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FADO E-LIST (January 2019)

INDEX

1. FADO Performance Art Centre presents Cock and Bull by Nic Green

TWO PERFORMANCES: January 30 & February 2, 2019 

2. FADO Performance Art Centre presents Documents by Autumn Knight

ONE NIGHT ONLY: February 8, 2019

3. PUBLICATION: 9Questions, an artist project by Gustaf Broms

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies

4. CALL FOR SUBMISSIONS: Rencontre Interuniversitaire de Performance Actuelle 2019

Deadline date: January 18, 2019; City: Montréal, Canada; Source: RIPA

5. EVENT: Crossing Permissions by Sinéad O'Donnell

 

Date: February 1–March 27, 2019; City: Armagh, N.Ireland; Source: Sinéad O'Donnell

6. EVENT: To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation

Date: February 17, 2019; City: Toronto, Canada; Source: Public Recordings

7. EVENT: Dronesphere Colloquium

Date: February 23, 2019; City: Toronto, Canada; Source: Simon Rabyniuk

8. CALL FOR SUBMISSIONS: EMERGENYC 2019

Deadline date: February 26, 2019; City: New York, USA; Source: Hemispheric Institute

 

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1. FADO Performance Art Centre presents Cock and Bull by Nic Green

TWO PERFORMANCES: January 30 & February 2, 2019

 

Cock and Bull

Conceived and directed by Nic Green

Performed by Nic Green, Rosana Cade and Laura Bradshaw

 

Curated and presented by FADO Performance Art Centre for Progress

 

Originally conceived for the eve of the 2015 UK general election, Cock and Bull sees three females convene to perform their own, alternative, party conference.

 

Exploring power, voice, agency and sustainability, they use the most heard phrases from Conservative governmental rhetoric, to dismantle and redress dominant paradigms of power and Politics. Responding to the meaninglessness and repetition of empty political promise, the privilege of the governmental elite and the deep discontent of an increasingly disproportionate and divided society, this work is part protest, part catharsis, part exorcism. It becomes, in part, a demonstration of togetherness. Cock and Bull is a transforming choreography of words and a passionate speech of the body, underpinned with the real-time energy of political dissatisfaction and tory tongue-speak.

 

For the Toronto premiere of Cock and Bull, two iterations are performed: the original short version (one hour) and the long version lasting the length of an average sitting of the House of Commons (over 7 hours). Presented as bookends in the first week of Progress, audiences are afforded the unique opportunity to investigate the performance’s structure and form as it expands (and contracts) over time.

 

Winner of the Total Theatre Award for best visual/physical theatre, Edinburgh (2016)

 

“A quiet, luminously brilliant, meditation on politics and pain.”
 ~Exeunt Magazine

 

★★★★ “A blistering, beautiful act.”
 ~What’s On Stage

 

★★★★ “Astonishing…Unforgettable performances.”
 ~The Scotsman

 

SCHEDULE

Wed | January 30 | 7:30pm (short version)

Sat | February 2 | 2:00pm (long version)

 

DURATION

January 30 | 60 minutes

February 2 | 7 hours & 41 minutes

 

CREDITS

Conceived and Directed by Nic Green

Created with Laura Bradshaw and Rosana Cade

Performed by Laura Bradshaw, Rosana Cade and Nic Green (short version)

Performed by Rosana Cade and Nic Green (long version)

LX design by Eleni Thomaidou

Technical support by Murray Wason

Production Manager (Toronto) by Deb Lim

 

LANGUAGE

Performed in English

 

TICKETS

January 30 | $25

February 2 | $15 (or free, with a purchased ticket to January 30 performance)

 

PLEASE NOTE: February 2nd is a durational performance. Audience is invited to come and go with your wristband as space allows. Tickets for this performance are available at the door only, starting two hours before performance start time. 

 

PROGRESS FESTIVAL

This year's Progress Festival takes place between January 30–February 17, 2019. Progress is collectively curated by FADO Performance Art Centre, F-O-R-M, Native Earth Performing Arts, SummerWorks, The Power Plant, the red light district, The Theatre Centre, Uma Nota Culture and Why Not Theatre. Produced by SummerWorks in association with The Theatre Centre.

