FADO E-LIST (October 2016)

Congratulations to Lo Bil, winner of the inaugural award for Best Live Art work at Summerworks 2016 (www.summerworks.ca) for her performance, "the root of the river flows darker than clouds".

"We offer this award to the artist whose work challenged us to value risk and vulnerability over the satisfaction of a safer outcome, comfort for the audience, or even (at times) plain ol’ aesthetics. This work is awarded for its provocative meandering through the sticky territory of linearity, for listening to its gut, and for its transparency of form. For taking us, night after night, on a sometimes joyous, often scatological, and always exciting journey into where 'the root of the river flows darker than clouds', the FADO Performance Art Centre award for Best Live Art work at the 2016 Summerworks Festival is offered to Lo Bil." (Shannon Cochrane, FADO Director)

Follow her work at: lo-bil.tumblr.com


1. PERFORMANCE: Autumn Offering by Lori Blondeau
Date: October 1, 2016; City: Winnipeg, Canada; Source: Urban Shaman
2. EVENT: New Performance Turku
Date: October 5–9, 2016; City: Turku, Finland: Source: Facebook
3. EVENT: 7a*11d International Festival of Performance Art
Date: October 13–22, 2016; City: Toronto, Canada; Source: 7a*11d
4. CALL FOR VOLUNTEERS: 7a*11d International Festival of Performance Art
Date: October 13–22, 2016; City: Toronto, Canada; Source: 7a*11d
5. EVENT: Bergen International Performance Festival 2016
Date: October 14–16, 2016; City: Bergen, Norway; Source: PAB
6. CALL FOR PROPOSALS: Performance Research Journal 'On Names'
Deadline date: October 17, 2016: City: the world; Source: Performance Research Journal
7. CALL FOR SUBMISSIONS: Theatre Passe Muraille’s 16/17 Crapshoot
Deadline date: October 17, 2016; City: Toronto, Canada; Source: Theatre Passe Muraille
8. WORKSHOP: TouVA Performative Art Workshop
Date: October 19–21, 2016; City: Calgary, Canada; Source: Victoria Stanton
9. PERFORMANCE: Transaction of Hollows by Melati Suryodarmo
Date: October 19–22 2016; City: Malmö, Sweden; Source: Lilith Performance Studio
10. CALL FOR PAPERS: PSi#23 “OverFlow”
Deadline date: October 21, 2016; City: the world; Source: PSi
11. EVENT: Toronto: Tributes + Tributaries, 1971-1989 Performance Series
Date: October 1–November 13, 2016; City: Toronto, Canada: Source: AGO
12. EVENT: ANTI Prize Weekend
Date: October 27–29, 2016; City: Kuopio, Finland; Source: ANTI


1. PERFORMANCE: Autumn Offering by Lori Blondeau
Date: October 1, 2016; City: Winnipeg, Canada; Source: Urban Shaman

Urban Shaman presents Autumn Offering by Lori Blondeau during Winnipeg's Nuit Blanche.

Date: Saturday, October 1, 2016
Time: 8pm
Location: Deer + Almond Parking Lot (across from Urban Shaman Gallery, 203-290 McDermot Avenue, Winnipeg)

Please join us during this exciting weekend to witness Lori Blondeau’s beautiful yet moving performance that is inspired from her family’s stories. “My great-great grandfather lived on a diet of pemmican, wild roots, berries and wild game.” Blondeau will be located in the parking lot behind Deer + Almond restaurant to start off their street party during Winnipeg Nuit Blanche. 


Artist Talk with Lori Blondeau
Date: Monday, October 3, 2016
Time: 7pm
Location: University of Manitoba–School of Art, 180 Dafoe Road, Winnipeg, Manitoba

In Partnership with the University of Manitoba–School of Art, ARTlab

Can’t make it out to the performance this weekend? You are in luck! Urban Shaman Gallery and the University of Manitoba’s School of Art are partnering on Blondeau’s artist talk. This is one of the first in a series of talks and cross programmation between our two institutions. Please meet us at the School of Art at the University of Manitoba on Monday, October 3, 2016 at 7pm to hear Lori discuss her work, tell stories and inspire everyone with her thought engaging, multi-disciplinary practice. Once again please contact the gallery for more information.

