FADO E-LIST (February 2019)


1. FADO Performance Art Centre presents Documents by Autumn Knight

Date: February 8, 2019; Venue: The Theatre Centre, Progress Festival 2019

2. EVENT: Galerie Sans Nom presents PERFform

Dates: January 24–March 2, 2019; City: New Brunswick, Canada; Source: Galerie Sans Nom

3. EVENT: Okwui Okpokwasili: Poor People’s TV Room SOLO

Date: February 5–6, 2019; City: Toronto, Canada; Source: The Power Plant

4. EVENT: I Put This Moment Here.

Date: February 10, 2019; City: Chicago, USA; Source: DFBRL8R

5. EVENT: To Valerie Solanas and Marilyn Monroe in Recognition...(rehearsals)

Date: February 12–14, 2019; City: Toronto, Canada; Source: Public Recordings


Deadline date: February 15, 2019; City: Source: Anya Liftig

7. EVENT: Dronesphere Colloquium

Date: February 23, 2019; City: Toronto, Canada; Source: Simon Rabyniuk


Deadline date: February 26, 2019; City: New York, USA; Source: Hemispheric Institute

9. CALL FOR SUBMISSIONS: The Zero Gravity International Performance Art FESTIVAL

Deadline date: March 1, 2019; City: Edmonton, Canada: Source: Beau Coleman

10. CALL FOR SUBMISSIONS: Franklin Furnace Fund 2019–2020

Deadline date: April 1, 2019; City: NYC, USA; Source: Franklin Furnace

11. PUBLICATION: 9Questions, an artist project by Gustaf Broms

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies




1. FADO Performance Art Centre presents Documents by Autumn Knight

Date: February 8, 2019; Venue: The Theatre Centre, Progress Festival 2019



Conceived and performed by Autumn Knight


Curated and presented by FADO Performance Art Centre for Progress


Documents centres uses dialogue, gesture and the voice of both the artist and the audience to uncover and critique structures of power. Troubling the division of labour between the performer and the audience divisions, Documents involves a public reading of the documentation that serves to authenticate or legitimize citizenship. Central to this work is a filing cabinet that both holds the props required for the performance, while also serving as a portrait or trace of the artist. The interactive reading of the documents in the files addresses the embodied specificities of race, class, gender, sexuality to contest whether these categories accurately reflect the bodies they are meant to represent—while underlining how different audiences and relationships to power may influence this reading.



Fri | February 8 | 7:30pm



75 minutes



Conceived and Directed by Autumn Knight



Performed in English






This year's Progress Festival takes place between January 30–February 17, 2019. Progress is collectively curated by FADO Performance Art Centre, F-O-R-M, Native Earth Performing Arts, SummerWorks, The Power Plant, the red light district, The Theatre Centre, Uma Nota Culture and Why Not Theatre. Produced by SummerWorks in association with The Theatre Centre.


Single Tickets: $25 | PURCHASE TICKETS

3-Show Progress Pass: $60 | PURCHASE PASS

Box Office: 416-538-0988







2. EVENT: Galerie Sans Nom presents PERFform

Dates: January 24–March 2, 2019; City: New Brunswick, Canada; Source: Galerie Sans Nom


Between 24 January to 2 March, 2019, Galerie Sans Nom presents PERFform, a Performance Art Tour in the province of New Brunswick by artists from New Brunswick. PERFform aims to bring performance art throughout the province with this tour, hoping to disseminate an artistic practice that is more obscure from the tradition of visual arts. Made possible through a Touring Grant from the Ministry of Tourism, Heritage, and Culture of the Province of New Brunswick, this tour will bring the artists to 9 communities throughout the province. The artists have prepared a series of performances created specifically for the only tour of its kind in New Brunswick.



