FADO E-BULLETIN
February 2024

Index

  1. FADO PRESENTS THE EPHEMERAL LIBRARY SOCIETY LAST 2 WEEKS!
    LAST TWO DATES FEBRUARY 7 & 14, 2024
    LOCATION TORONTO, CANADA
    SOURCE FADO
  2. FADO HOSTS RESEARCH CENTRE OPEN HOURS
    STARTING FEBRUARY 7, 2024 (UNTIL WE STOP)
    LOCATION TORONTO, CANADA
    SOURCE CLAUDIA EDWARDS
  3. FADO INFO SESSION EMERGING ARTISTS SERIES
    DATE FEBRUARY 14, 2024
    LOCATION TORONTO, CANADA & ZOOM
    SOURCE FADO
  4. FADO CALL FOR CURATORIAL PROPOSALS EMERGING ARTISTS SERIES
    DEADLINE DATE MARCH 1, 2024
    LOCATION TORONTO, CANADA
    SOURCE FADO
  5. FADO SCREENING REAL TO REEL
    DATE MARCH 14, 2024
    LOCATION TORONTO, CANADA
    SOURCE FADO
  6. CALL FOR SUBMISSIONS FAIL/PASS BY BUREAU OF NONCOMPETITIVE RESEARCH
    DEADLINE DATE FEBRUARY 1, 2024
    LOCATION MONTR√ČAL, CANADA
    SOURCE VICTORIA STANTON
  7. CALL FOR PROPOSALS BLACKWOOD GALLERY’S QUIET PARADE
    DEADLINE DATE FEBRUARY 2, 2024
    LOCATION TORONTO, CANADA
    SOURCE BLACKWOOD GALLERY
  8. EVENT WHERE YOUR IDEAS BECOME CIVIC ACTIONS BY TANIA BRUGUERA
    DATES FEBRUARY 7‚Äď11, 2024
    LOCATION BERLIN, GERMANY
    SOURCE TANIA BRUGUERA
  9. EVENT THE RHUBARB FESTIVAL
    DATES FEBRUARY 8‚Äď18, 2024
    LOCATION TORONTO, CANADA
    SOURCE BUDDIES IN BAD TIMES THEATRE
  10. CALL FOR SUBMISSIONS PERFORMANCE RESEARCH ‚ÄėON GHOSTS‚Äô
    DEADLINE DATE FEBRUARY 19, 2024
    LOCATION THE WORLD
    SOURCE PERFORMANCE RESEARCH
  11. EVENT INTERNATIONAL PERFORMANCE ART FESTIVAL: MANAGING DISCOMFORT
    DATES FEBRUARY 22‚ÄďAPRIL 19, 2024
    LOCATION COPENHAGEN, DENMARK
    SOURCE LIVE ART DENMARK
  12. RESIDENCY LUMINOUS BODIES
    DEADLINE DATE FEBRUARY 29, 2024
    LOCATION TORONTO, CANADA
    SOURCE TERESA ASCENCAO
  13. EVENT PROSEMINAR SERIES PRESENTS CASSILS
    DATE MARCH 5, 2023
    LOCATION TORONTO, CANADA
    SOURCE JEAN PAUL KELLY
  14. WORKSHOP PARTICIPATORY PERFORMANCE WITH MARILYN ARSEM
    DEADLINE TO APPLY MARCH 8, 2024
    LOCATION ONLINE
    SOURCE ECC

    1. FADO PRESENTS THE EPHEMERAL LIBRARY SOCIETY
      LAST TWO DATES FEBRUARY 7 & 14, 2024
      LOCATION TORONTO, CANADA
      SOURCE FADO

Two Weeks Left of Ephemeral Library Society!

FADO invites you to The Ephemeral Library Society
Series facilitated by Claudia Edwards

DROP IN: From 5pm – 7pm
REMAINING DATES: February 7, 14
ROOM: Library & Research Centre
ūüďĆ 401 Richmond St W., 4th Floor, The Commons

With just two more weeks of Ephemeral Library Society meetups left, we wanted to share a quick update: Our weekly Wednesdays have been a big hit so far, with over 15 new members made in just three weeks! Guided by themes and members’ interests, each session has looked different, with activities like fluxus games, spontaneous panels, quiet research time, and group discussions. The loose themes we’ve covered so far are Ephemerality, Materiality, and Performance Research, with Documentation and Archives still to come! Check out the vibes here, plus a map to find the library on last slide!

