FADO E-LIST (December 2017)


1. EVENT: Performance Club 1 with Moe Angelos

Date: December 14 & 15, 2017; City: Toronto, Canada; Source: FADO

2. EVENT: Performance Academy 3 with Cindy Baker

Date: December 16, 2017; City: Toronto, Canada; Source: FADO

3. EVENT: 7a*md8 is pleased to present On-Line Social Media Residencies
Date: November 3–December 16, 2017; City: everywhere; Source: 7a*11d

4. EVENT: HOMAR Performance Art Festival

Date: December, various; City: Khorramabad, Iran; Source: Gustaf Broms


Date: November 8–December 3, 2017; City: Toronto, Canada; Source: Leena Raudvee 

6. EVENT: Zaz Festival 2017 

Date: November 30–December 12, 2017; City: Tel Aviv, Israel; Source: Zaz 

7. CALL FOR SUBMISSIONS: Animating Toronto Parks
Deadline date: December 4, 2017; City: Toronto, Canada; Source: Toronto Arts Council

8. CALL FOR SUBMISSIONS: Performance Research

Deadline date: December 8, 2017; City: the world; Source: Performance Research

9. OPEN CALL FOR PROPOSALS: ANTI - Contemporary Art Festival 2018

Deadline date: December 12, 2017; City: Kuopio, Finland: Source: ANTI

10. EVENT: Co-Creation Live Factory–Prologue 1

Date: December 14–16, 2017; City: Venice, Italy; Source: VestandPage

11. CALL FOR SUBMISSIONS: Naked State art residency

Deadline date: December 15, 2017; City: Toronto, Canada; Source: Naked State

12. EVENT: PuSh International Performing Arts Festival

Date: January 16–February 4, 2018; City: Vancouver, Canada; Source: PuSh

13. CALL FOR PARTICIPANTS: PSi Summer School #1.5

Deadline date: March 1, 2018; City: Daegu, South Korea; Source: PSi




1. EVENT: Performance Club 1 with Moe Angelos

Date: December 14 & 15, 2017; City: Toronto, Canada; Source: FADO


FADO Performance Art Centre is pleased to present:

Performance: Club 1


Queer/Play edited by Moynan King

Performed by Moe Angelos



December 14, 7–9pm

December 15, 7–9pm



The Commons @ 401 Richmond

401 Richmond Street West, Toronto

Suite 440, 4th floor


Facebook event: www.facebook.com/events/129726907716156/


FADO's newest performance series, Performance: Club, attempts to redefine the historical and contemporary performance art canon, one book club, and one book / article / essay / anthology at a time. Invited artists perform the role of book club facilitators, leading the audience through a performance of a reading, a reading performance, a performance about a book, or a bookish performance. The inaugural Performance: Club takes on the newest tome in our collective performance canon: Queer/Play edited by Moynan King (published in November by Playwrights Canada Press).


A collection of never before published scripts and interviews from both emerging and established Canadian queer theatre and performance artists, Queer/Play maps a cross section of current performance works found at the intersection of queer life and art, delving into the resulting subcultures and always-changing concepts of identity and performance. In this book, queer is not just something someone is; it’s also something these artists do.


Queer/Play Performance: Club is presented in 3 sessions, and will be performed by Moe Angelos. Angelos interprets and takes inspiration from the material content of Queer/Play to create a new performance work of their own, playing with the idea of book club.



Each event in the Queer/Play Performance: Club will feature a verbatim reading of some of the interviews contained in Queer/Play, performed by a roster of Toronto-based artists, writers, and performers including: Shannon Cochrane, Amanda Cordner, Sky Gilbert, Darren Gobert, Johanna Householder, Aisha Sasha John, Louise Liliefeldt, Pamila Matharu, Tanya Mars, Dainty Smith and Michaela Washburn.



Admission: PWYC (at the door only)

This is your book club. You are the audience. You decide how many sessions you attend.


It is not a requirement that you have already read the book being clubbed to attend this Performance: Club. But you are more than welcome to! There will be a limited number of discounted books for sale at the door or you can purchase your copy in advance through the Playwrights Canada Press website.


FADO will also be taking a collection at the door each night during Performance: Club to offset the cost of purchasing a book for anyone that cannot afford one. 


ABOUT Queer/Play

Queer/Play gathers works by both emerging and established Canadian queer artists at the intersection of queer life and art, delving into the resulting subcultures and always-changing concepts of identity and performance. In this book, queer is not just something someone is; it’s also something they do.



