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FADO E-LIST (January 2020)

INDEX

1. FADO PROGRAMMING: The Marble in the Basement by Hazel Meyer

Date: January 30, 31 & February 1, 2020; City: Toronto, Canada

2. EVENT: Venice International Performance Art Week CO-CREATION LIVE FACTORY

Date: January 8–18, 2020; City: Venice, Italy; Source: VestAndPage

3. CALL FOR SUBMISSIONS: SummerWorks Performance Festival 2020

Deadline date: January 10, 2020; City: Toronto, Canada; Source: SummerWorks

4. CALL FOR SUBMISSIONS: Hamilton Artists Inc.

Deadline date: January 12, 2020; City: Hamilton, Canada; Source: Hamilton Artists Inc.

5. OPEN SUBMISSION: Emergency INDEX Volume 9

Deadline date: January 15, 2020; City: the world, Source: Anya Liftig

6. CALL FOR APPLICATIONS: Performance Crossings

Deadline: February 10, 2020; City: Prague, CZ; Source: Cross Attic

7. EVENT: What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art

Date: February 7–28, 2020; City: Chicago, USA: Source: Defibrillator Gallery

8. CALL FOR SUBMISSIONS: Experiments in Criticism Symposium 

Deadline date: February 16, 2019; City: Toronto, Canada; Source: C Magazine

9. ANNOUNCEMENT: ECC Performance Art

Date: not specified; City: the world; Source: ECC

 

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1. FADO PROGRAMMING: The Marble in the Basement by Hazel Meyer

Date: January 30, 31 & February 1, 2020; City: Toronto, Canada

 

The Marble in the Basement

Curated and Presented by FADO Performance Art Centre

Conceived and performed by Hazel Meyer

 

In 2016, I was gifted a ton of Joyce Wieland’s marble scraps. A few pieces of it are here with us today.

 

What gets stored in a shoebox? Deposited into an archive? Shoved into a corner? Catalogued as important? Fever pitched towards a garbage can?

 

Literally and figuratively centered on a pile of marble scraps that once belonged to Joyce Wieland, Meyer’s The Marble in the Basement untangles issues of power, memory and inheritance by anthropomorphizing a forgotten object from this influential Canadian artist’s domestic archive. Surrounded by Meyer’s chosen family of objects which include a moveable staircase, an insulated football cape, a hooked rug and a hole the size of the tip of a ballpoint pen, Wieland’s marble is the anchor and next of kin, orchestrating the choreography that unfolds.

 

“With a mixture of tenderness, fannish enthusiasm and a keen sense for the absurdities that shape which histories are told, Meyer’s performance invites us to help bear the weight of feminist lives lived and lost.” 

~Gabrielle Moser 

 

Hazel Meyer's The Marble in the Basement is curated and presented by FADO Performance Art Centre as part of Progress, an international festival of performance and ideas. Progress is presented in partnership by SummerWorks and The Theatre Centre, and is collectively curated and presented by a series of Toronto-based companies, operating within a contemporary performance context. This fifth edition of the Festival is curated by Broadleaf Theatre, FADO Performance Art Centre, DLT, RT Collective, SummerWorks, The Theatre Centre, and Why Not Theatre.

  

CURATED AND PRESENTED BY

FADO Performance Art Centre

 

SCHEDULE

Thurs / Jan. 30 / 7:00pm

Fri / Jan. 31 / 7:00pm

Sat / Feb.1 / 4:00pm (with post-show talkback)

 

DURATION

50 minutes

 

CREDITS

Conceived and performed by Hazel Meyer

Production Manager: Deb Lim

Lighting Design: Adrien Whan

 

LANGUAGE

Performed in English

 

COUNTRY

Canada

 

VENUE

BMO Incubator for Live Arts

The Theatre Centre

1115 Queen St W

 

TICKETS: $25

Book TICKETS

3-show PASS

 

Facebook: https://www.facebook.com/events/2449218131958733/

 

