‚ÄďAND‚Äď (2021)

‚ÄďAND (2021)

FADO is pleased to present two works by Erika DeFreitas inspired by/with the work of Adrian Piper in the first hour of ‚ÄďAND (2021).

Curated and organized by Christof Migone, -AND (2021) is the second in a series of twelve annual events taking place on December 12, from noon to midnight EST, for 12-hours. This project is realized with the collaboration of multiple artists, venues and partners in Canada, China, Germany, Korea, UK, USA. Each year the event moves through each word of the 12 word phrase, “you and I are water earth fire air of life and death,” and activates the word of the year in myriad ways.

In 2021, the word is ‘and,’ consequently the focus is on repetitions, conjunctions, and duos. Last year it started with ‘you,’ this year we connect you to anything and everything, you are together-with. Or, we get stuck in the very act that ‘and’ opens up, into the enormity that the so-what-next that ‚Äėand‚Äô implies. ‚ÄėAnd‚Äô is all possibilities in a nutshell. A secular litany that follows pi into infinity.

Hour 1: 12:00‚Äď1:00pm EST

Seriation #2a: _and (with thoughts of Adrian Piper) (2021)
In this newly commissioned work, DeFreitas creates a score based on Piper‚Äôs essay Passing for White, Passing for Black by isolating the word ‚Äėand‚Äô on the pages they appear. DeFreitas then performs this score, reciting the word ‘and’ evenly spaced within the timeframe of 1 minute per page.

Seriation #2: Now (1968)
Soundwork by Adrian Piper; Performed by Erika DeFreitas
DeFreitas was given permission by Piper to perform Seriation #2: Now. The original soundwork consists in 18 minutes of Piper uttering the word “now,” in a measured tone, at shorter and shorter intervals, from one minute to every second. Accompanying the audio are visuals created by DeFreitas to question our presence in the ‘now.’

Vivência Poética curated by Erika DeFreitas

FADO Performance Art Centre’s 2008 Emerging Artists Series, Viv√™ncia Po√©tica, pairs established artists with emerging artists in the creation of a collaborative performance work.

Diane Borsato & Stacey Sproule
Keith Cole & Diana Lopez Soto
John Marriott & Suzanne Caines

The curatorial premise of this project required an emerging and an established performance artist to collaborate jointly, and in turn with participants within the space in which they work/present. I am interested in the relational aspects within the collaborative process between artists, and how it specifically pertains to questions of authorship, communication, tension, and pedagogy. I am certain that these collaborations will challenge the concept of relational aesthetics as it is outlined by Nicolas Bourriaud in his text Relational Aesthetics.

Erika DeFreitas, curator
Five Holes: Listen!

Curated by Paul Couillard

Erika DeFreitas
Linda Rae Dornan
Eric Létourneau
So-Yeon Park
Jed Speare

Five Holes: Listen! presents five unique performance ‘maneuvers’ dealing with the sense of hearing. Five Holes: Listen! is the fourth offering in the multi-year Five Holes series that seeks to examine the nature and importance of bodies (performer and audience) in performance art by focusing on individual senses.

This iteration in the series considers acts of “listening” as they are carried out by and impact upon physical, social, political and spiritual bodies. In OPEN, Linda Rae Dornan presents herself as a solitary figure, sitting quietly in the city, listening‚ÄĒencouraging us to also stop for a moment to hear what we normally ignore. Erika DeFreitas performance, entitled Untitled: Selective Hearing, offers her presence for a one-on-one exercise of listening as a way of locating the self. In A Quiet Zone II, Jed Speare lobbies the city for a quiet zone that would serve as an area of sound awareness. So-Yeon Park assembles chanters from various cultures to direct their voices toward individual participants’ wishes as a way of channeling transformative energy in Interfaith Chanting/Praying Ceremony. And in Standard III, Eric L√©tourneau evokes silence as a way of marking and remembering all of the world’s victims of political persecution in a multi-layered project that interrogates the role of the State and of mass media in silencing “silence” itself.


