FADO E-LIST (August 2016)

1. EVENT: Ravy Biennale
Date: July 25–31, 2016; City: Yaounde, Cameroon; Source: RAVY
2. EVENT: Manifestacao internacional de performance (MIP3)
Date: August 1–August 7, 2016; City: Belo Horizonte, Brazil; Source: MIP3
3. CALL FOR PROPOSALS: hub 14 Season Residencies
Deadline date: August 5, 2016; City: Toronto, Canada; Source: hub14
4. EVENT: Summerworks 2016
Date: August 4–14, 2016; City: Toronto, Canada; Source: Summerworks
5. CALL FOR PROPOSALS: The Adrian Howells Award for Intimate Performance
Deadline date: August 5, 2016; City: Glasgow, Scotland; Source: LADA
6. EVENT: Queer Performance Camp
Date: August 11–15, 2016; City: Montreal, Canada; Source: Studio 303
7. EVENT: The Stone Project Lab
Date: August 17-24, 2016; City: Uppsala, Sweden; Source: SU-EN Butoh Company
8. OPEN CALL FOR PARTICIPATION: PAS | Performance Art Studies # 49
Deadline date: August 19, 2016; City: Bratislava, Slovakia; Source: PAS
9. EVENT: Live Action
Date: August 19–September 10, 2016; City: Gothenburg, Sweden; Source: Live Action
10. CALL FOR APPLICATIONS: Body Mapping Lab with Nathalie Fari & Rafael Dernbach
Deadline date: August 20, 2016; City; Berlin, Germany; Source: Nathalie Fari
11. CALL FOR PROPOSALS: Performance Research Vol. 22, No. 4 (August 2017)
Deadline: September 19, 2016; City: everywhere; Source: Performance Research
12. CALL FOR PROPOSALS: CAMH Queen Street Redevelopment Project
Deadline date: September 29, 2016; City: Toronto, Canada; Source: Scott Miller Berry
13. CALL FOR PROPOSALS: Duration & Dialogue II
Deadline date: September 30, 2016; City: Toronto, Canada; Source: Johannes Zits


1. EVENT: Ravy Biennale
Date: July 25–31, 2016; City: Yaounde, Cameroon; Source: RAVY

The international  visual arts festival (RAVY) is back for its 5th edition. For one week, the citizens of Yaoundé are going to face different kind of artistic interventions, in the public space, galleries, museums or independent cultural art spaces, Taking the form of performances and other exhibitions, talks, workshops and symposiums, the festival welcomes artists from all over the world, without forgetting to incorporate local artists.

Jelili Atiku, Nigeria (performance)
Richard Martel, Canada (performance)
Steven Girard, Canada (performance)
Manuela Lalic, Canada (installation)
Yamashita Kumiko & Martial Taguena, Japan (Photography)
Yasuyuki Saegusa, Japan (installation)
Yurie Ido, Japan / Germany (performance)
Marcio Carvalho, Portugal / Germany (performance)
Jean-Pierre Bekolo, Cameroon / Germany (media art)
Ursula Meyer, Germany (street art)
Leena Kela, Finland (performance)
Serge Olivier Fokoua, Cameroon / Canada (Photography)
Dominique Catton-Bercher, Italy / USA (mixed media)

Boris Nzebo (painting)
Jean-David Nkot (painting)
Tracy Nzante Spee (painting)
Joseph Francis Sumegne (sculpture)
Vershiyi Antanasius (sculpture)
Manfaust (sculpture)
Alioum Moussa (installation)
Abdias Ngateu (installation)
Max Mbakop (media art)
Christian Etongo (performance)
Tally Mbock (performance)
Snake (performance)
Ives lionel Embappe (performance)
Blanche Agoume (Photography)
Yvon Ngassam (Photography)
Tito Valery (Photography)
Victor Ndende (Photography)

Other guests:
Bonaventure Soh Bejeng Ndikung, Cameroon / Germany (curator)
Christine Eyene, Cameroon / France (curator)
Lionel Manga, Cameroon (art critic)
Joseph Owona Nstama, Cameroon (art critic)

Produced by les Palettes du Kamer, with the collaboration of CRANE Lab (France) and Le Lieu Centre en art actuel (Quebec).

Curated by: Serge Olivier Fokoua & Landry Mbassi



2. EVENT: Manifestacao internacional de performance (MIP3)
Date: August 1–August 7, 2016; City: Belo Horizonte, Brazil; Source: MIP3

Manifestacao internacional de performance (MIP3)
August 1–August 7, 2016
Belo Horizonte, Brazil

The CEIA–Experimentation and Information Center of Art–is an initiative that for over 10 years in Brazil performs actions aimed at stimulating production and training in contemporary art. In Belo Horizonte the CEIA already held eight international events of fine arts, focusing on various languages ​​and establishing areas of training and exchange for many artists locally, nationally and internationally.

