home
links
contact
 


 


 

FADO E-LIST (August 2019)

FADO PROGRAMMING

1. FADO EVENT: Queer/Play 2.0 by Moe Angelos / PERFORMANCE CLUB
Date: Thursday, September 5
2. FADO EVENT: The Talking Archive by Hope Thompson / PERFORMANCE CLUB
Date: Thursday, September 12
3. FADO EVENT: Conjuring the Archive by Jess Dobkin / TALK + PERFORMANCE
Date: Wednesday, September 18
4. FADO EVENT: Death, Sex & Macrame by David Bateman / PERFORMANCE CLUB
Date: Saturday, September 14 (workshop) & Thursday September 19 (performance)
5. FADO EVENT: Marita Bullman, Liina Kuittinen & Ignacio Perez Perez / PERFORMANCES
Date: Friday, September 20
6. FADO EVENT: single use salmon plogging by Ayumi Goto / PERFORMANCE
Date: Sunday, October 20

INDEX

7. EVENT: Possible Awakenings Series No. 6
Date: August 8, 2019; City: Montreal, Canada; Source: Facebook
8. EVENT: Encumbrance by Johannes Zits
Date: August 8–9, 2019; City: Toronto, Canada; Source: Holly Timpener
9. EVENT: The Diseases of Astonishment by Mari Novotny-Jones
Date: August 10, 2019: Saugerties, NY USA; Source: Mobius Inc.
10. EVENT: Body Maintenance by Sakiko Yamaoka
Date: August 11, 2019; City: Toronto, Canada; Source: 7a*11d
11. EVENT: DFBRL8R Performance Art Apprentice Showcase
Date: August 11, 2019; City: Chicago, USA; Source: Joseph Ravens
12. CALL FOR PROPOSALS: Performance Research Vol. 25, No. 3: On Microperformativity
Deadline date: September 2, 2019; City: the world; Source: Performance Research
13. EVENT: ANTI - Contemporary Art Festival
Date: September 10–15, 2019; City: Kuopio, Finland; Source: ANTI
14. WORKSHOP: Introductory Performance Art Workshop with VestAndPage
Date: September 12-15, 2019; City: Düsseldorf, Germany; Source: VestAndPage
15. PUBLICATION: 9Questions, an artist project by Gustaf Broms
Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies

+++

FADO PROGRAMMING
1. FADO EVENT: Book Club: snowflakes in the echo chamber by Moe Angelos / PERFORMANCE CLUB
Date: Thursday, September 5

Performance Club 4: Book Club: snowflakes in the echo chamber
Performed by Moe Angelos

Thursday, September 5
8:00pm

The Commons @ 401
401 Richmond Street West, 4th floor, Toronto

Are you a snowflake? Do you live in an information silo? Do you live to comment? Likes, dislikes, emoji bagels and a thumbs up? Are you a lurking flamer? (Or is your crazy uncle in Alberta one?) Is this making you mad? Would you like to say something? Do you feel silenced because there is no comment function?
 
What happens when all your friends (and your “Friends”) think exactly the same as you? Can you talk to each other anymore?

 

Join us for Book Club: snowflakes in the echo chamber, one year after Queer/Play was published; one year after Ellie, Audrey, Jasmine, Stacy and Moe read it in their book club; and one long year on our journey ever deeper into the Offendocene, the epoch of being outraged.

ABOUT MOE ANGELOS
Moe Angelos is a theatre artist and writer. She is a core member of The Builders Association, an internationally touring, New York-based theatre company that has been making innovative large-scale, media infused performance work since 1994. She's one of The Five Lesbian Brothers, an Obie-Award winning theatre company. She has been a member of the Wow Café Theater since 1981. She has collaborated with many downtown New York City luminaries including Lisa Kron, Carmelita Tropicana, Anne Bogart, Holly Hughes, Lois Weaver, Kate Stafford, Brooke O’Harra, Half Straddle and The Ridiculous Theatrical Company.