 

Single Tickets: $25 | PURCHASE TICKETS

3-Show Progress Pass: $60 | PURCHASE PASS

Box Office: 416-538-0988

 

www.performanceart.ca

www.progressfestival.org

 

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2. FADO Performance Art Centre presents Documents by Autumn Knight

ONE NIGHT ONLY: February 8, 2019

 

Documents

Conceived and performed by Autumn Knight

 

Curated and presented by FADO Performance Art Centre for Progress

 

Documents centres uses dialogue, gesture and the voice of both the artist and the audience to uncover and critique structures of power. Troubling the division of labour between the performer and the audience divisions, Documents involves a public reading of the documentation that serves to authenticate or legitimize citizenship. Central to this work is a filing cabinet that both holds the props required for the performance, while also serving as a portrait or trace of the artist. The interactive reading of the documents in the files addresses the embodied specificities of race, class, gender, sexuality to contest whether these categories accurately reflect the bodies they are meant to represent—while underlining how different audiences and relationships to power may influence this reading.

 

SCHEDULE

Fri | February 8 | 7:30pm

 

DURATION

75 minutes

 

CREDITS

Conceived and Directed by Autumn Knight

 

LANGUAGE

Performed in English

 

TICKETS

$25

 

PROGRESS FESTIVAL

This year's Progress Festival takes place between January 30–February 17, 2019. Progress is collectively curated by FADO Performance Art Centre, F-O-R-M, Native Earth Performing Arts, SummerWorks, The Power Plant, the red light district, The Theatre Centre, Uma Nota Culture and Why Not Theatre. Produced by SummerWorks in association with The Theatre Centre.

 

Single Tickets: $25 | PURCHASE TICKETS

3-Show Progress Pass: $60 | PURCHASE PASS

Box Office: 416-538-0988

 

www.performanceart.ca

www.progressfestival.org

 

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3. NOW AVAILABLE: 9Questions, an artist project by Gustaf Broms

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies

 

9Questions, an artist project by Gustaf Broms

 

Publication: $20

Publication & postage for Toronto: $25

Publication & postage to Canada/USA: $30

Publication & postaget to UK/Europe: $35

 

Pay via PAYPAL, credit or debit.

Email info@performanceart.ca to place your order.

 

Or purchase a copy through Unbound:

www.thisisunbound.co.uk/collections/books/products/9questions

 

In 2014, Swedish performance and visual artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists—many he had a personal connection with and many more he had never even met. The questions covered a range of paired concepts—the bricks and mortar of performance practice (including Material/object, Audience/receiver, Sound/silence, Time/rhythm, Space/emptiness)—and grounded by questions about personal experience, lineage and language. The impulse to gather this collection arose from a conversation Broms had had with another artist; but what makes this volume first and foremost an artist’s book is that the questions are asked from the specific perspective of Broms’ deep personal understanding that, as a practice, performance resides at the permeable borders between the conscious and subconscious, and the meeting of the concrete world of form and the spiritual realm. For Broms, these are the essential questions. The responses collected are as diverse and wide-ranging as the artists and their own approaches, from the practical, to the abstract to the simply far-flung, in addition to some reassuring and surprising overlapping ideas and connections. 

 

The roster of contributors to the 9Questions book project is an impressive array of international performance artists whose work covers a range of performance and performative multi-disciplinary approaches, including: Adina Bar-On, Alastair MacLennan, Andrea Saemann, Antoni Karwowski, Arahmaiani, Artur Tajber, Barbara T. Smith, Bartolomé Ferrando, Boris Nieslony, Brian Connolly, Dorothea Rust, Elvira Santamaria-Torres, Esther Ferrer, Fausto Grossi, Guadalupe Neves, Guillermo Gómez-Peña, Gustaf Broms, He Yunchang, hermann nitsch, Irma Optimist, Jamie McMurry, Jill Orr, Johanna Householder, John Duncan, Kurt Johannessen, Leif Elggren, Linda Mary Montano, Macarena Perich Rosas, Margaret Dragu, Mariel Carranza, Marilyn Arsem, Martha Wilson, Monika Günther & Ruedi Schill, Myriam Laplante, Nigel Rolfe, Nobuo Kubota, Paul Couillard, Pekka Kainulainen, Rocio Boliver, Roi Vaara, Ron Athey, Serge Olivier Fokoua, Shannon Cochrane, Stelarc, Tanya Mars, Tehching Hsieh, Tomas Ruller, Valentin Torrens, Zbigniew Warpechowski and Zhu Ming. 

 

ABOUT GUSTAF BROMS

Gustaf Broms is a Swedish visual artist working in performance, video and photography. His performance work has presented work across Europe, Asia and North America. His practice is engaged with the exploration of the nature of consciousness, the dualistic concept of "I," as the biological reality of being in the BODY, and being MIND, as the perceived experience of the flow of phenomena. He is a co-founding member of REVOLVE Performance Festival in Uppsala. He was the subject of 2012 film, The Mystery of Life – An Art Apart: Gustaf Broms by Carl Abrahamsson. 

