FADO E-BULLETIN
November 2021

1. TO READ An open letter to the international art community
   SOURCE Tania Bruguera

To the International Art Community:

We are Cuban cultural workers that have asked our colleagues NOT to participate in the 14th Havana Biennial. Some might find it surprising or even shocking that we would reject the most important art event in our country, an event that has given so many Cuban artists the opportunity to share their art with the rest of the world.

Our reasons for doing this are simple: we say NO to participating in the Havana Biennial because the injustices being committed by the Cuban government against Cuban arts professionals, and against Cuban citizens that seek to exercise their constitutional rights. We say NO to the Havana Biennial because Cuban artists have been in prison for months, because dozens of arts professionals are under house arrest, because over a thousand of our fellow citizens were arrested during the mass protests that took place on July 11. Of those arrested at the protests, more than five hundred Cubans are still in jail, and among them are several minors.

We say NO to participating, attending or supporting the Havana Biennial because we have exhausted others means of continuing our efforts to free our colleagues. We have sent letters, issued petitions, expressed our outrage in print and online. We have made protest art and music. We have fasted in public. We have prayed in churches. We have asked for a dialogue with the Minister of Culture and other government leaders. Our friends abroad have marched and pressured their politicians. The European Parliament and the United Nations have condemned the arrest and harassment of Cubans that have sought to express their creativity and political will without violence.

And yet, our colleagues and our fellow citizens remain in detention. They continue to be harassed, to have their telecommunications cut, to have their movements surveyed, and their families threatened.

The same institutions and the same functionary that organize the Havana Biennial are the one that have refused to listen to us and have condoned and participated in the violence perpetrated against Cuban cultural workers that seek greater autonomy for Cuban culture and civil rights for our citizenry.

The problems that we face are not reducible to an isolated case of censorship. We are contending with a systemic effort by the Cuban government to silence those who think differently. The life of people in the cultural field is at risk.

We hope you will join us in NOT participating, attending or supporting at this Havana Biennial.

Para adhesiones escríbenos no14bienal@gmail.com
To add your signature, email no14bienal@gmail.com

2. TO READ PAO 7 Years
   DATE AVAILABLE NOW
   LOCATION Order on the PAO website

Publication of 436 pages including texts about performance art, interviews, illustrations and photos of all the events Performance Art Oslo (PAO) has organized between 2013–2019. In this book, we sum up the past seven years of creating meeting points and opportunities within the performance art field. We tell our story and the history of seven years of Performance Art Oslo.

PAO 7 Years
Editors: Franzisca Siegrist & Tanja Thorjussen
Designer: Yan Tong
Translator & proofreader: Johanne Laache
Event posters & maps design: Alexandra Branquinho
Illustration: Irene León
Editorial advisor: Ingvill Henmo
Printer: Interface Media

The publication is supported by: Fritt Ord & Bildende Kunstnernes Hjelpefon

TEXTS BY:
Franzisca Siegrist & Tanja Thorjussen
Mona Pahle Bjerke
Shannon Cochrane
Rita Marhaug
BBB Johannes Deimling
Lisa Stålspets
Alison Hugill
Tommy Olsson
Vilde M. Horvei
Zofia Cielątkowska
Alicja Rosé
Lars Elton

Order your copy of PAO 7 Years

PAO is a member organisation for professional artists working within the field of performance art, living in Oslo, Norway. The organization aims to create a network and opportunities for performance artists through organizing seminars, workshops and international exchange, as well as creating a yearly international performance art festival, PAO Festival, the first of its kind in Oslo. In addition to working locally we collaborate with Performance Art Bergen (PAB) and other national and international organizations and groups who work within the field. We wish to convey performance art and promote the artists and their work.

3. TO READ Actional Poetics — ASH SHE HE — The performance Actuations of Alastair MacLennan
   DATE AVAILABLE NOW THROUGH INTELLECT BOOKS

Actional Poetics — ASH SHE HE — The performance Actuations of Alastair MacLennan 1971-2020
Edited by Sandra Johnston, Cherie Driver and Paula Blair
Published by Intellect Books

Bbeyond is proud to announce the publication of this important publication about the work of Alastair MacLennan. This is the most comprehensive study of Alastair MacLennan’s extensive performance practice, nationally and internationally renowned for its contribution to the field of performance art. The essays in this collection explore MacLennan’s art practice, its influence on the Belfast art scene, and its relationships with wider art histories.

