FADO E-BULLETIN
October 2022

Index

  1. EXHIBITION Artefacts and Encounters by Elvira Santamaría Torres
    DATE September 24–November 5, 2022
    LOCATION Belfast, N. Ireland
    SOURCE Elvira Santamaría Torres
  2. EXHIBITION Queer Lines (For Agnes) by Kate Barry
    DATE October 6–20, 2022
    LOCATION Vancouver, Canada
    SOURCE Kate Barry
  3. PERFORMANCE Raven Chacon and Guillermo Galindo
    DATE October 6, 2022
    LOCATION Vancouver, Canada
    SOURCE Western Front
  4. PERFORMANCE Liminal by Hugh O’Donnell
    DATE October 7, 2022
    LOCATION Londonderry, Ireland
    SOURCE Bbeyond
  5. COURSE Identity, Ritual, Resistance: Performing the Body in Southeast Asia
    DATES October 7–28, 2022
    LOCATION on-line
    SOURCE ECC
  6. EVENT Fierce Festival
    DATE October 11–16, 2022
    LOCATION Birmingham, UK
    SOURCE Fierce Festival
  7. EVENT Performative Arts Biennial of Rouyn-Noranda
    DATE October 12–15, 2022
    LOCATION Rouyn-Noranda, Canada
    SOURCE L’ecart
  8. EVENT OUT OF SITE ARTIST FOCUS
    DATE OCTOBER 15, 22 & 29, 2022
    LOCATION ON-LINE
    SOURCE CARRON LITTLE
  9. CALL FOR PROPOSALS Vol. 28, No. 5: ‘On Sadness’
    DEADLINE DATE October 19, 2022
    LOCATION THE WORLD
    SOURCE Performance Research
  10. EVENT //BUZZCUT// Double Thrills with Rhubarb Festival
    DATE October 19 & 20, 2022
    LOCATION Glasgow Scotland
    SOURCE //BUZZCUT//

  1. EXHIBITION Artefacts and Encounters by Elvira Santamaría Torres
    DATE September 24–November 5, 2022
    LOCATION Belfast, N. Ireland
    SOURCE Elvira Santamaría Torres

Artefacts and Encounters
An exhibition by Elvira Santamaría Torres

The Golden Thread Gallery
Belfast, N. Ireland
September 24–November 5, 2022

The Golden Thread Gallery is delighted to present this seminal exhibition, Artefacts and Encounters, as part of the Belfast International Arts Festival.

Elvira Santamaría Torres is an internationally acclaimed performance artist whose work has resonated with audiences around the world. Born in 1967 in Mexico City, she has been based in Northern Ireland since 2011. Using public actions, durational performance and installation, her practice has been focused on drawing attention to the changeable, fragile and ephemeral aspects of life. She looks at fundamental aspects of human behaviour, such as: mental suffering; love; death; mourning; resilience; and consciousness. Her work has evolved through several ‘action’ art forms such as public interventions and performance-installation. Artefacts and Encounters emerged from conversations and dialogue between Santamaría Torres and curators Sarah McAvera and Peter Richards. Questioning how do we engage with performance art, after the performance has taken place? How can a career of performed actions, of moments, be shown in a gallery space? Within the exhibition, Santamaría Torres revisits objects of her past performances. These objects now act as ‘humble prompts’ to re-engage and revisit her performative work.

I have accepted that the past, and everything I have made, eventually dissolves into  the  present, even if documentation, or the objects themselves, remain. The Golden Thread Gallery has invited me to create an exhibition of my work focused on memory and reflection. I therefore embrace this opportunity to compost the experience of the past, and to do this in a public sphere at the Golden Thread. To feed my thoughts with a renewed enthusiasm for the present. We still have to live, creating art.

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  1. EXHIBITION Queer Lines (For Agnes) by Kate Barry
    DATE October 6–20, 2022
    LOCATION Vancouver, Canada
    SOURCE Kate Barry

Queer Lines (For Agnes) by Kate Barry
October 6–20, 2022

RBC Media Gallery, Emily Carr University of Art + Design campus (main floor)
520 East 1st Avenue, Vancouver

Opening: Saturday, October 8
12:00–3:00pm

Queer Lines (For Agnes) is a response to the American abstract painter Agnes Martin specifically the use of horizontal lines in her later work, 1974 and 2004. In Queer Lines (For Agnes), the horizontal line becomes a metaphor for agency, queerness and interconnectivity. Inspired by Martin’s lesbian identity and her overall sublime resistance to patriarchal norms realized in both her painting and writing, I find Agnes Martin’s contributions to queering the Western canon of art history both provocative and inspiring. I see Queer Lines (for Agnes) as an extension of the search for freedom Martin was pursuing throughout her career.