Graceful Rebellions by Shaista Latif

Lapine-Moi / Rabbit-I & Cerveau Fêlé 101 / Broken Brain 101 by Nathalie Claude

Dirty Plötz by Alex Tigchelaar

Chronicles of a War Child by Jazz Kamal “Nari”

She Mami Wata & The Pussy WitchHunt by d’bi.young anitafrika

The Magic Hour by Jess Dobkin

Trapped! by Hope Thompson

Sister Mary’s a Dyke?! by Flerida Peña

Hiding Words (for you) by Gein Wong

SPIN by Evalyn Parry



"Comedians Talking about (Gay) Comedy," a round-table discussion with Elvira Kurt, Sabrina Jalees, Dawn Whitwell, and Carolyn Taylor with Moynan King



Alisha Stranges, Erin Hurley, Laine Zisman Newman, Donna-Michelle St Bernard, Mel Hague, Keith Cole, Laura Levin, Tabia Lau, Kim Crosby, Margo Charlton


Join the Hardworkin' Homosexuals for the offical queer launch of Queer/Play

December 2, 2017


Tallulah's Cabaret, Buddies in Bad Times Theatre, 12 Alexandra Street, Toronto


STAY TUNED for details about Performance Club 3

Valley of the Dolls

Performed by Keith Cole

January 2018




2. EVENT: Performance: Academy 3 with Cindy Baker

Date: December 16, 2017; City: Toronto, Canada; Source: FADO


FADO Performance Art Centre, in partnership with Tangled Art + Disability, is pleased to present: Performance: Academy 3 with Cindy Baker


Saturday, December 16, 2017


The Commons @ 401 Richmond
401 Richmond Street West, Suite 440 (fourth floor), Toronto
To register your interest in attending, please visit our eventbrite:


FADO Performance Art Centre's performance series, Performance: Academy, takes on the abstract form of a school, a university, a workshop, a class or a course, in the form of our own homemade academy. Performance: Academy is not a workshop and it’s not a school either. It's best understood as a public engagement opportunity with an artist who is invested in inverting notions of authority in practice, research, and pedagogy.


In partnership with Tangled Art + Disability, FADO welcomes Cindy Baker to Performance: Academy for a one-time engagement on December 16 in conjunction with "Home: Body", a performance series presented by Tangled Art + Disability. For information on this series, please visit http://tangledarts.org


Admission: free
Snacks will be provided.
ASL interpretation and attendant care provided.
This academy is open to all participants of all levels of study and/or experience, including the just plain curious. 



Tangled Art + Disability is boldly redefining how the world experiences art and those who create it. We are a not for profit art + disability organization dedicated to connecting professional and emerging artists, the arts community and a diverse public through creative passion and artistic excellence. Our mandate is to support Deaf, Mad and disability-identified artists, to cultivate Deaf, Mad and disability arts in Canada, and to enhance access to the arts for artists and audiences of all abilities.



Home: Body

Alberta-based Cindy Baker develops a new iteration of her noted performance work "Crash Pad”, within the confines of the gallery space. Crash Pad centralizes the artist’s “failing,” disabled, or otherwise socially taboo body as a part of the work. Central to the performance is a large sculptural object, which functions as a bed, modeled after a single-pill blister pack. The precarious balance offered by the pseudo-resting place in this quiet performance exaggerates the difficulty in going to bed and getting up, and the unease of finding a comfortable resting position.


December 14 and 15, 2017


Tangled Art + Disability, 401 Richmond Street West, suite 122, Toronto


ABOUT Performance: Academy

Performance: Academy is a platform in which artists constitute their own school of learning–performing pedagogy–for an audience in the form of peer-to-peer academia, where self-organizing and personal experience as knowledge is valued over institutionalized frameworks. Artists, writers and creative thinkers from the performance art milieu as well as adjacent practices such as curation, social practice, film/video and more, develop and offer mini-courses (of 3 or more sessions dissmeinted over several weeks) presenting ideas and covering a range of topics and  that each facilitator is already an expert in (however one might define "expert"). A workshop in the form of a performance; a performance in the form of a school.


Through a sustained commitment to collective learning, Performance: Academy transforms the concept of a course into a group performance. 


Performance: Academy 2017–2018


Performance: Academy 1



September 2017


Performance: Academy 2

Dino Dinco

October 2017


Performance: Academy 3

Cindy Baker

December 2017


Performance: Academy 4

Moynan King

Spring 2018




3. EVENT: 7a*md8 is pleased to present On-Line Social Media Residencies
Date: November 3–December 16, 2017; City: everywhere; Source: 7a*11d


7a*md8 is pleased to present On-Line Social Media Residencies in partnership with Trinity Square Video, Dancemakers and Laboratorio Oxaca. 


Ten artists have been invited to take over our social media for ten weeks. Starting November 3 the TSV vitrine at 401 Richmond Street West in Toronto will showcase interviews with our ten artists in residence as they respond to questions about social media and lens based performance practices. Tune into our instagram (www.instagram.com/7a11d/) for more. 


