FADO E-LIST (August 2018)

1. FADO EVENT: Intimate Kaoroke, Live at Uterine Concert Hall by Dayna McLeod
Date: August 15, 2018; City: Toronto, Canada
2. FADO EVENT: tentaculus ohri by Neo Hülcker and Antonia Baehr
Date: August 14, 2018; City: Toronto, Canada
3. EVENT: Deathnastics
Date: August 2, 2018; City: Toronto, Canada; Source: Hazel Myer
4. EVENT: Documenting Performance Art: A Photographic Conversation
Date: August 2 & 18, 2018; City: Singapore, Singapore; Source: Independent Archive
5. EVENT: The Gardiner Museum presents Performance on the Plaza
Date: August 2–19, 2018; City: Toronto, Canada; Source: The Gardiner Museum
6. EVENT: performance by Dana Michel @ RAGGA NYC
Date: August 7, 2018; City: Toronto, Canada; Source: Mercer Union
7. EVENT: Studio 303 presents Queer Performance Camp
Date: August 14–23, 2018; City: Montreal, Canada; Source: Studio 303
8. EVENT: The Gardiner Museum presents Performance on the Plaza
Date: August 24 & 29, 2018; City: Toronto, Canada; Source: The Gardiner Museum
9. EVENT: The Gardiner Museum presents I wanna dance with some body by jes sachse
Date: August 25, 2018; City: Toronto, Canada; Source: The Gardiner Museum
10. CALL FOR PROPOSALS: Performance Research Journal
Deadline date: August 27, 2018; City: the world: Source: Performance Research
11. EVENT: Yellow Fish Festival
Date: August 27–31, 2018; City: Seattle, USA; Source: Yellow Fish
12. RESIDENCY: Draw to Perform
Deadline date: August 30, 2018; City: Brighton, UK; Source: Draw To Perform


1. FADO EVENT: Intimate Kaoroke, Live at Uterine Concert Hall by Dayna McLeod
Date: August 15, 2018; City: Toronto, Canada

Intimate Kaoroke, Live at Uterine Concert Hall by Dayna McLeod

August 15, 2018
The Theatre Centre, 1115 Queen Street West, Toronto

Four entrance times (but stay as long as you want):
8:30pm / 9:00pm / 9:30pm / 10:00pm

Sing your favourite karaoke song for Dayna McLeod’s uterus! Live at Uterine Concert Hall!

You are invited to sing your favourite karaoke songs in this performative installation that examines vulnerability through the site of my body. Wearing headphones that contain your voice and requested karaoke song, this mix is wired via 100-foot cable into my vaginal canal, which acts as the stage for the audience of my uterus. Other listeners are invited to eavesdrop on your performance through the flesh of my body via stethoscope.

"Intimate Karaoke, Live at Uterine Concert Hall" transforms the site of the theatre into a social space where an awkward karaoke party minus the amplified music shares the intimacy of the artist's body as it is offered up as the venue where dialogue around the cultural and political expectations of bodies marked female and a critique of medical surveillance, reproductive rights and the aging Queer female body collide.

"Intimate Karaoke, Live at Uterine Concert Hall" is a durational performance. Audience members are asked to purchase tickets to arrive for one time slot but are welcome to stay until the end of the night.

Pick up your copy of FADO's on-going pocket essay series, the Golden Book, at the performance. This time, the Golden Book has a blood red cover in honour of Dayna's performance. Essay entitled, "From Specular to Speculative: Intimate Encouters @ Uterine Concert Hall" by Alanna Thain contained within. Alanna is the Director, Institute for Gender, Sexuality, and Feminist Studies; Director, Moving Image Research Laboratory; and Associate Professor, Department of English at McGill University.

This performance is part of the SummerWorks Presentations programming – offering you a snapshot of contemporary performance in 2018. A vital collection of theatre, dance, music, and live art works from across the country.


Curated by FADO Performance Art Centre
Co-presented with SummerWorks
Conceived and Performed by Dayna McLeod
Technical Direction by Adrien Whan
Performance attendants: Cara Spooner, Athena Trinh, Theo Gallant, Rhiannon Collett


Dayna McLeod is a practicing performance and video artist working in Montréal, Canada. In 2014, she was the recipient of Le Prix Powerhouse, an award presented by La Centrale Galerie Powerhouse that celebrates mid-career women artists who have significantly contributed to the cultural life of Montréal with determination and without compromise.