Linda Rae Dornan (Sackville)

Mathieu Léger (Moncton)

Luc A. Charette (Bouctouche)

Gillian Dykeman (Fredericton)

Monelle Doiron (Caraquet)

Denis Lanteigne (Caraquet)


Dates & locations:

Thursday 24 January: Galerie Colline, Edmundston

Friday 25 January: Connexion Artist-Run Centre, Fredericton

Saturday 26 January: Galerie d'art du Centre culturel Kent Sud, Bouctouche 

Thursday 7 February: Bibliothèque du centenaire, Campbellton

Friday 8 February: Galerie Bernard-Jean, Caraquet

Saturday 9 February: Galerie Sans Nom, Moncton

Thursday 21 February: Sunbury Shores Art & Nature Centre, Saint Andrews

Friday 22 February: Third Space Gallery, Saint John

Saturday 2 March: Struts Gallery, Sackville



Linda Rae Dornan’s art practice is performative and interdisciplinary, inclusive of video, installation, performance and writing. Each feeds into the other exploring how we speak/communicate and connect to each other about language, place, memory and being. In a series of connected performance shorts, Dornan will perform fragments of mark making, orality, and gestures. Recent performances include 7a11d in Toronto, La Fonderie Darling, Montréal, and Visualeyez Performance Art Festival, Edmonton. She has been making performance art for thirty years.


Since 01996, Mathieu Léger has been interested in performance art. His performance work engages notions of personal, social, and cultural boundaries, territory, in/visibility, language, and communication. He works in time specific projects lasting up to and beyond 20 years. For PERFform 19, Léger will continue developing his series In Regard to Rendering (2016-present). These works are a performance experiment in matter, time, and form using objects and actions that speak about the temporary and the permanent. He is a serial artist-in-residence. Recently, Léger has performed at the Rencontre internationale d’art performance de Québec (RiAP), the Wandering Arts Biennial in Brussels, and the Darling Foundry in Montreal.


Luc A. Charette is fascinated by the visual mechanisms that inhabit popular culture and cyberculture. His professional practice, which dates back to 1972, brings together several disciplines: sculptural installation, photographic montage, digital multimedia, painting, and performance. He combines various techniques and visual codes to develop hybrid works that challenge our contemporary representation systems and address conceptual concerns such as time, language, representation, and identity. In the field of performance, he materializes innocuous gestures, often zany, in order to question the notions of work within the framework of a creative activity.


Gillian Dykeman’s artistic practice is preoccupied with identity, class, feminism, and utopia. Through performances and installations that tensely operate between parody and sincerity, the artist works to reveal and critique the absurd conventions that sustain a status quo premised on patriarchy, greed, and social insecurity. REVOLUTION REVOLUTION harnesses the amazing energies generated in a room of people focusing together on a demanding task. What is the energy of capitalism? What is the energy of revolution? How do we better engineer our energetic outputs to formulate new ways of being...to radically reimagine what it is we’re doing with our lives? Our life-force? Our love?


Monelle Doiron comes from a contemporary dance background and Denis Lanteigne is a visual artist and photographer. Their collective, Les drôles de Moineaux, began in 2015 with the creation of the choreography Traverses. This work, created from structured improvisations, uses simple and repetitive movements, incorporating linear, circular, or static space. The collective begins with a desire to explore the presence of the moving body in space, whether through dance, performance, or video. A body inhabits a very personal story, it reacts to the confrontation to another body. This series explores what is really happening in the body, without magnifying it, but letting it live in all its truth.






3. EVENT: Okwui Okpokwasili: Poor People’s TV Room SOLO

DATE: February 5–6, 2019; City: Toronto, Canada; Source: The Power Plant


Poor People’s TV Room SOLO is a performance installation that considers duration and urgent complaint as critical aspects of an embodied protest practice. Text from the report commissioned by the British Colonial Government in 1930 to investigate the uprising of women in Nigeria, serves as the primary source material. This uprising, known as the Woman’s War of 1929 was also referred to as the Woman’s Egwu. Egwu, in Igbo, one of the Indigenous languages of Nigeria, means dance. The linguistic tie between performance and protest is an especially compelling and fruitful exploration in this work.


“…part of the grand narrative about politics, the body, and place that Okpokwasili is building, gesture by gesture, whisper by whisper, brick by brick.”

