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FADO E-LIST (July 2021)

INDEX

1. TO READ: The Flue (1980–1989)

Date: now; Location: on-line; Source Franklin Furnace

2. TO READ: Life Is Like Canadian Football & Other Authentic Folk Songs by Henry Adam Svec

Date: now; Location: order on-line; Source: Invisible Publishing

3. TO READ: La Halte

Date: July 3–October 1, 2021; Location: Montréal, Canada; Source: DARE-DARE

4. EVENT: Summer Love-in

Date: July 5–17, 2021; Location: on-line; Source: Love-in

5. EVENT: Archives Access: Untitled performance by Deborah Hay (1977) / artist talk

Date: July 8, 2021; Location: on-line; Source: Western Front

6. EVENT: the 8-fest / Spotlight on the films of Midi Onodera

Date: July 9–11, 2021; Location: on-line; Source: Louise Liliefeldt

7. CALL FOR PROPOSALS: Performance Research Vol. 27, No. 3: ‘On Solidarity’ (May 2022)

Deadline date: July 14, 2021; Location: the world; Source: Performance Research

8. EVENT: Doris McCarthy Gallery Visiting Artist Lecture Series with photographer Henry Chan

Date: July 27, 2021; Location: on-line; Source: Midi Onodera

9. CALL FOR PROPOSALS: Nomadic artist residencies / La Serre – arts vivants

Deadline date: August 8, 2021; Location: everywhere; Source: La Serre

 

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1. TO READ: The Flue (1980–1989)

Date: now; Location: on-line; Source Franklin Furnace

 

Primary Information and Franklin Furnace announce the digital publication of all 16 issues of The Flue (1980–1989)

 

The Flue was a periodical published between 1980 and 1989 by the venerable institution Franklin Furnace Archive, which was founded in 1976 by the artist Martha Wilson to present, preserve, interpret, proselytize, and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, cultural bias, their ephemeral nature, or politically unpopular content. The periodical took on a multitude of media forms and functions, from organizational newsletters to exhibition supplements and catalogs, to scholarly surveys of contemporary and historical artists’ book movements. This shapeshifting approach was supported by a changing cast of editors and designers that included Barbara Kruger, Richard McGuire, Linda Montano, and Buzz Spector. The Flue also featured artist projects and writings by Anna Banana, Dawoud Bey, Ulises Carrión, Paula Court, Agnes Denes, Peter Frank, Ken Friedman, Gilbert & George, David Hammons, Ray Johnson, Leon Golub, Louise Lawler, Sherrie Levine, Anna Mendieta, Richard Nonas, Nam June Paik, and Nancy Spero, among many others. Thematic issues included Multiples by Latin American Artists; Artists’ Books, Archives, and Collections; Cubist Prints / Cubist Books; Sex, Performance, and the 80s; and Mail Art: Then and Now, all of which are accompanied by scholarly texts, checklists, and exhibition documentation. No less ambitious are the artist resources, performance and exhibition documentation, book reviews, and event calendars that provide a keen snapshot of New York in the 1980s, a decade that the Franklin Furnace Archive helped shaped and nurture.

 

To view and learn more about The Flue:

https://primaryinformation.org/product-category/flue/

 

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2. TO READ: Life Is Like Canadian Football & Other Authentic Folk Songs by Henry Adam Svec

Date: now; Location: order on-line; Source: Invisible Publishing

 

Life Is Like Canadian Football & Other Authentic Folk Songs

by Henry Adam Svec

 

A grossly inaccurate “memoir” about Canadian folk legends.

 

Henry Adam Svec has been pushing boundaries in Canadian folklore since he unearthed songs by CFL players in Library and Archives Canada, thereby thrusting himself into the scene—and the media spotlight. Those spartan poems are finally included in this anthology, in addition to the fruits of his subsequent expeditions, but there is much more besides, including honest accounts of the folklorist’s myriad trials and tribulations. This experimental and genre-defying book mixes the adventurous energies of Alan Lomax and Stompin’ Tom, the intertextual conceptualism of Vladimir Nabokov and Mark Z. Danielewski, and the searing intensity of Elizabeth Smart and Chris Kraus.

 

“Comically entertaining, presented with ‘performative verve’, as novelist Jacob Wren puts it.”

~Atlantic Books Today

 

ORDER your copy online today!