ABOUT PERFORMANCE CLUB
As a proposition for a performance or the framework for an actual book club, Performance Club redefines 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. This series is on-going. Sometimes we pick the book and invite an artist; sometimes we invite an artist and they pick a book. Just like a real book club, we ask the audience to read the suggested material before coming to the performance. But don't worry, just like a real book club, no one ever does.

+++

FADO PROGRAMMING
2. FADO EVENT: The Talking Grave by Hope Thompson / PERFORMANCE CLUB
Date: Thursday, September 12

Performance Club 5: The Talking Grave
Performed by Hope Thompson

Thursday, September 12
8:00pm

The Commons @ 401
401 Richmond Street West, 4th floor, Toronto

“It’s not everyday you get to talk to the dead—and they answer.” ~Hope Thompson

In a rare, ‘one-on-one’ Hope Thompson interviews crime writer and father of noir, Cornell Woolrich (1903–1968). Thompson brings alive her obsessive fascination with both Woolrich’s writing and his life in this ‘tell-all-from-beyond-the-grave’ interview performance. A solitary and reclusive figure in life, Woolrich is similarly reticent in death, however, Thompson’s interview techniques draw out the writer, giving the Performance Club a window into the dark secrets, vulnerabilities and surprising humour of this often overlooked giant of 20th century crime fiction.

Cornell Woolrich’s seminal short story, Three O’clock, will be provided as a sample of the author’s work. In this thriller of marital revenge, a husband known only as “Stapp” plots the murder of his wife, only to have a series of surprise events send him spiraling into nail scratching despair.

ABOUT HOPE THOMPSON
Hope Thompson is a playwright, filmmaker and writer. She is obsessed with mystery, film noir, camp and comedy and has written and directed several award-winning short films and one-act plays in these genres. Her film, Switch, premiered at the Toronto International Film Festival and her recent play, Trapped! was published in the anthology, Queer/Play (2017), edited by Moynan King. Hope is currently at work on her first novel and on a play based on a night in the life of crime writer, Cornell Woolrich. 

ABOUT PERFORMANCE CLUB
As a proposition for a performance or the framework for an actual book club, Performance Club redefines 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. This series is on-going. Sometimes we pick the book and invite an artist; sometimes we invite an artist and they pick a book. Just like a real book club, we ask the audience to read the suggested material before coming to the performance. But don't worry, just like a real book club, no one ever does.

+++

FADO PROGRAMMING
3. FADO EVENT: Conjuring the Archive by Jess Dobkin / TALK + PERFORMANCE
Date: Wednesday, September 18

Conjuring the Archive by Jess Dobkin
TALK + PERFORMANCE

Wednesday, September 18
8:00pm

The Commons @ 401
401 Richmond Street West, 4th floor, Toronto

In 2018–2019, Jess Dobkin received a Chalmers Art Fellowship in support of her current on-going research project looking at the performance art archive—her own personal archive and the archives of notable organizations and artists in the USA, UK, Mexico, Hong Kong and Canada.

Jess Dobkin approaches the archive as both site and material to investigate the lifespan and spirit life of performance art. Building on her ongoing research in international performance archives, she interrogates the relationship between live performance and documentation to explore the dynamic ways that performance can exist before and beyond the live event.

Dobkin invites us to consider:
What happens when boundaries blur and the documentation becomes the performer?
What happens when an audience creates an archive, or when an archive becomes a space for performance?
How might artists use physical, digital, and energetic archival materials in the creation of new artworks?

ABOUT JESS DOBKIN
Jess Dobkin has been a working artist, curator, community activist and teacher for more than 25 years, creating and producing intimate solo theatre performances, large-scale public happenings, socially engaged interventions and performance art workshops and lectures. Her practice extends across black boxes and white cubes, art fairs and subway stations, international festivals, and single bathroom stalls. She’s operated an artist-run newsstand in a vacant subway station kiosk, a soup kitchen for artists, a breast milk tasting bar, and a performance festival hub for kids. 

