FADO E-LIST (November 2017)

1. EVENT: 7a*md8 is pleased to present On-Line Social Media Residencies
Date: November 3–December 16, 2017; City: everywhere; Source: 7a*11d
2. EVENT: Queering Ritual
Date: November 3–4, 2017; City: Chicago, USA; Source: Mark Jeffery
3. EVENT: JIWA: Jakarta Biennale 2017
Date: November 5–December 10, 2017; City: Jakarta, Indonesia; Source: JIWA
Date: November 6–11, 2017; City: Brussels, Belgium: Source: Béatrice Didier
5. EVENT: The Art of Propagation with Basil AlZeri
Date: November 8, 2017; City: Toronto, Canada; Source: Nahed Mansour
Date: November 8–19, 2017; City: Toronto, Canada; Source: Leena Raudvee
7. EVENT: Bridget Moser performs at Art Museum
Date: November 8, 17, 25, 2017; City: Toronto, Canada; Source: Art Museum
8. EVENT: Flowchart: a series of multidisciplinary performances
Date: November 9, 2017; City: Toronto, Canada; Source: Dancemakers
9. EVENT: PAO Festival 2017
Date: November 17–19, 2017; City: Oslo, Norway; Source: Franzisca Siegrist
10. CALL FOR PARTICIPANTS: Performance by Arkadi Lavoie Lachapelle
Deadline date: November 20, 2017; City: Montreal, Canada; Source: Arkadi Lavoie Lachapelle
11. EVENT: Kalo Kalo by Odun Orimolade
Date: November 23–25, 2017; City: Malmo, Sweden; Source: Lilith
12. CALL FOR SUBMISSIONS: Performance Research
Deadline date: November 27, 2017; City: the world; Source: Performance Research
13. CALL FOR SUBMISSIONS: Animating Toronto Parks
Deadline date: December 4, 2017; City: Toronto, Canada; Source: Toronto Arts Council
14. CALL FOR SUBMISSIONS: Naked State art residency
Deadline date: December 15, 2017; City: Toronto, Canada; Source: Naked State 




1. EVENT: 7a*md8 is pleased to present On-Line Social Media Residencies
Date: November 3–December 16, 2017; City: everywhere; Source: 7a*11d


7a*md8 is pleased to present On-Line Social Media Residencies in partnership with Trinity Square Video, Dancemakers and Laboratorio Oxaca. 


Ten artists have been invited to take over our social media for ten weeks. Starting November 3 the TSV vitrine at 401 Richmond Street West in Toronto will showcase interviews with our ten artists in residence as they respond to questions about social media and lens based performance practices. Tune into our instagram (www.instagram.com/7a11d/) for more. 


Artists include:
Sab Meynert: Sunday October 1–Saturday October 7, 2017
Mohammad Rezaei: Sunday October 8–Saturday October 14, 2017
Kiera Boult: Sunday October 15–Saturday October 21, 2017
Nadège Grebmeier Forget: Sunday October 22–Saturday October 28, 2017
Jessica Karuhanga: Sunday October 29–Saturday November 4, 2017
Yolanda Duarte: Sunday November 5–Saturday November 11, 2017
Natasha Bailey: Sunday November 12–Saturday November 18, 2017
jes sachse: Sunday November 19–Saturday November 25, 2017
Bishara Elmi: Sunday November 26–Saturday December 2, 2017
Syrus Marcus Ware: Sunday November 3–Saturday December 9, 2017


For more details visit our website: http://7a-11d.ca/




2. EVENT: Queering Ritual

Date: November 3–4, 2017; City: Chicago, USA; Source: Mark Jeffery



Friday, November 3, 2017

(followed by conversations and provocations on Saturday, November 4, 2017)



ATOM-r (Anatomical Theatres of Mixed Reality)

Gary Winters and Claire Hind (Gary and Claire)

Roberta Mock

Kimberly Campanello


Provocations by: Nathan Walker, Amanda Couch, Cassandra Davis, Fulla Abdul-Jabbar, Sebastian H W, Lucy Cash, Crisis and Denial, Liesl King, Amble Skuse, Louie Jenkins, Virginia Kennard, Alexandros Papadopoulos, Jessica Worden.


We identify with the term queering ritual in relation to a fluid heterogeneous attitude toward performance making and the practice and aesthetics of contemporary, multidisciplinary performance work. Queering ritual is also a lens in which to think through the composition of materials to create hybrid, subversive, augmented and indeterminate bodies, subjects, and territories. We consider the terms queering ritual as the structured recontextualising of pre-existing material. We propose queering as an expansive act and ritual as a return to an act through invocation, repetition, coded iteration, sacrifice, submission, custom, and rule formation. We consider the terms separately queering/ritual and together as a practice that embodies the form and content of a performance via the writing, shaping, and dramaturgy of a work. We draw upon ATOM-r’s performance Kjell Theøry that juxtaposes the writings of Alan Turing—a gay twentieth century computing pioneer with Guillaume Apollinaire’s 1917 play The Breasts of Tiresias and we think through the practices and subversive hybrid performance personas of Gary and Claire’s performance Lost in A Sea of Glass and Tin that examines the ghosting rituals of a fan base and the ‘ducks eye view’ of five David Lynch movies and consider how Lynch queers psychoanalysis.



