FADO E-LIST (April 2018)


1. FADO Performance Art Centre hosts Toronto’s hottest performance art POP-UP

Good Buy! by Tanya Mars

Date: May 3–5, 2018

2. FADO Performance Art Centre and SAVAC co-present

Weather to Store by Kristina Guison

Date: May 14–19, 2018 + other dates/venues to be announced

3. OPEN CALL FOR APPLICATIONS: Tempting Failure 2018

Deadline date: April 7, 2018; City: London, England; Source: TF18


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


Deadline date: April 10, 2018; City: Toronto, Canada; Source: hub14

6. EVENT: RIPA (Rencontre interuniversitaire de performance actuelle)

Date: April 14–15, 2018; City: Montréal, Canada; Source: RIPA

7. EMPLOYMENT: Biennial Coordinator M:ST Performative Art Festival

Deadline date: April 15, 2018; City: Calgary, Canada; Source: M:ST

8. OPEN CALL FOR ARTISTS: Perception of the Self

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

9. CALL FOR PROPOSALS: New Performance Turku Festival 2018
Deadline dates: April 16, 2018; City: Turku, Finland; Source: New Performance Turku Festival

10. EVENT: Fusebox Festival

Date: April 18–22, 2018; City: Houston, USA; Source: Fusebox

11. CALL FOR SUBMISSIONS: Holding Patterns, curated by Art Spin

Deadline date: April 23, 2018; City: Toronto, Canada; Source: Art Spin
12. CALL FOR SUBMISSIONS: Yellow Fish Durational Performance Art Festival V
Deadline date: April 26, 2018; City: Seattle, USA; Source: Yellowfish




1. FADO Performance Art Centre hosts Toronto’s hottest performance art POP-UP

Good Buy! by Tanya Mars

Date: May 3–5, 2018


For 3-days only! Not to be missed! Rare opportunity!


Opening night performance-lecture by Tanya Mars

Performances by Paul Ledoux and Jess Dobkin

AND shop tours by official merchandiser, collaborator and muse, Odette Oliver


Q: What do performance artists do when faced with rising rents, rarefied availability, aging and too much stuff?  

A: Go out of business! (or)

B: Downsize. Re-purpose. Re-gift. (or)

C: Move to Hamilton.


Something for everyone! Be the first to own an original Mars! Everything must go! For 3 days only, you will have the unique opportunity to see, touch, smell (and buy!) decades of treasures collected in the name of art. One-part exhibition of performance materials and one-part studio sale. Come and browse the materials, objects, costume bits and other curiosities from Tanya Mars’ personal studio/storage locker. Everything is up for grabs at Toronto’s hottest performance art POP-UP shop, Good Buy!



May 3–5, 2018



The Commons @ 401

401 Richmond Street West, Toronto

4th floor, suite 440





Thursday, May 3

7pm: Doors open to the public & performance-lecture by Tanya Mars

7:30–9pm: shopping + refreshments

ADMISSION: $5 / $2 for students and seniors


Friday, May 4

12pm–9pm: shop open 

7pm: Performance by one of Mars’ long-time collaborators, playwright Paul Ledoux



Saturday, May 5

12pm–6pm: shop open

2pm–5pm: Loving and Letting Go, a performance about attachment by Jess Dobkin



Facebook event: www.facebook.com/events/357169541469257

Follow us on Instagram: @marsplanetred @FADOPerformanceArtCentre



Tanya Mars is a feminist performance artist who has been involved in the Canadian art scene since 1973, and has been collecting valuable stuff all that time, lugging it from Montreal to Toronto to Shelburne, Nova Scotia and back again to Toronto. Disguised as “art materials” some of these things have been used in performances over the years, other things are performances-in-waiting. 


She’s done a lot of things. Among them: Performances (solo and collaborative) in Canada, the Arctic, Europe, South America, China, Mexico and US; director/member of Powerhouse/La Centrale; Editor of Parallelogramme/ANNPAC (if anybody remembers what those things are); some videos; collective member of 7a*11d International Festival of Performance Art; two books on Canadian Women Performance Artists with Johanna Householder; teaching performance at NSCAD and UTSC; parent, grandparent, Art Mom to many.




