FADO Performance Art Centre E-Bulletin for January 2019
INDEX
1. FADO Performance Art Centre presents Cock
and Bull by Nic Green
TWO PERFORMANCES: January 30 &
February 2, 2019
2. FADO Performance Art Centre
presents Documents by Autumn Knight
ONE NIGHT ONLY:
February 8, 2019
3. PUBLICATION: 9Questions, an artist project by
Gustaf Broms
Published by FADO Performance Art Centre and Centre for
Orgchaosmik Studies
4. CALL FOR SUBMISSIONS: Rencontre
Interuniversitaire de Performance Actuelle 2019
Deadline date: January
18, 2019; City: Montréal, Canada; Source: RIPA
5. EVENT:
Crossing Permissions by Sinéad O'Donnell
Date: February
1–March 27, 2019; City: Armagh, N.Ireland; Source: Sinéad
O'Donnell
6. EVENT: To Valerie Solanas and Marilyn Monroe in
Recognition of Their Desperation
Date: February 17, 2019; City:
Toronto, Canada; Source: Public Recordings
7. EVENT: Dronesphere
Colloquium
Date: February 23, 2019; City: Toronto, Canada; Source:
Simon Rabyniuk
8. CALL FOR SUBMISSIONS: EMERGENYC 2019
Deadline
date: February 26, 2019; City: New York, USA; Source: Hemispheric
Institute
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1. FADO Performance Art Centre presents Cock and
Bull by Nic Green
TWO PERFORMANCES: January 30 &
February 2, 2019
Cock and Bull
Conceived and directed by Nic
Green
Performed by Nic Green, Rosana
Cade and Laura Bradshaw
Curated and presented by FADO Performance Art Centre for Progress
Originally conceived for the eve of the 2015 UK general election, Cock and Bull sees three females convene to perform their own, alternative, party conference.
Exploring power, voice, agency and sustainability, they use the most heard phrases from Conservative governmental rhetoric, to dismantle and redress dominant paradigms of power and Politics. Responding to the meaninglessness and repetition of empty political promise, the privilege of the governmental elite and the deep discontent of an increasingly disproportionate and divided society, this work is part protest, part catharsis, part exorcism. It becomes, in part, a demonstration of togetherness. Cock and Bull is a transforming choreography of words and a passionate speech of the body, underpinned with the real-time energy of political dissatisfaction and tory tongue-speak.
For the Toronto premiere of Cock and Bull, two iterations are performed: the original short version (one hour) and the long version lasting the length of an average sitting of the House of Commons (over 7 hours). Presented as bookends in the first week of Progress, audiences are afforded the unique opportunity to investigate the performance’s structure and form as it expands (and contracts) over time.
Winner of the Total Theatre Award for best visual/physical theatre, Edinburgh (2016)
“A quiet, luminously brilliant, meditation on politics
and pain.”
~Exeunt Magazine
★★★★ “A blistering, beautiful
act.”
~What’s On Stage
★★★★ “Astonishing…Unforgettable
performances.”
~The Scotsman
SCHEDULE
Wed | January 30 | 7:30pm (short version)
Sat | February 2 | 2:00pm (long version)
DURATION
January 30 | 60 minutes
February 2 |
7 hours & 41 minutes
CREDITS
Conceived and Directed by Nic Green
Created
with Laura Bradshaw and Rosana Cade
Performed by Laura Bradshaw,
Rosana Cade and Nic Green (short version)
Performed by Rosana Cade and
Nic Green (long version)
LX design by Eleni Thomaidou
Technical
support by Murray Wason
Production Manager (Toronto) by Deb Lim
LANGUAGE
Performed in English
TICKETS
January 30 | $25
February 2 | $15 (or free,
with a purchased ticket to January 30 performance)
PLEASE NOTE: February 2nd is a durational performance. Audience is invited to come and go with your wristband as space allows. Tickets for this performance are available at the door only, starting two hours before performance start time.
