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FADO E-LIST (January 2022)

 

IT’S LINDA MONTANO’S BIRTHDAY!


Finally, a reason for January. Thank you, Linda (for everything). To prep for the 21 hours of Linda’s Birthday, head over to the FADO archive and re-read, I Slept With Linda Montano, an interview by Paul Couillard on the occasion of Linda’s performance Appreciating the Chakras, presented in 1999 in the context of the TIME TIME TIME performance series. Then, check out the info in INDEX #1 and register for LINDA MARY MONTANO'S 80TH BIRTHDAYARAMA!


Happy Birthday, Linda!

x, fado


 

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INDEX

1. 21 (3X7=21) HOURS OF LINDA MARY MONTANO'S 80TH BIRTHDAYARAMA

Date: January 18–19, 2022; Location: the world; Source: Grace Space

2. FADO’s Performance Resolution(s): OPEN FIRE | FEU OUVERT by Marie-Claude Gendron

Date: January 2022; Location: Montreal, Canada; Source: FADO

3. CALL FOR PROPOSALS: The Institution of Knowledge

Deadline date: January 15, 2022; Location: on-line; Source: Natalie S. Loveless

4. CALL FOR PROPOSALS: PR Journal Vol. 27, No. 8: ‘On Blood’

Deadline date: January 19, 2022; Location: the world; Source: PR Journal

5. EVENT: The Dreaming of a World of Sun

Date: January 22, 2022; Location: on-line & Québec City; Source: Serge Olivier Fokoua

6. TO WATCH: ANAM CARA – Mirror in the Mirror by VestAndPage & Anam Cara Collective

Date: now; Location: on-line: Source: VestAndPage


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1. 21 (3X7=21) HOURS OF LINDA MARY MONTANO'S 80TH BIRTHDAYARAMA

Date: January 18–19, 2022; Location: the world; Source: Grace Space


21 (3X7=21) HOURS OF LINDA MARY MONTANO'S 80TH BIRTHDAYARAMA

January 18–19, 2022


21hrs (3x7)

7:00 am–4:00 am

Continuous Zoom / FREE / Registration required

MORE about the event and REGISTRATION HERE

 

Linda will be present on Zoom for the 21 hours!


Join us for part or the full length of this 21-hour Zoom endurance broadcast to celebrate Linda Mary Montano’s amazing legacies, teachings, videos and art/life. During this historic event, performance artists, lifeists and organizations around the Earth will connect online to perform, tell stories related to Linda Mary Montano, remember stories from her times teaching, and watch some of her videos made in collaboration with Tobe Carey (video editor) and Jim Barbaro (sound engineer). All are more than welcome to share a 1-3 minutes Laugh/Cry, a performance of your choice, read your LOVE LETTERS TO LINDA, or share a "be Linda" re-enactment!! A fun and easy time will be had by ALL!!


CLICK HERE to participate in LOVE LETTERS TO LINDA: A project of the E.A.R.T.H. Lab SF (Environmental Art, Research, Theory & Happenings, San Francisco) with Annie Sprinkle, Beth Stephens, Jennie Klein, Veronica Vera and Barbara Carrellas.


ABOUT LINDA MARY MONTANO

Montano is a performance artist and her work since the mid 1960s has been critical in the development of video by, for, and about making art in order to heal, understand and celebrate this short life journey. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her unresolved questions through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging—she has been featured at museums including The New Museum in New York, MoMA, MOCA San Francisco, and ICA in London. Montano created 14 YEARS OF LIVING ART: 1984-1998, A 7 Chakra Experience; and ANOTHER 21 YEARS OF LIVING ART 1998-2019: A FREE ONLINE SCHOOL FOR PERFORMANCE EXPERIMENTATION. She has placed over 60 of her videos free on YouTube


ABOUT THE ORGANIZERS

Franklin Furnace's mission is 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. Franklin Furnace is dedicated to serving artists by providing both physical and virtual venues for the presentation of time-based art, including but not limited to artists' books and periodicals, installation art, performance art, and unforeseen contemporary avant-garde artforms; and to undertake other activities related to these purposes. Franklin Furnace is committed to serving emerging artists; to assuming an aggressive pedagogical stance with regard to the value of avant-garde art to life; and to fostering artists' zeal to broadcast ideas.