OPEN by Linda Rae Dornan
September 15, 2004 @ 8:00am‚Äď12:00pm | Queen’s Park, Toronto
September 16, 2004 @ 8:00am‚Äď12:00pm | University Avenue traffic island, south of Gerrard Street
Artist Talk: September 16, 2004 @ 8:00pm | WARC, 122‚Äď401 Richmond Street West

OPEN features Linda Rae Dornan in a durational tableau performance of listening, only listening, in an open space surrounded by non-functioning audio speakers. It is about slowing down, actually hearing the world breathe around oneself, and being part of that breath. Time slows down, and one is absorbed into the soundscape, into hearing oneself and the world.

Untitled: Selective Hearing by Erika DeFreitas
September 25‚ÄďOctober 24, 2004
Saturdays & Sundays @ 9:00am‚Äď5:00pm | various locations
Presented in conjunction with the 7a*11d International Festival of Performance Art

Untitled: Selective Hearing explores the sense of hearing and more specifically the act of listening as an intimate act of inclusion, trust, and the location and dislocation of self amidst a variety of public venues in Toronto. Artist Erika DeFreitas will be offering her shared presence to those who are interested in taking the time to sit and listen to their surroundings. Participants sign up for a particular place and time to join the artist in a conscious act of listening to the surrounding space. DeFreitas notes about this piece: “Our society depends heavily on conscious auditory perception as being selective, and this perception has created a culture of selective hearing. Our ability to ‚Äėblock‚Äô things out allows us to choose when we want to listen, what we listen to, and what we hear. Various components of our surrounding environment have perpetuated this practice of filtering sound and have dictated what is allowed to take root and what must be discarded. Such forms of selective hearing and escapism can alter our environment in a surreal way. In his writing about conceptual art, I believe that an awareness of the ways that a sense of space or environment can be established through sound, as well as an understanding of how we might unconsciously use sound to essentially make an environment transferable, can develop through a process of active listening.”

A Quiet Zone II by Jed Speare 
October 7, 2004
Artist Talk: October 7, 2004 @ 4:00pm | Rectory Caf√©, Ward’s Island

In A Quiet Zone II, Jed Speare seeks to establish a zone of quiet through municipal channels in a neighbourhood of Toronto‚ÄĒnot for the purpose of restricting noise, but for promoting sound awareness and contemplation. Under city by-laws, Quiet Zones regulating noise activity can be established around hospitals and retirement homes. Speare’s proposal seeks to overturn and expand the notion of the Quiet Zone philosophically and idealistically, creating an occasion and site for an aesthetic experience, listening to a particular urban environment. For the past several months, Speare has been seeking the appropriate agency to initiate a formal process to create a zone in the inner harbour at Ward’s Island. From late September, Speare will be working in Toronto to meet with community members and officials and continue this process, culminating in an event on October 7 that will present his progress to-date, at a site and time to be determined. A Quiet Zone II is supported in part by a residency at Do While Studio in Boston and a grant from the Nicholson Foundation. Download Jed Speare’s Quiet Zone (pdf)

Standard III by Eric Létourneau
Artist Talk: October 21, 2004 @ 9:00pm | XPACE, 303 Augusta Avenue, Toronto
Presented with 7a*11d International Festival of Performance Art

Eric L√©tourneau’s “manoeuvre” Standard III began as a two-hour uninterrupted nationwide radio broadcast on Radio-Canada on April 11, 2004 (Easter). The program featured 198 30-second periods of radio silence punctuated by an alphabetical listing of every country in the world. The same phrase introduced each silence: “Thirty seconds of silence for domestic and foreign political victims…” This broadcast was recorded live off the airwaves and remixed for publication on two CDs along with a text that considers the effects of administrative regulation and State control on mass media. Beginning in October 2004, copies of the publication will be sent through diplomatic channels to each country of the world. On the occasion of each country’s national celebration, its head of state will be contacted to verify the receipt and subsequent response to the CD.