2. FADO Performance Art Centre and SAVAC co-present

Weather to Store by Kristina Guison

Date: May 14–19, 2018 + other dates/venues to be announced


Precarity renders the acquisition, care and disposal of an object into an emotionally loaded, calculative problem. The lifecycle of an object depends on its size, utility, affective potential and value. Where do you store grandma’s fine china in a tiny rented apartment? How long do you hold on to the unique piece of metal that you dumpstered for an art project ten years ago? Does your sculpture have more value sitting on a plinth in gallery, or on a shelf in storage?

Weather to Store is a durational performance in three acts. In each act a collection of objects is arranged and manipulated in different ways, and in three distinct spaces: the outdoors, a gallery and a self-storage container. The sequence of time, the utility of the objects and the designated spaces that these objects and actions occupy are displaced and dis-jointed, mediating on and revealing how context influences their shifting and impermanent value. 



ACT 1: Gallery

Weather to Store starts outside. The artist converts a patch of space outdoors into a gallery and mounts an exhibition, delineated by tape lines drawn on the ground.The dimension of the designated space corresponds to a typical medium sized self-storage space. The exhibition is comprised of unfinished, raw materials presented and sold as art objects along with functional objects hindered from exercising their potential utility. Date and venue to be announced in early-April.



ACT 2: Storage

In the second act of Weather to Store, a gallery space is reframed as a typical storage locker. The artist and her exhibition take up residence in the gallery and perform ‘storing’ in situ. The artist stacks, re-orders and rearranges the art objects in the gallery-turned-storage over the course of the residency. The various configurations reveal the process through which objects are ascribed value in storage. Audience is invited to come and go during gallery hours. 


Venue: Bachir/Yerex Presentation Space, 401 Richmond Street West, suite 440

Date: May 14–19, 2018

Times: 12pm–5pm (daily)



ACT 3: Outside

Weather to Store ends in a self-storage facility. The artist moves her objects for the last time into a storage locker. Opting out of preservationist logics of climate-controlled storage spaces, the artist performs the laborious process of weathering them artificially as an additive and depreciating performative gesture.


Venue: Planet Storage (presented in partnership with Art Spin's Holding Patterns)

Date: October 2019 




Kristina Guison is a Manila-born, Toronto-based, Filipino-Canadian artist. She works in the realm of sculpture, installation, performance, social practices and tattoos. Her practice is an investigation of themes relating to globalization and transnational identities across geographical spaces and time (Pre-Colonial, Colonial and Post-Colonial) as they culminate in the 21st socio-cultural landscape. She is interested in identifying elements and patterns in this landscape, particularly ones that behave as catalysts and residues that simultaneously extend and limit human experience.




SAVAC (South Asian Visual Arts Centre) is a non-profit, artist-run centre in Canada dedicated to increasing the visibility of culturally diverse artists by curating and exhibiting their work, providing mentorship, facilitating professional development and creating a community for our artists. SAVAC was founded to be an organization staffed by people of colour, committed to support the work of artists of colour.





3. OPEN CALL FOR APPLICATIONS: Tempting Failure 2018

Deadline date: April 7, 2018; City: London, England; Source: TF18


Applications for TF18 are now open!


We’re back, and thrilled to launch our open call for applications to our 7th year of performance art and noise. TF18 will be the first event in our new biennial format and will take place July 9–22 in and around Croydon, South London. Our open call is your chance to get involved–it’s open to artists from anywhere in the world, at all stages of their careers and we are interested in work from live performance, noise/sound, and fine art disciplines. If you live in Croydon, then we especially want to hear from you! As always, Tempting Failure is dedicated to radical, transgressive and under-represented work that explores risk and challenges preconceptions. Find out more about us and the work we programme.


Our provocation for 2018 is Fractured Bodies. We welcome diverse, immediate, radical, philosophical, inventive, political, abstract and urgent responses to this theme. We additionally invite applications from artists with experiences or responses to refugee crisis or mental health and we welcome applications from disabled/neurodiverse artists–we have resources in place to support your work.


What we offer

Artists we programme will receive the following:

–We believe in paying artists: each artist programmed will receive a fee for their work.
–Help with travel costs: emergent artists from outside London can apply for a grant towards their travel costs, up to £100.

–See everything else in the festival for free: at TF2016 we programmed 85 artists from around the world and held a number of networking and professional development sessions. As a programmed artist, you’ll get access to all of this.

