FADO E-LIST (September 2005)

FADO E-LIST (September 2005)


2. REMINDER: Fado Call for Proposals, IDea
Deadline: September 30, 2005
3. CALL FOR SUBMISSIONS: '‘DIY SURVIVAL (There is no Subculture, only Subversion) Publication" (UK)
Deadline: September 7, 2005; Source: Artsadmin e-digest #188
4. CALL FOR ENTRIES: "P.E.A.C.E. - Peacekeepers' Entertainment, Art and Cultural Exchange" (Slovenia)
Deadline: September 15, 2005; Source: P.E.A.C.E. organization
Deadline: September 19, 2005; Source: Instant Coffee
6. CALL FOR SUBMISSIONS: "2006 Symposium of Performance Art" Neutral Ground (Regina)
Deadline September 20, 2005; Source: Neutral Ground
7. POSITION AVAILABLE: Director, LIVE Vancouver Performance Art Biennial (Vancouver)
Deadline: October 15, 2005; Source: LIVE
8. CALL FOR PROPOSALS: "VISUALEYEZ 2006" Latitude 53 (Edmonton)
Deadline: September 30, 2005; Source: Latitude 53
9. RESIDENCY: Schloss Bleckede (Germany)
Deadline: September 30, 2005; Source Instant Coffee
10. CALL FOR SUBMISSIONS: Artcite Inc. (Windsor)
Deadline: October 10, 2005 Source: Instant Coffee
11. CALL FOR SUBMISSIONS: The New Gallery (Calgary)
Deadline October 15, 2005; Source: The New Gallery
12. CALL FOR PAPERS: "Media Art Conference" University of Osnabruck (Germany)
Deadline: October 30,, 2005; Source: Franklin Furnace
13. CALL FOR SUBMISSIONS: "foreign states " Modern Fuel Artist-Run Centre (Kingston)
Deadline November 1, 2005; Source: Modern Fuel Artist-Run Centre
14. CALL FOR SUBMISSIONS: Merge:Festival of Contemporary Art (Vancouver)
Deadline November 1, 2005; Source: Instant Coffee
15. CALL FOR PROPOSALS AND IDEAS: Performance Studies International #12 (UK)
Deadline not indicated; Source: ijosÈ benin
16. RESIDENCY: Global Arts Village (India)
Deadline ongoing; Source: Anuranjan Pegu, Residency Developer
17. ARTISTS' COLLECTIVE/FORUM: TINMAC ( Toronto Interdisciplinary New Media Arts Collective)
18. EVENT: "Many Fires" Junction Arts Festival 2005
September 10 -11, 2005; Source: Akimbo
19. LECTURE: "Embodying Breast Cancer: Creative Practices for Research and Learning" OISE/UT
September 26, 2005; Source: Pam Patterson
20. EXHIBITION: "disquiet" Modern Fuel Artist-Run Centre (Kingston)
Continuing to September 264, 2005; Source: Christof Migone


The summer months are coming to a close, and Fado heads into the fall with a great line-up of events to take us through the fall. Watch for new projects in the IDea series and an Emerging Artists evening (OPEN AIRWAY, curated by Elle McLaughlin) coming in October.

In the meantime, we remind artists that the deadline for FIVE HOLES proposals has passed, but it's not too laet to send in your project ideas for the 2006-07 season of IDea.

Fado also notes some changes to our Board of Directors, as we bid farewell to Craig Leonard and Randy Gledhill (thanks to both for all of their work and keen insights) and welcome our newest assets, Berenicci Hershorn and Paige Gratland. Both are past presenters with Fado; we hope this means we are doing something right if they want to increase their involvement in the organization. We look forward to the fresh energy and perspectives that Berenicci and Paige will bring to Fado.

2. REMINDER: Fado Call for Proposals, IDea
Deadline: September 30, 2005

IDea (2006-07 season)
Curated by Paul Couillard

For details, visit http://www.performanceart.ca/call.html or email info@performanceart.ca

3. CALL FOR SUBMISSIONS: '‘DIY SURVIVAL (There is no Subculture, only Subversion) Publication" (UK)
Deadline: September 7, 2005; Source: Artsadmin e-digest #188

C6 invite submissions for a forthcoming publication on strategies, methods and techniques of DIY art practices. We are seeking innovative, critical and radical approaches to diverse art practice and organization focused on how to produce art unbound by market, commerce, and whitecubes. The aim is to produce a guide of tactical means for collective art making.

We are looking for a wide range of perspectives, essays, case studies, artworks and interviews to articulate and promote the idea of self generative cultural events and the collective production of art. Contributions from artists, activists, cultural producers, and other related professionals are welcome.

Deadline September the 7th

C6 wish to keep the possible topics vague enough for interpretation, a starting point may be:

- Ethos, history and politics of DIY art and culture
- Occupation of territories
- Culture jamming, guerrilla art practices
- Strategies of audience engagement
- Tales of endurance, invention and uncompromising passion
- Resistance and the creation of communities
- Question of authorship/ownership in collaborative systems

Keywords: community, digital, tactical, strategic, interactive, intervention, pervasive, collective, fine art sausage machine.

Comments and queries can be sent to diy@c6.org

The launch event will be held on the 29th of October at the c6 show ‘SOLD OUT’ in Cremer street Shoreditch London.