Lori Blondeau is a Cree/Saulteaux/Metis artist from Saskatchewan. Blondeau holds an MFA from the University of Saskatchewan, and has sat on the Advisory Panel for Visual Arts for the Canada Council for the Arts and is a co-founder and the current director of TRIBE, an Aboriginal arts organization. Her practice includes both visual and performance contemporary art.


2. EVENT: New Performance Turku
Date: October 5–9, 2016; City: Turku, Finland: Source: Facebook

New Performance Turku
October 5–9, 2016
Itäinen Rantakatu 64, 20810 Turku, Finland


New Performance Turku Festival is an international festival for performance and live art, organized annually around Turku, Finland.

The festival showcases the most interesting phenomena in performance and Live Art. This year the themes are site-specifity and micro communities inside the city. In the beginning of October a range of top artists around the world will take over the urban city space, as well as performance spaces and galleries. The focus country for the 2016 festival in Chile, and we have invited four artists in the festival, curated in collaboration with Alejandra Herrera Silva.

Association organizing the New Performance Turku Festival is an active contributor in the discussion promoting performance and live art, both locally and internationally. This is done by developing sustainable production and touring structures and working methods. During the last years New Performance Turku has visited New Zealand, Germany and Australia, among others.

John Court (UK/FI)

Seiji Shimoda (JP)
Mark Harvey (NZ)
Kira O'Reilly (IRE/FI)

Alejandra Herrera Silva (CH)

Alexander del Re (CH)
Señoritaugarte (CH)

Cristóbal Yáñez Lanzarini (CH)

Juha Valkeapää (FI)
Pilvi Porkola (FI)

Jay Mar Albaos (PH) &
 Jolijn de Wolf (NL)

Jenny Suhonen (FI)
Harriet Rabe (GE)

Petros Konnaris (CY)

Antonín Brinda (CZ)

Márcio Carvalho (PT/GE)
Showcase Turku

Social artist in residence:

Antti-Juhani Manninen (FI)
Leena Kela (FI)
Performance Voyage VI



3. EVENT: 7a*11d International Festival of Performance Art
Date: October 13–22, 2016; City: Toronto, Canada; Source: 7a*11d

7A*11D is BACK!

The 11th 7a*11d International Festival of Performance Art is back! From October 13–22, 2016 Toronto’s own Toronto Performance Art Collective plays host to a roster of local, national and international performance artists. This year, main festival activities including evening performance programs, off-site walking performances and other events, and Performance Art Daily, our artist talk series.

Geary Lane (360 Geary Avenue)
OCADU Anniversary Gallery (100 McCaul Street, Level 2)
Graduate Gallery (205 Richmond Street West, Ground floor)
The Theatre Centre (1115 Queen Street West)

TORONTO: Kate Barry / Vanessa Dion Fletcher / Francesco Gagliardi / Jessica Karuhanga / Louise Lilifeldt / Brianna MacLellan / Mikiki / Johannes Zits 

CANADA: Cindy Baker (AB) / Annie Onyi Cheung (NS) / Elizabeth Chitty (ON) / Randy Lee Cutler (BC) / Chun Hua Catherine Dong (QC) / Hélène Doyon & Jean-Pierre Demers (QC) / Margaret Dragu (BC) / Serge Olivier Fokoua (QC) / Michelle Lacombe (QC) / Kevin McKenzie (SK) / Adrian Stimson (AB)

