: A Man Vanishes, a new play by Greg MacArthur
Date: March 10–20, 2016; City: Toronto, Canada; Source: William Ellis
A Man Vanishes
A new play by Greg MacArthur
Featuring Ishan Davé, William Ellis, and Jordan Tannahill
March 10–20, 8pm
Videofag (187 Augusta Avenue, Toronto)
Tickets: $20 general/$15 students/arts workers
Tickets on Eventbrite: www.eventbrite.ca/e/a-man-vanishes-a-new-play-by-greg-macarthur-a-new-play-by-greg-macarthur-tickets-21572149881
In April 2013, in Montréal Quebec, Paul Park, disappears without a trace. Two months later, he re-appears, disheveled and lost, at Videofag, a queer performance venue in Toronto’s Kensington Market, home to partners Jordan Tannahill and William Ellis. He claims to have no recollection of his life or how he got there. Jordan and William take him in. He moves into their spare room. He becomes a part of their lives. 
A month later, Paul disappears again under mysterious circumstances. He has never been seen or heard from since...
A Man Vanishes is a new play by Siminovitch Award-nominated playwright Greg MacArthur ('Recovery', 'Snowman', 'girls! girls! girls!'), written specifically for Videofag, and inspired by Shohei Imamura's 1967 film-noir masterpiece by the same name. 
12. CALL FOR PROPOSALS: Performance Research Vol. 22, No. 1
Deadline date: March 11, 2016; City: the world; Performance Research

Performance Research Vol. 22, No. 1 (February 2017)
‘On Taste’‘
De gustibus non est disputandum’ (There is no disputing about taste)

Issue Editors: Joshua Abrams and Richard Gough

This issue asks contributors to feel free to dispute all matters of taste and related concepts.

Although frequently considered the ‘lowest’ of the senses, gustatory taste has long served not only as a marker in itself, but also as a crucial metaphor for the defining of aesthetic sense and sensibilities. Often linked to notions of class and levels of education, taste as a category of aesthetic philosophy reliant on notions of ‘good’ and ‘bad’ negotiates between positions of subjectivity and universality. What does it mean to consider taste as a category of comparison and evaluation? Does a philosophical engagement with notions of taste necessitate an exploration of hierarchical value judgments and dismissal of elements or ideas judged ‘bad’ or distasteful? From Plato and Aristotle through Hume, Kant and Hegel, to Pierre Bourdieu, taste lies at the basis of much of the history of philosophy. This issue seeks to return the focus back to notions of gustatory taste as a means of understanding through and in performance contexts.

With particular regard to theatre and performance, notions of taste have been long embedded in theoretical understandings, literally within Asian theories such as the Sanskrit conceptions of rasa and bhava, which have been read in relation to ideas of flavour and taste, or Chinese notions of harmony, understood as he (和 – sometimes transliterated as ho) with reference to both music and cooking. What might other extensions of taste offer to understandings of different modes of performance? How might bodily practices from the notion of taste be integrated into other theatrical theories and understandings? How are notions of taste articulated and formulated in different cultures conveyed through aesthetics and poetics and applied to both culinary and performance arts?

Physical, or gustatory, taste is an embodied practice, necessarily understood in relation to other sensory practices, and indeed often as a combination of the remaining four physical senses. As an act of performance, to taste necessitates the destruction of that which is being tasted. It might be said in fact that taste ‘cannot be saved, recorded, [or] documented’. Scientific understandings of taste grapple with the limited palate of recognizable tastes to produce a full range – saltiness, sweetness, bitterness, sourness and umami, the last only recently fully accepted; it is through varied combinations, along with notions of nostalgia and recognition, that physical taste is both performed and performative. How, as well, might notions of aftertaste be conceived – that is to say not only taste literally perceived after eating, but also a beyond of taste?