–Food on the day of your performance: on the day your work is shown we’ll give you a meal voucher worth £10 that supports local independent business. 

–Professional development support based on where you tell us you are in your career currently. 

–In-kind technical, production and publicity investment as part of the festival.

–High quality and sensitive documentation of the work you show–check our galleries from previous events and our videos on Vimeo.


How to apply

Just complete our application form and tell us all about you, your practice and the piece you are proposing. We also accept video applications from disabled/neurodiverse artists-information about submitting a video can be found in the form.


The deadline for application is Midnight on Saturday 7th April.


We will shortly be opening applications for our mentoring scheme. We will have 7 places for emergent and graduate artists to work one-on-one with an established artist mentor and develop new work to show at Tempting Failure. Join our mailing list if you’d like to be notified when that scheme launches.


This opportunity is made possible through the gracious support of Arts Council England and Croydon's Creative Partnership Fund. 


Application form can be found at:






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/





Deadline date: April 10, 2018; City: Toronto, Canada; Source: hub14


After 5 great years, Aria Evans has moved on to new adventures, and we are looking for a fourth artistic director to join our current team of three. We are in search of someone self-motivated and engaged, with a performance practice and a desire to be involved in the artistic, administrative, and community aspects of hub14. Candidates must have strong interpersonal skills and the ability to effectively share tasks and work as a team. In addition to day to day maintenance and administrative tasks, ADs curate artistic residencies and as such are also expected to offer an artistic viewpoint and be able to commit the necessary time to these endeavours. Experience and/or an interest in fundraising, social media, and video/photo documentation are all considered a plus.


This is a volunteer position. Artistic directors work together to manage all facets of running hub14 and receive a generous allotment of studio hours as compensation for this work.


We welcome and encourage independent artists from all cultural backgrounds, communities, and experiences, and working in all forms of contemporary live art/performance at any stage of their career to submit to this call. Regrettably hub14 is not a fully-accessible space.


DEADLINE: April 10th, 2018 at midnight (PST)


Selected candidates will be contacted for interviews to be held in late April / early May with an official start date of June 1st, 2018. All applicants, successful or otherwise, will receive a response by the end of April. To apply and/or for more information: info@hub14.org




6. EVENT: RIPA (Rencontre interuniversitaire de performance actuelle)

Date: April 14–15, 2018; City: Montréal, Canada; Source: RIPA


April 14–15, 2018

Ancienne École des Beaux-arts

3450 St. Urbain Street, Montréal (Place-des-arts Metro)


For its seventh edition, RIPA (Rencontre interuniversitaire de performance actuelle) is proud to present nine projects by emerging artists, in addition to a piece by Michelle Lacombe, this year’s guest artist.


The performance art pieces, shown in various formats of shorter and longer durations, will follow one after another in different spaces of the Ancienne École des Beaux-Arts. Some will be presented as continual pieces. 


Guest artist: Michelle Lacombe (Montréal, Canada)


This year’s artists:

Guillaume Bergeron Brassard (UQAM)

Joliane Dufresne (UQTR)

Roxa Hy (Concordia)

Antonio Larios (UQAC)

Alegria Lemay-Gobeil (UQAM)

Santiago Tamayo Soler (Concordia) and his collaborators; Allison Macdonald (MassArt, Boston); Alix Roederer (Concordia); Ana Carolina von Hertwig (Concordia)


The performers will put forward their proposals, hinting at various recurring themes over the course of the evening. Among these are the idea of power relationships – be it via some type of apparatus or the direct presence of the artist –, the limits of the performative act and its impact on the object, as well self-awareness and the awareness of others in the performance space, by direct action or infiltration.



Saturday, April 14, 2018 – Evening of performance art

7PM (doors open at 6:30PM)

$6 presale (Eventbrite) / $8 at the door (free for children under 12)

Click here to buy tickets: www.eventbrite.com/e/ripa-2018-tickets-44315037470


10PM–midnight – PARTY!

We will be thrilled to welcome DJ Bullshit Artist

*On-site bar service*


Sunday, April 15, 2018 – Round table and performance art

1PM–3PM – Continual performance art pieces by Ana Carolina von Hertwig and Alix Roederer

3PM–6PM – Round table, general admission



RIPA (Rencontre interuniversitaire de performance actuelle) is an annual non-profit event run by volunteer students whose aim is to promote the emerging performative practices from the Quebec university system and neighbouring areas. RIPA wishes to develop Quebec’s performance networks by fostering exchanges between students, audiences and the art community.