The book places MacLennan’s work in its proper historical context, featuring outstanding archival visual documentation alongside new commissioned essays and interviews, none of which have been previously published. The essays range from descriptive to interpretive: some set the work in historical context while others provide pertinent biography. This variety is appropriate—and perhaps even necessary—in looking at the work of a living artist whose work is particularly complex and challenging. Each writer addresses the art on their own terms, and the resulting essays provide an approachable presentation of a multi-layered body of work.

Order your copy from Intellect Books

Alastair MacLennan is Emeritus Professor of Fine Art, School of Art and Design, Ulster University in Belfast. He is one of Britain’s major practitioners in live art, and travels extensively in Eastern and Western Europe, also America and Canada, presenting ‘Actuations’ (his term for Performance / Installations). MacLennan is a founding member of Belfast’s Art and Research Exchange, of Belfast’s Bbeyond performance collective and is a member of the performance art entity Black Market International. He has represented Ireland at the Venice Biennale (1997) and is an Honorary Associate of the National Review of Live Art, Glasgow, Scotland.

4. EVENT Slowness and the Institution: Doing Research Differently
   DATE September 29–November 24, 2021
   LOCATION ON-LINE
   SOURCE VICTORIA STANTON

The Bureau of Noncompetitive Research along with the Art Education Department & the Centre for the Study of Learning and Performance at Concordia University presents:
Slowness and the Institution: Doing Research Differently

The Bureau of Noncompetitive Research (Victoria Stanton and Stacey Cann) are hosting a conversation series, inviting scholars whose practices engage with facets of slow scholarship to discuss their research in the context of the academy, and how it might be applied to artistic processes within, and outside, the institution. Speaking with one person at a time, about one significant element in their work, the format of the series favours a slow, and expansive approach, offering a generous space of collective reflection—between our guest, the hosts, and the audience.

Tickets for each discussion are capped at 125 participants. Registration for each discussion will close one hour prior to start time (EST).

Register HERE on Eventbrite to receive the Zoom link.

REMAINING SCHEDULE
November 3 | 7pm EST
Alanna Thain’s (Montréal, Canada) research addresses questions of time, embodiment, and media across contemporary cinema, dance, and performance.

November 24 | 3pm EST
k.g. Guttman (Montréal, Canada) is a researcher and artist whose work considers territoriality discourse, choreographic practice, and site-situated installation.

5. EVENT LIVE Assembly | Repair & Care
   DATE November 4–6, 2021
   LOCATION ON-LINE
   SOURCE LIVE

LIVE Assembly: Repair & Care
November 4–6, 2021
Morning sessions: 9:30–12:00 PDT
Afternoon sessions: 14:00–16:30 PDT

In 2019, LIVE’s Board of Directors began researching new strategies of communicating and engaging with the Biennale’s surrounding communities. Exploring questions about how our communities have been and continue to be constructed as a means of addressing how we can expand and strengthen the relationship between our organization and its various publics. On November 4th to 6th 2021, an assembly of national and international artists, activists, scholars, and curators will collaborate in presentations about how small art organizations can better serve local communities and help shape the future of LIVE.

You are invited to join us for the LIVE Assembly! Please register on the LIVE website.

PARTICIPANTS
Dave Beech
Jo-Anne Birnie-Dankzer
Paul Couillard
Chris Creighton-Kelly
Margaret Dragu
Susan Gibb
Snežana Golubović
Adrian Heathfield
Jeanne Van Heeswijk
Maria Hlavajova
Doug Jarvis
Peter Morin
Paul O’Neill
Raqs Media Collective
Irit Rogoff
Daina Warren

MODERATORS
Cissie Fu
Guadalupe Martinez
Brian Postalian

Annotating the Archive (programming) includes: Paul Couillard, Margaret Dragu, Fausto Grossi, Peter Morin, Rachel White, and Daina Warren. Curated by Yasmine Whaley-Kalaora.

LIVE’s curatorial team: Caleb Chan, Doug Jarvis, Glenn Lewis, Elham Puriya Mehr, Brady Ciel Marks, Lianne Payne, Brian Postalian, Ian Prentice, and Yasmine Whaley-Kalaora.

