Performance
A Score of Scores

10 artists. 10 score writers. A score is an old term for ‘twenty’ of something = A Score of Scores.

ARTISTS & SCORE WRITERS
Abedar Kamgari & Naseh Kamgari
Holly Timpener & Enok Ripley
James Knott & Francisco-Fernando Granados
Keith Cole & David Roche
Laura Paolini & Tomasz Szrama
Mikiki & Jan Peacock
Paul Couillard & Elvira SantamarĂ­a-Torres
Rita Camacho Lomeli & Alejandro Tamayo
SA Smythe & Autumn Knight
Tanya Mars & Myriam Laplante

Put together by Shannon Cochrane and Francesco Gagliardi

FADO’s spring performance art series invites 10 artists to perform the interpretation of a performance score, written for them by an artist of their own choosing. Artists from across a spectrum of practices grounded in live performance (including cabaret, music, experimental composition, intermedia, video and more) interpret a score designed for them by an array of Canadian and international artists. The duos have chosen to strategize their collaboration in myriad ways—from conspiring together to revealing the final score only moments before the live presentation.

Emerging in the early 1960s in the context of the FLUXUS movement and in conversation with the expanded compositional practices of John Cage and LaMonte Young, “event scores” relied on elements of collaboration, improvisation, and chance to challenge traditional understandings of originality and artistic creation. Often very short, event scores typically consisted of lists of prompts and instructions ranging from the mundane to the elusively abstract and were circulated among fellow artists with an open invitation to interpret and perform them however they wanted. 

A Score of Scores is an experimental back-to-basics platform for artists to create new small-scale work in a spirit of experimentation, collaboration, and agility.

May 12: Performances by James Knott, Tanya Mars
May 13: Performances by Keith Cole, Laura Paolini
May 18: Performances by Paul Couillard, Holly Timpener
May 19: Performances by Mikiki, SA Smythe
May 20: Performances by Rita Camacho Lomeli, Abedar Kamgari

Documentation
A Score of Scores by Paul Couillard
Artist
Paul Couillard

© Paul Couillard. Duorama #129 (performance with Ed Johnson), Museo de Arte ContemporĂĄneo de Oaxaca, 2020. Photo Fausto Luna.

Canada

Paul Couillard has been working as a queer artist, curator, and performance art scholar since 1985. He has created well over 300 performance works in 26 countries, often with his husband and collaborator, Ed Johnson. Paul was the Performance Art Curator for FADO from 1993 until 2007, and is a founding co-curator of 7a*11d. His main areas of interest include site-responsiveness, building community, and addressing trauma through explorations of our bodies as shared vessels of sensation, experience, knowledge and spirit. He is the editor of the monograph series Canadian Performance Art Legends, and has been a lecturer at McMaster University and the University of Toronto Scarborough. He recently completed a doctorate through the York Graduate Program in Communication and Culture. His dissertation Rethinking Presence with a Thinking Body: Intra-active Relationality and Animate Form offers a meditation on presence from the perspective of a thinking body, integrating insights from continental philosophy, popular neuroscience, and interactive performance art practices.

Book
Golden Book 2: Duorama


Second in the Golden Book series: Duorama, by Paul Couillard and Ed Johnson. This special edition Golden Book comes in four parts.

Partners in life and art, Paul and Ed have worked together on the performance art series Duorama since 2000. Playful, beguiling and often minimalist, these pieces explore notions of relationship, and draw on collaborative and competitive tensions that underlie all partnerships. Responding to site and examining cultural attitudes toward male intimacy are key elements of Duorama. Recurring themes revolve around shifting interpretations of what is political and what is personal. Many of the works can be read in terms of the current social and political climate surrounding gay culture, offering askance references to issues such as gay marriage, HIV-status, and portrayals of gay culture. To date, 113 Duorama performances have been presented at galleries, festivals and various events in Canada, France, Poland, Croatia, Ukraine, Belarus, Finland, Germany, Switzerland, Spain, the USA, Singapore, Ireland and the UK.