Essays, provocations and contributions are invited with regard to all notions of the intersection of taste and performative practices, including, but not limited to:
Notions of Good and Bad Taste in relation to the gustatory
Taste and training
Representing taste
Nostalgia, taste and performance
Gustatory taste on stage
Embodiment, bodily sensation and taste
Multisensory practices and performance
Taste and the erotic
Troubled notions of authenticity, communities of taste and performance
Taste as a reflective practice
Histories of taste and performance
Class politics and performance in relation to issues of taste 

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 editor Joshua Abrams: J.Abrams@roehampton.ac.uk

Proposals: 11 March 2016
First drafts: June 2016
Publication date: February 2017

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.
-If you intend to send images electronically, please contact the Journal first to arrange the best means of doing so.
-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.



13. EVENT: Performing Pedagogies
Date: March 12–20, 2016; City: Kingston, Canada; Source: Clive Robertson

Performing Pedagogies is a series of public performances and events curated by artist-scholar Shalon Webber-Heffernan in partnership with the Union Gallery, Department of Film and Media, and Graduate Program in Cultural Studies. ALL EVENTS FREE. 

Queen's University
99 University Avenue, Kingston, Ontario K7L 3N6

Guest Artists:
Basil AlZeri
Golboo Armani
Saul Garcia Lopez (La Pocha Nostra)
Francisco-Fernando Granados
Andrew Rabyniuk
The School for Eventual Vacancy (Caitlin Chaisson & Justin A. Langlois) with FILM 338

March 15th PERFORMANCES-Union Gallery
Durational Performances by Golboo Amani & Andrew Rabyniuk
6:30pm Performances by Basil AlZeri, Francisco-Fernando Granados, Saul Garcia-Lopez

Film 338 with The School for Eventual Vacancy exhibiting at The Art and Media Lab in The Isabel Bader Centre for Performing Arts

Art and Media Lab-Isabel Bader Centre for Performing Arts, 11:30am
Students from Film 338 present their works in collaboration with The School for Eventual Vacancy.

March 16: PERFORMANCE & CRITICAL PEDAGOGY PANEL with guest artists, 2:30pm
Agnes Etherington Art Centre, 36 University Avenue Kingston
Part of Cultural Studies SPEAKS Series

March 17: Radical Performance Pedagogy Workshop led by Saul Garcia-Lopez (Co-Artistic Director of La Pocha Nostra)



Date: March 14–15, 2016; City: Brussels, Belgium; Source: Eve Bonneau

Performance workshop & Preparation to the Art of Action
With Eve Bonneau 

March 14 and 15, 10am to 5pm
l'Usine (Rue du Doyenné 40 1180 Uccle, Bruxelles) www.l-usine-galerie.org
Fee: 1 day: 45€ / 2 days: 80€ / Reduced (under condition) 1 day: 35€ / 2 days: 60€

Questions and registration: evebonneau@yahoo.fr

During two intensive days participants will be invited to engage in an experience at the crossroads between dance and performance art. We are going “to act” from the body as physical reality: sensation and memory. We will aim to discover a physical, visible and tangible language by working through physical sensations while exploring various links between internal and outside spheres. 

Each day will start with body awareness exercises focused on breathing. These exercises serve as an introduction to a «test of presence» - an introspective exploration from which we will extract «micro-events». Such events take the form of a deepening of movement leading to new articulation «physical words», which will then feed a collective physical debate among the group. 

Participants will experiment with the transposition of sensation through the use of different physical materials that make connections with feelings and perceptions: for example, voice, writings, materials, objects, tools. This does not intend to limit sensitivity to the body or to movement: on the contrary, it can enable an opening up to other spaces, searching for another visibility of our inner worlds. 

In what movements take me my physical vibrations and beatings? What other physical rhythm may I follow? How the surrounding space echoes in my internal space? How to feel in public? What does nudity means to you ? What motivates you?