PROGRESS FESTIVAL
This year's Progress Festival takes
place between January 30–February 17, 2019. Progress is collectively
curated by FADO Performance Art Centre, F-O-R-M, Native Earth Performing
Arts, SummerWorks, The Power Plant, the red light district, The Theatre
Centre, Uma Nota Culture and Why Not Theatre. Produced by SummerWorks in
association with The Theatre Centre.
Single Tickets: $25 | PURCHASE TICKETS
3-Show Progress Pass: $60
| PURCHASE PASS
Box Office: 416-538-0988
www.performanceart.ca
www.progressfestival.org
+++
2. FADO Performance Art Centre
presents Documents by Autumn Knight
ONE NIGHT ONLY:
February 8, 2019
Documents
Conceived and performed by Autumn
Knight
Curated and presented by FADO Performance Art Centre for Progress
Documents centres uses dialogue, gesture and the voice of both the artist and the audience to uncover and critique structures of power. Troubling the division of labour between the performer and the audience divisions, Documents involves a public reading of the documentation that serves to authenticate or legitimize citizenship. Central to this work is a filing cabinet that both holds the props required for the performance, while also serving as a portrait or trace of the artist. The interactive reading of the documents in the files addresses the embodied specificities of race, class, gender, sexuality to contest whether these categories accurately reflect the bodies they are meant to represent—while underlining how different audiences and relationships to power may influence this reading.
SCHEDULE
Fri | February 8 | 7:30pm
DURATION
75 minutes
CREDITS
Conceived and performed by Autumn Knight
LANGUAGE
Performed in English
TICKETS
$25
PROGRESS FESTIVAL
This year's Progress Festival takes
place between January 30–February 17, 2019. Progress is collectively
curated by FADO Performance Art Centre, F-O-R-M, Native Earth Performing
Arts, SummerWorks, The Power Plant, the red light district, The Theatre
Centre, Uma Nota Culture and Why Not Theatre. Produced by SummerWorks in
association with The Theatre Centre.
Single Tickets: $25 | PURCHASE TICKETS
3-Show Progress Pass: $60
| PURCHASE PASS
Box Office: 416-538-0988
www.performanceart.ca
www.progressfestival.org
+++
3. PUBLICATION: 9Questions, an artist project by Gustaf
Broms
Published by FADO Performance Art Centre and Centre for
Orgchaosmik Studies
9Questions, an artist project by Gustaf Broms
Publication: $20
Publication & postage for Toronto:
$25
Publication & postage to Canada/USA: $30
Publication
& postaget to UK/Europe: $35
Pay via PAYPAL, credit or debit. Email in...@performanceart.ca to place your order. Or purchase a copy through Unbound: www.thisisunbound.co.uk/collections/books/products/9questions
In 2014, Swedish performance and visual artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists—many he had a personal connection with and many more he had never even met. The questions covered a range of paired concepts—the bricks and mortar of performance practice (including Material/object, Audience/receiver, Sound/silence, Time/rhythm, Space/emptiness)—and grounded by questions about personal experience, lineage and language. The impulse to gather this collection arose from a conversation Broms had had with another artist; but what makes this volume first and foremost an artist’s book is that the questions are asked from the specific perspective of Broms’ deep personal understanding that, as a practice, performance resides at the permeable borders between the conscious and subconscious, and the meeting of the concrete world of form and the spiritual realm. For Broms, these are the essential questions. The responses collected are as diverse and wide-ranging as the artists and their own approaches, from the practical, to the abstract to the simply far-flung, in addition to some reassuring and surprising overlapping ideas and connections.
