FADO E-LIST (May 2017)


1. EVENT: OFFTA’s 2017 Programming

Date: May 2, 2017; City: Montréal, Canada; Source; OFFTA

2. EVENT: New Performance Nights: POWER

Date: May 6, 2017; City: Turku, Finland; Source: New Performance Nights Turku

3. OPEN AUDITION: Ball Passing

Date: May 7, 2017; City: Toronto, Canada; Source: Michael Caldwell

4. CALL FOR PAPERS: Performance Research 'On Writing & Performance'
Deadline date: May 8, 2017; City: the world; Source: Performance Research

5. EVENT: Revolve Performance Art Days

Date: May 12–13, 2017; City: Uppsala, Sweden; Source: Rebecka Wigh Abrahamsson

6. WORKSHOP: Through the Looking Glass

Deadline date: May 15, 2017; City: Cyprus, Greece; Source: Sensorium Space

7. WORKSHOP: Performance Art Workshop With Frank Homeyer and Boris Nieslony

Deadline date: May 15, 2017; City: Burgbrohl, Germany; Source: Boris Nieslony


Deadline date: May 15, 2017; City: Montréal, Canada; Source: RIPA

9. WORKSHOP: SourceWork: Viewpoints / our moving selves with Fiona Griffiths 

Date: May 15–19, 2017; City: Toronto, Canada; Source: claude wittmann

10. WORKSHOP: G12HUB and PerformanceHUB / Summer Program in Belgrade 

Deadline date: May 19, 2017; City: Belgrade, Serbia; Source: PerformanceHUB

11. EVENT: Intra-Action

Date: May 24, 2017; City: Toronto, Canada; Source: Maya Wilson-Sanchez

12. EVENT: Mobius presents Concrete Actions in Heroic Encounters

Date: May 25, 2017; City: Boston, USA; Source: Mobius

13. EVENT: Roche Photo Ciseaux

Date: June 9, 2017; City: Sherbrooke, Canada; Source: Sagamie

14. WORKSHOP: Boundaries of the Everyday Body with Victoria Stanton

Registration deadline: June 17, 2017; City: Montréal, Canada; Source: Victoria Stanton

15. OPEN CALL: Cultures of Silence: Invisible Violence

Deadline: June 30, 2017: City: the world; Source: Ignacio Pérez Pérez

16. CALL: NASTY GRLS: Community (in) Action

Deadline date: October 15, 2017; City: Toronto, Canada; Source: WIAprojects




1. EVENT: OFFTA’s 2017 Programming

Date: May 2, 2017; City: Montréal, Canada; Source; OFFTA


THE OFFTA IS PROUD TO REVEAL THE 2017 PROGRAM on May 2, 2017 at 5:30pm.


The OFFTA starts a new decade! For its 11th edition, the festival puts forward fulgurant propositions by emergent live arts artists. In addition to the shows and performances program, the festivities will deploy themselves in a variety of special evenements and satellite activities. On MAY 2 at 5:30pm, come and meet the artists and partners that will make this 2017 edition unforgettable. The 2017 festival takes place from May 30–June 8, 2017.


Evening Plan

5:30 pm: Reception with appetizers and a round of Grolsch for the first 50 people who arrive!

6:00 pm: Unveiling of the 2017 program

7:00 pm: Visite libre de Anne Thériault / Curated by Anne Thériault with: Maritza Grégoire, Grande Surface, Amélie Rajotte and Karine Théorêt


Please stay tuned to the OFFTA website for updates of the programming for 2017!




The OFFTA is an artistic event created by Montreal artists on the edge of the Festival TransAmériques. The OFFTA offers a multidisciplinary program centered on contemporary creation and the encounter of various art forms. The OFFTA bases its identity on an art direction encouraging strong and singular approaches, emerging practices and experimentation. The OFFTA is not only a showcase of the vitality and creativity of the artistic community, but also a platform for exchanges between artists from different disciplines and horizons. As such, the OFFTA aspires to decompartmentalize contemporary artistic practices along with their respective audiences.


As a promoter, the OFFTA facilitates access to art and offers the chance to discover creators who explore the liminal space between dance, theatre, performance and visual arts, seek adventure in unexplored artistic terrains and forecast new relations between creators and the audience. In this vision of disciplinary mixture, the OFFTA produces special hybrid events: the MIXOFFs. Imagined by the artistic direction, they aim to shake up the established practices of the performing arts and question modes of representation. As a promoter, the OFFTA encourages the discovery of new artists and facilitates an organic mixing of audiences, critics and national and international promoters.




2. EVENT: New Performance Nights: POWER

Date: May 6, 2017; City: Turku, Finland; Source: New Performance Nights Turku


Date: May 6, 2017

Time: 8pm

Location: TEHDAS Teatteri, Itäinen Rantakatu 64 (Manilla), 20810

Tickets: 5 Euro (at the door only)



Panda Eriksson

Harrie Liveart

Fake is Fabulous Inc.



Hosted by New Performance Turku and TEHDAS Teatteri


This year's second New Performance Nights performance club examines the notion of power in personal and political dimensions. The club's sections and performances address the theme with various angles: inequal power structures in the society, identity and gender politics, power structures between individuals, and anxiety over political polarisation as bodily reactions. The programme finishes with Dxxxa D:s rap gig - with a special set, unforeseen tough shit and sound!