To subscribe or unsubscribe to the c6 mailing list visit www.c6.org/mail_oracle/ http://www.c6.org/mail_oracle/

4. CALL FOR ENTRIES: "P.E.A.C.E. - Peacekeepers' Entertainment, Art and Cultural Exchange" (Slovenia)
Deadline: September 15, 2005; Source: P.E.A.C.E. organization

Submit project for the P.E.A.C.E. tour in 2006

P.E.A.C.E. - Peacekeepers' Entertainment, Art and Cultural Exchange is a non-governmental cultural and artistic organization, providing cultural and artistic content to peacekeepers. We focus mainly on contemporary artistic projects, emanating a spirit of multi-nationality, being thereby appropriate for the multi-national peacekeeping units throughout the world. Our cultural and artistic program is intended for the peacekeeping soldiers in military bases at the centres of the world's crisis areas. P.E.A.C.E. is a non-profit organization, whose purpose is to promote contemporary art and the wellbeing of peacekeeping soldiers.

P.E.A.C.E. is preparing an international tour for contemporary artists due to happen in the fall of 2006. Invited are all kinds of performing arts including theatre, dance, performance art, live media act, concerts and related art forms. The call for entries is open to already existing projects or the projects, which will be made by the end of 2005 and can be well documented by the submission deadline (we accept rehearsal photos and clips…). More information on tour itself and on tour application including application forms find on <http://www.p-e-a-c-e.com/prijava.htm>http://www.p-e-a-c-e.com/prijava.htm

PLEASE ATTACH (all written documents should be submitted in English)!

- Artistic concept of the project (not longer than 2 pages)
- Synopsis of project content (not longer than 2 pages)
- Video/DVD/VHS of performance (We accept submissions on VHS or DVD. VHS can be in PAL or NTSC, but all DVDs must be Region 2)
- Text of performance
- Song list and lyrics
- Photos of performance
- References, press clips


SEPTEMBER 15, 2005
If your project is completed, send it in early! We don't offer early notification, but this option saves you time.

If your application arrives after the regular submission deadline, you will be processed for the tour in 2007 only.

For further information and contact visit us at <http://www.p-e-a-c-e.com>http://www.p-e-a-c-e.com

Deadline: September 19, 2005; Source: Instant Coffee

Flack's looking for art reviews that cover art that quickens your heart beat

Fall Issue Deadline September 19

If you've seen great art, we want you to write about it. Email reviews, 150 to 200 words, to: shotgun@artflack.ca.

GO to www.artflack.ca to see previous issues OR pick up a shorter print version in local art galleries. Look for Flack amongst the postcard invites, it's free. Download printable pdf

file at http://www.artflack.ca.
If you have any questions email: mary@artflack.ca
Participate! Support visual artists. Write a review!

6. CALL FOR SUBMISSIONS: "2006 Symposium of Performance Art" Neutral Ground (Regina)
Deadline September 20, 2005; Source: Neutral Ground

Neutral Ground is soliciting proposals for its 2006 Symposium of Performance Art. We are seeking submissions for all types of performance and multi-disciplinary art, including site-specific performance, outdoor installation, interventions and public interaction.

The theme for the June 2006 Symposium is “SPIKED”.

We are looking for projects that are engaged with or relate to:

-Mental processes and human behaviors and variation or sharp fluctuations within these; issues related to conditions beyond the body, existential and extra-scientific knowledge, intangible heritage, and cognitive science.
-Human vitality, health and longevity, regeneration, emotional intelligence.
-Exploring body conditioning, physical limits and weaknesses; physical achievement
-Post-humanism, artificial life, new media sciences.

DEADLINE: September 20, 2005

Submissions should include a current CV, bio, project description, artist statement, documentation on CD-ROM, DVD, VHS or slides with accompanying list, and a self- addressed stamped envelope.

Submissions should be sent to:

Neutral Ground
#203 – 1856 Scarth Street
Regina, SK
S4P 2G3

7. POSITION AVAILABLE: Director, LIVE Vancouver Performance Art Biennial (Vancouver)
Deadline: October 15, 2005; Source: LIVE

Established in 1999, and recognized as a leading festival of Performance Art in Canada, the LIVE Vancouver Performance Art Biennial offers high caliber dissemination of the work of Canadian and International Performance Artists contained in over fifty curated programs sponsored by Vancouver Artist-Run Centres, galleries, and allied arts organizations.

LIVE is currently seeking a Director for the Vancouver Performance Art Biennial and invites submissions in the form of an introductory letter outlining the candidates experience and vision and a curriculum vitae.


-Excellent knowledge, understanding and enthusiasm for local, national and international contemporary and historical Performance Art practices
-A clear understanding of the philosophy and history of the past LIVE Performance Art Biennials
-A vision for the direction of future festivals and for instigating new programming in the off-season
-Excellent knowledge of Vancouver Artist-Run Centres and an ability to liaison with the Directors and Curators of the Centres as well as an ability to develop excellent working relationships with individual performance artists
-Outstanding command of the English language (written and oral)
-Proven financial management experience
-Knowledge of the principle funding agencies and proven grant writing experience
-A high capacity to meet deadlines and work under pressure
-Exemplary organizational skills
-An ability to utilize, provide direction and work collaboratively with staff and Board of Directors
-Excellent networking skills in national and international contexts


Assume leadership responsibility for the LIVE Biennial, which includes:

-Developing and communicating a dynamic vision for future LIVE Biennials in collaboration with the Board of Directors
-Developing a vision and program for off-season activities in collaboration with staff and the Board of Directors
-Seeking opportunities for additional funding and support
-Writing grants, public speaking engagements, networking nationally and internationally
-Building alliances with artist run centres, galleries and arts organizations
-Building alliances within an interdisciplinary context supporting the spirit of collaboration
-Supervising contracted staff and revising the internal administrative structure of LIVE


Starting salary is negotiable.
Deadlines for applications: September 21, 2005
Starting date: October 15, 2005

Applications will be accepted by email only to the following address: iel@sfu.ca
CV and cover letter in PDF format or RTF (Rich Text Format) or Microsoft Word Document
Email heading to read: Attn: Board Secretary &Mac246; LIVE Biennial

We apologize that only candidates selected for an interview will be contacted.

