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FADO E-LIST (February 2022)

INDEX

1. TO WATCH: Diptychs UTC-4 / UTC-7 by Johanna Householder & Judith Price

Date: January 22–April 17, 2022; Location: on-line; Source: Johanna Householder

2. LISTEN TO: Nations by Artists Podcast Release + Listening Party

Date: February 2, 2020; Location: on-line; Source: Marianne Rellin

3. EVENT: Buddies in Bad Times Theatre presents: The Rhubarb Festival

Date: February 4-13, 2022; Location: Toronto, Canada; Source: Clayton Lee

4. EVENT: The Rhubarb Festival presents a new performance by Louise Liliefeldt

Date: February 5, 2022; Location: Toronto, Canada; Source: Rhubarb Festival

5. EVENT: Rhubarb Festival presents Akin to the Hurricane by Jesús Hilario-Reyes

Date: February 9, 2022; Location: Toronto, Canada; Source: Rhubarb Festival

6. WORKSHOP: Stream Live Workshop with Carron Little

Date: February 19-27, 2022 (dates various); Location: on-line; Source: Carron Little

7. EVENT: Out of Site Chicago presents: Artist Focus with Dagmar Glausnitzer

Date: February 26, 2022; Location: on-line; Source: Carron Little

8. OPEN CALL: Love Letters to Linda Mary Montano

Date: March 1, 2022; Location: the world; Source: Franklin Furnace

9. OPEN CALL: Flow • embody in site, 2022

Deadline date: March 8, 2022; Location: Chicago, USA; Source: Carron Little

10. CALL FOR PAPERS: TURBA | The Journal for Global Practices in Live Art Curation

Deadline date: February 15, 2022; Location: the world; Source: Pam Patterson

11. OPEN CALL: Alliances of Care and Desire

DATE: March 15, 2022; Location: on-line; Source: Franklin Furnace

 

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1. TO WATCH: Diptychs UTC-4 / UTC-7 by Johanna Householder & Judith Price

Date: January 22–April 17, 2022; Location: on-line; Source: Johanna Householder

 

Diptychs UTC-4 / UTC-7

Six video works by Johanna Householder & Judith Price

 

Available to watch: January 22 – April 17, 2022

Kitchen Party on Streamyard: February 15, 7:00pm (CST)

 

Recorded on Zoom, between Pacific (UTC -7) and Eastern (UTC -4) time, these episodes are an attempt to restore touch and peripheral vision to a world condensed into a 2880 x 1800 slab of metals and electrons. The crude imprecision of the technologies through which we now communicate flattens geographies and obliterates time zones, demanding that we tunnel our visions. All backgrounds appear as virtual.

 

By August 2020, we needed to loosen up the digital compression of a zoom call as a tool and rattle the cage of its impact on our formerly multiform lives, so we challenged each other to improvise a new relationality. Moving spontaneously, experimenting with a desire to reach around and through the screen, we mapped new spatial relationships. We learned to read the screen differently. What surrounds us accrues alternative meanings when read as mise-en-scène.

 

By February 2021, we had decided to extend our collaborative improvisations to include working with sound artists – some we knew and some we didn’t – meeting for the first time over zoom. These collaborative exchanges have been a ray of light and a wave of sound, as each of these artists brought a unique way of hearing and seeing. We are grateful to have been able to make these connections.

 

EPISODES

Episodes are released every two weeks cumulatively, and viewable in the Regina Public Library Mediatheque and on the Dunlop Art Gallery Youtube channel.

 

Jan 22

Episodes 7, 9, 14 & 15: Smoke & Mirrors, Sound by Seth Cardinal Dodginghorse

In which we explore the architectures that we inhabit in common, uncovering perhaps a continuous household.

 

Feb 7

Episode 3 & 8: Marxist Crows

Soliloquy by Jeanne Randolph

In which we replace ourselves in order to introduce a particular outsiders' perspective on the covid lockdown situation.

 

Feb 21

Episode 5: 43.6532° N, 79.3832° W / 48.4284° N, 123.3656° W,

Sound by Anne Bourne

In which we continue to explore architecture and recognize the relationship between mirrors and screens.

 

March 7

Episode 11: Kitchen Party, Sound by Homo Monstrous

In which we explore each other's fridges and pantries, tuning into domestic concerns and exchanging recipes across time and space.

 

March 21

Episode 20: Object Lesson, Sound by Rita McKeough

In which we give the space over to the objects at hand to find their own relationships.