Queering Ritual will host 10-minute provocations in the forms or interforms of live performance, poetry, electronic writing, real-time media, film, participatory event, academic paper, experimental lecture, other.


The provocations were proposed with the term Queering Ritual in mind either together as a phrase, or separately Queering/Ritual. The provocations will be shared by those interested in performance making and/or composition/intertextual/intermedia practices and from both makers and theorists.


Interventions will:

–Address queer histories and identities or engage rituals of queer subcultures;

–Construct ecologies of diversity and re-draw cuts and boundaries between subjects, genders, mediums and materialities; between the individual and the group, the human and nonhuman, nature and culture;

–Invent, appropriate, hybridize, or subvert ceremonies, protocols, or systems;

–Use language, code, augmentation or virtuality to invoke queer poetic/embodied/spatiotemporal experiences;

–Engage queer performativity through the lenses of art, science, literature, dance, theatre, history or theory.


Provocations have also been designed around the following prompts:

How do you suspend a queer complexity?

How do you rake, harrow, rip and tear into your practice?

How do you channel the undead of information?

How do you tremble, shake and stumble through a ritual dance of delayed and accelerated actions?

How do sensors and algorithms create hidden rituals of automation?

Who is the stripling that will tease apart a site of grief?



Friday November 3: from 4:45pm and on

Performances by: ATOM-r (Kjell Theøry) and Gary and Claire (Lost in A Sea of Glass and Tin)

Saturday November 4: 9:15am–4pm

Keynote respondent by Roberta Mock (Professor, Performance Studies, University of Plymouth) AND Invited provocations on the theme Queering Ritual. Chaired by Dr Kimberly Campanello. Please note only those who attend the event on Friday evening 3rd November will be able to attend the events on Saturday (due to events planning and seating availibity).



You will need to register upon arrival to York St John University on Friday 3 November. Registration will take place in the Arts Foyer at 4:45pm. Please bring a copy of your Eventbrite ticket along to the registration. A map of the York St John University campus can be found here. The Arts Foyer is located at number 21 on the campus map. Directions to York St John University and details of nearby car parks can be found here. 



Please note that we are unable to provide step free access to one of the theatre spaces that will be used for Queering Ritual. This event has been organised by York St John University and The School of the Art Institute Chicago. 




3. EVENT: JIWA: Jakarta Biennale 2017

Date: November 5–December 10, 2017; City: Jakarta, Indonesia; Source: JIWA


In the year of 2017, Jakarta Biennale Foundation organizes the 17th Jakarta Biennale entitled

JIWA: Jakarta Biennale 2017.

Jakarta Biennale Foundation has appointed Melati Suryodarmo as its Artistic Director, with “Jiwa” as the artistic concept. JIWA: Jakarta Biennale 2017 approaches changes in society by sharing a diversity of art forms and methods, intellectual and practical encounters, as well as educational propositions. 

In this 17th edition, the JIWA: Jakarta Biennale exhibition will be held in Gudang Sarinah Ekosistem with its performance art series, and it will also take place in Museum Sejarah Jakarta (Jakarta History Museum) and Museum Seni Rupa dan Keramik (Museum of Fine Arts and Ceramics) at Kota Tua (old city) area in the north of Jakarta. In conjunction with this event, 


JIWA: Jakarta Biennale 2017

Saturday, 4 November 2017, 16.00 WIB

Gudang Sarinah Ekosistem

Jl. Pancoran Timur II No.4, Jakarta Selatan 12780

Artistic Director: Melati Suryodarmo

Curators: Annissa Gultom, Hendro Wiyanto, Philippe Pirotte, Vít Havránek


Abdi Karya (Indonesia)

Afrizal Malna (Indonesia)

Alastair MacLennan (UK)

Alexey Klyuykov, Vasil Artamonov & Dominik Forman (Czech Republic)

Ali Al-Fatlawi & Watiq Al-Ameri (Switzerland)

Aliansyah Caniago (Indonesia)

Arin Rungjang (Thailand)

Bissu (Indonesia)

Chiharu Shiota (Japan)

Choy Ka Fai (Singapore)

Dana Awartani (Arab Saudi)

Darlane Litaay (Indonesia)

David Gheron Tretiakoff (France)

Dineo Seshee Bopape (South Africa)

Dolorosa Sinaga (Indonesia)

Dwi Putro Mulyono (Pak Wi) (Indonesia)