For 2016, CEIA proposes to carry out the third edition of Performance International Manifestation that, like the other two editions of the event, will bring together artists from all over the world in various activities involving more than twenty guest artists of various nationalities: workshop, roundtables, performances presentations.

The MIP3 theme will be guided performance and urban intervention. The intention is to provide experiences that stimulate look and experience the city as a propellant body, where the meeting of the particular culture of each individual brings possibilities of exchanges and transformations.

Alastair MacLennan
Jill Orr
Shannon Cochrane
Peter Baren
Fernando Belfiore
Rose Akras
Marco Paulo Rolla
Fernando Ribeiro
Ana Luisa Santos
Fernanda Branco Polse
Ana Montenegro
Coletivo ES3
Cecilia Stelini
Wilson de Avellar

For more information: http://ceiaart.com.br/br/mip3


3. CALL FOR PROPOSALS: hub 14 Season Residencies
Deadline date: August 5, 2016; City: Toronto, Canada; Source: hub14


Lead by our team of artistic directors and supported by our volunteers, hub14 is a self-sustaining studio and performance incubator nestled in the Queen West area of Toronto. Space is our biggest asset.

Our mission: hub14 aims to provide affordable space for the independent contemporary performance community in Toronto and beyond. We support artists through an evolving roster of programs including artistic residencies, workshops and presenting opportunities as well as a variety of community-engaged initiatives. 

Our vision: Our vision is to be a cultural hub for independent contemporary artists to explore, critically examine their art and refine their training without exterior commitments and less financial pressure. We encourage conversation between artistic disciplines.

Professional artists at all stages of their career who want to explore within or outside of their core discipline(s) as well as artists from a diversity of backgrounds and experience are encouraged to apply.

hub14 encourages inventiveness and excellence by granting free and discounted space so that artists may afford more time for process-based and developmental research.

As a residency artist, you’ll be provided with a blog, an interview, artist profile and video-documentation along with support from hub14’s artistic directors.


research hub // We offer up to 40 hours of studio time free of charge or heavily subsidized. The program offers the opportunity for showings although these are not mandatory. We are looking for ideas at their early stages, and/or which have not been previously workshopped.

launchpad // Geared toward work that is already commissioned or programmed, yet underfunded. We offer up to 40 hours of studio time.

live-in // Intended for artists living outside of Toronto. Artists are invited to live and create at hub14 for a maximum of two-week stay in April/May 2017. A minimum of one showing and documentation are required throughout the Residency. An interview is required.

community chest // Special initiatives proposed by and/or supporting the community. Examples include community workshops, performance series, artist discussions, etc.

gallery series // Proposals for all-access gallery pop-ups of up to 3 days. Submissions can include film, photography, installation, visual art works, etc. Applications may be scheduled as solo exhibitions or a mixed program; this will be determined in context of the proposals reviewed.

2016/17 PROPOSALS SHOULD INCLUDE: Please send as PDF, labeled “LASTNAME_residencytype”. Please respect the word count.

1. Name of Applicant
2. Address, 
Phone Number, Email
3. Website (if applicable)
4. Name of Program (research hub, launchpad, live-in, community chest, gallery series)
5. Artist Statement–500 words maximum
6. Project Description (please include the project’s goals, participants, and an explanation of how hub14 could benefit you and your project)–500 words maximum

7. Project Timeline–Projects to happen between October 15th, 2015 & June 1st, 2016
8. Artist Biography–500 words maximum

9. Links to online samples of your work (website, video links, image galleries, soundcloud, etc. 8 minutes maximum)
10. PayPal–Residencies are open to members of hub14. Annual memberships are $40.00. A membership offers various discounts and perks throughout the year. 