Interfaith Chanting/Praying Ceremony by So-Yeon Park
January 27, 2005 @ 7:00pm
Alumni Hall of Victoria College, University of Toronto, 91 Charles Street, Toronto

Interfaith Chanting/Praying Ceremony is an interactive event organized by Korean artist So-Yeon Park. Park has assembled a circle of local volunteer chanters from a variety of religious traditions who will direct their voices toward participants’ wishes as a way of channeling transformative energy. Audience members are invited to walk around the circle and listen, as well as to enter the circle and hold a wish while the chanters surround them and pray for their wish to come true. Park explains, “This spontaneous multi-faith circle of chanting and prayer brings together people from many faiths. Religious/spiritual practitioners are invited to experience and share their own deep faith in an environment of diverse spiritual devotion. Viewers will have an opportunity to witness and feel the power of prayer.”

Gestures curated by Tanya Mars

FADO is proud to present Gestures, an evening of performance works by five emerging artists and recent art school graduates. Curated by Tanya Mars, the evening focuses on concepts of gesture: gesture as movement, gesture as courtesy, gesture as mark. Reflecting a range of strategies and approaches to performance, Gestures introduces a fresh, vibrant, and diverse group of local and regional performance artists to Toronto audiences.

Adrian Kahgee
Christine Peplinksi
Erika DeFreitas
Julian Fiala
Keith Fernandes

FADO’s on-going Emerging Artists series grew out of this first event, initiated by performance artist and educator Tanya Mars. One event expanded into an on-going series in order to provide a professional platform for emerging artists and curators from Toronto and beyond. Working within a curatorial framework, the series is intended to nurture new work and ideas, as well as provide direction and mentorship. The series is also a vehicle to showcase the work of the community‚Äôs newest perspectives in performance art.


Erika DeFreitas’ multidisciplinary practice includes performance, photography, video, installation, textiles, drawing and writing. Placing emphasis on gesture, process, the body, documentation and paranormal phenomena, DeFreitas mines concepts of loss, post-memory, legacy and object-hood. Her work has been exhibited nationally and internationally.

Keith Fernandes is a fifth year arts management student at the University of Toronto majoring in Drama. His recent credits include an original adaptation of Lewis Carroll’s Alice in Wonderland, and an original clown performance entitled The Golden Ball, which was awarded Best Production at the University of Toronto Drama Festival.

Julian Fiala is a feminist artist/activist working predominantly in performance and installation. Over the last two years, Julie has worked with marginally housed communities, women, and Queen’s University janitors to explore themes such as sex and class privilege, as well as notions of public/private space Recent credits include speaking at the Agnes Etherington Art Centre’s Active Practices Symposium and co-curating ARTHappens2, an evening of performances, happenings and events at Modern Fuel Artist-Run Centre. Julie currently resides in Kingston, where she has taken a job as Modern Fuel’s Program Director.

Adrian Kahgee is an Anishnaabekwe originally from Saugeen First Nation. She currently resides and teaches in Toronto. As an emerging video and performance artist, Adrian has worked on a number of collaborative projects with other First Nation artists, including Four Red Women Nude a radio/ performance art production aired on CBC radio. She has also been involved with the emerging video artist collective 640 480. Her most recent collaborative work, a documentary titled The Original Summit, Journey to the Sacred Uprising premiered at the 2002 imagineNATIVE Media Arts Festival in Toronto.

Christine Peplinski is a recent graduate of the Fine Arts program at the University of Toronto. She believes that art is better than the truth.

Erika DeFreitas


Erika DeFreitas’s multidisciplinary practice includes performance, photography, video, installation, textiles, drawing and writing. Placing emphasis on gesture, process, the body, documentation and paranormal phenomena, DeFreitas mines concepts of loss, post-memory, legacy and objecthood. Her work has been exhibited nationally and internationally including: Kitchener-Waterloo Art Gallery; Gallery TPW, Toronto; Project Row Houses and the Museum of African American Culture, Houston; Fort Worth Contemporary Arts; and Ulrich Museum of Art, Wichita. She is a recipient of the 2016 Toronto Friends of the Visual Arts Finalist Artist Prize, the 2016 John Hartman Award, and was longlisted for the 2017 Sobey Art Award.

Artist Orange

Just as a performance artist uses their body as their medium, this is a fragrance composed entirely of the orange tree: fruit, leaves, bark, roots, and flowers. Artist Orange performs itself.

Top Notes

neroli, blood orange

Middle Notes

fresh orange juice, petit grain

Base Notes

orange twig, orange seed