Golden Book 2: Duorama (2014)
Editors: Paul Couillard, Ed Johnson
Design: Lisa Kiss
Publisher: FADO Performance Art Centre
Series: Golden Books, 2nd
4 booklets; 86 pages text + photo (b/w); 4.24 x 6 inches ; Print Book, English

Performance
Duorama #114–121

In 2014, FADO is celebrating a milestone—our 20th Anniversary. To commemorate we are looking back to our very beginnings, and are proud to present Duorama #114, #115, #116, #117, #119, #120 and #121, a series of performances created by FADO’s former Performance Art Curator and founding Director Paul Couillard, together with FADO founding member Ed Johnson. Partners in life and art, Paul and Ed have worked together on the performance art series Duorama since 2000.

Playful, beguiling and often minimalist, these pieces explore notions of relationship, and draw on collaborative and competitive tensions that underlie all partnerships. Responding to site and examining cultural attitudes toward male intimacy are key elements of Duorama. Recurring themes revolve around shifting interpretations of what is political and what is personal. Many of the works can be read in terms of the current social and political climate surrounding gay culture, offering askance references to issues such as gay marriage, HIV-status, and portrayals of gay culture. To date, 113 Duorama performances have been presented at galleries, festivals and various events in Canada, France, Poland, Croatia, Ukraine, Belarus, Finland, Germany, Switzerland, Spain, the USA, Singapore, Ireland and the UK.

Starting with Duorama #114 presented in the context of the Rhubarb Festival at Buddies in Bad Times Theatre (where it is rumoured Paul and Ed met for the very first time), FADO hosts seven new Duorama performances between February and September. 

Duorama #114
Presented at the 35th Rhubarb Festival
Buddies in Bad Times Theatre, 12 Alexander Street
February 12, 2014 @ 6:00pm–9:00pm

Duorama #115
Presented in the context of the LINK & PIN performance art series, LONG-TERM, which focuses on duos and long-term collaborations. Curated by Sandrine Schaefer and Adriana Disman.
hub14, 14 Markham Street
April 12, 2014 @ 2:00pm–6:00pm

Duorama #116
Presented by Offthemap Gallery | With the Counterpoint Community Orchestra
St. Luke’s United Church, 353 Sherbourne Street
June 7, 2014 @ 7:30pm

Duorama #117
Presented in the context of the exhibition Generations of Queer, curated by Lisa Deanne Smith
Onsite @ OCAD University, 230 Richmond Street West
June 25, 2014 @ 8:00pm

Duorama #118
An intervention into Toronto’s 2014 Pride Parade!
June 29, 2014

Duorama #119 & #120 (plus post-performance artist talk)
Presented by Sunday Drive Art Projects in Warkworth, Ontario
August 24 & 30, 2014 @ 1:00pm
Sunday Drive Art Projects has brought together a roster of some of Toronto’s most active artist-run centres and collectives to present satellites in the beautiful village of Warkworth from August 23–September 6, temporarily transforming it into a hub of contemporary art.

Duorama #121 & Golden Book Launch
Centre Island Pier, Toronto Islands
September 27, 2014 @ 3:00pm–6:00pm
For this last image in the series, the artists present a 3-hour turning meditation on the Centre Island pier, a kinetic and visual action designed to connect land, water and sky. FADO is also pleased to be launching the second in our Golden Book series with a 4-book ‘zine chronicling the entire Duorama series to date, from #1–120. The books are divided by years, and shows one image for each performance in the series. You can get your limited edition Duorama Golden Book at our watery publication launch on the 2:30pm ferry to Centre Island, or on the 6:45pm ferry home.

© Paul Couillard & Ed Johnson, Duorama #115, 2014. Photo Henry Chan.

Performance
SHUT UP!

FADO presents Shut Up!, a series of 10 outdoor performances dealing with the themes of incarceration and wrongful imprisonment—literally, the state of being “shut up.” This event is the second half of a performance art exchange between Chicago and Toronto that began in 1998. Shut Up! offers a unique opportunity for Toronto audiences to sample the styles and aesthetics operating in Chicago’s performance art community in relation to performances by some of Toronto’s hottest performance artists.

The evening will feature a range of styles, from tableaux to spoken word, from interactive, participatory works to spectacle and multimedia presentations. The theme of incarceration will be approached from a wide variety of perspectives, from the highly topical and political (e.g. the recent persecution of Falun Gong practitioners) to considerations of the philosophical, psychological and emotional aspects of incarceration.