+++

FADO PROGRAMMING
4. FADO EVENT: Death, Sex, & Macrame by David Bateman / PERFORMANCE CLUB
Date: Saturday, September 14 (workshop) & Thursday September 19 (performance)

Performance Club 6: Death, Sex, & Macrame (and other works)
Performed by David Bateman

Death, Sex, & Macrame
Workshop: September 14 @ 2:00pm (3 hours)

Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat?
Performance: Thursday, September 19 @ 8:00pm

The Commons @ 401
401 Richmond Street West, 4th floor, Toronto

David Bateman's Performance Club consists of a series of open workshops (a bit of creative writing alongside some macrame curtain weaving) which precedes the presentation of a recent performance, Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat?

 

The workshop (September 14, from 2pm to 5pm) will consider Bateman's past performance work, and ways in which he has re-considered various narratives/performance texts around sex and gender over the past thirty years. Current and past work to be looked at will include the following works: Death, Sex, & Macrame (2019, work in progress), I Wanted To Be A Bisexual But My Father Wouldn't Let Me (1992), and Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? (2016).

 

This performance club will include a brief look at the iconic romance novel Love Story (1970), with an emphasis on the famous phrase from the book, "Love means never having to say you're sorry," and its indirect connection to the General Idea sculpture and series of AIDS images inspired by Robert Indiana's LOVE sculptures.

 

ABOUT DAVID BATEMAN
David Bateman is an arts journalist and performance poet currently based in Toronto. He was born in Peterborough Ontario and holds a PhD in English Literature with a specialization in Creative Writing (University of Calgary), and an MA in Drama (University of Toronto). His performance work has been presented in Canada, the United States, and Europe He has four collections of poetry published by Frontenac House Press (Calgary), and his collection of short stories and creative non-fiction (A Mad Bent Diva) was published by Hidden Brook Press in 2017.

 

ABOUT PERFORMANCE CLUB
As a proposition for a performance or the framework for an actual book club, Performance Club redefines 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. This series is on-going. Sometimes we pick the book and invite an artist; sometimes we invite an artist and they pick a book. Just like a real book club, we ask the audience to read the suggested material before coming to the performance. But don't worry, just like a real book club, no one ever does.

 

+++

 

FADO PROGRAMMING
5. FADO EVENT: Marita Bullman, Liina Kuittinen & Ignacio Perez Perez / PERFORMANCES
Date: Friday, September 20

International Visiting Artists 2019:
Marita Bullmann (Germany)
Liina Kuittinen (Finland)
Ignacio Perez Perez (Venezuela/Finland)

Friday, September 20
8:00pm

TMAC (Toronto Media Arts Centre)
36 Lisgar Street, Toronto

Please join us for this special night of performances in FADO's on-going International Visiting Artists series. 

Marita Bullmann: My works are engagements with everyday objects: familiar materials, actions, spaces and places. I am seeking a direct encounter between body and space. My working method can be understood as a temporally ephemeral, site- and situation-specific process. 

Liina Kuittinen: Digestion is process that involves the body with other processes, one point in the circle of matter. Performance operates on the same plain with digestion. Performance and process of digesting are equally real. They are meeting points for material flows, actual events transforming material into other.

Ignacio Perez Perez: We are together in this. Now or never. Now or never. Now or never. I creates experiences of ritualistic playfulness and worldly contemplation to observe and encounter otherness and its permanent state of transformation in the realm of everyday life. 

ARTIST TALKS: Please join us on Saturday, September 21 at 1:00pm for artist talks by Marita Bullman and Ignacio Perez Perez.

The presentation of new performance works by Marita Bullman, Liina Kuittinen and Ignacio Perez Perez at FADO is made possible through a collaboration with VIVA! Art Action, one of FADO's enduring partners. FADO and VIVA! have partnered several times over the years to share the presentation of international artists to both platforms in order to bring exceptional artists and their work to audiences in both cities; in addition to giving visiting artists the unique opportunity of engaging with performance communities in both Toronto and Montréal.