Streamside 7 is an incubator space for building community through the arts by developing relationships with self/other, material/process, and by organizing and hosting workshops, residencies, performances and events. Working collaboratively, blurring the boundaries between art and life, and encouraging participation creates an atmosphere in which everyone can become an empowered agent of personal, social, and ecological transformation. Streamside 7 honors our wisdom keepers, the natural world and acknowledges we gather on the traditional, ancestral, and unceded territory of the Munsee Lenape people. 


E.A.R.T.H. Lab (Environmental Art, Research, Theory & Happenings, San Francisco) builds community by creating multidisciplinary art projects that envision the Earth and all of its beings with fresh eyes. Our organization questions and expands prevailing notions of environmental art, challenges the mainstream’s binary concepts of gender, sexuality, and race, incorporates inclusive, diverse, and imaginative possibilities for sustainable living. Our art and archival projects promote love, tolerance, and peace.


Three Phase Center is a space for organizing and presenting art projects and perception building situations that stimulate the type of community and dialogue that generate new perceptions, possibilities, and outcomes. Located in Stone Ridge, NY Three Phase Center is a place to articulate with information derived from experimental approaches of any sort including process-based projects, performance art, sculpture, video, photography, or sound and is dedicated to reframing the utility of art practices that aim to sort and solve problems of language and perception. Three Phase Center is a Woman-led organization. 


The Interior Beauty Salon is an organism living at the intersection of creativity and healing, serving as a space where that which is not necessarily seen or manifested in tangible ways, is seeded, nurtured and given room to grow safely. This includes processes melding art, ritual, ceremony, rites of passage, and consciousness. Now in its second year, The Salon hosts an expanding online archive of interviews, videos, and all of its engagements with visionaries in a diverse number of creative fields and un-prescribed ways of being and approaching life. 


Opened in 2006, Grace Exhibition Space is devoted exclusively to Performance Art. We offer an opportunity to experience visceral and challenging works by the current generation of international performance artists whether emerging, mid-career or established. Our events are presented on the floor, not on a stage, dissolving the boundary between artist and viewer. This is how performance art is meant to be experienced and our mission is the glorification of performance art. Grace Exhibition Space presents over 30 curated live performance art exhibitions each year, showcasing new work by more than 400 performance artists from across the United States and the world since 2006.


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2. FADO’s Performance Resolution(s): OPEN FIRE | FEU OUVERT by Marie-Claude Gendron

Date: January 2022; Location: Montreal, Canada; Source: FADO


OPEN FIRE | FEU OUVERT by Marie-Claude Gendron

Part of Performance Resolution(s), FADO's at-home residency series


“Well, our age is one of those fires whose unbearable burning will undoubtedly reduce many works to ashes! But for those that remain, their metal will be intact [...] One can no doubt wish, and I wish it too, for a softer flame, a respite, a stopover conducive to daydreaming.”

~ Albert Camus, The Artist and His Time (1957).


OPEN FIRE | FEU OUVERT is a furtive, political, symbolic and poetic work conceptualized by Marie-Claude Gendron. Involving the artist and many members of the Montréal action art community, the group will feed a fire—daily, stealthily and anonymously—keeping the fire buring continuously over the course of the last two weeks of January at an undisclosed location.


Up to 40 members of the community of fire keepers will be assembled by invitation from Marie-Claude. Those who choose to participate in the project will receive a detailed map of the route to find the exact location of the fire. 


