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FADO E-LIST (July 2003)
Toronto edition |
INDEX 1. Fado presents PAS DE TRADUCTION, featuring 5 Quebec artists
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PAS DE TRADUCTION TORONTO, Canada ... Fado is pleased to present PAS DE TRADUCTION, a series of street actions featuring Montreal- and Quebec-based performance artists. Curated by Eric Letourneau for Fado Performance Inc., the performances will take place in the Queen Street West and Alexandra Park area on Saturday, July 12 between noon and 5 pm. A program detailing the exact locations and nature of the performances will be available on the day of the event from weewerk Gallery, 620A Queen St. W. (within walking distance of all of the activities). On Sunday, July 13, the artists will present a round table discussion of the project at Metro Hall (meeting room 308), moderated by writers Sonia Pelletier and Johanna Householder. PAS DE TRADUCTION is the first in a new series of events by Fado that examines the work of various Canadian performance art communities, defined culturally, regionally, ethnically, or aesthetically. This inaugural series focuses on Montreal. PAS DE TRADUCTION focuses on the ways interaction between performer and public can take place in site-specific contexts. The title ("no translation") refers light-heartedly to the traditional tensions between English and French Canada. More importantly, however, the title reflects how the practice of performance privileges direct action and shared presence as a way of expressing ideas and moments that are ephemeral and essentially untranslatable. PAS DE TRADUCTION dances among the ambiguities of what needs no translation, what cannot be translated, and what we refuse to translate, focusing on the interpretation process between artist, audience and location. About the artists Sylvette Babin Constanza Camelo Sylvie Cotton Jocelyn Robert Armand Vaillancourt Eric Letourneau ----------------------------------------------- As Fado begins a new programming year with PAS DE TRADUCTION, we are pleased to report a substantial increase in our annual operating budget as the result of significant funding increases from the Canada Council, Toronto Arts Council and Department of Canadian Heritage. (The Ontario Arts Council results have been delayed until early August, but we are hopeful following Thursday's remarkable announcement of a $7.5 million increase in their base budget allocation for the 2003-04 fiscal year -- the first injection of new money since 1995.) Our success is due in large measure to the outstanding work of the artists who we have had the privilege to present over the past several years. It is their thoughtful, innovative and vital contribution that is being recognized. Our next major event will be FIVE HOLES: reminiSCENT, a series of smell-based site-specific performances taking place in September co-curated by Paul Couillard and Display Cult's Jim Drobnick. Stay tuned for details. In August, Fado will welcome Pessi Parviainen from the Turku Art Academy, in Turku, Finland. He will be doing a three-month work practice placement with Fado as part of his degree requirements. His duties will include assisting with performance events and working on our web archive. He is a visual art student who has been doing performance art since 1999 in festivals and clubs as well as on the streets in Finland, the Baltics and Belgium. He also knows something of Canada, having lived in Burnaby, B.C. for two years as a child. Pessi has a place he can stay in Markham, but if anyone has any suggestions for cheap downtown Toronto accommodation for any period between August and November (house-sitting, inexpensive rooms, etc.), please contact Fado and let us know, either by phone (416-822-3219) or email (info@performanceart.ca). Fado's Performance Art Curator , Paul Couillard, was recently in Edmonton, where he was invited to act as the Festival Animator for the VisualEyez Festival put on annually by Latitude 53. You can check out his daily online reports oft the festival at http://www.latitude53.org/main/main.html ----------------------------------------------- At last, weewerk is back from its spring travels. It's too hot now to squeeze into our living room, so instead we're planning a series of summer excursions. About guerrilla gardening... Meet at weewerk at 3 pm on Friday 4 July. If possible, bring seeds, weeds, diggers, things to transplant, portable water containers, and other such things. weewerk has some sage and vegetable plants to dispense. weewerk is located at 620A Queen Street West (above Rotate This). For more information about this event or weewerk, contact Germaine or Phil, tel 416-365-7056, info@weewerk.com. ----------------------------------------------- 4. CALL FOR SUBMISSIONS: "Gobsmacked! a revel of offbeat