6. WORKSHOP The Imaginary and the Synchronous
   DATE November 7 & 14, 2021
   LOCATION ON-LINE
   SOURCE Milada Kovacova

The Imaginary and the Synchronous
Accounts of the Self in Video Performance with Irene Loughlin

Sunday, November 7 & 14: 1:30–3:00pm
$10.00 Member / $20.00 Non-Member
To register email: milada@trinitysquarevideo.com

Please refer to the website for registering and payment details: www.trinitysquarevideo.com

Trinity Square Video is committed to providing an equitable and barrier-free space. If you are unable to afford these workshops, please email milada@trinitysquarevideo.ca to procure a barrier-free spot.

In this online workshop of The Imaginary and the Synchronous: Account of the Self in Video Performance, autobiography is used as the means to explore Video Performance. As the starting off point, an object/s that represents an aspect of your life will be linked to this event or characteristic-connecting it to a wider socio-political platform. In this 2-part workshop, Irene will present an overview of her Video Performance then each other’s object/s and the context surrounding the object/s will be explored. Participants will shoot videos at home with their cell phone cameras; tech advice will be provided.  After uploading the video, participants will return the following week to view each other’s video and discuss the impact of the process and results. Unique opportunity, not to be missed.

ABOUT IRENE LOUGHLIN
Irene Loughlin is an artist, writer, and cultural worker. She holds an MVS from the University of Toronto, a BFA from Simon Fraser University, and is alumni of OCAD. Her art practice and research interests centre upon investigations from a resistant, neurodivergent perspective.  She works with visual imagery that comments upon our contemporary emotive discourse. Loughlin has participated in various solo and group exhibitions across Canada and internationally. She has been awarded the Lynch Staunton Award, Canada Council for the Arts, for mid-career, interdisciplinary practice and a SSHRC Masters Level Scholarship. She has presented art and writing at the Disability Culture Symposium (University of Michigan), the UAAC Conference (OCAD University, Toronto) and the Performance Studies International Conference (New York University).

7. EMPLOYMENT OPPORTUNITY Co-Director | Mountain Standard Time Performative Art
   DEADLINE DATE NOVEMBER 8, 2021
   LOCATION Calgary, Canada
   SOURCE Desiree Nault

Employment Opportunity: Co-Director Mountain Standard Time Performative Art (M:ST)

Foregrounding the body, Mountain Standard Time Performative Art (M:ST) creates an artistic and cultural environment where nuanced dialogues, ethical reflexivity, and social change are animated through experimental, risk taking programming. With each project, we build a bespoke infrastructure in which artists can create their most ambitious work within relevant local and global contexts.

M:ST will hire a candidate who is committed to developing, resourcing, and presenting their own long-term programming that expresses the vision and values of M:ST, and growing the network of relationships such projects require. They will also be enthusiastic and hands-on supporters of M:ST’s existing programs: the Mutual Aid Working Group and M:ST 10 International Residency Exchange and Gathering, both continuing to develop over the next year. They will be passionate about our ongoing internal work to experiment with and enact non-hierarchical governance structures, clear boundaries, and consent based relationships between coworkers, board members, artists, and our publics. Click here to see a detailed list of responsibilities to be shared between the two co-Directors. Remember, we are looking for someone who shares the same values and questions as M:ST, not someone who already knows how to complete all of the tasks listed.

We enthusiastically invite folks who are Indigenous, Black, and/or People of Colour, people with disabilities, people of minority sexual orientations and gender identities, persons from poor and working class backgrounds, and others with the skills and knowledge to engage equity seeking communities. M:ST has a zero-tolerance policy for bigotry. Including but not limited to; anti-Indigeneity, anti-Blackness, xenophobia, transphobia, queerphobia, ableism, anti-semitism, etc.

PLEASE NOTE: the description, mandate and other information has been edited for space. Read the full description on the M:ST website:
www.mountainstandardtime.org/opportunities

Please contact M:ST’s current Artistic Director, Desiree Nault at desiree@mountainstandardtime.org to let us know what you need to fully engage in the hiring process. The hiring committee will make changes to help you succeed. We also encourage you to reach with any questions about the call or are seeking advice on your application materials.

8. EVENT Open Flow November
   DATE November 11, 2021
   LOCATION ON-LINE
   SOURCE Carron Little

Open Flow November
Curated by Jeremy Pauly

November 11, 2021
5pm CT | Midnight ECT

BROADCAST LIVE:
https://www.twitch.tv/experimental_sound_studio

Out of Site was invited to be a curating partner with Experimental Sound Studio in 2020 for the full year of 2021 and we are organizing monthly live public performance events curated by different artists in the Out of Site community. The November event is curated by the Belgium artist, Jeremy Pauly who is curating a live public performance event in Brussels. New works will be created Yvette Teeuwen, Isa Fontbona, and more artists to be announced.