OPEN FIRE | FEU OUVERT is an attempt to revive the invisible link that unites us through the practice of action art. Confined, for the most part, to the home, Marie-Claude Gendron's wish is to propose an outside simple manoeuvre that involves the participation of artists in whatever way is possible given their respective means and motivation. The resolution is to foster being together, even in an abstract and active way in the imagination.


The closing event for OPEN FIRE | FEU OUVERT is a co-presentation with VIVA! Art Action.


ABOUT Marie-Claude Gendron

Born in Québec City, Marie-Claude Gendron is involved in the organization of self-managed performative events and participates in several residencies, exhibitions and events in Québec, France, Brazil, Italy, Northern Ireland, Thailand, Mexico and Switzerland. His work has been the subject of solo and collective presentations at the Galerie de l'UQAM (Montréal, CAN), the Bangkok Art & Culture Centre (Bangkok,TH), the Museo de medicinal laboral (Real del Monte, MX), the Galerie des arts visuels (Québec City, CAN) and as part of RIAP 2012 and 2014 (international performance art meetings, Le Lieu, Québec City, CAN).


ABOUT PERFORMANCE RESOLUTION(S)

Performance Resolution(s) is FADO's 2021/2022 at-home residency series. Participating artists were chosen from a Canada-wide open call for submissions inviting artists to propose performance-based research projects that engaged with the theme of 'resolution.' A new year brings with it fresh starts, new directions and an opportunity to reflect. We make promises in the form of new year’s resolutions—a private or public personal commitment to change. Most resolutions dissolve by the end of March, or sooner. If the last nearly two years taught us anything, it taught us that transformation comes slowly. The real breakthroughs are still in the (social) distance, but a seed has been planted. Some of the projects in Performance Resolution(s) will have tangible outcomes; many will not. The point of this at-home residency series was not to find ways to replicate old ways of doing things by keeping the hamster wheel of production going. Instead, we encouraged a slowing down and a deeper dive into what it means to have resolve, even if you don't have the answer.

 

Stayed tuned to the FADO website to see how other projects in the series unfold over the final months of the 2021–2022 programming season.


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3. CALL FOR PROPOSALS: The Institution of Knowledge

Deadline date: January 15, 2022; Location: on-line; Source: Natalie S. Loveless


CALL FOR PROPOSALS: The Institution of Knowledge


How do institutions structure the knowledge(s) they are supposed to nurture? If we think about institutions as forms of bureaucratic technology, then we can ask how they make, curate and maintain data, information, knowledge and even wisdom. We can ask what is the shape of the knowledge instituted and what or who is left out.


The Kule Institute for Advanced Study is organizing a hybrid exhibit, symposium and publication around the Institution of Knowledge. We are looking for proposals from artists, designers, administrators, thinkers, social scientists, and humanists to participate in a two-year dialogue that will include:


–Publication in fall of 2023 of a catalogue or volume 2 of essays, interventions, and exhibit documentation.

–Exhibit in May of 2023 of working artistic and design interventions.

–Symposium where draft papers/provocations are presented for discussion.

–Publication in fall of 2022 of a Preliminary Provocations or loose volume 1 of planning drawings, sketches, draft ideas, notes, dialogues, administrative documents and processes.

–Online meet-ups in the winter of 2022 and 2023.


Prospective participants should be prepared to collaborate in the major phases of this research-creation dialogue including contributing sketches or informal essays for the Preliminary Provocations, participating in the Exhibit/Symposium and finally preparing finished work for the Catalogue. The Preliminary Provocations will form the basis of online meetups across disciplines and practices leading to the Exhibit/Symposium which in turn will lead to the design of the final Catalogue.


Proposals should include contact details, short biography, description of the imagined contribution, budget or discussion of resources needed, and discussion of any constraints to participation we should take into account.


