FADO E-BULLETIN
February 2023

1. FADO MAIL (PERFORMANCE)ART PERFORMANCE YELLOW
   DATE NOW & FOREVER
   LOCATION THE WORLD
   SOURCE FADO

FADO is celebrating our new scented website by giving you the opportunity to SMELL it for yourself. We have producing a limited run of postcards delicately scented with our website’s signature scent, PERFORMANCE YELLOW. And we want to send you one. If you have ever wondered what performance art smells like, now is your chance. All we need is your mailing address. Follow the link below to update your current profile with your mailing address.

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2. EVENT THE RHUBARB FESTIVAL
   DATE FEBRUARY 8–11, 2023
   LOCATION TORONTO, CANADA
   SOURCE BUDDIES IN BAD TIMES THEATRE

Back for a 44th year, Rhubarb transforms Buddies into a hotbed of experimentation, with artists challenging our notions of what art-making and art-watching can be. As Canada’s longest-running new works festival, Rhubarb is the place to encounter the most adventurous ideas in performance and to catch familiar and unfamiliar artists venturing into uncharted territory.

This year, the festival intentionally expands its scope internationally, through a curatorial exchange with three live art festivals in Europe and the UK: FLAM in Amsterdam; Les Urbaines in Lausanne, Switzerland; BUZZCUT in Glasgow. As part of this multi-year exchange, Rhubarb will invite artists from and send Canadian artists to each of these contexts to perform.

ARTISTS
Mars Alexander
Moe Angelos + Rachel Hauck
Bastien Hippocrate
Simla Civelek
Laura Fisher
Celia Green + Madeleine LeBlanc
Julian Higuerey Núñez + Henry Adam Svec
KINUK (Ursula Johnson + Angella Parsons)
Keioui Keijaun Thomas
Myung-Sun Kim
Davi Pontes + Wallace Ferreira
Publik Universal Frxnd (fka Richard John Jones) + Louwrien Wijers

DATES: February 8–11, 2023
TIME: 7:30pm
LOCATION: Buddies in Bad Times Theatre, 12 Alexander Street, Toronto
TICKETS: starting at $10 (and up, scaled)

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3. EVENT MOBIUS PRESENTS MOBIUS LIVE!
   DATE FEBRUARY 16, 2023
   LOCATION CAMBRIDGE, USA
   SOURCE MOBIUS

MOBIUS LIVE!
January 12, February 16, March 16, April 13
Lilypad, Inman Square
8:00pm

Mobius is proud to host a new monthly series of curated experimental performances called Mobius Live! The series will feature live works by experimental composers/musicians, movement and performance artists on four Thursday evenings starting in January and concluding in April.

MOVEMENT
February 16 @ 8:00pm
Curated by Sara Jane

Performances by movement/sound artists Lord & June, Ensemble InEdit and the Boston Butoh Collective. Please join us for an evening of unexpected happenings and delightful wanderings!

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Mobius, Inc. is an artist-run organization that creates opportunities to generate, shape and test experimental art. Since 1975, we have been a regional and transnational laboratory for supporting and building relationships among fellow artists. Mobius is recognized as one of the seminal alternative artist-run organizations in the US and has presented work involving thousands of artists over the past 40 years.  Works created by our members have been presented throughout North and South America, Europe, the Middle East, and Asia. Several notable exchanges with artists from Ireland and the UK, Croatia, Macedonia, Poland, and Taiwan have focused on public sites as incubators for discourse.

4. EVENT LILITH PERFORMANCE STUDIO PRESENTS DURATIONAL SPACE
   DATE FEBRUARY 16, 2023
   LOCATION MALMÖ, SWEDEN
   SOURCE LILITH PERFORMANCE STUDIO

On February 16, Lilith Performance Studio’s new exhibition format DURATIONAL SPACE will be inaugurated with two newly produced large-scale performances; Verksamhetsanalysen (“The Operation Analysis”) by Éva Mag; and Forsens början (“The Rapid’s Beginning”) by Anna-Karin Rasmusson.