Artists include:
Sab Meynert: Sunday October 1–Saturday October 7, 2017
Mohammad Rezaei: Sunday October 8–Saturday October 14, 2017
Kiera Boult: Sunday October 15–Saturday October 21, 2017
Nadège Grebmeier Forget: Sunday October 22–Saturday October 28, 2017
Jessica Karuhanga: Sunday October 29–Saturday November 4, 2017
Yolanda Duarte: Sunday November 5–Saturday November 11, 2017
Natasha Bailey: Sunday November 12–Saturday November 18, 2017
jes sachse: Sunday November 19–Saturday November 25, 2017
Bishara Elmi: Sunday November 26–Saturday December 2, 2017
Syrus Marcus Ware: Sunday November 3–Saturday December 9, 2017


For more details visit our website: http://7a-11d.ca/




4. EVENT: HOMAR Performance Art Festival

Date: December, various; City: Khorramabad, Iran; Source: Gustaf Broms

Curated by Tara Goudarzi and Razieh Goudarzi


Biljana Bosnjakovic, Italy

Ezzam Rahman, Singapore

Sophia Natasha Wei, Singapore

Daniela Beltrani, Singapore

Gustaf Broms, Sweden

Tara Goudarzi, Iran

Elke Prieß, Germany

Nooshin Naficy, Iran

Shahrnaz Zarkesh, Iran

Third edition Homar festival with focus on environmental performance art.

We've chosen Nature, because of that we have risen and will return to it.

since we remained unknown and strange, We're always searching on it.

In the wake of his knowledge so that we might find ourselves. Homar is a festival for artists whose nature as a floor (spatial) are chosen for their work. Artists to showcase their concerns of the instruments that "internal understanding" and "their body" in their use. They know the nature as a Rocking and human beings should protect it from there. Homar in the language of the indigenous people of Lorestan means "the plain" and the name was chosen because the festival happens in nature.

About ARTA

Arta the Institute of Contemporary Art, intend to provide cultural and artistic and research documentation at the international level by emphasizing on the development of research culture between artists, art lovers and researchers affiliated with this Institute and with the efforts to enhance the creativity and emphasizing on Individual abilities and self-esteem and notice to man and nature. The institute tries to make connection between contemporary artists in Iran and world and replace group working, philanthropy and ethical with of competition and superiority. This institute started its official operation under the management of Tara Goudarzi and administrative management of Razieh Goudarzi in winter 2014 in ancient and scenic city of Khorramabad.








Date: November 8–December 3, 2017; City: Toronto, Canada; Source: Leena Raudvee


Process Gallery, Gallery 1313, 1313a Queen Street West, Toronto

Exhibition dates: November 8 to December 3, 2017 (extended run)

Gallery hours: 1–6pm, Wednesday to Sunday


ARTIFACTS (Pam Patterson & Leena Raudvee)

In the Gallery 1313 Process Gallery exhibit, ARTIFACTS explores in ARTIFACTS ARTEFACTS detritus-as-performance. Our original intention was to gather over 30 years of performance detritus into a retrospective; this though has not been the case.

The idea of performance detritus remains but is now reconfigured. In the process of exploring performative ideas around the military, we went to The National Air Force Museum of Canada where we surreptitiously donned military uniforms on display and photographed each other in situ–posed and in the various aircraft on exhibit. This was an informal performance where we acted on the edge, delightfully fearful of being discovered.

After a performance, we usually have photo-documentation by a photographer which then can be exhibited. Here though we lacked such a photographic witness.

In preparing for the Gallery 1313 exhibit, we found ourselves caught up yet again in this performative “militaristic” action and we began to purposely and playfully generate objects and images. In the process of doing so, we realized we were making an ironic comment on the historic value of artefacts and indirectly on ourselves as older disabled women artists.

The exhibit responds to contemporary “hipster” nostalgia:  the “authentic” consumer item, the aura of the “working” uniform, and, in addition, the absurdity of aged women with disabilities as military generals!  Focused around gilt-framed photo portraits of each of us in WWII military dress attire and in action in the cockpits of aircraft, the exhibit uses over a hundred cardboard model planes, and over a thousand cards which speak to our authenticity. A written text backstory is provided (all fictitious but immeasurably seductive) as part of the exhibit to provide context and embed it (us) ever deeper into the idea of the contemporary seductive artefact.





6. EVENT: Zaz Festival 2017 

Date: November 30–December 12, 2017; City: Tel Aviv, Israel; Source: Zaz

Zaz Festival 2017

International Performance Art Festival

Tel Aviv / Arad

November 30–December 12, 2017

ARTISTS (Israel)

Tal Alperstein, Ruth Eshel, Ronnie Heller, Beni Kori, Shahar Marcus, Harel Max, Kineret Haya Max, Tamar Raban and Ernesto Levy, Anat Schen, Meir Tati, Ari Teperberg, Nataly Zukerman


ARTISTS (International)

Dimitris Alithinos (Greece)

Julia Wirsching (Germany)

Yeuk To (Hong Kong)

Smitha Cariappa (India)

Antonio Wolff (Brazil)

Eduardo Cardoso Amato (Brazil)

Jack Holmer (Brazil)


Ensemble 209 performers:

Avigail Arnheim, Motti Dori, Yael Finkel, Julie Frances Fox, Gili Inglis, Netta Marom, Galia Pavlichenko, Miray Shinan, Adva Weinstein, Shanit Yehudayan

The Zaz Festival, an international performance art festival organized by Performance Art Platform, has been taking place annually since 2006. This year, the festival will be held in Tel Aviv and Arad, with the participation of artists from Israel, Brazil, Germany, Greece, India and Hong Kong. 