 

ABOUT HENRY ADAM SVEC

Henry Adam Svec is the author of American Folk Music as Tactical Media. His writing has appeared in The New Quarterly, C Magazine, MOTHERBOARD, and elsewhere, and his musical performances have been presented in galleries and festivals including 7a*11d International Festival of Performance Art, FADO Performance Art Centre, and Sappyfest. He is also co-creator of Donair Academy, a digital role-playing game exploring Atlantic Canadian cuisine. He was raised on a cherry farm near Blenheim, Ontario, and has also lived in New Brunswick and Mississippi. He currently teaches at the University of Waterloo, Canada.

 

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3. TO READ: La Halte

Date: July 3–October 1, 2021; Location: Montréal, Canada; Source: DARE-DARE

 

DARE-DARE announced the opening of the summer season at La Halte

 

Welcome to our small library whose collection on art in public space covers various themes: living art, poetry, architecture, artists' books. You will even find a selection of children books. While respecting health safety instructions, we invite you to come and visit us with your family, alone, with friends, artists, students or researchers. You can hang out there to read a book or to discuss with our new cultural mediator, Alfred Muszynski.

 

La HALTE opening dates/times:

July 3–October 1, 2021

Thursday through Sunday

1:00pm–7:00pm

 

La Halte is located in Saint Cunégonde Park (Notre-Dame St. West and Charlevoix Street)

 

For more information and a list of the available reading material:

www.dare-dare.org/en/events/opening-of-la-halte

 

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4. EVENT: Summer Love-in

Date: July 5–17, 2021; Location: on-line; Source: Love-in

 

Welcome to Summer Love-In Online! We are excited at the Toronto Dance Community Love-In to be hosting our 11th annual edition. From July 5–17, 2021, join our festival of dance, performance, conversation, and LOVE, all digital but with full hearts. We will be busting into summer with all our sweat, smiles, and curiosity. Each event is a session to train or practice, with local, national, and international artists.

 

Featuring:

Brittney Canda

Jaamil Olawale Kosoko

Michelle Olson

Nicholas Rose

Pavelheidler

Tara McGowan-Rose

 

PRESENTATIONS

PS: we are all here | July 10 at 7:00PM EDT

Chameleon | July 16 at 6:00pm EDT

Closing DJ Party: HOTSPOT | July 17 from 9:00pm–11:00pm EDT

 

Tkaronto/Toronto as a destination for revolutionary independent dance activity by connecting, supporting and welcoming artists locally and across the planet. We are supporting groundbreakers; we are radicalizing movers; we are building a dance house of LOVE.

 

We are an intergenerational, interdisciplinary, collaborative community, practicing values of on-going consent, generosity, and support. You have your rights to come and go as you need. Please see our Values Statement to further name the space we are fostering and supporting. Get ready for thoughtful making, magic, dancing, conversation, practicing, togetherness!

 

Please check the website for the full schedule of sessions.

REGISTRATION IS NOW OPEN!

https://tolovein.com/

 

Pricing: $0–$21 | Pay-What-You-Can
Sliding scale starting with our free accessible ticket via Simplyk ticketing platform. No one will be turned away for a lack of funds. Your fees directly support artists and Love-In programming, as well as our Community Access Program which enables us to provide low/no-cost options.

 

Location: On Zoom
You will receive an email with the Zoom link and details in the thank-you email after you register online. If you have any questions or difficulties registering, please email info@tolovein.com

 

Accessibility: ASL at all live events & Live Transcript by Zoom 
Our Community Access Program (CAP) invites participants to access our programs with any support they need. We are committed to making events and workshops available to everyone. If you experience barriers to accessing any of our events, please contact us as soon as possible by sending an email to: info@tolovein.com. Please note that any arrangements are subject to availability.

 

Additional Support: “Pay It Forward"
Supporters can "Pay It Forward" to subsidize our Community Access Program by adding to their own fee through Simplyk's donation feature. Thank you! We are a registered non-profit organization and we are grateful for your support. (We are not a registered charity and cannot issue official tax receipts, but we do work with our supporters to show our gratitude!)

