FADO E-LIST (March 2018)

Our hearts go out to the family and friends of James Luna, a giant in our performance art family, who has walked on.


James Luna (February 9, 1950–March 4, 2018)





1. FADO Performance Art Centre presents: Myung-Sun Kim at Eyeblink: Fires

Presented at the Gardiner Museum in collaboration with Pleasure Dome

Date: March 15, 2018

2. FADO Performance Art Centre's MONOMYTHS perpetual calendar is now available!

LIMITED EDITION / Order yours today! 

3. CALL FOR PARTICIPATION: 2894 with claude wittmann

Date: March 10, 2018; City: Toronto, Canada; Source: claude wittmann
4. CALL FOR PROPOSALS: Performance Research Vol. 24, No. 1: ‘On Song'

Deadline date: March 12, 2018; City: the world; Source: Performance Research

5. CALL FOR SUBMISSIONS: Forest City performance proposals

Deadline date: March 25, 2018; City: London, Canada; Source: Forest City

6. CALL FOR PROPOSALS: Performance Crossings

Deadline date: March 25, 2018; City: Prague, Czech Republic: Source: Cross Club


Deadline date: April 9, 2018; City: Toronto, Canada; Source: Summerworks

8. OPEN CALL FOR ARTISTS: Perception of the Self

Deadline date: April 15, 2018; City: Venice, Italy; Source: VestAndPage


Date: now; City: the world; Source: VestAndPage




1. FADO Performance Art Centre presents: Myung-Sun Kim at Eyeblink: Fires

Presented at the Gardiner Museum in collaboration with Pleasure Dome

Date: March 15, 2018


Eyeblink: Fires

Performance by Myung-Sun Kim

Screening of the work of Julieta Maria

In support of the Gardiner Museum’s exhibition YOKO ONO: THE RIVERBED

Co-presented by FADO Performance Art Centre, Gardiner Museum and Pleasure Dome


Thursday, March 15, 2018

7:00pm: Doors open

8:00pm: Event starts


Gardiner Museum

111 Queen's Park, Toronto


Admission includes entry to YOKO ONO: THE RIVERBED. Students can use the coupon code “studenteyeblink” to receive a 20% discount on tickets. Student IDs will be checked at the door.


$10 regular / $8 students (online or at the door)

Purchase online at: www.gardinermuseum.on.ca/event/eyeblink-fires/

Facebook: www.facebook.com/events/316215422229975/

In support of the Gardiner Museum’s exhibition YOKO ONO: THE RIVERBED, Eyeblink is a three-part monthly screening and performance series that draws inspiration from Ono’s 1960s and 1970s filmmaking. 

In Yoko Ono’s early Fluxus films, Eyeblink and One (Match), the artist watches in steady, fixed-frame contemplation the simplest of gestures, managing to distill cinema to its essentials in a shot-countershot duet of light and vision. This screening and performance event, co-presented by FADO Performance Art Centre, the Gardiner Museum and Pleasure Dome, will explore the intertwined lineages of trauma and survival.

Myung-Sun Kim will present a new performance work. Kim’s work explores ideas around foodways, undocumented history, war, fiction, memory, trauma, resilience, and community care. She is interested in the sharing of lived experiences and methodologies that may evoke a collective sense of empathy and a deeper understanding and care for the differences that exist within our complex intercultural communities in ways that provides sustenance.

Julieta Maria’s elegant, performance-for-camera shorts concentrates lifetimes of study and digestion into exquisite frames. The artist uses the material of her body to reflect on the violence of her native Colombia, or the exile of her Palestinian father. Pleasure Dome curates a mini-retrospective featuring a program of seven shorts, as well as two smashed reconstruction loops installed in the Gardiner’s lobby.


February 22 to June 3, 2018

The Gardiner Museum is pleased to present a three-part installation by Yoko Ono entitled THE RIVERBED. Yoko Ono is a forerunner of Conceptual art who frequently involves collaboration, audience participation, and social activism in her artwork.

YOKO ONO: THE RIVERBED invites visitors to collaborate with the artist, the museum, and each other, participating in the artwork through everyday action and contemplation. YOKO ONO: THE RIVERBED, in a sense, becomes a temporary village—a repository of hopes and dreams for individuals and for the world.

Stone Piece features a pile of river stones that have been honed and shaped by water over time. Ono has inscribed some of the stones with words, such as dream, wish, and remember. Visitors are invited to pick up a stone and hold it, concentrating on the word, and then placing the stone upon the pile of other stones in the center of the room.