‚̧ԳŹ February 14th: Show & Tell ‚̧ԳŹ
For our final session, we invite you to bring something you consider “archival,” whatever that means to you! We will host a storytelling circle about our items, and probably share some food too ūüôā Hope to see you there!

The Ephemeral Library Society is a weekly research social held in the Library & Research Centre at the Commons @ 401. Over six consecutive Wednesdays in mid-winter, you are invited to join FADO and Head Librarian Claudia Edwards for performance-art themed group activities and solo study time in a community setting. All are welcome‚ÄĒfrom the newly performance-curious to the mid-life know-it-alls to the elder-devotees. Weekly activities will be iterative, taking shape based on the interests of participants. There is no need to prepare or attend every session: you may come and go, show up late, leave early, come for quiet time and skip games, whatever suits. There will be space for offerings and interventions from Society members, too (that‚Äôs you!). Come with your burning questions and your soggy answers, leave with more questions than when you arrived, or join for the ride and tabula rasa that shit! FADO wants you to gather and dissolve with us each week at The Ephemeral Library Society.

MORE INFORMATION


  1. FADO HOSTS RESEARCH CENTRE OPEN HOURS
    STARTING FEBRUARY 7, 2024 (UNTIL WE STOP)
    LOCATION TORONTO, CANADA
    SOURCE CLAUDIA EDWARDS

The (FADO) LIBRARY is OPEN… because WHAT? Performance Art is fundamental!

Starting February 7, the Commons @ 401 Library and Research Centre will be open for drop-in reading and research time, hosted by FADO. Our head librarian Claudia Edwards will be on hand. You are welcomed to stop by and peruse the collection, a little light reading or researching.

DAY: Wednesdays
TIME: 12:00pm‚Äď4:00pm
LOCATION: Library & Research Centre
ūüďĆ 401 Richmond Street West, 4th Floor, The Commons @ 401

Please email info@performanceart.ca if you have any questions.

x, fado


  1. FADO INFO SESSION EMERGING ARTISTS SERIES
    DATE FEBRUARY 14, 2024
    LOCATION TORONTO, CANADA & ZOOM
    SOURCE FADO

See post #3 below for information about FADO’s Call for Curatorial Proposals for our Emerging Artists series.

If you are an emerging curator who plans to submit a proposal to FADO‚Äôs Call for Curatorial Proposals for our Emerging Artists Series, let‚Äôs chat! Maybe you have questions about the series, your proposal, what we are looking for, or just want to connect with your FADO fam to talk it through. We are here for you. Join us on Wednesday, February 14th from 6:00pm‚Äď7:00pm for an in-person or Zoom chat/meet-up with FADO‚Äôs Director, Shannon Cochrane.

If you are joining us in person, this info session will take place during FADO’s Ephemeral Library Society (see post #1 above). Come in-person for the chat and stay for the library, or jump on the Zoom.

Wednesday, February 14, 2024
6:00pm‚Äď7:00pm
The Commons @ 401, fourth floor, 401 Richmond Street West

The Zoom link will be emailed on the day. To join the Zoom, please email us at info@performance.ca and we will be in touch!

x, fado


  1. FADO CALL FOR CURATORIAL PROPOSALS EMERGING ARTISTS SERIES
    DEADLINE DATE MARCH 1, 2024
    LOCATION TORONTO, CANADA
    SOURCE FADO

For over 10 years, FADO’s Emerging Artists series was a highly anticipated and exciting staple of the performance art calendar. Initiated in 2003 by Canada’s own performance art matriarch Tanya Mars, FADO’s Emerging Artists series was created to provide a professional platform for emerging artists to develop and present a new performance, working within a specific curatorial framework. The intention of the series was to nurture new work and ideas, provide direction and mentorship for artists, and to showcase the work of the city’s newest perspectives in performance art.

As the series developed, it became clear that this was an opportunity to nurture not only emerging performance artists, but also emerging curators. In this way, FADO encouraged new curatorial voices in performance art, and in exchange were exposed to new communities of artists (new communities were exposed to FADO too). Soon after, the series started to include artists not just from Toronto, but regionally as well, giving local audiences a taste of the emerging performance scene across Canada.