~The New Yorker


Okwui Okpokwasili is a performer, choreographer, and writer creating multidisciplinary performance pieces that centre the African and African American woman in divining vocabularies to explore the unruly interiority of the human condition. As the child of immigrants from Nigeria, born and raised in the Bronx, the reconstitution of memory and the slippery terrain of identity as a particular condition of the African diaspora  features prominently in much of Okpokwasili’s work. Her productions are highly experimental in form, bringing together elements of dance, theater, and the visual arts (with spare and distinctive sets designed by her husband and collaborator, Peter Born).


This program is curated by The Power Plant with support of TD Ready Commitment and co-presented by Civic Theatres Toronto, as part of Progress international festival of performance and ideas, presented in partnership by SummerWorks and The Theatre Centre.






The Power Plant



TD Ready Commitment



Civic Theatres Toronto



Tue / Feb. 5 / 7:30pm (+ post–performance talkback)

Wed / Feb. 6 / 7:30pm



50 minutes



Created and performed by Okwui Okpokwasili

Directed and designed by Peter Born



Performed in English



The Franco Boni Theatre

The Theatre Centre

1115 Queen St W










4. EVENT: I Put This Moment Here.

Date: February 10, 2019; City: Chicago, USA; Source: DFBRL8R


IN>TIME + DFBRL8R + ZHOU B present

I Put This Moment Here.


Featuring performance art by

Ryan Tacata

Marilyn Arsem



Sunday, February 10, 2019

Zhou B Art Center, 1029 W 35the Street, Chicago

6pm / FREE


Defibrillator is a proud venue for IN>TIME 2019, a triennial live art festival encompassing performances, presentations, and exhibitions from local, national, and international artists. For I Put This Moment Here IN>TIME curators invited San Francisco-based Ryan Tacata to create a response to a specific work by Goat Island Performance Group. Defibrillator invited local artist Po'Chop | Jenn Freeman and Boston-based Marilyn Arsem to be part of the program. An influential figure in the history of performance art, Arsem is the subject of a forthcoming book written and edited by Jennie Klein and Natalie S. Loveless who will be sharing excerpts as part of the program.


Po'Chop | Jenn Freeman is a Chicago-based artist who fuses elements of dance, storytelling, and striptease into compelling and powerful performances. Po’Chop has shown work at the Brooklyn Museum; was a 2017 3Arts Make A Wave Artist; a 2018 Chicago Dancemakers Lab Artist; and was awarded the Chances Dances Mark Aguhar Memorial Grant in 2015.


Ryan Tacata is a performance maker, educator, and scholar based in San Francisco. His scholarly and creative work has appeared in Performa, TDR, Performance Research and SFMoMA's OpenSpace. He is a lecturer in the Immersion in the Arts: Living in Culture (ITALIC) Program at Stanford University. Tacata’s performance is a work in progress responding to Goat Island Performance Group’s work When Will the September Roses Bloom? Last Night Was Only A Comedy 2004. The finished work will be shown at the Chicago Cultural Center later in the spring. 


Marilyn Arsem has created live events in 29 countries since 1975 including North and South America, Europe, the Middle East, and Asia. Recent awards include the 2015 Maud Morgan Prize of the Museum of Fine Arts, Boston; a 2017 Massachusetts Cultural Council Fellowship; a 2017 City of Boston Artist Fellowship; and a Live Arts Boston project grant. Many of her works are durational in nature and often respond to specific sites. Arsem is acting director of Mobius, a collaborative she founded in 1975. She taught at the School of the Museum of Fine Arts, Boston for 27 years, establishing one of the most internationally respected programs in visually-based performance art.


IN>TIME 2019 is working in coordination with an upcoming exhibition at the Chicago Cultural Center: goat island archive – we have discovered the performance by making it. IN>TIME inhabits venues across Chicago including 6018North; Comfort Station; Graham Foundation; High Concept Labs; Hyde Park Arts Center; Links Hall; Museum of Contemporary Art; and Sullivan Galleries at the School of the Art Institute of Chicago. For the 2019 edition of IN>TIME, a selection of artists is paired with a former Goat Island member as mentor to develop a new work. These new performance works will then be presented as part of the Goat Island archive exhibition throughout its duration at the Cultural Center (March 30 to June 23, 2019). Nine artists/collectives will develop responsive performances to the nine works created over the course of Goat Island’s 23-year history. 