The roster of contributors to the 9Questions book project is an impressive array of international performance artists whose work covers a range of performance and performative multi-disciplinary approaches, including: Adina Bar-On, Alastair MacLennan, Andrea Saemann, Antoni Karwowski, Arahmaiani, Artur Tajber, Barbara T. Smith, Bartolomé Ferrando, Boris Nieslony, Brian Connolly, Dorothea Rust, Elvira Santamaria-Torres, Esther Ferrer, Fausto Grossi, Guadalupe Neves, Guillermo Gómez-Peña, Gustaf Broms, He Yunchang, hermann nitsch, Irma Optimist, Jamie McMurry, Jill Orr, Johanna Householder, John Duncan, Kurt Johannessen, Leif Elggren, Linda Mary Montano, Macarena Perich Rosas, Margaret Dragu, Mariel Carranza, Marilyn Arsem, Martha Wilson, Monika Günther & Ruedi Schill, Myriam Laplante, Nigel Rolfe, Nobuo Kubota, Paul Couillard, Pekka Kainulainen, Rocio Boliver, Roi Vaara, Ron Athey, Serge Olivier Fokoua, Shannon Cochrane, Stelarc, Tanya Mars, Tehching Hsieh, Tomas Ruller, Valentin Torrens, Zbigniew Warpechowski and Zhu Ming.
ABOUT GUSTAF BROMS
Gustaf Broms is a Swedish visual
artist working in performance, video and photography. His performance work
has presented work across Europe, Asia and North America. His practice is
engaged with the exploration of the nature of consciousness, the dualistic
concept of "I," as the biological reality of being in the BODY, and being
MIND, as the perceived experience of the flow of phenomena. He is a
co-founding member of REVOLVE Performance Festival in Uppsala. He was the
subject of 2012 film, The Mystery of Life – An Art Apart: Gustaf
Broms by Carl Abrahamsson.
Published by FADO Performance Art Centre and Centre for
Orgchaosmik Studies
Edited by Gustaf Broms and Shannon Cochrane
Translations by Paula Alvarado, Robert Rowley, Nicolas Scrutton, Jie
Wang
Design: Lisa Kiss Design
ISBN978-0-9730883-4-2 (FADO Performance Art Centre,
Canada)
978-91-639-8460-0 (Centre for Orgchaosmik Studies,
Sweden)
This publication project is supported by Stiftelsen Längmanska kulturfonden. FADO Performance Art Centre acknowledges the suport of the Canada Council for the Arts, Toronto Arts Council, Ontario Arts Council, and the Department of Canadian Heritage.
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4. CALL FOR SUBMISSIONS: Rencontre Interuniversitaire de
Performance Actuelle 2019
Deadline date: January 18, 2019; City:
Montréal, Canada; Source: RIPA
Rencontre Interuniversitaire de Performance Actuelle (RIPA) invites university-level student artists (current or recently graduated), from Quebec and neighbouring territories to submit a proposal for its upcoming evening of performance art which will be held in April 2019, in Tiohtiá:ke/Montreal.
RIPA is looking for proposals for all variations of performative practice: action art, intervention, art furtif, reenactment, la manoeuvre, body art, sound, musical and theatrical practices, etc. Offsite proposals presented as an extension of the event are also welcome, as well as works incorporating new media.
The performances presented over the course of the evening may be of different durations and some proposals may occur simultaneously.
An honorarium will be given to all selected artists. Although we have a budget dedicated to technical needs, RIPA is unable to cover artist’s expenses (materials, travel, accommodation, per diem). A modest compensation and support in finding accommodations will be offered to artists residing outside of the Montreal area.
Deadline: January 18, 2019, 11:59 PM.
Please send your application to the following email address: ripa.c...@gmail.com (contact: Joséphine Rivard). You will receive a confirmation of receipt of your application. Any questions can also be sent to this email address. No applications will be accepted past this date. Incomplete submissions will not be forwarded to the selection committee.