CHICAGO ARTISTS
Andrea Polli & Chuck Varga
Jeff Callen
Julie Laffin & Andrew Cook
Louise McKissick
Marlon Billups & Shannon Harris

TORONTO ARTISTS
Ed Johnson
Louise Liliefeldt
Paul Couillard
Shannon Cochrane
Will Kwan

Untitled by Jeff Calan
Jeff Calan continues his work with storytelling using a series of intimately mechanized objects and a camera obscura, and will perform inside it. A frame in a false wall shows what appears to be a photograph, but upon closer inspection it seems to be a film or video, as it is moving, yet it is very sharp, sharper than a film. A hand is seen pulling a scrolling roll of paper, upon which is written a narrative that is full of various events, their causes and effects, and the desperation that comes from being unable to connect cause and effect. The image the audience sees is really from an old, large-format camera with a groundglass back which is behind the frame and it is pointed toward the performer who is moving a roll of paper that contains text from court transcripts of wrongly convicted people on death row. Small objects will be presented within the frame every few minutes. If an audience member walks behind the false wall, the performer takes a flash photograph of the audience member.

Eleven Cent Magic by Shannon Cochrane 
With Jennifer Rashleigh. Thanks to Andrew Pommier. For Kenneth because he invented and constructed the first ‘portable pitcher’s mound’ in 1952. Unfortunately, when it was filled with sand, it was too damn heavy to actually be transported anywhere. His father looked out the cottage window, laughed and went back to reading the paper. The research continues here. Eleven Cent Magic: an experiment to prove that time flies and birds really only float.

Blackstrap by Paul Couillard
In this tableau work, using the fitness trail apparatus, Paul’s body slowly shifts from light to dark.

Untitled by Edward Johnson
This solo tableau work (in the skating rink) considers the physical and psychological realm of confinement in all of its vastness and claustrophobia.

Untitled by Will Kwan
This performance draws links between the ‘silent’ gestures of mime performance and ‘silent’ displays of state power as exhibited through a popular form of punishment known as community service, in this case, maintenance work. The performance addresses the issue of the function of the artist in society: as performer, worker, criminal and clown.

255 by Julie Laffin & Andrew Cook
255 is not a performance. It is an actual memorial to the practitioners of Falun Gong who have lost their lives since July of 1999 when Jiang Zemin branded Falun Gong an “evil cult” and launched his campaign to erase all the Falun Gong practitioners in China by any means necessary. Falun Gong is an ancient moving meditation (Qi Gong) that was once supported by the Chinese govt. for it’s great abilities to improve health. It was banned partly because of the sheer numbers of practitioners, which before the crackdown began, far out-numbered communist party membership in the PRC. The number 255 attempts to quantify the number of human lives that have been taken (that we know of) by means of unspeakable brutality by the Chinese authorities during the deadly campaign against Falun Gong. Practitioners who would not renounce their faith were and are at this moment being tortured to death. When we began this project in May of this year, only two months ago, the number of documented deaths was 196. The number 255 does not begin to speak about the tens of thousands of Falun Gong practitioners now illegally detained in prisons, psychiatric facilities and labor camps. It does not speak of the rapes, torture, beatings, threats, intimidations, indignities, humiliations, unfair trials, force-feedings, forced druggings, “re-education” efforts, psychological abuses, and countless other inhumane acts against a group of people for simply asserting their right to their spiritual beliefs and peaceful practices. The number also can never represent the suffering of the families and loved ones of the practitioners that have been murdered or have had atrocities perpetrated upon them. The dress you see documents with photos and written names those Falun Gong practitioners who have been killed in police custody since the merciless crackdown began in China exactly two years ago yesterday. It is a companion dress to one that is currently in Washington, D.C. at a rally held there to bring global attention to end the crackdown in China. As citizens of the free world, we urge you to refuse to tolerate the policies of the Chinese government against Falun Gong practitioners in whatever large or small ways you can.

DEVI by Louise Liliefeldt
Devi, also known as the “Bandit Queen,” was born into a poor lower-caste rural family in the northern Indian state of Bihar. She became the subject of great fame and notoriety throughout India as the leader of a violent gang of dacoits (bandits) who terrorized authority for years until their surrender in 1983. Phoolan Devi became a popular cult figure, a vigilante liberator and a symbol of empowerment for the lower-castes of Bihar. This work is a homage to her journey and the strength for which she stands.