Within her practice, Dayna has staged over three dozen independent performance art productions and cabaret works, have twenty-five single channel videos in distribution, have designed video sets for theatre companies and dance productions, collaborated with choreographers, and consulted on artist projects.

Dayna is PhD candidate at the Centre for Interdisciplinary Studies in Society and Culture at Concordia University pursuing an interdisciplinary degree in Humanities that combines studies in performance art, feminism, queer theory, age, and research-creation practices. Dayna’s dissertation research examines how over-40 feminist performance artists use the body (their own or bodies-for-hire) within their practices and work in relationship to mainstream mass culture. As part of this research, McLeod embarked on a one-year durational performance piece that investigated and lived the stereotypes of a ‘cougar,’ a woman over-40 who aggressively demonstrates her sexuality, by wearing nothing but animal print clothing, 24/7.

August 9–19, 2018
SummerWorks supports work that has a clear artistic vision and explores a specific theatrical aesthetic. It encourages risk, questions, and creative exploration while insisting on accessibility, integrity, and professionalism. This year’s 11-day Festival features over 30 unique projects as part of SummerWorks Presentations and SummerWorks Lab. New this year - we’re teaming up with an incredible group of arts organizations to bring you the SummerWorks Exchange, a new stream of the Festival that features artist workshops and professional development opportunities.

FESTIVAL PASSES and SINGLE TICKETS are ON SALE NOW. For more information on tickets, passes, and how to access of box office, visit: www.summerworks.ca/tickets

PAY WHAT YOU DECIDE: In addition to our usual $15 ticket, $25 and $35 tickets are also available–you pick whichever suits your budget. All tickets are general admission, and there are no limits on any price level.

All SummerWorks venues are physically accessible, and many events offer accessible options such as ASL Interpretation, Relaxed Performances, and free or discounted tickets. For more info on accessibility at SummerWorks, visit www.summerworks.ca/access 