To have the opportunity to show new works by Éva Mag and Anna-Karin Rasmusson, simultaneously is something of a dream opening of DURATIONAL SPACE. Mag and Rasmusson build images through processes and conditions, where the narrative is not delivered finished, but is allowed to take time and grow freely in the viewer. Éva Mag and Anna-Karin Rasmusson’s new works take place simultaneously completely independent of each other, but with clear common points. What links them together is an interest in the body as a socially functional and independent being; its shortcomings, limitations and possibilities. Above all, how they approach the inherent resistance in the maintenance of this inner and outer order. If one chooses to see Rasmusson’s examination of motion from within the body and out through the skin with leaking body fluids and wounded organs, one can perhaps see Mag’sinvestigation as a movement from the outside, with collapsed collective structures moving up and in through the skin.

With DURATIONAL SPACE, we explore a new format for the studio. The idea is an open and generous display of performance art, where visitors can wander freely and experience two or more separate performance works in the same evening. DURATIONAL SPACE opens up the studio and gives the opportunity to show more artists for a longer period of time in a form that is closer to an exhibition than a performance.

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5. CALL FOR PROPOSALS PERFORMANCE RESEARCH ‘ON HABIT’
   DEADLINE DATE FEBRUARY 20, 2023
   LOCATION THE WOLRD
   SOURCE PERFORMANCE RESEARCH

Performance Research Vol. 28, No. 8: ‘On Habit’ (Dec 2023)
Proposal Deadline: 20 February 2023

Editors:
Frank Camilleri (University of Malta)
John-David Dewsbury (UNSW Canberra)

This issue of Performance Research aims to consider—and in some cases to ‘reconfigure’—the role played by habit in performance practices and studies. In addition to the exploration of the rich connections and overlaps between habits and performance as practices of repetition, enactment and embodiment, the aim is to contextualize and balance the predominant view that habits are obstacles in restraining innovation and freedom in behaviour and imagination. Far from arresting creativity, the power of habit can be located in its stabilizing capacity that enables generative change in processes like training, composition (including devising and adaptation), directing, writing, rehearsing, performing and indeed living. The intimate links between habits and material environment are also pertinent to site-sensitive issues of staging, design and location.

[…] Visit the Performance Research website to read the full call for proposals text.

Habit can be interpreted as providing a fuller and more dynamic picture of the complex entanglements and overlaps with other areas of human activity, especially with pedagogical processes like training and transformational practices like performance. The picture that emerges from a more nuanced reading is thus one where habit mediates and/or contrasts nature and culture (life), inside and outside (space), freedom and necessity (dynamics), perception and memory (experience), past and future (time), and, crucially in the context of performer processes, psycho and physical, body and mind.

This issue of Performance Research welcomes contributions and will present the broadest possible perspectives that consider habit as idea and phenomenon in performance studies. Topics may include but are not limited to:

Processes and repertoires of habit: generation, development, disruption
Practitioners of habit in the arts, sports, architecture, the military, economy and so on
Habit and behaviour: mechanicity and spontaneity, mindlessness and mindfulness
Habit, technique and skilled behaviour
Habit and expertise: mastery/automaticity in practice, virtuosic action
Habit in practice/practices of repetition and routine: ritual, custom, discipline
Habit and improvisation, for example, found movement in aesthetic performance
Habit and training/pedagogy/education
Habit and scenographic milieus
Habit and cognition
Habit and affect
Habit and time: the present instance of past and future occurrences
Habit and place: inside, outside and in-between
Habit, habitat and habitus: habituation and inhabitation
Habit and ideology
Habit and gender
Habit and nature
Habit and politics
Habit and economics
Habit and the moral/ethical/spiritual life
Habit and ecology
Performative materialisms of habit
Habit and technology
Habit and algorithms

We invite proposals for articles and shorter essays and provocations, including artist pages and other contributions that use distinctive layouts and typographies. We anticipate attracting interdisciplinary contributions from areas such as theatre studies, dance studies, music studies, performance studies, art, human geography, political science, sociology, philosophy, politics and cultural studies. Accordingly, we will explore possibilities of interaction between the proposals received.

Issue Contacts:
All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org

Issue-related enquiries should be directed to the issue editors via: frank.camilleri@um.edu.mt

Schedule:
Proposals: February 2023
First drafts: May 2023
Final drafts: July 2023
Publication: Dec 2023

For submission guidelines, visit the Performance Research website.