Applications will be received no later than September 21, 2005.

8. CALL FOR PROPOSALS: "VISUALEYEZ 2006" Latitude 53 (Edmonton)
Deadline: September 30, 2005; Source: Latitude 53

The seventh annual festival of performance art taking place from May 17-29, 2006 in the downtown core of Edmonton, Alberta. Visualeyez 2006 will focus on the curatorial theme of domesticity.

Visualeyez happens over a period of ten days and it is desired that all invited artists are able to attend for the entire length of the festival. Artists experience the work of other artists, engage in discussion groups, panels and other activities that enhance the work of individual artists and the performance art community within Canada and beyond.

Curator and Founder of Visualeyez, Todd Janes states, “I am interested in how artists are defining their practices and work as domestic; or rather how they are choosing to situate their practices and performance within a larger context.” While technology has advanced and mainly made our lives simpler there is a blurring between what we once delineated between work and home. Today, work seems to permeate our home lives; many individuals work from home and the sanctity of home has been eroded. Exploring domesticity moves far beyond the confines of a private/public dichotomy as it also addresses issues of power, gender, economic systems and sexuality of the individual and society.

Proposals should include: a CV and artist statement; a detailed description of the work you wish to present, or explore, at Visualeyez; and support material that can include slides, video, print or digital documentation of your work, catalogues, and press.

If you would like your materials returned to you, please also include a self-addressed stamped envelope with sufficient postage.

Artists shall be contacted by November 2005 regarding the status of their proposals.

Proposals can be sent by mail to:

Todd Janes, Executive Director
Latitude 53 Contemporary Visual Culture
10248 106 Street
Edmonton, Alberta Canada T5J 1H5

Alternatively, proposals can be emailed to visualeyez@latitude53.org. Please be courteous of image size and materials that you are sending.

The deadline for Visualeyez 2006 submission is Friday, September 30 at 5:00pm.

9. RESIDENCY: Schloss Bleckede (Germany)
Deadline: September 30, 2005; Source Instant Coffee

Artist Residency Schloss Bleckede - Germany

the deadline is september 30th, 2005. for further information, please look up our webpage:

more artist-residency programs in Germany on the website
http://www.canada.de/culture under "Information and Addresses"

Postfach 2128
D-21311 Lüneburg
Fon: +49 4131 402001
Fax: +49 4131 721344

10. CALL FOR SUBMISSIONS: Artcite Inc. (Windsor)
Deadline: October 10, 2005 Source: Instant Coffee

Artcite Inc., Windsor's artist-run centre for the contemporary arts invites exhibition proposals from artists locally, nationally, and internationally; we encourage individuals, curators, and collectives from all disciplines to apply. Artcite Inc. is a street-level gallery located in Windsor's downtown core.

Annual Deadlines : March 10 & October 10

Submissions must include the following:
- 10-20 labeled 35mm slides (or other pertinent supporting documentation, i.e., NTSC VHS, DVD, or audio CD) of current work, or of specific work to be considered for exhibition
- Comprehensive slide list (detailing size, materials, year of production, etc.)
- Artist's Statement
- Proposal or project description
- Curriculum Vitae
- Any specialized installation and/or equipment requirements
- Self-addressed, stamped envelope

Please note we will not be able to accept any of the following:
- Submission attempts forwarded via email (i.e. requests to view portfolio links, etc)
- CD-R portfolios submitted merely as a substitute for 35mm slides
- Ink jet, laser or digital prints submitted merely as a substitute for 35mm slides
- Originals of any kind

Artcite Inc.
109 University Avenue West
Windsor, ON, Canada N9A 5P4
tel/fax 977.6564
e: url: www.artcite.ca

Please visit our website for detailed floor plan + further information.
Please direct questions to Leesa Bringas, Artistic Coordinator: info@artcite.ca
* ARTCITE INC. [ 1982-2005 ]

11. CALL FOR SUBMISSIONS: The New Gallery (Calgary)
Deadline October 15, 2005; Source: The New Gallery

ARTIST OPPORTUNITIES: Proposals are accepted from visual and performance artists, curators and galleries who deal with contemporary art forms and issues. Artists who are emerging, mid-career or established and who are based within Canada or internationally are invited to apply. The New Gallery has two exhibition spaces available: the Main Gallery and the +15 Window Project (located in the Epcor Centre for the Performing Arts, 225 - 8 Avenue SE). Proposals for off-site exhibitions and performative works are also welcome. The New Gallery meets or exceeds the recommended minimum CARFAC artist exhibition fee. Travel, accommodation and shipping assistance is contingent on sufficient funding. Main Gallery exhibitions change on a monthly basis, +15 exhibitions change every two months.

MANDATE: The New Gallery, an artist-run-centre, is a non-profit charitable society established in 1975. It is committed to providing a forum for a wide spectrum of critical discourse and multi-disciplinary practices within the contemporary visual arts. The New Gallery fosters the growth of the arts community, and the community at large, through the creation of local, national and international networks of understanding, collaboration and cooperation.