New Performance Nights performance clubs offer a change to experience performance art in relaxed club environment - the theme of the evening is only a one possible angle to look at the performance art works. We want to encourage the audience to look at performance art from their own individual perspective. 



Panda Eriksson is a non-binary gender studies scholar, feminist and trans activist. They enjoy assam tea with soy milk, renaissance music and live with their cats Tähti-Igor and Luna. Tonight they will be speaking on the theme decolonizing knowledge: queer perspectives on the gender reassignment process in Finland, addressing power structures and the utopia, where nobody needs to submit to an external power to define their own gender. 



The Kiss is a portrayal of a relationship, where passion between two turns into self-projection. Love delicately tangles in the hands of desire into one's twisted self-image. The will to possess the relationship outlines a new face. 


The strong emotional and metaphysical connection between Saija Kassinen & Meri Linna has developed through their artistic process into a third person named Harrie Liveart. Since 2010 Harrie has been embodied through various medias such as live art, performance art, sculpture, installation and moving image. The presence of the human body is of importance either to the context or the location of the work. At the moment Harrie is working at HIAP Suomenlinna studio residency until the end of September 2017.



Dealing with even the slightest notion of nausea when reading the newsflash every day. Nausea is trying to translate these feelings into risky body actions. Fake is fabulous inc. (Jürgen Bogle) is a performance artist and theoretician from Germany and Switzerland. He works and lives now in Turku, Finland. His work was shown in Germany, Switzerland and Greece. In his approach he is often searching a political body and/or habit.


DXXXA D is rap artist, poet and painter, who's published altogether eleven records both with various groups and solo. His naturalistic and authentic style, rich language and dark humour are all part of his trademark.



New Performance Nights is a series of performance and live art club events, produced by New Performance Turku Festival and TEHDAS Theatre. New Performance Nights performance clubs are performance and live art events with a twist. Artistic and scholarly practices will view various insights towards the current theme: the event includes two works by live art and performance artists and a lecture by local researcher.


New Performance Nights performance clubs are supported by Arts Promotion Centre Finland.


Facebook event: www.facebook.com/events/1060069854136387




3. OPEN AUDITION: Ball Passing

Date: May 7, 2017; City: Toronto, Canada; Source: Michael Caldwell


FALL FOR DANCE NORTH invites dancers/movers of all dance forms, abilities, and ages to join us on stage this fall, to perform in the 72-Person Ball Passing Project-an exciting and dynamic work, devised and taught by the acclaimed choreographer, Charles Moulton.





What is Ball Passing?

Ball Passing is part-dance, part-game and part-moving puzzle. It is community- oriented art in the form of a living Rubik’s Cube, demonstrating the ways in which people can cooperate to manifest a complex and interdependent structure.


Ball Passing is grounded in the basic act of passing a ball from one person to the next. Teams of participants, organized in groups divisible by three, stand in rows on bleachers and pass brightly coloured, 4” soft foam balls, creating complex visual and temporal patterns. The action of passing a ball is extremely simple, yet the organization of the work—the rhythmic patterns and physical configurations—is exceedingly complex.




Who can do Ball Passing?

Ball Passing can be learned by people of all ages & cultural backgrounds, and by those with any level of physical ability, as well as diverse or limited performance experience. Each and every member of the group is an integral part of the whole! (Youth must be 12 years of age or older.)


Successful execution of the work requires three (3) motivations:

–the desire to co-operate

–trust in the interdependence within the group

–the willingness to push oneself beyond perceived limitations.


How can Y-O-U be a part of Ball Passing? COME TO OUR OPEN AUDITION!!!

Sunday May 7, at 3:00pm (Canadian Contemporary Dance Theatre, 509 Parliament Street)


Rehearsals will take place from Monday to Friday, 6–9pm:

September 11–15, September 18–22; and September 25–29, 2017


A tech/dress rehearsal will occur on the evening of Tuesday, October 3, followed by evening performances on October 4/5/6 at the Sony Centre for the Performing Arts (1 Front Street, Toronto) + a matinee performance on October 7, 2017.


*If chosen to perform, all performers MUST fully commit to all rehearsals/performances.*


Who Is Charles Moulton?

Guggenheim Award winner, Charles Moulton began his career dancing with the Merce Cunningham Dance Company from 1973-1976. He has created works for the Joffrey Ballet, Mikhail Baryshnikov's White Oak Project and many other dance companies in the US, and abroad. He is the winner of a 1989 Dorothy Chandler Arts Achievement Award and has received support for his work from the National Endowment of the Arts. Moulton has directed theatre and opera and has created works for film and television, including choreography for over 1,000 dancers in the ‘Matrix Reloaded’. He is a founding co-director of Performance Space 122 in New York City and is widely regarded for his signature work, Ball Passing, in which large groups work together to solve a living puzzle. He lives in Oakland, CA and is the co-artistic director of Garrett + Moulton Productions.


4. CALL FOR PAPERS: Performance Research 'On Writing & Performance'
Deadline date: May 8, 2017; City: the world; Source: Performance Research


Call for Papers: Volume 23, Number 2: ‘On Writing & Performance’ (March 2018)

Proposal deadline: 8 May 2017

Issue editors: Ric Allsopp and Julieanna Preston


This issue of Performance Research sets out to gather research and scholarly articles, artists’ pages and images and critical and creative work on contemporary writing and its performance, on performance and its writings, and on the various environments and contexts in which such work takes place. The issue imagines how a text can be conceptualized, written, presented and figured with equal or more contingency and responsiveness to temporal and corporeal happenings, and vice versa. ‘On Writing and Performance’ seeks to extend current and historical dialogues on the shifting relationship between textual and performance practices and asks:


–What creative, dialogic, autobiographical or alternative writing approaches may elicit a text that engages with the plurality of affects that an artwork produces?