For more information visit Out of Site Chicago website.

9. WORKSHOP Inhabiting Time Workshop | Public Performance with Marilyn Arsem
   DATE November 12–28, 2021
   LOCATION ON-LINE & CHICAGO, USA
   SOURCE CARRON LITTLE

Inhabiting Time Workshop
Public Performance with Marilyn Arsem

Dates: November 12–28, 2021 (four in-person sessions at 90 minutes each)
Time: 1:00pm–2:30pm EST
Fee: $250 US (inclusive of four workshop sessions + one mentoring session)

Website Info: www.flowsymposium.org/workshops/marilynarsem
To Register: www.flowsymposium.org/registration/p/inhabiting-time-workshop

This workshop on time, taught by durational performance artist Marilyn Arsem, includes online group sessions, performance actions and writing outside of the online sessions, and a final multi-day project. At the heart of this workshop is the question of how to continue making live art in a world that is more often virtual. What remains essential? What can we give up? What can we transform?

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 these different realities result in collisions when we encounter other people, creatures, and materials whose sense of time doesn’t 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, both live and virtually. 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.

10. EVENT Reverend Billy & The Stop Shopping Choir in Glasgow!
    DATE November 11 & 12, 2021
    LOCATION Glasgow, Scotland
    SOURCE //BUZZCUT//

//BUZZCUT// presents: Reverend Billy & The Stop Shopping Choir
November 11 & 12, 2021
Centre for Contemporary Arts, Glasgow

Tickets are Pay-What-You-Can-Afford / BSL Interpretation will be provided
Get your tickets HERE

We’re incredibly excited to invite the legendary New York artist activists Reverend Billy & The Stop Shopping Choir to raze the rafters at the closing nights of COP26.

After performances across the country, Billy & his exuberant troupe of 25 choir members will reach Glasgow with their show EARTH RIOT; a cloudburst of melody and rhythm mixed with open conversation about the uprising of our physical world. At a turning point in our lives, as shock extinction accelerates, how do we live and how do we love? The show is breath taking, joyful, and heart breaking. Earthalujah!

ABOUT //BUZZCUT//
//BUZZCUT// was founded by Rosana Cade & Nick Anderson in 2012. Together they set up a free, 5 day performance festival with over 60 artists performing in bars, galleries, shops and galleries across Glasgow. With no funding, the festival was completely DIY and was established on the values of grassroots community support, aiming to create a supportive, friendly environment for artists making raw and challenging work to experiment, gather and form a temporary community. Since then we have become an internationally recognised organisation supporting radical performance practises from all over the world, holding annual festivals of Live Art, year-round artist development opportunities and other activities. Our shared vision across all our activity is to create spaces for artists and audiences to experiment with Live Art.

11. EVENT Lilith Performance Studio presents Five Corners–Five performances by Five Artists
    DATE November 18–20 & 25–27, 2021
    LOCATION MALMÖ, SWEDEN
    SOURCE LILITH PERFORMANCE STUDIO

Lilith Performance Studio presents:
Five Corners–Five performances by Five Artists
Kasra Alikhani, Farvash, Elin Maria Johansson, Helena Olsson, Cecilia Sterner

November 18–20: 7pm–9pm
November 25–27: 7pm–9pm

On a long exhalation of happiness and pent-up power, Lilith Performance Studio finally opens wide, with five new performance works at the same time!

Five Corners–Five performances by Five Artists is a generous display of performance art, where you as a visitor can walk freely and experience several works during the same evening. We have invited five artists whose performance practice in an exploratory and personal way reflects different approaches to the art form. What binds them together is a tangible courage to move boundaries and a common interest in who you are as an observer. All five works are displayed simultaneously for two hours in the same architectural form, a corner, a room or a stage, if you wish.

ABOUT THE ARTISTS
Kasra Alikhani creates fictional worlds that alienate the everyday through documentary observations that are transformed into elevated subjective reflections of social phenomena. In recent years, he has devoted himself to exploring a kind of expanded idea of scenography and amateur film with an interest in uniformity and disguise and, by extension, how these themes relate to fantasies about health.

Farvash is a research-based artist using performance, fiction and technology to explore self-censorship concealment as a survival strategy. Through art, she builds systems to investigate questions around constructed identity, immigration guilt, and trauma of war.