Em’kal Eyongakpa (Cameroon)

Eva Kot’átková (Czech Republic)

Gabriela Golder (Argentina)

Gede Mahendra Yasa (Indonesia)

Garin Nugroho (Indonesia)

Hanafi (Indonesia)

Hendrawan Riyanto (Indonesia)

Hito Steyerl (Germany)

Ho Rui An (Singapore)

I Made Djirna (Indonesia)

I Wayan Sadra (Indonesia)

Imhathai Suwathanasilp (Thailand)

Jason Lim (Singapore)

Karrabing Film Collective (Australia)

Keisuke Takahashi (Japan)

Kiri Dalena (Philippines)

Luc Tuymans (Belgium)

Marintan Sirait (Indonesia)

Mathieu Abonnenc (France)

Ni Tanjung (Indonesia)

Nikhil Chopra (India)

Otty Widasari (Indonesia)

Pawel Althamer (Poland)

Pinaree Sanpitak (Thailand)

PM Toh (Indonesia)

Ratu Rizkitasari Saraswati (Indonesia)

Robert Zhao Renhui (Singapore)

Semsar Siahaan (Indonesia)

Shamow’el Rama Surya (Indonesia)

Siti Adiyati (Indonesia)

Ugo Untoro (Indonesia)

Willem de Rooij (The Netherlands)

Wukir Suryadi (Indonesia)

Ximena Cuevas (Mexico)

Yola Yulfianti (Indonesia)

Exhibition period: 5 November–10 December 2017


Symposium: 13 and 14 November 2017

13.00–20.00 WIB

at IFI (Institut Français d’Indonésie),

Jl. M. H. Thamrin No. 20, Menteng, Jakarta Pusat 10350

Performance Series: 4–14 November 2017


Gudang Sarinah Ekosistem, Jl. Pancoran Timur II No. 4, Jakarta Selatan 12780

Free Admission, Open Daily from 11 AM - 7 PM

Museum Sejarah Jakarta, Jl. Taman Fatahillah No. 1, Tamansari, Jakarta Barat 11110

Open Tuesday to Sunday from 9 AM - 3 PM

Museum Seni Rupa dan Keramik, Jl. Pos Kota No. 2, Jakarta Barat 11110

Open Tuesday to Sunday from 9 AM - 3 PM

For RSVP and further inquiries, please contact: info@jakartabiennale.net





Date: November 6–11, 2017; City: Brussels, Belgium: Source: Béatrice Didier


The association Ricochets is glad to invite you to ACTUS V
Platform of Performance Art in Brussels
November 6–11, 20172017


Kris Canavan
Claude Cattelain
An Debie
Benoît Félix
Cynthia Godart
Antoni Karwowski
Aye Ko
Monica Klingler
Clément Losson
Mélanie Peduzzi
Elvira Santamaria
Ilka Theurich
Martine Viale + Alice De Visscher
PAErsche et Sylvie Pichrist

Curator: Béatrice Didier


ACTUS, created in 2012 by the non-for-profit association Ricochets, is a platform for experimentation and reflection on Performance Art. For every edition the focus is put on new encounters. Encounter with an organising partner/a space/a city. Also encounters between artists of different origins, and between artists, educators, students and the general public. At the occasion of this fifth edition, ACTUS will welcome internationally renowned artists and also some "new generation" performers. During the week of ACTUS they will each create a performance, either at the MAAC and at the Abbey of La Cambre. Together as a group they will perform in the public space during an open session. Two different reflective moments are planned, one of them at la Bellone, where the artists and the public will have the occasion to exchange ideas about the processes of creation specifically related to Performance Art. The entire week, a number of performers will work with students of ENSAV – La Cambre and guide them towards discovering different aspects of this particular artistic practice. Parallel to ACTUS, An Debie, performance artist and photographer, will exhibit at 10/12.


6.30pm Opening installation photo An Debie, "When light breaks"
10/12, 12 rue de la Grande Ile, 1000 Bruxelles


5.00pm Round table with the artists of ACTUS V, conducted by Béatrice Didier
Art Performance beyond the image
La Bellone, 46 rue de Flandre, 1000 Bruxelles


5.00pm Round table with the artists of ACTUS V, conducted by Antoine Pickels
Performance and Politics : Performance Art to question the world
7.00pm Performances solos
La Cambre, 21 Abbaye de La Cambre, 1000 Bruxelles


7.00 pm Performances solos
MAAC, 26/28 rue des Chartreux, 1000 Bruxelles


12:00 Performances Square Breughel l'Ancien, rue Haute avec les artistes d'ACTUS V, Alice de Visscher, PAErsche (Marita Bullman, Elke Mark, Thomas Reul and others) and Sylvie Pichrist
19:00 Performances solos
MAAC, 26/28 rue des Chartreux, 1000 Bruxelles


Free entrance / Active participation





5. EVENT: The Art of Propagation with Basil AlZeri

Date: November 8, 2017; City: Toronto, Canada; Source: Nahed Mansour


The Art of Propagation

The Most Prized of All Closets

Performance-lecture by Basil AlZeri


November 8, 2017


Henderson Brewing Co., 128A Sterling Rd, Toronto


Part of MOCA's The Art Of Propagation series, Basil AlZeri’s performance-lecture "The Most Prized of All Closets" explores the dual function of the pantry as a site of preservation and resistance. 


