FADO E-LIST (October 2019)

1. FADO EVENT: single use salmon plogging by Ayumi Goto
Date: Sunday, October 20; City: Toronto, Canada

2. EVENT: To see and see again 

Date: September 4–November 2, 2019; City: Hamilton, Canada; Source: Abedar Kamgari

3. EVENT: School for the Movement of the Technicolo(u)r People

Date: September 12–October 26, 2019; City: Toronto, Canada; Source: TPW

4. EVENT: Doing Things 'n Stuff by John G. Boehme

Date: September 13–October 12, 2019; City: Victoria, Canada; Source: Open Space

5. EVENT: LIVE International Performance Art Biennal

Date: September 28–October 6, 2019; City: Vancouver, Canada; Source: LIVE

6. EVENT: DoubleBind by Jessica Thompson

Date: October 1–5, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)

7. EVENT: The Bank The Mine The Colony The Crime: A Collaborative Walking Tour

Date: October 5, 2019; City: Toronto, Canada; Source: Walkinglab

8. EVENT: Art Nomade

Date: October 3–6, 2019; City: Saguenay, Canada; Source: Art Nomade


Date: October 5–6, 2019; City: Bergen, Norway; Source: PAB

10. EVENT: Fierce Festival 2019

Date: October 15–20, 2019: City: Birmingham, UK; Source: Fierce Festival

11. OPEN CALL: What Remains

Deadline date: October 5, 2019; City: Chicago, USA: Source: ieke Trinks

12. EVENT: New Performance Turku Festival 2019

Date: October 18–20, 2019; Turku, Finland; Source: New Performance Turku

13. WORKSHOP: The Imaginary and the Synchronous with Irene Loughlin

Date: October 27, 2019; City: Toronto, Canada; Source: Trinity Square Video

14. WORKSHOP: Seminar with Esther Ferrer

Date: October 27–31, 2019; City: Girona, Spain: Source: Elvira Santamaria
15. CALL FOR PROPOSALS: Vol. 25, No. 5: ‘On Diffraction’

Deadline date: November 4, 2019; City: the world; Source: Performance Research

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

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies




1. FADO EVENT: single use salmon plogging by Ayumi Goto
Date: Sunday, October 20; City: Toronto, Canada


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

For general information about the marathon/route: www.torontowaterfrontmarathon.com


Sunday, October 20, 2019

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

Launched on September 21, 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.




2. EVENT: To see and see again

Date: September 4–November 2, 2019; City: Hamilton, Canada; Source: Abedar Kamgari

To see and see again 

Curated by Abedar Kamgari

ARTISTS: Jana Omar Elkhatib, Alex Jacobs-Blum, Rajee Paña Jeji Shergill, Felix Kalmenson, Jinyoung Kim, and Zinnia Naqvi

September 4–November 2, 2019

Opening Reception: September 7, 7:00-9:00 pm

(Performance by Jana Omar Elkhatib at 8:00 pm)  

The phrase “to see and see again” (from the Farsi: دید و بازدید) describes the customary practice of visiting one's relatives, wherein each person is indebted to returning the visit in a seemingly endless cycle of guesting and hosting. To see and see again looks at the artistic impulse, particularly in individuals who have experienced displacement, to want to visit or revisit a lost place of origin—whether physically, psychologically, or metaphorically. 

Auxiliary Programs:

Another retelling to the young

Performance by Jana Omar Elkhatib

Saturday, September 7, 8:00pm

I see in the sea a sea 

Performance by Jana Omar Elkhatib

Saturday, September 14, 8:00pm

Supercrawl Festival (Extended Gallery Hours)

Friday, September 13, 4:00–11:00pm

Saturday, September 14, 12:00–11:00pm

Sunday, September 15, 12:00–5:00pm

Panel Discussion

Conversation between Alex Jacobs-Blum and Jinyoung Kim, moderated by Abedar Kamgari

