FADO E-BULLETIN
December 2022

1. FADO MAIL PERFORMANCE YELLOW COLLECTORS POSTCARD
   DATE NOW
   LOCATION EVERYONE, EVERYWHERE
   SOURCE FADO

FADO is celebrating our brand new scented website, created by the unique minds at I know you know, by giving you the opportunity to SMELL our website for yourself. We are producing a collector’s edition of scented postcards and we want to send the first one to you. The first postcard in our collection is FADO’s signature scent (how could we resist?) — PERFORMANCE YELLOW.

If you have ever wondered what the essential performance art fragrance smells like, or what we think performance art smells like, now is your chance. All we need is your mailing address. (To note: we will not share your information.)

Join the mailing list and/or update your current profile by adding your mailing address. DO THAT HERE and your PERFORMANCE YELLOW collector mail (performance)art will be on its way.

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2. FADO HOSTS PERFORMANCE ON CAMERA: THE SCREENING
   DATE DECEMBER 9, 2022
   LOCATION TORONTO, CANADA
   SOURCE FADO

FADO hosts Performance on Camera: The Screening
December 9, 2022
7:00pm

4th floor–The Commons @ 401
401 Richmond Street West, Toronto

In September, FADO hosted a two-day intensive workshop entitled Performance on Camera. Led by video and performance artists Rah Eleh, this workshop invited artists to investigate the intersections between performance art and the camera through their practice. Artist participants engaged in a series of physical exercises focused on character development, exploration and physicality; followed up by hands-on learning of some of the practicalities of filmmaking techniques and lighting. Using this guidance and the generated performance and video materials, the artists in Performance on Camera created a series of new video works. It’s two month later, but we can’t wait to see the results. Join us for a screening of all the works created in Performance on Camera. Snacks, refreshments, conversation.

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3. FADO PRESENTS THINGS I’VE FORGOTTEN BY CINDY BAKER
   DATE DECEMBER 12, 2022
   LOCATION ON-LINE
   SOURCE FADO/CHRISTOF MIGONE

Things I’ve forgotten by Cindy Baker
Presented in the context of -I (2022)
Curated and organized by Christof Migone

December 12, 2022
Noon to Midnight EST

Cindy Baker performs in the third of series of twelve annual 12-hour events organized by Christof Migone. Each year the event moves through each word of the 12-word phrase, “you and I are water earth fire air of life and death” and activates the word of the year in a myriad of ways. This year the word is ‘I’, consequently the focus is on selfless selves, linked Is, and not-Is. The first year it started with ‘you,’ last year ‘and,’ came to connect you to anything and everything, this year that point of connection is ‘I.’ The porous one. The sole collective.

FADO Performance Art Centre (Tkarón:to/Toronto) presents: -I HOUR 12
Things I’ve Forgotten by Cindy Baker (Edmonton)
Start time: 12:00am EST (final hour)

Things I’ve Forgotten incorporates audio, object-making, sculptural installation, and performance to explore the relationship between trauma, memory and the body. The project is based on a very specific, mostly-forgotten childhood memory. I’m fascinated by the ability of our brains to block out traumatic events from our conscious memory, but their inability to prevent those events from making their mark in ways that impact us into adulthood. I often wonder how much this childhood trauma had a role in the formation of my personality, my physicality, or my disabilities. During the live performance of the work, I am required to keep cycling as long as I want the audience to be able to hear the work; this endurance piece requires me to continue seeking resolution for an event that cannot be resolved. It is endless, exhausting, manic.

Through this work, I am attempting to set in motion a process by which I can trigger the emergence of memories long-buried by past trauma. This experiment in personal betterment and catharsis through the creative process has a long art historical tradition. In my own practice, this type of experiment walks a tightrope between earnestness and cynicism; setting up (usually hilariously futile) challenges to my personal limitations, and attempts to make myself into something that I am not serve to highlight the futility of the search for perfection and the altogether human desire for knowledge.