–How may a creative work be informed, inspired, directed, scripted or critiqued with the same respect for liveness that unfolds spatially as it does textually?

–How may these parallel practices inhabit space symbiotically?

–How may a new culture of criticality develop in between acts of ‘performing through’?


The issue will consider its theme from the perspectives of live, sited, scored and voice work in the fields of performance and writing, where:


Live work highlights the primacy of practice and serves as an ongoing discussion around the translation or transference between performance works and textual works. Sited work questions the nature of the relationship between performance writing and place, traversing territories that may include site-specific works, works about place or narratives around journeys between places. Scored considers a shifting spectrum between the singularity of the script and the plurality of the score, challenging the relationship between the written, inscribed or etched, and the performed, live or imagined. Voice work prompts an exploration of aurality and oral traditions, including those emerging from indigenous peoples and those associated with storytelling, singing and public speaking.


Topics for proposal may include performing/writing in relation to:

–notational, page-based and installed forms of practice

–choreographic, embodied and improvisational forms and strategies

–sonic, aural and sound-based writings and performances

dramaturgical and theoretical approaches to translation and cross-disciplinary modes

–notions of insularity, ownership and stewardship, migrancy and transience, internment, bio-security and environmental heritage, belonging and outcast

–forms of performance space, for example, the limits of theatre space's interior contours, audience-performer relationships and the affective qualities of darkness

–distinctions between site-specific, site-situated and site-responsive modes in practices of performance and writing

–engagement with environmental, ecological and bio-political issues as context critical and embodied modes of writing and performing.



Proposals: May 8, 2017

First drafts: September 2017

Final drafts: November 2017

Publication date: March 2018


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


General guidelines for submissions:

–Proposals will be accepted by e-mail (Microsoft Word or Rich Text Format (RTF)). Proposals should not exceed one A4 side.

–Please include your surname in the file name of the document that 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.


Before submitting a proposal, we encourage you to visit our website (www.performance-research.org) and familiarize yourself with the journal.




5. EVENT: Revolve Performance Art Days

Date: May 12–13, 2017; City: Uppsala, Sweden; Source: Rebecka Wigh Abrahamsson


Revolve Performance Art Days

May 12–13 2017



Uppsala Art Museum, Uppsala Konsert & Kongress, Köttinspektionen and Uppsala City



William Basinski (US)
Gustaf Broms (SE) & Nigel Rolfe (IRL)
Ingri Fiksdal (NO)

Leif Holmstrand (SE)
Steffani Jemison (US) & Justin Hicks (US)
Essi Kausalainen (FI)

Performance Pathway, students from Royal College of Art (UK)


Program information coming soon!





6. WORKSHOP: Through the Looking Glass

Deadline date: May 15, 2017; City: Cyprus, Greece; Source: Sensorium Space


We are excited to announce the OPEN CALL for participation of this year’s Cyprus Performance Art Workshop 2017 entitled "THROUGH THE LOOKING GLASS and what Alice found there", facilitated by two of the invited performance artists Dagmar I. Glausnitzer-Smith (DE) and Francesco Kiais (IT/GR).


The Performance Art Workshop “THROUGH THE LOOKING GLASS” is structured as a gradual progression in learning experiences, which follows an intense and enduring focus in the work with the artist’s corporeality, and comprises of practical exercises in multiple formats, including elaboration processes of video, photography, sound, and drawing leading to an enriched and extended range of artistic practice and adds to the methodology of individual idea processes. After four days of practical work offered by Francesco Kiàis and Dagmar I. Glausnitzer-Smith all participants are invited to present their work to the public by way of connecting to projection, sound, installation, drawing and space. 


The looking glass (the mirror) reflects the reality, as the photographic lens or the “eye” of a video camera does, producing the illusion of infinite possible realities. We can ideally follow Alice and go through the mirror, and play with duplication and illusion, between reality and fantasy, dream and memory. “..and what Alice found there” is to follow the intuition of the performer about the awareness of the idea of time and space, related to the mirror and illusion of the Self.


Through Live Actions and Performances, the self-awareness of the body is activated simultaneously on a rational and emotional level. The connection with technological means expands our physical and mental interventions in time, space, atmosphere and images, amplifying our stance, our presence, and the levels of communication with the people participating in our performances. The understanding body and self, acting in the foreground of multimedia layers, explores the world of images coupled with the multiple creative possibilities linked to this, keeping an intense focus on Live Performance Art practice, while forming relationships with inner sources and external experiences.


The workshop incorporates the idea of place and live situations. Participants explore external public places (by choice or surprise) where immediate action is realized and physically examined with an acute attention for sound and voice. This brings awareness to the idea of site-specific work and suggests notions of history and socio-cultural research. The use of sounds, words, text and voice is being investigated and clarifies notional differences and intentional aspects between Fine Art practice and performing arts through theatre and staged Live Art situations. The awareness of the difference in intentionality serves at the root of creative ideas and enables one to reach a level of integrity and knowledge for cross-disciplinary experimentations.