Kate Barry is a performance artist currently based in the unceded territories of the xʷməθkʷəyəm (Musqueam), Sḵwxwú7mesh (Squamish) and sƏl̓ílwƏtaʔɬ (Tsleil-Waututh) Nations. Her work investigates queerness, subjectivity, and embodied practice through painting, drawing, and video. She has also contributed over 25 years to working in artist-run spaces in Canada, including as a board member at FADO Performance Art Centre (2011-14), project manager for More Caught in the Act: An Anthology of Performance Art by Canadian Women (2016), archival and research associate for Wordless: The Performance Art of Rebecca Belmore (2019), and as the programmer for the Mount Pleasant Community Art Screen launched by grunt gallery in 2019. Currently, she is a sessional faculty at Emily Carr Institute of Art + Design (ECU) and is a member of the collective, MARFEC (Mutual Aid and Reciprocity Fund at ECU).


  1. PERFORMANCE Raven Chacon and Guillermo Galindo
    DATE October 6, 2022
    LOCATION Vancouver, Canada
    SOURCE Western Front

Performance by Raven Chacon and Guillermo Galindo
October 6, 8:00pm

Grand Luxe Hall, Western Front
303 E. 8th Ave., Vancouver BC

By donation ($15–25)

Western Front presents a live performance by Raven Chacon and Guillermo Galindo. Chacon and Galindo bridge worlds of contemporary sound art, acoustic composition, noise, Indigenous activism, and visual art. Their projects and collaborations activate amplified objects, drawing on Indigenous and Mexican symbology and ritual items, as well as a long history of American experimental music stemming from John Cage and subsequent composers. Presented by Fillip in partnership with Western Front.

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  1. PERFORMANCE Liminal by Hugh O’Donnell
    DATE October 7, 2022
    LOCATION Londonderry, Ireland
    SOURCE Bbeyond

Liminal by Hugh O’Donnell
October 7, 2022
2:00pm­–3:30pm

Centre for Contemporary Art (CCA)
Londonderry, N. Ireland

Liminal is a new performance artwork by artist Hugh O’Donnell as part of Bounce Arts Festival 2022 and is live only once, not to be missed!

Liminal explores in between things, may it be a doorway or a slight breeze passing through, in between not knowing what will happen in sleep or awakening. What will happen if I don’t see the crossing of the road or the human traffic mark in a field? The space between knowing and feeling isolated, feeling of being left in between and trying to communicate or pass onto the bus, train to get somewhere or just to be left Liminal. Floating with materials that create a visual poetic happening. Can you tell me what it means? And are we really in between something?

Hugh O’Donnell originally from Dublin now lives and works in Belfast. Hugh has exhibited his work nationally and internationally alongside facilitating visual art and performance art workshops and artist talks. His work is of an auto-personal nature.  Through performance art, sculpture, installation, drawing and found objects his research and art investigations pivot around subjects relating to sexuality, gender, disability and the absurd. Hugh is a studio member with Flax Art Studios’ Belfast and is a board member of PS2, Belfast.

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  1. COURSE Identity, Ritual, Resistance: Performing the Body in Southeast Asia
    DATES October 7–28, 2022
    LOCATION on-line
    SOURCE ECC

Presented by European Cultural Centre (ECC)
Identity, Ritual, Resistance: Performing the Body in Southeast Asia with Natasha Jozi

This course is dedicated to the theoretical and practical exploration of the ‘body’ as a political tool, site of resistance, and a place of devotion in performance art from South and Southeast Asia. Through selected readings and the discussion of case studies, the course provides an introduction to the history of body-based performative practices in regions such as Thailand, Vietnam, Singapore, Myanmar, Iran, India, Pakistan, China, and Sri Lanka. Furthermore, it investigates into the notion and the meaning of the body and performativity as a site of the (re-)construction of identity and the articulation of resistance against historical or political inflictions and censorship. It examines performative works concerning transnational developments, concepts or race and ethnicity, and trauma and loss. The course analyzes body-based practices such as ritualistic or mythological practices and their relationship to the shifting political and cultural landscapes of the region. The course is geared towards scholars, curators, and practicing artists who want to gain a critical understanding of performance art from South and Southeast Asia and its underlying themes and concepts. Each week, participants are invited to respond to the key concepts and practices discussed in the course by producing a work developed against their own personal background using performance, video, audio, text, or any other medium.