expression" (Toronto) [gobsmacked: to clap one's hand to one's mouth in astonishment] Are you quirky? Eccentric? Lo-fi yet astonishing? Gobsmacked! a revel of offbeat expression http://www.harbourfront.on.ca -- Jenn Goodwin ----------------------------------------------- MIX 2003: RESISTANCE IS FERTILE! ** C A L L F O R E N T R I E S ** Deadlines: June 30 (early); July 31 (final) MIX: the New York Lesbian & Gay Experimental Film/Video Festival, which runs November 19-23, 2003 at Anthology Film Archives in Manhattan¹s East Village, is now receiving entries of all shapes and sizes for its 17th annual edition. Films, videos, installation, performance and digital media of any length or genre completed since January 2002 are eligible for consideration. Entries from emerging; lesbian, gay, bisexual or transgender artists of color; two-spirit, indigenous or aboriginal artists; works by or about lgbtq youth; and international entries are especially encouraged. MIX17 promises to be a cruising ground for radical opinion, sexy performance and plain old brilliant experimental film and video. This years theme is ³Resistance is Fertile², so submit your mutant artistic progeny and we'll inject them into the body politic! Please go to our website : http://www.mixnyc.org to download complete entry
guidelines, procedures and a hard copy of the required entry form. ----------------------------------------------- NIGHTWOOD THEATRE AND BUDDIES IN BAD TIMES THEATRE HYSTERIA: A FESTIVAL OF WOMEN Buddies in Bad Times Theatre :: October 21-November 2, 2003 The original founding companies of the Rhubarb! Festival team up again to unleash a brand new multi-disciplinary feminist festival celebrating the voices of hysterical women. Hysteria will showcase a variety of evenings featuring our most edgy and talented women. Women from all artistic communities are encouraged to apply, including film, dance, theatre, performance art, art installation, literature, photography, music and all hybrids of any of the above. Emerging and established artists from diverse communities are welcomed. We are looking for anything and everything from a one-minute film to a sculptural installation, a full-length interactive dance piece to a ten-minute cabaret performance. Every night of the festival reveals a fresh program and every inch of space in Buddies in Bad Times Theatre will be utilized. Submissions must include: Buddies in Bad Times and Nightwood will provide artists honorariums, ongoing creative advice, festival publicity and technical assistance for the projects. Please keep a copy of your submission. DEADLINE FOR SUBMISSION: August 1st, 2003 Please send all submissions to: (submissions will not be accepted by fax or email) For more information please contact ----------------------------------------------- stART
AT JUDSON MEMORIAL CHURCH A MULTI-DISCIPLINARY ART AND PERFORMANCE EVENT ARTIST PROPOSAL DEADLINE: August 15, 2003 stART invites submissions from artists in all disciplines -- performance, dance, music, visual art, theatre, spoken word, comedy, video/film and multi-media -- that address the failures of contemporary news media. This one-night-only performance and four-day exhibition will be a carnival anti-celebration and thought-provoking critique of what has become the Media Industrial Complex. See website for guidelines: www.judson.org/stART or call (212) 477-0351 for more information. stART is a multidisciplinary art series at Judson Church that presents free, public events that stand at the intersection of arts and politics -- art, music, dance, video, spoken word, multi-media performance and more. Contact: info@judson.org, (212) 477-0351 ----------------------------------------------- PERFORMANCE ART IN CONTEXT As an approach to curation the chronotope is applied as a methodology that seeks not only to highlight the dialogic nature of documents within the artist's own time-space - i.e. by making us audience to performances that happen in other places while giving us access to audiences who are not physically present - but also in how such documents might link content and context in an overall production of artistic meaning. According to Mikhail Bakhtin the chronotope functions "as the primary means for materialising time in space", that it "emerges as a centre for concretising representation". Using the example of biography and autobiography he says, "it is precisely under the conditions of this real-life chronotope, in which one's own or another's life is laid bare (that is, made public), that the limits of a human image and the life it leads are illuminated in all their specificity." Within the context of ancient history we can understand the chronotope to be best manifest within the public square, the agora , where "the autobiographical and biographical self-consciousness of an individual and his life was first