Please use the online portal and include your receipt number: www.hub14.org/rent

Deadline: Friday, August 5, 2016 @ midnight
Response: Week of August 15, 2016

For more information and to apply, please contact info@hub14.org

4. EVENT: Summerworks 2016
Date: August 4–14, 2016; City: Toronto, Canada; Source: Summerworks
The SummerWorks Performance Festival is Canada’s largest curated performance festival of theatre, music, dance and live art. Every August for 11 days, SummerWorks takes over Queen Street West in a celebration of new and essential voices across from across Canada and beyond. This year’s Festival, running from August 4th to August 14th, features 69 unique projects, as well as parties, events and workshops. The 2016 program travels landscapes and languages, genres and locations–from ensemble pieces to one-on-one experiences and from main stages to secret, immersive locations. Tickets are PWYC to $15.
5. CALL FOR PROPOSALS: The Adrian Howells Award for Intimate Performance
Deadline date: August 5, 2016; City: Glasgow, Scotland; Source: LADA
Adrian Howells (1962–2014) was one of the world’s leading figures in the field of one to one and intimate performance. Over two decades he developed an artistic practice that focused on the particular power and transformative possibility that could be achieved through creating a profound, immediate and personal connection to his audiences. Through these works and the care he took in every aspect of the experience he was often able to deeply affect those who participated in these encounters.
The Adrian Howells Award for Intimate Performance is an opportunity for a Scottish based artist to develop and present a new performance based project in Glasgow and London. The Award aims to celebrate the intimate work that the Adrian pioneered and excelled at, as well as providing an opportunity to explore new territories in the field of one to one and intimate performance.
The award is open to any proposal that seeks to explore the form of intimate performance. Some areas that you may wish to consider:
The impact of the size and proximity of the audience 
The audience as active in the performance 
The use of autobiography
The creation of immersive environments
The personal as political
The ethics and duty of care around the relationship to the audience
The Award provides:
-An opportunity to explore a project idea in two stages–initially in Glasgow and then with a further development phase in London at Battersea Arts Centre.
-£4,000 towards the awardee’s fee and expenses for the creation of the proposed project and performances in Glasgow and London.
-Development/rehearsal space at the University of Glasgow and National Theatre of Scotland for the initial phase (exact dates tbc, and subject to availability) and then at Battersea Arts Centre for the subsequent development (in April 2017).
We will work with the awardee to define the correct context for the sharing of the project. We would like there to be a public outcome in Glasgow during February or March 2017 and in London in April 2017 but we do not necessarily expect this to be a finished work. We will also work with the awardee to determine the most appropriate location for the sharing. It may be best suited to a Glasgow venue and BAC but they may want to follow Adrian’s path of using sites or participatory/community settings.
The Glasgow and London presentations will be subject to separate letters of agreement with the awardee, and may include a mutually agreed level of technical, marketing and event support by the presenting venues; please note that this support many be constrained by the spaces and context needed for the performance, and will be subject to separate discussions with the awardee.
Two weeks residency accommodation in BAC, April 2017.
Return travel to London for the BAC stage.
Mentorship from Professor Deirdre Heddon of the University of Glasgow.
Advice, guidance and practical support from Jackie Wylie as the project Producer as well as representatives of the other project partner organisations.
Eligibility: Applicants must be based in Scotland and been working professionally for a minimum of three years. You do not need a track record in intimate or one to one performance but you will need to demonstrate a commitment to exploring this field in your application.
Deadline for Submissions: Midday 5 August 2016
14 September 2016: Interviews in Glasgow (tbc.)
February / March 2017: Glasgow performances
April 2017: London performances
Application Process 
Please send proposals to aftertheopendoor@gmail.com and provide up to two pages that include:
-An introduction to who you are. 
-Your reason for applying for the Award and why you are interested in working in intimate performance.
-A description of your proposed project. We will assess the proposals on the quality of the ideas and would like you to be realistic about what can be achieved within the given budget. 
-A broad outline timeline and how you propose to spend the £4,000 Award.
In addition you may also include:
-An up-to-date CV.
-No more than 2 video clips of your previous work.
-If you would like to apply via a video message, please do so, and ensure it contains the same information as requested above, within a 5 minute maximum duration.
NB. We may not be able to provide detailed feedback on all proposals.
Background to the Award
The Adrian Howells Award for Intimate Performance is an opportunity for an artist to develop and present a new performance based project in Glasgow and London. The Award aims to celebrate the intimate work that Adrian pioneered and excelled at, as well as providing an opportunity to explore new territories in this field of practice.
In recent decades intimate performance and one to one has emerged as a growing area in contemporary arts practice. Adrian’s legacy illustrates how powerful these experiences can be and how influential this work now is. When considering Adrian’s work we can define intimate performance practice as that which aims to connect at a direct and immediate level with a small audience including the form of one to one - the act of staging an event for one audience-participant at a time. We also recognize that exciting new developments in this field might offer further definitions, for example work that deliberately plays with and disrupts ideas of intimacy, authenticity and the relationship to the audience. (These definitions are informed by the new publication It’s All Allowed: The Performances of Adrian Howells, edited by Deirdre Heddon and Dominic Johnson.)
‘Howells would devise performance situations of ‘accelerated friendship’ that were often powerfully affecting and responsive to contemporary conditions of living …. provoked by his own personal questions – about love, intimacy, wellbeing, and learning, and the impediments life poses to these goals. His performances were therefore concerned fundamentally with care, safety, generosity, affirmation, and pleasure. Such affirmative aspirations were nevertheless tempered, in performance, with discomfort, embarrassment, risk, and grief, as sometimes-unwelcome effects of the practice of personal and intimate exposure…. [delivering] sophisticated insights into what it means to be together with another person in a social relation, to be connected, and, outside that provisional relation, what it means to be thrown back upon oneself once again, alone.’ Deirdre Heddon and Dominic Johnson
We would like to provide a creative opportunity to an artist who is passionate about this field and who would benefit from an opportunity to explore the complexities, challenges and risks that are inherent within this practice. We know that it would be impossible to replicate the unique combination of elements that defined Adrian Howells’ work. Rather we are looking for a project idea that looks to the future and is open to taking this area of performance forward in new and surprising directions. Although Adrian was perhaps best known for his one to one works we are not specifically looking for a proposal for one audience member. (Although this equally may be the awardee’s chosen practice). We have left this open to allow for contemporary interpretations and challenges to the form of intimate performance.
Adrian relished his roles as teacher and mentor, and he himself was driven to continuous learning both in academic contexts and through artistic residencies. We are interested in the quality of the awardee’s project idea and additionally we would also like this to be a developmental opportunity. Although we suggest that there is a public sharing at the end of the project we will work with the chosen artist to frame and contextualize the work in acknowledgment that given the project budget it may still be in process and development.
The Adrian Howells Award for Intimate Performance is produced and developed by Jackie Wylie. Supported by the National Theatre of Scotland, Battersea Arts Centre, the University of Glasgow and the Live Art Development Agency.
6. EVENT: Queer Performance Camp
Date: August 11–15, 2016; City: Montreal, Canada; Source: Studio 303
Queer Performance Camp