The pantry serves a basic function in a home as the place where fermented, pickled, preserved and dried foods are stored. With the advent of the global production and distribution of food, many people are losing their connection to their local food practices, traditions, cultures, and, thus, their pantries. For this reason, social movements aiming to revitalize local food cultures and establish food sovereignty see the pantry as a vital site in the struggle against globalization and colonialism.


Through an examination of the role of the pantry in Canada, Estonia, and Palestine, AlZeri examines the panty as a complex site where cultural, economic, political and social preservation become intertwined with practices of resistance.


RSVP for free admission:



ABOUT The Art of Propagation

The Art of Propagation presents a monthly conversation about varied relationships between culture, food and social histories. The series features artists who broaden perspectives on art and culture through acts and projects of cultivation, fermentation and propagation. The series will continue every second Wednesday of the month through March 2018 at Henderson Brewery, MOCA’s future neighbour on Sterling Rd.


ABOUT Basil AlZeri

Basil AlZeri is a visual artist living and working in Toronto, Canada. AlZeri’s practice involves the intersection of art, education, and food, taking multiple forms, such as performance, interventions, gallery and public installation. AlZeri’s work examines the socio-political dynamics of the family and its intersection with cultural practices, drawing on the necessities of everyday life and the visibility of labour as sites of exploration. His work aims to facilitate a space for empathy through gestures of inclusivity and generosity.


ABOUT Henderson Brewing Co.

Henderson Brewing company is a locally owned, award winning, neighbourhood brewery in downtown Toronto. Founded in 2014, Henderson is all about celebrating the stories and culture of our city through the beers we brew.





Date: November 8–19, 2017; City: Toronto, Canada; Source: Leena Raudvee

ARTIFACTS (Pam Patterson & Leena Raudvee)


Process Gallery, Gallery 1313, 1313a Queen Street West, Toronto

Exhibition dates: Nov 8, 2017 to Nov 19, 2017

Gallery hours: 1pm–6pm, Wednesday to Sunday

Reception: November 9, 7PM

In the Gallery 1313 Process Gallery exhibit, ARTIFACTS explores in ARTIFACTS ARTEFACTS detritus-as-performance. Our original intention was to gather over 30 years of performance detritus into a retrospective; this though has not been the case.

The idea of performance detritus remains but is now reconfigured. In the process of exploring performative ideas around the military, we went to The National Air Force Museum of Canada where we surreptitiously donned military uniforms on display and photographed each other in situ – posed and in the various aircraft on exhibit. This was an informal performance where we acted on the edge, delightfully fearful of being discovered.

After a performance, we usually have photo-documentation by a photographer which then can be exhibited. Here though we lacked such a photographic witness.

In preparing for the Gallery 1313 exhibit, we found ourselves caught up yet again in this performative “militaristic” action and we began to purposely and playfully generate objects and images. In the process of doing so, we realized we were making an ironic comment on the historic value of artefacts and indirectly on ourselves as older disabled women artists.

The exhibit responds to contemporary “hipster” nostalgia:  the “authentic” consumer item, the aura of the “working” uniform, and, in addition, the absurdity of aged women with disabilities as military generals!  Focused around gilt-framed photo portraits of each of us in WWII military dress attire and in action in the cockpits of aircraft, the exhibit uses over a hundred cardboard model planes, and over a thousand cards which speak to our authenticity. A written text backstory is provided (all fictitious but immeasurably seductive) as part of the exhibit to provide context and embed it (us) ever deeper into the idea of the contemporary seductive artefact.





7. EVENT: Bridget Moser performs at Art Museum

Date: November 8, 17, 25, 2017; City: Toronto, Canada; Source: Art Museum


Bridget Moser is a performance and video artist whose work is suspended between prop comedy, experimental theatre, performance art, absurd literature, existential anxiety and intuitive dance.


Performance Dates and Times:

Wednesday, November 8, 7:00 pm

Friday, November 17, 3:00 pm

Saturday, November 25, 2:00 pm


Tickets: Free Admission

Reserved Ticket Required



Location: Art Museum at the University of Toronto

7 Hart House Circle, Toronto


ABOUT Bridget Moser

She has presented work in venues across Canada, including the Art Gallery of Ontario, Mercer Union, Gallery TPW, The National Arts Centre, MSVU Art Gallery and Western Front. She has presented projects throughout the US and Europe and has been a resident artist at The Banff Centre and at Fondazione Antonio Ratti in Como, Italy. Her work has been featured in Canadian Art, C Magazine, Visual Arts News, Artribune Italy, The Dance Current, NOWNESS and a collaborative publication with other FAR residents published by Mousse Magazine.