6. EVENT LIVE ART DANMARK PRESENTS ESTHER FERRER & BORIS NIESLONY
   DATE MARCH 2, 2023
   LOCATION COPENHAGEN, DENMARK
   SOURCE LIVE ART DANMARK

Live Art Danmark presents
Esther Ferrer (ES/FR)
Boris Nieslony (DE)

March 2, 2023
School of Conceptual and Contextual Practices, Royal Art Academy
10:00am–12:00pm: Boris Nieslony: The Performance Art Archive (lecture)
1:00pm–3:00pm: Live Art Denmark: Documentation as a performative strategy (lecture)

March 3, 2023
Friisland Performance Art Center, Kattegatvej 39, 2150 Nordhavn, CPH
5:00pm–8:00pm: FRIISLAND LIVE
Esther Ferrer: Lecture and Performance
Boris Nieslony: Performance

ABOUT THE ARTISTS
Esther Ferrer (b. 1937): Performance has been her principal form of artistic expression since 1965, both as a soloist and as a member of the group ZAJ, until its dissolution in 1996. In 1999, she was one of the two artists representing Spain in the Venice Biennale, in 2008 she recived le Spanish National prize for the Arts and in 2012 the Gure Artea Prize of Basque Government in 2013 MAV Prize (Mujeres en las Artes Visuales) and in 2014 the Price Marie Claire et the Velazquez Prize (International Prize, Spain).

Boris Nieslony (b. 1945): Co-founder (1985) of the international performance Art group Black Market International, and of the Art Service Association (ASA) for performers and theorists (1986). In 1993, the 100-day project Quantenpool Köln was launched at documenta 9. In 1995, the first performance art conference was held in Cologne and at the same time the Performance Art Archive was transferred from collecting activities to generating knowledge. The founding of the E.P.I. center generated further networking between artists, organizations, and projects in performance art.

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7. SERIES VIRTUAL ENCOUNTERS: NEW ENTANGLEMENTS IN PERFORMANCE & MEDIA
   DATE MARCH TO JUNE, 2023
   LOCATION ONLINE
   SOURCE LONDON ONTARIO MEDIA ARTS ASSOCIATION

London Ontario Media Arts Association Launches (LOMAA) is excited to premiere Virtual Encounters: New Entanglements in Performance and Media in spring 2023. This series features new or reimagined projects by practitioners working at the nexus of performance and media art.

Virtual Encounters: New Entanglements in Performance and Media
Premieres March 1, 2023 and runs until June 30, 2023
Curated by Christine Negus

With an extensive history rooted in a dialogue on “live”-ness and the ephemeral, performance art has weathered a major shift over the past few years. Though the COVID-19 global pandemic has undoubtedly impacted all arts-related programming, live and time-based practices in particular have been forced to renegotiate presentation modes and adapt to a more virtual, screen-based life. Performance art’s merge with the digital realm, with its seemingly opposite characteristics based in permanence and the archival, has raised challenges for both areas of work. Through this convergence, performance artists have been asked to reconsider these aforementioned essential disciplinary attributes in relation to their practice—both in presentation and developing new projects. These uncharted possibilities associated with the virtual have produced exciting outcomes, which continue to redefine and reimagine praxis, and the fields of both performance and media art, in novel ways.

Over spring 2023 LOMAA is pleased to facilitate Virtual Encounters: New Entanglements in Performance and Media, which investigates performance art’s newly defined relationship with media. The organization has invited seven artists and one artist duo to present new mediated performances that unsettle their previous modes of creation and address the challenges faced in digital translation. The invited artists span the gamut of performance practices and represent various modalities across the discipline—expanding from, and blurring lines between, embodied movement, sonic interactivity, and intermediality. This series aims to be generative and open possibilities for artists to re-envision their work and to investigate new archival processes, novel (virtual) space, and a wholly different relationship with audiences.

Presented online and across various platforms through LOMAA.

MARCH
Kite & David Yu
Artists in conversation: March 5 @ 3pm EST

APRIL
Anyse Ducharme & Jacob Wren
Live performance and artists in conversation: April 2 @ 3pm EST

MAY
Raven Chacon & John Dieterich with Ellen Moffat
Live performance and artists in conversation: May (date TBA)

JUNE
Jerron Herman & Autumn Knight
Artists in conversation: June 4 @ 3pm EST

A companion publication will be produced in conjunction with the series, featuring critical and creative contributions from Golboo Amani, Shannon Cochrane, C.W. Crawford, Che Gossett, and Sandra Ruiz.

