FADO E-LIST (January 2004)

FADO E-LIST (January 2004)


1. Fado presents DIASPORA
Friday 30 January 2004, 8 pm

2. Fado News -- Update Address!
3. CALL FOR SUBMISSIONS: "The Suicide of Objects" Catalyst Arts (Northern Ireland)
Deadline January 31, 2004 [note:now extended to February 3, 2004]; Source: Julie Bacon
4. CALL FOR SUBMISSIONS / "Peace of Mind " CAFKA (Kitchener)
Deadline January 31, 2004; Source: Instant Coffee/Akimbo
Deadline: February 1, 2004; Source: Instant Coffee
6. CALL FOR SUBMISSIONS: "Burn Out" Residency, Alternator Gallery (Kelowna)
Deadline: February 15, 2004; Source: Instant Coffee
7. CALL FOR SUBMISSIONS: "Parking Art in Parking Lots", Modern Fuel Artist Run Centre (Kingston)
Deadline: February 15, 2004; Source: Instant Coffee
8. CALL FOR SUBMISSIONS: "...seen..." (UK)
Deadline: February 17, 2004; Source: Artsadmin e-digest #113
9. CALL FOR CONTRIBUTIONS: "On Civility" Performance Research Vol. 9 No. 4
Deadline February 27, 2004; Source: Performance Research
10. CALL FOR APPLICATIONS: Gibraltar Point International Artist Residency Program (Toronto)
Deadline March 3, 2004; Source:Toronto Artscape
11. CALL FOR PROPOSALS: "The Future of Performance Art" (Serbia)
Deadline March 31, 2004; Source: Multimedial Art Studio
12. CALL FOR PROPOSALS: Studio 8/QSS (Northern Ireland)
Deadline not indicated; Source: Sinead O'Donnell

1. Fado presents DIASPORA
Friday 30 January 2004, 8 pm

Featuring: Kinga Araya, Constanza Camelo, Flutura & Besnik Haxhillari, Myriam Laplante and Vessna Perunovich
Curated by Sonia Pelletier
January 30, 2004, 8 pm
@ Karen Schreiber Gallery (25 Morrow Ave., #302)
Presented in cooperation with Blank Slate with support from the Conseil des art et des lettres du Québec
PWYC (suggested donation $5)

Toronto... Fado is pleased to present DIASPORA, a performance art event that examines the experiences of dispersed and exiled populations. The event will feature five performances followed by a public discussion. DIASPORA presents artists from various cultures, now living in Canada, whose performances consider their 'foreignness'. Developed by Montreal curator Sonia Pelletier and touring with support from the Conseil des des arts et des lettres du Québec, DIASPORA features performances modified from an initial event presented in 2003 at Galerie Clark in Montreal. A fifth project featuring local artist Vessna Perunovich will be included for this Toronto version of DIASPORA.

Sonia Pelletier writes in consideration of the project:

Performance art [is] surely the most immediately expressive way to depict survival, resistance and the accommodation of differences. This commingling, driven by the artists' concerns with identity issues, leads us to consider how the precarious state of the artist in a foreign land reverberates on one's own culture, as well as the status of the artist in general. ...

A major portion of the project is devoted to reflection, with a focus on the identity issues of cultural transformation, hybrid cultures, belonging and cultural transference. ... We are also attempting to refashion and re-view the word 'Diaspora.' Performative acts convey cultural evidence, but to what extent can one assert one's belongingness in a world so polarized between Western and non-Western culture? And in the art world, haven't the concepts of globalization and internationalization gotten confused as well?

About the artists

An artist originating from Poland, Kinga Araya has lived and worked in the Quebec area (Ottawa, Toronto and Montreal) since 1990. She has participated in several installation exhibitions, video festivals and performance events in Canada and abroad. Her most recent work addresses the themes of travel and communication. She attempts to examine her nomadic and evolving identity, usually in the context of geopolitical/cultural issues. Questions such as, "Who am I?" and "Why am I where I am?" make up her artistic language. "The phenomenon of walking ad talking in between diverse cultures, countries and languages became a condition sine qua non of my artistic practice. I often question my belonging to one group or the other I encounter during my journeys. How much of my 'self' is still 'Polish' and how much has already become 'Canadian'? I believe that the driving force behind my art works lies in an impossible desire to be in total control of who I am and who I would like to become."