INTERNATIONAL: Silvio De Gracia (Argentina) / Bartolomé Ferrando (Spain) / Sue Murad & Vera Koshkina (USA) / Tanja Ostojic (Serbia/Germany) / Graciela Overjero Postigo (Argentina) / Joseph Ravens (USA) / Selma Selman (Bosnia/USA)

ABOUT 7a*11d
7a*11d was established in 1997 by a group of local performance artists and organizers, keen to create a forum for performance, live and action art in Toronto. Since then, Toronto has proven itself to be performance art-centric, and 7a*11d has continued to grow and offer audiences the best of contemporary performance art from around the world. 7a*11d is proud to work once again with festival presentation partners Neutral Ground (Regina), OCADU (Toronto) and The Theatre Center (Toronto).

Instagram: @7a11d
Twitter: @7a11d
Facebook: 7a*11d International Festival of Performance Art


4. CALL FOR VOLUNTEERS: 7a*11d International Festival of Performance Art
Date: October 13–22, 2016; City: Toronto, Canada; Source: 7a*11d
The 11th 7a*11d International Festival of Performance Art takes place from October 13–22, 2016 in Toronto. Organized by a non-profit collective of artists, 7a11d offers a professional venue for new and progressive performance art works. The artist organizers select emerging and established artists of the highest quality from around the world to showcase the breadth and depth of contemporary performance art.
We are still in need volunteers for before, during, and after the festival to help us with:
-catalogue and poster distribution
-preparing or sourcing artists' materials
-setting up for performances
-assisting with front of house during performances
-documenting performances
-tearing down after performances
-additional tasks as per event schedule
Qualifications you should have include:
-a keen interest in, and knowledge of, performance art
-strong inter-personal skills
-ability to work both independently and effectively with other team members
-able to communicate with a variety of individuals
-experience working on events is an asset.
-Smart Serve card is an asset
If you'd like to volunteer, please send an email with "Volunteer" in the subject line to: performance@7a-11d.ca

For more information about this year's festival, please visit our web site at www.7a-11d.ca


5. EVENT: Bergen International Performance Festival 2016
Date: October 14–16, 2016; City: Bergen, Norway; Source: PAB

Bergen International Performance Festival 2016
October 14–16, 2016
Bergen Kunsthall 

Opening: Friday, October 14 @ 19:00
Festival: Saturday to Sunday, from 13:00–17:00

Gitte Seatre, Norway
Maline Casta, Sweden
Gustaf Broms, Sweden
Sigmund Skard, Norway
Frans Jacobi, Denmark
Nezaket Ekici, Germany
Janne Rahkila, Finland
BIT 20/PAB medlemmer, Norway
Orn Alexander Amundason, Iceland
Alvaro Terrones & Santiago Lopez, Spain



6. CALL FOR PROPOSALS: Performance Research Journal 'On Names'
Deadline date: October 17, 2016: City: the world; Source: Performance Research Journal

Volume 22, Issue 6–‘On Names’ (September 2017)
Proposals Deadline: 17 October 2016
Issue Co-Editors: Konstantina Georgelou and Janez Janša

What’s in a name? That which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call’d,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself
(Shakespeare, Romeo & Juliet, II, 2, 43–9)

This issue asks contributors to discuss matters that concern names, their performativity and their dramaturgical functions. Names are deeply rooted in culture and bear their own politics. Every culture and every new social order establishes itself by creating a regime of naming, which raises the questions: To whom does a name belong? And, what does it mean to consider names through their performative and dramaturgical operations? Names belong to individuals as much as they belong to particular societies. Not only because of culture, tradition, language and belief systems, but also by the mere fact that a proper name is used much more by those in the social surroundings of an individual than by the person or thing who bears the proper name. Furthermore, a proper name is not always of one’s own choosing but rather is often something given, something imprinted by another, something one has to bear all through life and after. It could be said that a name is an interface between the one bearing it and society; a tool to assess society and to be assessed by it.