Line Piece is comprised of a series of low tables with notebooks in which visitors are encouraged by Ono to “draw a line to take me to the farthest place in our planet.” Visitors may also extend a string across the gallery space using hammers and nails to secure it from one point or another, creating a web that will grow and evolve over the course of the exhibition.

Mend Piece reinforces the idea of healing. Fragments of broken ceramic cups and saucers are placed on a table for visitors to reassemble using glue, string, and tape, before positioning them on shelves around the all-white room. In Ono’s words: “As you mend the cup, mending that is needed elsewhere in the Universe gets done as well. Be aware of it as you mend.” (November 19, 2015)

The space also features a small coffee bar where visitors are encouraged to enjoy a cup of coffee together, forming another kind of union.

YOKO ONO: THE RIVERBED was first mounted at Gallerie Lelong & Co. and Andrea Rosen Gallery in New York City, in 2015.

For more information about the exhibition and related programming series: www.gardinermuseum.on.ca/event/eyeblink-fires/




2. FADO Performance Art Centre's MONOMYTHS perpetual calendar is now available!

LIMITED EDITION / Order yours today!


Take a sneak peak inside the calendar!


MONOMYTHS invited a diverse collection of artists, scholars and activists to revise Joseph Campbell's conception of the hero's journey through performance art, lectures, workshops and other offerings. The MONOMYTHS perception of the universal journey dispels the notion of the lone patriarchal figure on a conquest to vanquish his demons–both inner and outer–in consideration of community, collectivity and collaboration. This perpetual calendar, beautifully designed by Lisa Kiss Design, documents the year-long MONOMYTHS journey. 


Playing on the cyclical nature of the universal story, and the interconnectedness of the MONOMYTHS performance series, this 14-month perpetual calendar contains a main image and a detail from each project in the series taken by FADO photographer Henry Chan; as well as biographical information about each artist and a short description of each work.



Photography by Henry Chan and Connie Tsang

Designed by Lisa Kiss Design

Number of pages: 17

Overall dimensions: 11 x 14 inches


COST: $25.00 (Canadian) plus shipping (to be determined at purchase)

Methods of payment: Cheque, E-transfer, Paypal



Toronto: $10 / tracking included

Canada (NFLD / BC): $14 / tracking included

USA: $12 / $18 with tracking

International: $20


For order inquiries, please contact: info@performanceart.ca




3. CALL FOR PARTICIPATION: 2894 with claude wittmann

Date: March 10, 2018; City: Toronto, Canada; Source: claude wittmann / Julie Lassonde    


Participative reading from the Truth and Reconciliation Commission's report

March 10, 2018



Glad Day Bookshop

499 Church Street, Toronto (near Wellesley Station)


Participants: anybody is invited to drop-in to to read one or a few pages and/or to listen to the readings. We tend to each read for about 10 minutes at a time.


Facilitators: claude wittmann and Julie Lassonde


facebook event: https://www.facebook.com/events/865799926957777/

more info on the project + internet radio at: http://claudewittmann.ca/stream/2894.html




4. CALL FOR PROPOSALS: Performance Research Vol. 24, No. 1: ‘On Song'

Deadline date: March 12, 2018; City: the world; Source: Performance Research

Call for Proposals: Performance Research Vol. 24, No. 1: ‘On Song' (January/February 2019) 

Issue Editors: Joan Mills and Ben Spatz

Proposal deadline: 12 March 2018 


I turquoise-sunray-polish it;

I tzinitzcan-bird-feather-mount it;

I recall the place where song originates.

I zacuan-bird-arrange a good song,

I the singer;

I precious-turquoise-scatter it.

(Cantares Mexicanos, cited and translated by Gary Tomlinson, The Singing of the New World: Indigenous voice in the era of European contact, 2007)


Seemingly narrower than related concepts like music and voice, song opens onto specific territories and questions of its own. What is a song? Where do the borders lie between song and music, voice, language, noise, sound, rhythm and melody? What are the powers and forces of song—material and otherwise—and what is it that allows song to so vastly exceed the sum of its constituent parts? Is there an indissoluble link between song and the human, or between song and life?