Thursday August 11 to Monday August 15, 2016
$15–$25 per workshop (sliding scale)
*$90–$175 for all 7 workshops (sliding scale)
*Open to artist of all disciplines / Bilingual

For more information or to register (limited space): info@studio303.ca

Queer Performance Camp offers a rare opportunity to explore, create, perform and network in a safer space where “queer” is the dominant culture. Open to ALL artists (regardless of sexual orientation), a daytime series of workshops will provide multiple tools and approaches to performance creation (writing, audio art, Fear Drag, circus art, dance), facilitated by Elder, mid-career and emerging queer artist guides. Evenings are reserved for participant-led Open Space events and/or skill-sharing sessions, as well as public events in collaboration with local radical queer festivals Qouleur and PerversCité.

Artists of all generations, cultural backgrounds, career statuses and practices are encouraged to participate. Priority space is offered to people with marginalized identities. Although not necessary, we appreciate a brief letter of interest, telling us a bit about yourself why you want to participate to info@studio303.ca

*Work exchanges and some scholarships are available for the under-employed. Housing and meals are not provided, but we are happy to try to find you free billeting if you are from out of town. 

Full schedule: www.studio303.ca/en/classes/professionnal-level/queer-performance-camp/
Facebook event: www.facebook.com/events/103556620082656/

7. EVENT: The Stone Project Lab
Date: August 17-24, 2016; City: Uppsala, Sweden; Source: SU-EN Butoh Company
The Stone Project Lab, art and body project with international artists in Haglund Skola, Uppsala county. The Stone Project, public event, presenting installations, dance, sound art and art performances based on the lab working process with stone. Uppsala city and Kottinspektionen, Uppsala.
Participating artists: 
Dorothea Seror, visual and performance art, Germany 
Nobuyuki Sugihara, visual art, Japan
Liv Hanne Haugen, dance, Norway 
Bozo Jurjevic, performance art, Croatia
Johannes Bergmark, sound art, music improvisation, Berlin/Stockholm
Eva Bjorkman, visual and performance art, Uppsala
SU-EN, dance/performance art, Almunge
In connection with this project SU-EN Butoh Company hosts a dance residency sponsored by Kultur & Bildning, Art Council, Uppsala County.
8. OPEN CALL FOR PARTICIPATION: PAS | Performance Art Studies # 49
Deadline date: August 19, 2016; City: Bratislava, Slovakia; Source: PAS
PAS | Performance Art Studies # 49 | NEIGHBOURHOOD
in cooperation with Nomadic Arts Festival
with BBB Johannes Deimling and guest teacher Brian Connolly (Bbeyond)
September 17-26, 2016
Bratislava, Slovakia