The participants will have the opportunity to present a live performance on the first day of the cultural intervention entitled ‘TACTILE BODIES’ on 23rd June 2017 at ‘ΓΚΑΡΑΖ’ Μultifunctional Art Space at the heart of the Old Nicosia, alongside the invited artists: 

Soufia Bensaid 

Christina Georgiou

Dagmar I. Glausnitzer-Smith

Francesco Kiais

Marcel Sparmann 

Nicolina Stylianou

Anniken Weber



15th May 2017 (midnight)

Minimum participations: 8

Maximum participations: 12


For more information: www.facebook.com/events/335765393487915




7. WORKSHOP: Performance Art Workshop with Frank Homeyer and Boris Nieslony

Deadline date: May 15, 2017; City: Burgbrohl, Germany; Source: Boris Nieslony


Performance Art Workshop with Frank Homeyer and Boris Nieslony

June 3–7, 2017



9:00–12:30h: mornings are guided by Frank Homeyer

12:30h: Lunch/ Break

13:30–17:00h: afternoons are guided by Boris Nieslony


Wednesday June, 7th 14–17h: final presentation


Boris Nieslony / performance artist, theorist and teacher: "Presence is the starting point as a laboratory of perception. The situation is practically developed in the now and presented as a possible form of performance. Talking-about unfolds reflections and approaches for a theoretical base."


Frank Homeyer / performance artist and pedagogue: "Discovering topics around performance-art, evaluatig and reflecting the personal expression in practical exercises."


Workshop costs: 250€ / students 150€ (not included are costs of travel)


Host Karin Meiner offers with the KUNSTPAVILLON a special atmosphere in the area of "Voreifel" particulary beautifully situated. A wide view and bright rooms create optimal conditions for a concentrated work. There a simple sleeping places in the studio apartment and in the art pavilion (sleeping bags are welcome). Catering costs varies according to demand. Arrival is possible on Friday 2nd June.



Please send a registration with your name, address, phone, e-mail to info@hammes-meiner.de or by post: Kunstpavillon Burgbrohl, Hechenbergweg 6a, D- 56659 Burgbrohl after receipt of the registration, confirmation and invoice by e-mail. Workshop-costs-payment within 14 days upon receipt of the payment, confirmation of the participation by e-mail. Registration deadline is 15th May.







Deadline date: May 15, 2017; City: Montréal, Canada; Source: RIPA


For its seventh edition to be held in spring 2018, RIPA (rencontre interuniversitaire de performance actuelle) seeks volunteer collaborators in order to complete its team. RIPA is a great opportunity for whoever wants to gain experience in the managing of a cultural event, familiarize oneself with Quebec’s artistic scene, and participate in such a major project.


Initiated in 2012, RIPA is an annual non-profit event run by volunteer students whose aim is to promote performative practices of emerging artists from Quebec universities and neighbouring provinces and States. RIPA wishes to develop Quebec’s performance networks by fostering exchanges between students, audiences and the art community. Based in Montreal, the event is a unique and accessible platform that connects emerging and established practices around significant issues.


RIPA is a great opportunity for whoever wants to gain experience in the managing of a cultural event, familiarize oneself with Quebec’s artistic scene, and participate in such a major project.


RIPA is currently seeking students who are interested in one of these positions:

General coordination

-Plan the entire event and supervise the other positions;

-Take care of any other task;

-Website update;

-Organize and host the meetings;

-Participate in the jury and programming selection;

-Manage the event.

* Most of the work is done before, during, and after the event


Programming coordination

-Write the call for proposals and carry out any follow-up actions;

-Constitute the jury and participate in it;

-Selection and invitation of the guest artist;

-Take care of the artists and elaborate the global structure of the programming;

-Develop the space plan and the sequence of the evening.

* Most of the work is done before and during the event



-Take care of the event’s call for submissions;

-Set out a timetable for the communications;

-Create a contact list with regard to the communication strategy;

-Take care of the communication and promotion (social media, email, radio, newspapers, etc.) of the event and round table;

-Write the pamphlet.

* Most of the work is done before the event



-Update budget;

-Write grant applications and the balance sheets;

-Follow up with the granting organizations;

-Manage invoices required to the subsidy payments;

-Manage cheques and cashing.

* Most of the work is done before and after the event



-Rent the room for the event and follow up with the owners;

-Take care of the insurances for the room and of the liquor license;

-Find liquor supplier and caterer;

-Manage volunteers, bar and caterer during the event.

* Most of the work is done before and during the event


Round table coordination

-Think of an interesting and relevant formula for the round table (theme, format, etc.);

-Find potential speakers;

-Follow up with the guest speakers;

-Find a place;

-Welcome guest speakers and ensure the proper unfolding of the round table;

-Act as a moderator, if needed.

* Most of the work is done before and after the performance event, and during the round table event


Graphic design

-Create invitations, flyers, posters, pamphlets and other variations for the 2017


-Create the layout of the various forms (call for submissions, contracts, press

releases, etc.).

* Most of the work is done before the event


Technical support

-Plan the technical needs related to the event and ensure the feasibility of

performances in terms of installations, technical resources and the room’s


-Rent and install audiovisual gear and lighting;

-Ensure the proper technical unfolding of the event, in close collaboration with

artists and volunteers.

* Most of the work is done during the event


Translation (ENG/FR)

-Take care of everything that must be translated for the communications.

* Most of the works is done before the event



-Plan and accomplish, with volunteers, the documentation of the event.