Your application must include, in one PDF file (maximum 10
MB), the following elements:
Resume/CV (max. 2 pages)
An artist
statement (max. 250 words)
A description of your proposed project
(max. 350 words)
The duration of the performance
A maximum of 10
digital images with the following information: title, date, duration, Web
site (if needed)
A link to video documentation, optional but highly
recommended (Vimeo or YouTube)
The list of your technical and
logistical requirements (the artist is responsible for the installation and
management of technical equipment, in collaboration with the technical
team)
For an overview of past editions or to find out more about RIPA’s mandate, please visit our website and our Facebook page:
www.ripa-performance.org/en/
www.facebook.com/RIPA.performance.actuelle/
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5. EVENT: Crossing Permissions by Sinéad O'Donnell
Date: February 1–March 27, 2019; City: Armagh, N.Ireland; Source:
Sinéad O'Donnell
Crossing Permissions by Sinéad O'Donnell
Millennium Court Arts Centre
February 1–March 27,
2019
Opening: February 1, 7–9pm
Live performance:
February 1, 8–8:30pm
Live performance & artist talk:
February 12, 12–1pm
A journey through the performance art body responding to feminine place and landscape in Asia, Latin America and Ireland. The exhibition documents a year long process including to camera performance in video & photograph, drawings & sculptural forms developed in Tokyo, Montevideo, Buenos Aires, San Paulo, Fukushima, Bangkok, Solo & Portadown.
Supported by The Arts Council of Northern Ireland major award, Flax Art Studios/ Art Centre Ongoing Japan exchange residency & British Council Northern Ireland.
A Free Bus will run between Belfast and Portadown on the evening of the opening. Leaves Belfast from Golden Thread Gallery at 6:45pm and returns from Portadown at 9:00pm.
Millennium Court Arts Centre
William Street, Portadown,
Co. Armagh
Northern Ireland, BT62 3NX
in...@millenniumcourt.org
www.millenniumcourt.org
+++
6. EVENT: To Valerie Solanas and Marilyn Monroe in
Recognition of Their Desperation
Date: February 17, 2019; City:
Toronto, Canada; Source: Public Recordings
To Valerie Solanas and Marilyn Monroe in Recognition of Their
Desperation
Presented by The Music Gallery
Produced by Public
Recordings and Christopher Willes
Sunday, February 17, 2019
7pm–9pm
Toronto City Hall Council Chambers
100 Queen Street
West, Toronto
FREE
Contributing artists:
Anne Bourne
Allison
Cameron
Ishan Davé
Prices Easy
Ellen Furey
Thom
Gill
Claire Harvie
Ame Henderson
Brendan Jensen
Germaine Liu
Bee Pallomina
Liz Peterson
Brian Solomon
Anni Spadafora
Evan Webber
Christopher Willes
And
others
Rehearsal direction: Kate Nankervis
In 1970, Pauline Oliveros (1932-2016) wrote an orchestral score titled To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation. Created in the after-shock of the political upheavals of 1968, and after having read the radical feminist text “Scum Manifesto”, Oliveros’ score imagined a “continuous circulation of power” enacted through performance. The piece marked the beginning of her turn away from the hierarchical tendencies of contemporary classical music and towards a practice that she would continue to develop throughout her life that she called Deep Listening.
Scored for coloured light and any number of musicians, this influential and celebrated work is the subject of Public Recordings next major site-specific performance. Asking, in Oliveros’ words, “How do you go beyond what you know how to do?” Public Recordings has assembled an experimental orchestra of musicians and non-musicians to learn this piece together, through a series of public rehearsals in community spaces in Toronto. This process will culminate in a free, one-time-only performance in Toronto’s City Hall’s Council Chambers.
Produced by Public Recordings and Christopher Willes. Developed with support from Happy like a flower, Toronto Arts Council, Ontario Arts Council, Feminist Art Museum, the Gardiner Museum, and Artscape Gibraltar Point. Performed courtesy of The Pauline Oliveros Trust. Published by Smith Publications 1973.
www.publicrecordings.org
Facebook event: www.facebook.com/events/372743520165395/
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7. EVENT: Dronesphere Colloquium
Date: February 23,
2019; City: Toronto, Canada; Source: Simon Rabyniuk
Dronesphere Colloquium
Daniels Faculty of Architecture, Landscape, and Design
1
Spadina Cres, Toronto, Canada
Saturday, February 23, 2019
11:00am to 6:00pm
To register your attendance, please go to our Eventbrite
link:
www.eventbrite.ca/e/dronesphere-colloquium-tickets-53351419532
No city has yet confronted a large scale domestic integration of either autonomous or remotely piloted aerial vehicles. Although, various district-scale experiments testing the occupation of urban airspace are underway. During the latter half of 2018, rural delivery has begun in remote communities in Ontario, and has a longer history in rural contexts outside of Canada. However, the city presents a set of different spatial, social, legal, regulatory, and technical challenges. This event, through a series of panels and presentations, will address the place of aerial robotics in the city. It will feature presentations by scholars from design practice, art, architectural history, surveillance studies and engineering. The drone’s “place” within the city will be triangulated through speculative proposals, historical analysis, and a critical engagement with their use in the present.