The festival's name, Zaz, is derived for the Hebrew word for "movement." It speaks to the essence of this event as a live, dynamic artistic action designed to catalyze artistic creation in a local, contemporary context. The festival is a living, breathing art laboratory that underscores the singularity of the experiences taking place in the present at any given moment. The artists perform in a range of locations and sites before diverse audiences, making use of a variety of spaces and a wide range of actions. A series of discussions and professional workshops is held in conjunction with the performances.

This year, the festival marks a significant turning point in the history of Miklat 209 and Performance Art Platform, as Tamar Raban steps down from her role as Artistic Director of the festival and of Performance Art Platform. Raban, who founded the Miklat 209 association in 1988 together with Anat Schen and Dan Zakhem, has made a unique contribution to the creation of a space where Israeli performance artists can study, work, and develop in numerous ways. The international Zaz Festival is one of these significant sites of artistic action. 

In the context of this complex process of leave-taking and change, we have chosen to underscore the central place of Israeli performance artists in the festival, and its importance as a significant arena of action for local artists. Participating artists includes veteran performers who have consistently taken part in this event over the years and form part of its DNA, artists who contributed to it in the past, and artists who are joining for the first time. This combination represents the same spirit that we hope will continue to characterize the festival in the years to come.

We would also like to acknowledge the participation of Ensemble 209 (Artistic Director: Tamar Raban), a group of creative artists whose activities constitute an essential and ongoing part of the Performance Art Platform. In the course of the ensemble members will perform individual artistic actions throughout the public space of Tel Aviv's Central Bus Station.

A special event in the series "Talking about Performance," which was initiated by the Miklat 209 archive, will introduce audience members to the history of the festival and to the rich range of works presented in the course of its existence. In the course of this event, artists will present performances created for previous festivals through the medium of spoken words.

We cordially invite you to attend the festival events, to experience, and to explore. You are welcome to attend the discussions with artists, the numerous workshops, and the performances. The performance art world is inherently interdisciplinary and dynamic, as is this year's Zaz Festival.   


Tal Rosen, Artistic Director

Michal Schreiber, Artistic Consultant

For details on the daily program, please visit:





7. CALL FOR SUBMISSIONS: Animating Toronto Parks
Deadline date: December 4, 2017; City: Toronto, Canada; Source: Toronto Arts Council


Toronto Arts Council funding opportunity: Animating Toronto Parks
Application Deadline: December 4, 2017


Toronto Arts Council’s Animating Toronto Parks grants program provides funding to professional artists, organizations and artist collectives to create and present free arts programming in selected Toronto parks located outside the downtown core. For the purposes of this program, “arts programming” may include the presentation of dance, literary arts, music, theatre, visual arts and media arts, community-engaged arts and any combination of the above. Permanent installations will not be funded within this program. 


Learn more about TAC's Animating Toronto Parks grants program:



Learn more about Toronto Arts Foundation: www.torontoartsfoundation.org
Learn more about Arts in the Parks: www.artsintheparksto.org
Learn more about North York Arts: www.northyorkarts.org
Learn more about Park People: www.parkpeople.ca




8. CALL FOR SUBMISSIONS: Performance Research

Deadline date: December 8, 2017; City: the world; Source: Performance Research


Performance Research

Vol. 23, No. 6: ‘On Disfiguration' (September 2018)

Issue Editors: Stephen Barber & Richard Gough

Proposal Deadline extended to: December 8, 2017

This issue is intended to open up original explorations of disfiguration as a means, process, idea, imagery or entity, and as a way to reflect on performance. Disfiguration often implies a process by which an external presence overhauls or negates the body, but the body may also itself exact its own disfiguration (as in many Viennese actionist performance-art experiments of the 1960s, and contemporary manifestations of such preoccupations) or else undertake an act that dissolves any coherent sense of what the imagining or delineation of the body may entail. 'Figuration' is itself—as something pre-existent, vulnerable to the imminent cancellation, 'twisting' (to use the term of the contemporary artist Richard Hawkins) or mutation that its prefix in disfiguration suggests—a mobile and transformative entity that may overhaul its own status, by, for example, dissolving it, freezing it, lacerating it, blinding it, fragmenting it, or removing its conceptual basis. Disfiguration appears notably in eras of acute social and corporeal crisis and conflict.