London Ontario Media Arts Association (LOMAA) is a regional, non-profit, artist-run organization focused on the exhibition of media art and experimental time-based work. With an emphasis on progressive contemporary Canadian practices, LOMAA supports the presentation of local, national, and international artists in the areas of moving images, performance, new media, and sound art while facilitating the creation of new work through workshops, commissioning, and partnership. The organization is committed to supporting dialogue about media art today through inclusive and intersectional public events and community engagement. Our dynamic programming seeks to involve audiences from London and the surrounding region, introducing them to innovative artists while encouraging new modes of creation from local makers.

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8. WORKSHOP ECC PRESENTS INHABITING TIME WITH MARILYN ARSEM
   DATES MARCH 28–APRIL 25, 2023
   LOCATION ONLINE
   SOURCE EUROPEAN CULTURAL CENTRE (ECC)

Presented by the European Cultural Centre (ECC)
Performance Workshop: Inhabiting Time with Marilyn Arsem

At the heart of this course is the question of how to continue making live art in a world that is more often pre-recorded, edited and virtual. As participants focus on the element of time in their performance actions, we will consider questions such as ” What remains essential? What do we relinquish? What transforms?”

The pandemic has redefined our sense of time, as we have spent more time both in isolation and on the internet, juggling competing demands in our immediate households as well as ones in the virtual realm from other locations and time zones. The simultaneity of different realities, real and virtual, result in collisions when we encounter other people, creatures, and materials whose sense of time does not conform to our own. Rather than resisting those differences, how can we learn to move in concert with them?

Working with everyday materials and actions, participants will engage in a series of exercises to examine their experience and understanding of time. While these exercises were designed for artists creating durational performances, the insights gained in understanding how time operates in one’s life can be effectively applied to other practices.

The course includes online group sessions, performance actions and writings outside of the online sessions as well as a final multi-day project.

Dates: March 28–April 25, 2023
Sessions: Tuesdays 6-8pm CET
Enrollment deadline: March 23, 2023
Fee: EUR 175

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9. CALL FOR PROPOSALS THE FRANKLIN FURNACE FUND
   DEADLINE TO APPLY APRIL 1, 2023
   LOCATION THE WORLD (& NYC, USA)
   SOURCE FRANKLIN FURNACE

The Franklin Furnace Fund awards grants annually to early career artists of all backgrounds to assist the production of new major performance art works. Artists from all areas of the world are encouraged to apply and selected artists must present their work in New York City. Artists may apply once per year as an individual, and once per year as part of a collaboration.

Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. This peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, and brings new perspectives of “early career artist” and “performance art.” So, if at first you don’t succeed, please try again. If you’re interested in seeing an overview of past Grant recipients, click HERE.

Info Session: Wednesday, February 22, 7–8pm ET
REGISTER HERE

Deadline to apply: April 1, 2023 | 11:59pm ET
APPLICATION GUIDELINES

10. EMPLOYMENT OPPORTUNITY PERFORMANCE SCHOOL PROFESSOR
    DEADLINE TO APPLY UNSPECIFIED
    LOCATION CHICAGO, USA
    SOURCE MARK JOSEPH JEFFERY

The School of the Art Institute of Chicago (SAIC) is currently seeking to fill the position of Dean of Graduate Studies. The ideal candidate is a creative, forward-thinking administrator with higher education experience, preferably in the fields of art and design. The graduate dean is responsible for all aspects of the graduate curriculum, from an overarching vision that encompasses how it is shaped, audited, expanded, and refreshed, to the day-to-day challenges of delivering that vision in a coherent and workable course schedule (with the assistance of the associate dean for graduate studies and the dean of administration, budget and, planning).

With respect to new graduate programming, the graduate dean must integrate expertise in program design and development with a strong ability for consensus building in order to create programming that is aligned with SAIC’s unique profile and position. Diversity and inclusion are an essential aspect of all of this work and the graduate dean is charged with helping to bring the graduate programs in better alignment with the School’s diversity priorities.

The graduate dean oversees advising for all graduate-level degree programs, including the Master of Fine Arts, Master of Architecture, Master of Design, Master of Arts, and Master of Science. For the academic programs, which involve a thesis requirement, the graduate dean is responsible for working with program chairs in determining the shape and parameters of the thesis, implementing appropriate supports during the thesis process, and archiving upon its completion. For the studio programs, the graduate dean is responsible for managing and continuing to develop the Exhibitions program that is the thesis requirement for studio-based graduate students.

View the full job description HERE.