ABOUT VIVA! ART ACTION
Initiated by Patrick Lacasse and Alexis Bellavance, VIVA! was founded in 2006 by six artist-run centres from Greater Montréal to support the production of events dedicated to the presentation and advancement of action art practices and knowledge. The organiZation’s energies are primarily focused on VIVA! Art Action, an international biennial whose sixth edition took place in October 2017. Currently the fruit of a partnership with nine artist-centred organisations, the festival provides the public with an accessible and convivial context in which to encounter performance art in its most striking and avant-garde forms.

+++

FADO PROGRAMMING
6. FADO EVENT: single use salmon plogging by Ayumi Goto / PERFORMANCE
Date: Sunday, October 20

single use salmon plogging by Ayumi Goto

Curated by FADO Performance Art Centre
Co-commissioned by FADO and The Toronto Biennial of Art

Performed during the 2019 Toronto Waterfront Marathon

Sunday, October 20
9:00am–3:30pm (approximate)
Starting/ending location: Bay Street & Queen Street West

single use salmon plogging addresses the labour required for enacting upon human responsibilities for taking care of the environment. The performance meditates upon the all too human compulsion to purchase and then discard that which is easily accessible, mass-produced, and presumably replaceable. 

In this performance, Toronto audiences are introduced to Ayumi Goto’s performance-alter ego, geisha gyrl, who is part salmon and part human. A performative shadow of Adrian Stimson’s Buffalo Boy, geisha gyrl and her team of scavenger-collectors intervene with the Toronto Waterfront Marathon and run the 42 kilometre route, collecting plastic and other debris along the way. single use salmon plogging culminates at the finish line of the marathon. 

This performance is dedicated to the Anishinaabe grandmother, activist and water walker, Josephine Mandamin, who circumnavigated the Great Lakes, covering over 17, 000 kilometers to raise awareness about the pollution in the river and lake systems. The performance is also dedicated to David S. Buckel, an LGBTQ rights lawyer, environmental activist, and runner, who self-immolated in Brooklyn to protest humanity’s addiction to fossil fuels.

The route run by geisha gyrl and her team of scavenger-collectors references and at points overlays the site of the Toronto Biennial’s curatorial activities, located along the original boundaries of the so-called Toronto Purchase of 1805 which stretch from Ashbridges Bay to Etobicoke Creek. 

Scavenger-collectors: Shannon Cochrane, Deb Lim, Peter Morin and Soleil Launiere.

ABOUT the Toronto Biennial of Art
Launching September 21, 2019, the Toronto Biennial of Art is a new international contemporary visual arts event as culturally connected and diverse as the city itself. For 72 days, Toronto and surrounding areas will be transformed by free exhibitions, talks, workshops and performances that reflect our local context while engaging with the most pressing issues of our time. The inaugural Biennial will present over 100 works by Canadian, Indigenous, and International artists installed at more than 15 sites on or near Toronto's waterfront.

+++
 
7. EVENT: Possible Awakenings Series No. 6
Date: August 8, 2019; City: Montréal, Canada; Source: Facebook

Possible Awakenings Series No. 6
August 8 | starting at 5:30pm

Fonderie Darling
745, rue Ottawa, Montréal

Program / Artists:
5:30pm: Nicole Fournier / EmballeToi! Landscape
6:00pm: Sylvaine Chassay & Dans la rue / Nous sommes ici
6:30pm: Tina Carlisi / Laugh Like the Sun, Dance Like the Wind
7:00pm: Victoria Stanton & massage therapists / Questions of Care
8:00pm: Ayò Akínwándé / Mumu LP Vol.2: The Orchestra 

Curator: Milly-Alexandra Dery

The sixth and final evening of the 'Possible Awakenings' series is made through mutual aid and collective creation. In the context of a collaboration carried out before the event or in the case of a first encounter between the artist and the public, the projects are inspired by various performative traditions, including participative happenings, flash mobilizations, and transactional practices. Exchanges and meetings, whether long-term or accidental, materialize on Ottawa street and mark the end of this performance series focused on the participative experience where states of passivity and action follow one another, through an ambiguous sharing of roles between performer and observer. 

http://fonderiedarling.org

+++

8. EVENT: Encumbrance by Johannes Zits
Date: August 8–9, 2019; City: Toronto, Canada; Source: Holly Timpener

Encumbrance by Johannes Zits
A SummerWorks Performance

Toronto Media Arts Centre (Mezzanine)
32 Lisgar Street, Toronto

Thursday, August 8 | 8:00–9:30pm
Friday, August 9 | 7:00–8:30pm

Johannes Zits has been collecting second-hand clothing as material for performative interventions for over 15 years.