2. FADO EVENT: tentaculus ohri by Neo Hülcker and Antonia Baehr
Date: August 14, 2018; City: Toronto, Canada
Feminist Art Gallery (F.A.G.) in co-operation with FADO Performance Art Centre presents
"tentaculus ohri"
by Henry Wilde (aka Antonia Baehr) & Neo Hülcker (aka Professor Puppy)
August 14, 2018 @ Feminist Art Gallery (F.A.G.)
Time and other details to be announced!
a collection for unplugged listening / Eine Sammlung zum Hören ohne Steckdose
a two-on-one performance
tentaculus ohri is a piece for one listener and two performers. We will present our collection of animals from other nature to you. You will wear a hearing apparatus that we built for focussed listening to nature and animal sounds from our archive. It will be very silent and you will learn how to listen like a blättrige Langschwanzanglerin. People will watch you and you will be a little owl.
Neo Hülcker is a composer performer whose work focuses on music as anthropological research in everyday life environments. Their compositions evolve as situations, performance installations, actions and interventions, and work with different kinds of public spaces. Neo studied composition and graduated with a Masters degree in 2013. In 2014 they have been a fellow of the Junge Akademie at the Akademie der Künste Berlin. Neo founded the youtube channel feminist as well as the channel ASMR studio berlin. They perform as the ASMR artist Thousand Tingles and are a part of the agency ASMR yourself. Their compositions have been performed at Wittener Tage für neue Kammermusik, Wien Modern, London Contemporary Music Festival, Münchener Biennale, Blurred Edges Festival Hamburg, dark music days Reykjavik, soundacts festival Athens, Internationale Ferienkurse für Neue Musik Darmstadt, Klangwerkstatt Berlin and elsewhere.
Antonia Baehr (aka Henry Wilde) is a choreographer performer and artist. Her works explore the fiction of the everyday and of the theatre, among other themes. She collaborates with various partners, frequently in the form of switching roles: from project to project, each artist alternately takes on the role of either guest or host. Baehr studied film and media arts at the Hochschule der Künste, Berlin, with Valie Export and has a Masters in Performance and Film from the School of The Art Institute of Chicago. Since 2006, she has taught as guest professor at several European colleges and has taken part in diverse group exhibitions (re.act.feminism, Center for Contemporary Arts Estonia Tallinn, Museo de Arte do Rio, MACBA Barcelona Museum of Contemporary Art, et al.). In 2008, her book “Rire / Laugh / Lachen” was published, and “Abedecarium Bestiarium – Portraits of affinities in animal metaphors” was published in 2014. Her stage productions include “Cat Calendar” (2004), with Antonija Livingstone; “Larry Peacock” (2005), coproduced by Andrea Neumann and Sabine Ercklentz; “Rire / Laugh / Lachen” (2008); “Abedecarium Bestiarium” (2013); and “Normal Dance” (2016). With Sabine Ercklentz, Baehr produced two works for radio that were broadcast on WDR 3 in 2015. Baehr is the producer of the horse whisperer and dancer Werner Hirsch, the musician and choreographer Henri Fleur, the aspirant composer and ex-husband Henry Wilde, among others.
3. EVENT: Deathnastics
Date: August 2, 2018; City: Toronto, Canada; Source: Hazel Myer
With Hazel Myer and Lucy Pawlak
Hosted by Bunker 2 Contemporary Art Container
Deathnastics is a performative, exquisite corpse-esque death cafe hosted by Eliza Chandler, Kim Collins, Lindsay Fisher, Esther Ignagni, Deirdre Logue, and Allyson Mitchell. This performance features artists Vanessa Dion Fletcher, Sean Lee, and Carrie Perreault. Different than a traditional death cafe wherein participants are asked questions to provoke personal reflections on death, Deathnastics will take our cue from the Killjoy Kastle: A Lesbian Feminist Haunted House and ask questions about the death of certain ideas, paradigms, and activisms that are necessary to crip feminist art and activism, as well as intersectional conversations about death and vitality. We position ourselves as one among a series of queer-feminist acts of re-worlding as we enact the necessary ‘death of tropes’ that nullify a crip-feminist coming together.
This event is proudly hosted by Gymsick. Gymsick engages in the queer-feminist practice of world-making, it's an ongoing collaborative project, an itinerant space with no fixed membership or base. Home to meetings, sessions, and expanded imaginings of work-outs, Gymsick develops and extends research into bodies as mysterious sites for experiencing pleasure, pain, exhaustion, immediacy, and elation. 
This project is sponsored in part by the Social Science and Humanities Research Council of Canada as well as the Arts Council England and Gymsick.
This event is barrier-free and will have ASL interpretation and audio description.
