FADO E-LIST (April 2019)


1. EVENT: Revolution Revolution by Gillian Dykeman

Date: March 29–31, 2019; City: Mississauga, Canada; Source: Akimbo

2. CALL FOR SUBMISSIONS: Carbonarium Festival 2019

Deadline date: March 31, 2019; City: Kyiv, Ukraine; Source: Cross Attic

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

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

4. CALL FOR SUPPORT: Performance Art Archive: Access and Sustainability

Deadline: ending on April 2, 2019; City: Köln, Germany; Source: Michael Barrett

5. EVENT: Re-Joyce: Wieland for a New Millennium

Date: April 4–6, 2019; City: Toronto, Canada; Source: Amy Fung

6. EVENT: HEAT (a work-in-progress) by Aisha Sasha John

Date: April 13, 2019; City: Toronto, Canada; Source: Images Festival

7. CALL FOR SUBMISSIONS: Performensk Festival 2019

Deadline date: April 15, 2019; City: Minsk, Belarus; Source: Performensk Festival

8. OPEN CALL FOR ARTISTS: DIS-SENSUS by VestAndPage and Andrigo&Aliprandi 

Deadline: April 30, 2019; City: Venice, Italy; Source: VestAndPage

9. WORKSHOP: Zero Gravity Performance Art Workshop

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

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

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies


Date: May 3–4, 2019; City: Uppsala, Sweden; Source: Uppsala Art Museum

12. EVENT: An evening with Guillermo Gómez-Peña

Date: May 3, 2019; City: Kitchener, Canada; Source: CAFKA

13. WORKSHOP: With La Pocha Nostra @ CAFKA

Date: May 4–5, 2019; City: Kitchener, Canada; Source: Gordon Hatt

14. CALL FOR PROPOSALS: Performance Research 'On Dark Ecologies'

Deadline date: May 6, 2019; City: the world; Source Performance Research




1. EVENT: Revolution Revolution by Gillian Dykeman

Date: March 29–31, 2019; City: Mississauga, Canada; Source: Akimbo


Revolution Revolution by Gillian Dykeman


Presented The Society for the Diffusion of Useful Knowledge

Produced by Blackwood Gallery, University of Toronto Mississauga


Revolution Revolution is a performance work by Gillian Dykeman that 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 can we channel our energies to address the urgent environmental concerns of our time? 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?


Attendees are invited to attend an invigorating and inspirational participatory cycling class performance (wear comfortable gym clothes). No previous spin workout experience necessary.


Participants are welcome to cycle or to observe. Limited space is available per session. Pre-registration is strongly encouraged. Participants will be asked to sign a waiver. 

To register: www.eventbrite.ca/e/sduk-revolution-revolution-tickets-57745093128



March 29, 7pm

Recreation Athletic and Wellness Centre, University of Toronto Mississauga

3359 Mississauga Rd


March 30, 11:45am

Athlete Training Centre

3500 Ridgeway Dr, unit #2


March 31, 2:30pm

Carpe Diem Fitness

4060 Ridgeway Dr, unit #3



Gillian Dykeman is a multi-disciplinary artist based in Fredericton, New Brunswick. Working through an intersectional feminist and postcolonial framework, Dykeman seeks to empower her audiences in their own lives through playful and critical engagement with visual culture. Her work spans mediums and disciplines such as performance, video, sound, installation, and art criticism. She has a Masters in Visual Culture from the University of Toronto, and a Bachelor of Fine Arts from NSCAD. Dykeman is an instructor in Foundation Visual Arts and Advanced Studio Practice at the New Brunswick College of Craft and Design. Her work has been exhibited and screened in galleries, exercise studios, a rare book library, and a geodesic dome.



The Society for the Diffusion of Useful Knowledge (SDUK) is a public program and publication series produced by the Blackwood Gallery, University of Toronto Mississauga. Designed to build artistic and environmental literacy and support community engagement, the SDUK platform circulates research, ideas, and debates from a range of exigent discourses and practices, including those among the visual arts, environmental humanities, public policy, political economy, sustainable design, science and technology studies, extinction studies, and the major scientific and cultural debate of a generation—the Anthropocene. This programming is part of The Work of Wind: Air, Land, Sea, a site-specific exhibition, public program, and publication series designed to expand perspectives on climate change through artistic practices, cultural inquiry, and political mobilization.


