FADO E-BULLETIN
April 2025

1. FADO EMERGING ARTISTS SERIES LAB #1 WE COULD BREAK PERFORMANCE
   DATE AVAILABLE TO WATCH NOW
   LOCATION ONLINE, CANADA
   SOURCE FADO

FADO’s Emerging Artists Series LAB #1: We Could Break Performance
A podcast by Vanessa Godden and James Knott

We Could Break Performance is a podcast hosted by artists Vanessa Godden and James Knott investigating the question: “How do we evaluate the substance of tropes enacted in performance art?”

Each episode of will We Could Break Performance will feature a local performance artist and ourselves in conversation, to help us tackle our dilemma and provide perspective on the values of performance art tropes that we may share or disagree on. Does performance go harder if the performer gets harmed? Or is that negligence in disguise. Is endurance awe-worthy? Or is it sometimes used to unpoetic ends? Does nudity really bare all? Perhaps by the end this series’ run, we could break performance.

WATCH NOW!
Episode 1: Francisco-Fernando Granados
Episode 2: Archer Pechawis
Episode 3: Erika DeFreitas

ABOUT THE EMERGING ARTISTS SERIES
For the 2025 Emerging Artist Series, ‘emerging’ is discarded as a label that reveals age, time spent or as a qualification of perceived depth of experience. Instead, over the next 4 months from February through May, two curators and three series lab residents develop performance installations, performance events and research projects that bring the notion of ‘emerging’ into relationship with community and forms of practice. FADO’s Emerging Artists Series curators for 2025 are Jordan King and Sholan T. Webber-Heffernan. The Emerging Artists Series Lab residents are Vanessa Godden, James Knott and Christina Trutiak.

WATCH NOW

2. FADO EMERGING ARTISTS SERIES LAB #2 THRESHOLD
   DATE APRIL 13, 19 & 26, 2025
   LOCATION TORONTO, CANADA
   SOURCE FADO

FADO’s Emerging Artists Series LAB #2: Threshold
A public performance series proposed by Christina Anna Trutiak

April 13: lwrds duniam
April 19: Isaak Fong
April 26: Tess Martens

Threshold is a site-specific performance series that invites emerging performance artists to choose a staircase in Toronto and to develop a performance in reflection to this transitional space.

Staircases vary in shape and size and reflect the architectural and cultural norms of their time. Symbolically, a staircase suggests a continuum for human growth that unites two things; places, ideas or states of being. Stairs feature a duality; they can act as a passage facilitator or a major barrier; an aesthetic delight or a spine-chilling obstacle.

A staircase’s inherent uncertainty and duality will provide a context for progressive actions, interesting dialogues and images for the audience and for the performers themselves. Depending on their context, location, materiality and function; there is a dependence in which our mind and body considers while walking on stairs. We must imbue a sense of trust. The action and option of ascending and descending on a structure integrates a decision that the performer is driven to make in contrast to a monospace of horizontal descent.

The staircase is an odd, fluid and queer space that exists as a threshold for human growth.

Threshold features solo performances representing autonomy within a larger system of interconnectivity. These transitional spaces bridge gaps toward other destinations.

A certain step may change things.
A certain step may evoke something new.
One action will lead to another.

MORE INFORMATION & PROGRAM DETAILS

3. FADO EMERGING ARTISTS SERIES NOT KNOWING IS THE MOST INTIMATE | CURATED BY SHALON WEBBER-HEFFERNAN
   DATE MAY 10, 17, 18, 2025
   LOCATION TORONTO, CANADA
   SOURCE FADO

ARTISTS
Amy Hull
Claudia Edwards
Joyce LeeAnn
Sasha Singer-Wilson
Trish Lanns

Curated by Shalon Webber-Heffernan

The Commons @ 401, 401 Richmond Street West, Toronto
All performances are FREE. Accessible building.

not knowing is the most intimate explores themes of collective and personal grief, and the ways in which we might connect through shared vulnerability. Inspired by the Buddhist koan, “not knowing is the most intimate,” the project embraces the uncertainty of our contemporary emotional landscapes, inviting both artists and audiences to move into the discomfort of uncharted waters.