Some of your favourite performance artists and curators cut their teeth making performances and developing curatorial projects in this context, and we want to do it all again!

FADO is once again seeking proposals for curatorial projects for the 2024 & 2025 Emerging Artists series from emerging artists and/or early career curators. Your project will present the work of emerging/early career performance artists.¬†FADO recognizes that the definition of ‚Äėemerging‚Äô is fluid, flexible, and personal. (To note: the Toronto Arts Council‚Äôs definition of emerging is a useful reference.)

Projects will be chosen based on their inventiveness, experimentation, and for their attention to the practicalities of execution/feasibility within FADO’s presentation capacities and resources. Overall project budgets will be set by FADO, including artist fees and curator honorariums.

We are open to projects that are innovative in their use of technology; multi-disciplinary or performance-adjacent; presented in a gallery, in public space, site-specific; durational; a series within a series or one-off event; conceptual or thematic; and anything else you can think of.

This is a Canadian call for proposals. FADO is not able to support projects from international curators and/or artists, on-site research or residencies. Curators living outside Toronto will work remotely and final presentations will take place in Toronto. If you have any questions while preparing your submission, please contact us at info@performanceart.ca.

Your proposal includes:
Contact information
Curatorial statement / CV
Project description
Artist project descriptions (to the extent they are known) & accompanying artist CVs
Production needs & general project plan

Please submit your proposal using the Google Form LINKED HERE.

If you prefer to send your proposal directly, please email it to us at info@performanceart.ca

Deadline date: March 1, 2024

HELPFUL TIP: Why not acquaint yourself with previous projects in FADO’s Emerging Artists series?


  1. FADO SCREENING REAL TO REEL
    DATE MARCH 14, 2024
    LOCATION TORONTO, CANADA
    SOURCE FADO

Join us for a screening of the new video works in FADO’s Real to Reel series.

Real to Reel: The Screening
March 14, 2024
7:00pm (FREE/hot popcorn/all welcome)
The Commons @ 401, fourth floor, 401 Richmond Street West

ARTISTS
Heather Rule (Canada)
Margaret Dragu (Canada)
Simla Civelek (Canada)
And a surprise or two!

As an immaterial practice, performance art‚Äôs relationship to documentation and the archive has always been a fraught one. On the one hand, documentation‚ÄĒand its circulation‚ÄĒis critical for an artist‚Äôs work to be discoverable to audiences and take its rightful place in the historical canon. On the other hand, as Anne Marsh writes in Performance Art and its Documentation: A Photo/Video Essay, ‚Äúthe camera‚Äôs viewfinder has no peripheral vision so it records a flattened reality… the time-based image becomes lifeless.‚ÄĚ As performative practices continue to gain popularity in galleries and museums (institutions that practice conservation) the complex relationship between ‘live’ art and its mediated image persist.

This series, Real to Reel, invited artists to activate and challenge the archive as a site for, and, of performance. The artists in this series have created new digital works utilizing their own documentation from FADO’s archive collection as either the inspiration or the actual source material. The goal here was not necessarily to cut a new trailer (though reconstituting a self-history in this way is also the artist’s prerogative) rather, the hope was to upend the singular and linear lens that the archive itself implies. Here, we are not only looking back, we are moving forward at the same time, in only the way that performance artists working in the digital realm can.

The form of these new works are myriad: an experimental documentary about a 20-year old parade that happens (where else?) in a parade; a performance film made in the woods in winter using the images from a performance made in the city in spring; queer protest told through the lens of personal transformation; FADO’s own history as a container for performance history told by ceramic characters come to life through DIY animation and more.

In 2023, FADO celebrated 30 years of continuous performance artist activity in Canada, and this series is one part of our on-going love letter to performance.

Real to Reel was made possible with thanks to the Canada Council for the Arts Digital Strategies project grant.

MORE INFORMATION


  1. CALL FOR SUBMISSIONS FAIL/PASS BY BUREAU OF NONCOMPETITIVE RESEARCH
    DEADLINE DATE FEBRUARY 1, 2024
    LOCATION MONTR√ČAL, CANADA
    SOURCE VICTORIA STANTON

Fail/Pass by Bureau of Noncompetative Research

Friday, February¬†23 | 1:00pm‚Äď5:00pm
Saturday, February 24 | 1:00pm‚Äď5:00pm
PHI Foundation, 465 Saint-Jean, Montréal

Failure is not always one step on the road to success. Sometimes you just fail. Period. We all have the right to fail. Everyone has experienced failure at some point. For artists and academics, this even constitutes a rite of passage. One often feels the need to spin failure into a story of success. But what does it mean to simply fail? How does one integrate and articulate unsuccessful outcomes while resisting the ubiquitous capitalist framework of productive potential?