“There is evidence that early human species were able to dance and sing several hundred thousand years before homo sapiens sapiens emerged with the capacity for speech as we now know it.” (John Blacking, A Commonsense View of All Music, 1987)


We propose to collect essays and arguments that extend song as concept and as practice. This issue of Performance Research will be richly seeded by thirty years of CPR’s Giving Voice Festival while also looking to chart a radically expanded field of song and songwork. We invite contributions from scholars and practitioners who work with song in unexpected, inventive, critical, passionate ways. We particularly encourage contributions that draw on diverse disciplines and cultures, especially those that have historically been marginalized in performance studies.


Where shriek turns speech turns song—remote from the impossible comfort of origin—lies the trace of our descent. (Fred Moten, In the Break: The aesthetics of the black radical tradition, 2003)


In many performance cultures, song is an integral element of theatre. Since the 1960s, white avant-garde artists like Roy Hart, Jerzy Grotowski, Meredith Monk and Robert Wilson have increasingly used song as an organizing principle for theatrical works. Often drawing upon diasporic and indigenous song traditions, their intercultural projects have provoked important conversations about lineage, authenticity and appropriation. Meanwhile, artists linking tradition to innovation in postcolonial contexts continue to present essential challenges to Eurocentric ontologies of song.


Where are we with song today? How have experimental approaches to vocal performance affected the concept of song and its placement in artistic, cultural and geographic contexts? What can be done with legacy technologies like European musical notation and with colonial concepts like ‘world music’ and ‘traditional’ song? What explains the recent focus on song in popular culture, a globalized phenomenon leading to a raft of media programmes like Glee, Pitch Perfect, The Voice and, most recently, All Together Now? At a time when intellectual property debates are increasingly polarized and chaotic, what are the powers and responsibilities of performers and performance scholars with their particular understandings of embodiment, liveness and mediation?


[S]ongs, as a rule, are not composed simply to be listened to for pleasure. They have work to do, to serve as funeral dirges, as accompaniments to dancing, or to serenade a lover.

 —Raymond Firth, Elements of Social Organization (1961)


The following list is only an indication of some of the areas we hope to explore through a focus on song. We welcome contributions that push the form of artistic research and academic publication.

–Forms and typologies of song: aria, lullaby, work song, lamentation

–Song and the sacred: spirituality, breath, chant, mantra

–Song without text, non-lexical song, glossolalia, vocalese

–Song as protest, resistance, anthem, declaration

–Song-based theatres: musical theatre, music theatre, opera

–Song and community, song and commensality

–Song in training, trust, ensemble and team-building

–Song as a phenomenon for neuroscience and cognitive studies

–Fear of singing; issues of confidence and health

–Material limits of song: scream, cry, howl

–Animal song; song and the musicality of the body

–Song and the human/nonhuman/posthuman/inhuman

–Technologies of song: notated score, audio track and beyond

–Singing as improvisation, interaction and emergence

–Song and commerce; intellectual property debates

–Song and ownership; cultural appropriation and authenticity

–Postcolonial and decolonial song

–Song and landscape, geography, heritage, ancestors, memory

–Histories, archaeologies, ontologies and philosophies of song


As for the nightingale’s song, it has always had for me the extra resonance of oratory. It hovers on the edge of speech, of dramatic monologue.

—Richard Mabey, The Book of Nightingales (1997)



Proposals: 12 March 2018 

First drafts: June 2018

Final drafts: August 2018

Publication: January 2019

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:

Joan Mills: voicemills@gmail.com

Ben Spatz: b.spatz@hud.ac.uk


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 email (Microsoft Word or Rich Text Format (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 5 MB, and there is a maximum of five 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.






5. CALL FOR PROPOSALS: Performance Crossings

Deadline date: March 25, 2018; City: Prague, Czech Republic: Source: Cross Club


Performance Crossings invites you to present your artwork at performance art festival Performance Crossings, which will take place from April 25-28, 2018, Cross Attic (Cross Club Prague, Czech Republic)


Performance Crossings is an international festival aimed at the comprehension of contemporary trends in performance art. Performance art is similar to drama, poetry, or punk music in the form of specific, unique, and artistic expression. Performance Crossings suggests basic insight to various forms of performance art with an emphasis in understanding stylistic principles and establishing mutual connections between a performer and a spectator / between an idea and its materialization. The dramaturgy of Performance Crossings is based on broad areas of performance art (and related genres of live art, body art, long durational art), site-specific art, installations, video art, dance, theatre, and sound. The dramaturgy of the festival is trying to grasp the essence between distinct performance art fields through the presentation of artist, discussion with audiences, and interpersonal confrontation. Although in main programming line Performance Crossings is presenting all possible and impossible art forms, in 2018 there will be specific focus on three subcategories: fear (as a topic), sound (as a form), and public space (as local distinction). More than 30 artists from 13 world countries were performing last year on the festival, which made Performance Crossings one of the most important performance art-related event in Czech Republic.