In Encumbrance, Zits and collaborators Branda Dale, Holly Timpener and Enok Ripley explore the conflicted relationship we have with our clothing and ask us to contemplate our own assertions of consumerism, “fast fashion” and labour. Using masses of second-hand garments, they consider the ways our bodies are identified with clothing, and how this interconnection helps construct our identities, shapes our desires and tastes.

Part of the SummerWorks Presentations programming—offering you a snapshot of contemporary performance in 2019. A vital collection of new theatre, dance, music, and live art works from across the country.

Created and Produced by Johannes Zits with the assistance of Holly Timpener; Performed by Johannes Zits, Holly Timpener, Enok Ripley and Branda Dale

http://summerworks.ca

+++

9. EVENT: The Diseases of Astonishment by Mari Novotny-Jones
Date: August 10, 2019: Saugerties, NY USA; Source: Mobius Inc. 

Mari Novotny-Jones
The Diseases of Astonishment
a durational performance

Saturday, August 10, 2019
JJ Newberry Building, 236 Main Street, Saugerties Village, NY 12477

On August 10th, Mobius Artist Group member Mari Novotny-Jones will present a 5-hour durational performance at The JJ Newberry Building at 236 Main Street, Saugerties Village. Actions of this piece reference immigration practices along The US/Mexican Border. The audience will be allowed to move through the piece, to watch, read or sit with Mari in an interactive space.

August 10–18, 2019
VIDEO INSTALLATION @ 11 Jane Street Art Center, Saugerties, NY
Opening August 10, 2019 5–8pm 

Video work of Mari Novotny-Jones will be on display in Gallery North at 11 Jane Street Art Center during open hours.

ABOUT MARI NOVOTNY-JONES
Mari Novotny-Jones has been a member of the Mobius Artists Group in Boston since 1980. Her original performance work includes both solo and collaborative pieces. Her most recent local works include “Shrinekeepers” for 2007 Cyberarts festival as part of a collective of six women performance artists and “Harvest” for the Mobius International Festival in 2006. She has also appeared in Mobilize 2008 and Contaminate, an International Artists Festival, Boston. Novotny-Jones is on the faculty of the School of the Boston Museum of Fine Arts where she teaches Performance and CORE foundations classes. She is a recipient of a 2000 Tanne Foundation Artist Award for excellence in the arts. Mari also holds a M.A. in independent studies from Lesley University, Cambridge Mass. Her thesis paper is entitled, "The Nature of Transformation in Performance and Ritual."

www.mobius.org/https://www.11janestreet.com/home 

+++ 

10. EVENT: Body Maintenance by Sakiko Yamaoka
Date: August 11, 2019; City: Toronto, Canada; Source: 7a*11d

Presented by 7a*11d in the context of KinesTHESES
Body Maintenance by Sakiko Yamaoka
August 11 | 2:00pm

John Innes Community Recreation Centre
150 Sherbourne Street, Toronto

We approach our bodies with various kinds of attention and consciousness: avoiding danger, preserving belongings or relationships, finding various types of opportunity, seeking interesting ways to enter through eyes, ears and...using our reflexes or our senses.

How can we train these senses?

I, personally, don’t like to do or watch any sports, but we can use the tools of sport for other intentions. For example, art performances.