 

April 4

Episode 21: Zoom Escapes, Sound by Jeff Morton

In which we try to leave, to explore the limits, and zoom itself takes over the editing, deciding who and what to show.

 

More info: https://www.reginalibrary.ca/dunlop-art-gallery/browse-exhibitions/6085565

 

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2. LISTEN TO: Nations by Artists Podcast Release + Listening Party

Date: February 2, 2020; Location: on-line; Source: Marianne Rellin

 

Nations by Artists Podcast Release + Listening Party

Presented in conjunction with the exhibition Nations by Artists

Wednesday, February 2

6:30–7:30pm (EDT)

Online on Zoom / Registration required

  

Join us for an online listening party celebrating the release of the Nations by Artists podcast series! The four-episode podcast invites artists, activists, and scholars to deliver a state of the nation on nations, interrogating ideas of nationhood, borders, power, and dissent. At this listening party, we’ll livestream the first episode, Monuments, followed by a live Q&A with hosts and exhibition curators Mikinaak Migwans and Sarah Robayo Sheridan.

 

Episode 1: Monuments explores the different ways that nations are both officially symbolized and contested, whether through monuments, flags, passports or federal parks. Hosts Mikinaak Migwans and Sarah Robayo Sheridan talk to artists, collectives, and activists IRWIN, Will Kwan, Shawna Dempsey & Lorri Millan, and Life of a Craphead. Together, they follow an equestrian monument as it floats down a river, explore a collection of flags made entirely of press images of flags burning, meet with two rangers from the Lesbian National Parks and Services, and pass through an unusual passport office regulating citizenship in a nation based not on geographic boundaries but on a state in time.

 

The Nations by Artists podcast is produced by Aliya Pabani and hosted by exhibition curators Mikinaak Migwans and Sarah Robayo Sheridan.

 

Art Museum

www.artmuseum.utoronto.ca

 

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3. EVENT: Buddies in Bad Times Theatre presents: The Rhubarb Festival

Date: February 4–13, 2022; Location: Toronto, Canada; Source: Clayton Lee

 

Buddies in Bad Times Theatre presents: The Rhubarb Festival

February 4–13, 2022

 

Marking a return to mainstage programming at Buddies, Canada’s longest-running new works festival is back for its 43rd year this February. In a new 10-day format, The Rhubarb Festival transforms Buddies into a hotbed of experimentation, exploring new possibilities in art-making and performance. This year’s festival, curated by festival director Clayton Lee, sees artists respond to an installation by award-winning designer and architect Andrea Shin Ling. In her conceptual prompt to artists, she asks, “What does it mean after a year such as this, to regenerate one’s practice? What have we left to deteriorate, and what do we use as fodder and fuel for new creation?”

 

After reimagining the festival as a performative publication last year, Clayton has brought on architect Andrea Shin Ling to create a living container for Rhubarb’s 2022 iteration. Andrea‘s work explores how biological and digital processes can intersect in design,  and her recent project Design by Decay, Decay by Design won the STARTS prize for innovation at the nexus of Science, Technology, and the Arts in 2020. Her large-scale Rhubarb installation, Calculus of an infinite rot, part 1, follows the path of this work, and experiments with designed decay in organic objects, complicating ideas around decay and regeneration as paired processes in nature.

 

“Andrea’s work simultaneously addresses concerns about the present, while using technology and research that propels us decades into the future. The installation she’s creating for Rhubarb is a response to this moment and the festival artists, in turn, are creating work that responds to it.” says festival director Clayton Lee.

 

This year’s festival is intentionally smaller—with no repeat performances—in an effort to provide more robust support to artists, and allow for the projects to be in ongoing conversation with one another. The new structure invites audiences to consider the accumulation of performances over the festival, rather than one night, echoing Ling’s dynamic installation.

 

Full schedule and artist details are available on the website:

https://buddiesinbadtimes.com/show/the-rhubarb-festival/

 

Festival Director: Clayton Lee

Design Lead: Andrea Shin Ling

ARTISTS:

Moe Angelos

Ruby Caldwell Kramer & Lara Kramer

Paul Chambers

Stanford Cheung

Claudia Edwards & Tram Nghiem

Jesus Hilario-Reyes

Jessica Johns

Myung-Sun Kim

Louise Liliefeldt

Sarah Garton Stanley

Brawk Ward & Esther Splett

claude wittmann

Johannes Zits

 

TICKETS:

Wednesday–Sunday: sliding scale $10/$20/$40

Plus a limited number of free tickets each day

 

VENUE:

Buddies in Bad Times Theatre

12 Alexander Street, Toronto

 

COVID SAFETY + RESTRICTIONS

The safety of patrons, artists, and staff is a key priority in the organization of Rhubarb. We are currently selling tickets at a reduced capacity (25%), which will allow ample space for the audience to physically distance themselves in the venue.