SUBMISSIONS PROCEDURE: Proposals are reviewed twice a year by a changing peer jury consisting of three local artists who have extensive art backgrounds. The following materials must be included in your proposal:

1. Curriculum Vitae: Maximum of 3 pages, describe your artistic background (e.g. education, grants, scholarships or awards received, professional status, previous exhibitions or performances, commissions, professional memberships, articles, etc.)
2. Proposal: Describe the proposed exhibition or project. Provide details about your spatial, physical and material requirements, including equipment needs.
3. Artist Statement: Explain what the work means to you, where it is coming from, where you are taking it.
4. Slides and/or Other Relevant Audio/Visual Materials: Provide a maximum of 15 to 20 numbered and labelled slides (name, title, date, dimensions) and/or VHS tapes, CD-ROMs (please confirm with the gallery that it is compatible with our equipment and software), audio cassettes or other relevant support materials.
5. Slide List: A numbered list of slides, including the artist(s)' name(s), titles, dates, mediums and dimensions.
6. Self-Addressed Sufficiently-Stamped Envelope: Due to excessive costs for the gallery, your submission will not be returned without one.


- When building your proposal, please keep in mind that each jury member receives and reviews a photocopy of your written materials before they view your visual support material. It is to your advantage to provide written materials that are easily readable after being photocopied.
- Do not bind your materials in any way, including staples.
- Original works of art are not accepted. We will not be held responsible for their damage or loss.

Submissions must arrive at the gallery by Friday, October 15, 2005 before 5 pm. Late proposals will not be considered. Proposals should be sent to:

Attn: Programming Committee
The New Gallery
516D - 9 Avenue SW
Calgary, Alberta, Canada
T2P 1L4

12. CALL FOR PAPERS: "Media Art Conference" University of Osnabruck (Germany)
Deadline: October 30,, 2005; Source: Franklin Furnace

Do we have an Image Problem? Performance and Media Art caught between Art History and Visual Culture Studies. The first Media Art Conference in Osnabrück will take place from the 15th to the 17th of May 2006 as a three-day specialist symposium at the University of Osnabrück and is sponsored by Department of Kultur- und Geowissenschaften. It will be held immediately following the 19th European Media Art Festival (EMAF, 10th to 14th May 2006), one of the largest media art events in Europe.

The conference will focus on the growing affinity between art forms produced, experienced and distributed by the media on the one hand and the highly debated iconic or pictorial turn on the other. One of the central issues will be to question whether the recently developed aesthetic terminology can sufficiently deal with the time- and action-oriented art forms of performance and media art.

In addition to a number of distinguished experts invited to present papers, the speakers will include young scholars as well as contributors selected on the basis of the abstracts they submitted to this call for papers.

Enclosed you will find further information concerning the background and objectives of the conference. Please do not hesitate to ask us questions at any time.

We would be very pleased to include you among the speakers or authors for our planned publication.

Topics for Talks and Articles

a. Performance and media art in the context of the contemporary debate between art history and Visual Culture Studies and where art history is positioning itself in relation to Visual Culture Studies, Media Studies and Cultural History.
b. Media art, art history&Mac226;s cultural orientation and the scientific modus operandi given the wide range of methodologies and the overlap of genres.
c. Examples of art historical and media studies descriptions and analysis of performance and media art.

In addition to a description of content, the abstracts for papers (c. 400 words) should clearly demonstrate both their relevance to the theme of the conference and their originality.

A publication of the conference findings is planned. All contributions will be considered.

Please submit your abstracts by 30 October 2005 to the EMAC office:

Media Art Conference Osnabrück
Universität Osnabrück
Fachbereich Kultur- und Geowissenschaften
Katharinenstraße 5
49069 Osnabrück

Junior professor Dr. Slavko Kacunko (Organisation)
Priv. Doz. Dr. Habil. Dawn Leach (Organisation)
Björn Brüggemann (Büro)
Phone: +49 (0)541 969-6041
Fax: +49 (0)541 969-4103

The first Media Art Conference in Osnabrück will direct attention to timely questions confronting art history, in particular the multimedia aspects concerning the production, critical appraisal and dissemination of performance and media art. Thus the following aspects will be addressed:
- art history&Mac226;s repositioning itself in relation to Visual Culture Studies, Media Studies and Cultural history
- the development of a modus operandi which takes into consideration a wide range of methodologies and the interpenetration of different genres
- the description and analysis of media art in the face of the instable status of the work concept in Media Art, and art in general

The key issues to be addressed by the first Media Art Conference in Osnabrück can be summarised by the following question: Given the increasingly complex demands which the wide range of visual, media, critical, performance, cultural and gender studies exert on the teaching and research environment, how can the history of art maintain its ability to deal aptly with representations, new media and art and simultaneously incorporate interdisciplinary strategies? By focussing on time- and action-oriented art forms, the traditional discourse will be broadened to include the following questions: Can an (inter)active beholder play an integral role in the making of a work of art without jeopardising its intrinsic artistic value or reducing the „autonomy of the work of art‰ to a mere attribute? Where exactly do performance and media art fit into the already inflated body of terminology for denoting images?

A glance at the large number of university graduates dealing with art and visual culture (Berlin, Frankfurt, Karlsruhe, Basel) documents the current popularity of the image-discourse. Similarly, the flood of specialist literature in recent years as well as related conferences (e.g. Art Historians Day, Bonn 2005) confirm this trend.