A series of public programs will be taking place in wards across the City of Mississauga from March to August 2019. For complete details and updates, visit: www.workofwind.ca/program




2. CALL FOR SUBMISSIONS: Carbonarium Festival 2019

Deadline date: March 31, 2019; City: Kyiv, Ukraine; Source: Cross Attic


Carbonarium Festival 2019

June 7–9, 2019

Kyiv, Ukraine


Carbonarium 2019 is a second edition of an international performance art festival which is taking place in Kyiv, Ukraine. We are inviting performance artists and curators from all around the world to present contemporary art trends and to create an educational platform with the aim of development and popularization of performance art in Ukraine.


For the 2019 edition of the Carbonarium Festival we are seeking for artists whose work is related to the topic The body of the city. We wish to embrace the notion of the body and the city, the relation between the two, the metaphor of a city as a body. The city as a living entity which provides us—the “microorganisms” living in it—with both opportunities as well as restrictions.


Deadline for applications: March 31, 2019

Application form: https://goo.gl/Ho5AjJ


Festival provides selected participants with: 

–Basic technical support (laptop, beamer, sound and light equipment)

–Photo and video documentation

–Accommodation (hostels/artists flat)

–Invitation Letter


Organizer: Carbon (Kyiv, Ukraine)

Co-founders: Alexandra Khalepa, Oleksiy Zaitsev

Curators: Pınar Derin Gençer, Antonín Brinda, Oleksiy Zaitsev


Festival partners: Stockholm Performance Art (Stockholm, Sweden), Istanbul Performance Art (Istanbul, Turkey), Performance Crossings 2019 (Prague, Czech Republic), Performensk OPEN CALL for Artists 2019 (Minsk, Belarus)


Contact: carbonariumfestival@gmail.com

Facebook: www.facebook.com/events/387100422088169/




3. 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/




4. CALL FOR SUPPORT: Performance Art Archive: Access and Sustainability

Deadline: ending on April 2, 2019; City: Köln, Germany; Source: Michael Barrett

Along the Rhine River, there sits a library. It's an art library, to be more precise and it desperately needs the help of friends, artists, caring community members and generous philanthropists who understand the value of free-access, sustainability, and preservation of arts-based literature, video, images, event/program documentation, and artifacts. The time has come for us to care for the space Boris Nieslony has created and dedicated his life.

Initiated by Michael Barrett, there is an crowd sourcing fundraising campaign online to raise the funds to support the incredible performance art archive that Boris Nieslony has dedicated his life (and his own money over all these years) to create, support and bring forward for the community. Please consider donating to this important project.

Link to the Kick Starter: 


For information about the library, visit Die Schwarze Lade–The Black Kit

www.blackkit.org (use Chrome for translating)




More information about Boris Nieslony: https://vimeo.com/32331313





5. EVENT: Re-Joyce: Wieland for a New Millennium

Date: April 4–6, 2019; City: Toronto, Canada; Source: Amy Fung


Re-Joyce: Wieland for a New Millennium

Date: April 4–6, 2019

Venue: TMAC, 32 Lisgar Street


A re-framing and reckoning of the politics and ideas of lineage, nationhood, and protest from the late 1960s to present-day.



Kiera Boult, Aylan Couchie, Thirza Cuthand, Russ Diabo, Brette Gabel, Lee Maracle, Ryan McMahon, Hazel Meyer, MICE Magazine, Kirsty Robertson, Lisa Robertson, Aram Han Sifuentes, and Indu Vashist


Co-curated by Christina Battle, Amy Fung, Allyson Mitchell, and Ariel Smith

Presented by Canadian Filmmakers Distribution Centre


Joyce Wieland is best remembered as a symbol of the Canadian Feminist Avant-Garde. She is cherished nationally for her visual arts practice and respected internationally for her experimental film works. In both streams, her works responded to the socio-political issues of her time, from localized labour strikes to a resistance to American Imperialism. Her undying love for this country hinged heavily on the “two-founding nations” ideology, a framework that has always negated Indigenous Nationhood and resulted in the erasure and marginalization of non-Anglo and non-Franco perspectives.


Re-Joyce: Wieland for a New Millennium is a reframing and a reckoning of the politics and ideas of lineage, nationhood, and protest from the late 1960s to present-day. As organizers, we believe Wieland remains one of the most important artists in Canadian history, and that her work deserves to be continually engaged with through contemporary complications and conversations. In doing so, we may need to dismantle our sense of Canadian society as we know it. Taking up reoccurring themes and strategies inherent in Wieland’s body of work, Re-Joyce is above all a reimagining of Wieland’s indomitable spirit in a deeply fractured time.


“A corrective” event.