The main topic for Performance Crossings 2018 is fear.

Fear as an ordinary emotion in society.

Fear as the subject of political power and growing populism.

Fear as a reflection of social uncertainty.

Fear as a prism to see the future of earth and human society.

The aim is to perceive this topic from different perspectives, to materialize a wide range of forms used in practice and reflect them in a dialogue with the audience.


For more information on the festival:



We can offer:

–technical support

–documentation (photos and video record of performance, interview)

–being part of emerging networking platform

–festival brochure that will include selected list of festivals, organizations, etc whose work is related to the presentation or promotion of performance art

–possible long-term collaboration within the Cross Attic program

–accommodation (at local house / or arranging discount in neighbourhood hotels/hostels)



How to apply:

Please follow the link on this page:



Deadline date: 

Submision: 25th March 2018

Results: 31st March 2018


For any further informations, do not hesitate to email us at cross.attic@gmail.com

Looking forward to hearing from you!




6. CALL FOR SUBMISSIONS: Forest City performance proposals

Deadline date: March 25, 2018; City: London, Canada; Source: Forest City


Forest City is accepting submissions for a series of events inspired by recurring themes and ideas of performance and/or “the performative” in emergent artistic practices.


Traditional ideas of performance art often involve duration, able-bodiedness, physical presentness, and body-centricity. Within the gallery setting, performance art has the opportunity to question and reflect on the agency of bodies confined inside the white cube. How do artists push against or respond to the constraining domination of traditional modes and systems that drive so much contemporary art? How can we collaborate to re-interpret and re-model accepted modes of thinking, and dissolve social structures that aim to subjugate bodies within the gallery setting? Considering this potential relationship between activism / rebellion / critique and performance agency, FCG seeks artists who are concerned with–or identify their work/practice within–the following concepts:


–presence or presentness in a contemporary moment of digital/mediated modes of being and working;

–resisting ideas of efficiency and transparency-as-product via what Hito Steyerl calls an “economy of presence” (Steyerl, Hito. “The Terror of Total Dasein: Economies of Presence in the Art Field.” Dis magazine, 24 November 2015. Web. 4 January 2018.);

–contextualizing performance within personal and self-determined ways of being and relating;

–performance as shared knowledge-production;

–performative gestures which honour and respect a broader spectrum of bodies;

–social practice-based approaches and critiques within performance and “the performative”


In addition to artists who utilize live performance in their practices, FCG also seeks artists, writers, filmmakers, cultural producers, etc. who address the idea of performance whether via cross-disciplinary approaches or alternative modes and gestures of “the performative”. This can include new media, video, talks, lectures, writings, reading groups, workshops, sound, live/durational performance, or alternative means. The exhibition aims to be event-based, consisting of multiple events carried out over a 6-week period.


Artists are paid in accordance to CARFAC fees.

All submissions must be emailed to: programming@forestcitygallery.com


Submissions must include:

–A completed application form (application forms http://forestcitygallery.com/submissions)

–Please describe your project within the allocated space (i.e performance, talk, workshop, screening, lecture, etc.) and duration

–Artist CV

–Press Examples (Optional)

–Above documents should be merged into a single PDF

–Maximum 15 images of existing and/or proposed work

–Vimeo links for video works are preferred.


Please use “Performance Call - Your Name” in subject line of application followed by your full name. Submissions (excluding images) should be merged into a single PDF. Paper/mailed submissions will no longer be accepted. Notification can be expected approximately 1 month following the jury date, by email. Only successful candidates will be contacted. If you have any questions concern the application process, contact us at director@forestcitygallery.com


Submission deadline: March 25, 2018 at 5pm





Deadline date: April 9, 2018; City: Toronto, Canada; Source: Summerworks


SummerWorks is a curated festival widely recognized as one of the most vital platforms for launching new performance—locally, nationally and internationally. SummerWorks is a place where artists are free to explore new territory and take creative risks. We are interested in continuously reimaging and innovating the possibilities for performance- how it is created, presented and experienced. We are currently seeking proposals for our 28th edition, taking place August 9-19, in Toronto, Canada. Proposals are encouraged from creators working across all disciplines and artistic traditions. Artists may apply with more than one project, and more than one category.