A detailed schedule will be posted prior to the event.
Speakers Include:
Ciara Bracken-Roche (UOttawa)
Sean Burkholder (UPenn)
John Harwood (UT)
Immony Men (OCAD
U)
Fiona McDermott (Trinity College)
Hillary Mushkin (CalTech)
Giovanni de Niederhäusern (Carlo Ratti and Associati)
Public
Studio (UT)Ala Roushan (OCAD U)
Sam Siewert (ERAU)
Scott Sorli
(UWaterloo)
Mason White (UT)
Keynote: Liam Young (Sci Arc)
Join speculative architect Liam Young and acclaimed electronic producer for the live expanded cinema performance, I Spy with my Machine Eye, a filmic tour told from the perspective of a drone drifting across the planet. Based around Young’s short film ‘In the Robot Skies’, the first fiction film shot entirely using preprogrammed drones and accompanied by acclaimed electronic producer Forest Swords’ original soundscape he narrates a near-future love story set against the fears and wonders of an impending drone age.
Special Thanks to the FADO Performance Art Center and the Italian Cultural Institute for co-presenting Liam Young’s performance lecture “I Spy With My Machine Eye”, and the “Projective Urban Air Mobility” panel, respectively.
Dronesphere Colloquium is organized by Simon Rabyniuk in conjunction with his Masters of Architecture thesis.
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8. CALL FOR SUBMISSIONS: EMERGENYC 2019
Deadline date:
February 26, 2019; City: New York, USA; Source: Hemispheric Institute
EMERGENYC 2019
The Hemispheric Institute of Performance
and Politics at New York University is now accepting applications for its
twelfth year of EMERGENYC, the Hemispheric New York Emerging Performers
Program focused on political performance. EMERGENYC aims to support the
development of hemispheric emerging artists through a program of workshops
and events between Sunday April 14th and Sunday July 7th, 2019 (see
“The Program” section below for details). We seek talented,
committed and highly motivated emerging performers/activists/artists whose
work aims to be a vehicle for political expression, and who examine the
broad range of identities, practices and histories of the Americas (the
western hemisphere, thus “hemispheric”) through forms such as
performance art, spoken word, urban interventions, satire, culture jamming,
political cabaret, theater, creative activism, video performance, movement,
and others. Drawing on the vitality of New York City as a hemispheric
crossroads, the program will enable performers/activists to work with
leading practitioners in the field, to take interdisciplinary leaps, and to
develop their own strategies to use performance for social change.
The Program
Selected participants will take part in
weekly Sunday workshops led by George Emilio Sánchez, as well as
workshops by established artists who are leaders in the field of
performance and politics. (Workshop leaders for 2019 will be announced
soon—check emergenyc.org for a list of previous guest instructors,
which have included: Alicia Grullón, Anna Deavere Smith, Avram
Finkelstein, Carmelita Tropicana, Dan Fishback, Daniel Alexander Jones,
Ebony Noelle Golden, Ed Woodham, Fulana, Guillermo
Gómez-Peña, The Illuminator, Jennifer Miller, Karen Finley,
Pamela Sneed, Pat Hoffbauer, Split Britches, Susana Cook, Tim Miller, as
well as EMERGENYC alumni, like Branden Jacobs-Jenkins and Ricardo Gamboa,
among others). We ask applicants to define issues that are important to
them and explore how creative practices can harness their political voice.