5. EVENT: To Valerie Solanas and Marilyn Monroe in Recognition...(rehearsals)

Date: February 12–14, 2019; City: Toronto, Canada; Source: Public Recordings


“Have you forgotten that attention is not a matter of seduction?”

~Pauline Oliveros


Public Recordings practices music by Pauline Oliveros (1932–2016) in a series of free, open rehearsals in different spaces. You are invited to come and listen. All events are free and drop-in friendly. All of the spaces are fully accessible


Tuesday February 12th, 3pm–6pm

Daniels Spectrum, 1st floor lobby, 585 Dundas St. East


Wednesday February 13th, 6pm–9pm

University of Toronto, Walter Hall, Basement, 80 Queens Park


Thursday February 14th, 12pm–5pm

OCAD University, The Great Hall, 100 McCaul St.


The subject of these rehearsals is Pauline Oliveros’ 1970 score for sound and light called "To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation." Written in the after-shock of the political upheavals of 1968, the piece considers music’s capacity to express another way of being together—of orchestrating action through a collective practice of listening. Scored for any number of players and coloured light, Oliveros’ piece asks each performer to choose five pitches with which to play very long held tones. Throughout the performance, the shifting colours of light cue different strategies for listening to and sounding these pitches– creating what Oliveros calls an unusual attention to the relationship between oneself and others. 


Contributing artists: Anne Bourne, Allison Cameron, Victoria Cheong, Prices Easy, Ishan Davé, Ellen Furey, Thom Gill, Claire Harvie, Ame Henderson, Brendan Jensen, Germaine Liu, Bee Pallomina, Liz Peterson, Heather Saumer, Brian Solomon, Anni Spadafora, Evan Webber, Christopher Willes, and others. Rehearsal direction: Kate Nankervis. Project initiated by Christopher Willes. 


Produced by Public Recordings and Christopher Willes. Performed courtesy of The Pauline Oliveros Trust. Published by Smith Publications 1973. With financial support from the Ontario Arts Council, the Toronto Arts Council, and Happy like a flower.


Rehearsal events produced in partnership with: Regent Park School of Music; UofT Centre for Drama, Theatre, and Performance Studies; UofT Visual Studies; UofT Faculty of Music; OCAD Cross-Disciplinary Art Practices and the Faculty of Art. 


Special thanks: Richard Marsellaa, Farid Jalil, Lizzie Lavado, Tahirih Vejdani, Lucas Marchand, Mitchell Akiyama, Francesco Gagliardi, Eddy Aitken, Mary-Beth Campbell, Mary Ann Griffin,  Alex Samaras, Tibi Neuspiel, and Johanna Householder.



Public Recordings is an artist-led collective based in Toronto. We develop and present hypotheses about group work using dance, theatre, music, publication and other collective gestures. Our work has been shown and distributed in theatres, art galleries, museums, bars, clubs, civic, outdoor and digital spaces across Canada, Europe, Australia and Asia. Public Recordings is led by its Associate Artists: Ame Henderson, Liz Peterson, Evan Webber and Christopher Willes. Working and managing resources collectively, the Associate Artists direct the company’s projects and help Public Recordings’ collaborators initiate new ones.



Established in 1976 by members of the Canadian Creative Music Collective (CCMC), The Music Gallery is Toronto’s Centre for Creative Music.  Since our inception, our mandate to foster innovation and experimentation has remained constant. Today, The Music Gallery presents, encourages and promotes leading-edge contemporary music in all genres.








Deadline date: February 15, 2019; City: Source: Anya Liftig


This is your yearly call to submit to EMERGENCY INDEX. Now entering its eighth year, INDEX is a non-curated for the documentation of performance. And its a real deal book! This year we are also working on making the archives searchable on the internet. 


As you might or might not remember "performance" in INDEX is broadly defined—these can be traditional theater pieces, performances for camera, performances for your dog/cat/lizard/loved one/stuffed animal you will never surrender/so forth. These can be imaginary performances/failed performances/attempted performances/rescued performances etc. If you are wondering if you can include it, the answer is most likely yes.