 

Summer Love-in Team: Angela Xu (Technical & Registration Support), Daphne Nolasco (Technical & Registration Support), Freya Björg Olafson (Digital Landscape Designer), Hadara (Love-In DJ), Kaelin Isserlin (Care & Packaging), James Kendal (Technical Director), Nyda Kwasowsky (Merchandise Designer), Marina Stojkovic (Merchandise Designer), Paul-John Elisha (Social Media / Marketing Advisor), Stephen Jackman-Torkoff (Archivist), Tender Buttons (Love-In DJ), Todd Westendorp (Graphic Designer) + Lovers Leelee, Oriana, Shelby, Ann, Camille and Lauren.

 

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5. EVENT: Archives Access: Untitled performance by Deborah Hay (1977) / artist talk

Date: July 8, 2021; Location: on-line; Source: Western Front

 

Archives Access: Untitled performance by Deborah Hay (1977) 
Deborah Hay with Miguel Gutierrez and Michèle Steinwald

 

Thursday July 8

3:00pm–4:00pm (PST)

Free to attend / Closed captioning available

 

Please register to attend: https://zoom.us/webinar/register/WN_i6fgcex2Tuyus2QrAM0_9g

 

Join us for an online screening and discussion surrounding a performance by choreographer and performer Deborah Hay at Western Front on August 18, 1977, filmed and edited by Jane Ellison. In a 1980 administrative questionnaire, Hay described the piece as “a day in the process of the development of a solo performance as an expression of total awareness.” However, upon recently viewing the work for the first time in 44 years, she reevaluated that “absolutely everything in this document reveals absolutely everything about why my work has taken the polar opposite direction."

Hay will join choreographer, composer, performer, singer, writer, educator, and Feldenkrais Method practitioner Miguel Gutierrez, and curator and producer Michèle Steinwald, in a conversation curated and moderated by Western Front project archivist Abigail Sebaly, who transferred the video to its current digital format. As an intergenerational free-form conversation among friends and colleagues, the discussion may address such topics as reencountering a past artistic self through archival documentation, and how dancing transforms through time and aging.


Following registration, a Vimeo link to Deborah Hay’s work will be emailed to you on Thursday, July 8 at 10:00am (PST) and will remain available to view until Sunday, July 11 at 10:00pm (PST). If you are unable to attend the discussion, but would still like to view the video, email admin@front.bc.ca for the Vimeo link, available for the same duration, July 8–July 11.


This screening and conversation is the first in a series of new engagements with Western Front’s archival collections, made possible through the support of Library and Archives Canada’s Documentary Heritage Communities Program (DHCP). Over the next two and a half years, the DHCP grant will enable Sebaly to complete the digitization of the Western Front video archives – a collection of over 1500 tapes, captured in a variety of unique and rare formats, that document Western Front’s history as one of Canada’s leading artist-run centres for contemporary art and new music.

 

ABOUT WESTERN FRONT

Western Front is one of Canada’s leading artist-run centres for contemporary art and new music. We produce and present visual art exhibitions, new music concerts and workshops, media art residencies, performance art and other artist-driven initiatives. Western Front currently maintains programs in Exhibitions, Media Art, and New Music, as well as an extensive archive of audio-visual materials. Through this diverse programming, we continue to be a crucial platform for interdisciplinary, experimental art practices in Canada and internationally.

http://front.bc.ca/

 

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6. EVENT: the 8-fest / Spotlight on the films of Midi Onodera

Date: July 9–11, 2021; Location: on-line from Treaty 13 territory; Source: Louise Liliefeldt

 

OUT OF PLACE: Spotlight On The Super 8 Films Of Midi Onodera

Curated by Milada Kovacova 

Co-sponsored by FADO Performance Art Centre

 

Friday, July 9 at 9:00pm

On-line / closed captioned

 

OUT OF PLACE’s mission is to bring to the foreground the small-gauge work by Midi Onodera whose Super 8 artistic practice needs to be reintroduced to the next generation of feminist filmmakers and to those who were absent in viewing this work during the first wave. Super 8 moviemaking is where Midi’s artistic practice began. Midi is a pioneer in the lexicon of local histories. Midi has been around the block continuing to engage in making work in whatever format is at hand for the last four decades and she has the accolades to prove it. 