Disfiguration often entails some kind of obsession or preoccupation with the human body as having once held a form that now no longer holds true, or has been covertly stolen, infiltrated and duplicated—so the body now requires an urgent performative intervention, as in the demands for reanimation or autopsying that Artaud calls for in his final radio work of 1947
–8, and that will manifest itself (in that instance) as a work of dance: 'When you will have made of it a body without organs …/Then you will teach the body to dance back to front/as in the delirium of dancehalls …' Works preoccupied with disfiguration may not form the active agents of disfigurement, but instead are dealing with the remnants, detrita and traces of corporeal disfigurations that demand a countering process, to propel the body still deeper into disfiguration, or beyond disfiguration, either to return it to its pre-existent status or else to generate a new manifestation of corporeality, as Artaud envisaged in that final work. Bataille, too, in contrary ways, envisions the body in multiple forms of disfiguration.


Disfiguration's primary manifestation is one in which the body is so fundamentally altered that it is no longer sensorially recognizable, and is wiped and subject to oblivion: disfiguration, in that sense, in its most extreme form, is propelled by an act that constitutes an all-engulfing negation of the body and a collapsing of all of its attributes, including all corporeal theory. As well as disfiguring the body itself, processes of disfiguration may also consume the totality of the media by which performance survives: for example, the annulling of digital data, the burning of celluloid or the all-out destruction of paper-based archives. As such, disfiguration's insurgence may form the antithesis of performance traditions, histories, genealogies and lineages.

A less negation-intent disfiguration may transform the body into corporeal shards and ruins—or, when the body has entirely vanished, into echoes and haunted resonances, or retinal after-images and blurs. It then holds a particularly distinctive or ghostly presence in urban space, as explored in much post-1960s Japanese performance art and dance. Performance and artworks concerned with the act of duplicating, collaging and plagiarizing the figure often intend not to erase it but to supplant or re-inflect it. An elapsed performance may have already rendered the body so fragile, voided or traumatized that disfiguration forms the process by which such corporeal striations and ruptures are then mapped, so that disfiguration may form a neutral process that simply probes and documents the body's already-achieved disassembly. 

Disfiguration may also encompass and inhabit unfamiliar zones of time and space in which the body's annulling or contamination is conceived as being so irrecuperable—or the body's obsolescence so total—that its performance now needs to be re-thought from zero, as in spectacles in which the body's figuration is entirely absent, or has been digitally replaced. Disfiguration may, for example, take place in the volatile interstice between performance and moving-image media in their many forms, through a process by which the body is transacted between those two entities (performance and moving-image media) and endures such outlandish corporeal mutation or reactivation, annulling all pre-established formula for coherent identification, that it is uniquely disfigured in those zones between performance and moving-image media.

In all of its manifestations, disfiguration forms a process of marked transformation in the status of the body that invites performance's imprints, excavations and soundings. 

Topics addressed may include the following, but the parameters of this call for papers are open to any manifestation of disfiguration in any context of performance research: 

-Expressionist dance works, such as those of Anita Berber, and their links with Expressionist cinema 

-The work of Antonin Artaud, Georges Bataille and other figures concerned with theoretical (or actual) processes of disfiguration 

-Viennese Actionist performances and their filmic counterparts

-Francis Bacon's work as an inspiration for performance artists, dancers and moving-image artists 

-Ankoku Butoh and other forms of Japanese dance 

-Disfiguration as a 'twist' of the body, as in the contemporary artist Richard Hawkins' engagement with Tatsumi Hijikata's scrapbooks 

-Performance art and theatre oscillating between digital data and corporeal acts, as in the 1990s work of Dumb Type, but also in contemporary works 

-Filmic performance documentation as an active or intentional disfiguration of the body's time and space 

-Transformations of scenographic space that entail corporeal disfigurations, as in recent works by Romeo Castellucci 

-Voice/Vocal works that rend or disfigure the performing body (for example, Korean P’ansori, the historical tradition of castrati and the contemporary practice of ‘extended vocals’) 

-Worldwide rituals and traditions of physical disfiguration, emaciation, scarring, amputation or amendment (for example, traditional African ritual practices and ceremonies, Asian practices of body modifications and trance piercing and contemporary body art)



Proposals: December 8, 2017

First Drafts: March 2018

Final Drafts: May 2018

Publication: September 2018


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


Issue-related enquiries should be directed to the issue editors:

Stephen Barber: stephen.barber@kingston.ac.uk

Richard Gough: cprgough@gmail.com


General Guidelines for Submissions:

-Before submitting a proposal we encourage you to visit our website and familiarize yourself with the journal.

-Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side.

-Please include your surname in the file name of the document you send.

-Please include the issue title and issue number in the subject line of your email.

-Submission of images and visual material is welcome provided that all attachments do not exceed 5MB, and a maximum of 5 images.

-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.

-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.






9. OPEN CALL FOR PROPOSALS: ANTI - Contemporary Art Festival 2018

Deadline date: December 12, 2017; City: Kuopio, Finland: Source: ANTI

Open Call for Proposals

ANTI - Contemporary Ar Festival 2018

Play, Games and Gaming Driving

The 17th edition of ANTI – Contemporary Art Festival will take place between 25th and 30th September 2018. We now invite artists, working in any field, to propose projects that directly engage with ideas of play, playfulness, games and gaming.