Where in our culture does one openly discuss failures? When is failure an experience in itself, and even an end unto itself? Can one fail on their own? Which is to say, can failure occur without one comparing their worth and identity to another’s?

Interested in these questions? If you would like to take part, email a one-paragraph description to dfiset@phi.ca, detailing your intended presentation. Lectures, workshops, or any other formats are welcomed. We suggest a length of about 45 minutes for interventions, including a Q & A period. If you would like to use an alternative format, let us know your time, space, and technology needs. Presenters will receive an honorarium. The event will take place in French and in English.

Deadline for submissions: February 1, 2024

Over the course of two days of dialogue, artists, educators and researchers will come together in Rirkrit Tiravanija‚Äôs installation¬†untitled (skip the bruising…)¬†(2017) to present their research, offer workshops, reflect on the successes and failures of their respective practices, and discuss failure as a generative tool in the work of public engagement. These two days have been organized in dialogue with the Bureau of Noncompetitive Research‚Äôs public engagement project, and are presented parallel to the¬†PHI Montr√©al¬†residency program, which is offered in partnership with the Conseil des arts et des lettres du Qu√©bec.

MORE INFORMATION


  1. CALL FOR PROPOSALS BLACKWOOD GALLERY’S QUIET PARADE
    DEADLINE DATE FEBRUARY 2, 2024
    LOCATION TORONTO, CANADA
    SOURCE BLACKWOOD GALLERY

QUIET PARADE
A participatory art project initiated by Aislinn Thomas

Curated by Ellyn Walker
Commissioned by The Blackwood

Application Deadline: Friday, February 2, 2024 at 11:59PM EST
Notification: Friday, February 9, 2024

QUIET PARADE is a sensory-friendly public parade initiated by artist Aislinn Thomas taking place at the University of Toronto Mississauga campus on the afternoon of September 18, 2024. We invite artists of all experience levels and practices to join us in considering accessibility in diverse material and celebratory forms.

QUIET PARADE is a platform to collectively create and experience a vibrant, extravagant, low-stimulation event that embraces accessibility as a shared and interdependent practice. QUIET PARADE is oriented towards care and aims to prioritize the wellbeing of all involved “including participants, publics, and organizers
“throughout the process of its creation. The event will ultimately be shaped by our collective contributions and needs. All are welcome.

MORE INFORMATION & HOW TO APPLY


  1. EVENT WHERE YOUR IDEAS BECOME CIVIC ACTIONS BY TANIA BRUGUERA
    DATES FEBRUARY 7‚Äď11, 2024
    LOCATION BERLIN, GERMANY
    SOURCE TANIA BRUGUERA

It is a pleasure to invite you to my performance Where Your Ideas Become Civic Actions (100 hours of reading The Origins of Totalitarianism) at the Hamburger Bahnhof from February 7‚Äď11, 2024. Together with the audience, theorists, cultural workers, and some of the museum neighbors and staff, we will be doing a collective reading for 100 uninterrupted hours of the book The Origins of Totalitarianism (1951) by the political theorist Hannah Arendt.

Starting from Arendt’s theory of totalitarianism, we will spend four consecutive days and nights exploring central themes such as power, violence, plurality and morality, politics, and truth.

I presented this performance for the first time on May 20, 2015 at my home in Havana, Cuba, while I was under house arrest. From there, we read Arendt’s book for 100 hours to speak out against censorship and repression. Then, as now, in a different place and circumstances,¬†this performance comes to life through collective reflection and debate, from a plurality of perspectives and worlds to speak about the urgencies of our times.

You can join the performance as an audience member, at any time and without registration. If you want to read an excerpt from the book with us, you can send an email to hbf@smb.museo to express your interest. The performance will be in German and English language.