 

ABOUT BUDDIES IN BAD TIMES THEATRE

Established in 1979, Buddies in Bad Times Theatre is a professional Canadian theatre company dedicated to the development and presentation of queer theatre. Over the course of its history, it has evolved into the largest facility-based queer theatre company in the world and had made an unparalleled contribution to the recognition and acceptance of queer lives in Canada.

 

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4. EVENT: The Rhubarb Festival presents a new performance by Louise Liliefeldt

Date: February 5, 2022; Location: Toronto, Canada; Source: Rhubarb Festival

 

Louise Liliefeldt

Saturday, February 5

6:00pm

 

In this work Liliefelt plays with metaphors of a kind of parasite, disease, infection and decay both spiritually and physically in lieu of the times we have been and are currently living in. In most ways this performance has nothing to do with the Covid-19 Pandemic but mostly has to do with a part of our history as people while using elements of our current state.

 

ABOUT LOUISE LILIEFELDT

Liliefeldt is a Toronto based Performance Artist and painter. As a South African woman who immigrated to Canada at a young age, her work often draws directly from this culture and her lived experiences in order to talk about issues related to the politics of identity as it intersects with gender and race. She is interested in the possibilities of the body in space and the effect of time in a space. Her work examines the cultural conventions of spectatorship and the links between emotional/psychological states and physical experience.

 

TICKETS:

Wednesday–Sunday: sliding scale $10/$20/$40

Plus a limited number of free tickets each day

 

VENUE:

Buddies in Bad Times Theatre

12 Alexander Street, Toronto

 

COVID SAFETY + RESTRICTIONS

The safety of patrons, artists, and staff is a key priority in the organization of Rhubarb. We are currently selling tickets at a reduced capacity (25%), which will allow ample space for the audience to physically distance themselves in the venue.

 

ABOUT THE RHUBARB FESTIVAL

Marking a return to mainstage programming at Buddies in Bad Times Theatre, Canada’s longest-running new works festival is back for its 43rd year this February. In a new 10-day format, The Rhubarb Festival transforms Buddies into a hotbed of experimentation, exploring new possibilities in art-making and performance. This year’s festival, curated by festival director Clayton Lee, sees artists respond to an installation by award-winning designer and architect Andrea Shin Ling. In her conceptual prompt to artists, she asks, “What does it mean after a year such as this, to regenerate one’s practice? What have we left to deteriorate, and what do we use as fodder and fuel for new creation?”

 

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5. EVENT: Rhubarb Festival presents Akin to the Hurricane by Jesús Hilario-Reyes

Date: February 9, 2022; Location: Toronto, Canada; Source: Rhubarb Festival

 

Akin to the Hurricane by Jesús Hilario-Reyes

Wednesday, February 9, 2022

Two performances: 7:00pm & 8:00pm

 

Continuing an iterative series that began in 2018, this impromptu sound performance utilizes the symbolic space of the hurricane to question ideas of sovereignty and belonging. This is an effort to exercise fugitivity as a point of agency, autonomy and potentiality.

 

Created by Jesús Hilario-Reyes

Collaborator Callum Magnum

 

ABOUT JESÚS HILARIO-REYES

Currently based in Brooklyn, New York, Jesús Hilario-Reyes (born 1996, San Juan, Puerto Rico) is an interdisciplinary artist with a Bachelor’s in Fine Arts Studio from the School of the Art Institute of Chicago. Recently a recipient of the Leslie Lohman Museum Fellowship, the Drawing a Blank Artist Grant, and the upcoming Bemis Center Residency (2022) program. Jesús Hilario-Reyes has exhibited/screened both nationally and internationally, most notably at the Museum of Contemporary Art Chicago, Black Star Film Festival and Mana Contemporary. While situating their practice at the crossroads of sonic performance, new media, and expanded cinema, their iterative works examine carnival and rave culture throughout the West, to take on a necessary satirical approach to undermine the systems at play.