A program of the 2017 Sobey Art Award Exhibition, at the Art Museum from October 25 to December 9. 


Art Museum at the University of Toronto



More information about the 2017 Sobey Art Award:





8. EVENT: Flowchart: a series of multidisciplinary performances 

Date: November 9, 2017; City: Toronto, Canada; Source: Dancemakers

Flowchart: a series of multidisciplinary performances

November 9, 2017 at 8 PM

Dancemakers Centre for Creation 

9 Trinity Street, Theatre Studio 313

Tickets: PWYC

Facebook event: www.facebook.com/events/101345750634285

Flowchart is a series of short multidisciplinary performance works. It shows work by artists engaging with the choreographic from the perspective of multiple fields; work which pays attention to organizing movement in space and having it be affected by/also itself affect time. By contextualizing non-dance works within the choreographic, an engagement with these ideas becomes newly visible. Flowchart is interested in works that centralize the body and offers a curiosity about what happens to non-dance works when they are presented in the scope of a field that inevitably does so.

Showing work in the November 9th edition are Meryem Alaoui (in collaboration with Sahara Morimoto and Germaine Liu), Katie Ward (in collaboration with Katie Ewald), and jes sachse. 

Don't want to stand in the box office line up? Book your PWYC ticket on-line now–choose to pay $5, $10, $15, $20, or $25. Go to www.dancemakers.org/tickets

Dancemakers PYWY program is sponsored by The George Lunan Foundation

Flowchart Series Media Sponsor: www.DailyXtra.com




9. EVENT: PAO Festival 2017

Date: November 17–19, 2017; City: Oslo, Norway; Source: Franzisca Siegrist


Performance Art Also 2017 (PAO 2017)


November 17–19, 2017

ROM for kunst og arkitektur

Maridalsveien 3, 0178, Oslo Norway


Friday 17, November: 18:00 - ca 20:00 / Opening programme*

Saturday 18, November: 14:00 - ca 18:00 / Live performance

Sunday 19, November: 14:00 - ca 18:00 / Live performance


Entrance: By donation! Give as much as you want and can!!

Free soup, tea and coffee!!


Artists for live performance programme:

Ellakajsa Nordström & Ylva Trapp (SE)

Francesco Kiais (IT/GR)

Henrik Koppen (NO)

Ida Grimsgaard (NO)

Jolanda Jansen (NL)

Kevin Meehan (USA)

Liina Kuittinen (FI)

Martine Viale (CA/FR)

Mia Øquist (NO)

Nika Lopez (ES)

Shannon Cochrane (CA)

Weronika Lewandowska (PL)


Artists reflect, react and create a response to the society and time we live in. The art they create is a comment, a warning, a reminder and a mirror to our world.


During the festival the artists will reveal their interpretations of society in diverse and unique ways. We will see concerns ranging from the increased contrasts between technology and nature, how information flows through social media, communication, identity issues and the transformation of places and cultures, climate change and political turbulence.


The 5th-anniversary edition of PAO Festival, Oslo´s only yearly international contemporary performance art festival, will once again take place in November this year at ROM. The anniversary was marked with an open call receiving 168 applications from all over the world. During the process of selecting the 12 artists, a variety of issues were uncovered, all with an interconnected common thread which brought together this year’s constellation of artists.


Artist talks: 

Artists are invited to hold short performative presentations of their work and approach to performance. After the talks we open for dialogue with questions and answers between the artists and the public.


Exhibition / Video programme: 

We will show a slide show by festival photographer Antti Ahonen (FI) and three video programmes which explore the various ways artists document and use video in their performance work. Curated by Kirsty Kross (AU), CAN-Concerned Artists Norway (NO) and Per Platou (NO).


Extra programme:

9–17. November: Performance Art Studies PAS#58 “my body asking your body questions” with Johannes Deimling at KHIO - Oslo Art Academy.

*17 November: Opening, artist talks and group performance with participants of PAS#58.


PAO Festival 2017 is supported by Fritt Ord, Norsk Kulturråd and Oslo Kommune / Kulturetaten.


PAO is an artist-run organization, which was established fall 2012 to strengthen the performance milieu in Oslo and convey performance art to the public by producing workshops, festivals, and artist talks.


