a firm decision to do or not to do something.
the quality of being determined or resolute.
the action of solving a problem.
the process of reducing or separately something into its components.
the smallest interval measurable by an optical instrument.
the conversion of something abstract into another form.
Keith Cole & Jeanne Randolph
W. A. Davison
Vanessa Dion Fletcher
Serge Olivier Fokoua
Tess Martens & Holly Timpener
Diana Lopez Soto
Performance Resolution(s) is FADO’s 2021/2022 at-home residency series. Participating artists were chosen from a Canada-wide open call for submissions inviting artists to propose performance-based research projects that engaged with the theme of ‘resolution.’
It goes without saying that 2020 changed everything. The world is now a very different place than before. (We resolve never to say, “it goes without saying” again.) For artists working in live art and performance, events were cancelled and festivals postponed. What happens to embodied practice when the bodies can’t be together irl? With dizzying speed, we were compelled to bring performance to the tiny back-lit screen as an alternative. Sometimes that worked. Without being able to gather in large groups, sometimes we leaned on old tricks (what performance artist doesn’t know what it’s like to perform in a half-empty theatre?) to shoehorn our work into the current context. More often than not, to keep moving, we stuck with the script—over producing and addicted to presentation.
But thankfully the new year brings with it fresh starts, new directions and an opportunity to reflect. We make promises in the form of new year’s resolutions—a private or public personal commitment to change. Most resolutions dissolve by the end of March, or sooner. If 2020 taught us anything, it taught us that transformation comes slowly. The real breakthroughs are still in the (social) distance, but a seed has been planted.
Our inspirations for Performance Resolution(s) are the hope for a better 2021 for all, and a profound performance exercise designed by Marilyn Arsem that we think about from time to time. Read Marilyn’s exercise below.
Some of the projects in this at-home residency series will have tangible outcomes; many will not. The point was not to find to way to support artists through replicating old ways of doing things by keeping the hamster wheel of production going. Instead, we encourage a slowing down and a deep dive into what it means to have resolve, even if you don’t have the answer.
Watch this space for updates on various projects and research contributions as they reveal themselves over the 2021–2022 programming year.
Resolution(s) by Cindy Baker
Over several months in 2021, Cindy Baker created performances for people she know, using their yards and/or the spaces outside their windows as the stage and source of inspiration, creating small intimate experimental performances with no preconceived themes or ideas.
we imitate sleep to dream of dissent by Emily DiCarlo
Guided by five themed prompts, each dreamer-participant engaged at their own pace with short readings, various media and creative exercises that steered their performative responses.
Exercise On Experiencing Ephemerality
A performance exercise by Marilyn Arsem, one that she has been compelling her students to complete for decades. The inspiration behind FADO’s Performance Resolution(s) series.
OPEN FIRE | FEU OUVERT by Marie-Claude Grendon
Enacted by community, OPEN FIRE attempts to revive the invisible link that unites us through the practice of action art.
Re-Solutions by W. A. Davison
These six informal performance experiments re-interpret the theme “resolutions” as “re-solutions” — meaning, new solutions to problems that have already been solved.
Tiger Beat by Roy Mitchell
SPOILER ALERT: Hasting Highland eventually got their bylaw, but you don’t want to miss a (Hybla) minute of the whole story.
Attempting Togetherness by Hélène Lefebvre
In Attempting Togetherness, an artist makes a companion of her shadow.
High Tea with Keith Cole and Jeanne Randolph
HIGH TEA with Keith Cole and Jeanne Randolph was, what some theorists or academics might call a work of “social engagement.” For Cole, Randolph and the audience / participants assembled, the jury is out still on whether or not it was even a performance.