ABOUT HAZEL MEYER
Hazel Meyer is an interdisciplinary artist who works with installation, performance, and text to investigate the relationships between sexuality, feminism, and material culture. Her work aims to recover the queer aesthetics, politics, and bodies often effaced within histories of infrastructure, athletics and illness. Scaffold, banners and hand-painted serif-fonts are a few of Hazel’s favourite tools and motifs. With them, alongside a commitment to movement and intimacy, she asks whether together we can enliven and re-centre the importance of desire, queerness, and sweat (between bodies) in this political moment. Recent activations of this question have taken place at La Ferme du Buisson, France (2019), Glasgow International Art Biennial, Scotland (2018), Art Gallery of Windsor, Canada (2019), MAI (Montréal, arts interculturels), Québec (2019) and at the Porn Film Festival Berlin, Germany (2019).
www.hazelmeyer.com

 

ABOUT PROGRESS FESTIVAL

2020 marks the 5th edition of Progress. Progress is an international festival of performance and ideas presented in partnership by SummerWorks Performance Festival and The Theatre Centre. The festival is collectively curated and presented by a rotating series of Canadian organizations, operating within a contemporary performance context. This fifth edition of the Festival is curated by Broadleaf Theatre, FADO Performance Art Centre, DLT, RT Collective, SummerWorks, The Theatre Centre, and Why Not Theatre.

http://progressfestival.org/

 

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2. EVENT: Venice International Performance Art Week CO-CREATION LIVE FACTORY

Date: January 8–18, 2020; City: Venice, Italy; Source: VestAndPage

 

VI Venice International Performance Art Week

CO-CREATION LIVE FACTORY Dissenting Bodies - Marking Time

 

European Cultural Centre

Palazzo Mora, Strada Nova, 3659, Venice, Italy

January 8–18, 2020 


Open to the public: January 15–18, from 3pm to 9pm, FREE admission

  

In the historical premises of Palazzo Mora | European Cultural Centre, from Wednesday 15 to Saturday 18 January, 2020, from 3pm to 9pm, the Venice International Performance Art Week presents CO-CREATION LIVE FACTORY Dissenting Bodies – Marking Time: a dynamic program of collective performance operas and solo performances, enriched by the participation of guest artists of honour, by an exhibition section displaying performances on video by some of the most ground-breaking contemporary performance artists and by a film screenings program.

 

Responding to the principles of artistic collaboration, cooperation and temporary artistic community, CO-CREATION LIVE FACTORY Dissenting Bodies – Marking Time consists of a 12-day residential performance program involving 50 international emerging performance artists. Under the tuition of internationally recognized artists such as Marilyn Arsem, VestAndPage and Andrigo & Aliprandi, participant artists will develop their praxis, creative talent and intellectual freedom outside institutional academic settings.

 

The culmination of the process will be open to the public from January 15 to 18, 2020. During those days the VENICE INTERNATIONAL PERFORMANCE ART WEEK venue European Cultural Centre | Palazzo Mora will be transformed into a dynamic performance site through a series of solo performances and collective performance operas.

 

The participation of guest artists of honour such as Guillermo Gomez-Peña and Kira O'Reilly will enrich the live performance program. An exhibition section displaying performances on video by some of the most ground-breaking contemporary performance artists such as Ron Athey, Franko B, Cassils, Boris Nieslony, Julie Tolentino, Preach R Sun among others, will offer to the audience the opportunity to explore new territories of performance. Finally, a film screening program will highlight the radical political performances by Pëtr Pavlensky and the performative aspects of the commemorative ritual of the Ashura in contemporary Iran.

 

Event under the patronage of Regione del Veneto and presented by non-profit cultural associations Studio Contemporaneo and Live Arts Cultures, in cooperation with European Cultural Centre | GAA Foundation, We Exhibit and Venice Open Gates. Supported by ConCAVe.