ABOUT SAKIKO YAMAOKA
Sakiko Yamaoka was born in 1961 and is based in Tokyo, Japan. She studied oil painting in Musashino Art University, Tokyo, but has been focused on performance art practice since the 1990s. She has taken part in various performance art festivals across Europe and North/South America, Korea, China, and South East Asia. Taking the thought of performance art as a fated process and approaching the body as a single place/knot, she builds a practice extending across event production, moving images, photography and drawing, focusing on themes of public/private space, sculptured time and the consciousness of bodies.

Sakiko writes: “Since my previous time in Toronto in 2008, I have had many struggles, questions, learning, amazing things—like everyone. I was in Spain in 2011 when the earthquake hit Japan. Before then, I was not focused on making work in Japan, but after the earthquake I wanted to go back right away. Now I have started to ‘live’ in Japan more deeply. BUT! What does it mean to belong to one nation? Ambiguous. Instead of the idea of ‘nation’, I decided to think about the people and the culture near my living area. I am still ‘living’ in a kind of network of people through performance art. And I am also ‘living’ in a kind of cultural scene of people in Tokyo. In this second place, people still don’t know and don’t like performance art. This is my major struggle. In 2016, I started to build a performance art archive, focusing on moving images. I sometimes organize events to show moving images which I took in the world. I am developing these activities by working with younger people.”

www.sakikoyamaoka.com

For more information about 7a*11d's off-year programming series, KinesTHESES, curated by Paul Couillard, please visit: www.7a-11d.ca 

+++

11. EVENT: DFBRL8R Performance Art Apprentice Showcase
Date: August 11, 2019; City: Chicago, USA; Source: Joseph Ravens

Defibrillator Gallery + Zhou B Art Center proudly present:
DFBRL8R Performance Art Apprentice Showcase

Amplifying the talented folks who help make Defibrillator possible. 

Performance Art Apprentice Showcase: August 11, 7pm
Accompanying Visual Art Opening: August 16, 7pm–10pm

ZHOU B ART CENTER
1029 West 35th Street, Chicago

Participating Artists:
TAYLOR RAE BOTTICELLI
ERIN EVANS DELANEY
DOVE
DYOSKURI [MICHAEL LEE BRIDGES + TERRA]
ASHLEY HOLLINGSHEAD
LESLEY KELLER-REED
KAZUMI SEKI

Defibrillator celebrates our former Performance Art Apprentices—emerging artists who are energetically questioning and embracing exploration, discipline, risk, and hope—while thoughtfully considering what they do and why they do it. The artists in this program are remarkable for they have selflessly given their time and energy to other artists in order to learn, grow, and actively contribute to the legacy of Performance Art.

The DFBRL8R Performance Art Apprentice Program is an alternative pedagogical system of structured mentorship designed to provide professional experience, practical knowledge, and applicable skills to artists who want to be versed in the presentation of time-based practices. In exchange for this experience, DFBRL8R Apprentices provide the energy and labor necessary to sustain our non-profit, gaining insight into the inner workings – the struggles and triumphs – of a unique organization.

https://dfbrl8r.org/

+++

12. CALL FOR PROPOSALS: Performance Research Vol. 25, No. 3: On Microperformativity
Deadline date: September 2, 2019; City: the world; Source: Performance Research

Performance Research Vol. 25, No. 3: ‘On Microperformativity’ (April/May 2020)
Proposal deadline: Monday, September 2, 2019

Issue Editors:
Jens Hauser, Medical Museion, University of Copenhagen
Lucie Strecker, University of Applied Arts Vienna

The aim of this issue is to scrutinize both the epistemological and aesthetic potential of the notion of ‘microperformativity’ (Hauser 2006, 2014). The concept denotes a current trend in theories of performativity and performative artistic practices to destabilize human scales (both spatial and temporal) as the dominant plane of reference, and to emphasize biological and technological micro-agencies that, beyond the mesoscopic human body, relate the invisibility of the microscopic to the incomprehensibility of the macroscopic. Investigations into microperformativity redefine what art, philosophy and the technosciences actually consider a ‘body’ today, in times when performance art shifts towards generalized and pervasive performativity in art. Agencies of genetic sequences, cellular ‘machineries’, bacteria, fungi, enzymes and other proteins and so forth are no longer conceived of as mere functions, but staged as aestheticized actions, employed to either act as identity proxies, or to stage non-human agencies in relation to performative techno-scientific systems, thus addressing contemporary dynamics linking the machinic and the organic (Salter 2010). This tendency to include ‘aliveness’ at all levels completes the scope of the previously ambiguous term ‘live arts’ (Heathfield 2004).