While reading Vanessa Machado de Oliveira’s Hospicing Modernity, I was struck by the idea that domination often involves a deliberate denial of relationships and a suppression of the senses. Drawing on Dwayne Donald’s assertion that sensory atrophy is central to this process – disrupting traditional knowledge systems and relational connections—I began to consider how deeply this numbness has seeped into the fabric of modern life. What would it mean to counter this—to resist detachment—through intimacy and atunement? This question sits at the heart of this curatorial series, exploring how performance can reawaken connection through embodied presence and shared vulnerability in times of grief.

Bringing together artists whose work grapples with death, mourning, collective grief, climate anxiety, somatics, and rituals of healing, the series unfolds across live performances, an immersive book installation, a sound bath and guided meditation inspired by the tradition of living funerals. It is an experiment in shedding emotional armour – to feel, to connect, to soften. It is an invitation to let grief become a shared language that unites rather than isolates—guiding us beyond knowing and into the realm of embodied presence and relationship.

Saturday, May 10
What Will I Tell Her? by Sasha Singer-Wilson
6:30PM | please arrive at 6:20PM

Embracing the Waves of Grief: A Sound Healing Meditation with Trish Lanns
8:00–9:30PM
Limited number of spots available. Please REGISTER HERE.

Saturday, May 17
2:00PM: Performance by Amy Hull
7:30PM: Performance by Claudia Edwards

Sunday, May 18
3:30PM: Somethymes Grief Goes for a Walk, a virtual talk with Joyce LeeAnn
Check back for details in May.

MORE INFORMATION

4. EVENT THE METHODS AND GAMES IN SPACE: HABITABLE ZONES II
   DATE APRIL 1, 2025–MARCH 31, 2026
   LOCATION MONTRÉAL, CANADA
   SOURCE DARE-DARE

Our mission is to explore, question and develop the practices, spaces and modes of dissemination of contemporary art, and to contribute to its democratization and accessibility. Conceived by the committee formed by Marcela Bórquez, Guillaume Dufour Morin, Sylvie Laplante, Eugenia Reznik, Anouk Verviers and Martin Dufrasne, The Methods and Games in Space: Habitable zones II program runs from April 1, 2025 to March 31, 2026.

2025-2026 ARTISTS

Interventions in the public space:
Caroline Gagné
Steve Giasson
Salima Punjani

Public writings:
Catherine Levasseur-Terrien
Fiorella Boucher
Mathilde Senecal
Marcella França

Confluences residency:
Caroline Loncol Daigneault

WATCH THIS SPACE

5. PERFORMANCE THE LITTLE PRINCE BY LANDON KRENTZ
   DATE APRIL 2–19, 2025
   LOCATION TORONTO, CANADA
   SOURCE THEATRE PASSE MURAILLE

A Landon Krentz, Theatre Passe Muraille and Inside Out Theatre Co-Production

The Little Prince
Created and Performed by Landon Krentz
With Ebony R. Gooden, Ali Saeedi, Ralista Rodriguez, Hayley Hudson

April 2–19, 2025
Theatre Passe Muraille (Mainspace), 16 Ryerson Avenue, Toronto

Join us on a journey through the stars with The Little Prince, brought to life through the dynamic fusion of physical theatre, Visual Vernacular (VV), American Sign Language (ASL), breathtaking vertical dance, and immersive projection design. This reimagined adaptation of Antoine de Saint-Exupéry’s timeless tale transcends spoken language, weaving a visually stunning narrative that speaks directly to the heart.

Led by visionary Deaf artist and storyteller Landon Krentz, this performance invites audiences into a world where communication transcends words, and every gesture tells a story. Follow the little prince as he ventures across whimsical planets, meeting inhabitants and uncovering profound lessons about love, belonging, and the human spirit.