Max. 12 participants
Explore visual arts and performance in Bratislava! Our goal is first and foremost to provide a high quality of teaching. We do not throw the famous names to catch your attention, we invite guests who most importantly can offer something valuable to enrich the process.
Participants are meant to take up the challenge to study the given topic in many possible ways. During these Studies we will be confronted with the term „NEIGHBOURHOOD”, where site-specific, long durational performances and interactive forms of art-making are in the focus of how to adjust and enhance an artistic ephemeral concept of performative art.
We offer the opportunity to research, discover and explore a specific area of Bratislava. The area is situated at the periphery of the “Old Town”–surrounding the Contemporary Cultural Centre A4–and is a mix of different kinds of architecture, calm areas, markets and empty spots between buildings, while hidden behind the main train station and the busy street Sancova. This Neighbourhood, with its diverse possibilities, will be the subject of the #49 study program.
The challenge of the researchers will be the questions of how to access private and public space in this area and how far it is possible to include the local people in the PAS activities. Neighbourhood is thus meant as a metaphor for how we react to what surrounds us rather than using the space for individual work.
The Studies will be very intense, filled with practical and theoretical exercises and tasks.
Following to the topic of PAS #49 we will research different performance art practices and create an experimental setting in which we will work towards an individual and/or collective performance work which will be presented as part of the Nomadic Performance Art Festival 2016: Neighbourhood and Territory, in the public realm of the quarter.
For more information about the concept and our program:

Everybody (!) can apply, we only need your commitment. Experience or special skills are not required. 