Saturday, October 5, 2:00–4:00pm

An Ethic for New Soil

Performance by Felix Kalmenson

Saturday, October 19, 2:00–4:00pm

More info: www.theinc.ca/exhibitions/to-see-and-see-again/


3. EVENT: School for the Movement of the Technicolo(u)r People

Date: September 12–October 26, 2019; City: Toronto, Canada; Source: Gallery TPW

School for the Movement of the Technicolo(u)r People

taisha paggett and WXPT in collaboration with Ashley Hunt and Kim Zumpfe

WXPT Toronto company includes:

Ella Cooper

Rodney Diverlus

Bishara Elmi

Aisha Sasha John

Ashley “Colours” Perez

Danielle Smith

September 12–October 26, 2019

Gallery Hours: Tuesday to Saturday, 12:00–5:00pm

Free Saturday School: Saturdays, September 14 through October 26, 12:00–5:00pm

School for the Movement of the Technicolo(u)r People is a large-scale artist exchange, exhibition, and public school platform. The project was created through the artistic direction of Los Angeles-based dance artist taisha paggett in collaboration with visual artists Ashley Hunt, Kim Zumpfe, and WXPT Toronto, a temporary dance company formed in conjunction with the project. Convened in memory of the segregation-era CB Dansby High School for Black youth in East Texas, the School builds a site/home and experimental curriculum that responds to the limited positioning of Black and queer movers in the worlds of dance, visual art, and beyond. 

Stay tuned to www.gallerytpw.ca for upcoming details about classes and free School registration.



4. EVENT: Doing Things 'n Stuff by John G. Boehme

Date: September 13–October 12, 2019; City: Victoria, Canada; Source: Open Space


This fall, Open Space artist-run centre presents Doing Things ‘n Stuff: An accumulation of actions, relics, recent work, and more from John G. Boehme.


Opening on Sept. 20, the month-long exhibition will highlight the international practice of Victoria-based performance artist John G. Boehme and cast a light on the vibrant performance art community within the city. 


Over the past twenty-five years Boehme has created a body of work that explores his own physicality in relation to materials and processes. Often situating his work in critical response to current issues and concerns of contemporary performance art, Boehme works with sculpture, video, and live action, at times simultaneously, integrating materials, media, and processes into installations and time-based events.


For Boehme, “physical involvement is the most thorough and embodied way in which to create meaning.” In his durational works, “both the artist and the audience become privy to knowledge available only through this kind of commitment.” 


Earlier this year the artist made headlines in Northern Ireland with a performance in protest of a proposed gold mine, in which Boehme dug a hole in the ground, set up a table and chair and ate an entire ploughman’s dinner encrusted in gold leaf while in the hole, before expelling his own gold-encrusted excrement and burying it.


Boehme is an undeniable presence in the Victoria performance art community, and the Open Space exhibition will offer the opportunity for the public to witness a series of past and current works, including installations, sculptures, videos, and printed matter.



John G. Boehme identifies as a Cisgender white male of German and Scottish heritage currently living in Victoria, BC, the Lekwungen speaking homeland of the Esquimalt and Songhees peoples. His early art practice included; painting, sculpture, performance, video and digital technology, installation and photography. Boehme describes recent work as “trans-disciplinary” often employing performance, video, audio and objects in a number pieces simultaneously, Boehme is not constrained to any particular creative mode and therefore utilizes integrated approaches to realize the work. Boehme continues to have exhibitions and  screenings and participates in festivals across Canada, Australia, the Americas, the United Kingdom, Europe and China. Boehme is an Artist and Educator, teaching Performance Art, Ceramics and Sculpture as a continuing faculty member of the Visual Arts Department at Camosun College.


John G. Boehme performs as part of the installation on Thursday, October 10 at 7:00pm.