Tania Bruguera (born 1968 in Havana, Cuba) currently lives in Cambridge, MA, United States, where she teaches at Harvard University. From her early intimate performances to her current large-scale interactive situations, Tania Bruguera’s works are situated at the intersection of art and politics. The artist and activist understands herself primarily as an initiator when she works with institutions and people as cooperation partners and participants. For her, art is an emancipatory force and a means of strengthening civil society and bringing change. Making socially relevant art is not an event, but a life choice for Bruguera, who has often jeopardised her freedom and safety to do so. Bruguera’s works have been shown at documenta, Performa, the Venice Biennale, the Gwangju Biennale, the Istanbul Biennale and the Shanghai Biennale, among others. Her works have also been exhibited at Tate Modern, London, Whitechapel Art Gallery, London, MoMA PS1, New York, Kunsthalle Wien, Centre Pompidou, Paris, and The New Museum, New York; and can be found in international collections, including the Centre Pompidou, Paris, The Museum of Fine Arts, Houston, The Museum of Modern Art, New York, Salomon R. Guggenheim Museum, New York, and Tate Modern, London. Together with a group of activists, she founded the Instituto de Artivismo Hannah Arendt (INSTAR) in 2015. In 2021, Bruguera received the Arnold Bode Prize together with INSTAR.

MORE INFORMATION


  1. EVENT THE RHUBARB FESTIVAL
    DATES FEBRUARY 8‚Äď18, 2024
    LOCATION TORONTO, CANADA
    SOURCE BUDDIES IN BAD TIMES THEATRE

Buddies in Bad Times Theatre presents THE RHUBARB FESTIVAL
February 8‚Äď18, 2024
12 Alexander Street, Toronto

Back for a 45th 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. Established in 1979, Buddies in Bad Times Theatre is a professional Canadian theatre company dedicated to the development and presentation of queer theatre. Over the course of its history, it has evolved into the largest facility-based queer theatre company in the world and had made an unparalleled contribution to the recognition and acceptance of queer lives in Canada.

Artist Committee: Jordan Campbell, Leelee Oluwatyosi Eko Davis, daniel jelani ellis, and Ludmylla Reis
Festival Artistic: Producer Sue Balint

PARTICIPATING ARTISTS
Brigita Gedgaudas
Elizabeth Staples
Emile Pineault
Gabriel Cholette
isi bhakhomen Mami
Jaye Kovach
Jian Yi
Lester Trips
Michael Martini
Nickeshia Garrick
Ranganathan Rajan
Roberto Soria
S.E. Grummett
Stephen Jackman-Torkoff
Tanya Marquardt
AND many/much more!

MORE INFORMATION & TICKETS


  1. CALL FOR SUBMISSIONS PERFORMANCE RESEARCH ‚ÄėON GHOSTS‚Äô
    DEADLINE DATE FEBRUARY 19, 2024
    LOCATION THE WORLD
    SOURCE PERFORMANCE RESEARCH

Performance Research
Volume 29, Issue 7 ‚Äď On Ghosts
Deadline: 19 February 2024

Issue Editors: Felipe Cervera, Kyoko Iwaki, Eero Laine and Kristof van Baarle

In an age of durational and perpetual crises, where corpses‚ÄĒhuman and more-than-human‚ÄĒpile around us, the boundaries are thin between ghosts and those they might haunt. This issue of Performance Research revisits ghosts from the perspective of capitalist ruins, corpses of extinct animals and poisoned habitats, phantom narratives and uncertain trajectories, virtual and digital selves, expiring planets and lost celestial bodies, as well as the various veins of more-than-human philosophy. Performance studies is uniquely situated to consider deeply what might just be a ghostly age, being a way of working and thinking that encompasses the span of individual bodies and broader social patterns. In such an era, even the mundane performance of daily life is haunted by the existential threats of human-made disasters pressing into and overwhelming climates and communities, cultures and futures.

[…]

‚ÄėOn Ghosts‚Äô seeks to expand the scope of existing academic enquiry on ghosts, spectres and mourning. By referring to previous scholarships on ghostly agency, ghostly identities, digital ghosts, mourning practices, dialogue with the dead and haunted performances, the issue aims to deliver renewed arguments on ghosts and necropolitics that go beyond the realm of humans and their anthropomorphic divinities, fears and sadnesses.