 

But you feel Midi’s love of Super 8 where the tactile nature of making movies hooked her. Midi, like so many small-gauge filmmakers, used ingenuity in the face of need; she used a razor blade and scotch tape to edit her first Super 8 film. But more so, Midi was the first Japanese-Canadian lesbian in the underground cinema landscape who had the technical prowess, the cinematic jargon but also had something to say. Midi’s voice continues to hold the power of punk—during the time of COVID, her films are bound to entice audiences in what was before and to get on with it. Nostalgically, the 1980s were tough times but Midi’s artistic practice flourished; OUT OF PLACE: Spotlight On The Super 8 Films Of Midi Onodera is a testament to Midi’s perseverance.

~Milada Kovacova 

 

Programme

The Bird that Chirped on Bathurst Street 1981 / Super 8 to 16mm / Sound / 3:30 

Dead Zone 1985 / Super 8 / Cassette / Sound / 2:30 

Made in Japan 1985 / Super 8 to 16mm / Sound / 2:30 

What’s for Lunch Charley 1981 / Super 8 / Sound / 4:00 

One Burger, Hold the Pickle 1981 / Super 8 / Sound / 3:00 

Aprés Diner 1981 / Super 8 / Sound / 3:00 

Filter Queen 1980 / Super 8 / Sound / 7:00 

Home was Never Like This 1983 / Super 8 to 16mm / Sound / 5:00 

Reality-Illusion 1979 / Super 8 / Silent / 6:00 

A Performance by Jack Smith 1984-1992 / Super 8 to 16mm / Sound / 5:00 

Contemplation 1979 / Super 8 / Silent / 4:00 

After Car Crash, Woman Kills Two 1985 / Super 8 / Sound / 1:30 

Endocrine 1982 / Super 8 / Sound / 19:00 

Idiot’s Delight 1983 / Super 8 to 16mm / Sound / 5:00 

Ville—quelle ville? 1984 / Super 8 / Sound / 4:00 

 

ABOUT the8fest

the8fest is a festival for anyone using small-gauge to create rough little gems on film. A unique Toronto-based film festival that presents all forms of small-gauge film: 8mm, Super 8 and 9.5mm, as well as works in installation, loops, personal, handmade, experimental, animations, diaries, essays, collage, cut-ups, performance/film, music/film and ‘proto-cinema devices’ like zoetropes.

 

the8fest

July 9–11, 2021

6 exciting programmes showcasing 32 filmmakers 

View the online catalogue for all the films & artists for more info!

the8fest.com

 

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7. CALL FOR PROPOSALS: Performance Research Vol. 27, No. 3: ‘On Solidarity’ (May 2022)

Deadline date: July 14, 2021; Location: the world; Source: Performance Research

 

Among activist practices that seek social, political, economic or environmental change, the arts increasingly play a considerable role by crossing into areas of civic engagement, with artists seeking to enact solidarity through their work (Lichtenfels and Rouse, 2013). The COVID-19 pandemic and its aftermath, having amplified social division, present a pivotal moment to investigate the nature of solidarity in performance and its agency in contemporary life. 

 

PLEASE read the full call for submission proposal here:

http://www.performance-research.org/editorial-callsforsubmissions.php

 

The aim of this special issue of Performance Research is to trace and critically reflect on practices of solidarity that emerge from and relate to the field of performance practice, exploring the ways that performance can intervene in or engage with civic action. We are particularly interested in interrogating how solidarity practices in performance participate in the construction of social justice arguments. 

 

We invite contributions that consider the role and potential of solidarity as a relational quality to interrogate social relationships in performance and address the following questions: What creative methods and modes of solidarity practices are actioned in and through performance practice? Can performance practice offer specific models for organising solidarity to wider civil society? What forms of solidarity are practised in and through contemporary performance and what social justice arguments do they make? What are the challenges faced by a contemporary performance sector that is concerned with exercising solidarity, as well as in need of solidarity? What historical examples of solidarity practices in and through performance bear contemporary relevance?

 

Contributors may wish to draw on the following list of topics as a source of inspiration, although the list is not intended to be exhaustive or restrictive:

Diverse approaches to practising solidarity and performance

Solidarity and allyship 

Solidarity and self-organization 

Antagonism, dissent, indifference

Participatory performance, ethics and hierarchical relations

Solidarity, activism and the body (embodied democracy)

Solidarity economy and dominating capitalist currencies in performance

Migration and the potential to reconfigure solidarity

Privileges and resistances

Networks of solidarity between different social contexts 

Solidarity and education

Performing solidarity during and after COVID-19 

Expressions of solidarity for the arts and performance in critical times

Solidarity justice

 