Elin Maria Johansson works consist of spatial installations with video, animations, objects and sounds. The works form an abstract and metaphorical weave, a suggestive and sublime depiction of the place and the time we live in.

Helena Olsson works mainly with moving images based on the idea that the work’s issue and its form should follow each other. In recent years, she has worked with the documentary’s aesthetics and language, which often takes on the role of bearer of truth, and then mixes authentic material with staging to create uncertainty in the viewer.

A common thread through Cecilia Sterner ‘s work is man’s various shortcomings and illusions. It is about perception, about being the center of one’s own universe, the different social layers we put on over time, expectations, misconceptions, poor judgment, lack of understanding due to misinterpretations, memory loss and the inability to see the whole picture

ABOUT LILITH PERFORMANCE STUDIO
Since the inception 2007, Lilith Performance Studio has commissioned and produced over 50 major performances, and done several curatorial collaborations, guest appearances and art events and festivals, both internationally and in Sweden. As a production space and an arena for visual art performance, the studio is the first of its kind in the world. The studio founded and run by the artists and Artistic Directors/Curators Elin Lundgren and Petter Pettersson.

12. CALL FOR PROPOSALS Vol. 27, No. 7: ‘On Diagrams and the Diagrammatic’
    DEADLINE DATE NOVEMBER 21, 20121
    LOCATION EVERYWHERE
    SOURCE PERFORMANCE RESEARCH

Performance Research Call for Proposals: Vol. 27, No. 7
On Diagrams and the Diagrammatic
Issue Editor: Andrej Mircev, Universität der Künste, Berlin

PLEASE NOTE: What follows is not the complete call for proposal text. Please visit the website to read the complete call and the guidelines for submissions: www.performance-research.org

Understood as a drawing, a sketch or a geometric scheme, a diagram mostly makes visible constellations between concepts (words), numbers and images. Charting relations of forces in different situations, diagrams do not follow the logic of representation but rather operate within parameters of potentiality and virtuality. As a tool for translating data from one medium to another, they are often the middle stage between the idea and the implementation / performance. Hence, in their ability to display and mediate the transition from the virtual to the actual, and from the abstract to the specific, diagrams are innately unstable and fluid. On the other hand, a diagram is necessarily an embodied form that comes into being as a consequence of an action intertwining drawing with writing.

According to the philosopher John Mullarkey, the diagram as ‘a temporary movement in-between’ is a moving form outlining processes of thinking and becoming. From an epistemological perspective, diagrams complicate any system of knowledge organized around dichotomies such as mind/body, space/time, male/female, culture/nature, etc.. Instead, they foster practices of interweaving, in which discourses and concepts can dynamically be redistributed, transfigured and cross-connected, thereby surpassing clear-cut definitions and (institutional, disciplinary or cultural) borders. In other words, a diagram as ‘a technique of bringing to new existence’ – Brian Massumi argues – is a conceptual tool for displacing dualities in search of an order of heterogeneities and alterities.

This issue of Performance Research will examine the concept of diagrams and the diagrammatic in relation to performance, theatre and dance projects. Contributions will include essays and papers analysing and discussing particular performance diagrams as well as more speculative examinations that reflect on the theoretical and analytical aspects of diagrammatic practices. In that sense, both practice-based research and analytical papers are welcome.

Proposal topics may include:
Diagrams and/as performance
Diagrammatic methodologies
Diagrammatic dramaturgies
Performance scores and notations
Diagrammatic archives
Performance and potentiality
Diagrammatic transfigurations
Graphic tools of thinking and devising performance
Performance sketches
Performance studies and the diagrammatic
Deconstructing dichotomies
Diagrams and embodiments
Diagrams as tools of performance analysis
Diagrams as techniques of existence
Sites of resistance and the diagrammatic
Nomadic diagrams

Schedule:
Proposals: 29 November 2021
First drafts: March 2022
Final drafts: June 2022
Publication: November 2022

ALL proposals, submissions, general enquiries contact: info@performance-research.org
Issue-related enquiries contact issue editor, Andrej Mircev: amircev@gmail.com

General Guidelines for Submissions:
–Before submitting a proposal, visit our website and familiarize yourself with the journal.
–Proposals will be accepted by email (Microsoft Word or RTF)), do not exceed one A4 side.
–Please include your surname in the file name of the document you send.
–Please include the issue title and issue number in the subject line of your email.
–Submission of images and other visual material is welcome (5 MB max / 5 images).

Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.
www.performance-research.org