laid bare and shaped in the public square. It was a remarkable chronotope, in which all the most elevated categories, from that of the state to that of revealed truth, were realised concretely and fully incarnated, made visible and given a face. And in this concrete and as it were all-encompassing chronotope, the laying bare and examination of a citizen's whole life was accomplished, and received its public and civic stamp of approval." quoted from M.M.Bakhtin The Dialogic Imagination PERFORMANCE ART IN CONTEXT is an attempt at making these links visible through an installated exhibition in Dartington Art Gallery, 3rd-5th October 2003, and will aim at making visible a historical poetics of performance art PLEASE SEND ALL MATERIALS BY SURFACE MAIL TO: KENNY McBRIDE http://www.geocities.com/ephemeraltraces/opencall LAST POST DATE 25th AUGUST 2003 All participants to the exhibition will receive documentation of the event. ----------------------------------------------- Dear All: I am currently organizing a performance festival in Valparaiso, Chile, on November 26-29, 2003, called "Coalition". Featured artists are Dan McKereghan, Jessica Buege, Jamie McMurry, Ladan Yalzadeh, Julie Bacon and Roddy Hunter, and the new generation of performance artists from Chile. In many performance art festivals around the globe when you are a witness to a performance piece, besides the actions taking place, the interaction with the audience, the multimedia aspects, you also "hear" something. Many times, the performance artists themselves work on the sound aspects of the piece, in other cases, they collaborate with audio/music artists for that purpose; some performers avoid the use of any explicit sound, but "silence doesn't exist" in a broader sense, as John Cage stated. "Coalition" will expand this audible feature throughout the festival. As part of the festival activities, we are having a special audio showcase called "PerfoRadio", featuring sound works, music, and audio art related to performance art. "PerfoRadio" will be played at the opening, and during the pauses in between performances. A special stand will display the CD covers and art of the audio works at play. The festival website will include the CD covers and bio (with contact information)of the audio artists featured. So here is the deal: Feel free to pass along this call to anyone interested. Best wishes, List-Id: International Association of Performance Art Organizers ----------------------------------------------- 'On the Page' Performance Research 9:2 (June 2004) Issue Editors: Ric Allsopp & Kevin Mount 'On the Page ' will be the second issue of Performance Research, Vol.9, Nos.1-4 , 2004, which explores a theme of transaction, transmission and exchange - between performance and its sites and contexts, between performance and its histories, between performance and its agencies in four related issues: 'On Correspondence', 'On the Page', 'Generations' and 'On Shame'. The issue is jointly edited by Ric Allsopp, editor and co-founder of 'Performance Research', Dartington College of Arts, UK; and Kevin Mount, designer, and co-founder of DeMo Design, UK. Deadlines are as follows: The Editors are interested in contributions from practitioners and scholars who are considering the future of the printed paper page in its relation to/ with performance, and with the newer performance media that live at a comfortable distance from print publishing - hypermedia, cybertexts, multimedia, web-based media. We invite contributions to 'On the Page' in three broad categories: 1. Scholarly writings, essays, reflections concerning the (material) substance of the page; these may offer historical perspectives but should deal with material qualities of the page that have endured - pulp, glue, stitching, inking, wood, animal - and those aspects of the page that may bear witness to the 'performance' of the book - page turning, marking, dog-earing, marginalia. We anticipate that these contributions would be in the form of conventional, linear, block-set texts from keepers of manuscripts, archivists, forensic archeologists, historians of writing and the book, theorists of visual and spatial poetics [...] 2. Contributions from artists/ writers who may consider the page as a site of performance and/ or its traces including typographers and typographical designers, concrete poets and their contemporary descendants, book designers and graphic designers. We are especially interested in work that may be taken as a defence of the materiality and mutability of the printed page, and varying perceptions of its unique characteristics and qualities [...] 