FADO E-BULLETIN
January 2023

1. FADO MAIL (PERFORMANCE)ART PERFORMANCE YELLOW
   DATE JUST AS SOON AS YOU GIVE US YOUR MAILING ADDRESS
   LOCATION THE WORLD
   SOURCE FADO

Do you know what performance art really smells like? Experience FADO’s new scent-driven website created by i know you know by sending us your mailing address.

FADO is celebrating our brand new scented website by giving you the opportunity to SMELL it for yourself. FADO and I know you know have created a limited edition postcard delicately scented with our website’s signature scent, Performance Yellow. If you have ever wondered what performance art smells like, now is your chance. We want to send you one. All we need is your mailing address.

PLEASE NOTE: we have no plans to ever share your information with anyone. AND if you already send in your mailing address, not to worry, your postcard is on its way.

Join our mailing list and/or update your profile information by adding in your mailing address. DO THAT HERE and it won’t be long before your PERFORMANCE YELLOW mail (performance)art will be on its way.

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2. EVENT PERFORMANCE BY SINÉAD O’DONNELL
   DATE JANUARY 6, 2023
   LOCATION BELFAST, N. IRELAND
   SOURCE GOLDEN THREAD GALLERY

Performance by Sinéad O’Donnell
January 6, 2023
1:00pm

Presented in the context of the exhibition Hold On Tight 
Golden Thread Gallery
Belfast, N.Ireland

ARTISTS in the exhibition
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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3. EMPLOYMENT OPPORTUNITY PERFORMANCE SCHOOL OF THE ART INSTITUTE OF CHICAGO
   DEADLINE TO APPLY JANUARY 9, 2023
   LOCATION CHICAGO, USA
   SOURCE MARK JOSEPH JEFFERY

EMPLOYMENT OPPORTUNITY
Full-time tenure track hire, FALL 2023
Performance School of the Art Institute of Chicago, USA

The Department of Performance at the School of the Art Institute of Chicago (SAIC) invites applications for a full-time, tenure-track assistant professor position to begin August of 2023. Salary is competitive with peer institutions and commensurate with quality of practice, scholarship and current academic research, extent of teaching experience, and current professional standing.

DEPARTMENT PROFILE
The Department of Performance at SAIC is unique in the United States, bringing a performance and performance studies curriculum to both undergraduate and graduate students in an interdisciplinary art school setting. Building on a foundation of experimentation, the Department of Performance evolves in relation to new developments inside and outside the field of performance, and aims to be responsive to new ways of seeing and understanding the world in the 21st century.

FULL DESCRIPTION of the Full-time Tenure Track Hire in Performance HERE
SLIDEROOM APPLICATION HERE

Email saicteach@saic.edu for questions and inquiries.

4. 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).

All proposals, submissions and general enquiries: info@performance-research.org
Issue-related enquiries: Christel.Stalpaert@UGent.be

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

Visit the Performance Research website for the FULL TEXT of the call for proposals, submission guidelines and more information.

5. LAUNCH PERFORMANCE SOURCES
   DATE JANUARY 27, 2023
   LOCATION ONLINE
   SOURCE LE GÉNÉRATEUR

Performance Sources is a database dedicated to performance archives, and is developed by Le Générateur, an art and performance structure located in Gentilly, Paris. This digital tool for researchers and academics brings together more than 500 works from the archive of Le Générateur and 6 partner structures: the Centre Wallonie-Bruxelles, the CNEAI, the École et Espace d’Art Camille Lambert, the Credac, the MacVal and the J&J Donguy gallery. Performance Sources is also intended to be a mediation tool open to the general public that will help to affirm the legitimacy of performance as an eminently contemporary practice.

The launch of the performancesources.com website is set for 27 January 2023. This launch will be the subject of a major event at the Générateur from 27 to 29 January 2023 (round tables, Fol Conferences and performances with some thirty artists including Esther Ferrer and Joël Hubaut).

Performance Sources is a database dedicated to performance archives, the result of a research programme supported by the Fondation de France and led since 2018 by Anne Dreyfus (director of the Générateur), Clélia Barbut (scientific manager) and Pauline Couturier (programme coordinator).

6. 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
TIME: 7:30PM
LOCATION: Buddies in Bad Times Theatre, 12 Alexander Street, Toronto
TICKETS: $10/$25/$40/$70

For each of our mainstage shows this season, we’re offering tickets at a range of price points, though seating is general admission, and every seat is just as good as the next. If cost is a barrier, this is your chance to get an affordable ticket. If you are able to pay more, this is your chance to increase your support for the work onstage and ensure it stays affordable for those who need it.

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7. PUBLICATION PAINTING WITH TIME BY JOAKIM STAMPE
   DATE AVAILABLE NOW
   LOCATION GÖTEBORG, SWEDEN
   SOURCE BOKFÖRLAGET KORPEN

Painting With Time explores the non-commercial, utopian and cutting-edge performance art of Joakim Stampe (b. 1959). In this extensive survey we encounter an avant-garde artist refusing to embrace the capitalist aesthetics of the marketplace.

His outstanding intransigeance manifests the very aesthetics of resistance theorized by Peter Weiss, visualizing an ideology of hope, empathy and intellect, of solidarity with the world and its inhabitants. Whether it is in Sweden, China, Italy, USA, Serbia, Mexico, South Korea, Denmark, Spitzbergen or France, we meet an art of context and humanity. It is an aesthetic resistance articulated in painting and performance, objects and the four elements, formulated as a fusion of opposites, where body and mind, participation and public action, dialogue and psychology are all part of its non-dualist vision. Joakim Stampe proposes a notion of hope and vulnerability that forms a part of our post-pandemic era. In this well illustrated book we come up-close to the artist, his work and history, in an in-depth interview and a theoretical essay written by his brother and curator Jonas Stampe.

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