This workshop invites us to work on the basis of our presence: a learning process through our senses, while listening to our physical history. We will focus on connecting our individual experience with the collective body, releasing an empathic communication which enjoys the quality of being accessible and immediate. My intention is to provide you with “tools of creation” that can feed your artistic and daily practice, causing you to question the place your body occupies in activity. Suggesting possible dialogues between the experience of a daily practice and performance. 

To whom is this workshop directed? This workshop is open to both practicing artists and amateurs wishing to work through their own creativity to develop their listening, physicality, physical awareness and consciousness.  


15. PERFORMANCE: No Strings (Attached) by Sunny Drake
Date: March 16–26; City: Toronto, Canada; Source: Sunny Drake

No Strings (Attached) by Sunny Drake
Directed by Gein Wong

Buddies in Bad Times Theatre
12 Alexander Street, Toronto
Tickets: $15/20

Love. Sex. Dating. Politics. One hopeless romantic shares his hilarious and touching experiences navigating the worlds of queer and trans on-line dating, jealousy, and sexual politics in his search for love.  This smart, fast-paced take on modern dating features visually stunning projections and live performance.

Sold out shows & rave reviews in 40 cities across Europe, the US, Canada & Australia.

“Astounding multimedia and projection design...vibrant and imaginative independent theatre at its absolute best” (Actors Greenroom, Australia)

“Charming and disarmingly clever” (Gscene, UK)

Special Post Show Events:
Friday March 18: singles mixer
Wednesday March 23: artist Q&A
Thursday March 24: polyamory/ non-monogamy mixer

Access info: ASL interpretation on March 25. Wheelchair accessible. See website for sober shows, access for low income folks & other access info. Please help us make it a scent reduced space for those with chemical sensitivities by avoiding fragrances like perfume, scented deodorant or cologne.

More info & bookings at: www.sunnydrake.com


16. EVENT: Marilyn Arsem @ Samsøn Projects
Date: March 18, 2016; City: Boston, USA; Source: mobius

55 Norfolk Street, Cambridge, MA 02139

The Mobius Artists Group is pleased to present Marilyn Arsem in its ongoing series, Reports from Afield. Reports from Afield is a program that features Mobius and guest artists who have worked abroad and/or in a public arena, where they share their projects and documentation with a local audience.

We are excited to be working with Samsøn Project who will be hosting this iteration of the program. In her talk Marilyn will reflect on her recent project, 100 Ways to Consider Time, a durational performance occurring six hours a day every day for 100 days, exhibited at the MFA. Q+A will be lead by Sandrine Schaefer.

For more information and to check out all the other great events happening this month: www.mobius.org


17. EVENT: ANIMATE ENTITIES: Objects in Performance
Date: March 18-19, 2016, City: Toronto, Canada; Source: Gabriel Levine

University of Toronto
Hart House
7 Hart House Circle, Toronto

How do objects move in the space and time of live performance? What is the allure of animating ordinary or extraordinary things? How do performances transform the material world? This two-day festival brings together a group of artists, scholars, curators, poets, and puppeteers, who place the performative lives of objects at the centre of their work. In a range of formats-a talk, an exhibition, a roundtable, a screening, and two evening cabarets-these thinkers and artists reveal how seemingly static things become lively and vibrant. Expect the unexpected in this gathering of humans and other animate entities! All events are free of charge, except where indicated.

Special guests include the curator Claire Tancons (New Orleans), the scholar and filmmaker Allen S. Weiss (NYU), and Clare Dolan, director of The Museum of Everyday Life (Vermont).

Schedule of Events:


Hart House, Debates Room
Keynote by New Orleans-based independent curator, Claire Tancons. Recent projects include EN MAS': Carnival and Performance Art of the Caribbean (2015), and "Flesh as Object in Circum-Atlantic Performance: A Critique of the Exhibitionary Complex".