We are interested in a range of approaches to the topic that foreground the intersection of practice and research, including artists’ contributions that combine words and images, as well as more conventional articles. In particular, we welcome submissions that share perspectives from people from Global Majority backgrounds, disabled and LGBTQ2+ people

 

Schedule:

Proposals: 14 July 2021

First drafts: 15 October 2021

Final drafts: January 2022

Publication: May 2022

 

Issue Contacts:
ALL proposals, submissions and general enquiries should be sent directly to Performance Research at: info@performance-research.org


Issue-related enquiries should be directed to the issue editors:
Stefanie Sachsenmaier: S.Sachsenmaier@mdx.ac.uk

Noyale Colin: Noyale.Colin@winchester.ac.uk

 

Please visit the website for full guidelines regarding submitting: www.performance-research.org

 

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8. EVENT: Doris McCarthy Gallery Visiting Artist Lecture Series with photographer Henry Chan

Date: July 27, 2021; Location: on-line; Source: Midi Onodera

 

Visiting Artist Lecture Series: Henry Chan

Tuesday, July 27

2:00–3:00pm

Zoom / all welcome

 

Please REGISTER here.

 

This on-line talk is part of the Visiting Artist Lecture Series, co-presented by the Doris McCarthy Gallery & Studio Art program, Department of Arts, Culture & Media, University of Toronto Scarborough.

 

ABOUT HENRY CHAN

Henry Chan has been taking photographs for 30 years. For the past 15 years, he has been documenting performance art in Toronto, including the activities of FADO Performance Art Centre, the 7a*11d International Performance Art Festival and the work of various performance artists. In 2018, Henry was invited to document the Performance Art Oslo festival in Norway. Henry has also documented events and exhibitions for various arts venues and organizations such as The Power Plant Contemporary Art Gallery, The Gardiner Museum, The Blackwood, The Art Museum at the University of Toronto, Nuit Blanche (City of Toronto) and The Images Festival, among others. Henry’s photographs have appeared in various artist publications and print media, including Canadian Art, The Globe and Mail and The New York Times.

 

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9. CALL FOR PROPOSALS: Nomadic artist residencies / La Serre – arts vivants

Deadline date: August 8, 2021; Location: everywhere; Source: La Serre

 

For the second year, LA SERRE – arts vivants offers a collective nomadic artistic residency program. Conceived as a collaborative research process, this laboratory stands as an intersectorial resourcing space based on expertise exchange and creation of ideas.

Through several meetings and activities spread throughout the year, the residency program invites eight live art practitioners to develop the prototype of an artistic project at the junction of several disciplines, knowledges and/or know-hows. Inspired from a working method developed together with L'Amicale de production, the creation of a prototype stands as an intermediary step in a creation process, which can open up unexpected and unusual bifurcations.

 

For more info: https://laserre.ca/en/workshops/local-residencies

 

ABOUT LA SERRE

LA SERRE originated from the essential need to rethink live arts creation and production support structures. It is an offshoot of the OFFTA festival, a defining arts event founded in 2007 that has become essential to ensure the vitality of the local live arts ecosystem. For over ten years, OFFTA has participated to the decompartmentalization of artistic disciplines and audiences, as well as to the promotion of over 600 emerging artists on the local, national and international levels. In 2015, in the framework of sustainable development and with the goal of better serving its community with its expertise, networks and tools, OFFTA changed its name and broadened its mandate to become LA SERRE – arts vivants.

 

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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 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.

LAND ACKNOWLEDGEMENT
FADO acknowledges that as settlers, we are not the first people to gather, live and work on the land where we currently operate and present our activities, currently referred to as the city of Toronto. In truth, Toronto's real name is tkaronto, meaning "place where trees stand in the water" and it is the traditional and unceded territory of many First Nations and peoples including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples. We work and live here in the spirit of the traditional treaty—the Dish with One Spoon treaty between the Anishinaabe, Mississaugas and Haudenosaunee—that binds and protects the land.

Artistic + Administrative Director
Shannon Cochrane

Board of Directors
Julian Higuerey Núñez, Chair
Jennifer Snider Cruise, Vice Chair
Cathy Gordon, Treasurer
Clayton Lee, Secretary
Francesco Gagliardi
Freya Björg Olafson

FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.

 

 

Copyright © 2021 Fado Performance Inc., All rights reserved.