Microperformative positions enquire how artistic methods can engage critically with technologies that exploit life on a microscopic and molecular level to merge bio- and digital media, including for global capitalization (Spiess and Strecker 2016, 2017). In parallel to algorithmic finance and high-frequency trading, the instrumentalization of sequential micro-transformations in bioindustrial production lines marks society’s shift from human and machine labour to increasingly pervasive forms of microbial manufacturing and computerized bio-optimization. Meanwhile the anthropocentrism of ‘artificial intelligence’ in its preference of computational approaches to model human-like capacities and consciousness has come under critical scrutiny, microperformative postures may search for ‘natural intelligence’ in an eco-systemic logic within a larger bio-semiotic web. Such postures insist on the production of meaning and mutual interpretation between organisms in their environments, thus bringing the field of biosemiotics into play as a new modality for contemporary performance studies. With regards to both artistic production and perception that subvert the mesoscopic tradition in which human phenomenological considerations are still rooted, we look for contributions that demonstrate how performative art forms and discourses can inform these processes to think biopolitics and necropolitics in relation to the dystopia of economy and the utopia of ecology alike.

We invite to apply the notion of microperformativity as an interdisciplinary ‘travelling concept’ (Bal 2002) that synchronically crosses disciplinary and cultural boundaries, and diachronically links a given context to earlier epistemological contexts, while paying ‘increased attention to its material and medial foundations’ (Neumann and Nünning 2012: 9) in the light of the emerging arsenal of associated discursive and symbolic relations. This encompasses post-anthropocentric notions of performativity—including material, affective, scientific and natural-cultural hybrids and ‘epistemic things’ (Rheinberger 1997)—and addresses artistic explorations at the vibrating threshold of aliveness and living matter (Bennett 2009), challenging current understandings of aliveness as such. Through the lens of the performing arts in their broadest possible definition, this issue welcomes submissions for theoretical essays, interviews, manifestos, artistic research and process documentation, as well as performance reviews.

Suggested topics include  (but are not limited to):

—Dramaturgical approaches: If performances engage microperformative flows of dynamic systems and materials dramaturgical tools need to expand. But do Aristotelian poetics or models of mimesis become obsolete in narrations, compositions and material transformations beyond the human? We are looking for criteria in dramaturgy that consider the processes’ ethics, aesthetics and techno-ecological entanglements as crucial to the materiality of production (Trencsényi and Cochrane 2014)

—Microperformativity through the lens of biosemiotics: Biosemiotics study the meaning and interpretation of signalling processes between an organism and its environment. They have never been approached expressly from the perspective of performance studies up to date. We encourage articles that highlight an understanding of the relation between Umwelt, technology, living organisms and their performative agency from a biosemiotic viewpoint.

—Historical layers of microperformativity: We are looking for art historical analysis that highlights contemporary artistic practices of microperformativiy: Ancient Greek and Roman philosophy as well as medicine conveyed complex theories about the circulation of bodily fluids and inanimate matter. In early modern times the science of alchemy showed differentiated forms of rituals and theatricality. A modernist embrace of biological concepts from Dada and the Situationists to non-representative theatre concepts following Antonin Artaud, Jerzy Grotowski, Happening and Fluxus Art, or bio-cultural narratives in Viennese Actionism may have paved the way for post-anthropocentric artistic methods, entangled with microperformativity.

—Reception aesthetics: Theories of reception emphasize the meaning making by the audience. How does a recipient comprehend, decode and appraise artistic practices that foreground microperformative processes? Aesthetics asks for new modalities of microperformative perception and associated modalities of co-corporeality and proprioception. Within performative (biological) artworks, the relation between audience, technologies, living matter and the artistic content shows characteristics of Simondon’s concept of associated milieu (2000). Related schools of thought also address ways in which humans relate affectively to technical objects in relation to living matter. 