Names are always at work, operating their own dramaturgical functions although they may also be considered empty signifiers. A name is an empty shell to be filled by a bearer (‘I will inhabit my name’, writes the poet St John Persel), which is to say that there is no essence to a name. That is also Juliet’s position, when she asks Romeo to change his name since the only obstacle to their love is his name. Slavoj Žižek refers to the Lacanian ‘decentred subject’, who is never in a stable relationship to the name that fixes its symbolic identity. ‘As already Shakespeare’s Juliet knew’, writes Žižek, ‘I am never “that name”’. However, a name is always at work and this is at the core of the two lovers’ tragedy as Mladen Dolar notes, because ‘there is no way one can cut off names as expendable additions, for names as intruders are nevertheless what gives us access to being, and they affect being’.

With particular regard to art and performance, names have historically played a role in constructing identities, in creating impostors and homonyms, in allowing one to act anonymously or through (unnamed) characters, in exposing the legal system and intervening in the political sphere, etc. In other words, performativity of names also generates different modes of agency that have been at work in art and performance. So, what can one (un)do with names? How do artistic and activist practices reveal personal, legal, social and political aspects that determine names and the act of naming? What are the dramaturgical tactics and operations that are at work in these practices? How can we consider the aesthetics and poetics of names, of name-giving and name-bearing? What is it that cannot be said or captured by a name?

Essays, provocations, artists’ and lawyers’ pages are invited with regard to the intersection of names, performativity and dramaturgy, including but not limited to:
Politics of naming
Im/proper names
Psychoanalysis and naming
Naming, gender, identity and identification
The law pertaining to names
Performativity of names
Dramaturgies of names and naming
Naming characters
Namelessness in contemporary performance
Representation and names
Publicness of names
Activism by means of names
Histories of name-giving and name-bearing

Proposals: 17 October 2016 
First Drafts: January 2017
Final Drafts: May 2017
Publication Date: September 2017

All proposals, submissions and general enquiries should be directed to the Journal at info@performance-research.org

Issue-related enquiries should be directed to the issue editors:
Konstantina Georgelou: K.G.Georgelou@uu.nl
Janez Janša: janez.jansa@maska.si

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 email (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 prior agreement.
-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.



7. CALL FOR SUBMISSIONS: Theatre Passe Muraille’s 16/17 Crapshoot
Deadline date: October 17, 2016; City: Toronto, Canada; Source: Theatre Passe Muraille 

Apply to Theatre Passe Muraille’s 16/17 Crapshoot

Crapshoot is an opportunity for emerging artists in the early stages of their careers to develop and showcase new work. Selected artists are given ten minutes to perform on TPM’s Cabaret Stage for an audience. At the end of each night an invited artistic panel will vote for their favoured performance and that artist/collective is granted 8 hours of time in TPM’s rehearsal hall and is invited to perform in a featured slot for up to twenty minutes at the following Crapshoot.

Apply: http://passemuraille.ca/archives/after-hours/crapshoot


8. WORKSHOP: TouVA Performative Art Workshop
Date: October 19–21, 2016; City: Calgary, Canada; Source: Victoria Stanton

Infiltrating and Relational Practice in Public Space

Date + Time: Wednesday, October 19–Friday, October 21, 10:00 AM–6:00 PM

Location: Historic Holy Angels School, Studio Three: 2105 Cliff Street S.W

Participant Presentation: Monday, October 24
Location: Roving

If you are interested in taking the workshop please submit a one-page statement of interest to info@mstfestival.org

Workshop Description
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 two-day intensive will specifically locate our process in public settings, surrounded by elements of the “everyday.” An opportunity to deepen our explorations about how we consider, construct, and witness performance in public (non-art) contexts, participants will be invited to experiment with in-situ and in-socius performative practices–infiltrating, interventionist and relational modes of performance–while exploring the multiple and very personalized ways in which we experience and foster intimacy and connection: in ourselves, towards others, and in relation to place.