For more detailed info on artists and programme:



Facebook event: www.facebook.com/events/120622428656432/




10. CALL FOR PARTICIPANTS: Performance by Arkadi Lavoie Lachapelle
Deadline date: November 20, 2017; City: Montreal, Canada; Source: Arkadi Lavoie Lachapelle


I am seeking the home mailing addresses of participants willing to receive a surprise letter. This correspondence will be used in the course of a creation of a performance entitled “garter snake”, which will be presented at Circa art actuel, Montréal on December 16, 2017. 


Deadline to send your mail address: November 20th, 2017
Email your mailing address to: arkadi@live.fr


Thank you, merci beaucoup!






11. EVENT: Kalo Kalo by Odun Orimolade 

Date: November 23–25, 2017; City: Malmo, Sweden; Source: Lilith

Lilith's 10th anniversary continues with the third performance dinner 

Kalo Kalo 

Odun Orimolade 

November 23–25, 2017

Odun Orimolade proceeds from the social and the ritual games that are part of a dinner party when she is hosting the Lilith Performance Studio’s third performance dinner as a part of the 10th anniversary. A traditional dinner is about hosting, sharing of your self, orchestrating reactions, perceptions and ushering the invited guests towards the predetermined goal of the host, whatever it may be.

In Odun Orimolade's performance Kalo Kalo, suspenseful and other times ritual like parlor games are played, where randomness determines what happens and who participates. Ten "selves" – multiple individuals of the host lead the participants through the games and the ritual patterns. Kalo Kalo is Nigerian - Yoruba term that refers to gambling with uncertain output. 

Odun Orimolade’s (b.1976 works and lives in Lagos, Nigeria) practice spans a broad artistic field incorporating drawing, installation, mixed media and performance among other explorations. Several of her works clearly turns the spotlight toward the viewer challenging his/her active, passive role when experiencing the work.

In 2015 Orimolade created the performance Spirits at the Ball at Lilith Performance Studio, where her point of departure was the 18th century ball, to engage the events before, during and after the Berlin Conference of 1884-85. Spirits at the Ball is best described as a fantasy of sorts, amusing but with a serious undertone, which reflects on the conference and its impact. 

Lilith's 10th Anniversary Celebration is a series of performances titled – YOU ARE INVITED, followed by the artists subtitle, running from September to December, all with the same starting point: A dinner. Each artist is free to interpret what a dinner party may be.

The invited artists are:

Dafna Maimon (Israel / Finland) 22-24 September

Myriam Laplante (Canada) 12-14 October

Odun Orimolade (Nigeria) 23-25 November

The Icelandic Love Corporation (Iceland) 14-16 December

All video and photo documentations from all the artists since 2007 can be seen under archives on Lilith’s website.

The dinners are open to everyone, depending on availability.

Book your ticket(s) by mailing to: boka@lilithperformancestudio.com

Write you name and date and how many tickets you want. 

Admission: Pay what you wish. 

The ticket(s) must be paid once you receive a confirmation, so that the booking will be valid.

More info: http://lilithperformancestudio.com

Date: 23–25 November

Starttime: 8 PM sharp!


Place: Lilith Performance Studio, Bragegatan 15 Malmö

Warmly Welcome!




12. CALL FOR SUBMISSIONS: Performance Research

Deadline date: November 27, 2017; City: the world; Source: Performance Research


Performance Research

Vol. 23, No. 6: ‘On Disfiguration' (September 2018)

Issue Editors: Stephen Barber & Richard Gough

Proposal Deadline: 27 November 2017

This issue is intended to open up original explorations of disfiguration as a means, process, idea, imagery or entity, and as a way to reflect on performance. Disfiguration often implies a process by which an external presence overhauls or negates the body, but the body may also itself exact its own disfiguration (as in many Viennese actionist performance-art experiments of the 1960s, and contemporary manifestations of such preoccupations) or else undertake an act that dissolves any coherent sense of what the imagining or delineation of the body may entail. 'Figuration' is itself—as something pre-existent, vulnerable to the imminent cancellation, 'twisting' (to use the term of the contemporary artist Richard Hawkins) or mutation that its prefix in disfiguration suggests—a mobile and transformative entity that may overhaul its own status, by, for example, dissolving it, freezing it, lacerating it, blinding it, fragmenting it, or removing its conceptual basis. Disfiguration appears notably in eras of acute social and corporeal crisis and conflict.


Disfiguration often entails some kind of obsession or preoccupation with the human body as having once held a form that now no longer holds true, or has been covertly stolen, infiltrated and duplicated—so the body now requires an urgent performative intervention, as in the demands for reanimation or autopsying that Artaud calls for in his final radio work of 1947
–8, and that will manifest itself (in that instance) as a work of dance: 'When you will have made of it a body without organs …/Then you will teach the body to dance back to front/as in the delirium of dancehalls …' Works preoccupied with disfiguration may not form the active agents of disfigurement, but instead are dealing with the remnants, detrita and traces of corporeal disfigurations that demand a countering process, to propel the body still deeper into disfiguration, or beyond disfiguration, either to return it to its pre-existent status or else to generate a new manifestation of corporeality, as Artaud envisaged in that final work. Bataille, too, in contrary ways, envisions the body in multiple forms of disfiguration.