DEADLINE: Monday April 9th, 2018, 11:59pm EST

SummerWorks seeks proposals for new and experimental performance projects that will be ready for presentation in August 2018. Proposals are encouraged from both established and emerging artists working in the areas of contemporary theatre, dance, music, live art, interdisciplinary art, and hybrid forms. Works for theatre, gallery, bar, outdoor, site-specific and immersive settings are welcome. Proposed works may have previous workshop development or presentation history. Of particular interest are projects, approaches and ideas that are new territory for the artist and the medium.



DEADLINE: Monday April 9th, 2018, 11:59pm EST

Nurturing space for creative exploration, SummerWorks invites proposals for projects to be shared in their early stages of development as well as performance experiments that seek to use the platform of the Festival as a laboratory to incubate and test new ideas. Of particular interest are projects that that will benefit from audience engagement and feedback, with the potential of this to inform the future of the work.  



DEADLINE: Monday April 9th, 2018, 11:59pm EST

For 2018, SummerWorks invites artists and makers of all disciplines to propose projects that consider the relationship between public and private realms, as well as ideas that experiment with the possibility of performance in unconventional spaces—including, but not limited to: sidewalks and streetcars, front porches and living rooms, as well as online platforms and mobile devices. Of particular interest are works that consider the changing landscape and architecture of the city, as well as opportunities for civic engagement.



NO Entrance Fee: In an effort to increase accessibility, SummerWorks is pleased to announce that artists will not be charged an entrance fee to participate in the Festival (formerly $700+ HST for performances of 60 minutes or more; $350+ HST for short-form performances; and $565 for site-specific performances).


Industry Activities: All project applications received will also be considered for participation in curated Industry Activities during the Festival, including pitch sessions and open studio showings for presenters.


Online Submission: The Festival application process has moved online. For access to the application portal and guidelines: http://summerworks.ca/call-submissions-2018-app/




8. OPEN CALL FOR ARTISTS: Perception of the Self

Deadline date: April 15, 2018; City: Venice, Italy; Source: VestAndPage


OPEN CALL FOR ARTISTS in the framework of the Educational Learning Program of the VENICE INTERNATIONAL PERFORMANCE ART WEEK, Studio Contemporaneo in collaboration with Live Arts Cultures are glad to present the fifth of a series of practical workshops on performance art in Venice: 



10-days Intensive Joint Summer Class on the Practice of Performance Art 

As part of the ART WEEK | Workshop Series

By VestAndPage and Andrigo & Aliprandi


May, 29 to June 7, 2018

C32 performing art work space, Forte Marghera, Venice (IT)

With a final public presentation on Thursday, June 7, 2018

Applications are now accepted on a rolling base until April 15, 2018


The artist duos VestAndPage and Andrigo & Aliprandi merge their unique pedagogical practices in a joint immersive performance class as part of the ART WEEK | Workshop Series. The intensive summer class takes place on the campus at C32 performing art work space in Venice, situated in the heart of Forte Marghera, an historical park facing the western bank of the Venice lagoon. A final public sharing of the workshop will be presented on Thursday, June 7 and documentation of the workshop will become part of the archive of the VENICE INTERNATIONAL PERFORMANCE ART WEEK.


The joint laboratorial process will revolve around a range of techniques reflecting the two duos art practices and methodologies: VestAndPage's backgrounds run along the interface of visual arts, performing arts, experimental and Social Theatre and creative writings. They aim to empower emotional intelligence, readiness, responsiveness, empathy, awareness, notions of critical, creative and divergent thinking, including mindful risk-assessment. The body as a poetic and imaginary landscape, with the three bodies (physical, mental and spiritual) as primary artistic tools. 


Andrigo & Aliprandi apply their backgrounds in movement, sound and philosophy, and are dedicated to repetition, durability and real-time composition. They share knowledges and experiences through physical and concrete practices to recognise together the infinite ways to read origins and destinations that turn a gesture into a poetic act. Lightness and extravagance of the act are accepted so as not to fall into self-referentiality, and intuition is used as a result of a receptive capacity facing outward.



"Would you stand with me and hold my hand?