We welcome single-authored essays, co-authored contributions, artistic interventions, short provocations, critical reports and other materials interrogating the topic of ghosts. Topics may include but are not limited to:

Ghostly performances and haunted narratives
Posthumous dramaturgies
Mourning practices and performances
Digital ghosts and their affect
Ghosts, monsters and spirits as protagonists
Ghosts and paranormal events
More-than-human ghosts in/of the Anthropocene
Mortal beings and Buddhist impermanence
Rights of the dead and the unborn
Theatrical practices of haunting and remembrance
Making visible the invisible
Women, minorities, disenfranchised, queers as invisible agents
Erased histories and haunted sites
The uncanny, the dread, the uncertain beings
Practices of conjuration, incantation and exorcise
Afterlife, bardo and imaginations
Archaeological sites and haunted spaces
Necropolitics and performance
Micropolitics of ghosting behaviours
Ancestral politics and burials
Ghosts as a political device
Ghosts and optical effects in theatres
Dialogues with the dead after catastrophes
Rituals and rites with and for the dead
Survivors, victims and the walking dead
Ghosts of the future
Postcolonial voices and ghosts
Ecology and ghosts
Ghosts of capitalism
Spiritual practices and reincarnations
Phantom limbs and body parts
Technologies and spectral entities
Postvisual performances and spectral beings

Please visit the Performance Research website to read the call in its entirety, as well as the guidelines for submissions.

MORE INFORMATION


  1. EVENT INTERNATIONAL PERFORMANCE ART FESTIVAL: MANAGING DISCOMFORT
    DATES FEBRUARY 22‚ÄďAPRIL 19, 2024
    LOCATION COPENHAGEN, DENMARK
    SOURCE LIVE ART DENMARK

International Performance Art Festival: MANAGING DISCOMFORT
Curated for and with the TOASTER platform

February 22‚ÄďApril 19, 2024
Husets Teater, Copenhagen

ARTISTS
Aaron Williamson
Beck Heiberg
Boys in Sync
Iggy Malmborg
Jäger Ooms
Jessie Kleemann
Kira O`Reilly
Liebmann/Barkan
Lina Hashim
Maria Metsalu
Martin O¬īBrien
Molly Haslund
Sall Lam Toro
Samira Elagoz
Seimi N√łgaard
Teo Ala-Ruona

Toaster and Live Art Denmark present the performance festival MANAGING DISCOMFORT, which includes a range of Danish and international artists whose works share the common theme of addressing discomfort but processing it with care and humor. The festival spans over seven weeks from late winter to early spring 2024, with two new performances presented each week as a double-bill at Husets Teater. This means that one ticket grants access to both performances, separated by a short intermission.

MORE INFORMATION & PROGRAM DETAILS


  1. RESIDENCY LUMINOUS BODIES
    DEADLINE DATE FEBRUARY 29, 2024
    LOCATION TORONTO, CANADA
    SOURCE TERESA ASCENCAO

LUMINOUS BODIES art residency
Gibraltar Point Art Centre, Toronto Island
September 16‚Äď30, 2024
Facilitated by Teresa Ascencao

Deadline to apply: February 29, 2024

Luminous Bodies¬†is a two-week residency to create artworks that shed new light on the human body. Its objective is to challenge ‚Äúnormativity‚ÄĚ and Otherness. Its goal is to reinvent and re-present the body in most inclusive and diverse ways. Resident artist talks, gallery tours, visual and textual references, guest artist talks, and regular critiques (individual with Facilitator and group critiques) help uncover how our bodies are culturally and aesthetically constructed, displayed and controlled. Residents work individually or collaboratively to create artworks that reinvent the body through media of their choice, such as photography, video, installation, drawing, painting, performance, installation, sound art, movement art, media art, etc. There will be a closing exhibition of artworks created during the residency (if preferred, artists may show in open studio fashion). The essence of Luminous Bodies is about bringing to light heterogeneous bodies. It welcomes people in all walks of life into a creative journey of critical innovation and self-discovery. People with disabilities, BIPOC, and people of diverse genders and ages are encouraged to apply.

Gibraltar Point Art Centre is an artist retreat centre nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches (one of them being clothing optional) and natural surroundings of Lake Ontario, forests and gardens filled with flowers, fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival grounds. Cozy up in a furnished studio and bedroom, and enjoy amenities such as a fully equipped common kitchen, shared bathrooms, laundry facilities and wireless Internet. The art centre aims to have as minimal barriers as possible and promotes an inclusive environment. The Toronto city core is just a 15-minute ferry ride away.