A playful engagement with the spaces of Kuopio, ANTI Festival’s host city, has been at the heart of our approach to bringing vital, exciting and surprising contemporary art to this ever receptive and inquisitive community. For 2018 we’re focusing our attentions properly on play and gaming–gaming in both its contemporary sense as an engagement with digital environments but also in a more expanded sense: what games, and what play, as adults, as young people, as children, do we engaged with–what forms does play take, and where and how to do we encounter it?

We have some clear answers, organised games are played habitually across the world–football, chess, bowls, snooker–all have their professional contexts but all too engender mass engagement and participation. Other forms of play, particularly for adults, have surfaced across the last half-century. Much is discussed around skateboarding and how that practice playfully renegotiates urban space, free-running and parkour have continued the same pursuit. Rural environments, long the space of adventure, journey and leisure, have their associated play activities and in more recent years digital and virtual technologies have created a playing space of incredible scale and value, one to rival, and royally beat, those more passive forms of entertainment.

Play and games, in forms as divergent as any other realm of human activity, sit at the heart of the contemporary experience. Games are in our pockets, on our screens, in our bodies, they are played in and on the city, the landscape, the sea, the globe. They keep us well, they move us, orientate us, challenge us, frustrate us and entertain us. Games and play have become a way–an active way–of understanding the world and each other.


For our 2018 festival ANTI is thrilled to announce partnerships with Games for Health Finland and the International Game Developers Association, Kuopio Hub. Games for Health Finland is coordinated by the Savonia University of Applied Sciences.


Submitting a Proposal

When proposing your project please take into account that ANTI Festival presents its programme in public space, this includes interior spaces and privately-owned spaces. We do not show projects in traditional cultural spaces and houses thus your proposed project will need to have an integral relationship with the place in which it is presented.


All proposals must be sent using this electronic form and written in English.


The form allows a link to be made to online documentation of previous work and for applicants to attach a CV and a maximum of three supporting images. Proposals that do not strictly conform to these guidelines

will not be considered.

We advice the applicants to get familiar with the artistic direction of ANTI festival by reviewing our past projects on, for example, our Vimeo page!



The proposal deadline is 12.12.2017 (at midnight).

Proposed projects may respond to one or more of the following areas:

Play and social space

Play and subjectivity

Play and physical space

Play and wayfinding

Game play as social encounter

Game ‘space’ as site of social exploration

Play and low/no technology

Play and technology

Virtual play

Play and wellbeing

Public play environments

Games, engagement and participation

Professionalised play

Play and leisure

Play and competition

Cross-generational play

Further information: info@antifestival.com

ANTI – Contemporary Art Festival

Participation, dialogue and exchange: ANTI works with innovative artists on projects that explore and explode urban space.

ANTI began life in 2002. Since then we’ve produced 16 editions of ANTI – Contemporary Art Festival and have established a year-round programme of artist residencies and cultural projects and events.

The festival is held annually in Kuopio, Finland. The city plays host to projects by artists from around the world that inhabit the spaces of public life–homes, shops, city squares, business, forests, lakes–and directly engage communities and audiences in the making and showing of their work. The festival is free to attend.




10. EVENT: Co-Creation Live Factory–Prologue 1

Date: December 14–16, 2017; City: Venice, Italy; Source: VestandPage


December 14–16, 2017

European Cultural Centre, Palazzo Mora, Strada Nova, 3659, Venice Italy

After the conclusion of the "Trilogy of the Body" (2012, 2014, and 2016), the VENICE INTERNATIONAL PERFORMANCE ART WEEK heads into a new direction with the project "CO-CREATION LIVE FACTORY—Prologue 1". Founded on the principles of artistic collaboration, cooperation and temporary artistic community, "CO-CREATION LIVE FACTORY—Prologue 1” is born to be an artistic experience of a different kind. Adhering to the VENICE INTERNATIONAL PERFORMANCE ART WEEK core mission and its Educational Learning Program, the project aims to empower 75 emerging international artists from 28 countries, who have been selected through an open call, to develop their individual praxis during ten days within an independent temporary autonomous zone of co-creation, under the tuition of artists internationally recognized and with a consolidated pedagogical experience such as Marilyn Arsem, VestAndPage and Andrigo&Aliprandi. 

The culmination of the 10 days co-creation process will be open to the public on December 14 - 16, 2017 (Admission free). Palazzo Mora will be transformed into a dynamic performance site through a series of collective performance operas, as well as collaborative and solo performances. An exhibition section will display pedagogical performance material of the artists that have contributed to the foundation of the project, alongside a documentation of the three past editions of the VENICE INTERNATIONAL PERFORMANCE ART WEEK: "Hybrid Body – Poetic Body" (2012); "Ritual Body – Political Body" (2014); "Fragile Body – Material Body" (2016). "CO-CREATION LIVE FACTORY—Prologue 1" offers to the audience the rare opportunity to explore new territories of performance. For the participating artists it represents both a learning path and the unique occasion to work and collaborate together in an extended, intensive period of time at the VENICE INTERNATIONAL PERFORMANCE ART WEEK venue European Cultural Centre | Palazzo Mora, to strengthen their creative talent and intellectual freedom outside institutional and academic settings.