 

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies

Edited by Gustaf Broms and Shannon Cochrane

Translations by Paula Alvarado, Robert Rowley, Nicolas Scrutton, Jie Wang

Design: Lisa Kiss Design

 

ISBN

978-0-9730883-4-2 (FADO Performance Art Centre, Canada)

978-91-639-8460-0 (Centre for Orgchaosmik Studies, Sweden)

 

This publication project is supported by Stiftelsen Längmanska kulturfonden. FADO Performance Art Centre acknowledges the suport of the Canada Council for the Arts, Toronto Arts Council, Ontario Arts Council, and the Department of Canadian Heritage.

 

www.performanceart.ca

 

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4. CALL FOR SUBMISSIONS: Rencontre Interuniversitaire de Performance Actuelle 2019

Deadline date: January 18, 2019; City: Montréal, Canada; Source: RIPA

 

Rencontre Interuniversitaire de Performance Actuelle (RIPA) invites university-level student artists (current or recently graduated), from Quebec and neighbouring territories to submit a proposal for its upcoming evening of performance art which will be held in April 2019, in Tiohtiá:ke/Montreal.


RIPA is looking for proposals for all variations of performative practice: action art, intervention, art furtif, reenactment, la manoeuvre, body art, sound, musical and theatrical practices, etc. Offsite proposals presented as an extension of the event are also welcome, as well as works incorporating new media. 


The performances presented over the course of the evening may be of different durations and some proposals may occur simultaneously. 


An honorarium will be given to all selected artists. Although we have a budget dedicated to technical needs, RIPA is unable to cover artist’s expenses (materials, travel, accommodation, per diem). A modest compensation and support in finding accommodations will be offered to artists residing outside of the Montreal area.


Deadline: January 18, 2019, 11:59 PM.


Please send your application to the following email address: ripa.contact@gmail.com (contact: Joséphine Rivard). You will receive a confirmation of receipt of your application. Any questions can also be sent to this email address. No applications will be accepted past this date. Incomplete submissions will not be forwarded to the selection committee. 


Your application must include, in one PDF file (maximum 10 MB), the following elements:

Resume/CV (max. 2 pages)

An artist statement (max. 250 words)

A description of your proposed project (max. 350 words)

The duration of the performance

A maximum of 10 digital images with the following information: title, date, duration, Web site (if needed)

A link to video documentation, optional but highly recommended (Vimeo or YouTube)

The list of your technical and logistical requirements (the artist is responsible for the installation and management of technical equipment, in collaboration with the technical team)


For an overview of past editions or to find out more about RIPA’s mandate, please visit our website and our Facebook page: 

 

www.ripa-performance.org/en/

www.facebook.com/RIPA.performance.actuelle/

 

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5. EVENT: Crossing Permissions by Sinéad O'Donnell

Date: February 1–March 27, 2019; City: Armagh, N.Ireland; Source: Sinéad O'Donnell

 

Crossing Permissions by Sinéad O'Donnell

Millennium Court Arts Centre

February 1–March 27, 2019

 

Opening: February 1, 7–9pm

Live performance: February 1, 8–8:30pm

Live performance & artist talk: February 12, 12–1pm

 

A journey through the performance art body responding to feminine place and landscape in Asia, Latin America and Ireland. The exhibition documents a year long process including to camera  performance in video & photograph, drawings & sculptural forms developed in Tokyo, Montevideo, Buenos Aires, San Paulo, Fukushima, Bangkok, Solo & Portadown.

 

Supported by The Arts Council of Northern Ireland major award, Flax Art Studios/ Art Centre Ongoing, Japan exchange residency & British Council Northern Ireland.

 

A Free Bus will run between Belfast and Portadown on the evening of the opening. Leaves Belfast from Golden Thread Gallery at 6:45pm and returns from Portadown at 9:00pm.