Cindy Baker is a contemporary artist based in Western Canada whose work engages with queer, gender, race, disability, fat, and art discourses. Committed to ethical community engagement and critical social enquiry, Baker’s interdisciplinary research-based practice draws upon 25 years working, volunteering, and organizing in the communities of which she is part. She moves fluidly between the arts, humanities, and social sciences, emphasizing the theoretical and conceptual over material concerns. Baker holds an MFA from the University of Lethbridge where she received a SSHRC grant for her research in performance in the absence of the artist’s body; she has exhibited and performed across Canada and internationally. Helping found important community and advocacy organizations over the course of her career, Baker continues to maintain volunteer leadership roles across her communities.

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4. EVENT BBEYOND LIVE GROUP PERFORMANCE
   DATE DECEMBER 3, 2022
   LOCATION BELFAST, N.IRELAND
   SOURCE BBEYOND

Live Group Performance by Bbeyond
Highlanes Gallery Drogheda

December 3, 2022
2:00pm–4:00pm

Free / Tickets must be booked from Eventbrite using this link ONE-BODY TICKETS.

ONE-BODY is s Bbeyond performance initiated and curated by Sandra Corrigan Breathnach. The performance will take place over 2 hours with 12 Bbeyond members coming together to create an interactive performance, each entering the space one at a time, one minute apart. Each artist will hold their performance material/object on their ONE-BODY.

As each artist enters the space, they will intuitively interact and engage with each other, creating a performance together, as ‘One-Body’, highlighting the inter-connective nature of being. This performance will see artists of international acclaim coming together for this very special Bbeyond performance at the Highlanes Gallery, Drogheda.

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5. EVENT OPEN REHEARSALS WITH TANYA LUKIN LINKLATER
   DATE DECEMBER 5–7, 2022
   LOCATION VANCOUVER, CANADA
   SOURCE CAG

Open Rehearsals with Tanya Lukin Linklater
December 5–7, 2022
1:00pm–5:00pm

Offsite at Harbour Dance Centre
927 Granville Street, Vancouver

Tanya Lukin Linklater invites visitors to witness a series of open rehearsals with dancer Ivanie Aubin-Malo. These rehearsals extend from Lukin Linklater’s work “Hair Prints” (2022), on view at CAG this fall.

Tanya Lukin Linkater (Alutiiq, b. 1976, Kodiak Island, USA) works across dance, performance, video, photography, installation, and writing. Her recent exhibitions include the Aichi Trienniale; New Museum Triennial, New York; San Francisco Museum of Modern Art; Remai Modern, Saskatoon; Heard Museum, Phoenix; Chicago Architecture Biennial; Crystal Bridges Museum of American Art, Bentonville; Art Gallery of Ontario, Toronto; and La Biennale de Montréal. She is currently a doctoral candidate at Queen’s University, holding a Master’s of Education from the University of Alberta (2003), and a Bachelor of Arts from Stanford University (1998). Slow Scrape, her first book of poetry, was published by The Centre for Expanded Poetics and Anteism (2020). She lives and works in Nbisiing Anishinaabeg territory in North Bay, Ontario.

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6. EVENT THE HEMISPHERIC INSTITUTE PRESENTS AGENCY + PROCESS
   DATE DECEMBER 7, 2022
   LOCATION ONLINE
   SOURCE THE HEMISPHERIC INSTITUTE

The Hemispheric Institute presents AGENCY + PROCESS
Beyond the Stage: Healing the Body

December 7, 2022
3:00pm–4:15pm EST / ONLINE

The Hemispheric Institute is proud to present Agency + Process, a series of virtual conversations curated by Camille Lawrence celebrating individuals who are shaping the future of memory work, creating outside of traditional archival models. Those featured employ ethical methodologies to access and recover hidden Black histories. Lawrence refers to this intentional practice as “seeing in the dark,” where Black folks have the ability to see themselves where others cannot. This series will explore, challenge, and celebrate the ways that Black memory workers are taking agency over the preservation, documentation, and representation of Black life, and will feature speakers who are transforming how communities interact and engage with archives and performance art. The series will begin with two events in which archivists discuss ways to address institutional inequities and share their reparative practices in the archives. The subsequent conversations will highlight creatives, archivists, and artists whose work centers Black visibility and the body as an archive.