The problem of our time is not only due to the crisis of the reason, but also to a spurious knowledge that is overtaking wisdom, while culture is surrendering to technology. Therefore what we feel, do and record seems to be of lesser value because the increasing mediatic power of the machine is reducing our perception of the reality and of our Self. But having an accurate self-perception and understanding about our values and what influences us, is a prerequisite to creatively respond to what we recognise as detrimental, hurtful or prejudicial. 

To improve self-perception is vital to perceive the other accurately. It widens reciprocal dialogue. It enforces imagination, because to perform is also to imagine all of us as a people, a people of hope who yearn for visions, a people who believe in themselves as well as believe in everyone else, all accepting aspects of one another, progressive, open spirits who effortlessly search for evidence and compassion, even though many are still driving for that materialistic bullshit, yearning to better and out do, trying to succeed even when the concept of success is surpassed, people whose lives are built on rage or science of a systematic stain— delayed evolution, in need of a revival. Eventually, imagine death. Can you see it? It’s like staring at the sun. You can only see it at eyes closed. Now imagine life. What does it look like?"


We are looking for a maximum of 25 international performance artists, radical actors, movers, sound artists and poets interested in physical art practice.


Dates: May 29 to June 7, 2018 (With arrival on May 28 and departure on June 8)


We are able to offer this Intensive Summer Class for a comprehensive fee of 550,- Euro, including shared accommodation in Forte Marghera and vegetarian meals during the workshop period (May 28 to June 8).


Applications are now accepted on a rolling base until April 15, 2018. To apply, please fill in the form on http://bit.ly/2FXb5eP.


For further information please contact (including both emails):





Artist Verena Stenke and artist and writer Andrea Pagnes have been working together since 2006 as VestAndPage, creating live performances, performance-based films, performance visuals, and poetic writings since over a decade, exploring performance art as phenomena through their collaborative creative practice, as well as through theoretical artistic research and temporary artistic community projects. Their art practice is contextual and situation-responsive, conceived psycho-geographically in response to social contexts, natural surroundings, historical sites and architectures. In a "Poetics of Relations" they examine notions of temporalities, memory strata, communication and fragility of the individual and the collective within social and environmental spheres, applying the themes of trust in change, union, endurance, pain sublimation and risk-taking with a poetic bodily approach to art practice and a focus on universal human experiences. While encompassing a range of subtly different concepts, they primarily express VestAndPage's view on reality while adding or revealing poetic elements as a rebellion against the exercise of power and discrimination among human beings. www.vest-and-page.de



Dancer and performer Marianna Andrigo and multimedia artist and sound performer Aldo Aliprandi have been collaborating since 2009. Their oeuvre and artistic research intertwine various performative languages, deepening the relationship between body movement and sound-motion. Andrigo & Aliprandi's live performances are mainly conceived site-specific, often in places characterised by the full verticality and the consequent shiver of vertigo that it produces. In their reference landscape, they move between philosophy, theatre, sound and movement experimentation by investigating an aesthetic that falls in love with detail and silence, as well with an entropic dynamic energy moved by emotions as enlightenment in the creative process. Their work favours shifting from comfort zones to places unknown yet — those invisible places where the performer needs to stand on the alert to trigger the creative act. www.mariannaandrigo.it  / www.aldoaliprandi.it



Ideated and curated by artist duo VestAndPage, the VENICE INTERNATIONAL PERFORMANCE ART WEEK is the international live art exhibition project taking place since 2012 at historical Venetian premises. Up to date, the project has extensively presented historic pioneer works on exhibit in conjunction with live programs of durational performances, lectures and artist talks, showing over 150 international artists. In December 2017 the Venice International Performance Art Week has undertaken a new direction, establishing the CO-CREATION LIVE FACTORY series, aimed to enforce the principles of temporary artistic community and co-creative sharing, on which the overall project has been founded. Since 2013, the ongoing Educational Learning Program and the ART WEEK | Workshop Series have been realised every year in collaboration with Live Arts Cultures Cultural Association. www.veniceperformanceart.org





Date: now; City: the world; Source: VestAndPage



“Fragile Body – Material Body” Exhibition Catalogue


The hardcover limited edition exhibition catalogue 3rd Venice International Performance Art Week 2016 "Fragile Body - Material Body” is now available for online order from VestAndPage press: https://www.vest-and-page.de/publications.