Seating is limited. All those wishing to attend please RSVP by emailing bunker2projects@gmail.com, space will be limited.
4. EVENT: Documenting Performance Art: A Photographic Conversation
Date: August 2 & 18, 2018; City: Singapore, Singapore; Source: Independent Archive
Independent Archive presents:
Documenting Performance Art: A Photographic Conversation between A'shua Imran and Jun Tsujioka
Opening Reception: Thursday, 2 August, 7pm–9pm (on view until August 31)
Public Programme: Saturday, 18 August, 3pm–4:30pm
A'shua Imran, a performance artist, and Jun Tsujioka, a photographer, are bringing together a selection of photographs from two performances. The photographs spring from an on-going collaboration between them and their discussions on performance art and documentation. With the photographer taking on the role as both audience and image-maker, they explore how a performance artist and photographer might work closely together to capture a performance truthfully. 
Accompanying the exhibition is a discussion on 18 August, with Koh Nguang How, Bruce Quek, A'shua Imran and Jun Tsujioka.
Independent Archive Ltd.
71 Aliwal Street #01-01
Singapore 199944
5. EVENT: The Gardiner Museum presents Performance on the Plaza (1)
Date: August 2–19, 2018; City: Toronto, Canada; Source: The Gardiner Museum
The Gardiner Museum presents Performance on the Plaza
Co-presented with Angry Asian Feminist Gang, Margin of Eras Gallery
Panic in the Labyrinth
Thursday August 2, 6:30–8pm
Thursday August 9, 6:30–8pm
Thursday August 16, 6:30–8pm
Ritual Readings
Sunday August 19, 12–5pm
Panic in the Labyrinth is a series of performances that transgresses the traditional poetry reading. Drawing its title from an Adrienne Rich poem and conceptualized by multidisciplinary artist Annie Wong, the series imagines an outdoor stage for performative poetics to unfold, where the act of women speaking aloud and the experience of listening to women are politicized gestures of asserting and affirming presence and holding space.
“A Choir of Demands and Desires On Repeat” features a nomadic choir recalling and repeating the demands made by women and feminist movements, and “We’re Winning So No Comment” examines a history of misogyny interrupted by a series of award speeches made by inspiring women. Following these choral performances, Wong has invited Amy Wong of Asian Angry Feminist Gang and Whitney French of Margin of Eras Gallery to co-curate Ritual Readings, a Sunday afternoon event commemorating a legacy of feminist literature and women writing.
“A Choir of Demands and Desires On Repeat” and “We’re Winning So No Comment” will be performed by Faith Arkorful, Fiona Raye Clarke, Hanan Hazime, Lasasha Nesbeth, Angela Sun, and Rebecca Zala.
6. EVENT: performance by Dana Michel @ RAGGA NYC
Date: August 7, 2018; City: Toronto, Canada; Source: Mercer Union
Mercer Union is delighted to announce a performance by Dana Michel presented as part of group exhibition and event series RAGGA NYC. Please join us on Tuesday August 7. This event will follow the final session of Michèle Pearson Clarke's We Owe to Each Other, which opens at 6PM. Dana Michel's performance will begin at 8:30PM. Admission is free and all are welcome.
when you've spent a lifetime holding back in one area, surely it's holding other areas back.
time to unravel the knot that i didn't completely realize existed (yes i did).
why i can't touch people when i?
why i get confused when there's more?
why i freeze now ?
what are the consequences of all the holding?
what other casualties have there been?
Dana Michel is a choreographer and live artist based in Montréal. Her first extended-length solo performance piece, Yellow Towel, was featured on the "Top Five" and the "Top Ten" 2013 dance moments in the Voir newspaper (Montréal) and Dance Current Magazine respectively. In 2014, she was awarded the newly created ImPulstanz Award in recognition for outstanding artistic accomplishments and was highlighted amongst notable female choreographers of the year by the New York Times. That same year concluded with preview copy tweet 𝑌𝑒𝑙𝑙𝑜𝑤 𝑇𝑜𝑤𝑒𝑙 appearing on the Time Out New York Magazine "Top Ten Performances" list. Her most recent and critically-acclaimed solo, 𝑀𝑒𝑟𝑐𝑢𝑟𝑖𝑎𝑙 𝐺𝑒𝑜𝑟𝑔𝑒, was premiered at Festival TransAmériques in June 2016. Both pieces are currently on tour. In June 2017, Dana Michel was awarded the Silver Lion for Innovation in Dance by the Venice Biennale. Also in 2017 she joined Par B.L.eux, a company founded and directed by Benoît Lachambre as associate artist.
RAGGA NYC is made possible with Leading Support from TD Bank Group through its new corporate citizenship initiative, The Ready Commitment. Project Support provided by Toronto Friends of the Visual Arts
7. EVENT: Studio 303 presents Queer Performance Camp
Date: August 14–23, 2018; City: Montreal, Canada; Source: Studio 303