Past participants have explored themes of racism, racial stereotypes, and
racial violence; LGBTQ rights; gender and sexuality; war and human rights;
environmental justice; religion; and gentrification, etc. These engagements
have resulted in the creation of workshops in community programs,
interviews with members of various communities, and the creation of
performance art pieces, multimedia installations, theatrical explorations,
street performances, video art, and more.
The program will be divided into three phases:
Phase 1: every Sunday (10am–2pm) from April 14–July 7, participants work closely with George Emilio Sánchez in developing performance and activist strategies, such as Boalian techniques, performance art and site-specific interventions.
Phase 2: intensive daily sessions (10am–6pm) from May 19–25, participants work closely with leading practitioners, and explore specific tactics for work in the field.
Phase 3: Sundays (10am–2pm) from June 2–July 7, participants refine their work for a final presentation, building on the strategies explored through the workshops.
Performance presentations July 11, 2019: participants will share their strategies, performances, and installations during an evening program at Abrons Arts Center. *Please note: Abrons Arts Center is wheelchair accessible. Accommodations will be made for participants who for some reason may be unable to access the space.
This program has a fee of $1,000. A modest amount of financial aid will be available on a need basis. If your enrolement depends on financial aid, please let us know in your application below.
Who Is Eligible: EMERGENYC is now open to activists/artists/performers who live in (or can easily commute to) New York City. Applicants must have prior experience in various performance genres and/or activist practices.
Conflicts and attendance: Any conflicts applicants have with the EMERGENYC schedule (see the webpage for exact dates) should be noted in their application. Please note: Accepted participants with more than two absences, whether excused or not, may not be guaranteed a slot in the final performance at Abrons Arts Center on July 11.
How to Apply: The deadline to submit materials on Submittable is Tuesday, February 26th, 2019 at 5pm (EST).
For all the details on what is required to submit, please go
to this link:
https://abronsartscenter.submittable.com/submit/499de044-d366-45f6-a172-8bd4b285edca/hemispheric-institute-emergenyc-2019
About NYU's Hemispheric Institute of Performance and
Politics
The Hemispheric Institute (Hemi) connects artists, scholars,
and activists from across the Americas and creates new avenues for
collaboration and action. Focusing on social justice, we research
politically engaged performance and amplify it through gatherings, courses,
publications, and archives. Our dynamic, multilingual network traverses
disciplines and borders and is grounded in the fundamental belief that
artistic practice and critical reflection can spark lasting cultural
change.
www.hemisphericinstitute.org
About Abrons Arts Center
Abrons Arts Center is a home
for contemporary interdisciplinary arts in Manhattan’s Lower East
Side neighborhood. A core program of the Henry Street Settlement, Abrons
believes that access to the arts is essential to a free and healthy
society. Through performance presentations, exhibitions, education programs
and residencies, Abrons mobilizes communities with the transformative power
of art.
www.abronsartscenter.org/about/
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ABOUT FADO PERFORMANCE ART CENTRE
Established in 1993,
FADO Performance Art Centre is a not-for-profit artist-run centre based in
Toronto, Canada. FADO provides a stage and on-going forum in support of the
research and development of contemporary performance art practices in
Canada and internationally. As a year-round presentation platform, FADO
exists nomadically, working with partner organizations and presenters, and
utilizing venues and sites that are appropriate to individual projects.
FADO presents the work of local, national and international artists who
have chosen performance art as a primary medium to create and communicate
provocative new images and perspectives. FADO is supported by the Canada
Council for the Arts, Ontario Arts Council, Toronto Arts Council and the
Department of Canadian Heritage.
Artistic & Administrative Director: Shannon Cochrane
Board of Directors: Cara Spooner, Francesco Gagliardi, Jenn Snider, Cathy
Gordon, Clayton Lee, Julian Higuerey Núñez
Office: 401 Richmond Street West, Suite 445, Toronto, Canada
M5V 3A8
in...@performanceart.ca
www.performanceart.ca
FADO on Instagram: @fadoperformanceartcentre
FADO on
Facebook: FADO Performance Art Centre
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