Beyond the Stage: Healing the Body

After the long days of rehearsals, performances, applause, and encores, what does restoring the body look like for creatives? Join performance artist and author Maya Lawrence and multidisciplinary artist Kassandra Caines as they discuss practices, rituals, and self-discoveries of healing the body in

Maya Lawrence is a proud Spelman College alumna on a mission to liberate the world through Love. This NYC raised/ ATL based author, performing artist, and poet has followed an artistic breadcrumb trail from Lincoln Center, The Public Theater, to her current artistic home at the Tony Award winning Alliance Theater as a Resident Artist and Allyship Program Director. Maya’s first children’s book “Do You Love the Dark” published in conjunction with the Mayor’s Summer Reading Club has been adapted into a Theater for the Very Young play running at Alliance Theater Spring and Fall 2022!

Kassandra Caines’ creative identity stems from her love of her Bermudian heritage and dedication to self-expression. Her vocal talent has been recognized internationally for her ability to create an intimate, inviting and engaging experience for any audience. For the past decade, she has dedicated her career by focusing on curating environments for authentic artist expression. Recommended as a “must see” vocal artist by global corporations and publications, Kassandra has been recognized for her ability to transform music into an instinctual language. Her most notable moments include hosting a TEDx Talk, performing at the 38th Annual America’s Cup and being awarded the Best of Bermuda for Vocal performance in 2017.

Brooke Rucker is a Brooklyn-based artist specializing in dance, curation, and arts administration. She earned her BFA in Dance at Florida State University and has performed as a company member with Charles Anderson’s dance theatre X and Louis Gaspard’s Gaspard & Dancers, in addition to apprenticing with Urban Bush Women. Currently, Brooke is a member of TheREDprojectNYC’s Movement Ensemble and the Development/Visioning Partner Assistant at Urban Bush Women. She acts as an independent curator and recently curated The [Jersey] Function as part of her Curatorial Fellowship in Dance with SMUSH Gallery. Brooke is a member of Dance/NYC’s Junior Committee, a proactive working committee for emerging leaders in the field.

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7. WORKSHOP CONTEXT & CONTENT DEVELOPMENT WITH SKEENA REECE
   DATE DECEMBER 12–16, 2022
   LOCATION ONLINE
   SOURCE STUDIO 303

Performance & Visual Arts: Context & Content Development with Skeena Reece

Presented by Studio 303
Montréal, Canada

This series of workshops will focus on creating and developing your new performance and/or visual art piece. The first two days will cover an overview of our collective arts practices. This can help define for yourself and others the way you work. Understanding how we reach our final art pieces, examining process and learning about how others work can inform our practice to help us achieve greater success. We can then move to the development of our own pieces, assist each other and use this time to workshop our ideas in a group setting. This opportunity is ideal as working together collectively will give us immediate feedback and allow us to gather more resources more quickly. You can leave this workshop with a better understanding of the way you work and the best practices of others and perhaps leave with a new work or the development of a significant idea.

DETAILS
Date: December 12–16, 2022
Time: 4:00–6:00pm
Full week rate: $45 with Services Québec support / $105 regular rate
Drop-in class rate: $11 with Service Québec / $23 if non-eligible
Language of instruction: English
Capacity: 12 people, priority for full week attendance
Open to artists of all disciplines

This workshop is on ZOOM. There will be discussions and visual sharing. The work will be done individually and in groups.

Skeena Reece is a Tsimshian/Gitksan and Cree artist based on the West Coast of British Columbia. She has garnered national and international attention most notably for Raven: On the Colonial Fleet (2010) her bold installation and performance work presented as part of the celebrated group exhibition Beat Nation. Her multidisciplinary practice includes performance art, spoken word, humour, “sacred clowning,” writing, music, video/film, photography and visual art. She studied Media Art at Emily Carr University. She was the recipient of the Reveal – Hnatyshyn Award (2017), British Columbia Award for Excellence in the Arts (2012) and The VIVA Award (2014). For Savage (2010), Reece won a Leo Award for Best Performance in a Short Film. She performed at the 17th Sydney Biennale, Australia. Recent exhibitions include, Interior Infinite at the Polygon Gallery 2021 and the Women and Masks Research Conference for the Boston University, Massachusetts.