Natasha Jozi is a Fulbright scholar, performance artist and curator from Pakistan, interested in the collective human experiences and the intersection of science and the spiritual body. She has widely performed and exhibited her work in Sri Lanka, Canada, Italy, Switzerland, UK, USA. She is the founder and director of House Ltd., a platform that aims to promote performance art in Pakistan. Through her curatorial projects, she strives to generate critical discourse around the body, gender, and censorship. She is the recipient of the Prince Claus mobility grant. Jozi resides and works between Pakistan and Germany.

APPLICATION DEADLINE: October 5, 2022

DATES: October 7–28, 2022
TIMES: Fridays, 4:00–6:00pm CET
LANGUAGE: English / on-line
FEE: 175 euros

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  1. EVENT Fierce Festival
    DATE October 11–16, 2022
    LOCATION Birmingham, UK
    SOURCE Fierce Festival

Fierce Festival
October 11–16, 2022

Celebrating 25 years of performance, parties, politics and pop in Birmingham & West Midlands.

PARTICIPATING ARTISTS
Philippe Quesne (Paris)
Alice Ripoll & Cia REC (Rio de Janeiro)
Saeborg (Tokyo)
Clara Furey (Montréal)
Rosanna Raymond/SaVAge K’lub (Auckland)
crazinisT artisT (Accra)
Lisa Vereertbrugghen (Ghent)
Elisa Harkins (USA)
Hanako Hoshimi Caines (Montreéal)
Zoe Poluch (Stockholm)
Jesus Hilario-Reyes (USA)
Liz Ord (Birmingham)
Cade & MacAskill (Scotland)
And many more…

PROGRAMMING INFORMATION


  1. EVENT Performative Arts Biennial of Rouyn-Noranda
    DATE October 12–15, 2022
    LOCATION Rouyn-Noranda, Canada
    SOURCE L’ecart

Performative Arts Biennial of Rouyn-Noranda
October 12–15, 2022

ARTISTS
Andrew Tay
Francois Lalumiere and Katarzuna Szugajew
Genevieve et Matthew
Hubert Colas with Thierry Raynaud
keyon gaskin
Kezia Waters and Jordan Brown (FATHERMOTHER)
Kim-Sanh Chau
Lara Kramer
Louise Liliefeldt
Massy Emond and Danny Twist (Edmund Porn Project)

After four years of absence, it is with joy and excitement that the Performing Arts Biennial of Rouyn-Noranda returns. The last few years have seen the cultural planet take a forced break, have seen important social movements emerge and ecosystems regenerate in a few months of human inactivity. Conducive or not to the exaltation of confined creativity, we can certainly say that the pandemic has made us yearn to find unconfined art. And here, we are quite ready for this new edition of the biennial! If it is impossible to imagine the impossible, our imagination is now ready to imagine new things, like a new impossible become a concrete reality. This biennale brings together works that emerged in the midst of a pandemic as well as works that were created long before it, and which are now illuminated with a new look. The program brings together interdisciplinary artists from here and elsewhere who are particularly inspired by queer methodologies and question our world, its ways of thinking and being. Some performances dialogue with the territory and engage in environmental issues unfolding in more than real time, others involve us in reflections on our ways of being together or venture into the meanders of colonialism and identity through work on the body, memory and reappropriation. But all put forward committed and engaging works. We very much look forward to seeing you.

Audrée Juteau
L’Ecart, Artistic Director

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  1. EVENT OUT OF SITE ARTIST FOCUS
    DATE OCTOBER 15, 22 & 29, 2022
    LOCATION ON-LINE
    SOURCE CARRON LITTLE

Out of Site began a weekly conversation series called Artist Focus in Fall 2020 to create a reflective space for artists in our community to discuss their previous work. This was also an extension of our ethos to facilitate cultural discourse about artistic ideas. We have focused on artists in the Out of Site community and artists from around the world who have an outdoor public performance practice. We are not elitist in our selection process so if you are interested in presenting your work on our platform please reach out to us via FB messenger or email is best.

Conversations happen every Saturday @11:15am CT | 6:15pm ECT | 10:45pm IST for eight weeks in the Spring and the Fall. To watch the archive of interviews please visit our Youtube channel.