Open Space

510 Fort Street, 2nd floor

Victoria, Canada




5. EVENT: LIVE International Performance Art Biennal

Date: September 28–October 6, 2019; City: Vancouver, Canada; Source: LIVE

LIVE International Performance Art Biennale

September 28–October 6


, Canada



Jon Sasaki

Tari Ito

Margaret Dragu

Mineki Murata

Preach R Sun

Cheyenne Rain LeGrande

Adriana Disman

Raven Davis

Thirza Jean Cuthand

Fatima Jawdat

Lukas Avendaro

Kamikaze Nurse

Carmen Papalia

For information and updates: www.livebiennale.ca



6. EVENT: DoubleBind by Jessica Thompson

Date: October 1–5, 2019; City: Toronto, Canada; Source: TPAC (7a*11d)


DoubleBind by Jessica Thompson

InterAccess, 950 Dupont Street, Unit 1, Toronto

Presented by TPAC (7a*11d) in the context of KinesTHESES

DoubleBind is a wearable media project that examines the intersections between place, identity and activism through a hooded sweatshirt connected to Twitter. The piece is designed to be worn in two ways—with the hood covering your head, or zipped into a collar around your neck. Tweets will be generated in your personal account based on where and how it is used, affecting your social identity in both physical and virtual environments.

The hotspots are based on the location of single home Airbnb rentals in the neighbourhood.  The tweets are generated by running descriptive content from rental listings, restaurant reviews and historical and contemporary dialogues on race, place and systems of power through a natural language processing algorithm, which will combine the content into tweet-length sentences. In ‘hoodie mode’, your tweets will also include your location.

DoubleBind was produced through the generous support of the Ontario Arts Council. Technical assistance provided by Ranjit Bhatnagar and Annie Fraser Smith.

NOTE: This event is free, but advance registration is required. You are invited to book a 45-minute appointment to test out the hoodie in the surrounding neighbourhood. You will need a cell phone and a Twitter account (if you don't have a Twitter account, you can use TPAC's) to activate the work. You will be required to leave a piece of ID with the venue (in a sealed envelope) while you are using the hoodie.


This event takes place as part of KinesTHESES, curated by Paul Couillard for TPAC (7a*11d), a series of Toronto-based performance art between August and December 2019 with featured artists Barak adé Soleil, Margaret Dragu, Esther Ferrer, Fiona Griffiths, Louise Liliefeldt, Stephanie Marshall, Robin Poitras, Jessica Thompson, claude wittmann, and Sakiko Yamaoka. KinesTHESES features works that take the notion of “moving” their audiences in the most literal sense. Rather than engaging audience members simply as sets of eyes and ears, these projects remind us that we are, above all, animate forms: tactile-kinesthetic creatures that first learn who we are and discover our world by moving through our environment as bodies experiencing dynamic flows and encountering surfaces and textures. These are the building blocks of what we come to recognize as time, space and matter.


ABOUT TPAC (7a*11d)

TPAC, best known for its biennial 7a*11d festival, was established in 1997 by a group of local performance artists and organizers, keen to create a forum for performance, live and action art in Toronto. Since then, Toronto has proven itself to be performance art-centric, and what began as the first 7a*11d International Festival of Performance Art has continued to grow and offer audiences the best of contemporary performance art from around the world. Thanks to the Canada Council for the Arts, Ontario Arts Council, and the City of Toronto through the Toronto Arts Council for their generous support of this project.





7. EVENT: The Bank The Mine The Colony The Crime: A Collaborative Walking Tour

Date: October 5, 2019; City: Toronto, Canada; Source: Walkinglab

The Bank The Mine The Colony The Crime: A Collaborative Walking Tour

October 5, 2019


Join us for a collaborative walking tour for art, activism and inquiry in Toronto’s financial district.

We will assemble at the RBC Plaza at 200 Bay Street in Toronot at 12:45pm.


Organized by Stephanie Springgay and Sarah E. Truman (Walkinglab) and Max Haiven (ReImagining Value Action Lab) with the support of the Toronto Biennial of Art.