 

www.veniceperformanceart.org

 

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3. CALL FOR SUBMISSIONS: SummerWorks Performance Festival 2020

Deadline date: January 10, 2020; City: Toronto, Canada; Source: SummerWorks


30th edition of SummerWorks Performance Festival

August 6–16, 2020
www.summerworks.ca


Artists, dreamers, innovators and change makers: we want to work with you. SummerWorks is a curated festival widely recognized as one of the most vital platforms for launching new performance in Canada. We are interested in continuously re-imagining and innovating the possibilities for performance- how it is created, presented and experienced.


SummerWorks is a place for you to explore new territory, to take up space, be heard and take creative risks. We are currently seeking proposals for our 30th edition, taking place August 6th-16th in Toronto, Canada. Proposals are encouraged from established and emerging creators working across all disciplines and artistic traditions.


DEADLINE: Friday, January 10th at 11:59pm


SUMMERWORKS PRESENTATIONS CALL

SummerWorks seeks proposals for new projects that will be ready for presentation in August 2020. We are interested in works and artists that tackle urgent and complex questions of our time; that celebrate curiosity, wonder and adventure; and that expand the possibilities of what performance can be. Works for theatre, gallery, outdoor, and nontraditional settings are welcome, as are proposals for site-specific and immersive contexts. Proposed works should have some previous development or presentation history.


SUMMERWORKS LAB CALL

The SummerWorks Lab is a place for exploration, experimentation and process. SummerWorks invites proposals for projects to be shared with an audience at a crucial stage of development as well as experiments that use the Festival as a laboratory to test new ideas. Works for theatre, gallery, outdoor, and nontraditional settings are welcome, as are proposals for site-specific and immersive contexts. Of particular interest are projects that will benefit from audience engagement and feedback during the Festival, with the potential of this to inform the future of the work.


SPECIAL CALL: PUBLIC WORKS

Our Public Works programming brings artists and audiences together in the public realm to experience our city in new ways. How does the city shape how we move? What else is possible? How can this be realized through performance? Of particular interest are projects that play with momentum and time. Proposals for outdoor, non-traditional, site-specific and immersive contexts are expected; and works created for audiences to traverse a location or the landscape of the city are encouraged. 3-5 projects will be selected for this special call and be provided a guaranteed fee of $1,500 CAD to $5,000 CAD (dependent on scale and budget of the project). These performances will be free to the public and should be designed with accessibility in mind.


KEY INFORMATION

Deadline for all calls: Friday, January 10th, 11:59pm EST.

Notification: Applicants will be notified of our decisions by April 2020.


Reading Fee: A $35 reading fee will be due along with your application. This will need to be paid with credit or debit card via the online form. Applications are made online. Please review and prepare all parts of the application before you begin to complete the form. The form cannot be saved mid-process. Ready to submit?

 

Remember to follow our guidelines: http://summerworks.ca/call-proposals-2020/

 

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4. CALL FOR SUBMISSIONS: Hamilton Artists Inc.

Deadline date: January 12, 2020; City: Hamilton, Canada; Source: Hamilton Artists Inc.


Exhibitions, Billboard, Special Projects, and More!

DEADLINE: January 12, 2020


Hamilton Artists Inc. (The Inc.) is seeking dynamic proposals from artists, collectives and curators at various stages of their careers for its exhibition platforms and public programs. The Inc. exhibits a range of artistic disciplines and welcomes proposals by artists from local, regional and national communities. We have numerous different opportunities available, please read the full descriptions for each call to identify which opportunity is best suited to your practice/objectives.


As an artist-run centre, we are interested in works/projects that push boundaries and engage with critical, conceptual and/or experimental thinking from diverse perspectives. We are committed to providing platforms for risk-taking and creating an inclusive space for exploring expanded art practices. The Inc. supports submissions that showcase artists and curators’ most recent endeavours as well as works that incite conversation and promote a range of intersectional narratives. We pay artists based on CARFAC standards.