We ask that you write a short description about the piece—what you were trying to accomplish and what questions you set out to answer—and include a 300dpi image. Submission is free however we cannot provide free copies of the publication at this point. We do offer them at a steep discount though.


EMERGENCY INDEX makes its way around the world under the fantastic auspices of Ugly Duckling Presse in Brooklyn. It is sold in art museums and made available to art departments, residencies and curators. Volume 7 (2017) is hot from the printers. Pre-order today!


Submissions form: https://emergency-index-submission-2018.glitch.me




7. EVENT: Dronesphere Colloquium

Date: February 23, 2019; City: Toronto, Canada; Source: Simon Rabyniuk

Dronesphere Colloquium

Daniels Faculty of Architecture, Landscape, and Design

1 Spadina Cres, Toronto, Canada

Saturday, February 23, 2019

11:00am to 6:00pm


To register your attendance, please go to our Eventbrite link:


No city has yet confronted a large scale domestic integration of either autonomous or remotely piloted aerial vehicles. Although, various district-scale experiments testing the occupation of urban airspace are underway. During the latter half of 2018, rural delivery has begun in remote communities in Ontario, and has a longer history in rural contexts outside of Canada. However, the city presents a set of different spatial, social, legal, regulatory, and technical challenges. This event, through a series of panels and presentations, will address the place of aerial robotics in the city. It will feature presentations by scholars from design practice, art, architectural history, surveillance studies and engineering. The drone’s “place” within the city will be triangulated through speculative proposals, historical analysis, and a critical engagement with their use in the present.

A detailed schedule will be posted prior to the event.

Speakers Include:

Ciara Bracken-Roche (UOttawa)

Sean Burkholder (UPenn)

John Harwood (UT)

Immony Men (OCAD U)

Fiona McDermott (Trinity College)

Hillary Mushkin (CalTech)

Giovanni de Niederhäusern (Carlo Ratti and Associati)

Public Studio (UT)

Ala Roushan (OCAD U)

Sam Siewert (ERAU)

Scott Sorli (UWaterloo)

Mason White (UT)

Keynote: Liam Young (Sci Arc)

Join speculative architect Liam Young and acclaimed electronic producer for the live expanded cinema performance, I Spy with my Machine Eye, a filmic tour told from the perspective of a drone drifting across the planet. Based around Young’s short film ‘In the Robot Skies’, the first fiction film shot entirely using preprogrammed drones and accompanied by acclaimed electronic producer Forest Swords’ original soundscape he narrates a near-future love story set against the fears and wonders of an impending drone age.

Special Thanks to the FADO Performance Art Center and the Italian Cultural Institute for co-presenting Liam Young’s performance lecture “I Spy With My Machine Eye”, and the “Projective Urban Air Mobility” panel, respectively.

Dronesphere Colloquium is organized by Simon Rabyniuk in conjunction with his Masters of Architecture thesis.





Deadline date: February 26, 2019; City: New York, USA; Source: Hemispheric Institute


The Hemispheric Institute of Performance and Politics at New York University is now accepting applications for its twelfth year of EMERGENYC, the Hemispheric New York Emerging Performers Program focused on political performance. EMERGENYC aims to support the development of hemispheric emerging artists through a program of workshops and events between Sunday April 14th and Sunday July 7th, 2019  (see “The Program” section below for details). We seek talented, committed and highly motivated emerging performers/activists/artists whose work aims to be a vehicle for political expression, and who examine the broad range of identities, practices and histories of the Americas (the western hemisphere, thus “hemispheric”) through forms such as performance art, spoken word, urban interventions, satire, culture jamming, political cabaret, theater, creative activism, video performance, movement, and others. Drawing on the vitality of New York City as a hemispheric crossroads, the program will enable  performers/activists to work with leading practitioners in the field, to take interdisciplinary leaps, and to develop their own strategies to use performance for social change.