* Most of the work is done just before, during, and just after the event


Please send us your application by email to ripa.contact@gmail.com before May 15, 11:59 PM. Be sure to include, in PDF files:

-A cover letter mentioning the position you want (one page maximum);

-An updated resume (two pages maximum);

-Please indicate the position you apply for in the title of your email.


Please note that applicants must be registered as full-time or part-time students for the 2017-2018 fall and winter semesters.








9. WORKSHOP: SourceWork: Viewpoints / our moving selves with Fiona Griffiths 

Date: May 15–19, 2017; City: Toronto, Canada; Source: claude wittmann


SourceWork: Viewpoints / our moving selves with Fiona Griffiths

Date: May 15–19, 2017

Time: 10am–2pm

Location: Dovercourt House 3rd floor, 805 Dovercourt Rd., Toronto


In all the body disciplines ‘call and response’ is one of the most important aspects of the performative experience. There is an inner and personal kinaesthetic impulse that feeds the outer expressive response. That response encompasses space, shape, and time; covering all aspects of the performative experience. 


The workshop will be divided into 2 sections: one the internal, personal response to our impulses (solo work) and the second will be responding to the outer world of each other and the space (influenced). The first part features a somatic practice preparing bodies for movement; using Kinetics, MELT, Feldenkrais, Body Mind Centreing, etc. We then enter the world of personal movement exploration through Authentic Movement, rivers and Mary Overlie's SSTEMS (space, shape, time, emotion, story). The second half of the course features the 9 Viewpoints by Anne Bogart. This part plays with various ways to respond to the influence of each other and the space through locomotion, shape, text or song. This enables scenes and stories to be created spontaneously, folding in and out of the work. 


"....the lesson is how to make it live, how to make it breathe...

The viewpoints training asks us to stay awake inside of a structure.”

(D Mather) 


Please join us for Our Moving Selves to explore and experiment together, informing the performing experience with these essential and timeless skills. This week-long workshop is open to professional artists from all performing disciplines. No drop-ins svp.


Cost: $200.00 (Early bird $150.00 before April 24th)

Payment can be made by E-Transfer to jenniferdallas@kemiprojects.ca OR

by cheque payable to Kemi Contemporary Dance Projects. Mail to: 159 Dundas St East Toronto, Canada, M5B 0A9


Don’t let financial restrictions be a barrier to joining us. Contact Jennifer Dallas if you are interested in an energy exchange opportunity to support up to 25% of the cost


FIONA GRIFFITHS (RN, BFA, MFA, MA) is an acclaimed multimedia theatre artist with extensive performing, touring and teaching experience in dance, theatre and clown. Intensive multidisciplinary study in all aspects of performance has resulted in SourceWork, integrating both the inner and outer performative experience. Fiona regularly teaches SourceWork work nationally and internationally and collaborates with performers from all disciplines. She is a movement and performance coach as well as teaching somatic work, health and fitness. As well as her private practice, she also teaches at the School of Toronto Dance Theatre & The Manitoulin Conservatory for Creation and Performance.


Questions? Email: filogriff@yahoo.ca




10. WORKSHOP: G12HUB and PerformanceHUB / Summer Program in Belgrade 

Deadline date: May 19, 2017; City: Belgrade, Serbia; Source: PerformanceHUB


PerformanceHUB is an education platform founded by internationally renowned, Belgrade born performance artist Marta Jovanović and Serbian curator Milica Pekić whose work and research focus on the history of performance art in former Yugoslavia. One week summer school will consist of theoretical as well as practical part. Theoretical part, lead by Milica Pekić and curator Stevan Vuković will focuse on the history of performance art in former Yugoslavia, the ways in which the scene was formed, on the main actors, artists such as Marina Abramović, Raša Todosijević, art historian and curator Ješa Denegri and others. Students will study why performance art thrived in the region in the ’60 and the ’70, and will be looking into the individual artists, their influence on the international art scene and their legacy. Practical part of the program, lead by the contemporary artists Branko Milisković and Marta Jovanović will prepare students for their individual performances that will take place at the end of the program.


June 2017 Summer Program Itinerary


Sunday June 25 - Arrival of students to Belgrade


Monday June 26

10am–11pm: Meet and greet, introduction with Marta Jovanović and Milica Pekić

11am–2pm: Workshop with Branko Milisković

1pm–2pm: Lunch offered at the premises

2pm–5pm: Lecture by Milica Pekić on history of performance art in former Yugoslavia


Tuesday June 27

10am–1pm: Workshop with Marta Jovanović

1pm–2pm: Lunch offered at the premises

2pm–5pm: Lecture by curator Stevan Vuković on history of performance art in former Yugoslavia


Wednesday June 28

10am–1pm: Workshop with Branko Milisković at the Rehearsal Space of PerformanceHUB

1pm–2pm: Lunch offered at the premises

3pm–6pm: Artist talk with one of the historical figures of the 70’s performance art scene


Thursday June 29

10am–1pm: Workshop with Marta Jovanović and preparations for ad hoc performances

1pm–2pm: Lunch offered at the premises

2pm–5pm: Guided visit to Student Cultural Center, Museum of history of Yugoslavia


Friday June 30

10am–1pm: Workshop with Branko Miliskovic

1pm–2pm: Lunch offered at the premises

4pm–7pm: Guided visit to galleries, cultural centers, independent spaces, exhibitions in Belgrade


Saturday July 1

10am–noon: Yoga, stretching and relaxation with Sara Kostić

Noon–5pm: Preparations for ad hoc performances with Marta Jovanović and one on one Q&A and individual help with the performances with Marta Jovanović

6pm: Light dinner at the premises

7pm on: Student Performances


Sunday July 2: Students leave Belgrade


All activities take place at the Rehearsal Space of PerformanceHUB.