Workshop Objectives
Through a gradual yet intensive learning process, this workshop will introduce participants to what is involved in the creation of a live action piece, in particular as related to infiltrating or intervention practices that take place in public spaces. Exploring how time and space are intimately connected and linked to how we develop a relationship to the space and people around us, participants will work on presence, precision of intention and direct channeling practices, eventually working with more personalized, unpredictable and precise performative actions and structures.

The workshop will focus on various exercises such as centering, observing and energy channeling in order to experiment with a diversity of performance methods, individual activities and short solo and group presentations. The intention of this workshop is to enable the participants to develop a distinctive practice thus learning to:–Understand some basic principles of performance
–Manifest/communicate an authentic presence
–Personalize their approach by combining movements, words, images, objects, sound research, etc.

This workshop aims to inspire the creative process of each participant, regardless of their discipline and their artistic creation interests.

General Methodology
Because of a gradual learning process, hands-on exercises, concrete directives, dynamic feedback, constructive commentaries, individual coaching demonstrations, and analysis of basic principles, the participants will discover how to be conscious of the present moment, and experience various states of body/mind in the context of structuring performative actions – in particular within interventionist practices in public spaces.

Pedagogical Approach
The TouVA Collective takes its inspiration from the workshops of Sylvie Tourangeau–founding member of the Collective, and a highly regarded pioneer of performance art in Quebec. Together, we have developed an active pedagogical approach intricately linked with our artistic research by giving form to notions such as dynamic motivation-connection-expansion-action, inter-action (the performative in-between), potentiality of everyday or invisible practices, and the importance of language to locate process and help one reconnect with one’s particular and unique alignment.

About the TouVA Collective
Founded in the spring of 2007, the TouVA Collective (Sylvie Tourangeau, Victoria Stanton and Anne Bérubé) is a Montreal-based performance art trio that has been researching the practice of performance through multiple frameworks and approaches. In addition to presenting performances, conducting workshops, creating dynamic artist talks and offering coaching to artists in a variety of contexts–including international festivals–TouVA is a group of artist-researchers interested in a profound exploration of “the performative.” Working consistently from a model of exchange and dialogue, their first book, The 7th Sense will be released through Centre SAGAMIE and M:ST in the spring of 2017. www.touva.net 

This project is presented in partnership with the City of Calgary Public Art Program. For more information visit: www.calgary.ca/publicart


9. PERFORMANCE: Transaction of Hollows by Melati Suryodarmo
Date: October 19–22 2016; City: Malmö, Sweden; Source: Lilith Performance Studio

Love and war is the starting point of the 16 hours long performance–TRANSACTION OF HOLLOWS–by the Indonesian artist Melati Suryodarmo, presented by Lilith Performance Studio from October 19–22, 2016.

Transaction of Hollows is a long durational performance that investigates the mankind’s desire on love and war. Suryodarmo is referring to her political senses to the lost society by shooting hundreds of arrows during several hours without a specific target, confined inside a closed room with the audience.

Captured by repetitive poetic conquests, Melati Suryodarmo (b.1969, lives and works in Surakarta, Indonesia) creates powerful images, which resemble more of epic challenges than everyday behaviors. She is known for her non-narrative, wordless and very physical performances where she uses the body and its surroundings to create, as she herself puts it: “a concentrated level of intensity”. The repetition in and the duration of her works have the effect that the artist as well as the audience is able to lower their guards and let their thoughts rest. Her art revolves around overcoming obstacles.

The Malmö audience got acquainted with Melati’s artistry already in 2007 (the first year of Lilith Performance Studio) in the performance piece Perception of Patterns in Timeless Influence, which was a main solo production originated at Lilith. 2009 and 2010 Melati performed again at Lilith with two of her already existing performances, I Love You and EXERGIE-butter dance. 