 

TICKETS:

Wednesday–Sunday: sliding scale $10/$20/$40

Plus a limited number of free tickets each day

 

VENUE:

Buddies in Bad Times Theatre

12 Alexander Street, Toronto

 

COVID SAFETY + RESTRICTIONS

The safety of patrons, artists, and staff is a key priority in the organization of Rhubarb. We are currently selling tickets at a reduced capacity (25%), which will allow ample space for the audience to physically distance themselves in the venue.

 

ABOUT THE RHUBARB FESTIVAL

Marking a return to mainstage programming at Buddies in Bad Times Theatre, Canada’s longest-running new works festival is back for its 43rd year this February. In a new 10-day format, The Rhubarb Festival transforms Buddies into a hotbed of experimentation, exploring new possibilities in art-making and performance. This year’s festival, curated by festival director Clayton Lee, sees artists respond to an installation by award-winning designer and architect Andrea Shin Ling. In her conceptual prompt to artists, she asks, “What does it mean after a year such as this, to regenerate one’s practice? What have we left to deteriorate, and what do we use as fodder and fuel for new creation?”

 

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6. WORKSHOP: Stream Live Workshop with Carron Little

Date: February 19-27, 2022 (dates various); Location: on-line; Source: Carron Little

 

Stream Live Workshop with Carron Little

Live Streaming for beginners practice-based workshop with Carron Little

 

February 19–20, 2022 (two sessions at 90mins each)

February 26–27, 2022 (two sessions at 90mins each)

Plus (1) one mentoring session TBD

Fee: $250 (inclusive of four sessions & one mentoring session)

Spaces are limited to 8 participants

 

Do you want to learn how to live stream your performances? Do you want to learn how to live stream public performance in outdoor contexts or indoors? Do you find digital technology a hurdle to making your art? Carron has been training artists in the Out of Site community to live stream over the last two years and building a platform to share public performance art practices. How can we adapt the technology to fit the needs of our performances? What are the tricks and the tools needed to create the performance we want to make? In this workshop catered to performance makers Carron will share the basics of live streaming and provide each participant a one-hour mentoring session. In this workshop space catered to performance and live art practitioners’ people will come away with the tools to live stream, and two recordings of live stream performances shared with the group.

 

For more info about the workshop, schedule, and facilitator please visit here:

https://www.flowsymposium.org/workshops

 

To Register please visit here: https://www.flowsymposium.org/registration/p/stream-live-workshop

 

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7. EVENT: Out of Site Chicago presents: Artist Focus with Dagmar Glausnitzer

Date: February 26, 2022; Location: on-line; Source: Carron Little

 

Out of Site Chicago presents: Artist Focus with Dagmar Glausnitzer

Facilitated by Dimple B Shah

 

February 26, 2022

Time: 11:15am–12:15pm CST

 

Two ways to watch:

OoS’s Twitch Channel

OoS’s YouTube Channel

 

ABOUT ARTIST FOCUS

The Artist Focus is a weekly program interviewing artists who have a public performance art practice. It runs for eight weeks in the spring and the fall. This Spring will start with a conversation with Dagmar Glausnitzer who is the organizer of Lock Unlock Performance Art Project, and the conversation will be facilitated by Dimple B Shah who is part of the Out of Site community.

 

ABOUT DAGMAR I. GLAUSNITZER-SMITH

Dagmar I. Glausnitzer-Smith graduated from the Royal College of Art London in 2000 (MA) and from Goldsmiths' College in 1996 (BA). Activities include: Picker Fellowship Award Kingston University (2000-2003); Art place foundation Germany (2005-2010); organizing international Performance Art Workshops/Residencies; producing international performance art events like transitstation in London (2003), Berlin (2005), Edinburgh (2006) and Copenhagen (2010); Senior Lecturer Kingston University, London specializing in Performance Art (2002-2017); and support in Performance Art and Art Practices for people/artists with disabilities and special needs (2017-2019).

 

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8. OPEN CALL: Love Letters to Linda Mary Montano

Date: March 1, 2022; Location: the world; Source: Franklin Furnace

 

LOVE LETTERS TO LINDA

New deadline: March 1, 2022

 

Annie Sprinkle announces a deadline extension for LOVE LETTERS TO LINDA, a project of the E.A.R.T.H. Lab SF in conjunction with the recent Linda Mary Montano Birthdayarama.

 

You are invited to write a love letter to performance saint, Linda M. Montano, who has planted seeds in so many of us around the world. All letters will be collected, shared with Linda, then placed into the Franklin Furnace archive for posterity.