Price: €350 (does not include travel and accommodation costs). In case of financial difficulties, let us know. Applications are being accepted until August 20, 2016. If you are interested send your application (CV and work examples) to: pas@bbbjohannesdeimling.de
9. EVENT: Live Action
Date: August 19–September 10, 2016; City: Gothenburg, Sweden; Source: Live Action
Arti GRABOWSKI, Poland
John COURT, UK/Finland
Benedikte ESPERI, Sweden
Stein HENNINGSEN, Norway
HUANG Rui, China
Carlos MARTIEL, Cuba
Echo MORGAN, China/UK
Anne ROCHAT, Switzerland
Roberto ROSSINI, Italy
Dimple B. SHAH, India
Live Action goes mobile in its 11th edition. From August 19 to September 10 2016, one of Europes’ leading performance art events, will present artists from all over the globe in Gothenburg as well as Borås, Skövde and Trollhättan. Live Action’s line-up this year will showcase artists from USA, Cuba, China, India, United Kingdom, Italy, Poland, Norway and Switzerland who will show us live what art can be in our common space.
After last years successful 10th anniversary celebration of Live Action, featuring a major photo exhibition Live Global at the Gothenburg City Library, a series of lectures Live Talk, and during five weeks, the experimental durational strand Live Time, Live Action continues its 11th edition to renew will to explore new paths in performance art. We will continue the successful durational strand, Live Time, while introducing a new theme in Live Mobile investigating mobility, one of the fields main characteristics.
In problematizing mobility Live Action continues its stated objective to consciously trigger the understanding of performance art. Of course, no one can better than the artists themselves showcase different ways to conceive and embody mobility. They all think and work differently, comes from different backgrounds and cultures, bringing with them their various experiences. This 11th festival is implicitly different from the previous edition, in that we for the first time leaves the white box, the art institution, in presenting also our evening program in our common public space.
Besides this structural change of the event design, we are very pleased to be able to present, yet another year, a program with some historically important performance artists alongside a number of renown and emergent artists from around the globe.
Since its start 11 years ago Live Action have showcased outstanding international artists. With its stressed ambition to formulate a public cultural democracy that gives everyone access to contemporary experimental art, Live Action is an opportunity for anyone to come and explore intriguing visual artists from around the world. An international avant-garde of performance art arriving in Gothenburg and the region West of Sweden with an open mindset. This year again we are ready to answer the recurrent questions : what is he/she doing ? What does it mean ? The answer will, of course, be the same. Think by yourself, believe in yourself, in your own imagination. Empower your mind.  
10. CALL FOR APPLICATIONS: Body Mapping Lab with Nathalie Fari & Rafael Dernbach
Deadline date: August 20, 2016; City; Berlin, Germany; Source: Nathalie Fari
In this Body Mapping Lab we want to investigate the practice and notion of developing a site-specific performance, in this case starting from the so called «lost place» Teufelsberg in Berlin-Charlottenburg. During eight days we want to explore this kind of performance practice by using the concept and method of Body Mapping. In the core of this concept, the space is not only treated as a place for the creation of the plot (map, score or action). More than this, the place serves as a platform to observe, experience and especially «embody» it from the inside. To this aim, the body is used as a translator who is encouraged to adapt habitually to the place by reinterpreting it and by generating other types of expression and presence. Which future scenarios can be seen or devised from the perspective of the Teufelsberg area? How can such scenarios be transformed into a performative language and which spatial and narrative means are available for this? And which roles do subjective and especially collective bodies play for the development of such a language? These questions are pivotal to us. This Body Mapping Lab will examine those questions while working on a collaborative performance to be presented on the last day. 
Body Mapping Lab Program - 6 hours per day: 
-Physical training that combines teaching principles from body work (Yoga and BMC®) with art- and theatre pedagogical approaches based on the modes and notions of ‚site specificity‘.
-Spatial and social analysis of the characteristics of the Teufelsberg focusing on some core topics: the relations between inner and outer space, between private and public, the specific atmosphere and the occupation and transformation of space. 
-Reading and discussion about some specific texts by using the procedures of ‚performative writing‘ and by creating a kind of ‚expedition- and research diary‘. 
Since the Allies evacuated the 'Field Station Berlin‘ two decades ago in 1992, the area of the Teufelsberg has been a crystallisation point for ever new soaring plans, wild projects and sometimes absurd ideas. The 'flying meditating ioguies' couldn’t land and David Lynch pulled of in a huff. One of the panorama towers became a swimming pool for frogs and stickleback. When the owners buried their building plans, left the ground and suspended custody, it didn’t take long until the Berlin party scene discovered the area. With it came the copper and metal robbers, who carried the technical equipment out of the abandoned buildings and left but non-salvageable residues on the abandoned estate. 
The three domes and the tower, an exciting symbol of a divided city and memorial of a time in which the warring blocks stood face to face, are broken. The covering of the central tower ist largely destroyed. But there is new life emerging on the historically charged site. Graffiti art, project studios, a dealer of antique building elements, sculptors. Many different artists are coming. What they find is a place where they can realise their utopian ideas. It is a growing scene for which Berlin is, and has always been, fertile ground: in search of a society the driving force of which isn’t mainly commercial interested and towards a new outline of living together. 
Location: Teufelsberg project space 
Dates: 03–10.09.2016 / 14h–20h 
(the full program will be announced two weeks in advance) 
Participation Fee:
320,00 € / 15,00 % Discount for payment until the 03.08.2016 
120,00 € / 2 selected grants for students or researchers 
Information and Registration: 
NATHALIE FARI (born 1975 in São Paulo) is a performer, researcher, art- and theatre educator and yoga teacher. She has been exploring various methods and forms of performance and bodywork for 20 years. Under her production label atelier obra viva, she develops and produces collaborative, educational and research based projects with the focus on the relation between body and space, body and city. She completed a Master of Arts degree in Space Strategies - Exploratory Art in Public Contexts at the Kunsthochschule Weißensee Berlin. From 2011-15 she was co-organiser of the independent Platform Month of Performance Art Berlin and since 2016 she is part of the Study Circle Practicing Communities of the Nordic Sommer University. She has been designing her Body Mapping Labs in Brazil and Germany. 
RAFAEL DERNBACH (born 1988 in Gießen) is a writer, researcher and currently PhD candidate at University of Cambridge. As a Gates scholar he researches the social construction and aesthetics of futures, from science fiction to scenario planning. His texts, videos and essays have been published by several media outlets including ZDFinfo, Zeit Online and Haus der Kulturen der Welt, Berlin.  
PETTERSON COSTA (born 1976 in São Paulo) is a performer, producer and DJ. He graduated in Communication and the Arts of the Body at the Pontifícia Universidade Católica de São Paulo. In 2009 he established the dance collective Núcleo de Garagem with the focus in investigating the urban space as a place for artistic and poetic creation. He has been practicing Aikido for 11 years and organising trainings and courses with national and international performing artists at the Sala Crisantempo in São Paulo.  
11. CALL FOR PROPOSALS: Performance Research Vol. 22, No. 4 (August 2017)
Deadline: September 19, 2016; City: everywhere; Source: Performance Research
CALL FOR PROPOSALS: Performance Research Vol. 22, No. 4 (August 2017)
‘On the Maternal’

Proposal Deadline: Monday 19 September 2016 
Issue Editors: Lena Šimić and Emily Underwood-Lee

Everyone, in some way, has a relationship to the maternal.  As Adrienne Rich famously asserted we are all ‘of woman born’ (Rich 1996). Bracha Ettinger, who has developed the notion of the ‘matrixial’ and its radical compassionate ethics, notes that we all carry the maternal within us, regardless of whether we have chosen to become mothers or not, regardless of our gender, because we all carry the memory of being carried (Ettinger 2006, 2014). As Griselda Pollock notes:

The matrixial as a structure or logic of subjectivity is from the beginning several, an encounter-event, co-emerging and co-affecting between partners-in-difference that remain unknown to each other but share in this pre-birth incest as intimacy that may lay the psychic foundations for our capacities for ethics, hospitality and compassion for the other in their otherness and in my own alterity (radical unknownness). (2009: 10)