Constanza Camelo, an artist from Columbia, has lived and worked in Quebec (Quebec City and Montreal) since 1994. She has enacted many performances alone and in collaboration with James Partaik here and abroad. Her early performances examined the hybrid cultural identity of her native culture. She has been especially concerned with the subject of Colombian independence as a Spanish colony and its dependence as a neocolony. Later, she turned her attention to the notions of private and public space, with a particular concentration on street performance. Her performative work has evolved into creations of utopian territories, using a language composed of expression of change and ephemerality. Her work is therefore transient and consists of performance happenings: utopian territories furtively occupied, in a landscape of gestures and moments that replaces the landscape of permanent objects. Her body is in transit.

Flutura and Besnik Haxhillari are two artists from Albania have been established in Quebec (Montreal) since 1999. Under the name "Deux Gullivers" (Two Gullivers), they have created numerous performances and installations, mostly abroad. They adopted their name in 1998. It represents both a concept and a hybrid being born of an artistic relationship, and it evokes a spirit of collaboration. The dual adventure has continued ever since -- an investigation of the complexity and fragility of identity in the process of self-discovery. Through a variety of methods of self-representation and stagings of their personal concerns, they strive to respond to the challenging question "Who am I?" They alternate between the 'performative', 'installation' and 'media' modes. The "Gulliver" concept is reflected in the recurrent themes of travel, emigration and relocation. The journey may be undertaken in different forms, real or imaginary.

Born in Bangladesh, Myriam Laplante has lived and worked in Italy (Rome and Assisi) since 1985. Her installations ad photography have bee shown in numerous galleries in Europe and the United States. She has also put on many performances starting in 1992. Situated somewhere between humorous fiction and self-reference, Laplante's work makes use of portraits, masks, costumes and body enactments. Through loss of control and melancholy, Myriam Laplante expresses her concept of the temporality of identity.

Originally from the former Yugoslavia, Vessna Perunovich has lived and worked in Toronto, Canada since 1988. Her work has been shown nationally and internationally, most recently at the XII Biennial of Cerveira in Portugal, Second Tirana Biennial in Albania and 8th Havana Biennial in Cuba. Her sculptural installation, video and performative work explores her personal experience of immigration and displacement in addressing the issues of borders, exile and longing. Tension, which is a constant in her work both formally and conceptually, is essential to maintain the balance between subjection and empowerment, vulnerability and resilience. Perunovich's work reflects on the pressures and ironies found in the opposing but interconnected forces, where conscious meets unconscious, personal meets social and illusion meets reality. Her most recent performance project Transitory Places which traveled to England, Portugal, Italy and Cuba explores the notion of home and one's sense of belonging, as well as the utopian dream of a perfect place and disillusion that lays in the pursuit of that ideal.

Sonia Pelletier (curator) lives and works in Montreal. She has worked for the past 15 years in the milieu of contemporary visual arts as a coordinator, critic, and independent curator for various cultural groups (Occurrence, Clark, Dazibao, Skol, Le Lieu) and publications (Inter, C Magazine, Esse, Espace). She also founded and directed PAJE Éditeur (1989-96), which was devoted to the publication of literary works and exhibition catalogues. In addition to her current responsibilities coordinating publications at Artexte, Pelletier's projects as an independent curator include Les affichent ne meurent jamais (Québec-France 2002-2004) and Résider ailleurs/Residir en otra parte (Québec-Mexico 2003).

DISASPORA will also be in Hamilton on Thursday, January 29, 2003 at the Staircase Café & Theatre under the auspices of the Art Gallery of Hamilton. For details contact Katja Canini, (Acting) Media Programmer, at (905) 527-6610 ext. 257 or by email at katja@artgalleryofhamilton.com.