August 14–23

A collaboration between Studio 303, MAI (Montréal, arts interculturels) and La Chapelle Scènes Contemporaines. Queer Performance Camp aims to create new ways to connect, grow and build community, while supporting the development of queer artists through shows, workshops and gatherings.
Today’s fractured political climate and impatient consumer society is existentially challenging to say the least, and queer camp provides participants a playful respite. For this 3rd edition of QPC, we are exploring being+together through an array of events including: a screen-free slumber party, a co-residency, a skill-share session, workshops on animal states, sharing space, ensemble performance, and making others laugh. Let’s do weird shit together and see what happens!
Tuesday, August 14
Studio 303
Slumber party / RSVP

30 inflatable mattresses, a virtual campfire, an opening ceremony
More info coming soon!
Informal showing by artists in residence
Studio 303
Wednesday August 15, 6pm

Nate Yaffe & Maxine Segalowitz share the fruits of their co-residency as a presentation / discussion / workshop. 
Friday August 17, 4:30–7:30pm
Studio 303
Sound skillshare and snacks / RSVP

Neo Hülcker hosts a queer composer exchange. Let's have a look on what we are working on, exchange ideas… Please bring scores, recordings, videos or whatever you’d like to share.

Saturday August 18, 9pm
MAI (Montréal, arts interculturels)
Queer SlowDance / $10

It’s high school with a happy ending. Come and experience why slow is beautiful, and why love is not ironic. Montreal’s Queer SlowDance has all slow songs, all night long!
WORKSHOPS @ Studio 303

A is for Animal
Antonia Baehr + Neo Hülcker (Berlin)
August 16–18, from 10am–2pm

An exploration of our personal interest in the animal-human relation, seen under a queer light and dealt with through performance, musical composition, and choreography.
The Grid

Indrit Kasapi (Toronto)

August 16, from 2pm–4pm

Learning to create from a more instinctual place rather than intellectual, participants are asked to move around the space through an imaginary grid.
Stand-up comedy

Tranna Wintour (Montréal)

Friday August 17, from 2pm–4pm

This workshop cannot teach you how to be funny, but it will help you develop your comedic voice, your stage confidence, and provide writing strategies.
Empathy & Improv

Colour Outside the Lines (Montréal)

Saturday August 18, from 2pm–4pm

An introduction to improvised comedy, establishing the foundations of celebrating failure, and learning to say « yes » to the ideas of others.
More info about the workshops: www.studio303.ca/en/queer-performance-camp-2/
SHOWS / presented by our partners

MSM [men seeking men] / lemonTree (Toronto)

Thursday August 16 + Friday August 17, 8pm @ MAI (Montréal, arts interculturels)