For this issue we are seeking contributions that will address maternal aesthetics, ethics, politics, labour and care, as well as questions of inter/trans/subjectivity. In particular, ‘On the Maternal’ seeks to open up new ways of thinking, seeing and feeling the maternal in and through performance practices. The editors are especially keen to receive submissions that will explore alliances between the maternal and (feminist) performance, which both actively embrace notions of vulnerability, risk, interruption, failure, labour, immanence/transcendence, celebration, endurance and certain kinds of discomfort, shame and embarrassment in the live encounter. International in scope, this issue will chart and theorize the multifaceted work of mother/artists working in the field of live art, theatre and performance as well as corresponding theoretical approaches across the fields of philosophy, psychoanalysis, medical humanities, maternal studies, feminist and political theory (see Hannah Arendt, Lisa Baraitser, Jessica Benjamin, Bracha Ettinger, Rosemarie Garland Thomson, Julia Kristeva, and Adrienne Rich).

Recent years have seen a proliferation of mother/artist exhibitions, networks and performances internationally (including the Home Truths: Photography and Motherhood and Identity and Artist as Mother as Artist exhibitions; The Egg the Womb the Head and the Mooncollaborative blog and exhibition; the M/Other Voices foundation; Cultural ReProducers, Artful Care and Mothers Who Make networks; and performances including M.O.M. Marks of Motherlands by Helena Walsh, Under the Covers by Zoo Indigo, Motherland by Vincent Dance Theatre, The Mums and Babies Ensemble by Duška Radosavljević, Annie Rigby and Lena Šimić and Partus by Third Angel). There has been a concurrent establishment and strengthening of the academic discipline of maternal studies internationally with the MaMSIE network and Studies in the Maternal e-journal in the UK, Demeter Press specializing in publishing on motherhood (in collaboration with the Motherhood Initiative for Research and Community Involvement), projects including Lise Haller Baggesen’s Mothernism and Natalie Loveless’s New Maternalisms, the ‘Motherhood and Creative Practice: Maternal structures in creative work’ conference at London South Bank University (June 2015) as well as the founding of the Journal of Mother Studies supported by the annual conferences at the Museum of Motherhood (M.O.M.) in New York. Through this flourishing of maternally focused scholarship and practice the maternal has been given a new critical currency and reframed within a feminist context. This connection of feminism and motherhood can be traced from Adrianne Rich’s seminal work Of Woman Born (1976) to the more recent work of Lisa Baraitser (Maternal Encounters: Ethics of interruption, 2009), Bracha Ettinger (The Matrixial Borderspace, 2006) and Amber E. Kinser, Kryn Freehling-Burton and Terri Hawkes (Performing Motherhood: Artistic, activist, and everyday enactments, 2014). The maternal has been particularly influential within visual art (Betterton 2014; Epp Buller 2012; Chernick and Klein 2011; Liss 2009; Pollock 1999) and somewhat in drama (Komporaly 2007; Šimić 2009).

The aim of this issue is to draw out the potential for creatively re-imagining the maternal found in performance and to locate the maternal within the discipline of performance studies. This issue builds on the three research gatherings convened by Šimić and Underwood-Lee that took place at the Institute for the Art and Practice of Dissent at Home, Edge Hill University, Ormskirk, Lancashire and University of South Wales in spring 2016. Šimić and Underwood-Lee’s ‘Study Room Guide on Live Art and Motherhood’ is currently in development and will be made available online via the Live Art Development Agency in autumn 2016.

Some of the research questions that we hope to address include:
-What are ‘maternal performance aesthetics’?
-What happens to the maternal when it is represented/re-enacted in performance (as opposed to in a non-live art medium) and how is the maternal refigured in performance?
-How do the lived and the staged collide?
-What are the politics and ethics of ‘maternal performance making’ and of making work while at the same time looking after the children?
-What are the maternal artists’ processes and methodologies?
-What can healthcare, education, welfare and other practitioners with an interest in the maternal and performance studies scholars and artists learn from one another?
-What are potential areas for development and further study?