RIPA 2018 team: Adam Bergeron, Laurence Beaudoin Morin, Philippe Gagnon, Félipe Goulet Letarte, Marion Henry, Julie-Isabelle Laurin, Rose de la Riva, Ariel Rondeau, Tristan Sasseville-Langelier









7. EMPLOYMENT: Biennial Coordinator M:ST Performative Art Festival

Deadline date: April 15, 2018; City: Calgary, Canada; Source: M:ST


Opportunity for Current Graduates 


Position: Biennial Coordinator

Contract: May 1–October 31, 2018

Deadline: April 15, 2018


Please submit your application, including CV, cover letter, and contacts for two references as a single PDF to artisticdirector@mstfestival.org. Late or incomplete applications will not be accepted.


The Mountain Standard Time Performative Art Festival Society (M:ST) is currently seeking a Biennial Coordinator. This is a contract position, remunerating $17.50 per hour, working 40 hours per week to prepare for the upcoming M:ST 9 Biennial in October 2018.


Biennial Coordinator Job Description: This position represents an excellent opportunity for an emerging artist or arts administrator to build knowledge of the local, national, and international art communities, while developing administrative, programming, and organizational experience.


The Biennial Coordinator will assist the Artistic Directors in specific duties such as organizing venues and equipment rentals; soliciting sponsorship; arranging artist travel, accommodation, and hospitality; updating our website, and liaising with staff, Board Directors, and member organizations. The Biennial Coordinator will also be solely responsible for volunteer recruitment and coordination leading up to and throughout the festival. The Biennial Coordinator will also have the opportunity to coordinate self-directed curatorial initiatives in which the intern can develop a distinct voice.


The intern will be required to attend the society’s board meetings and participate in bi-monthly staff meetings. The intern will also be asked to keep a journal where they will self-report on their ongoing development.


Essential Skills: The candidate must be a fine arts graduate (graduating in 2016) from an accredited institution. Ideal candidates will also have a background and interest in visual and media arts, excellent writing skills, strong organizational and communication skills, knowledge of the local arts community, as well as knowledge of contemporary performative practices. Experience with web based design and event planning, as well as a driver’s license are considered assets.


The M:ST Performative Art Festival hires on the basis of merit and is strongly committed to equity and diversity within its community. We especially welcome applications from visible minority group members, women, Aboriginal persons, persons with disabilities, persons of minority sexual orientations and gender identities, and others with the skills and knowledge to productively engage with diverse communities. All qualified candidates are encouraged to apply; however, applicants who are permanent residents of Canada will be given priority.


For more information visit: http://mstfestival.org/news-2/ 

Inquiries may be directed to Desiree Nault at artisticdirector@mstfestival.org




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




9. CALL FOR PROPOSALS: New Performance Turku Festival 2018

Deadline dates: April 16, 2018; City: Turku, Finland; Source: New Performance Turku Festival


New Performance Turku Festival 2018
September 21–23, 2018


New Performance Turku Festival in collaboration with Arts Promotion Centre Finland presents FRESH programme–the artistic development and performing opportunity for emerging performance and live artists based and working in Finland. FRESH-project is targeting performance art professionals who have been operating in the field under 10 years, and the aim is to develop artistic performance processes and present the festival audience a collection of new, emerging artists.


We're announcing an open call for performance proposals. Altogether three performance works will be selected for dialogical development process, and eventually to be performed at the New Performance Turku Festival 2018.


The works will be presented at the New Performance Turku Festival, 21–23rd September 2018. The artist and the festival will negotiate the details of the work's actualization, performing time and space.


You are invited to apply, if:

–you are a performance artist / live artist based in Finland

–you have been a practicing art professional under 10 years

–you are able to and willing to commit in a dialogical and collegial artistic process

–you are preparing a new work or want to significantly develop previously existing work


The deadline for the applications is Monday, April 16th, 2018.