A deconstruction of online male personas and their personal exchanges with other men via music, choreography, movement, and text.
Abecedarium Bestiarium / Antonia Baehr + Neo Hülcker (Berlin)
Wednesday August 22 + Thursday August 23, 8pm @ La Chapelle Scènes Contemporaines
Heterogenous choreographic miniatures based on an ABC of extinct animals.
More info / venues / participating artists:
8. EVENT: The Gardiner Museum presents Performance on the Plaza
Date: August 24 & 29, 2018; City: Toronto, Canada; Source: The Gardiner Museum
Museum Intervention
Friday August 24, 6–8pm
Maldewin Weskijinu / Blood Soaked Soil Public Launch
Wednesday, August 29, 5–7pm
Maldewin Weskijinu / Blood Soaked Soil Community Conversation
Co-presented with Akin Collective, Titiesg Wîcinímintôwak // Bluejays Dancing Together Collective
Artist, writer, and illustrator Louis Esmé (Mi’kmaq, Acadian, Irish) is a Two-Spirit, non-binary person, and co-founder of Titiesg Wîcinímintôwak // Bluejays Dancing Together, which gathers knowledge, stories, and desires for re-urbanized Two-Spirit people and their relations.
They have created eight distinct clay areas in the Gardiner to represent the eight Mi’kmaqi districts. Made during a six-month residency at Akin Collective’s studios, these districts feature conical vessels that reference ancestral Wabanaki forms. They are activated by visitors and through an audio installation by musician Christa Couture.
Additionally, artists Ashley Bomberry, Shane H. Camastro, Seeds & Stardust, Jodi Lynn Maracle, JL Whitecrow, Jeremy Dutcher and others will respond to Maldewin Weskijinu through the exhibition of their own works.
For Esmé, Maldewin Weskijinu is a reminder that the land hemorrhages with the blood of their People. They tip the pot of colonial niceties towards the earth / water / sky, making something new from very old elements in the ever looming shadow of institutional collecting. Esmé works to highlight the brilliance of local Indigenous artists from the Dish With One Spoon; their Mi’kmaw pots intend to hold the complexities of being here and home at the same time.
Programming Partners
Angry Asian Feminist Gang
Asian Community AIDS Services
Invisible Footprints
Margin of Eras Gallery
Rice Roll Productions
Titiesg Wîcinímintôwak // Bluejays Dancing Together Collective
Performance on the Plaza is presented with the following Community Partners: The 519, Akin Collective, Art Starts
The 519 is committed to the health, happiness, and full participation of the LGBTQ2S community. A City of Toronto agency and a registered charity with an innovative model of Service, Space and Leadership, The 519 strives to make a real difference in people’s lives while working to promote inclusion, understanding, and respect. In 2017, The 519 provided in-kind space and resources for artistic workshops in support of the development of two process-driven projects, NU_FORuMS and Collecting Personal Archives. For Community Arts Space 2018, The 519 will again provide workshop space for a process-driven project, supporting the delivery of knowledge and skill-sharing serving the LGBTQ2S community in Toronto and beyond.
ABOUT Akin Collective
Akin Collective is a Toronto-based arts organization that provides affordable studio space as well as arts-based programming through its sister non-profit organization, Akin Projects. Akin provides space to nearly 250 visual artists, designers, and creatives in studios that maintain a friendly and inspiring atmosphere where people can work on creative endeavors and entrepreneurial undertakings of all kinds. Akin builds community through monthly art critiques, free or low-cost workshops, open studio events, gallery tours, exhibitions, as well as various other projects. During the Community Arts Space’s inaugural 2016 cycle, Akin Projects mounted Place/Setting, an exhibition hall project delivering all-ages clay-making workshops and community events. For Community Arts Space 2018, Akin will provide six months of free studio time at one of its studios, as well as kiln firing access.
ABOUT Art Starts
For 25 years, Art Starts programs have benefited thousands of people living in marginalized Toronto neighbourhoods by providing a safe, supportive and inclusive environment for self-expression and creative collaboration. They afford opportunities for vulnerable people of all ages to contribute to the creative ecology of their neighbourhoods, using the arts to help end the negative cycles associated with marginalization and poverty.
The Gardiner Museum
111 Queen's Park, Toronto
9. EVENT: The Gardiner Museum presents I wanna dance with some body by jes sachse
Date: August 25, 2018; City: Toronto, Canada; Source: The Gardiner Museum
Public Space Intervention
I wanna dance with some body
By jes sachse 
Part of the Community Arts Space: Recent Histories
Local artist and curator jes sachse addresses the negotiation of bodies moving in public/private space with a series of outdoor sculptures.
Reflecting on how bodies interact with the architecture of access, jes sachse’s I wanna dance with some body considers both the expressive and radical possibilities of the incline plane.
By envisioning ramps as more than the ubiquitous objects of universal design, this chorus of three, executed on an industrial scale, do not function in their typical modality. Their soaring angles challenge small, unnoticeable retro-fitted solutions at the back and side entrances of public buildings. Here, the negotiations of moving bodies rely less on building codes, and act rather as a site for conversation and individual bodily experiences.
Public programming explores the rehearsed and impromptu choreographies embedded in the movement language shared by disabled and nondisabled bodies. This includes a collaborative engagement with American dancer and choreographer Alice Sheppard, followed by a relaxed daytime disco amid the sculptures.
Saturday August 25, 1–5pm
I wanna dance with some body Daytime Disco
The Gardiner Museum
111 Queen's Park, Toronto
10. CALL FOR PROPOSALS: Performance Research Journal
Deadline date: August 27, 2018; City: the world: Source: Performance Research
Vol. 24, No. 5: ‘Staging the Wreckage’ (July/August 2019) 
Issue Editors: Gianna Bouchard and Patrick Duggan
Proposal deadline: Monday 27 August 2018 
Imagine walking into a vast and chilly aeroplane hangar.
Imagine encountering a space that is so vast that your own body’s scale and fleshy fragility becomes strikingly apparent to you in startling contrast to the volume and metallic solidity of the room.
Imagine the chill of this space.
Imagine its enveloping, sparse, metal-and-concrete scenography.
Imagine entering this space in search of answers.
Imagine entering this space in search of answers about the death of a loved one.
Imagine entering this space in search of answers about the death of a loved one who has perished, unexplained, in a plane crash.