TUITION of the program is EUR 800. Tuition INCLUDES lunch each day, guided tours and museum tickets. Tuition DOES NOT include hotel and stay in Belgrade, travel costs and other meals. We remain available to assist you with any information you might need.



–Letter of Intent;

–Bio and portfolio for artists (maximum 5 works with short description) / Bio and CV with list of publications for researchers and curators;

–Please send your application as ONE SINGLE PDF FILE with your last name and first name in the file name.


Maximum number of students is 12. Scholarships and discounts are not available for the summer programs. Tuitions will be fully donated to the program for its further development.



May 19: Application deadline

May 30: Final list of candidates will be announced

June 10: Full payment of EUR 800 due


Applications received after the application deadline will not be considered and late payments will not be tolerated. Please send your application to production@g12hub.com



Milica Pekić is an art historian and curator from Belgrade. Graduated at the department The History of Art, Faculty of Philosophy, University of Belgrade. Co founder of Kiosk platform for contemporary art and Gallery 12 HUB, since 2002 till present she is actively engaged in creating and developing curatorial and art projects. O3one gallery curator from 2004 till 2007. As curator she participated in numerous projects on local, regional and international level. She fulfilled program “European diploma in cultural project management” and received USA government grant for “International visitors’ leadership program”. Her essays are published in numerous magazines, publications and catalogues.


Marta Jovanović is a Belgrade born performance artist with internationally acclaimed carrier. In her work, she constructs scenarios in which she interrogates identity, beauty and sexuality. Her interdisciplinary practice provokes a reconsideration of the dictates of culture and the construction of sexual identity. Appropriating the instantly recognizable characteristics of fashion mediums, her works reveal the limitations of the traditional canon of beauty while drawing attention to the fluidity of gender. Her performances, videos and photographs are an invitation to disregard conventional notions of beauty and embrace a more democratic vision of representation, free from all constraints.


Branko Milisković born in Belgrade, Former Yugoslavia, in the last generation of Marshall Tito’s Pioneers. He received the Dutch scholarship HSP Huygens and completed his Bachelor of Arts at the Royal Academy in The Hague, The Netherlands in 2009. Milisković has earned his Master degree from Hochschule für Bildende Künste, Hamburg, class of Jeanne Faust (2012). His work have been shown internationally such as at Reims Scenes d’Europe 2015 at La Comedie de Reims, Galerie Metropolis, Paris 2014, CSW/CoCA, Torun, solo productions at Kampnagel, Hamburg, Les Halles, Brussels 2011-2014, Kaai studio, Brussels 2016, CIRCA art actuel, Montreal 2017 etc. Branko Milisković was performing and exhibiting in Italy, Germany, Belgium, France, Austria, Serbia, Israel, Russia, Poland, Switzerland, Finland, Norway, The Netherlands, UK, Singapore, Indonesia, Canada and USA.


Stevan Vuković works as writer and curator. As curator, he has realized projects in the Secession in Vienna, Kuenstlerhaus Stuttgart, Cornerhouse in Manchester, Moderna Galerija in Ljubljana, Museum of Yugoslav History in Belgrade, etc. Practical workshops he has conceptualized and conducted include: “Art Session“, Remont Art Association, (2001 – 2002); “Televisualisation“, Academy of Fine Arts, in Belgrade, (2004); “Collective Curating“, Rum46, Århus, Denmark (2006); Art in Public Space”, Academy of Art in Osijek, Croatia (2007 –2009); “From Dyonisian Socialism to Predatory Capitalism“, Museum of Contemporary Art in Belgrade (2010-2012); “Precarious Labour in the Filed of Art“, Postgraduate Program in Curating, Institute for Cultural Studies in the Arts in Zurich (2012); “Contemporary Art Orientation Program“, New Academy of Arts in Belgrade (2012 to 2014


Questions can be directed to: Nikolina Janković at production@g12hub.com




11. EVENT: Intra-Action

Date: May 24, 2017; City: Toronto, Canada; Source: Maya Wilson-Sanchez



May 24, 2017

6-8pm (There will be snacks and drinks!)


Xpace Cultural Centre

303 Lansdowne Avenue (Unit 2), Toronto


Xpace Cultural Centre will be hosting its second evening of live performance for emerging artists to showcase new, old or in progress performance or performative art pieces on Wednesday, May 24th from 6-8pm. This performance event welcomes the public to come together to form a critical and inclusive space for the development and demonstration of performance art.




About XPACE Cultural Centre

Xpace Cultural Centre is a membership driven artist-run centre supported by the OCAD Student Union and dedicated to providing emerging and student artists and designers with the opportunity to showcase their work in a professional setting. We program contemporary practices that respond to the interests and needs of our membership. As we program with shorter timelines this allows for us to respond to contemporary issues in theory and aesthetics, keeping an up to the minute response to what is going on directly in our community.


Intra-Action is supported by: Vibe Arts, Platform A, Toronto Arts Council and the OCAD Student Union.