Hart House, Art Museum of the University of Toronto/Justina M. Barnicke Gallery
Rehearsal for Objects Lie on a Table
Exhibition opening and reception. A composition by Emelie Chhangur, inspired by the play by Gertrude Stein. With arrangements by Diane Borsato, Aleesa Cohene, Erika Defreitas, Derek Liddington, and Terarrea. Featuring Tender Buttons, a cocktail by Elle Flanders. 

Hart House, Debates Room
The Thing About Objects
An evening of object art. Featuring performance artists Shannon Cochrane and Francesco Gagliardi, writer-activists Tom Cull and Miriam Love, curator Clare Dolan, Drag King Flare, photographer Zun Lee, and poet Jenny Sampirisi. Curated and hosted by Kerry Manders and Brandy Ryan. Refreshments will be served. Admission: pay-what-you-can (suggested donation $5-10)


Hart House, Justina M. Barnicke Gallery
Between Thing and Agent: A Vocabulary of Performing ObjectsRoundtable and discussion with Sarah Blake (Humanities, York), Johanna Householder (Art, OCADU), Nic Sammond (Cinema Studies, U of T), Marlis Schweitzer (Theatre, York), and Mark Sussman (Theatre, Concordia). Moderated by T. Nikki Cesare-Schotzko (Drama Centre, U of T).

Hart House, Justina M. Barnicke Gallery
An Objects Banquet: Performance meal featuring artists, thinkers, and puppeteers, each performing or presenting an object. Food and drink will be served.

Innis College, Deluxe Screening Room
What is a Doll? Film screening and discussion with director Allen S. Weiss (NYU). A work-in-progress that explores the mysteries and profundities of dolls, puppets, and marionettes in the context of the grotesque rag dolls of contemporary French artist Michel Nedjar. 

Burdock Music Hall
Café Concret: An Experimental Puppetry Cabaret
The first Toronto edition of this long-running Montreal puppet cabaret, with performances by PuppetMongers Theatre, Clea Minaker, Helen Yung, Hayley Lewis and Adam Cook, Erin Hill and Heather Caplap, Clare Dolan, and more. Music by special guest Lido Pimienta. Admission includes a hot meal! Location: 1184 Bloor St. West. Admission: $10 advance/$12 at the door

Animate Entities: Objects in Performance is sponsored by the Jackman Humanities Institute's Program for the Arts, with support from the Puppet Slam Network; the Centre for Drama, Theatre and Performance Studies; the Department of Art; the Department of Visual Studies (UTM); the Cinema Studies Institute; the Graduate Architecture, Landscape and Design Students Union; and the Art Museum at the University of Toronto.


For more information, contact:
Gabriel Levine
SSHRC/CHCI Postdoctoral Fellow
Jackman Humanities Institute


Deadline date: April 15, 2016; City: Toronto, Canada; Source: Claire Tellerico

Alchemy: Exploring the Intersections Between Art & Food
Program Dates: August 8–18, 2016

Submission Deadline: April 15, 2016

Cost including taxes: $995 for private bedroom, or $825 for shared bedroom 
(fee includes accommodation, shared dinners, large shared studio, artist talks and sharing of work in progress)

Alchemy is a ten-day residency devoted to the exploration of the synergy between artistic practice and the growing,cooking and sharing of Island cultivated food (Monday, August 8 – Thursday, August 18). Residents will have the opportunity to launch or continue individual or collaborative work in a variety of mediums (visual arts, sculpture, photography, performance art, writing or video) inspired by the garden and shared at the end of the residency.

Residents will have the opportunity to immerse themselves in their own practice during the garden’s lush summer season with opportunities to join our gardeners and volunteers in the garden or share culinary creativity for communal dinners during the residency. Shared Menus will be based on the Group’s appetite for sharing what is available from the garden in mid to late summer. There will be readings and discussions about the creative intersection of food and art, guest talks will help us better understand the magic and inspiration created by making and sharing art and food.