 

Millennium Court Arts Centre

William Street, Portadown, Co. Armagh

Northern Ireland, BT62 3NX

 

info@millenniumcourt.org

www.millenniumcourt.org

 

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6. EVENT: To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation

Date: February 17, 2019; City: Toronto, Canada; Source: Public Recordings


To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation

Presented by The Music Gallery

Produced by Public Recordings and Christopher Willes


Sunday, February 17, 2019

7pm–9pm


Toronto City Hall Council Chambers

100 Queen Street West, Toronto

FREE


Contributing artists:

Anne Bourne

Allison Cameron

Ishan Davé

Prices Easy

Ellen Furey

Thom Gill

Claire Harvie

Ame Henderson

Brendan Jensen

Germaine Liu

Bee Pallomina

Liz Peterson

Brian Solomon

Anni Spadafora

Evan Webber

Christopher Willes

And others


Rehearsal direction: Kate Nankervis


In 1970, Pauline Oliveros (1932-2016) wrote an orchestral score titled To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation. Created in the after-shock of the political upheavals of 1968, and after having read the radical feminist text “Scum Manifesto”, Oliveros’ score imagined a “continuous circulation of power” enacted through performance. The piece marked the beginning of her turn away from the hierarchical tendencies of contemporary classical music and towards a practice that she would continue to develop throughout her life that she called Deep Listening.


Scored for coloured light and any number of musicians, this influential and celebrated work is the subject of Public Recordings next major site-specific performance. Asking, in Oliveros’ words, “How do you go beyond what you know how to do?” Public Recordings has assembled an experimental orchestra of musicians and non-musicians to learn this piece together, through a series of public rehearsals in community spaces in Toronto. This process will culminate in a free, one-time-only performance in Toronto’s City Hall’s Council Chambers.


Produced by Public Recordings and Christopher Willes. Developed with support from Happy like a flower, Toronto Arts Council, Ontario Arts Council, Feminist Art Museum, the Gardiner Museum, and Artscape Gibraltar Point. Performed courtesy of The Pauline Oliveros Trust. Published by Smith Publications 1973.


www.publicrecordings.org

Facebook event: www.facebook.com/events/372743520165395/

 

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7. EVENT: Dronesphere Colloquium

Date: February 23, 2019; City: Toronto, Canada; Source: Simon Rabyniuk


Dronesphere Colloquium

Daniels Faculty of Architecture, Landscape, and Design

1 Spadina Cres, Toronto, Canada


Saturday, February 23, 2019

11:00am to 6:00pm

www.dronesphere.aero


To register your attendance, please go to our Eventbrite link:

www.eventbrite.ca/e/dronesphere-colloquium-tickets-53351419532


No city has yet confronted a large scale domestic integration of either autonomous or remotely piloted aerial vehicles. Although, various district-scale experiments testing the occupation of urban airspace are underway. During the latter half of 2018, rural delivery has begun in remote communities in Ontario, and has a longer history in rural contexts outside of Canada. However, the city presents a set of different spatial, social, legal, regulatory, and technical challenges. This event, through a series of panels and presentations, will address the place of aerial robotics in the city. It will feature presentations by scholars from design practice, art, architectural history, surveillance studies and engineering. The drone’s “place” within the city will be triangulated through speculative proposals, historical analysis, and a critical engagement with their use in the present.


A detailed schedule will be posted prior to the event.


Speakers Include:

Ciara Bracken-Roche (UOttawa)

Sean Burkholder (UPenn)

John Harwood (UT)

Immony Men (OCAD U)

Fiona McDermott (Trinity College)

Hillary Mushkin (CalTech)

Giovanni de Niederhäusern (Carlo Ratti and Associati)

Public Studio (UT)

Ala Roushan (OCAD U)

Sam Siewert (ERAU)

Scott Sorli (UWaterloo)

Mason White (UT)


Keynote: Liam Young (Sci Arc)


Join speculative architect Liam Young and acclaimed electronic producer for the live expanded cinema performance, I Spy with my Machine Eye, a filmic tour told from the perspective of a drone drifting across the planet. Based around Young’s short film ‘In the Robot Skies’, the first fiction film shot entirely using preprogrammed drones and accompanied by acclaimed electronic producer Forest Swords’ original soundscape he narrates a near-future love story set against the fears and wonders of an impending drone age.


Special Thanks to the FADO Performance Art Center and the Italian Cultural Institute for co-presenting Liam Young’s performance lecture “I Spy With My Machine Eye”, and the “Projective Urban Air Mobility” panel, respectively.


Dronesphere Colloquium is organized by Simon Rabyniuk in conjunction with his Masters of Architecture thesis.