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8. EVENT VENICE INTERNATIONAL PERFORMANCE ART WEEK PRESENTS UNDER SCARS
   DATE DECEMBER 17, 2022
   LOCATION VENICE, ITALY
   SOURCE VENICE INTERNATIONAL PERFORMANCE ART WEEK

VENICE INTERNATIONAL PERFORMANCE ART WEEK presents Under Scars

December 17, 2022
7:00pm–9:30pm / Free
European Cultural Centre, Palazzo Mora, Venezia, Italy

In celebration of its 10th anniversary of performance art activities, the VENICE INTERNATIONAL PERFORMANCE ART WEEK presents the collective performance opera Under Scars at the historic premises of the European Cultural Centre, Palazzo Mora.

Under Scars is envisioned and devised by the artist duos VestAndPage and Andrigo & Aliprandi in collaboration with Irina Baldini, Sabrina Bellenzier, Giorgia de Santi, daz disley, Nicola Fornoni, Marisa Garreffa, Fenia Kotsopoulou, Ash McNaughton, Enok Ripley, Sara Simeoni, Mauro Sambo, Joseph Morgan Schofield, Marcel Sparmann and Emily Welther.

On this occasion, Palazzo Mora’s main hall and six adjacent rooms transform into a dwelling site of interconnected performance installations, where temporary, intensive co-creation processes aim to reveal the qualities of existence. The hosting space functions as a social-narrative incubator wherein performance methods are intertwined for coagulating inclusive and expansive life stories. The collaborative performance unfolds as it builds on sustained encounters of different artistic research combined with performative practices.

The collective performance opera Under Scars is a development from the result of the international artist-in-residence held at C32 performing art workspace at Forte Marghera last June. As the title suggests, the 18 performance artists now gather to unveil precious experiences of vulnerabilities, hesitations, fragilities, hopes, the unspoken they carry under their cicatrices, and wounds healed by performing. Memories and experiential transformation processes entwine and collide to respond poetically to present emergencies.

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9. CALL FOR PROPOSALS PERFORMANCE RESEARCH VOL. 28, NO. 6: ON ACTIVATION
   DEADLINE DATE JANUARY 9, 2023
   LOCATION THE WORLD
   SOURCE PERFORMANCE RESEARCH

Performance Research Call for Proposals
Vol. 28, No. 6: ‘On Activation’(Sept 2023)

Proposal Deadline: 9 January 2023
Editors: Christel Stalpaert, Verónica Tello, Eylül Fidan Akıncı

The new always happens against the overwhelming odds of statistical laws and their probability, which for all practical, everyday purposes amounts to certainty; the new therefore always appears in the guise of a miracle. The fact that man is capable of action means that the unexpected can be expected from him, that he is able to perform what is infinitely improbable… Action as beginning corresponds to the fact of birth. (Hannah Arendt, The Human Condition 178).

Hannah Arendt’s words, written over 60 years ago, continue to resonate. As cities, regions, countries or parts of countries are slowly, and at times intermittently, opening up to the outside again after periods of quarantine and strict social distancing measures, we reflect on her observations of action as beginning. Politicians, the global mass media and social media disseminate messages on potential exit strategies from COVID-19 and articulate what they deem to be the common sense necessary to guide us forward to ‘the new normal’. But is exit the direction in which we should be headed, and headed as quickly as possible? And where would ‘new beginnings’ take us? Does the ‘new’ obliterate the layers of already precarious histories and subjects (human and non-human)?

In her critical assessment of The Human Condition, Ariella Azoulay proposed a shift from the temporal axis of the ‘new’ and its historical markers such as ‘beginning’ and ‘end’. Revealing the ‘new’ as an imperialistic trope, Azoulay is concerned with rehabilitating and (re-)activating histories, skills, practices, epistemologies and futures. Activation is not only conducted by declared activists operating within protest movements or nongovernmental organizations. It also entails sustained efforts across time that insist on unlearning imperialism, colonialism and racial capitalism. By extending Azoulay’s question to our field, we ask: how would these agendas of activating the new and reactivating the past for equity manifest in performance, art history and aesthetics?