12. EVENT: Mobius presents Concrete Actions in Heroic Encounters

Date: May 25, 2017; City: Boston, USA; Source: Mobius



Artists Respond to Boston City Hall


Thursday May 25, 2017



The Mobius Artists Group is pleased to announce Concrete Actions, an evening of site-inspired original works responding to the striking concrete modernist design of City Hall and the democratic ideals that continue to animate it.  Commissioned by The Mayor's Office of Arts and Culture, City of Boston as part of the HEROIC ENCOUNTERS Series, Concrete Actions will unfold on Thursday, May 25th at Boston City Hall. Thirteen Mobius artists will activate the interior of the building through a diversity of media. The civic landmark will be transformed through aesthetic experimentation in interactive performance art, video, installation, sound and movement.


Participating artists include: 

Margaret Bellafiore

James Ellis Coleman 

Daniel DeLuca

Sara June

Jesse Kaminsky

Milan Kohout

Mari Novotny-Jones

Tom Plsek

EL Putnam

Joanne Rice

Sandrine Schaefer 

Jane Wang

Anna Wexler




This project is supported in part by an award from the National Endowment for the Arts.




13. EVENT: Roche Photo Ciseaux

Date: June 9, 2017; City: Sherbrooke, Canada; Source: Sagamie


Roche Photo Ciseaux

With Mathieu Lacroix, Sarah Chouinard-Poirier and Steve Giasson 


Residency at Centre SAGAMIE: April 24 to 28, 2017 (50, St-Joseph, Alma)

Performances at Le LOBE: Saturday, April 29 at 7pm (114 Bossé, Chicoutimi)

Performances at Sporobole: Saturday, June 09, time TBC (66 rue Albert, Sherbrooke)

Performances at VIVA! Art Action: Montréal, early October 2017


In recent years, the relationship between performance art and the image has been dominated by the question of documentation. As such, we commonly think of image making as a tool for capturing and communicating live works to future audiences. In other words, the action is commonly assumed to generate the image. 


In contrast, Roche Photo Ciseaux invites three artists to invert the expected relationship by considering how images can be used to generate actions. During a creation residency at Centre SAGAMIE, Sarah Chouinard-Poirier, Mathieu Lacroix and Steve Giasson will develop new performances that explore photographs and other printed visuals as a performance material rather than as documentation. The resulting actions will be presented at Le Lobe (Chicoutimi), at Sporobole and at VIVA! Art Action (Montréal). 


Mathieu Lacroix lives and works in Montréal. He has an undergraduate degree in Visual Arts from the Université du Québec à Montréal. Within his practice, the theatre of the everyday is, on the one hand, emphasized and, on the other, perverted by the construction of a poetic unreal. His work has recently been shown at the Musée des beaux-arts de Sherbrooke, at CIRCA Art Actuel and at la Maison de la culture Côte-des-Neiges in Montréal. He has also exhibited at the Musée des beaux-arts de Mont-Saint-Hilaire during the 5th Biennale du dessin, at the Musée d’art contemporain des Laurentides (2014-2013), at Galerie Tzara in Québec (2012) and at the Centre d'exposition du Vieux Presbytère de St-Bruno-de-Montarville (2009). 



Sarah Chouinard-Poirier is a multidisciplinary artist working closely with cultural and community-based initiatives in Montreal. She elaborates her performances by arranging presence, gesture, speech and object, to compose an image as sensitive as it is radical, to create her own feminist and resistant mythology. Her recent solo work focuses on spoken action and the body’s marking of space, as well as the narrative quality of actions and images. She is also interested in relational practices, care ethics and re-appropriation of narratives by people and communities. http://sarahchouinard-poirier.blogspot.ca/


Steve Giasson is a conceptual artist that uses a wide variety of forms and media to transgress artistic genres and to question their limits. Romantic notions of authenticity and originality are undermined within his practice, which borrows freely from both the everyday and Art History – between homage and affront – in an effort to demystify the creative process and the figure of the artists. He has 20 publications to his credit and is currently pursuing a PhD in Études et pratiques des arts (UQAM). His work has been exhibited in Canada, the United States, Mexico, and Europe. www.stevegiasson.com


SAGAMIE is a contemporary research, creation and production centre that is open to all artists whose practices connect to issues related to the contemporary image. 



The artist-run centre LOBE develops itself on three complementary axes: creation, presentation and mediation, so as to bridge the continuum between artist’s work and the brouhaha of events; between art, theory and action; between the object and the performative.



Sporobole is an artist-run centre that acts as a catalyst for artistic enquiry and creation through encounters between artistic practices and fields of knowledge in the digital age.



VIVA! Art Action oversees the production of events linked to the presentation and advancement of action art practices and knowledge. This includes performance art and its related forms. 





14. WORKSHOP: Boundaries of the Everyday Body with Victoria Stanton

Registration deadline: June 17, 2017; City: Montréal, Canada; Source: Victoria Stanton


Boundaries of the Everyday Body: A Post-Studio Performative Practices Intensive

Performance Art Workshop with Victoria Stanton


Where: Various locations around the island of Montréal, Canada

When: June 23, 5pm-9pm; June 24, 11am-5pm; June 25, 11am-5pm

Cost:  $200 (sliding scale available for limited number of participants)


Registration Deadline: June 17, 2017 ($50 non-refundable deposit reserves your spot)

Workshop will be given in English and French


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



An evening and two days spent roaming around various public locations. Mostly outside, and then inside if the mood or weather strikes. Up on the paths of Mount-Royal, down by the shores of the Saint-Laurent, over along the Main… this workshop intensive will specifically locate our process (from warm-ups to presentations) 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 as we move from one location to the next on a daily basis. How does place inform our behaviour? How do we move, walk, relate, receive – depending on where we are? How do weather, air, walls, others inform our performative choices? With an emphasis on post-studio methodologies, and infiltrating practices (i.e.: more invisible, liminal actions that subtly imprint themselves into the fabric of daily life), through embodied research we will also examine the im/practicalities (challenges, surprises, joys, unpredictability of dynamics) of making/showing work literally “outside the box.”