 

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8. CALL FOR SUBMISSIONS: EMERGENYC 2019

Deadline date: February 26, 2019; City: New York, USA; Source: Hemispheric Institute


EMERGENYC 2019

The Hemispheric Institute of Performance and Politics at New York University is now accepting applications for its twelfth year of EMERGENYC, the Hemispheric New York Emerging Performers Program focused on political performance. EMERGENYC aims to support the development of hemispheric emerging artists through a program of workshops and events between Sunday April 14th and Sunday July 7th, 2019  (see “The Program” section below for details). We seek talented, committed and highly motivated emerging performers/activists/artists whose work aims to be a vehicle for political expression, and who examine the broad range of identities, practices and histories of the Americas (the western hemisphere, thus “hemispheric”) through forms such as performance art, spoken word, urban interventions, satire, culture jamming, political cabaret, theater, creative activism, video performance, movement, and others. Drawing on the vitality of New York City as a hemispheric crossroads, the program will enable  performers/activists to work with leading practitioners in the field, to take interdisciplinary leaps, and to develop their own strategies to use performance for social change.


The Program

Selected participants will take part in weekly Sunday workshops led by George Emilio Sánchez, as well as workshops by established artists who are leaders in the field of performance and politics. (Workshop leaders for 2019 will be announced soon—check emergenyc.org for a list of previous guest instructors, which have included: Alicia Grullón, Anna Deavere Smith, Avram Finkelstein, Carmelita Tropicana, Dan Fishback, Daniel Alexander Jones, Ebony Noelle Golden, Ed Woodham, Fulana, Guillermo Gómez-Peña, The Illuminator, Jennifer Miller, Karen Finley, Pamela Sneed, Pat Hoffbauer, Split Britches, Susana Cook, Tim Miller, as well as EMERGENYC alumni, like Branden Jacobs-Jenkins and Ricardo Gamboa, among others). We ask applicants to define issues that are important to them and explore how creative practices can harness their political voice. Past participants have explored themes of racism, racial stereotypes, and racial violence; LGBTQ rights; gender and sexuality; war and human rights; environmental justice; religion; and gentrification, etc. These engagements have resulted in the creation of workshops in community programs, interviews with members of various communities, and the creation of performance art pieces, multimedia installations, theatrical explorations, street performances, video art, and more.


The program will be divided into three phases:


Phase 1: every Sunday (10am–2pm) from April 14–July 7, participants work closely with George Emilio Sánchez in developing performance and activist strategies, such as Boalian techniques, performance art and site-specific interventions.


Phase 2: intensive daily sessions (10am–6pm) from May 19–25, participants work closely with leading practitioners, and explore specific tactics for work in the field.


Phase 3: Sundays (10am–2pm) from June 2–July 7, participants refine their work for a final presentation, building on the strategies explored through the workshops.


Performance presentations July 11, 2019: participants will share their strategies, performances, and installations during an evening program at Abrons Arts Center. *Please note: Abrons Arts Center is wheelchair accessible. Accommodations will be made for participants who for some reason may be unable to access the space.


This program has a fee of $1,000. A modest amount of financial aid will be available on a need basis. If your enrolement depends on financial aid, please let us know in your application below.


Who Is Eligible: EMERGENYC is now open to activists/artists/performers who live in (or can easily commute to) New York City. Applicants must have prior experience in various performance genres and/or activist practices.


Conflicts and attendance: Any conflicts applicants have with the EMERGENYC schedule (see the webpage for exact dates) should be noted in their application. Please note: Accepted participants with more than two absences, whether excused or not, may not be guaranteed a slot in the final performance at Abrons Arts Center on July 11. 


How to Apply: The deadline to submit materials on Submittable is Tuesday, February 26th, 2019 at 5pm (EST). 


For all the details on what is required to submit, please go to this link:

https://abronsartscenter.submittable.com/submit/499de044-d366-45f6-a172-8bd4b285edca/hemispheric-institute-emergenyc-2019


About NYU's Hemispheric Institute of Performance and Politics

The Hemispheric Institute (Hemi) connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, and archives. Our dynamic, multilingual network traverses disciplines and borders and is grounded in the fundamental belief that artistic practice and critical reflection can spark lasting cultural change.

www.hemisphericinstitute.org


About Abrons Arts Center 

Abrons Arts Center is a home for contemporary interdisciplinary arts in Manhattan’s Lower East Side neighborhood. A core program of the Henry Street Settlement, Abrons believes that access to the arts is essential to a free and healthy society. Through performance presentations, exhibitions, education programs and residencies, Abrons mobilizes communities with the transformative power of art.

www.abronsartscenter.org/about/

 

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ABOUT FADO PERFORMANCE ART CENTRE

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 Núñez

 

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

info@performanceart.ca
www.performanceart.ca

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

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