In this thematic issue, we interrogate how art and performance can activate or reactivate concepts and practices of ‘beginning’ or ‘beginnings’ without defaulting to the erasure of history. Activating efforts, actions and epistemologies have long histories and have long attempted to exit imperialist, colonialist and capitalist hegemony. What does it mean to activate such beginnings or already existing decolonial or queer potentialities? What forms of relations between actors (human and non-human) may emerge through such a task? How can artists collaborate with institutions to circumvent the limitations of authoritative bureaucracy?

We seek scholarly articles, essays, manifestos and creative works that respond to the issue’s themes and provocations. Alongside long-form articles, we encourage short articles and provocations. As with other editions of Performance Research, we welcome artist(s)’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays. Please send 300- to 400-word abstracts (with a 100-word author bio).

Proposals, submissions & general enquiries: info@performance-research.org
Issue-related enquiries should be directed to the issue editors via: Christel.Stalpaert@UGent.be

Schedule:
Proposals: January 2023
First drafts: April 2023
Final drafts: June 2023
Publication: Sept 2023

Check the Performance Research website for the FULL TEXT of the call for proposals and submission guidelines.

10. EXHIBITION HOLD ON TIGHT
    DATE THROUGH JANUARY 14, 2023
    LOCATION BELFAST, N.IRELAND
    SOURCE GOLDEN THREAD

Hold On Tight
November 19, 2022–January 14, 2023

Golden Thread Gallery
Belfast, N.Ireland

ARTISTS
Sinéad O’Donnell
Jayne Parker
Katherine Nolan
Hollie Miller

Curated by Peter Richards and Mary Stevens
Text by Angela Halliday

Hold on Tight is a provocative exhibition of corporeal artworks by four artists working in performance and moving image: Sinéad O’Donnell; Katherine Nolan; Jayne Parker; and Hollie Miller. Each of these four female artists works in response to their bodies, questioning the vulnerability of human flesh through lived and sometimes violent experience. Hold on Tight presents the different ways in which these artists use materials and how they can be manipulated by, or alongside the body. Uncomfortable tensions underpin the exhibition; abject guts and soft slime contrast to ice and hard porcelain. A visceral exploration into moist, slippery and sticky material gives way to a precariously tall pile of plates teetering on the edge of falling over. Both the artistic concept and the nature of the materials merge. Different aspects of control are important, e.g. what can be made to happen? What do we anticipate? What can we let go?

Performative pieces which take place during the exhibition, leaving traces and ephemera – shattered plates for example – will then become part of the show. The artworks, akin to our bodily experience of life, appear to be at sort of precipice. We are waiting for something to happen.

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11. TO WATCH A PERFORMANCE TRINITY: Nao Bustamante, Marga Gomez and Carmelita Tropicana
    DATE AVAILABLE NOW
    LOCATION ONLINE
    SOURCE FRANKLIN FURNACE

A Performance Trinity: Nao Bustamante, Marga Gomez and Carmelita Tropicana
A Franklin Furnace LOFT event

Now available for viewing

A Performance Trinity: Nao Bustamante, Marga Gomez and Carmelita Tropicana was presented on October 21, 2022 on Zoom. The event was hosted by Nicolás Dumit Estévez, and presented in partnership with the Leslie-Lohman Museum of Art.

Find out What happened when three Queer Latina/x performance art luminaries gather for an evening of laughter, conversation, and reflections? Considering humor as a strategy for survival in navigating race, gender, and immigration through the generations and today, what does it mean to be Latina/x right now? What does it mean to embrace and reject labels? The guests for this unconventional program have used cabaret, stand-up comedy, video, live TV, writing, and film to voice some of the pressing issues of the times: from colonization to political embargoes to exile. They have also relied on humour to deliver messages that are not always easy to convey, and have gone so far as to fight for the plight against the U.S. appropriation of the Cuban Mojito, pose as a “real” exhibitionist at the late Joan Rivers’ talk show, and claim a toilet plunger as an objet d’art.

WATCH HERE