An itinerant gathering including performances, talks and interventions by individuals and collectives including:

Alvis Choi

Vanessa Gray

ICE, Eva-Lynn Jagoe and Imre Szeman

Zannah Matson and Christopher Alton

Jamie Magnusson

New Mineral Collective

The Mining Injustice Solidarity Network

Sherry Ostopovitch and Anita Castelino

Christopher Smith

To register:


Walking Lab: https://walkinglab.org/

ReImagining Value Action Lab: http://rival.lakeheadu.ca/

Toronto Biennial of Art: https://torontobiennial.org/




8. EVENT: Art Nomade

Date: October 3–6, 2019; City: Saguenay, Canada; Source: Art Nomade


We are pleased to present the fifth edition of ART NOMADE, under the theme PROGENITURE. Through different configurations, we invited invited artists to work with family members.


Helge Meyer (Germany)

Alejandra Herrera Silva (Chile)

Jamie McMurry (USA)

John G. Boehme (Canada(

Rachel Echenberg (Canada)

L'Eau du Bain (Canada)

Marilou Desbiens (Saguenay)

Seiji Shimoda (Japan)

Serge Olivier Fokoua (Cameroon/Canada)

Ruth Feukoua (Cameroon/Canada)

François Morelli (Canada)

Didier Morelli (USA/Canada)

Jean-Paul Quéinnec (Saguenay)


LOBE: 114 Rue Bossé, Chicoutimi, Canada






Date: October 5–6, 2019; City: Bergen, Norway; Source: PAB

PAB OPEN 2019 - will be arranged at  Grand Hotel Terminus

5th & 6th of October 2019

A unique experience in which 39 hotel rooms will contain various performances by international and national artists. As an audience member, you will enter the 5th floor, wander between rooms and experience a rich and varied program of performative expressions.



David Alræk, Kjartan Andersen, Sara Arenfeldt, Kelvin Atmadibrata, Janne Aass, Sophie Barth/Schouskollektivet, Alexandra Bischoff, Else Karin Tysse Bysheim and Linn Monika Børresen, Samuel Brzeski, Agnes Btffn, Gillian Carson, Dany DeVero, Susanne Irene Fjørtoft, Haruka Fukao/ Yohei Hamada, Amy Guilfoyle, Bianca Hisse, Alexandra Holownia, Kurt Johannessen, Johan F Källman, Nina Bang Larsen, SANGHOON LEE, Tina Mariane Krogh Madsen & Malte Steiner, Vincenzo Fiore Marrese, Ilze Mazpane and Sanita Duka, James McIlwrath, Iivi Meltaus, Elisa Miravalles, Patrick Morarescu, Gisle Nataas with Signe Schineller and Camilla Nneka Inalu, Tita Polderman, Lykourgos Porfyris, Eivind Reierstad og Alexandre Guimarãres, Dana Sederowsky, Tanja Silvestrini, Jasemin Telle, Álvaro Terrones, Dick Turner, Sarah Tzara Victoria, Siri Bertling Wiik and Salka Hellbacka.




OPENING OF PAB OPEN 2019 at Grand Hotel Terminus

Time: 14:30-15:00

39 hotel rooms with performances from national/international artists; detailed time schedules for the different performances will be updated closer to the festival.

Time: 15:00-18:00


1st floor restaurant/bistro Grand Hotel Terminus

Price: 350 kr. includes vegan and vegetarian dishes and one drink

Time: 19:00-21:00



5th floor Grand Hotel Terminus

39 hotel rooms with performances from national / international artists - More detailed time schedules for the different performances will be updated close to the festival.

Time: 11:00-14:00

PAB OPEN International open session

Time: 11:00-14:00

Hosting PAB OPEN  is a brave decision taken by a hotel which for years has supported the Bergen art scene through the purchase and presentation of art and providing accommodation for visiting artists. PAB Open is a festival which provides room for experimenting and testing out performative expressions. A festival which celebrates fleeting moments, where you have to be present to be able to feel the atmosphere and observe the events. An extraordinary experience with a wide range of sounds, movements and stories.This is the fourth time PAB OPEN is organized by Performance Art Bergen. 

MORE INFORMATION: https://performanceartbergen.no/en/





10. EVENT: Fierce Festival 2019

Date: October 15–20, 2019: City: Birmingham, UK; Source: Fierce Festival

Performance | Parties | Politics | Pop

You are invited to Fierce Festival 2019! Join us for six joyous days of disruptive international performance. Expect heart-popping happenings where everyone and everything is allowed.