If we take a look at the origins of performance and media art in the 1960s and 1970s and the subsequent development of the iconic/pictorial turns, the suspicion arises that recent efforts to expand the boundaries of art history to absorb current visual culture occurred in part to circumvent the challenges posed by these new art forms.

By investigating art forms which defy traditional definition while exploring the definitions themselves, this conference will attempt to graft these two ambivalent discourses. At the same time it will lay the foundations for a reinterpretation of the relevant academic fields. An impressive series of arguments presented by artists, art historians and experts in media studies address the need to conjoin these conflicting fields of study.

13. CALL FOR SUBMISSIONS: "foreign states " Modern Fuel Artist-Run Centre (Kingston)
Deadline November 1, 2005; Source: Modern Fuel Artist-Run Centre

Modern Fuel Artist-Run Centre welcomes exhibition and project proposals from artists and curators that address the theme of foreign states for programming in Modern Fuel Gallery. By indicating the plural states, the intention is to recognize the various conditions of experience (where experience is influenced by circumstance, setting, awareness, temperament, state of mind, state of affairs, etc.). Calling for the examination of that which exists outside of the accepted and identifiable, this theme simultaneously challenges such jurisdiction by suggesting that the separation between the known and not known is more fluid, malleable and analogue than it is binary or incremental. Though this theme may invoke obvious issues of national sovereignty and globalization in post-colonial/postnationalist/ post-911 times, alternatively consider the implications of opportunity, possibility, and potentials inherent to unfamiliar frontiers.

Modern Fuel Artist-Run Centre facilitates the presentation and interpretation of visual and time-based arts that explore wide-ranging aesthetics and probe a broad scope of formal and socio-cultural questions. We encourage proposals from both regional & extra-regional artists and program our gallery according to a 50/50 split (Modern Fuel ARC defines the region as spanning an approx. radius of 100 km around Kingston). We welcome proposals from individual artists for solo and group exhibitions, performances, curatorial projects, lectures, workshops and other events.

Submission Deadline: 01 November 2005

Submissions must include the following:
1. A cover letter which introduces your proposal.
2. 10 numbered slides OR 5 minute VHS video OR 5 minute DVD or CD-ROM of current related work, with documentation (slide/image list with titles, dates, media, sizes).
3. An artist C.V.
4. A brief statement about your proposal, and its relevance to the theme.
5. A self-addressed, stamped envelope.

For additional information please contact
Gjennifer Snider, Program Director at (613) 548-4883 or modernfuel@bellnet.ca

14. CALL FOR SUBMISSIONS: Merge:Festival of Contemporary Art (Vancouver)
Deadline November 1, 2005; Source: Instant Coffee

The Merge Festival is currently seeking proposals from artists and curators for its 1st Annual Festival in May 2006. We are interested in projects intended for outside the traditional gallery space. These include site-specific installations, outdoor video screenings, performance art and other hybrid practices.

This is an ‘Open Call’ with no specific theme.

Submission policy:
Proposals for projects are examined by the festivals curatorial committee and priority is based on:
a) artistic merit
b) projects unsuitable for traditional gallery space
c) projects with clarity, articulation and feasibility

We cannot guarantee artist fees but we strive to pay CARFAC minimums.

Submissions should be sent to

Merge: Festival of Contemporary Art
c/o Curatorial Committee
2545 Main street suite #212
Vancouver BC
V5T 3E5

Submissions must be received by November 1st 2005

15. CALL FOR PROPOSALS AND IDEAS: Performance Studies International #12 (UK)
Deadline not indicated; Source: ijosÈ benin

Performance Studies International #12: PERFORMING RIGHTS
Queen Mary, University of London, in collaboration with East End Collaborations and the Live Art Development Agency (UK).
15-18 June 2006

What can performance do for human rights, and human rights for performance?

PSi #12: Performing Rights will be a gathering of artists, activists and academics who are making and researching performance that declares its interest and intent within the field of Human Rights. PSi #12 is being approached as a festival of creative dialogues investigating the boundaries and relationships between Human Rights and performance and will present an integrated schedule of conference and contextualising events.

The PSi #12: Performing Rights contextualising programme will include research and resource materials, performances, interventions, new media presentations, installations, screenings, displays, artists led laboratories and spontaneous interactions. These will attempt to create a context for exploring the role of performance and the responsibilities of artists in effecting political, social and cultural change. We aim to illuminate the creative strategies that artists and activists use to communicate issues of human rights and to empower artists, activists and audiences to be able to make a difference.

The contextualising activities for PSi #12 will include the following strands:

A Library of Materials: A space housing resource and research materials including publications, videos, DVDs, CDROMs, brochures, digital and web based initiatives, and real and virtual archives. Through these, and other new media, the Library will explore and enable the documentation and transmission of performance in relation to human rights.

A Manifesto Room: A 24 hour a day space in which interventions, interactions, experimentations, activations, declarations and polemics will be presented, performed and posted and where new media and web based interventions and international input will be actively solicited.
Presentations: A programme of live events illustrating the possibilities of performance as a generative force for action, agency, illumination, embodiment, illustration, intervention, and protest through the strategies of visibility, empowerment, activism and representation.