The Program

Selected participants will take part in weekly Sunday workshops led by George Emilio Sánchez, as well as workshops by established artists who are leaders in the field of performance and politics. (Workshop leaders for 2019 will be announced soon—check emergenyc.org for a list of previous guest instructors, which have included: Alicia Grullón, Anna Deavere Smith, Avram Finkelstein, Carmelita Tropicana, Dan Fishback, Daniel Alexander Jones, Ebony Noelle Golden, Ed Woodham, Fulana, Guillermo Gómez-Peña, The Illuminator, Jennifer Miller, Karen Finley, Pamela Sneed, Pat Hoffbauer, Split Britches, Susana Cook, Tim Miller, as well as EMERGENYC alumni, like Branden Jacobs-Jenkins and Ricardo Gamboa, among others). We ask applicants to define issues that are important to them and explore how creative practices can harness their political voice. Past participants have explored themes of racism, racial stereotypes, and racial violence; LGBTQ rights; gender and sexuality; war and human rights; environmental justice; religion; and gentrification, etc. These engagements have resulted in the creation of workshops in community programs, interviews with members of various communities, and the creation of performance art pieces, multimedia installations, theatrical explorations, street performances, video art, and more.

The program will be divided into three phases:

Phase 1: every Sunday (10am–2pm) from April 14–July 7, participants work closely with George Emilio Sánchez in developing performance and activist strategies, such as Boalian techniques, performance art and site-specific interventions.

Phase 2: intensive daily sessions (10am–6pm) from May 19–25, participants work closely with leading practitioners, and explore specific tactics for work in the field.

Phase 3: Sundays (10am–2pm) from June 2–July 7, participants refine their work for a final presentation, building on the strategies explored through the workshops.

Performance presentations July 11, 2019: participants will share their strategies, performances, and installations during an evening program at Abrons Arts Center. *Please note: Abrons Arts Center is wheelchair accessible. Accommodations will be made for participants who for some reason may be unable to access the space.

This program has a fee of $1,000. A modest amount of financial aid will be available on a need basis. If your enrolement depends on financial aid, please let us know in your application below.

Who Is Eligible: EMERGENYC is now open to activists/artists/performers who live in (or can easily commute to) New York City. Applicants must have prior experience in various performance genres and/or activist practices.

Conflicts and attendance: Any conflicts applicants have with the EMERGENYC schedule (see the webpage for exact dates) should be noted in their application. Please note: Accepted participants with more than two absences, whether excused or not, may not be guaranteed a slot in the final performance at Abrons Arts Center on July 11. 

How to Apply: The deadline to submit materials on Submittable is Tuesday, February 26th, 2019 at 5pm (EST). 

For all the details on what is required to submit, please go to this link:


About NYU's Hemispheric Institute of Performance and Politics

The Hemispheric Institute (Hemi) connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, and archives. Our dynamic, multilingual network traverses disciplines and borders and is grounded in the fundamental belief that artistic practice and critical reflection can spark lasting cultural change.


About Abrons Arts Center 

Abrons Arts Center is a home for contemporary interdisciplinary arts in Manhattan’s Lower East Side neighborhood. A core program of the Henry Street Settlement, Abrons believes that access to the arts is essential to a free and healthy society. Through performance presentations, exhibitions, education programs and residencies, Abrons mobilizes communities with the transformative power of art.





9. CALL FOR SUBMISSIONS: The Zero Gravity International Performance Art FESTIVAL

Deadline date: March 1, 2019; City: Edmonton, Canada: Source: Beau Coleman


This call is for Canadian artists only.

EARLY DEADLINE: March 1, 2019 

FINAL DEADLINE: March 15, 2019 


The Zero Gravity International Performance Art SUMMIT is a 10-day visual performance art event taking place in Edmonton, Canada May 10–19, 2019. The SUMMIT, produced by Mile Zero Dance and curated by Beau Coleman, is taking place in two parts:


Zero Gravity Performance Art WORKSHOP (May 10–15, 2019)

A 6-day workshop offering access into the working processes, methodologies and approaches of five internationally-established performance artists.  Co-facilitated by: Dagmar Glausnitzer-Smith (Germany), Francesco Kiàis (Italy-Greece), PASHIAS (Cyprus), Alexandra Zierle (Germany-United Kingdom) and Beau Coleman (Canada).  Workshop participants will present their own original performances on the first day of the FESTIVAL. Workshop Fee: $500 CDN (20 participants maximum).