2. Fado News -- Update Address!

Fado is starting off the new year in a new home. We have moved next door into a larger unit, so please update our mailing address in your files. We are now located at:

273-B Carlton St.
Toronto, ON
Canada M5A 2L4

We are pleased to report that the Fado Gala Performance pARTy and Auction was a tremendous success. Through the hard work of our Board of Directors and generous support of the performance art community, we were able to surpass our fundraising target by over $1,000. The pARTy offered an eclectic evening of performances while the auction provided once-in-a-lifetime opportunities for members of the public to buy individualized artist actions and objects.

Fado offers its thanks to all of the contributors to this event:
Our donors: Merle Addison, Rebecca Belmore, AA Bronson, Chandra Bulucon, City Beautification Ensemble, The Clichettes, Shannon Cochrane & Thom Sevalrud, Paul Couillard, Shawna Dempsey & Lorri Millan, Margaret Dragu, Duorama (Paul Couillard & Ed Johnson), Fastwürms, Alissa Firth-Eagland & Zoe Stonyk, Flakey Rosehips (aka Glenn Lewis), Instant Coffee, Germaine Koh, Will Kwan, James Luna, Alastair MacLennan, Tanya Mars, Michael McCormack, Frank Moore, Michael Morris, Boris Nieslony, Daniel Olson, Andrew J Paterson, Sandy Plotnikoff, Randy & Berenicci, Rachel Rosenthal, Clive Robertson, Svar Simpson, Annie Sprinkle, Stelarc, Rirkit Tiravanija, Martha Wilson
Our performers: Dave Dyment, Johanna Householder, Germaine Koh, Sook-Yin Lee, Louise Liliefeldt, Kelly Mark, Clive Robertson, Stink Mitt, Bob Wiseman (with Kristen Moss-Theriault)
Our auctioneer: Wayne Baerwaldt
Our DJ: Tone Deaf
Our volunteers: John Beauchamp, Jess Dobkin, Michael Page, Janet Sumner (and of course the Fado Board of Directors)
Our media sponsor: CKLN
Our organizational sponsors: Art Metropole, Toronto, Image Works, Vtape

Watch for upcoming events. In addition to DIASPORA, we will be presenting the Regina-based performance collective One Night Only on February 21. Details will follow in the next e-list.

3. CALL FOR SUBMISSIONS: "The Suicide of Objects" Catalyst Arts (Northern Ireland)
Deadline January 31, 2004 [note:now extended to February 3, 2004]; Source: Julie Bacon

In late March/April 2004, Catalyst Arts, a Belfast-based artist run space, will present new art works in The Suicide of Objects event, in conjunction with MAGNI (Museums and Art Galleries of Northern Ireland) and the Ulster Museum. A core number of these works will be selected through open submissions. Catalyst Arts invites artists, from Northern Ireland and beyond, to propose installation (including video, slide, photo etc) and/or performance projects that reveal and explore archives and collections in new lights. These may be gallery based, or respond to the conditions and contents of archives in Belfast and the surrounding area, particularly the Ulster Museum and its grounds, which feature indoor botanic gardens.

Proposals should contain a project outline (maximum 2 pages), with indications of the
preparation /research period required if relevant; artist CV and short statement; supporting documentation (visual/textual, eg approx. 10 slides or photos, short VHS PAL videos, CD's, reviews).

Catalyst Arts will offer a travel and materials budget, and a fee for the works. The event will be accompanied by a 1 day symposium in the Ulster Museum, and a publication will document all the

Please send all proposals to
Julie Bacon
Co-director, The Suicide of Objects
Catalyst Arts
5 College Court
Belfast, BT1 6BS, Northern Ireland

Deadline: Jan 31st 2004

For queries, feel free to contact Julie on julielouisebacon@hotmail.com

4. CALL FOR SUBMISSIONS / "Peace of Mind " CAFKA (Kitchener)
Deadline January 31, 2004; Source: Instant Coffee/Akimbo

Contemporary Art Forum | Kitchener and Area

CAFKA.04 “Peace of Mind”

When it seems that the very infrastructure upon which our high standard of living is based is eroding, we strive for peace of mind. We deal daily with the direct and indirect effect of natural disasters, climate change, terrorism, disease, conflict, and economic uncertainty. The distance between us and the ills of the world is drastically reduced. Global issues have become local.