From October 15–20th, Birmingham will be bursting at the seams with performances, installations, experiences, cabaret, activism and parties, from an international line-up of artists featuring bold new voices and highly acclaimed international practitioners.

Fierce 2019 will feature 27 different performances and more than 50 event—including 14 UK premieres and 2 world premieres—showcasing work from over 35 artists, some of whom will be making their long overdue UK debuts. Discover the full programme on our brand-spanking-new website here. Tickets now on sale.

Featuring: Alexandra Bachzetsis, Andrew Tay & Stephen Thompson, Ariah Lester, Begüm Erciyas, Brian Lobel, Corin, Davy Pieters, Doris Uhlich, Ellen Furey & Malik Nashad Sharpe, Gillie Kleiman & Greg Wohead, Hooker Club, Joseph Keckler, Julia Bardsley, Justin Shoulder, Kate McIntosh, Keijaun Thomas, Lucy McCormick, Mariana Valencia, Melk Prod./Marco Berrettini, Miet Warlop, Nicola Gunn, Nigel Rolfe, Oozing Gloop, Sandra Johnston, Selina Bonelli, Susannah Hewlett, Tania El Khoury, Whiskey Chow, Yann Marussich, Zander Porter & James Batchelor






11. OPEN CALL: What Remains

Deadline date: October 5, 2019; City: Chicago, USA: Source: ieke Trinks

What Remains: On the sacred, the lost, and forgotten relics of live art


ACCEPTING: 1-page proposals responding to a performance relic

Deadline: October 5, 2019

For WHAT REMAINS we are inviting artists from all over the world to respond to performance relics that we have documented in photographs. Your response should come in the form of a 1-page proposal that can be a performance and/or a concept for displaying the object for the exhibit, which can be an installation, video, or any other artistic expression. Your proposal can be bold, daring, (un)conventional, conceptual, personal, insightful, (de)constructive, (ir)responsible, monumental, fleeting, portable, technical, emotional, minimal, and all of the above. Please know that your 1-page proposal will be considered for display in the exhibition. Our intention is to say yes to all. If we hit the jackpot we will select proposals to be realized for the exhibition and a performance program taking place in Chicago in February 2020. We may also consider your proposal for inclusion in a publication (printed or digital) assembled after the exhibition.

There are two modes in which to craft your proposal:

1) The name of the artist(s) connected to the relic stays unknown. Your proposal is restricted to the relic(s) only, without taking into account the context of the original performance. 

2) You know the artist(s) name and performance to which the relic is connected. In this mode, you are encouraged to inform yourself about the performance for which the relic was used. In some cases you can request the contact information of the first generation artist-object-user by sending an email to whatremains@dfbrl8r.org to help you dig out some more contextual background information for shaping your proposal. (please respect the artist you contact). If your first choice artist has already been contacted several times, we may advise you to choose another relic.

Your proposal should be no more than one page long, preferably in portrait orientation. We encourage you to treat your proposal as a work of art. You can use text, drawing, collage, or any other artistic means, as long as it fits on one A4/letter size page in PDF format. In addition to your 1-page proposal, we ask that you provide us with a brief text about you and your art (500 word max.), links [or uploads] to online portfolio or work samples, and whether you might be able to find financial support to come to Chicago.

Submission deadline : October 5, 2019

Notification applicants: October 15, 2019

What Remains Exhibition: February 5–29, 2019

To Apply and view images of the relics, please visit:



Please note that funding for this project is pending. At the moment, it is unclear what we can cover financially if we select your proposal for realization. 

To contextualize this project:

Since the opening of Defibrillator Performance Art Gallery in December 2010, founder and director Joseph Ravens has collected a huge number of physical remains from performances that have taken place at the venue over the years. Being fascinated by this collection, Dutch artist ieke Trinks proposed this project to reanimate and exhibit the collection in collaboration with Defibrillator. The exhibition in February 2020 will include relics along with the proposals, live performances, discussions, and a post-event publication.