Disfiguration's primary manifestation is one in which the body is so fundamentally altered that it is no longer sensorially recognizable, and is wiped and subject to oblivion: disfiguration, in that sense, in its most extreme form, is propelled by an act that constitutes an all-engulfing negation of the body and a collapsing of all of its attributes, including all corporeal theory. As well as disfiguring the body itself, processes of disfiguration may also consume the totality of the media by which performance survives: for example, the annulling of digital data, the burning of celluloid or the all-out destruction of paper-based archives. As such, disfiguration's insurgence may form the antithesis of performance traditions, histories, genealogies and lineages.

A less negation-intent disfiguration may transform the body into corporeal shards and ruins—or, when the body has entirely vanished, into echoes and haunted resonances, or retinal after-images and blurs. It then holds a particularly distinctive or ghostly presence in urban space, as explored in much post-1960s Japanese performance art and dance. Performance and artworks concerned with the act of duplicating, collaging and plagiarizing the figure often intend not to erase it but to supplant or re-inflect it. An elapsed performance may have already rendered the body so fragile, voided or traumatized that disfiguration forms the process by which such corporeal striations and ruptures are then mapped, so that disfiguration may form a neutral process that simply probes and documents the body's already-achieved disassembly. 

Disfiguration may also encompass and inhabit unfamiliar zones of time and space in which the body's annulling or contamination is conceived as being so irrecuperable—or the body's obsolescence so total—that its performance now needs to be re-thought from zero, as in spectacles in which the body's figuration is entirely absent, or has been digitally replaced. Disfiguration may, for example, take place in the volatile interstice between performance and moving-image media in their many forms, through a process by which the body is transacted between those two entities (performance and moving-image media) and endures such outlandish corporeal mutation or reactivation, annulling all pre-established formula for coherent identification, that it is uniquely disfigured in those zones between performance and moving-image media.

In all of its manifestations, disfiguration forms a process of marked transformation in the status of the body that invites performance's imprints, excavations and soundings. 

Topics addressed may include the following, but the parameters of this call for papers are open to any manifestation of disfiguration in any context of performance research: 

-Expressionist dance works, such as those of Anita Berber, and their links with Expressionist cinema 

-The work of Antonin Artaud, Georges Bataille and other figures concerned with theoretical (or actual) processes of disfiguration 

-Viennese Actionist performances and their filmic counterparts

-Francis Bacon's work as an inspiration for performance artists, dancers and moving-image artists 

-Ankoku Butoh and other forms of Japanese dance 

-Disfiguration as a 'twist' of the body, as in the contemporary artist Richard Hawkins' engagement with Tatsumi Hijikata's scrapbooks 

-Performance art and theatre oscillating between digital data and corporeal acts, as in the 1990s work of Dumb Type, but also in contemporary works 

-Filmic performance documentation as an active or intentional disfiguration of the body's time and space 

-Transformations of scenographic space that entail corporeal disfigurations, as in recent works by Romeo Castellucci 

-Voice/Vocal works that rend or disfigure the performing body (for example, Korean P’ansori, the historical tradition of castrati and the contemporary practice of ‘extended vocals’) 

-Worldwide rituals and traditions of physical disfiguration, emaciation, scarring, amputation or amendment (for example, traditional African ritual practices and ceremonies, Asian practices of body modifications and trance piercing and contemporary body art)



Proposals: 27 November 2017

First Drafts: March 2018

Final Drafts: May 2018

Publication: September 2018


ALL proposals, submissions and general enquiries should be sent direct to the PR office: info@performance-research.org


Issue-related enquiries should be directed to the issue editors:

Stephen Barber: stephen.barber@kingston.ac.uk

Richard Gough: cprgough@gmail.com


General Guidelines for Submissions:

-Before submitting a proposal we encourage you to visit our website and familiarize yourself with the journal.

-Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side.

-Please include your surname in the file name of the document you send.

-Please include the issue title and issue number in the subject line of your email.

-Submission of images and visual material is welcome provided that all attachments do not exceed 5MB, and a maximum of 5 images.

-Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.

-If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.






13. CALL FOR SUBMISSIONS: Animating Toronto Parks
Deadline date: December 4, 2017; City: Toronto, Canada; Source: Toronto Arts Council


Toronto Arts Council funding opportunity: Animating Toronto Parks
Application Deadline: December 4, 2017
Information Session: November 2, 2017


Toronto Arts Council’s Animating Toronto Parks grants program provides funding to professional artists, organizations and artist collectives to create and present free arts programming in selected Toronto parks located outside the downtown core. For the purposes of this program, “arts programming” may include the presentation of dance, literary arts, music, theatre, visual arts and media arts, community-engaged arts and any combination of the above. Permanent installations will not be funded within this program. 