Since its inception in 2012, the VENICE INTERNATIONAL PERFORMANCE ART WEEK has enriched the highly renowned art scene in Venice by the realisation of projects exclusively dedicated to performance art, presenting works of masters and pioneers that have contributed to the history of this audacious art form. In line with its core mission, its new project "CO-CREATION LIVE FACTORY—Prologue 1" now focuses on those emerging generations of artists who are stepping into the international contemporary art scene.

The VENICE INTERNATIONAL PERFORMANCE ART WEEK "CO-CREATION LIVE FACTORY—Prologue 1" is a free admission, non funded, non-profit and non-commercial cultural project under the patronage of the Regione Veneto. It is conceived by artist duo VestAndPage and curator Francesca Carol Rolla, realized in cooperation with Live Arts Cultures nonprofit Cultural Association, We Exhibit, Venice Open Gates and Studio Contemporaneo nonprofit Cultural Association, and with the in-kind support by the European Cultural Centre | GAA Foundation and ConCAVe Venice.

A comprehensive post-event documentation of "CO-CREATION LIVE FACTORY—Prologue 1", including theoretical texts by performance art scholars, will be published after the event. The catalogue of III VENICE INTERNATIONAL PERFORMANCE ART WEEK 2016 "Fragile Body - Material Body" will be available to the public at Palazzo Mora's bookstore on December 14-16, 2017.



With Milton Afanador Alvarado (CO), Ronald Bal (NL), Sabrina Bellenzier (IT), Cristiane Bouger (BR), Batu Bozoğlu (TR), Fay Burnett (UK), Gillian Carson (NO), Giorgia De Santi (IT), I. Ata Doğruel (TR), Gustavo Frigerio (IT), Sara Kostić (RS), Vasiliki Koutrouli (GR), Fenia Kotsopoulou (GR), Eva Martino (IT), Giulia Mattera (IT), Peter Reischl (AU), Ines Rodrigues Miguel (ES), Cristiana Zeta Rolla (IT), Marita Isobel Solberg (NO), Gary Varro (CA), Sašo Vollmaier (SL), Susanne Weins (DE), Christian Weiss (DE), Nicole Zaaroura (UK)


With Marie Beausacq (CH), Anna Biesuz (IT), Weronika Cegielska (PL), Shola Cole (US/UK), Elisa Curzi (IT), Silvia Del Grosso (IT), Noemi Diamantini (IT), Maria Luigia Gioffre (IT), Cosetta Graffione (IT), Andrea Greenwood (UK), Mengqi He (CN), Meri Hietala (FI), Jolanda Jansen (NL), Carla Kienz (DE), Gülbeden Kulbay (SE), Linda Nabasa (UG), Anthi Pafiou (CY), Ivana Ranisavljević (RS), Maria Seltsova (RS), Yagmur Tacar (TR), Andrea van Gelder (NL), Katie Louise Vowles (GB), Mahbuba Yasmin (BD)


With Sylvie Barbier (TW), Stefan Biere (DE), Madeleine Virginia Brown (UK), James Thomas Bullimore (UK), Bruno Camargo (BR), Don Chow (CA), Leman Sevda Darıcıoğlu (TR), Erin Devine (US), Samira Engel (DE), Marisa Gareffa (AU), Ria Jade Hartley (UK), Paola Kodra (AL), Marie Künne (DE), Gerhard Liska (AT), Nancy Gewolb Mayanz (CL), Ashley-Louise McNaughton (UK), Yuan Mor'O Ocampo (PH), Daniela Lilo Olivares (CL), Eva Pyrnokoki (GR), Daiane Rafaela (BR), Enok Ripley (CA), Jewel A Rob (BD), Sara Simeoni (IT), Alex Spyke (RS), Alex Talamo (AU)

LECTURERS: Robin Deacon (UK/US), Jill McDermid & Erik Hokanson (US), Preach R Sun (US), Marcel Sparmann (DE), Elisabetta di Mambro (IT), Francesca Carol Rolla (IT)






11. CALL FOR SUBMISSIONS: Naked State art residency

Deadline date: December 15, 2017; City: Toronto, Canada; Source: Naked State

Program Dates: August 7–17, 2018

Submission Deadline: December 15, 2017

Naked State is a 10-day residency to create artworks that explore the nude human body in context of nature, culture and art. For the duration of the residency, the artists and residency Facilitator live as *naturists (in the nude) within the naturist community of Bare Oaks Family Naturist Park to create works that explore questions such as: What is nudity? Does stripping away clothing rid us of class, gender, and personal expression?; Do the connections between our bodies and the land change when nude? Is nudity always sexual? What is the role of the nude in historical and contemporary art?; Is an animal with fur naked? Is it possible to be civil in the nude?; Is there a natural state for human being? Residents work individually or collaboratively to create artworks that explore these questions through media of their choice, such as photography, video, installation, drawing, painting, performance art, dance, sound art, media art, etc. Naked State welcomes people in all walks of life into a creative journey of criticality thinking and self-discovery. Indigenous, people with disabilities, people of colour and diverse gender identifications are encouraged to apply. 