Through this project, we invite artists to explore the significance of material leftover from performance. What affects an object’s status? What value does it have when it is not specifically an artwork itself, or not intended to be an art object that stands on its own? These materials are relics that once had a functional or symbolic purpose. In performance art an object can mean many things, transcending its practical usage. It can be full of symbolism and, at the same time, just a physical object. During an action, an object’s identity and shape can change significantly. There are objects that speak for the artist, or invite audience members to participate. In some cases objects are forced into a use for which they were never intended. In theater terms, the objects in performance are called props. It’s been said that the origin of the word props comes from property, the theater company’s property. Returning to the idea of ‘property’ in relation to Joseph’s relic collection, it will challenge us with the question of who the actual owner of the object is and to what degree an object can be physically altered. What happens with the relic when it is reused in a new performance? This relic will become a relic of two different events. Will this make the relic more valuable? And what if a relic in a broken shape is repaired? Does the relic still exist? 

We invite proposals that consider any of these factors, and beyond. This project is an experiment, and we don’t know what to expect and what will come out of it. We are eager to learn not only how the proposals can activate each relic and how they might generate new works, but also how they will touch on and review the earlier performance pieces programmed by Defibrillator in the previous years.

ieke Trinks lives and works in Rotterdam, the Netherlands. She’s a visual and performance artist, who occasionally organizes performance events in the Netherlands. In the past years she has focused on performance art and its leftovers in different forms, such as memories and photographs.


Defibrillator Gallery is an international platform for Performance Art known for bold and courageous programming that aims to provoke thought and stimulate discourse surrounding experimental time-based practices. DFBRL8R actively contributes to a global dialog surrounding conceptual, ephemeral, or enigmatic modes of expression - aiming to raise awareness, appreciation, and respect for the discipline of Performance Art. DFBRL8R is a 501c3 organization based at Zhou B Art Center in Chicago’s historic Bridgeport neighbourhood.





12. EVENT: New Performance Turku Festival 2019

Date: October 18–20, 2019; Turku, Finland; Source: New Performance Turku

New Performance Turku Festival 2019 reaches towards possible futures

New Performance Turku Festival 2019 presents artists and experts, various collaborators and fresh insights into performance art and the society. The festival will be organized from October 18–20th in local performance spaces and public cityscape of the city of Turku. The festival has no admission fees and is open to everyone (age limit for evening programme is 18).

The theme of the New Performance Turku Festival 2019 is FUTURES. What kinds of new futures can we envision, dream and imagine as our worldview is currently in a dramatic process of evolving and changing? The festival aims in looking at multiple futures from the point of view of performance art—and what kind of means and visions we have to understand and create our possible futures. 

Artist and schedule can be found at http://newperformance.fi/




13. WORKSHOP: The Imaginary and the Synchronous with Irene Loughlin

Date: October 27, 2019; City: Toronto, Canada; Source: Trinity Square Video


working with accounts of the self in performance video

October 27, 2019

1:00 pm–5:00pm

Trinity Square Video, Toronto

In THE IMAGINARY AND THE SYNCHRONOUS: working with accounts of the self in performance video, autobiography acts as the means to explore video performance; participants link an aspect of their life with an object/s that represents this event or characteristic, linking it to a wider socio-political platform. The structure of the workshop emphasizes the imaginary and the synchronous. This one-day workshop is split into two parts, beginning with an exploration of artists who have used video performance followed by the creation of a ‘storyboard’ for a performance followed by a short video performance made by each participant.  Please bring an object to work with that represents an aspect of your life—common performance objects include paper, books, a food object such as a bag of sugar (contained), feathers—the object is only limited by your imagination.  Please consider containment and cleanup issues in the studio and near the camera.

Trinity Square Video’s workshops may be subject to changes in the schedule, instructor, or content. If so, Trinity will refund full workshop payment to participants who are unable to make the rescheduled dates or should the program be cancelled. Workshop registrants will be notified in advance of any changes or cancellations.