Read more about the artist and view her works:

Place: Lilith Performance Studio, Bragegatan 15, Malmö
Open Hours: 18.00–22.00
Admisson: Pay-What-You-Wish
Tickets: Booking is required: boka@lilithperformancestudio.com
The audience is booked at different times between 18.00–21.30

Lilith Performance Studio is an independent arena for practical artistic research, focusing on visual art performance and are as a production space for visual art performance the first of its kind in the world. The studio originates new large-scale performances by inviting visual artists to create exceptional performance pieces in a close collaboration with the Studio, from conceptualization to presentation. Since its inception 2007, LPS has produced over 40 large-scale performances in collaboration with artists from around the world. The Studio is found and run by the Artists and the Artistic Directors Elin Lundgren and Petter Pettersson.


10. CALL FOR PAPERS: PSi#23 “OverFlow”
Deadline date: October 21, 2016; City: the world; Source: PSi

The conference theme “OverFlow” takes a reverse view on the political tropes customary in “times of crisis” – “OverFlow” focuses on abundance, transgression, and leakage instead of the usually evoked themes of lack, restriction, and loss. The event takes place in the context of the performing arts triennial Theater der Welt (“theater of the world”), which, in 2017, is dedicated to Hamburg harbor with its history of cosmopolitism and colonial trade, of boom and bust, of immigration and emigration. The sprawling harbor scenery (partly globalized commercial and tourist hub, partly local post-industrial decay, partly contested social space) is set to provide the backdrop to a great variety of site-specific performances. It also has a history of storm tides and of being literally overflowed.

In recent years, the idea of “flow,” i.e. of being fully immersed in the activity at hand, has gained prominence in the theories of subjectivity and collectivity, but also in the self-help industry as the pathway to happiness, wellness and a good life. Moreover, notions of “flow” have influenced performance art (and the performing arts in general) with respect to concepts and practices of the moving body, artistic collaboration (from cooperative practices to the synchronization of processes), the use of time (simultaneity), creativity, etc. As a conference theme, “OverFlow” breaks away from “flow’s” inherent promise and poses questions of overload, escalation, interruption, hybrid connectivity as well as disconnection, redundancy, boundaries and borders. The “over” in “OverFlow” can be the rupture of spillovers and profusion; it also relates to an alleged or real overcrowding of space and time, the rhetoric of expulsion or inclusion of desired or undesired bodies, techniques of overpowering or depleting the senses, etc. All of these and many additional aspects have not only been the subject of intense political, ethical, and social scrutiny in recent years. They have also been explored in performance art and performance studies. The conference aims at producing its own “OverFlow” by engendering modes of exchange, discussion, interconnection, and contrasts between these various points of view.

The organizers invite contributions by both scholars and artists that critically engage with “flow” and/or deal with the various facets of “OverFlow” in performative practices, aesthetic phenomena, and performance art. This also includes performance studies perspectives from different artistic and academic fields (in the humanities and social sciences) on the political, ethical, and social dimensions of overflow, spillage, and abundance, e.g. in:

politics: “being rendered superfluous,” post-colonialism and cultural imperialism, migration, borders and border controls, etc.

society: abundance, expendability, and needlessness, cultural transformations and appropriations, the diversity of gender, ethnic and religious affiliations, etc.

economics: critique of capitalism, financial crises, the “affluent” and the post-growth-driven society, etc.

media/technology: data streams, memory space, big data, computerization of everyday life, information overload and redundancy, etc.

ecology and the environment: waste, high tides and tsunamis (“harbor wave”), factory farming, nutrition (obesity, alcoholism) etc.

Contributions may consist of individual papers, panels, roundtables, open spaces, lecture performances, praxis sessions, workshops, performances, installations, etc. The organizers would like to encourage formats that “overflow” a strict distinction between art and academia or that reflect the status (and responsibility) of the arts in the so-called “knowledge-based societies.” What kinds of knowledge, practices, and forms of critique regarding social, ecological, political, ethical and cultural processes do the arts produce? What kinds of findings or other forms of awareness do they trigger? What kind of “surplus” or “disruption” can be found in “artistic knowledge” or, for that matter, “artistic research”?