MORE INFORMATION & SUBMISSION DETAILS


  1. EVENT PROSEMINAR SERIES PRESENTS CASSILS
    DATE MARCH 5, 2023
    LOCATION TORONTO, CANADA
    SOURCE JEAN PAUL KELLY

2023‚Äď2024 MVS Proseminar series presents
Cassils

March 5, 2023
6:30pm
Main Hall, Daniels Building, 1 Spadina Crescent, Toronto
Free & open to the public

Presented by the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto, the annual MVS Proseminar offers visual studies graduate students in curatorial studies and studio art the opportunity to connect and exchange with field-leading international and local artists, curators, writers, theorists, and other creative scholarly practitioners and researchers.

Cassils, Associate Professor of Visual Studies in the Daniels Faculty at U of T, is a transgender artist who makes their own body the material and protagonist of their performances. Their art contemplates the history(s) of LGBTQI+ violence, representation, struggle and survival. Drawing from the idea that bodies are formed in relation to forces of power and social expectations, Cassils’s work investigates historical contexts to examine the present moment.

MORE INFORMATION


  1. WORKSHOP PARTICIPATORY PERFORMANCE WITH MARILYN ARSEM
    DEADLINE TO APPLY MARCH 8, 2024
    LOCATION ONLINE
    SOURCE ECC

ECC presents
Participatory Performance: Engaging the Viewer with Marilyn Arsem

Who is your audience? ¬†How do you engage with them in your work? What do you expect of them? What do you want to tell them? ¬†What do you want to learn from them? ¬†Whether you are creating interventions on the street, instruction pieces, participatory works, or presentational performances in front of a large audience, you are working in relation to the audience, and an exchange is always taking place between you and the viewers. An audience who actively chooses to come to see your performance engages with the work differently than the audience who unintentionally encounters your work in a public setting within the context of their daily life. And when they are asked to be an active participant, yet another level of engagement is invoked. The environment in which your work is seen‚ÄĒthe location, the time of day, other activities that are happening in the vicinity of your work, how you appear, how you initiate an action, also impact how viewers respond to you.

This workshop explores a spectrum of ways with which performance artists might interact with their viewers. You will design and perform different kinds of actions that experiment with your relationship to the audience and consider different strategies that you might use in engaging them in the work. The live sessions will include performance exercises that you have prepared, as well as discussions of the work and readings. Assignments between sessions include a weekly action in public space, readings, and preparations for the exercises in the online sessions. You will also be asked a set of related questions each week to reflect on and write about privately.
For a final project, you will be asked to create a participatory performance, and present documentation of the work.

The course follows a format of four live sessions over the course of five weeks: March 12, 19, 26, and April 9 with the week of April 2 dedicated to the preparation of final works. Individual meetings about the final project will be scheduled in week 3.

Dates/time: March 12‚ÄďApril 9, 2024 (no session on April 2) | Tuesdays 6:00pm‚Äď8:00pm CET
Location: On-line
Language: English
Tuition fee: 175 Euros, no equipment necessary
Application deadline: March 8, 2024

Performance artist Marilyn Arsem has been creating and performing live events for more than forty years, presenting her work in thirty countries around the globe. Based in Boston, Massachusetts, USA, she also teaches performance art workshops internationally. Many of her works are durational in nature, minimal in actions and materials, and have been created in response to specific sites, engaging with their history, use or politics. Arsem taught for 27 years at the School of the Museum of Fine Arts, Boston, establishing an extensive program in visually-based performance art. In 1975 Arsem founded an artist collaborative for experimentation, now known as Mobius Artists Group. Mobius has presented work involving thousands of artists over its 40+year history. A book on Arsem/s work, Responding to Site: The performance work of Marilyn Arsem, edited by Jennie Klein and Natalie Loveless, was published in 2020 by Intellect Books of the UK.

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E-Bulletin Green

This scent is an homage to the future; for things to come. Cut grass, string bean, coriander, and ivy diffuse a smell of ever-green, or the eternal return, however you decide.

Top Notes

cut grass, lovage, coriander

Middle Notes

string bean, fennel

Base Notes

ivy leaves, moss