ABOUT INSIDE OUT THEATRE
Inside Out Theatre is a welcoming space for creativity, connection, and community. Based in sunny Mohkinstsis, Treaty 7 (Calgary, Alberta), we are a Deaf, Disability, and Mad-led theatre company that celebrates the vibrancy of diverse stories and experiences. Our mission is simple: to bring people together through theatre. Whether producing plays that showcase Deaf, Disability, and Mad cultures or offering drama programs that foster belonging and creativity, we believe in the power of the arts to inspire and empower everyone. We are proud to offer accessible programs for all, including workshops in drama, playwriting, and voice acting. By deepening cultural accessibility and creating space for all voices, we strive to ensure everyone feels valued, respected, and celebrated.

MORE INFORMATION & SLIDING SCALE TICKETS

6. EVENT SILT
   DATE APRIL 3, 2025
   LOCATION TORONTO, CANADA
   SOURCE CHRISTOPHER PETERSON

Silt: an evening of performance
April 3, 2025
8:00 PM
918 Bathurst Street, Toronto

ARTISTS
Enzo Sun
Alison Viegas & Maya Gale-Buncel
seeley quest
Racquel Rowe & Katie Huckson
Daniela Jezerinac

Silt is an evening of performance. Through a public open call, five artists are each provided with 15 minutes to present an action, event, performance. Silt was originally started for dance, movement, and performance artists; however, it is open to everyone regardless of artistic or personal identifications. The aim of Silt is to provide participants with an accessible low stakes stage for experimentation and expression.

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7. PERFORMANCE SLIPPING INTO SLIPPING AWAY BY CHIPO CHIPAZIWA
   DATE APRIL 9, 2025
   LOCATION TORONTO, CANADA
   SOURCE ART METROPOLE

Slipping Into Slipping Away by Chipo Chipaziwa

April 9, 2025
Art Metropole, 896 College Street, Toronto

Performance: 7:00 PM, registration required
Reception: 7:45 PM, open to the public

This intimate, 30-minute performance is a free, ticketed event that will take place at Art Metropole. The performance will be followed by a reception. As capacity is limited, pre-registration is required. Please register HERE.

Art Metropole is pleased to present Slipping Into Slipping Away, a performance by Chipo Chipaziwa, presented in conjunction with the Toronto launch of her recent artist’s book My Mother My Home.

In My Mother My Home, Chipaziwa explores utilizing written language and alternative representational forms of art—drawing, printmaking and painting—to document her previous performances. Chipaziwa sets out to use the book format as a means of archiving her performances with/in the absence of her physical body. An experiment in memory, which weaves her past and present relations—that is, as an example of Black ancestrally and Black futurity—in the form of collaboration, in which she is the connecting element, My Mother My Home exemplifies a more cohesive understanding of how performance art can be archived, and how traditional forms of documentation can be perceived as imperialist and capitalist. With her latest performance, Slipping Into Slipping Away, Chipaziwa continues her investigation by delving into the intersections of memory, legibility, archives, liminal encounters, and psychoanalysis.

Chipo Chipaziwa (b. 1997) is a performance artist whose practice investigates the power dynamic between performer and audience. She has received her BA in Visual Arts at the University of British Columbia in 2019. Chipaziwa has performed at Western Front (2024); The Polygon Gallery (2023); and The Surrey Art Gallery (2022). Chipaziwa’s first artist book, titled My Mother My Home, was published by Archive Books in November 2024.

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8. CALL FOR SUBMISSIONS THE QUEER AND TRANS RESEARCH LAB
   DEADLINE DATE APRIL 14, 2025
   LOCATION TORONTO, CANADA
   SOURCE INSTANT COFFEE

The Queer and Trans Research Lab Artist-in-Residence 2025–2026
University of Toronto

The Queer and Trans Research Lab (QTRL) at the University of Toronto invites all qualified applicants to apply be our artist-in-residence for the 2025-26 school year. The QTRL residency will provide financial and other material support for artists working in any medium (photography, sculpture, visual art, media arts, theatre, poetry, playwriting, fiction, etc.), whose work centres on LGBTQ2S+ lives, communities, histories, and cultures. The residency will culminate in a funded exhibition, reading, screening, or performance of the residents work-in- progress. The successful applicant is expected to be in residence in the Greater Toronto Area during the period of their award and will join the faculty and students who make up our intellectual community and participate in activities at the Mark S. Bonham Centre for Sexual Diversity Studies. These may include guest lectures, a public artist talk, office hours with our students, and a general presence at the Centre.