Artists may submit proposals that consider the desire for safe and risk-free lifestyles, global-political issues, individual and spiritual peace, world peace, and conflict resolution, utopian and escapist ideals, security and preventative measures, and all that would grant us peace of mind.

20 projects will be selected. The forum takes place in September, 2004 in and around Kitchener City Hall.

Artist Fee paid: $2,000.00 CND (to cover all aspects of mounting a project, including materials and transportation). Applications are available at: <http://www.contemporaryartforum.ca />www.contemporaryartforum.ca or <mailto:cafka@contemporaryartforum.ca>cafka@contemporaryartforum.ca. Submit 10 slides or equivalent video documentation (on NTSC-VHS, DVD), six copies of printed matter including: CV, proposal, budget, and completed application form by January 31st, 2004 to:

P.O Box 1122
Kitchener, ON
Canada N2G 4G1

Courier Address:
141Whitney Place (rear entrance)
Kitchener, ON
N2G 2X8

Deadline: February 1, 2004; Source: Instant Coffee

Video, film, performance, and sound proposals being accepted for the theme
of OVER-DUB. We are looking for curious superimpositions of "text-on-text".
Deadline is Feb. 1, 2004. CARFAC fees to be paid. Send enquiries to

6. CALL FOR SUBMISSIONS: "Burn Out" Residency, Alternator Gallery (Kelowna)
Deadline: February 15, 2004; Source: Instant Coffee

The Alternator Gallery for Contemporary Art is circulating a Call for
Submissions for a six-month artist-in-residency program entitled Burn Out.
This theme is designed to facilitate artistic exploration into how the worst
fire in Kelowna’s history has affected communities and businesses in Kelowna
in terms of loss and recovery. Burn Out will involve community outreach by
six artists in the completion of six artistic projects of local relevance.

The deadline for submission of project proposals is February 15, 2004. The
board of directors will strike a committee to select six artists based on
the professional and artistic quality of submissions, the relevance of
proposals to the project theme, and the mandate of the Okanagan Artists
Alternative Association (the non-profit society that operates the Alternator
Gallery for Contemporary Art).

The Alternator Gallery for Contemporary Art and Studio 111 are housed in the
Rotary Centre for the Arts. Between June and November 2004, each artist will
spend one month working in Studio 111 researching local sources, hosting
workshops and inviting participation from the public in artistic production.
Artists will publicly present their work at the end of each one-month

The objective of Burn Out is to encourage Kelowna residents and business
owners not normally involved in the visual arts to engage in artistic
projects related to the firestorm that impacted this community. Each
visiting artist’s project will provide an artistic forum for public
expressions of loss and recovery. More information is available at
www.alternatorgallery.com or by calling the gallery at (250) 868-2298.

7. CALL FOR SUBMISSIONS: "Parking Art in Parking Lots", Modern Fuel Artist Run Centre (Kingston)
Deadline: February 15, 2004; Source: Instant Coffee

"Parking Art in Parking Lots" is an art intervention project that will be
presented in Kingston, Ontario, from April 2004 to October 2004. For this
project, Modern Fuel Artist-Run Centre partners with the Union Gallery at
Queen's University to present temporary artworks in local shopping-mall
parking lots. Artists will be invited to use the parking-lot venue as both a
contextual influence and presentation site.