I Will Cut Your Grass by Louise McKissick
Digital Video, 1:26:13, 2001
At one time, Dorothy Gaines ‘loved the wrong man’ and ended up in prison. She was put away by purely circumstantial evidence – her ex-lover, a convicted crack dealer, accused her of dealing drugs in order to obtain a reduced sentence for himself. The prosecutors found no evidence of cocaine or any other illegal drugs in her home. She was given a 19-year sentence. “I will cut your grass” is based on a letter written to the judge by Dorothy’s son, Phillip Gaines, age 11, at the time of her sentencing. A fluidly moving camera tracks youthful exuberance at the Washington Park waterslide on a Sunday afternoon, providing a counterpoint to Phillip’s words.

Untitled by Andrea Polli & Chuck Varga
Andrea and Chuck are interested in the use of sound in the establishment of power in government and the military. Their piece involves a ‘Speaker’s Corner’-style open mic, but those who try to use the forum will discover that the words broadcast are not those spoken in the microphone.

PLUS: The Ghetto by Marlon Billups & Shannon Harris

© Louise Liliefeldt, DEVI, 2001. Photo courtesy of the artist.

Performance
Trace Elements by Paul Couillard

FADO celebrates the solstice on December 21 with Trace Elements, a new performance by Paul Couillard. This is the final event in FADO’s 12-month durational performance series, TIME TIME TIME. Lasting a full 24-hours, the piece will begin and end at astronomical twilight – 6:28 pm local time.

Trace Elements will generate a numerological mandala that re-marks 2000 years of calendar time. In this ‘action/installation,’ Couillard will turn YYZ gallery into a room-size colour field sculpture made up of 2000 pieces of cloth saturated in spice. The performance, anchored in the ritual action of creating the installation, will unfold through a series of casual and intimate one-on-one encounters between the artist and audience members.

In advance of the work, Paul offers these thoughts:

I see this piece as a representation of experience, how history layers and accretes, how time marks us. The whole piece is a personal time marker, both in the doing of the action and in the physical presence that is generated by the doing. It seems to me that our relationship to time – which was once more rooted in the rhythms of day, night, and the seasons – has become very shaky. We have no attention span for time; our ways of looking at it, and of representing it, are inadequate. We need new metaphors to help us envision time’s workings, not to mention its scale.

In part, Trace Elements is a hopeful conjuring act against the hype – and especially the boredom – of millennium frenzy. I think our boredom comes from a frustration with the lack of any real significance to attach to that flip of the zeroes. I’m willing to go to this place of boredom because of what all of my training has taught me, which is that boredom is a fantastic gateway to uncovering and creating meaning.

Performance
Rencontre Performance

Presented by FADO in cooperation with Le Lieu in QuĂ©bec City, as a satellite event of Le Lieu’s Rencontre internionale d’art performance et multimĂ©dia. This event was organized and curated by Sandy McFadden with the support of Istvan Kantor and Paul Couillard.

ARTISTS
Paul Couillard (Toronto)
Ed Johnson (Toronto)
Istvan Kantor (Toronto)
Louise Liliefeldt (Toronto)
Richard Martel (Québec)
Julie Andrée T. (Québec)
BMZ (Hungary)
Roddy Hunter (UK)
Tari Ito (Japan)
Dziugas Katinas (Lithuania)
Gustav Uto (Romania)
Hong O Bong (Korea)
Irma Optimist (Finland)
Hortensia Ramirez (Mexico)
André Stitt (N. Ireland)

Performance
Five Holes: I’ll be seeing you

Curated by Paul Couillard

ARTISTS
Bernice Kaye
Ed Johnson
Fiona Griffiths
Paul Couillard
Sandy McFadden

Shake off the New Year’s blahs by taking in a performance art peep show. FADO combines installation and performance art in Five Holes: I’ll be seeing you, featuring new works created by members of the FADO collective. Isolated in individual cubicles, the performers will each create their own six-hour performance work that can only be seen through tiny peepholes. Twenty-five cents buys viewers a one-minute look, or for $5 you can be an audience for the full six hours.

What’s behind that curtain? There’s only one way to find out.

Performance Yellow

This fragrance opens us to the question, has the show started? It's winter, the theatre is colder than the street and the room is filled with people and all their winter smells: wet faux leather, down, too much shampoo, and beer breath. The atmosphere is a trickster. Am I late, am I early?

Top Notes

yellow mandarin, mimosa

Middle Notes

honey, chamomile, salt

Base Notes

narcissus, guaiac wood, piss, beer