 

Please describe…What seed(s) did Linda plant in you? What did you grow from that seed? Or whatever you like.

 

Snail mail your letter to:

Letters to Linda, c/o Sprinkle

310 Andover Street, San Francisco, CA, 94110

Or email your letter to: anniesprinkle@me.com

 

ABOUT E.A.R.T.H LAB S.F.

E.A.R.T.H. Lab S.F. 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.

 

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9. OPEN CALL: Flow • embody in site, 2022

Deadline date: March 8, 2022; Location: Chicago, USA; Source: Carron Little

 

Flow • embody in site, 2022

Online Public Performance Symposium in June 2022

 

Out of Site Chicago is inviting proposals from local, national, and international performance artists to present their work at Flow • embody in site, 2022. We invite people to submit concepts for performance lectures and/or artist presentations. Priority will be given to artists who have a public performance art practice but we are open to all thoughts and ideas.

 

We will select between eight and eleven artist/ artist collaborator presentations. Each session will last 90mins and each presenter will be allocated a facilitator that will support a dialogue with symposium participants. This will be part of a symposium with practice-based workshops, presentations by artists from around the world, a finale weekend of live public performance from around the world and a curated program.

 

To see the archive of Flow 2021 please visit: https://www.flowsymposium.org/

 

Submission Requirements:

–A short bio (300 words)

–A 500-word abstract describing the concept of the performance lecture/ artist presentation (printed on website and in post-symposium catalog)

–Two high res images of relevant work with photo credits

–Artist website address

–CV or resume

 

Deadline for Submissions: Sunday March 8, 2022 (midnight CST)

NO LATE ENTRIES WILL BE ACCEPTED

 

Ways to submit:

1. Use the submission form: https://forms.gle/dvr5gJwppUZxP8X17

2. Email all the info in one (1) pdf to outofsitechicago@gmail.com (subject line 'Flow2022')

 

ABOUT OUT OF SITE CHICAGO

Out of Site Chicago (OoS) has been curating unexpected encounters in public space since 2011. OoS has developed a methodology of working in urban space that supports diverse ideas and representations of artistic work. We have a trained steward team that supports the artist’s work and facilitates public engagement with the performance. In 2020, Out of Site partnered with Experimental Sound Studio to create live stream performances to support our performance community. In 2021, OoS organized Flow • embody in site, 2021 to foster international conversations about public performance practice.

 

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10. CALL FOR PAPERS: TURBA | The Journal for Global Practices in Live Art Curation

Deadline date: February 15, 2022; Location: the world; Source: Pam Patterson

 

VOLUME 1, ISSUE 2: DIS(turba)NCES

Co-Editors: Tawny Andersen, Sandeep Bhagwati, Victoria Carrasco, Dena Davida, Barbara Scales, Yves Sheriff

 

We live in the turbulent wake of a great disturbance. It has radically altered not only the course and the texture of all human lives, but also our perceptions of our own relationship with the world at large–and thus, by consequence, transformed the roles and possibilities that the live arts can assume and offer. Over the past two years, certainties have dissolved, and habits have been broken. Some are rebounding, albeit into a profoundly disrupted social environment in which the concerns of climate crisis, of equality and diversity, of recalibrating the world’s economic and political constellations are embroiled in dangerous cacophonies. Being (a)live in a world of lives being lost and damaged prematurely every day forces us to confront deep questions about what the work of curating the live arts might do to counter rampant fears and console us who have survived so far.

 

In this issue, TURBA asks for texts that examine the aesthetic and organizational resilience of live arts making: What could it mean to curate through this global crisis? Beyond all the astounding stories of coping, this issue would like to examine the long-term consequences of the pandemic for ethics and aesthetics, for trust and truth, for social cohesion and polarization, for authority and dissent, for the conditions for and the relevance of the live arts and other cultural expressions. If “war is the father of all things” (Heraclitus) and “necessity the mother of invention” (Aesop) – what are new forms of expression and presentation that have been invented by live arts makers and curators in these troubled years? And will these new expressive inventions really change our cultural reality amidst the busy-ness of making our art forms live on? What do makers and audiences make of the sudden shift towards digital technologies in the live arts? New questions arise: How far can our human body reach out into the world? Which sensations can impact us even at a distance? What do we need to feel the presence of an audience? What does the audience need to experience our liveness? Do we really need to be together at the same moment, in the same room? TURBA is interested in analyses of curatorial responses to these questions, also those that place them in wider historical and cultural contexts. Digitalization has also led to new, more democratic forms of distribution that, both in production speed and audience access, often circumvent habitual curatorial routines. Is the idea (and the business model) of curation threatened or invigorated by these hybrid models of curation and production that bridge the physical and the virtual, that easily convey local productions to a global viewership?