UPCOMING SCHEDULE
October 15: Dominik Lipp (Lenzburg, Switzerland)
October 22: B Ajay Sharma (India)
October 29: John G Boehme (Victoria, BC, Canada)

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  1. CALL FOR PROPOSALS Performance Research Vol. 28, No. 5: ‘On Sadness’
    DEADLINE DATE October 19, 2022
    LOCATION THE WORLD
    SOURCE Performance Research

Call for Proposals: Performance Research Vol. 28, No. 5: ‘On Sadness’
Editors: Felipe Cervera, Alvin Eng Hui Lim, Ella Parry-Davies, Matthew Yoxall (After Performance)

Proposal Deadline: October 19, 2022
Publication date: July/August 2023

After Performance is a research group who, since 2015, has held a commitment to being published as a collective. We gather to conjoin authorial voices and relational thinking, and this text stems from that practice. This call for papers was conceived at our last in-person working meeting in Singapore, in 2018, when as a group we were experiencing different aspects of sadness. Our impetus in opening our conversation to the field and through this call is to explore how performance praxis articulates collective experiences of sadness. Our sadnesses, and our proposal to think with them, are temporal, embodied and historically specific. Sadness has a historicity; it circulates and sticks (Ahmed 2004); collective sadness is worldly (Said 1991). How might we, then, think sadness in the collective?

The purpose of this issue of Performance Research is to inspire responses to experiences, practices and theorizations of sadness. We are also interested in explorations of sadness as refusal, illegibility or fugitivity. Contributions might offer historical scrutiny of, or challenge how, dominant performance histories have codified sadness as a hegemonic expression or feeling. Do these eclipse counter-narratives or unrecorded experiences of non-feeling, numbness, loss, grief, despair or hopelessness that inflect or are adjacent to it? We seek to scrutinize how sadness has been made legible through ways of sensing and reading performance that are racialized, imperialist, gendered or ableist. Who appears as sad? Who does not? Where is sadness intelligible? Where is it opaque (Glissant 1997)?

We invite contributions to explore how sadness appears in theatre, dance and performance practice and theory. How might we revise the history of sadness in these forms, if we are not looking for sadness as an expression but as an ontology; not as a social withdrawal, but as an affirmation of being, collectively, in the world? What is, therefore, the relationality that sadness affords and creates? In what ways is sadness a practice, a repertoire, an action, a temporality, an infrastructure? How might this be understood through and as performance? […]

Topics may include, but are not limited to:
History of feelings/emotions/affects
Violence, trauma and aftermath
Mourning, bereavement, grief, and death practices
Depression, economy, and somatic symptoms
Somatic practices and performance technique
Religion and spirituality
Psychoanalysis and melancholy
Drama therapy
Medical anthropology
Ecomourning
Mental health and well-being in virtual space
Corporate and human resource management
Monuments and sites of mourning
Infrastructures of sadness
Indigeneity and sadness
Performance ontology
Nothingness/Emptiness
Durational and site-specific performance
Genres of tragedy
Stage(d) crying/sadness
Ethics and social behaviour
Content notifications and safe management of the rehearsal room
Confessional and autobiographical performance

Proposals submissions and general enquiries, send to Performance Research: info@performance-research.org
Issue-related enquiries send to the issue editors: afterperform@gmail.com

Please visit the Performance Research website for the full call for proposals text, guidelines for submissions and more information.


  1. EVENT //BUZZCUT// Double Thrills with Rhubarb Festival
    DATE October 19 & 20, 2022
    LOCATION Glasgow Scotland
    SOURCE //BUZZCUT//

//BUZZCUT// Double Thrills with Rhubarb Festival
October 19 & 20, 2022
7:00–10:00pm

CCA, Glasgow
PWYC, BSL Interpreted

Join us for a night of transformations, surreal stores, cabaret creatures, and other grotesque beauties. Where nothing is quite one thing, nor the other! //BUZZCUT// is delighted to invite you to Double Thrills, October. This month’s event will run for two nights full of riotous, revelatory, and radical live art and performance. Programmed in collaboration with Rhubarb Festival a queer performance art festival from Toronto, Canada. We’re bringing you a taste of their programme presented alongside some Glasgow’s best performers, comics, drag artists, and horrible creatures!

Presented by //BUZZCUT//: Theo Seddon, Shrek 666, Femme Castratrice
Presented by Rhubarb: The Rats of Woolpit, a long form performance blending dance, puppetry, music, sound, and collage by Brawk Ward and Esther Splett

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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