They will be given office space and access to the vast faculty resources, manuscript archives, and library collections available at the University of Toronto and the Bonham Centre. In addition to financial support for a final artist showcase the successful candidate will receive a stipend of $20,000. To get a sense of the wide disciplinary range and diversity of the Bonham Centres community and academic offerings visit our website.

To apply, please submit a short 1-page cover letter and curriculum vitae to qtrl.sds@utoronto.ca. The letter should discuss your work in general and the project you plan to undertake while in residence. Please also include an example of your work in the form of an on-line link, PDF, jpeg. or other format.

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9. OPEN CALL FOR SUBMISSIONS ‘ON REPLAYING’
   DEADLINE DATE APRIL 17, 2025
   LOCATION THE WORLD
   SOURCE PERFORMANCE RESEARCH JOURNAL

Performance Research Journal
Volume 31, Issue 2 – On Replaying
Deadline: 17 April 2025

Issue editors:
Baptiste Buob (Centre national de la recherche scientifique)
Carl Lavery (University of Glasgow)
Dominic Paterson (University of Glasgow)

For some time now, ‘reenactment’ has been a keyword in Theatre and Performance Studies, one that not only refers to an aesthetic genre, but spans and implicates different ways of doing history, as Rebecca Schneider explained so well in Performance Remains: Art and war in times of theatrical reenactment (2011). However, in an anxious age of climate change, viral pandemics, geopolitical unrest, and imperialism and racism, what does reenactment actually mean today? Are the critical promises and affordances previously identified with reenactment compromised by contemporary reactions and regressions occurring at the socio-political level – the ‘late fascisms’ that Alberto Toscano speaks of (2023)? Far from destabilising the past, does reenactment actually congeal history? If so, then why are we still interested in reenactment as a practice, if not necessarily as a performance/artistic mode? Does it hold currency in an age haunted by extinction, and anxious about the very possibility of a future? Given these contexts, we wonder if it is, perhaps, time to pay greater attention to experiences and practices that seem to complicate received ideas of reenactment such as rehearsing, revisioning, modelling, scenario-building, and ‘pre-enactment’ (Lütticken 2022)?

In this issue of Performance Research, we want to explore these questions and possibilities by focusing on the concept of the replay, a word in which the past is not reenacted as such but rather rehearsed for a future that is still to come […]

Read the full call for submissions text on the Performance Research website.

MORE INFORMATION & SUBMISSION GUIDELINES

10. CALL FOR PAPERS FUGAS E INTERFERENCIAS
    DEADLINE DATE APRIL 22, 2025
    LOCATION VIGO, SPAIN
    SOURCE MARTA POL RIGAU

FUGAS E INTERFERENCIAS
X International Performance Art Conference 2025

The conference is organized by the University of Vigo and the Museum of Galician Contemporary Art (CGAC). The main objective of the conference will be focused on the analysis and reflection of action art new approaches, both from practice and from theoretical reflection.

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10. 10. TO READ LIVE ART WRITERS NETWORK (LAWN) / FIERCE FESTIVAL
        DATE AVAILABLE NOW
        LOCATION THE WORLD VIA BIRMINGHAM, UK
        SOURCE FIERCE

The Live Art Writers Network (LAWN) at Fierce Festival 2024 was a co-commission with performingborders, which aimed to cultivate experimental writing practices in dialogue with performance and live art. As part of the project, three Birmingham, UK-based writers were invited to generate creative critical responses to the festival context.

We’re thrilled to share the output of that project: three original texts by Harmanpreet Randhawa, Rupinder Kaur, and Leah Hickey, published over on the performingborders website—a curatorial research-platform that explores the relations between live art and notions and lived experiences of intersectional and transnational borders.

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