More information to follow in a separate call.


Zero Gravity International Performance Art FESTIVAL (May 16–19, 2019)

A 4-day festival presenting the work of established and emerging international, national and local performance artists. The FESTIVAL will consist of indoor and outdoor performances and artist talks/discussions. This Open Call for Submissions invites Canadian artists (national and local) to submit works for consideration for the Zero Gravity International Performance Art FESTIVAL portion of the SUMMIT. 



We live in dangerous and precarious times. How can art rise above the current times we live in to think in new ways; not only as a means of escape, but as a call to action?  What do performance artists have to say about the ‘gravity’ of the world?


PERFORMANCE DURATION: up to 30 minutes. Longer durational performances (up to 2 hours) will be considered, but may not be able to be accommodated due to limitations of space.  


EQUITY, DIVERSITY and INCLUSION: We particularly welcome proposals from artists who identify as being Indigenous (First Nations, Inuit or Métis), ethnically-diverse, deaf, disabled or LGBTQ2S+.


As one of the objectives of the SUMMIT is to create a dialogue amongst Canadian, International and Local performance artists, Festival Artists who reside outside of Edmonton will receive support so they may participate in all 4 days of the Zero Gravity International Performance Art FESTIVAL (May 16–19, 2019).


What We Offer:

Artist Fee: $500 (exceeds CARFAC fees)

Indoor & Outdoor Performance Spaces (majority indoor)

Technical Support (minimal, performances should be self-sufficient)

Documentation (photos and/or video)

Access to all events at the festival.


For national artists, we offer the above in addition to:

Accommodation: billeting (5 nights)

Per Diem (5 days)


Please Note:  We are unable to support Canadian airfare at this time. However, the festival organizers are able to provide official letters of invitation, so artists may seek additional funding to support their participation in the festival program.



Submit all Application Written Materials via a SINGLE PDF. 

Photos (JPEG): 2MB maximum.

Provide password to website links if necessary (i.e. Vimeo)


1. ARTIST INFO: Legal Name, Professional Name, Pronouns, Address, Telephone (cell preferred), Email, Website (if applicable).


2. PERFORMANCE DESCRIPTION (500 words each, you may submit up to 2 works): Title (if applicable), Duration/Format, Technical Requirements (if appropriate) – minimum technical support, Description of Work and Relationship to Theme


3. ARTIST STATEMENT (300 words max): Include how the proposed performance fits into your overall artistic practice. (300 Words Max)


4. ARTIST BIO (200 words max)


5. ARTIST CV (2 pages max)


6. DOCUMENTATION (JPEG and/or Website Links): Images/Video:  Up to 10 images of your work and/or a link to 5 minutes of video via website or social media platform (Vimeo, YouTUBE etc.). Images should be JPEGS only (1024 x 768 pixels).  Provide an Image Contents List stating: Last Name/Title/Venue/Date for each image, Artist Website (if applicable)


SEND all application materials to: Beau Coleman

Curator, Zero Gravity International Performance Art SUMMIT

Email: coleman.beau@gmail.com

March 1 (Early Deadline) or March 15 (Final Deadline), 2019.




10. CALL FOR SUBMISSIONS: Franklin Furnace Fund 2019–2020

Deadline date: April 1, 2019; City: NYC, USA; Source: Franklin Furnace


Now accepting applications to the FRANKLIN FURNACE FUND!


The Franklin Furnace Fund awards grants annually to early career artists to enable them to produce major performance art works in New York. Grants range between $2,000 and $10,000 based on the peer review panel allocation of funding received by Franklin Furnace.


Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of "early career artist" and "performance art." So if at first you don't succeed, please try again.


The Franklin Furnace Fund 2019–2020 is supported by Jerome Foundation and the NYC Department of Cultural Affairs in partnership with the City Council. Artists supported by funding from Jerome Foundation must live in the five boroughs of New York City or the state of Minnesota.


Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York City. Full-time students are ineligible.


To apply to The Franklin Furnace Fund, please read the application guidelines carefully and apply using our online application form. Please note: In order to access the online application form you must first complete a brief questionnaire that will help determine your eligibility. If eligibility is confirmed, you will be provided with a link to the online application.