We welcome submissions from artists of all backgrounds including, but not limited to, Indigenous, Black, and racialized persons; refugee, newcomer and immigrant persons; two-spirit, LGBTQ+ and gender non-binary persons, persons with disabilities, and those on low-incomes or living in poverty. The Inc. is committed to equity and inclusion in all aspects of its operations, and will accept submissions in various formats.


FULL SUBMISSION INFORMATION HERE: www.theinc.ca/exhibition/submissions/

 

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5. OPEN SUBMISSION: Emergency INDEX Volume 9

Deadline date: January 15, 2020; City: the world, Source: Anya Liftig


Emergency INDEX

AN ANNUAL DOCUMENT OF PERFORMANCE PRACTICE

Volume 9


Emergency INDEX is an annual print publication documenting new performance in the words of its creators. Submissions for INDEX Volume 9 are now open!


The deadline is January 15, 2020 at 11:59pm EST. This deadline is strict, and we cannot consider submissions sent after this date. Please submit only one work. Authors and collectives who submit more than one work will be disqualified.


Please email: emergency@uglyducklingpresse.org with any questions.


ABOUT EMERGENCY INDEX

Emergency INDEX is inspired by the early issues of the performance art magazine High Performance (1978-1997), in which artists were openly invited to send in reports of their performance artworks. Performance art, at that time a new form, had yet to define itself; therefore, the editors of High Performance deemed that any artist who called their work performance art was legitimately defining the field. Consequently, High Performance became an amazing survey of real practice, a definition of performance art created internally by its varied creators, not post-rationalized or interpreted by critics and institutions. Since then, performance art has become one of the best documented forms of performance practices, while undocumented acts of performance have proliferated in fields outside of visual art.


INDEX, following the model of High Performance, will practice a policy of radical inclusion; therefore, included works will not be restricted by genre, quality, popularity, politics, or venue. However, creators of performance works will be asked to describe the primary problems driving the work, and the tactics developed in the performance to address them. The goal is to highlight not the experience of the performance, but to document achievements, innovations, and developments in the field. In this way, INDEX will allow performance makers a way to survey their field in a timely fashion; will give access to performance works which occurred only fleetingly or remotely; and can offer creators a way to share the advances made in their performance works.


https://emergencyindex.com/

 

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6. CALL FOR APPLICATIONS: Performance Crossings

Deadline: February 10, 2020; City: Prague, CZ; Source: Cross Attic

 

Cross Attic invites you to present your artwork at performance art festival Performance Crossings, which will take place on May 5–9, 2020 in Prague, CZ.


Applications can be submitted until January 26, 2020

Results: February 10, 2020


Application form, more information and conditions: https://forms.gle/wv7USzrs1ySVtWUu6


Performance Crossings 2020 is the fourth edition of an international festival focusing on performance art and related art forms which presents artists from all around the world and opens the dialogue between artists and audiences, between thoughts and their articulation.


The curatorial approach of this year is to present a diversity of topics deeply rooted in particular artistic practice. We do not wish to limit artists by a predefined topic that might be on the one hand an important stimulus and source of inspiration, but on the other, it can have negative, limiting impacts on the creative process.


This open call is an invitation for you to submit proposals of the most beloved works, deferred concepts, extravagant or provocative ideas of various forms and lengths. Which aspects of your art practice make you most excited, amused, fulfilled? What have you wanted to do for a long time, but you found the idea too silly, awkward, inappropriate, creepy, boring, senseless or not fitting into the open calls or funding applications?


As curators, we are interested first and foremost in what is truly important for you!