Please send your suggestion for a paper, a whole panel, etc. (max. 500 characters, word, rtf or pdf-format) by September 30, 2016 (extended until October 21) to the following email address: psi2017@uni-hamburg.de. Please include your name, contact information, affiliation and suggested format at the top of your submission (and also a short CV at the end). Please refrain from multiple entries.



11. EVENT: Toronto: Tributes + Tributaries, 1971-1989 Performance Series
Date: October 1–November 13, 2016; City: Toronto, Canada: Source: AGO

Presented in conjunction with Toronto: Tributes + Tributaries, 1971–1989, an exhibition on view at the Art Gallery of Ontario from September 28, 2016 to June 15, 2017. This series features work by artists who created performance in Toronto during the period of the exhibition and since, reflecting upon the centrality of performance to Toronto’s artistic community from the 1970s through to today.

The series launches on October 1 with a performance by Rebecca Belmore in Walker Court during Nuit Blanche. Over the following six weeks, performances by Walter Scott (at First Thursday on October 6) and Lillian Allen (on Friday Nights in October) will complement a series of in-gallery performances by Louise Liliefeldt, Keith Cole, Johanna Householder and Ame Henderson & Evan Webber. Visit AGO.net for the full schedule and details about each performance.

October 1 to November 13, 2016
Various dates and times

Rebecca Belmore
Saturday October 1 / sunrise to sunset
Walker Court, Art Gallery of Ontario | Free

Walter Scott
October 6 / 8pm
Signy Eaton Gallery, Art Gallery of Ontario
Free with First Thursday 

Louise Liliefeldt (co-presented with 7a*11d International Festival of Performance Art)
Wednesday October 19 / 6pm
Signy Eaton Gallery, Art Gallery of Ontario | Free

Lillian Allen
Friday October 28 / 7:30pm
Walker Court, Art Gallery of Ontario | Free with admission

Keith Cole
Wednesday October 26 / 7pm and Saturday October 29 / 2pm
Signy Eaton Gallery, Art Gallery of Ontario | Free with admission

Johanna Householder
Wednesday November 2 / 7pm
Signy Eaton Gallery, Art Gallery of Ontario | Free

Ame Henderson and Evan Webber:
Toronto: Tributes+Tributaries: performance encyclopaedia / November 8-13
Signy Eaton Gallery, Art Gallery of Ontario
Performance: Sunday, November 13 / 2pm


12. EVENT: ANTI Prize Weekend
Date: October 27–29, 2016; City: Kuopio, Finland; Source: ANTI
ANTI - Contemporary Art Festival presents a new event celebrating today’s most explosive live artists!
During the ANTI Prize Weekend, we will award the world’s only prize for live art and present a new commissioned work, Artefact by the last year’s winner, Australian Willoh S. Weiland. The event will feature club programme, audience workshops, artist talks and a PechaKucha Night.
Our Creative Europe project Future DiverCities will also be presented for the first time to public. Before the event, ANTI Festival hosts an experimental artist residency, as a part of the project, where four professionals in media, sonic, urban and community arts will work in Kuopio for a week. The results and non-results of the working period will be shared in different forms during the ANTI Prize Weekend.
The world's only prize for live art will be awarded for the third time in Kuopio on Saturday 29th October. The Prize is 30,000 euros, with the winning artist receiving a cash prize of 15,000 euros and the same amount in the form of a production grant for bringing a new work to the ANTI Festival 2017.
The 2015 winner of ANTI Prize will return to Kuopio with a new site-specific work, Artefact that will premiere on Friday 28th October. Artefact is a free concert in the heart of Technopolis, Kuopio. It is a funeral for technology that has fallen into obsolescence.
For more information, please go to our website: www.antifestival.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. 

445-401 Richmond Street West, Toronto, Canada M5V 3A8

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