In addition, some indicative areas of interest include, but are not limited to:

Domesticity and DIY aesthetics:
-Feminist genealogies and generations
-Mother/Daughter and other family relations
-Alternative configurations of the maternal
-Temporality, duration, maintenance
-Interruptions and ruptures
-Repetition and boredom
-Co-existence with child(ren) and others
-Networks of support
-Motherhood, activism and resistance
-The everyday maternal-Adoption, childlessness and subfertility
-Cyber-mums and post-human motherhood
-Queer, trans and drag mothers
-Good/Bad mother-Maternal labour
-Maternal Ambivalence-Maternal and the Real
-Maternal abjection: the monstrous, corporeal, viscous, exuberant and excessive mother
-Maternal passions and jouissance
-Maternal grief, loss and bereavement
-Migrant mothers, borders and displacement
-Natality versus mortality
-Birth as spectacle
-Archetypes, myths and mothers
-Care across generations (children and parents)

We are inviting longer essays (between 4,000 and 6,000 words), shorter provocations (2,000 words) and artist pages (number of pages to be agreed with the editors).

Proposals: Monday 19 September 2016
First drafts: Monday 12 December 2016
Final Drafts: March 2017
Publication: August 2017

Issue contacts:
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 the issue editors:
Lena Šimić: simicl@edgehill.ac.uk
Emily Underwood-Lee: emily.underwood-lee@southwales.ac.uk

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 will be accepted by e-mail (MS-Word or Rich Text Format (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.

12. CALL FOR PROPOSALS: CAMH Queen Street Redevelopment Project
Deadline date: September 29, 2016; City: Toronto, Canada; Source: Scott Miller Berry
The Centre for Addiction and Mental Health (CAMH) is undergoing a multi‐phased redevelopment of its Queen Street site in downtown Toronto. CAMH is building a new kind of hospital for the 21st century: advancing treatment, revitalizing our community and changing attitudes toward those with mental illness and addictions. With two phases already complete, CAMH’s Redevelopment Project is integrating its 27-acre site on Queen Street West with the community, weaving together new cutting-edge hospital facilities with shops, residences, businesses, parks, and through-streets, creating an inclusive, healing neighbourhood. Nothing quite like this has ever been done before.
For the current phase (1C), CAMH envisions art installations woven throughout the property. Part of daily life, art will be experienced by all–patients, families, staff and visitors. CAMH’s art program will be founded in its mission to transform lives. As an integral part of the therapeutic environment, art will inspire hope and support recovery. Art works will be a reflection of CAMH’s drive for innovation and excellence and will take many forms and media. Approximately 35 unique installations of different scales and types are proposed. Our Guiding Principles are to:
-Engage the community at large in the urban neighborhood
-Enhance patient and visitor experience through the healing power of art
-Serve as intuitive wayfinding landmarks
-Foster connection and dialogue-Interpret the sensory and restorative aspects of the natural world.
We aspire to commission art works that are an expression of the diversity of human experience and reflect the cultural and demographic diversity of the community. Art is a powerful form of story‐telling – sharing, learning, giving pleasure – an instinct and practice as old as humanity. We have a supportive team in place, so artists should not hesitate to submit their credentials even if they have not previously completed a public art commission.
To secure the “Call to Artists” package of information and submission forms, please visit:www.camh.ca/redevelopment
If you have any questions, please contact Karen Mills at camhpublicart@gmail.com
Closing Date for Submissions is September 29, 2016 11:00PM. Preference will be given to artists who are resident in Ontario.
13. CALL FOR PROPOSALS: Duration & Dialogue II
Deadline date: September 30, 2016; City: Toronto, Canada; Source: Johannes Zits


The Duration & Dialogue Collective is proud to announce a call for submissions for the Duration & Dialogue II Performance Art Festival at Katzman Contemporary, curated by Natasha Bailey, Dario Del Degan, and Johannes Zits. Duration & Dialogue II will run from January 27 to 29, 2017, exploring the theme of “duration.”

This call is for performance art submissions that explore the theme of “duration” within a maximum time frame of 12 hours. Artists are also welcome to propose live stream performances from remote locations.

To enlarge the focus on performance art and to further promote the dialogue of aesthetics within our contemporary context, artists participating in this festival will be paired with an industry professional to lead a post-performance discussion with audience members.

Artists selected to perform in the Duration & Dialogue II Performance Arts Festival will be paid a small honorarium for their participation. All production costs are the responsibility of the artists; however, the gallery will offer its resources as available.

Proposals should include:
-a CV-an artist statement
-a detailed description of the work you wish to present or explore
-any relevant support material

Please send files as PDFs. You may include images, videos, print, or digital documentation of your work as links, PDFs, or image files. Please be courteous of image size and materials that you are sending. Ensure that attachments total to less than 10MB; if more space is required for time-based or intermedia work, you may provide a link to a Dropbox.

Send your proposal by email to info@katzmancontemporary.com with a subject line of Duration & Dialogue II.

The deadline for submissions is FRIDAY, SEPTEMBER 30, 2016 by midnight. Artists selected to participate will be contacted by Monday, October 17, 2016 by 5:00pm.

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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