More detailed information and application deadlines can be found at:





10. EVENT: Fusebox Festival

Date: April 18–22, 2018; City: Houston, USA; Source: Fusebox


Fusebox Festival

April 18–22, 2018

Houston, USA


What began as a largely underground event 14 years ago, has grown into a city-wide celebration featuring artists from all over the world. And while the festival has grown, we have tried to keep our independent spirit front and center in all that we do. For us, the act of putting on the festival is built on a deep belief in creating space for the unexpected, for disruption, for discovery, and experimentation. It's also a powerful moment to connect, imagine new things together, and build community.


Artistically, the festival is rooted in liveness. The performances, the parties, the meals, the discussions, etc, leverage and celebrate the potential of the live situation. What does it mean to be in a space with other people and what kinds of things are only possible in this space? This feels especially needed at this moment. And so we invite you and your imaginations to join us. Let's spend some time together (in person) thinking about the world and our moment in it.



Abby Z and the New Utility

Alan Garcia and Claudia G. Aparicio Gamundi

Andrea De León and Terra Goolsby

Anna Wise

Austin New Music Co-op

Ben Aqua


Bridget Moser

Charles O. Anderson

Christie Blizard

Christine Gwillim and Jeff Mills

Collide Arts / Steve Parker

Delish Da Goddess

Elizabeth Chiles and Julie Nathanielsz

Erin Markey

Exploded Drawing


IRL @ Museum of Human Achievement

Johnnie Cruise Mercer

Justin Shoulder

Kaori Seki Co. Punctumun

Kate Mcintosh

Kuniklo @ MOHA

Lindsey Taylor

Magdalena Jarkowiec

Mammalian Diving Reflex

Miguel Angel Salazar

Olaniyi R. Akindiya Akirash

Ragnar Kjartansson

Rude Mechs

Selina Thompson

Slava Mogutin

Sound in Sculpture

Stephen Fishman, Lyman Hardy III and Lindsey Taylor

Tania El Khoury

The Education Team, The Blanton Museum of Art



For festival schedule, locations, and info: http://schedule.fuseboxfestival.com/




11. CALL FOR SUBMISSIONS: Holding Patterns, curated by Art Spin

Deadline date: April 23, 2018; City: Toronto, Canada; Source: Art Spin


Art Spin is gearing up for its tenth season of programming and is looking for submissions for an exciting new exhibition titled Holding Patterns, scheduled for October 2018. This exhibition will take place in a storage locker facility located in Toronto’s south Junction neighbourhood, animating a series of storage locker units with a wide array of art projects. 



We are looking for project submissions that will respond to and think critically about the following curatorial framework:


Recognizing the shifts, upheavals and transience that storage lockers often suggest, Holding Patterns will explore movement, space, belonging, material culture, and transition as themes that animate personal narratives and histories of place more broadly. These issues are particularly important for artists with lived experiences of site-lessness, displacement, or exclusion. In light of this, priority will be given to artists that identify as indigenous, LGBTQ+, or from visible minorities. Drawing together these varied realities of space, storage, excess, and access, Holding Patterns will explore not only the personal stories, but the histories of urban development and community migration that accompany them.


Some of the ideas which this project has inspired in its curators and which artists are invited to think critically about are: 

–self-representation via the material goods one owns (the notion that storage locker contents reveal a type of “self-curation”)

–storage lockers and their contents as a metaphor for memory and/or forgetting, or consciousness and unconsciousness

–the storage locker as a receptor for a seemingly contradictory objects that range from the precious to the useless

–what do these relatively recent spaces say about consumer capitalism and the culture of materialism

–the idea that at the core of material culture and the insatiable drive to consume/possess lies a fundamental denial of mortality

–what does it mean to be “site-less” both in the literal sense of the word but also in the conceptual, more nuanced sense of being relegated to the fringes of society where one occupies a form of existential site-lessness

–the position of site-lessness as an antecedent to resistance or revolution both personal and political 

–it is interesting to note that the storage locker industry is driven by short-term tenants, whose situations are defined by what the storage industry calls the Seven D’s: Death, Divorce, Disaster, Delay, Dislocations, Deliveries and Densification; how can the phenomenon of the storage locker help us to better understand these core human concepts



Art Spin is seeking submissions from individual artists and collectives working in a variety of disciplines including but not limited to: sculpture, installation, film & video, electronic & kinetic work, painting, drawing, photography, printmaking, performance art, dance/movement and sound art. We are eager to receive submissions for new projects but are also open to reviewing existing works. Only submissions that respond to the curatorial framework, listed above, will be reviewed.