We are currently seeking three experienced artists to develop and install
interventionist works in media such as sound art, performance art, temporary
and make-shift sculpture or installation, etc. as part of this site-specific
project. In addition to artistic criteria, artists will be selected based on
the degree to which their proposal reveals their investment in, or
willingness to research and gain an understanding of, Kingston, Ontario. The
chosen artists will also express a desire to act as mentors for young
artists who will create work in reaction to that of their senior artist

"Parking Art in Parking Lots" is comprised of three main components:

1. A public presentation component in urban and suburban, mall, parking lots:
Though Kingston tourist sites and Queen's campus abound with public art
and/or cultural monuments, there are very few public artworks outside of
these geographies. An important project goal is to attract diverse audiences
and to make art publicly accessible to those utilizing the malls or residing
nearby, who may not have frequent access to cultural amenities. Possible
venues include the Kingston Centre (Princess Street) and the RioCan Centre
(Gardiner's Road). Artists are also encouraged to propose alternative
parking-lot sites.

2. A mentorship component for young artists (ages 16 to 29): Each experienced
artist will be paired with a young artist who will be required to apprentice
with the experienced artist for up to fifteen hours throughout the
development and installation of the experienced artist's work. Subsequently,
the young artist will produce a complementary parking-lot intervention and
receive critical feedback from the senior artist.

3. A residual catalogue: The creation of a publication is integral to
providing longevity to the project despite the temporary nature of the
artistic interventions.

Modern Fuel ARC will pay CARFAC fees and provide a mentorship fee to
participating artists. Projects can occur in March, July or September.
Please send 1) an artist CV; 2) a one-page proposal that states a preferred
date, briefly explains your experience with offsite projects, approach to
the proposed project and willingness to act as a mentor; 3) 15 slides (or a
CD or DVD) of relevant work to contextualise your practice; and 4) a SASE.

SUBMISSION DEADLINE: February 15th, 2004.

Please send application packages to:
Julie Fiala, Program Director
Modern Fuel Artist Run Centre
Kingston Artists' Association Inc.
21 A Queen St.
Kingston, Ontario K7K 1A1
(613) 548-4883
FAX - (613) 548-0696

Modern Fuel ARC's offsite programs aim to feature artworks in visual and
time-based media that engage directly with the community-at-large.
Proposals are selected based on their relevance to community politics and on
their potential to stimulate interest within non-art and art audiences. We
prioritise the presentation of artworks that can develop a participatory
discourse between artists and non-artists.

8. CALL FOR SUBMISSIONS: "...seen..." (UK)
Deadline: February 17, 2004; Source: Artsadmin e-digest #113

...seen... 04 / Artists Showcase/Call For Submissions
Live Art/Performance/Experimental/Mix Media
Following the success of ...seen...in April this year we&Mac226;re doing it all again!
Looking for local, national and international submissions
Location: Leicester
Date: March 31/04 - April 01/04
Deadline: Tuesday 17th February (we will look at submissions as they arrive)
In collaboration with City Gallery & Box magazine (www.boxmagonline.com)
Proposals wanted for new, existing and in progress work. Work must be in stage of completion Beginning of March 2004.
Held at The Original 4 ( formerly the Lizard Lounge) , Sumo (Braunstone Gate-west end), City Gallery, "the Streets", other locations are yet to be confirmed-this is dependent on submissions
For more details on venue or location please email: maria@seen.org.uk/helen@seen.org.uk/priya@seen.org.uk
Submissions form available at website www.seen.org.uk. The site is currently in progress & if the form is not available when you log on please call or email Priya priya@seen.org.uk or call Priya on 07855663443
Site in progress: www.seen.org.uk.

9. CALL FOR CONTRIBUTIONS: "On Civility" Performance Research Vol. 9 No. 4
Deadline February 27, 2004; Source: Performance Research

"On Civility" - Performance Research Vol. 9, No. 4 (December 2004)

Issue Editor: Alan Read

Civility might appear the last and least likely term to mobilise attention in the non-conformist realm of performance. But this call for contributions, prompted by discussions that took place as part of the symposium 'Civic Centre: Reclaiming the Right to Performance' recognises an expanded political vocabulary in recent work drawing on a set of previously discredited terms (see http:///www.civiccentre.org). The concept of 'friends and enemies' proposed by Carl Schmitt as the founding antithetical relationship of the political, 'fidelity to the event' in the philosophy and writing on theatre of Alain Badiou, agencies of 'welcome and intimacy' in Alphonso Lingis's sensual locating of human-animal action, Doreen Massey's conception of the 'stranger' within and outside the city, and Richard Sennett's engagement with terms such as 'respect' and 'civility' since he wrote 'The Fall of Public Man' thirty years ago, are part of this register. These writers point, at the very least, to an alternative way of conceiving of the much abused and banal 'Other' of identity theory and its attendant critical concept of 'difference' that once promised so much but seem to have delivered little beyond academic promotion. But do these categories resonate in the performance field?