Check the website for guidelines and submission form: www.franklinfurnace.org/




11. PUBLICATION: 9Questions, an artist project by Gustaf Broms

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies


9Questions, an artist project by Gustaf Broms


Publication: $20

Publication & postage for Toronto: $25

Publication & postage to Canada/USA: $30

Publication & postaget to UK/Europe: $35


Pay via PAYPAL, credit or debit.

Email info@performanceart.ca to place your order.


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In 2014, Swedish performance and visual artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists—many he had a personal connection with and many more he had never even met. The questions covered a range of paired concepts—the bricks and mortar of performance practice (including Material/object, Audience/receiver, Sound/silence, Time/rhythm, Space/emptiness)—and grounded by questions about personal experience, lineage and language. The impulse to gather this collection arose from a conversation Broms had had with another artist; but what makes this volume first and foremost an artist’s book is that the questions are asked from the specific perspective of Broms’ deep personal understanding that, as a practice, performance resides at the permeable borders between the conscious and subconscious, and the meeting of the concrete world of form and the spiritual realm. For Broms, these are the essential questions. The responses collected are as diverse and wide-ranging as the artists and their own approaches, from the practical, to the abstract to the simply far-flung, in addition to some reassuring and surprising overlapping ideas and connections. 


The roster of contributors to the 9Questions book project is an impressive array of international performance artists whose work covers a range of performance and performative multi-disciplinary approaches, including: Adina Bar-On, Alastair MacLennan, Andrea Saemann, Antoni Karwowski, Arahmaiani, Artur Tajber, Barbara T. Smith, Bartolomé Ferrando, Boris Nieslony, Brian Connolly, Dorothea Rust, Elvira Santamaria-Torres, Esther Ferrer, Fausto Grossi, Guadalupe Neves, Guillermo Gómez-Peña, Gustaf Broms, He Yunchang, hermann nitsch, Irma Optimist, Jamie McMurry, Jill Orr, Johanna Householder, John Duncan, Kurt Johannessen, Leif Elggren, Linda Mary Montano, Macarena Perich Rosas, Margaret Dragu, Mariel Carranza, Marilyn Arsem, Martha Wilson, Monika Günther & Ruedi Schill, Myriam Laplante, Nigel Rolfe, Nobuo Kubota, Paul Couillard, Pekka Kainulainen, Rocio Boliver, Roi Vaara, Ron Athey, Serge Olivier Fokoua, Shannon Cochrane, Stelarc, Tanya Mars, Tehching Hsieh, Tomas Ruller, Valentin Torrens, Zbigniew Warpechowski and Zhu Ming. 



Gustaf Broms is a Swedish visual artist working in performance, video and photography. His performance work has presented work across Europe, Asia and North America. His practice is engaged with the exploration of the nature of consciousness, the dualistic concept of "I," as the biological reality of being in the BODY, and being MIND, as the perceived experience of the flow of phenomena. He is a co-founding member of REVOLVE Performance Festival in Uppsala. He was the subject of 2012 film, The Mystery of Life – An Art Apart: Gustaf Broms by Carl Abrahamsson. 


Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies

Edited by Gustaf Broms and Shannon Cochrane

Translations by Paula Alvarado, Robert Rowley, Nicolas Scrutton, Jie Wang

Design: Lisa Kiss Design



978-0-9730883-4-2 (FADO Performance Art Centre, Canada)

978-91-639-8460-0 (Centre for Orgchaosmik Studies, Sweden)


This publication project is supported by Stiftelsen Längmanska kulturfonden. FADO Performance Art Centre acknowledges the suport of the Canada Council for the Arts, Toronto Arts Council, Ontario Arts Council, and the Department of Canadian Heritage.







Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.


Artistic & Administrative Director: Shannon Cochrane

Board of Directors: Cara Spooner, Francesco Gagliardi, Jenn Snider, Cathy Gordon, Clayton Lee, Julian Higuerey Núñez


Office: 401 Richmond Street West, Suite 445, Toronto, Canada M5V 3A8


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