Artscape Gibraltar Point (AGP) is a peaceful artist retreat nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches and natural surroundings of Lake Ontario, forests and gardens filled with flowers,fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival
grounds. Cozy up in a furnished studio and bedroom, and enjoy amenities such as a fully equipped common
kitchen, shared bathrooms, laundry facilities and wireless Internet. AGP is barrier free and an inclusive environment.

The Toronto city core is just a 15-minute ferry ride away.

Alchemy is programmed by three strong advocates for our Gardens and its integration into artistic life and practice at AGP. Claire M Tallarico, is a trained chef, urban gardener and mixed media visual artist passionate about the intersection between creative practice and food. AGP Head Gardener Pat Jeffries is a visual artist and farmer interested in food and art on a variety of levels, ranging from the pleasures and gift of food to how current political, economic and climatic events threaten our food security. Luisa Milan is a textile artist, chef and shape maker of many creative mediums.

Alchemy is limited to 12 residents. Prices include private or shared sleeping quarters, large shared studio spaces, artist talks and five communal dinners. Arrivals are on Monday August 8 from 1pm to 3pm, and departures on Thursday August 18 before 11am. For more information please contact: Claire Tallarico at maven623@gmail.com

To apply, fill out the online form, Make sure to mention ALCHEMY in your submission: http://artscapegibraltarpoint.ca/artist-residences/book-a-residency/ (include your website, or a link to online images or video).


19. PUBLICATION: Agnes Nedregård, Performance Works: The Big Toe
Date: available now: City: The world; Source: Agnes Nedregård

Agnes Nedregård, Performance Works: The Big Toe is a 150-page, full-color publication designed by New Collectivism, the design section of NSK (Neue Slowenische Kunst). The book is published by Dimanche Rouge, and edited by Branko Boero Imwinkelried.

Book contributors include Amelia Jones, Bob Dickinson, Branko Boero Imwinkelried, Olivier Lussac and Tommy Olsson.

“Blind, but tranquil and strangely despising his obscure baseness, a given person, ready to call to mind the grandeurs of human history, as when his glance ascends a monument testifying to the grandeur of his nation, is stopped in mid-fight by an atrocious pain in his big toe because, though the most noble of animals, he nevertheless has corns on his feet; in other words, he has feet, and these feet independently lead an ignoble life.” (Georges Bataille, "The Big Toe", 1929)

In his study of symmetry, mathematician Hermann Weyl established that bodies (organic and inorganic) produce themselves in response to space, concluding that there is an immediate and reciprocal relationship between nature and space. There is no external force mediating between nature and space.

As a performance artist, Agnes Nedregård heavily relies on both her body and space. Agnes Nedregård, Performance Works: The Big Toe explores Nedregård’s use of her body focusing on the subversion of orientation.

In her practice, Nedregård strives to produce or reproduce her own body in response to the lived space. Agnes Nedregård, Performance Works: The Big Toe shows the artist’s body in a sequence of photographs where she increasingly breaks erectility--the ‘normal’ human posture--and straight lines. Nedregård is shown in her search for an alternative posture to reclaim a space within what Henri Lefebvre calls abstract space. Nedregård’s work is a struggle to reproduce/reposition her body in immediacy with space.

Like Georges Bataille, Nedregård has given much attention to (her own) feet and toes, present in her artwork and essential in her past as a professional climber. Nedregård’s body orientation goes from vertical to diagonal and horizontal and all the way around to a headstand with her legs bent--avoiding the straight line of vertical erectility. Almost invisible, her head could be reminiscent of Bataille’s Acéphale. Yet, Nedregård’s explosive bendability is not to be mistaken with the Acéphale, but to be interpreted as a counter-agenda to the vertical erectility of Lefebvre’s abstract space. In a crouched position, the body coils like a snake or a whip with the head solidly based on the ground. (Branko Boero Imwinkelried, Editor)

See a presentation of the book from the distributor Les Presses Du Reel here:



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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