The III VENICE INTERNATIONAL PERFORMANCE ART WEEK took place at European Cultural Centre | Palazzo Mora and Palazzo Michiel in Venice, December 10-17, 2016 under the focus "Fragile Body – Material Body". It concluded the trilogy project following the first two editions "Hybrid Body – Poetic Body" (2012) and "Ritual Body – Political Body" (2014). The live art exhibition project dedicated to contemporary performance art showcased in its third edition works of over 80 international performance artists from around the globe, some of which presented in cooperation with prestigious cultural institutions and foundations. Pioneers of this art discipline exhibited and performed alongside established and emerging artists, reflecting influences and current tendencies in the field. The project consists of an exhibition of performance installations, photographic and video documentation as well as vibrant program of live performances, talks, screenings and meetings with the participating artists, researchers and curators. The VENICE INTERNATIONAL PERFORMANCE ART WEEK 2016 is the live art exhibition project conceived, initiated and curated by artist duo VestAndPage and organised in collaboration with Studio Contemporaneo, Venice Open Gates, We Exhibit, Live Arts Cultures and European Cultural Centre | GAA Foundation.


Venice: VestAndPage press, 2017

Hardcover, pp. 272, 20 x 13 cm, 166 colour images

Printed in a limited edition of 300


With documentation of the works presented at the III Venice International Performance Art Week 2016 "Fragile Body - Material Body”: Marina Abramović, Dimitris Alithinos, Marcel·lí Antúnez Roca, Marilyn Arsem, John Baldessari, Janusz Bałdyga, Evangelia Basdekis, Nathalie Anguezomo Mba Bikoro, Lisa Bufano, John Cage & Klaus vom Bruch, Sophie Calle, Kris Canavan, Cassils, Panos Charalambous, Thanassis Chondros/Alexandra Katsiani, Samanta Cinquini & Luca Nava, Helen Cole, Alexander Del Re, Jeannette Ehlers, Giovanni Fontana, Nicola Fornoni, Franko B, Coco Fusco & Paula Heredia, Christina Georgiou, Guillermo Gómez-Peña, Gim Gwang Cheol, gyrl grip, Ria Hartley, Mona Hatoum, Jeff Huckleberry, Irwin, Casey Jenkins, Maria Karavela, Anna Kosarewska, KörperSchafftKlang, Kyrahm & Julius Kaiser, Maria Klonaris & Katerina Thomadaki, Sara Kostić, jamie lewis hadley, Arrigo Lora Totino, Tran Luong, Ato Malinda, Antonio Manuel, Andrea Marcaccio, Noé Martínez & María Sosa, James McAllister, Paul McCarthy, Ana Mendieta, Johann Merrich, Mladen Miljanović, Linda Montano, Charlotte Moorman & Nam June Paik, Andrea Morucchio, Otto Mühl & Hermann Nitsch, Bruce Nauman, Martin O'Brien, ORLAN, OHO Group, Yoko Ono, Leda Papaconstantìnou, Mike Parr, Fyodor Pavlov-Andreevich, Alexandros Plomaritis, Alicia Radage, Preach R Sun, Ivana Ranisavljević, Douglas Quin & Lorne Covington, Pipilotti Rist, Mauro Sambo, Lerato Shadi, Marcel Sparmann, Stelarc, Demetrio Stratos, Matej Stupica & Lenka Đorojević, Suka Off, Theodoros,sculptor, Bill Viola, Andy Warhol & Jørgen Leth, Lawrence Weiner, Susanne Weins & Sašo Vollmaier, Jud Yalkut, Mary Zygouri | ART WEEK Fringe.


And essays and texts by VestAndPage, Lisa Newman, João Florêncio, Francesca Carol Rolla, Małgorzata Sady, Alicia Radage, Guillermo Gómez-Peña, Francesco Kiais, Felipe Monteiro, Penzo + Fiore, Marilyn Arsem, Marcel·lì Antùnez Roca, Janusz Bałdyga, Giovanni Fontana, Franko B, Antonio Manuel, ORLAN, Stelarc.


We also offer a special edition of all three publications of the VENICE INTERNATIONAL PERFORMANCE ART WEEK “Trilogy of the Body” for a special price. Please visit https://www.vest-and-page.de/publications for more.





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 Nunez, Susan Wolf.



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




FADO on Instagram: @fadoperformanceartcentre

FADO on Twitter: @FADOperformance

FADO on Facebook: FADO Performance Art Centre


To subscribe to this mailing list: https://dm-mailinglist.com/subscribe?f=d6de595f