Proposals should be submitted by email to kias@ualberta.ca


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4. CALL FOR PROPOSALS: PR Journal Vol. 27, No. 8: ‘On Blood’

Deadline date: January 19, 2022; Location: the world; Source: PR Journal


Performance Research Journal: Call for Proposals

Vol. 27, No. 8: ‘On Blood’ (December 2022)

Proposal Deadline: 19 January 2022

 

Issue Editors: 

Sarah Crews (University of South Wales)

P. Solomon Lennox (Northumbria University)


NOTE: the following text has been shortened for space. Visit the website to read the full text.


[…]

Blood is polyvalent; it moves, flows, transfers, is pumped, and pours, but it also sticks, plugs, clots and coagulates. The visibility of blood exposes the fragility of boundaries and the permeability of bodies, offering both a fluid potentiality and a threat. The fluidity of blood challenges the notion of stable systems. The many meanings ascribed to blood are far from stable or self-evident. Through a performance studies lens, this issue invites interdisciplinary discussions and new perspectives on how blood is read and positioned as a bodily substance, material property and metaphor in disciplines such as medical humanities, sociology, sports science, theatre studies and medical sciences.


Blood and performance enjoy a strong and rich history. From the body art movement of the 1960s and 1970s to work produced in the early 2000s, artists have engaged with the material substance of their blood. The work of Kira O’Reilly, Ron Athey and Franko B (among others) brings into play the biological qualities of human bodies, medical processes and immunology. Manica and Rios (2017) introduce the term menstrual performances to address the long history of artists (such as Shigeko Kubota’s 1965 Vagina Painting) who make menstrual blood visible and re-frame it as a ‘potent aesthetic and political agent’ (Manica and Rios 2017: 2).  In making blood visible in performance, these artists expose the fragility of bodies as bounded systems and foreground the vulnerability of these systems (Harradine 2000). Blood as a communicative and expressive medium confronts what may otherwise be hidden, considered taboo and/or a pollutant. For Mary Richards, the staging of the bleeding body as a corporeal reality is provocative because it counters efforts that seek to distance, contain or mask ‘the bloody reality of our interiors’ (2008: 109). While there is a ‘radical fluidity’ within performances engaged with staging blood (Harradine 2000), the exposed bodily borders and messy uncontainable interiors need not threaten subjectivity. As Helen Pynor (2016) observes in her work with transplant patients, organs and blood donors, blood can enact the dissolution of binaries, such as the self–the other, the living–the dead. In performance work with blood, there remains a negotiation between subjectivication and desubjectivication. For Rosemarie Brucher (2019) the bleeding wounds of the body art artist invite this negotiation precisely through the rupturing of the artist’s own objectiveness.

[…]


Potential Topics

New perspectives on Menstrual Art

Blood/Bleeding as performance

Theatricality of staged bleeding bodies

The politics and ethical considerations of blood

Blood and ritual in performance

Interdisciplinary connections between art and science

Blood in relation to other bodily fluids

The narrative function of blood in culture, art and performance

Blood as having transformative impact on cultural narratives of bodies

Blood in sport and sporting culture as performance

Blood and stigma in relation to identities and cultures

Blood and temporality in/as performance

Re-evaluations of the productivity of blood

What does the presence of blood reveal in/as performance?


Format

Please send 300 to 400 word abstracts (with a 100-word author bio) for critical essays, artist pages, interviews, practice-research essays or provocations that attend to (but are not limited to) any aspect of the above.


Due to the nature of this issue, we anticipate attracting interdisciplinary contributions from possible areas, such as performance studies, medical humanities, sociology, sports science, performance art, theatre studies and medical sciences. We wish to actively encourage proposals for contributions outside of traditional academic essays, including artist pages, image-based articles and interviews.

 

Issue Contacts:


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


Issue-related enquiries should be directed to the issue editors:

Sarah Crews (University of South Wales): sarah.crews2@southwales.ac.uk

Solomon Lennox (Northumbria University): solomon.lennox@northumbria.ac.uk

 

Schedule:

Proposals: January 19, 2022

First drafts: April 2022

Final drafts: July 2022

Publication: December 2022


General Guidelines for Submissions:

–Before submitting a proposal, visit our and familiarize yourself with the journal. 

–Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)).

 –Proposals should not exceed one A4 side. 

–Please include your surname in the file name of the document you send. 

–Please include the issue title and issue number in the subject line of your email. 

–Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images. 

–Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. 

–If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research. 

 

www.performance-research.org


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5. EVENT: The Dreaming of a World of Sun

Date: January 22, 2022; Location: on-line & Québec City; Source: Serge Olivier Fokoua


The Dreaming of a World of Sun event is an expression taken from a quote by the Senegalese poet and academician Léopold Sédar Senghor where he says: "I dreamed of a world of sun in the brotherhood of my brothers in the eyes. blue.”


This beautiful assertion deserves to be brought up to date, to further underline the African presence in the concert of nations. During this program, we will highlight the genius and the talent of these artists who sometimes, beyond the indescribable social and political chaos, continue to work for this dream of a sunny world.


PARTICIPANTS:

Serge Olivier Fokoua

Jéthro Kombo

Paul Kawcsak

Lokombé Amundala

Jelili Atiku

Christian Étongo

Yannos Majestikos

Martin Anguissa

Ruth Belinha

Nathalie Bou

Marcio Carvalho

Eddy Ekete

Aude Christelle Mba

Landry Mbassi

Yves Sambu

Hervé Youmbi


Curated by Serge Olivier Fokoua


Virtual PROGRAMMING 

January 22 / Zoom room

3:00pm: Screening of the film System K, directed by Renaud Barret

4.30pm: Panel discussion

6:00pm: screening of performance videos


Virtual EXHIBITION (via the website and in the window of the gallery)

January 22–February 6

Performance video projection with works by Jelili Atiku (Nigeria), Christian Étongo (Cameroon) and Yannos Majestikos (Congo). PLUS: a photographic slideshow taken from the book ART ACTION 1998–2018 | Africa section | (book to be published in autumn 2022) will be broadcast continuously in the window of the gallery. 


More events details and a link to book for the Zoom room are on the Le Lieu website.


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6. TO WATCH: ANAM CARA – Mirror in the Mirror by VestAndPage & Anam Cara Collective

Date: now; Location: on-line: Source: VestAndPage


ANAM CARA – Mirror in the Mirror

by VestAndPage and the Anam Cara Collective


A radical, contemporary fairy tale. A collective performance-based film about the concept of home, produced and co-created across Europe, the U.S. and Canada during the Covid-19 pandemic lockdown in April and May 2020. In the rooms of an imaginary dwelling, we encounter twenty-two artists in performance action, rituals and poetic sharing about their isolated notions of home: a place-non-place, where the invisible is made visible and vice versa. Without inside or outside, we recognise the rooms because they originate from the depths of our hearts. There, encounters continue to be possible despite distance, quarantine and insulation. What does "home" mean when being forced inside, with insecurity, unpredictability, disease and death being the denominators of the moment? What can body-based artists speak about then, and to whom? Physically distant, how can a collective co-creative spirit be kept up?


With VestAndPage (DE/IT) / Aldo Aliprandi (IT) / Marianna Andrigo (IT) / Sabrina Bellenzier (IT) / Giorgi de Santi (IT) / daz disley (UK) / Marisa Garreffa (AU/IT) / Francesco Kiais (IT/GR) / Fenia Kotsopoulou (GR/UK) / Ash McNaughton (UK) / Enok Ripley (CA) / Sara Simeoni (IT/DE) / Mauro Sambo (IT) / Joseph Morgan Schofield (UK) / Marcel Sparmann (DE) / Susanne Weins (DE) / Giovanni Dantomio, Giorgio de Battisti, Susanna Petternella (Studio Contemporaneo, IT), and contributions by Marilyn Arsem (US) and Franko B (IT/UK).


Watch the full film with English subtitles.

Ver la película subtitulado en Español.

 

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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.