Call for Proposals and Ideas

PSi #12 Performing Rights are inviting proposals, recommendations and ideas for all aspects of the contextualising programme from artists, activists, curators and commentators throughout the world.
We are interested in receiving recommendations and proposals about performance and new media projects, initiatives, publications, videos, websites, events, networks, organisations that are concerned with, or informed by, issues of Human Rights. We particular welcome information about artists, projects and initiatives that may it not be possible to research through conventional channels.
Proposals, ideas and recommendations should be forwarded to: psi12@qmul.ac.uk or info@thisisliveart.co.uk

or posted to: PSi #12/Contextualising Events, School of English and Drama, Queen Mary, University of London, Mile End Road, London, E1 4NS, UK

PSi #12: Performing Rights organisations:
Queen Mary, University of London, is a campus university in London's East End, only twenty minutes by tube from the city centre. Arts and Humanities research at Queen Mary is regarded as some of the very best in the UK. Drama at Queen Mary has a particular emphasis on live art, contemporary performance and theatre for social change. www.qmw.ac.uk
The Live Art Development Agency is the leading development organisation for Live Art in the UK and works in partnership with practitioners, venues and institutions on artist and programme initiatives; develops strategies for increasing popular and critical awareness; provides practical information and advice; and offers opportunities for dialogue, debate, research and training.
East End Collaborations (EEC) responds to the professional development needs of graduates and emerging artists working with Live Art and based in London by offering information, advice and expertise and the opportunity to showcase work in an annual open submissions platform. East End Collaborations is collaboration between Queen between Queen Mary, University of London and the Live Art Development Agency.
Performance Studies International (PSi) is an international organisation founded in 1997 to promote communication and exchange among scholars and practitioners working in the field of performance. www.psi-web.org/

For more information on Performance Studies International #12: PERFORMING RIGHTS visit www.psi12.qmul.ac.uk

Lois Weaver
PSi #12
School of English & Drama
QM University of London
Mile End Road
London E1 4NS
Telephone: + 44 207 882 5196
Email: l.weaver@qmul.ac.uk

Lois Keidan and Daniel Brine
Live Art Development Agency
Rochelle School
Arnold Circus
London E2 7ES
Telephone: + 44 020 7033 0275
Email: info@thisisLiveArt.co.uk

16. RESIDENCY: Global Arts Village (India)
Deadline ongoing; Source: Anuranjan Pegu, Residency Developer

Global Arts Village is an emerging international residential art center in New Delhi, India. We encourage diversity and multicultural exchange among creative people of all kinds. We practice community living, sharing meals and evening activities. The Village enables artists to experience a natural, eco-friendly environment for creative work. The Global Arts Village is a three-acre property that includes gardens, a multi-purpose studio, sculpture workshop, a meditation and performance hall, a common building, a dance studio, performance spaces and accommodations. The buildings are in accordance with the ancient wisdom of Vastu, which harmonizes man-made structures with their natural environments. The Village offers residency programs to emerging, mid-career and established artists in all major creative disciplines. We are building a community that blends art, culture and consciousness. Individuals with exploratory spirits are invited to join.

Fellowships / Artist-in-Residence

The Global Arts Village offers full and partial fellowships, several specific fellowship opportunities and an Artist-in-residence program. All programs include accommodation (standard or duplex), laundry service, three meals per day, studio or workspace (shared or private), initial welcoming celebration (presentation of past work and project plan to local artists and other fellowship recipients), concluding exhibition opportunity and other benefits dependent on the fellowship program and the dates of stay. All recipients are asked to donate fellowship specific hours of community work per week (cooking, researching, organizing, leadership of a workshop, assisting or teaching a class, promotion, event planning). Partners of artists are invited to stay for US $ 15 per day. (Includes accommodation, meals and laundry).

45-day residencies begin on February 17, April 3, May 19, July 3, August 18, October 2, November 17 and January 1 of each year.

90-day Residencies begin on February 17, May 19, August 18 and November 17 of each year.

Artist Full Fellowship (90-Day)
The fully funded residency has no program fee. Recipients contribute US $ 9 for meals per day and a total of 7 hours of community work per week.

Artist Partial Fellowship (90-Day)
The partially funded residency includes a reduced program fee of US$ 20/day for standard accommodation and US$ 25/day for duplex accommodation. Recipients contribute a total of 7 hours of community work per week.

Performing Arts Fellowship (45 / 90- Day)
The Global Arts Village offers full and partial fellowships for various categories of performing arts. All recipients are asked to donate 7 hours of community work per week. Under full fellowships, only US$ 9/day has to be contributed for meals. The 45-day partial fellowship has a reduced program fee of $25/day for standard accommodation and $30/day for duplex accommodation. The 90-day partial fellowship program has a rate of $20/day for standard accommodation and $25/day for duplex accommodation.

Emerging Artist Fellowship (under 27 yrs; 90-Day)
These fully funded 90-day residencies are offered to creative people who have graduated from a University program. There is no program fee. US$ 9 per day has to be contributed for meals. Recipients contribute a total of 15 hours of community work per week.

Student Fellowships (45-Day)
Fully funded residencies are offered to students currently enrolled in a University program. There is no program fee, we only ask that US$ 9 per day be contributed for meals. Recipients contribute a total of 15 hours of community work per week.

Professional Development Fellowship (45 / 90-Day)
Fully-funded fellowship opportunities are offered: curators, visual art coordinators, grant writers, chefs/ culinary artists, performing arts coordinator, organic farmers, organization developers. The Fellows contribute 7 hours of communal work per week plus 15 hours of fellowship specific work. There is no program fee. Recipients contribute US $ 9 for meals per day.