3. Performers and performance artists who may consider their work to depend on the page as the key to, or foundry of performance, including scriptwriters, storyboard writers, writers of dance or choreographic notations, who may wish to contribute extracts, examples of working drawings, layerings or handmade or machine-made scripts. We are also interested in connections to other forms of performance scripts, for example the specifications of architects, engineers or programmers [...] ALL proposals, submissions and general enquiries should be sent direct to: Linden Elmhirst - Administrative Assistant Issue specific enquires should be directed to: Kevin Mount kmount2@aol.com or Ric Allsopp transomatic@orange.net For complete Guidelines for Submissions please see: http://www.performance-research.net/pages/guidelines.html Performance Research is MAC based. Proposals will be accepted in hard copy, on CD or by e-mail (Apple Works, MS-Word or RTF). Please DO NOT send images without prior agreement. Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research ******* ----------------------------------------------- Performance Studies international #10 The Organizing Committee of Performance Studies international #10 invites proposals for papers to be presented at the conference Perform: State: Interrogate: which will take place from 15 to 18 June 2004 in Singapore. I. Preamble II. PSi #10 Perform: State: Interrogate: Singapore 2004 This will be the first time the Performance Studies international (PSi) conference is taking place in an Asian country. But it is precisely our intention to interrogate the issue of a "PSi Conference in Asia" - to precipitate a high level of critical reflexivity about PSi #10 itself, PSi conferences, and our constructions of "Asia". We aim to address the present state of performance discourse in Asia, and to represent a diversity of Asian perspectives in performance studies. However, the point is not to frame these perspectives as representations of "otherness" - as new local authenticities for consumption and appropriation by the global gaze of theory. Beyond the parameters of a single conference, our purpose is to mobilize individuals and organizations to dialogue and develop the language through which performance can be understood, examined and debated in Asia. We also invite, of course, issues that cut across questions of cultural or geographic identity (please refer to the list of Interest Group themes below), regardless of whether they engage with Asian performance issues per se. The title, "Perform: State: Interrogate:", comprises three verbs related to articulation that have multiple resonances. The critical reflexivity we demand is echoed by the word 'interrogate,' which implies the questioning of power, both in the sense of being directed at and originating from power - as in the power of theory, practitioners, the 'people' or the state. Indeed the 'state' figures centrally in much of performance in Asia - from patronage to engagement to resistance to complicity. Arguably the central 'performance' that takes place in a nation like Singapore is that of stating the concerns of the 'state.' While 'perform' connotes the more conventional understandings of the term (theatrical performance, etc.,) there is also the question of how theory 'performs' - what are the ways in which it can be tested, evaluated? What are its effects? How does it contain, domesticate, obfuscate, and appropriate, or liberate, enable, and enlighten? III. Structure of the Conference III. Deadlines & Details Proposals should not be more than 500 words and should be sent as hard copy as well as an email attachment to the organizers at the following addresses: Papers for PSi #10 Please complete the attached form and send it together with your proposal, both in hard and soft copy. CALL FOR PAPERS Performance Studies international #10 Singapore 2004 Name: Signature: Date: Please tick the appropriate box(es) ___ I am submitting a proposal for a paper The following are proposed Interest Groups. To help us sequence your presentation in the conference, please tick three areas under which you feel your work could most accurately be categorized: ___ (1) Everyday & Social Performance; Ritual; Ethnographies ----------------------------------------------- Fado is pleased to acknowledge the support of the Canada Council, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council and the Department of Canadian Heritage for their sponsorship of our ongoing activities. You have received this posting because your name is included on the email list of Fado, a non-profit performance art group based in Toronto, Canada. This list posts approximately twice a month with information of interest to performance artists and their audiences, including listings and calls for submission. If you have a posting you wish to include on the Fado e-list, contact info@performanceart.ca with a request. If you wish to be removed from this list, please contact info@performanceart.ca with an unsubscribe request indicating the address to be removed. |