To be registered, you must be paid up in full. Accepted Payment: Visa, Mastercard, via phone; cash or debit accepted in-person. Cancellation 5 business days prior to workshop; NO REFUNDS GIVEN for CANCELLATIONS made with less than 5 business days.


Irene Loughlin holds an MFA in Visual Studies from the University of Toronto, a BFA from Simon Fraser University, Vancouver and is an alumni of the Ontario College of Art, Toronto. Using a neuro-diverse perspective, her practice encompasses performance art, video, sculpture, drawing and text-based work that is informed by feminism and magic and employs aesthetics derived from the history of art and the West Coast of Canada. Working from an emotive perspective, she employs visual metaphors from medical, ecological and historic contexts in order to comment on our contemporary social and political discourse. Loughlin has participated in various solo and group exhibitions including Through a Window: Visual Art and SFU 1965-2015 Audain Gallery, Vancouver (2015), Westbeth Gallery, Transforming Community: Disability, Diversity and Access NY (2015) and The Month of Performance Art, Berlin (2014). She has been awarded the Lynch Staunton Award, Canada Council for the Arts, for mid-career, interdisciplinary practice and a SSHRC Masters Level Scholarship and is the author of numerous essays, articles and conference proceedings.

Location: Trinity Square Video

Maximum Capacity: 10

$55 /member $65 /nonmember





14. WORKSHOP: Seminar with Esther Ferrer

Date: October 27–31, 2019; City: Girona, Spain: Source: Elvira Santamaria

October 27–31, 2019

SEMINAR, a performance art workshop


And invited guest Tracey Warr Can Obert, Madremanya (Girona)

This is the first proposal of Intangible Environments (IE), a collaborative project to establish a trans-disciplinary higher educational programme in the fields of intangible culture, live art and performance. The project is being developed by Gresol, a non-profit association based in Girona (Spain), in collaboration with La Bonne - Centre de Cultura de Dones, Francesca Bonnemaison (BCN) and Bòlit - Centre d’Art Contemporani (GRN).


Esther has been making performance since the 1960s, individually and as part of the ZAJ group (disbanded in 1996). In the early 1960s, alongside the painter José Antonio Sistiaga, she worked in the first Workshop of Free Expression – that gave birth to other activities, including an experimental school in Vizcaya. In the middle of 1970s, she resumed her artistic activity working with photography, installations, and paintings based on the series of primary numbers or Pi. In 1999 she represented Spain at The Venice Biennnale and in 2008 she was awarded The National Prize for Plastic Arts (Spain). In 2012 she was awarded The Gure Artea prize from the Basque Government, in 2014 with The MAV Prize, The Marie Claire Contemporary Art Prize and also The Velázquez Prize. In her long career as a performer she has participated in festivals in Germany, Italy, Switzerland, Belgium, France, Denmark, Norway, England, Holland, Poland, Slovakia, Czech Republic, Hungary, Bulgaria, Canada, Mexico, Cuba, Brazil, Thailand, Japan, Korea, Palestine, etc.


The seminar I propose will be fundamentally practical. The technique/s will be those that the participants themselves elaborate around their work and on performance in general. Every day there will be time for preparation, for personal accomplishment and for collective reflection. There will be no specific theoretical courses or analysis of historical performances, nor will we study performance history. But there will be a lot of dialogue and discussion that will undoubtedly lead to debates in which references to different artists, certain works, theories or artistic movements may arise.


"I defend the idea that in performance, nothing is fixed, everything is in constant transformation. The performance has no domicile, theory, technique or fixed practice: it is the open work par excellence. Each one of us will define what performance is and from there, how it will be structured. The foundation of the course will be to find out how performance is of interest to you and your specific way of doing. It’s not about denying history, but it’s not about repeating it or copying it, and herein lies the risk, but also the interest. The point is that each one invents their own theory, technique and dynamics, summarizing their own personal way of doing. Performance is not taught, it is practiced and it is in this practice where ‘teaching’ resides."