Site Specific Sculpture Fellowship (45-Day)
This fully funded residency has no program fee. A materials allowance of US$ 200-500 is offered dependent on the project proposal. The artist is to donate the site-specific sculpture unconditionally to the Village. Artists put in 7 hours of community work per week. Recipients contribute US $ 9 for meals per day.

Artist in Residence (45 / 90-Day)
The entire Artist-in-residence program is subsidized. For 45 days, the program fee is US$ 35 for standard accommodation and US$ 45 for a duplex room. For a stay of 90 days, the charges are US$ 30/day for a standard room with shared studio / work space and US $ 40 for a duplex room with private studio. All artists in residence are asked to donate seven hours of community work per week.

Applications are accepted on a rolling basis, there is no deadline.

The application can be submitted via email or post.



Global Arts Village
Mehrauli - Gurgaon Road
Utsav Mandir, Gitorni
New Delhi, 110030,

17. ARTISTS' COLLECTIVE/FORUM: TINMAC ( Toronto Interdisciplinary New Media Arts Collective)

TINMAC ( Toronto Interdisciplinary New Media Arts Collective)

In response to the lack of an online artists' community in the GTA TINMAC is being formed. TINMAC is all about connecting artist with relevant people and information. Please visit the site at <http://www.tinmac.org>www.tinmac.org and help us out by joining/giving your opinion at <http://www.tinmac.org/questions.htm>http://www.tinmac.org/questions.htm . This could be the beginning of something big.

To volunteer your time email: <mailto:help@tinmac.org>help@tinmac.org

TINMAC's primary goal is to launch a site by September 31st 2005 that provides the following services:
1)Member Database - A browsable database of members that provides useful information about contacts / specialties / current projects / past works and more.
2)Funding Index - A list of grants and other funding available to Toronto based artists with appropriate contact information.
2b)Facilities Index - A comprehensive list of galleries / facilities / Artists run centres / and institutions available to Toronto based artists.
3)Forum - An open forum in which members can communicate / solve problems / and plan projects.
4)TINMAC e-mail and server space - E-mail addresses for all members and server space for ongoing projects.

Tinmac is a network of Toronto based artists. Its primary initiative is to create a forum that will allow all forms and levels of artists and curators can meet and cultivate collaborative and interdisciplinary work in a supportive environment. It will also provide a comprehensive network assisting in the acquisition of financial aid to complete new media based works initiated within the TINMAC platform. Finally TINMAC will assist in connecting artists and curators in order to realize the cultivated work in a public domain.

18. EVENT: "Many Fires" Junction Arts Festival 2005
September 10 -11, 2005; Source: Akimbo

Bruno Billio, John G. Boehme, Josh Bonnetta, Annie MacDonell, Jennifer McMackon

Curated by Carmen Victor and Jacob Korczynski
2nd Annual Curated Exhibition - Junction Arts Festival 2005
September 10 -11, 2005

Opening Reception: Thursday September 8, 7pm
Post and Beam Reclamation Ltd., 2869 Dundas Street West, Toronto

In her 1961 book The Death and Life of Great American Cities, Jane Jacobs used an analogy of many fires burning in a field to describe the phenomenon of lost urban areas and their varied effects upon the essential order of a city. Many Fires is a site-specific exhibition that places film and video projections, performance art, photographic and sculptural installation by local and nationally recognized artists in the Junction area of Toronto.

During the day, Victoria B.C. artist John G. Boehme will comment on the absurdity of leisure and sports activities with an ongoing two-day public performance. The Gladstone Hotel's artist-in-residence Bruno Billio recontextualizes the use of found objects and family heirlooms in a site-specific installation in an urban reclamation company. Josh Bonnetta installs light boxes containing manipulated film stock in an abandoned storefront. The Now and Next Minute Reversal Photographs (2003) by Toronto artist Jennifer McMackon offer viewers a glimpse into discarded urban rest stops. 1953 (2004), a rotating slide projection at LoveBox 52 by Annie MacDonell blurs the line between private and public behaviours.

At night, Thrill Rides (2003) a video projection by Jennifer McMackon depicting amusement park rides and Annie MacDonell's film projection Time is a One Trick Pony (2001) will be visible.


Bruno Billio:
Post & Beam Reclamation Ltd., 2869 Dundas Street West

John G. Boehme:
outside the Junction BIA office, 3042 Dundas Street West

Josh Bonnetta:
2844 Dundas Street West

Annie MacDonell:
LoveBox 52, 2956 Dundas Street West
West Toronto Paint & Paper, 2975 Dundas Street West

Jennifer McMackon:
Earl Selkirk, 2928 Dundas Street West
Higher Ground Productions, 2988 Dundas Street West


For media information please contact: Carmen Victor <mailto:carmenvictor@sympatico.ca>carmenvictor@sympatico.ca 416-763-1798 or Junction Arts Festival Media Representative: Frank Greco <mailto:frank@grecoassociates.com>frank@grecoassociates.com 416-360-8080.

Artist Biographies

John G. Boehme's work integrates new practices with a multi-disciplinary approach, incorporating the vocabulary of sculpture, performance, photography, video, digital technology, and installation. He has exhibited extensively nationally and internationally and has upcoming exhibitions in Berlin, Minsk, France, Calgary, Newfoundland and Victoria. John G. Boehme is supported by the Canada Council for the Arts.

Josh Bonnetta's work using moving images is processed based and explores concerns unique to the apparatus and materiality of the medium of film. He has a B.F.A. from York University, and he has exhibited his work recently at Innis College, University of Toronto, The Art Gallery of York University, 64 Steps Contemporary Art and Cinecycle.