This programmed residency offers facilitation, a seminar on naturism, a creative workshop, guest visits by artists and members of the Bare Oaks naturist community, plenty of studio time, and closing open studio/exhibition. Critiques of residents’ works occur individually with the Facilitator and through facilitated group discussions. Artists are encouraged to socialize and integrate with the Bare Oaks community at campfires, swimming, sharing meals, and through the creation of artworks. The Bare Oaks community will be invited to the introductory resident artist talks, guest seminar with Stéphane, and scheduled studio visits with artists. The closing event will be open to members of Bare Oaks and the public.

*Naturism is the practice of complete nudity in a social setting. Though nudity is the most obvious aspect of naturism, it is simply a tool to reach closer to a natural state. The purpose of naturism is to promote wholesomeness and stability of the human body, mind, and spirit. It also promotes well being through complete contact of the body with the natural elements. For a full description of naturism, visit BareOaks.ca/index.php/en/about-naturism.

Bare Oaks Family Naturist Park is a year-round naturist park near Toronto in Canada, where individuals and families experience traditional naturist values in a modern setting. It is nestled among the natural wilderness of the Ontario Greenbelt and Oak Ridges Moraine. Its varied landscape includes open spaces, forests, ponds, streams and a small lake. Amenities include a store, restaurant, sun deck, TV and sports lounge, outdoor pool, whirlpool, saunas, exercise room, laundromat, and a small common kitchen with microwave and fridge. Wireless Internet can be purchased at the front desk. The Outback common room (and possibly a marquis tent and yurt) will be dedicated as a large shared studio space for the duration of the residency. There is some wheel chair accessibility. Bare Oaks is located in East Gwillimbury, under an hour north-east of Toronto. For more information visit www.BareOaks.ca, watch some videos, or take the virtual tour at the bottom of this page.

For full details and to apply visit: www.NakedState.ca/apply




12. EVENT: PuSh International Performing Arts Festival

Date: January 16–February 4, 2018; City: Vancouver, Canada; Source: PuSh


PuSh International Performing Arts Festival

Theatre / Dance / Multimedia / Music / Film

January 16–February 4, 2018

Full lineup has been announced! Get ready, Vancouver!


Here is your first look at the 14th edition of the PuSh International Performing Arts Festival, taking place January 16 to February 4, 2018.


Our local, national, international lineup features acclaimed artists in music, dance, theatre, multimedia and film from 11 countries. From the intimate and immersive, to the monumental and spectacular, a myriad of transformative experiences are in store.

Please visit: 





13. CALL FOR PARTICIPANTS: PSi Summer School #1.5

Deadline date: March 1, 2018; City: Daegu, South Korea; Source: PSi

PSi Summer School #1.5

Daegu Arts Factory

Daegu, South Korea

1–7 July 2018

The PSi Future Advisory Board calls for applications to PSi’s second summer school to coincide with PSi #24 in Daegu, South Korea. PSi Summer School #1.5 will bring together scholars, artists, and activists over the course of seven days and in an intensive series of activities directed at thinking through, working with, and creating anew pressing issues and rising trends in performance studies. We propose the interval ‘1.5’ in the title as a gesture to the temporality in which the summer school happens, in between conferences, but also, and perhaps more centrally, to the fertility of the unfinished, the incomplete, and the “not-yet here” (Muñoz 2009). This edition will therefore take the themes of Overflow (PSi #23 Hamburg) and Network (PSi #24 Daegu) as the frame for our discussions. Further details will be available in the coming months. Please direct inquiries and interest to PSi Future Advisory Board.


The Future Advisory Board (FAB) is a PSi initiative that aims to bring together graduate students and early career scholars and artists worldwide, and increase visibility of the diversity of Performance Studies. Current members include Asher Warren, Azadeh Sharifi, Areum Jeong, Yiota Demetriou, Felipe Cervera, Shawn Chua, Eero Laine, and Evelyn Wan.


-Current graduate students, recent PhD graduates (last 3 years) including post-doctoral researchers and junior faculty, independent scholars and artists are welcome to apply.

-Participants should be able to commit to the entire program including the pre-conference days.

-Applicants must be current PSi Members and will need to register for the conference.


In order to apply, please submit the following materials by March 1st, 2018 to psifuturists@gmail.com:

-One page CV/resume

-Personal Statement (no more than 500 words)

-Proof of PSi membership





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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