Information Session:
Thursday, November 2, 2017, 10am–12:30pm
Toronto Centre For the Arts, 5040 Young Street, North York (TTC: North York Centre subway)
Free / everyone welcome


Join us on November 2 to find out more about how to apply for an Animating Toronto Parks grant, which provides funding to support the presentation of free arts programming in selected parks outside the downtown core. 


–Toronto Arts Council Strategic Programs Grants Officer Erika Hennebury will present information on how to apply for the grant;
–Toronto Arts Foundation Marketing and Events Associate Jaclyn Rodrigues will present information on the Arts in the Parks initiative;
–Park People’s Manager of Outreach Minaz Asani-Kanji will share information on Parks Friends groups and how to work with community;
–Parks, Forestry & Recreation’s Arts and Music in the Parks customer service representative Andrea Damiano will present information on parks permitting and requirements.


There will be time for questions following the presentations. Coffee, tea and snacks will be available. Kids are welcome to attend. Toronto Centre for the Arts is wheelchair accessible. Wheelchair accessible underground parking with elevator access is available at 5000 Yonge St and connects to TCA. Scent-free environment. 


If there is any way we can accommodate you please contact Erika.

Please contact Erika Hennebury for more information: erika@torontoartscouncil.org


Learn more about TAC's Animating Toronto Parks grants program:



Learn more about Toronto Arts Foundation: www.torontoartsfoundation.org
Learn more about Arts in the Parks: www.artsintheparksto.org
Learn more about North York Arts: www.northyorkarts.org
Learn more about Park People: www.parkpeople.ca




14. CALL FOR SUBMISSIONS: Naked State art residency

Deadline date: December 15, 2017; City: Toronto, Canada; Source: Naked State

Program Dates: August 7–17, 2018

Submission Deadline: December 15, 2017

Naked State is a 10-day residency to create artworks that explore the nude human body in context of nature, culture and art. For the duration of the residency, the artists and residency Facilitator live as *naturists (in the nude) within the naturist community of Bare Oaks Family Naturist Park to create works that explore questions such as: What is nudity? Does stripping away clothing rid us of class, gender, and personal expression?; Do the connections between our bodies and the land change when nude? Is nudity always sexual? What is the role of the nude in historical and contemporary art?; Is an animal with fur naked? Is it possible to be civil in the nude?; Is there a natural state for human being? Residents work individually or collaboratively to create artworks that explore these questions through media of their choice, such as photography, video, installation, drawing, painting, performance art, dance, sound art, media art, etc. Naked State welcomes people in all walks of life into a creative journey of criticality thinking and self-discovery. Indigenous, people with disabilities, people of colour and diverse gender identifications are encouraged to apply. 

This programmed residency offers facilitation, a seminar on naturism, a creative workshop, guest visits by artists and members of the Bare Oaks naturist community, plenty of studio time, and closing open studio/exhibition. Critiques of residents’ works occur individually with the Facilitator and through facilitated group discussions. Artists are encouraged to socialize and integrate with the Bare Oaks community at campfires, swimming, sharing meals, and through the creation of artworks. The Bare Oaks community will be invited to the introductory resident artist talks, guest seminar with Stéphane, and scheduled studio visits with artists. The closing event will be open to members of Bare Oaks and the public.

*Naturism is the practice of complete nudity in a social setting. Though nudity is the most obvious aspect of naturism, it is simply a tool to reach closer to a natural state. The purpose of naturism is to promote wholesomeness and stability of the human body, mind, and spirit. It also promotes well being through complete contact of the body with the natural elements. For a full description of naturism, visit BareOaks.ca/index.php/en/about-naturism.

Bare Oaks Family Naturist Park is a year-round naturist park near Toronto in Canada, where individuals and families experience traditional naturist values in a modern setting. It is nestled among the natural wilderness of the Ontario Greenbelt and Oak Ridges Moraine. Its varied landscape includes open spaces, forests, ponds, streams and a small lake. Amenities include a store, restaurant, sun deck, TV and sports lounge, outdoor pool, whirlpool, saunas, exercise room, laundromat, and a small common kitchen with microwave and fridge. Wireless Internet can be purchased at the front desk. The Outback common room (and possibly a marquis tent and yurt) will be dedicated as a large shared studio space for the duration of the residency. There is some wheel chair accessibility. Bare Oaks is located in East Gwillimbury, under an hour north-east of Toronto. For more information visit www.BareOaks.ca, watch some videos, or take the virtual tour at the bottom of this page.

For full details and to apply visit: www.NakedState.ca/apply





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.


445-401 Richmond Street West, Toronto, Canada M5V 3A8




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FADO on Twitter: @FADOperformance

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