Schedule:
Proposals: September 2, 2019
First drafts: November, 2019
Final drafts: January, 2020
Publication: May, 2020

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:
Jens Hauser: hauser@hum.ku.dk
Lucie Strecker: lucie.strecker@uni-ak.ac.at

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. 

www.performance-research.org

+++

13. EVENT: ANTI - Contemporary Art Festival
Date: September 10–15, 2019; City: Kuopio, Finland; Source: ANTI

The 18th edition of ANTI - Contemporary Art Festival will take place between 10th and 15th September 2019. Internationally celebrated, award-winning artists from around the world will once again present their projects in Kuopio.

The theme and focus for the 18th edition of ANTI - Contemporary Art Festival is death. The programme traces various iterations of death in an attempt to open-up thinking around our relationship to it and to the many sets of phenomena that surround it. Ideas die, eras end, materials become obsolete, things break, technology supersedes itself, places are abandoned, the natural world is destroyed, social and political ideals are overthrown, and plant, animal and human life is finite.

ARTISTS
Nesterval (AT)
Lara Thoms (AU)
Loren Kronemyer (AU)
J. A. Juvani (FI)
Lucy Willow (UK)
Mimosa Norja (FI)
Maria Lucia Cruz Correia (BE)
Kristoffer Orum & Nilas Dumstrei (DK)
Mammalian Diving Reflex (CA)
Cuqui Jerez (ES)
Dana Michel (CA)
Keijaun Thomas (US)
Moth (UK)

For more information about each project, and other events in the festival, please visit:
http://antifestival.com

+++

14. WORKSHOP: Introductory Performance Art Workshop with VestAndPage
Date: September 12-15, 2019; City: Düsseldorf, Germany; Source: VestAndPage

Atelier Performative Künste is glad to present a four-day workshop in Düsseldorf:
Introductory Performance Art Workshop with VestAndPage

Atelier Performative Künste, Düsseldorf, Germany
September 12–15, 2019

Applications of artists from all disciplines and levels of experience are now being accepted on a rolling basis. 

In this Introductory Performance Art Workshop, you will work together practically for four days with artist duo VestAndPage in their collaborative, body-based practice. This workshop has a focus on the use of the three bodies (physical, mental and spiritual) as primary artistic tools. This means focusing on the human body as a poetic and imaginary landscape, being at the same time subject and object of artistic creation, as well as expanding to the social and the political. The process of physical exercises offers insight into VestAndPage's process-led performance art practice to unveil universal meanings through a "Poetic of Relations". This involves a relational perception of issues such as the Self, Otherness, Memory Activation, and Personal Experience. VestAndPage will work on a range of techniques, methods and approaches, which reflect their artistic practices and backgrounds along the interface of visual arts, performance art, philosophy, creative and theoretical writing, as well as Social, experimental and oriental theatre, movement practices and martial arts.

German artist Verena Stenke and Venetian artist and writer Andrea Pagnes have been working together since 2006 as VestAndPage and gained international recognition in the fields of performance art, performance-based film, writing, publishing and with temporary artistic community projects. They are the independent force behind projects such as the Venice International Performance Art Week, have performed and produced numerous live and film works, and offer introductory performance workshops, intensive classes and co-creation processes in art institutions and organizations all over the world.

Workshop hours: daily from 10am–7pm (incl. 1 hour lunch break, for a total of 32 hours)
Places are limited to 15 participants
Workshop language is english
Costs: 300€

To fill out the application form, and for more information, please visit:
www.vest-and-page.de

+++

15. PUBLICATION: 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

 

+++

 

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.

Administrative Director: Shannon Cochrane
Board of Directors: Cara Spooner, Francesco Gagliardi, Jennifer Cruise, 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

To subscribe to this mailing list: https://dm-mailinglist.com/subscribe?f=d6de595f