Performance Crossings collective: Antonín Brinda, Mirek Buddha, Petr Dlouhý, Heidi Hornáčková, Klaudie Osičková

 

https://performancecrossings.com/

 

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7. EVENT: What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art

Date: February 7–28, 2020; City: Chicago, USA: Source: Defibrillator Gallery


What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art

Presented by Defibrillator Gallery


PARTICIPATING ARTISTS:

Madison Juliana Alexander [Chicago]

Peter Baren [Netherlands]

Nina Boas [France/Netherlands]

Christian Bujold [Canada]

Renan Marcondes [Brazil]

Eunjin Choi [South Korea/Los Angeles]

Erin Evans Delaney/Maria Luisa [Chicago]

Jessica van Deursen [Netherlands]

Christine Ferrera [Chicago]

Jacqueline van de Geer [Canada]

Nicole Goodwin [New York]

Lola Blake + Ezra Hawkins [Chicago]

Kirsten Heshusius [Netherlands]

Ashley Hollingshead [Minneapolis

Patrícia Janeiro [Netherlands

Jolanda Jansen [Netherlands]

SUNGJAE LEE [Chicago]

Frans van Lent [Netherlands]

A_Marcel [Boston]

Kristin N McWharter [Chicago]

Owen Moran [Wisconsin]

Esther Neff + Kaia Gilje [St. Louis]

Maya Nguen + Noah Fields [Chicago]

Heinrich Obst [Belgium]

Katya Oicherman [Minneapolis]

Erin Peisert + Amy Whitaker [Minneapolis]

Zander Porter [Germany]

Marval A Rex [Los Angeles]

Bernard Roddy [Chicago]

Marina Resende Santos [Chicago]

Jeremy Saya [Canada]

Janneke Schoene [Sweden]

Doro Seror [Germany]

will sōderberg... [Chicago]

Nora + Mána [Chicago]

John Thomure [Chicago]

Nick Tobier [Detroit]

Angeliki Chaido Tsoli [Greece]

Alice Vogler [Atlanta]

Emilia White [Ann Arbor] 


Taking place February 7–28, 2020, What Remains is a performance art series and visual art exhibition featuring artists from around the world who responded to an open call to reanimate Defibrillator’s unique collection of relics from performances that took place over the past nine years. Retrospective by nature, this project was initiated and is curated by Netherlands-based artist, ieke Trinks.


What Remains will take place at Defibrillator’s former home on Chicago Avenue - framing the site itself as a relic. The storefront [now ARC Gallery] is located at 1463 W. Chicago Avenue, Chicago, USA in the Noble Square neighbourhood. Performance events will be on the following days:


FRI 07 FEB | 6PM | Performances #1: FIXING

SAT 15 FEB | 6PM | Performances #2: MERGE + A Late Night Program in Bridgeport!

SAT 22 FEB | 6PM | Performances #3: REFERENTIAL

FRI 28 FEB | 6PM | Performances #4: CONSUME


Two satellite events will take place at nearby art spaces:

THU 20 FEB | 7PM | Sound-based Performances: No Nation Unspace Lab

TUE 25 FEB | 7PM | Video Program: Nightingale Cinema


Two discussions will take place on SUN 09 + SUN 23 FEB at 2PM (topics and speakers TBA). The visual art exhibition will evolve throughout the month with gallery hours Wednesdays through Saturdays from 12–6pm, and Sundays 12–4pm, from February 7–28, 2020. A detailed schedule will be posted soon.

 

www.DFBRL8R.org

 

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8. CALL FOR SUBMISSIONS: Experiments in Criticism Symposium 

Deadline date: February 16, 2019; City: Toronto, Canada; Source: C Magazine

 

Experiments in Criticism Symposium 

Presented by C Magazine


How can we encourage, facilitate and produce deep, meaningful engagement with the objects, texts and experiences that we encounter in the art world and beyond? What practices foster this production? In Experiments in Criticism, we bring together writers, critics, curators, artists and other artistic practitioners and culture workers to reconsider how we approach the work of criticism by experimenting with practices of approaching, looking at, reflecting on, thinking about, talking about, writing about and otherwise responding to contemporary art and culture. 