 

TURBA welcomes texts on all these disturbances, as well as on those not mentioned above.

 

Send your contributions, queries, and questions to Dena Davida at turbajournal@gmail.com

 

SUBMISSIONS POLICY

TURBA invites submissions engaging with any tradition, genre, community, culture, discipline, artistic expression, or aesthetic in the live arts. The journal is particularly interested in featuring compelling, experimental, politically engaged, and transformative content that fosters critique and debate, expands knowledge, and provides socio-cultural and historical context for the evolving practices of live arts curation. TURBA is open to a wide range of genres and formats. Contributions may include: academic papers for [double blind] peer review, critical essays, dialogic exchanges and transcribed group conversations, manifestos, reviews of publications and symposia, analyses of curatorial paradigms and events, poetry, images, notations and graphic representations, etc. They may also interweave such styles and epistemologies if this heterogeneity helps to better illuminate their subject matter. In addition to two annual calls for specific issues with fixed deadlines, submissions are accepted on a rolling basis. TURBA appears twice a year both in print and as an e-publication.

 

For more and specific information about submissions (this one and in general), please visit: www.berghahnjournals.com/turba

 

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11. OPEN CALL: Alliances of Care and Desire

DATE: March 15, 2022; Location: on-line; Source: Franklin Furnace

 

Open Call for Videos: Alliances of Care and Desire

Curated by Andrés Senra with Nicolás Dumit Estévez Raful Espejo

 

Calling creatives to propose up to two minute videos/video performances that reflect on the concept of caring for the planet. Examples include practices such as veganism, magic, rituals, anti-speciesism, ecofeminisms, ecoqueerism, anti-ableism and anti-racist artivisms. The videos submitted to this open call are meant to question otherness and also subvert anthropocentrism as an episteme that places human in a position of hierarchy and dominance over all other beings. This call will consider videos reflecting on the possibilities of building alliances of desire and care with the planet and the beings that inhabit it from the position of the Other. 

 

Alliances of Care and Desire arises from Andrés Senra’s own impetus and interest in the possibility of queering identity beyond gender binaries, as well as subverting the dual Western value system that separates the human from the non-human. This system of Western knowledge organizes the universe according to taxonomic rules that separate and divide it into artificial/natural, subject/object, mind/body, organic/inorganic, living/non-living, woman/man, human/non-human, human/animal, ability/disability, nature/culture, white/non-white, subject/object, reason/emotion, freedom /necessity, civilized/wild, and so on, assigning positive and negative values in a hierarchical way. Negative values have traditionally been assigned to the feminine, the queer, the animal, and the non-white.  

 

Deadline: March 15, 2022

One (1) entry per person. Participants will be notified by March 30, 2022

 

To participate, please visit the following website and complete the form:

https://forms.gle/aMUic5fGiruz73vy8

 

To watch open call trailer, please visit the following website:

https://vimeo.com/662724108

 

Videos selected will be posted and archived on The Interior Beauty Salon's website and on social media. An online screening event (and possibly an in-person one) will be schedule for the spring-summer.

 

ABOUT THE CURATORS

Andrés Senra has received the Multiverso Videoart Grant, BBVA Foundation (2015); Fase 7 Mobility Art Grant from The Spanish Agency for International Development and Cooperation (AECID) (2014). He has also received an artist research grant of the National Museum of Contemporary Arts of Spain / Reina Sofía (2013-2014). In 2012, he was selected by the Goethe-Institut and Instituto Cervantes of Spain for the art program Participar.de, taking place in Berlin, Madrid, and Toulouse. In 2012 and 2013 he received the Ministry of Culture Grant for the promotion of Spanish art abroad. Winner of the Casa Velázquez Prize for Art Creation at Estampa (2009), he has also received, among other prizes, the Region of Madrid Award for art creation (2008). Senra’s work has been exhibited in galleries and museums around the world such as Museo Nacional Centro de Arte Reina Sofía MNCARS (Spain), VanAbbe Museum (Holland), Art Center Nabi (Korea), and Centro Cultural Recoleta (Argentina).

 

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 unprescribed ways of being and approaching life.

 

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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.