Bruno Billio's work is entrenched in the transformation of physical spaces using personal and found objects, sound, and light. He has worked and exhibited in Milan, London, England, Miami, New York and Los Angeles. Currently he is Artist in Residence at the Gladstone Hotel in Toronto.

Annie MacDonell works with film, installation, photography and collage. She studied photography at Ryerson's School of Image Arts and earned an M.F.A. equivalent at Le Fresnoy, Studio National des Arts Contemporain in Tourcoing, France.

Jennifer McMackon received her undergraduate degree from the Ontario College of Art and Design and an M.F.A. from the University of Victoria, B.C. She has been organizing curatorial projects and exhibiting her work since 1990. Recent solo exhibitions include Hallwalls, Buffalo, NY, and Konstakuten, Stockholm, Sweden. She lives and works in Toronto.

Curator Biographies

Carmen Victor has a B.A. Hons. from the University of Guelph, and an M.F.A. from the University of Victoria, B.C. Through her work at public and private art galleries, she has acquired wide-ranging experience as a cultural producer working within the terrain of contemporary art. Currently, she is Curatorial Assistant at the Blackwood Gallery, University of Toronto at Mississauga.

Jacob Korczynski completed both his undergraduate and graduate degrees in the Department of Film and Video at York University. Emerging from a focus upon the role of film and video in relation to contemporary curatorial practice, he has recently curated projects for the Art Gallery of York University, 64 Steps Contemporary Art and Pleasure Dome.

19. LECTURE: "Embodying Breast Cancer: Creative Practices for Research and Learning" OISE/UT
September 26, 2005; Source: Pam Patterson

Centre for Women’s Studies in Education at OISE/UT
Monday September 26, 2005 - 8 pm, Room 12-199, OISE/UT
Admission is free - All welcome!

Pam Patterson, PhD, Visiting Scholar, Centre for Women’s Studies in Education, OISE/UT

Embodying Breast Cancer: Creative Practices for Research and Learning is an innovative, experiential and educational performance which values personal research as a site for cancer learning. It looks to creative performative practices as embodying textual metaphors for speaking in/for different experiences of breast cancer in community.

Pam Patterson has, for 25 years, been active in the health, art and women’s communities. Her research, performance and teaching have focussed on embodiment in art practice, the “body” in art, women and health, disability studies, women’s studies and feminist art education with publications in journals such as: Studies in Art Education, Resources for Feminist Research, Matriart: A Canadian Feminist Art Journal, FUSE, Fibrearts, Parachute and presentations in conferences such as: the Feminism and Art Conference (Toronto), History of Art Education Symposium (Penn State), and Moving Bodies, Embodying Movement: Exploring the Rhetoric of the Body (State University of New York, Brockport). She has taught for various institutions such as: Sheridan College, George Brown College, Ryerson Polytechnical University and the University of Toronto. She is currently Visiting Scholar for the Centre for Women’s Studies in Education at the Ontario Institute for Studies in Education of the University of Toronto where she advocates/facilitates for women with disabilities and cancer. She also teaches at the Toronto School of Art and the Art Gallery of Ontario. As a performance and visual artist she has exhibited and performed across Canada. This past year she presented a new performance work, Body as Site/sight for A Space & 7A11D International Performance Art Festival in Toronto and lectured and performed works from the “Body in Extremis” series for Psi: Being Uncomfortable, Brown University, Rhode Island and Towards Tomorrow at the University of Wales, Aberystwyth.

20. EXHIBITION: "disquiet" Modern Fuel Artist-Run Centre (Kingston)
Continuing to September 264, 2005; Source: Christof Migone

24 August - 24 September 2005
Reception Saturday 17 September 7:00 PM (catalog launch)



“Silence is not innocent ” – John Cage

Modern Fuel Artist-Run Centre presents Disquiet , a group exhibition curated by Christof Migone as part of an entire programming year dedicated to the theme of ‘silence ’. Disquiet has nothing to do with sound and everything to do with unsound. In other words, Disquiet is sound disturbed, disturbed sound. Disquiet investigates the notion of silence as a disturbance. Silence, as charged rather than neutral. Silence in the context of peril, conflict, disquietude. The relationship between the silencer and the silenced —to shut, to mute, to muzzle, to censor. Silence is both a break, a caesura, and a constant, a continuity. Its volume can be louder than words, its infinitude can be both repressive and liberatory. It can be either a product of enforcement or a tactic of resistance. It can also be that momentary lull before an outbreak of laughter; the portentous seriousness of silence can be shifted to aspects of play.

The artists featured in Disquiet engage the complexities of silence as it echoes with issues of language, authority, and image. From mute representations of Beatles songs (Dave Dyment) to a series of national anthems performed by someone who learns the sound of the words but not their meaning (Afshin Matlabi). From quotidian objects made to implode, as if their inner voice was suddenly and simultaneously appearing and letting go (Diane Morin) to a live radio feed containing only the amplified silences between words (Matt Rogalsky). From a participatory installation of language learning cards, where you can be the instructor or the instructed (Steve Bates & Jake Moore) to the sound muzzle of the Sistine Chapel (Robert Bean) where you are told not to make your presence audible. Disquiet artists consider silence as presence, as material, as tension.

Modern Fuel Artist-Run Centre (Kingston)
Open Wednesday to Saturday 12:00 to 4:30 PM
Gjennifer Snider, Program Director
21A Queen Street
Kingston, ONTARIO K7K 1A1


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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