Performance is unlikely to conceive of civility in its essentialist mode of 'manners' (though a deconstruction of Ancien Regime customs of public formal display would be more than welcome) but rather is more likely to detect its interest in the term's fruity overtones: the 'sly civility' that Homi Bhabha locates at the heart of the modern colonising imagination, the uncivil wars inherent in performance interventions that contest the suffocating normative frame of civility challenging its whiff of legality, politics of restraint, accommodation to difference and rule-following, through to the inherent Janus-faced duplicity of the theatrical mode such as Edward Albee's stage direction in his Tony award winning play 'The Goat': 'There is chaos behind the civility, of course'.

This 'of course' might serve as an invitation to ask why and what is at stake in the politics and performance of civility? Is civility, as Sennett once proposed, simply the capacity not to make oneself a burden to others? That would, at a stroke, characterise theatre as one of the more uncivil arts. Or might we expand the implications of the term with Rustom Bharucha who asks: 'Why should the civility of theatre be immune to the political threats faced in the larger public sphere? What makes the theatre so special when other sites of social interaction in the public sphere are under attack? Should the civil be immunised against the contamination of the political? What if the civil is infected in its own right?'

These questions pertaining to the operations of theatre and its institutional contexts might be equally addressed to the liberal humanist obsequies of the expanded field of performance: the grace notes of musical appreciation, the courtesies of choreography, the host and guest niceties of installation and site- specific work. It is not that civility always brings with it an inevitable dark-side of the intemperate and intolerant (stupid!). Nor that it is bound to its 'other' (witness the studied anarchic and rude that groups such as the Wooster Group and Forced Entertainment have done so much to return to the civil realm, why else do they bow to us after we have endured all those apparent insults?). But rather how to hold on to the botched concept of civility for long enough to see the myriad ways current performance (from the lyrical 'In Yer Face Theatre' to the pestilential Gwynneth Paltrow's Oscar acceptance speech, from the charming Stuart Brisley to the demonic Forster and Heighes) while protesting its radical qualifications continues to construct conditions for its polite perpetuation. That might be a question worth exploring (if you please - but if you can't be arsed, don't bother!).

To mix with papers developed from ideas originally presented at 'Civic Centre' and axioms from artists and academics we are looking for responses to the above concerns particularly from performance makers, artists. individuals and groups who suspect that performance experience is not sufficiently caught in the circulating simplifications of empathy and alienation, investment and boredom, nice and nasty and recognise civility as an unlikely circuit- breaker.

Deadlines are as follows:
Proposals: February 27th 2004
Draft manuscripts: April 8th 2004
Finalised material: May 14th 2004
Publication Date: December 2004

ALL proposals, submissions and general enquiries should be sent direct to:

Linden Elmhirst - Administrative Assistant
Performance Research
Dartington College of Arts, Totnes,
Devon TQ9 7RD UK
tel. 0044 1803 861683
fax. 0044 1803 861685
email: performance-research@dartington.ac.uk
web: http://www.performance-research.net

Content specific enquires should be directed to:
Alan Read    a.read@roehampton.ac.uk OR  E-State@roehampton.ac.uk

Issue specific enquiries should be directed to:
Ric Allsopp  transomatic@orange.net OR  r.allsopp@dartington.ac.uk

For complete Guidelines for Submissions please see:

Performance Research is MAC based. Proposals will be accepted in hard copy, on CD or by e-mail (Apple Works, MS-Word or RTF). Please DO NOT send images without prior agreement.

Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research

10. CALL FOR APPLICATIONS: Gibraltar Point International Artist Residency Program (Toronto)
Deadline March 3, 2004; Source:Toronto Artscape

June 1 - 30, 2004

The Residency Program provides Canadian and International professional artists from all disciplines with a subsidized opportunity to live and work at the Gibraltar Point Centre for the Arts on Toronto Island (Toronto, Canada) from June 1 30, 2004. Applications will be accepted as of January 30, 2004. Ten solo artists will be selected.


Information and detailed application procedures will be available on the Artscape website at <http://www.torontoartscape.on.ca />www.torontoartscape.on.ca on or before January 16, 2004.

If you would like to receive application procedures by mail contact Susan Serran, Manager of Arts Programs and Services at susan@torontoartscape.on.ca or Tel: 416-392-7834, ext. 2

The program is open to Canadian and international artists who are engaged in the research or creation of work. It is designed to provide participants with time to think, create and experiment within a diverse community of artists. The June 2004 residency will be the fifth term of the program, which was launched with the generous assistance of the Laidlaw Foundation in August 2000. The Residency Program aims to further the professional development of artists and enable the creation and production of new work by:  
- Fostering an exchange of ideas and influences
- Encouraging the sharing of expertise, experiences and techniques
- Inspiring creative exchanges 
- Building relationships and a dialogue between a diverse group of artists working in different media

Toronto Artscape operates the Gibraltar Point International Artist Residency Program. Artscape is a non-profit space provider that develops and manages properties, builds partnerships, engages in research and planning, and delivers programs that serve artists while strengthening the broader community.

The residency program has been made possible by the generous assistance of the Ontario Arts Council and the City of Toronto. 

11. CALL FOR PROPOSALS: "The Future of Performance Art" (Serbia)
Deadline March 31, 2004; Source: Multimedial Art Studio


Within 6th International Multimedial Art Festival (IMAF 2004), due to be held during August and September 2004, organized by Multimedial Art Studio and MAS Gallery from Odzaci – Serbia, international exhibition titled "The Future of Performance Art" is going to be held. Curator of this exhibition is Nenad Bogdanovic. All performers are invited to send their visual proposals on subject : "The Future of Performance Art " (sketches, plans, collages, photos, VHS-Pal videos, CD-ROMs or other). We are expecting your exploratory works, which shall present in the best way your attitude, desires and artistic intentions towards the future of performance (all contribution shall be considered a gift to Contemporary Art Fund of Multimedial Art Studio organisation).

Besides documentation and works for the exhibition, we invite all artists to send short texts with their opinions and stands on subject "The Future of Performance Art". What is objective future of performance art or what do you expect from this unique art form? Texts must be short, no more than 10 sentences. All texts shall be presented during IMAF 2004.

Deadline for this is March, 31st, 2004,

Also, all artists must send short biography (no more than 5 lines), postal and e_mail address.

Catalogue published for this exhibition shall be sent to all participants.

All materials must be sent only to (please not by e_mail):

Nenad Bogdanovic
IMAF 2004 - The Future of Performance Art
S.Markovica 41, P.O.Box 16
2525O Odzaci, Serbia and Montenegro

12. CALL FOR PROPOSALS: Studio 8/QSS (Northern Ireland)
Deadline not indicated; Source: Sinead O'Donnell

Studio 8 / QSS - Belfast, Northern Ireland

The aim of Studio 8 is to give visual performance artists a space to produce work free from censorship. Artists should interact with the space as a material for real time performance actions. The space is dedicated to process based work and freedom of expression. We want to provide artists with an opportunity for building work in a studio-based environment within Northern Ireland’s largest artist collective.

Our first artist in residence Mr. Hugh O’Donnell For further information regarding Hugh’s work, the project or to apply for a Studio residency please contact

Sinead O’Donnell Project Director
Jemma Yarwood Arts Manager
Post: Studio 8
C/O Postgraduate Research Center
Dartington, College of Arts
Totnes, Devon
TQ9 6EJ England.


Fado is pleased to acknowledge the support of the Canada Council, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council and the Department of Canadian Heritage for their sponsorship of our ongoing activities.

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