Imagine entering this space in search of answers about the death of a loved one who has died in an unexplained aeroplane crash, and seeing the wreckage of that crash laid out for your interrogation.
Imagine that wreckage being one of four or five staged in the same space.
Imagine the room abuzz with the activity of investigators and others mourning, picking over the wreckage in search of...
From the destruction of the Twin Towers in 2001, to the devastation of the Indian Ocean tsunami in 2004, to the images of the current refugee crisis and recent terrorist atrocities, the early twenty-first century has witnessed increased media interest in showing all kinds of wreckage to a global audience. While these particular examples are captured in images of the debris and detritus of a catastrophe, there has also been a significant turn, particularly in the UK, to the descriptions and linguistic performances of emotional and psychological wreckage, from the victims of various high-profile sexual grooming and abuse cases, to survivors and witnesses of other events. Wreckage is also increasingly made available through the rise of television dramas that deal with violence and representations of its aftermath.Theatre also often calls on stagings of wreckage to show the labour of performance, the inevitable failure of representation and the disasters immanent in human relations. Companies such as Forced Entertainment and Societas Raffaello Sanzio deliberately and provocatively perform wreckage as an intrinsic part of their theatrical practice.
The calling forth of the wreckage in these moments, whether through personal narrative, the detritus of performance or the crumpled remains of the fuselage of an aircraft is a means of trying to deal with the calamity, a way of keeping it in memory and a deliberate staging of the evidence. Once the wreckage is revealed, the resultant ricocheting of images and affect across the media and society can have a significant impact, spurring public enquiries, prosecutions, policy revisions and other forms of reflection and memorial. The loss of control implicit in the wreckage is often partially recuperated through future-oriented control of its visibility and dissemination.
This issue of Performance Research invites a consideration of these wider social and cultural contexts, as well as to more explicitly theatrical examples. In thinking about increased demands for staging the wreckage and showing the products of catastrophe, we invite contributors to consider such things as an ethics of spectatorship in relation to the wreck, documentation of the wreckage, its theatrical and performative staging, the effect of wreckage and its potential for salvage and renewal. Essentially, this issue asks: what does the staging of wreckage do? The issue is concerned not so much with the initial event but with the trace of the thing and the way that that trace is staged or performed.
To which end, ‘staging the wreckage’ may refer to or be concerned with (but is not limited to):
-re-presentation/aestheticization of the wreckage of objects, materials and bodies
-absence of/and staged wreckage
-controlled (access to) wreckages
-impossible wreckage/impossible salvage
-accident investigations: planes, cars, boats, trains and so forth
-human wreckage
-stages after the performance has ended
-performances that represent wreckage
-medical procedures and documentations of such
-historical staging of wrecking
-ecological disasters and environmental waste
-nuclear fallout and its documentation
-staging of high-profile resignations
-the day after an election
-death and death rituals
-bad museum curating
-(domestic) arguments
-performance and trauma
-giving bad news to someone you love
-giving bad news to someone you hardly know
-trauma tourism
-the creation of trauma/memorial sites
-school nativity plays
-played milk
-computer viruses, technological collapse
-being set up (for a crime you didn't commit)
-fact and fiction of crime scenes
-stock market crashes and graphic depictions of that
-detritus from a really good party
-sporting wreckages
-postmodernity and wreckage
-modernity as wreckage (after Benjamin, for example)
-wreckage and biography
-reality TV (including auditions)
-symbolic presentations of wreckage
-representations of wreckage in theatre, performance, live art
-deliberate wreckage in performance (breaking/smashing the performance)
-the wreckage of performance (corpsing, interruptions, technical failure)
-corpses/dissected bodies/wounded bodies
-dementia/degenerative illness/memory loss
-the wreckage of democracy
We are inviting longer essays (from 4,000 to 6,000 words), shorter provocations (2,000 words) and artist pages (number of pages to be agreed with the editors).
Please send 300–400 word abstracts plus a 100 word bio for artists pages, critical essays, interviews, practice research essays or provocations that attend to (but are not limited to) any aspect of the above.
Proposals: Monday 27 August 2018
First drafts: December 2018
Final drafts: February 2019
Publication: July/August 2019
Issue contacts:
All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org
Issue-related enquiries should be directed to the issue editors:
Patrick Duggan (University of Surrey): p.duggan@surrey.ac.uk
Gianna Bouchard (University of Birmingham): g.m.bouchard@bham.ac.uk
General Guidelines for Submissions: 
-Before submitting a proposal, we encourage you to visit our website and familiarize yourself with the journal.
-Proposals will be accepted by email (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 you send.
-Please include the issue title and issue number in the subject line of your email.
-Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five 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.
11. EVENT: Yellow Fish Festival
Date: August 27–31, 2018; City: Seattle, USA; Source: Yellow Fish
Yellow Fish Festival
August 27–31, 2018
The 5th season of the Yellow Fish Durational Performance Art Festival focuses on the theme of time passed. W e are asking artists and collectives to only submit work that has been previously presented to the public in years prior to 2018. With this year’s festival seeking to invite artists to show work previously presented we hope to provide them with the support to re-examine their past through their own individual lens; communicating and presenting to the community what they believe to be vital and necessary. The community will be provided with a unique opportunity to bear witness to this activated revision. Through this year's theme we want to cultivate a foundation that can support opportunities to acknowledge, celebrate, debate, communicate, and engage the community with the rich history of durational, performance, and time-based art that has been integral to shaping the cultural legacy of Seattle and beyond.