Experiments in Criticism is less interested in creating more “experimental” critics per se, and more interested in imaginatively challenging didactic, categorical and canonical thinking, toward a more capable, inclusive and polyvocal critical landscape. We each come to art with our particular embodied perspectives, sensorial systems, subjectivities, histories, values, politics and ethics. How can we attune ourselves in ways that increase our abilities to detect, intuit and explore nuance and associations that may not be hardcoded in the subjects in question? How can we foster a rigorous, accessible, engaged and compelling climate of criticism here in so-called Canada that is as much about the art and the artist’s practice as it is about the larger politics, concepts and contexts that surround it? Who is the public of Canadian art criticism today? Who is writing? Who is reading? What does generous, constructive criticism look like today, when a crisis of politeness might preclude some forms of generative intersubjective difficulties? How can we strengthen, support and amplify non-Eurocentric critical modalities? 


Through workshops, panels, roundtables, performances, screenings, lectures, and other programming and space-making, participants will consider what it means to cultivate an environment of experimentation, and productively complicate processes of perception, reflection, discussion and writing about art. We are interested in approaches that are intertextual, intergenerational, intersubjective, embodied, playful, literary, and capacity-building. 


All presenters and facilitators will be paid professional fees that meet or exceed the CARFAC recommended fee schedule. The Symposium will take place in May 2020.


Submissions

To submit, please send the following to symposium@cmagazine.com by February 16: 

–CV;

–a maximum 500-word proposal, including a working title of your proposed program, and, if relevant, the names of those you would like to include (including a note on whether you have reached out/confirmed participation with those people or not);

–Estimated length of the presentation (most will be between 60–90 minutes, but we're open to longer proposals);

–A proposed budget for any foreseeable presentation expenses, not including travel and accommodations or CARFAC compensation (for the approved presenters).

 

Applicants will be notified by early March 2020 with results.


C Magazine engages in an affirmative action framework to actively increase the representation of equity-seeking groups in the arts sector. If you identify as a member of one or more of these groups, you are invited to voluntarily self-identify. Please let us know of any accommodation we may provide during the application or selection process, or for your participation in the symposium. If you have accessibility concerns or requests, please contact us. 


The symposium will mark the conclusion of the first installment of C Magazine’s “Experiments in Criticism,” a public education program aimed at helping young writers, critics and other artistic practitioners develop their critical thinking, perceiving, conversing and writing skills through workshops on criticism that are variously experimental in form and content. The workshop series is ongoing and has been guided by artists, writers, critics, cultural producers, performers and activists including Peter Morin and Ayumi Goto, Syrus Marcus Ware, Lindsay Nixon, and more. For more information, visit: https://cmagazine.com/programs/c-ec


The symposium also coincides with C Magazine’s Spring 2020 issue 145 “Criticism, Again.”


For more information, see: https://cmagazine.com/events/ec-symposium-cfp

Facebook: www.facebook.com/events/558778578013767/

 

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9. ANNOUNCEMENT: ECC Performance Art

Date: not specified; City: the world; Source: ECC


ECC Performance Art is an online teaching and research platform dedicated to strengthening the discipline of performance art by providing artists, scholars, and curators with a range of tools and insights for their professional growth. ECC Performance Art offers an extensive online course and in-situ workshop program related to key aspects of performance art practice, its theoretical investigation, as well as its documentation and forms of curation and exhibition. In addition, it offers a “Research and Practice” platform on which performance artists and theorists can share and develop their work-in-progress with peers and experts. ECC Performance Art aims to stimulate reciprocal exchange and inspiration and fosters innovative approaches to both artistic practice and scholarly investigation. Acknowledging the many facets of performance art and determined to broaden the existing canon, ECC Performance Art’s goal is to increase visibility for the discipline in all its global manifestations and to forge a community of performance art professionals for the future. 


For more information visit: https://ecc-performanceart.eu

 

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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.

 

Board of Directors: Julian Higuerey Núñez (Chair), Cara Spooner (Vice Chair), Cathy Gordon (Treasurer), Clayton Lee (Secretary), Francesco Gagliardi, Jennifer Cruise

 

Artistic & Administrative Director: Shannon Cochrane

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