~Esther Ferrer




(not including accommodation and meals)

For information and to enquire about the workshop content, fees etc. please email: gresolartcommunication@gmail.com




15. CALL FOR PROPOSALS: Vol. 25, No. 5: ‘On Diffraction’

Deadline date: November 4, 2019; City: the world; Source: Performance Research

Performance Research

Vol. 25, No. 5: ‘On Diffraction’ (July/August 2020)


Issue Editor:  Annouchka Bayley (Royal College of Art/King’s College, London)

Proposal deadline: 4 November 2019

‘On Diffraction’ invites articles that explore the concept of 'diffraction' as postulated by Donna Haraway (1994) and Karen Barad (2007), among others: not only is diffraction a critical methodology by which to examine 'the processes of difference differing’ (van der Tuin 2014), but also an everyday performance of light (sound and water)—with profound ontological implications, as discussed by quantum physicists Niels Bohr and Werner Heisenberg in the early part of the twentieth century (Barad 2007). The issue will consider how diffraction might help to radically re-imagine methods, aesthetics and critical approaches to performance and performance studies.

Working with diffraction as a mode of critical enquiry, Kathrin Thiele asks: How to live a world of difference(s), a world in/as ongoing differentiation, in such ways that the outcome is not ever more separation and antagonism, exclusion and the fear of others, but so that new senses of commonality are envisioned? (Thiele 2014: 202)


Such questions and calls for new engagements with how the ways in which differences are made can help to re-imagine ontologies and epistemologies for ‘urgent times’ (Haraway 2016). Whereas concepts of reflection and reflexivity are arguably prone to creating a hall of mirrors inside which concepts of difference unpack mimetic historicities, feminist new materialist scholar Karen Barad suggests that ‘[d]iffraction is not merely about differences, and certainly not differences in any absolute sense, but about the entangled nature of differences that matter… Diffraction is a material practice for making a difference, for topologically reconfiguring connections’ (Barad 2007: 381). The implicit performativity of this proposition enlists artistic and scholarly responses into what are nothing less than vital matters: How, in the twenty-first century, can performances and performativities of diffraction be more fully considered in ways that truly matter in and for troubling times?

‘On Diffraction’ invites articles, artists’ pages and viewpoints that explore the varied concept of 'diffraction'. It invites contributors who wish to consider how diffraction might help to radically re-imagine methods, aesthetics, response-abilities and critical approaches to performance and performance studies.


So far, although posthuman and new materialist theories have begun to sound across various conceptual playing-fields and educational landscapes, strikingly less attention has been paid to how these might affect the development of performance and performance studies. How might new considerations of posthuman and new materialist concepts of diffraction become part of the way we envision, create and practice in the twenty-first century?


The issue invites articles in relation to (but not limited to) themes such as:

Performativities of difference

Diffracting time/space/matter

Decolonial diffractions of performance studies

Non-human and ecological performances

Diffracting the human/digital

Performance as Research, post-qualitative research and diffraction

Light, dark, shadow and spectrum in theatre

Waves, water, ripples and surfaces

New Materialism and performance

Apparatuses and the performativity of diffraction

Marks on bodies

Response-able performance

Patterns, fractals and rotational symmetries

Performativity, measurement and ontology

Colours, lights and tropes of seeing for diffractive performance making

Sound waves, light waves and wavy waters

Photons, electrons and the performance of atoms

Quantum ontologies in and for performance

Diffracting methodologies in/for performance studies

Diffracting the conservatoire

Diffracting performance and science

Diffracting ethics and response-able performance

The art of queer science/The science of queer art

These examples are only indicative, and we welcome any other suggestions. The issue invites articles (from 4,000 to 6,000 words), shorter interventions, manifestos, reviews and artist pages (the scope of which is to be agreed with the editor). 



Proposals: 4 November 2019

First drafts: February 2020

Final drafts: April 2020

Publication: July/August 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 editor:

Annouchka Bayley: annouchka.bayley@rca.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.





16. 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:



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. 



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



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.







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


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