Christine M Babic
Corrie Befort + Jason E. Anderson
Sarah Berkeley (Nebraska)
Mariel Carranza (LA)
Ania Catherine (LA)
Annie Onyi Cheung (Halifax)
Eleanor Kipping (Maine)
Max Kraushaar
Mikiki (Toronto)
Takahiro Yamamoto (PDX)
Arianna Richardson (Halifax)
Alia Swersky
Syniva Whitney/Gender Tender
Donnell Williams + Sister James
Petra Zanki
Robert Campbell
Jessa Carter + Will Hayes
Sarah Cameron Sunde (NYC)
Tom Baker + Alessandro Rovegno
Gust Burns
Garek J Druss (LA)
Austin Larkin
Alex Mari + Myani Guetta
Luke Martin + Aaron Foster Breilyn (Boston)
Jordan Topiel Paul (Mexico City)
Sunken Cathedral (SF)

Special Happenings, Events, Partnerships, and Collaborations with:
Anna Telcs
Vanessa Molano
Nat Evans
The Hedreen Gallery
Northwest Film Forum

Head over to our website to find out more and stay tuned for news on festival tickets!


12. RESIDENCY: Draw to Perform
Deadline date: August 30, 2018; City: Brighton, UK; Source: Draw To Perform

Draw to Perform Residency, 6–20 October 2018

The Draw to Perform residency programme for Drawing Performance practice

What does the program offer?
The D2P Residency program is a unique opportunity for new and developing professional artists and art students to engage in the dynamic artistic discipline of drawing performance art. The program provides the foundation to develop drawing and performance skills and to translate creative practice into live action. This rigorous 15 days structured program of mentored residency includes one-on-one tutorials, workshops, intensive studio time, studio visits and artist talks by UK drawing performance artists. The program is headed by artist and curator Ram Samocha, who is internationally acclaimed and the founder of Draw to Perform.

The residency will be located in the heart of Brighton, one of the most vibrant and colourful cities in Europe and a centre of creativity, vibrancy and progressive art. The program will also include guided tours to key exhibitions and art events in Brighton and London and will end with an evening of live drawing performances to celebrate and showcase the output of this creative time.

When: 6–20 October 2018 (15 days)
Where: Copperdollar Studios, Brighton, UK
Application Deadline: Thursday 30 August 2018 @ 11:00am BST

What’s included?
-Accommodation in Brighton + daily breakfast with 3 evening meals
-Shared studio space
-Guided tour of London’s art museums and galleries
-2 Guest artists and curators talks and discussions
-Lectures about drawing and performance art
-Access to a wide range of publications about drawing and performance
-Admission to a live performance in Brighton
-Opportunity to share and showcase work-in-progress
-Public collaborative drawing performance action
-Final live performance of your work in an event that open to the public

3 July: Open for applications
30 August: Deadline for application forms Mon, 11:00am BST
3 September: Applicants notified
6 October: Residency start day
20 October: Residency ending day – Live drawing performance event

More info: https://drawtoperform.com/home/residency/


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.

Artistic & Administrative Director: Shannon Cochrane

Board of Directors: Cara Spooner, Francesco Gagliardi, Jenn Snider, Cathy Gordon, Clayton Lee, Julian Higuerey Nunez, Susan Wolf

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

FADO on Instagram: @fadoperformanceartcentre
FADO on Facebook: FADO Performance Art Centre

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