About the Facilitator

Victoria Stanton is an interdisciplinary artist whose 20+ years of practice spans the realms of live action, human interaction, video, film, photo, drawing, and writing. Since 2001 Victoria has been delving into an expanded engagement with performance art, combining infiltrating and transactional/relational processes within a variety of communities and contexts across Canada and internationally. Considered a pioneer of transactional practices in Quebec, she has facilitated several workshops with TouVA (a collective comprised of Stanton, Sylvie Tourangeau and Anne Bérubé) and been developing a pedagogy via the exploration of human geography, architecture and the body as well as the micro-event – elements that have become fundamental to her workshops. She has previously given classes in Montreal (RAIQ, SKOL, Studio 303, Concordia University) Durham (Words Aloud Festival), Toronto (Hub 14, Artscape Gibraltar Point, Artscape Youngplace), Sudbury (Galerie du Nouvel-Ontario), Mexico (Centre FRONDA), and Melbourne (Overload Festival). Victoria has presented exhibitions, performances, interventions, and films/videos nationally and internationally, and has co-authored two books: with Vincent Tinguely (Impure, Reinventing the Word: The Theory, Practice, and Oral History of Spoken Word in Montreal, conundrum press, 2001) and TouVA (Le 7e sens : Practicing Dialogues/ Practicing Workshops/ Practicing the Daily Performative/ pratiquer l'art performance, Éditions Sagamie, appearing in the fall of 2017). http://bankofvictoria.com




15. OPEN CALL: Cultures of Silence: Invisible Violence

Deadline: June 30, 2017: City: the world; Source: Ignacio Pérez Pérez


Cultures of Silence: Invisible Violence is a transatlantic call for video/performance works that happens in between Latin America and the Nordic and Baltic Countries*. The call looks for works that respond, discuss, resist and expand their visions towards the explicit representations of violence, promoted by massive media and building a violent aesthetics with stereotypical basis, polarizing the understanding in a binary system (good/bad, white/black, first world/third world…) invisibilizing the complexity of the subtle violence's and the relation between them.


By being directed at 2 continents, this open call seeks to compose a screening selection with different aesthetics, geography's, economies and political perspectives of violence; it is a subtle open call that asks about the origin of violence, its assimilation, dispersion and transmission.


The following questions can help as a guide:

How to reveal violence? How to react, how to make it visible without reproducing it? What are the possible actions to resist and reject violence? How can local performance practices be contextualized in global events when they refer to specific situations? What are the mechanisms in performance practice that can be developed beyond the art scene, affecting other audiences?


More information on how to apply:


Facebook event: www.facebook.com/events/149620532226635/


*Some artists will be invited personally because of their trajectory and artistic proposal, nevertheless the character of this open call is inclusive


This project is generously supported by Kone Foundation.




16. CALL: NASTY GRLS: Community (in) Action

Deadline date: October 15, 2017; City: Toronto, Canada; Source: WIAprojects


Exhibition: January 2018: NASTY GRLS: Community (in) Action 


We are calling for images of socially-engaged community work. What do you do as a feminist, artist and researcher in your own communities? 



WIAprojects at Centre for Women’s Studies in Education, Ontario Institute for Studies in Education, University of Toronto is showcasing women’s – and especially feminist – socially-engaged community activity in an exhibit in the CWSE Hallway Gallery this coming Jan. 2018. Our expectation is that the works will specifically explore where we, nationally, as women and/or as feminists are situated after Canada 150.


Who are you – Individual? Group? Collective? Are you from a rural area or urban center? How do you respond to and enliven the hopes, wishes, and activities of/in your communities? Who do you work with and how? How have you spoken to or/and facilitated in assisting with meeting the needs of a diverse population or a specific group? Do you have a powerful image that speaks to this work that you do?


We are asking for submissions of printed colour images on good quality photo paper in 4” x 6” (vertical or horizontal) format. You may send up to three images (indicate an order of preference) and we will try and show them all but, if space becomes limited, we may have to choose one. In order to defray costs we are asking for an administrative fee of $25 for the submission of one image ($10 for each individual image beyond the first one – up to total of $45 for 3 images) to cover framing, hanging, advertising and administrative costs. The image and cheque should be sent to: Nasty Grls, WIAprojects, 22588-264 Bloor Street West, Toronto, ON M5S 1V8.


Please send as well in an email to wiaprojects@gmail.com biographical information on yourself or your group or project, a description of your activity using the questions above as a framework and a 300 dpi jpg copy of your image(s) for publicity or catalogue purposes. Please send your text  as a one page word file for us to use to accompany your image(s) – maximum 200 words please for all! We suggest approximately 100 word bio and 100 word statement. This text will be oriented, printed and shown beside your image(s).


Once we receive your email and mailed submission, we will contact you via email to acknowledge receipt. 


DEADLINE: Oct 15, 2017






Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. 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 perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.


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



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