Selected artists/collectives will receive an artist fee and small budget for materials. Fees to be determined on a project-to-project basis. See guidelines for more details.


Exhibition dates will be in October 2018, exact dates yet to be determined. Further details about the site can be found in the guidelines.


Applicants must read the Art Spin submission guidelines and submit a completed submission package. The full guidelines and application form are here: www.artspin.ca/submissions


Deadline: Monday April 23rd (11:59pm)


If you have any further questions about the submissions process, please don’t hesitate to contact us at info@artspin.ca



About our history & interest in this site


Art Spin is entering its 10th year of programming in 2018 having produced and successfully presented a wide array of dynamic projects including curated bike tours and exhibitions, including the highly acclaimed in/future art and music festival in 2016 that transformed the 14 acre West Island of the then decommissioned Ontario Place, with over 100 artists and 15,000 visitors.  Since 2009 Art Spin has conducted 28 curated bicycle art tours, drawing an average of 400 people per tour. In that time we have worked with approximately 285 artists/collectives and curated 70 commissioned projects. We’ve presented 8 large-scale, multi-day group exhibitions in which we have presented the work of 152 artists. We are especially excited by the opportunity to work in this storage locker facility, as the building was the site of our first ever group exhibition in 2010 when we presented a 26 artist exhibition in a 10,000 sq. ft. section of the building now occupied as office space. Coming back to this venue to celebrate our 10th anniversary is a fitting and a somewhat poetic turn of events. 



Since 2009 Art Spin has been exploring the parameters of public art through the temporary activation of unique spaces –often abandoned or in a state of transition – by way of large scale group exhibitions and bicycle-led art tours throughout Toronto. These thoughtfully curated projects showcase a wide range of newly commissioned art programing from a variety of disciplines that evolve in response to place and aim to be accessible to as wide a range of people as possible.


Led by Layne Hinton and Rui Pimenta, artists and independent curators, driven by a strong sense of commitment and civic passion for presenting contemporary artworks in alternative, everyday spaces in order to make people’s experiences with art more personal, engaging and fun, while also demonstrating the essential contribution of public art in shaping our city and its citizens for the better.


Follow Art Spin on Twitter: @artspintoronto

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Like Art Spin on Facebook: www.facebook.com/artspin







12. CALL FOR SUBMISSIONS: Yellow Fish Durational Performance Art Festival V

Deadline date: April 26, 2018; City: Seattle, USA; Source: Yellowfish


2018 Yellow Fish Durational Performance Art Festival V

August 27–31, 2018



The 5th season of the Yellow Fish Durational Performance Art Festival focuses on the theme of time passed. We are asking artists and collectives to only submit work that has been previously presented to the public in years prior to 2018. With this year’s festival seeking to invite artists to show work previously presented we hope to provide them with the support to re-examine their past through their own individual lens; communicating and presenting to the community what they believe to be vital and necessary. The community will be provided with a unique opportunity to bear witness to this activated revision. Through this year's theme we want to cultivate a foundation that can support opportunities to acknowledge, celebrate, debate, communicate, and engage the community with the rich history of durational, performance, and time-based art that has been integral to shaping the cultural legacy of Seattle and beyond.


Curators Note

Bringing the past into the present is never an easy task. Current local and national politics have shown us the positive and negative dialogue that is generated from bringing history back into focus. We have seen what happens when history is chosen to be erased, forgotten, or mishandled. Taking on the responsibility for the continued growth of Yellow Fish we feel the responsibility to make sure the festival’s history of work, artists, venues, and community is retained, celebrated, and acknowledged. Too often when organizations, collectives, and spaces change hands important knowledge and information slips through the cracks; often times getting lost forever in the ineffable nature that performance and experimental art perpetuates. As the only festival in the city presenting durational performance art work we believe it is imperative that we begin to build an active collection and archive of the artists, presenters, and curators who have been pioneers, experimentalists, and leaders in durational and time based performance work in Seattle prior and during Yellow Fish’s lifetime. This year's festival theme seems to be the match needed to ignite this dense, layered, and complicated investigation. Every moment as time moves forward there is a past being created. How we decide to hold space for the past, will determine the shape our future takes.


The deadline for artist applications is April 26, 2018 Midnight (PST).


For submission form and more information:






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 Facebook: FADO Performance Art Centre


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