SCHEDULE of EVENTS (see http://joycewieland.ca/ for FULL LIST of events)

Thursday, April 4


Opening Reception featuring "The Truth Booth Presents: Invest and Protect"

Conceived by Kiera Boult, the Truth Booth in its latest iteration addresses land ownership. By using the trope of the therapy booth, "The Truth Booth: Invest and Protect" will feature the artist as facilitator for members of the general public who wish to hold private, shame-free conversations about land ownership in relation to race politics, class and intersectional feminism.


Friday, April 5


Moving Image Culture Etc. (MICE) Collective looks to Joyce Wieland’s 1964 work Peggy’s Blue Skylight as a starting point to recreate a leisurely afternoon of friends visiting.



Kirsty Robertson presents an illustrated lecture entitled, "I Hope Today Was Worthwhile and the Weather Was Pleasant/Tracking Joyce Wieland in the Tar Sands" inspired by the discovery of letters Joyce Wieland wrote to Petro Canada in the early 1980s about a new body of work she planned to develop.



The Weight of Inheritance

Upon making a pilgrimage to what was once Joyce Wieland’s house in Toronto’s Queen East neighbourhood, Hazel Meyer met its then occupant and owner Jane Rowland. Being a fan of Wieland, Rowland had kept many of Wieland’s old things, including the pink moiré flounce hanging above where Wieland’s bed once was, hand-painted wallpaper trim that circled Wieland’s bedroom, wooden cassette tape racks, and a ton of marble scattered throughout the house and piled high in the basement. Inheriting these objects that were otherwise deemed “invaluable,” and with no archival value, Meyer revisits these items in this work-in-progress that will have its exhibition premiere at The Western Front in 2020.




Video and performance artist Thirza Cuthand presents a new hybrid moving image performance work that resists Canada's championing of resource extraction colonization through repetitious images of stock videos intercut with gestural motions of survival.


Saturday, April 6


Aram Han Sifuentes workshop

In the spirit of Wieland’s activism and craftwork, Sifuentes will lead a banner-making workshop and help to construct a space where we can come together in solidarity through making—in and of itself a form of resistance. The workshop is free. All materials will be provided. Plan to attend the entire length of the workshop (no late drop-ins!) Registration is not required, but please RSVP to: workshops@cfmdc.org


For more information and participant bios: http://joycewieland.ca/




6. EVENT: HEAT (a work-in-progress) by Aisha Sasha John

Date: April 13, 2019; City: Toronto, Canada; Source: Images Festival


HEAT (a work-in-progress)

By Aisha Sasha John


Date: April 13, 2019

Time: 10:00pm

Venue: The Costume House, 165 Geary Ave


"And in the warmness of the fire I feel fine."

~Aisha Sasha John 


Aisha Sasha John’s medium is energy. Her solo dance show "the aisha of is" premiered at the Whitney Museum in 2017; in 2018 it was presented by the MAI (Montréal, arts interculturels) and SummerWorks Festival (Toronto). Her book of poetry entitled, I have to live.(McClelland & Stewart) was a finalist for the 2018 Griffin Poetry Prize. 


Curated by Sarah-Tai Black 


This program is produced in partnership with Necessary Angel Theatre Company

Co-presented with FADO Performance Art centre, SummerWorks, Necessary Angel and The Costume House

For more info: www.imagesfestival.com/program/heat
Facebook: https://www.facebook.com/events/314364325946740/

TICKETS: $10–$15
To purchase tickets, CLICK HERE

The Images Festival is one of the most enduring and respected platforms in the world for the exhibition and dissemination of independent film and media art. The festival takes place annually in Toronto, Ontario, and has been attended by more than 25,000 people each year. The 2019 edition will take place from April 11–18, 2019 and will include approximately 16 in-cinema programs, 14 gallery exhibitions, 10 public program events, and five live performances. Images has spent the last 31 years presenting media works that range from the formally and aesthetically challenging, to the personal and lyrical and is committed to cultivating a passionate arts community who see moving image culture as a means or understanding our contemporary context.

April 11–18, 2019



7. CALL FOR SUBMISSIONS: Performensk Festival 2019

Deadline date: April 15, 2019; City: Minsk, Belarus; Source: Performensk Festival

Performensk Festival 2019

September 6–9, 2019

Minsk, Republic of Belarus

Performensk is a second edition of the festival focusing on the presentation of performative art, an art which is presented live, "here and now“ in front of the audience.

More specifically Performensk aims to present works belonging under fields of 

–experimental theatre 

–performance/live art 

–sound art

OPEN CALL: In this open call we are seeking for LONG DURATIONAL PERFORMANCES commissioned specifically for the Performensk 2019 festival and created in response to the festival's site. Selected artists will be given an opportunity to come for a SHORT-TERM RESIDENCY (approximately one week) before the festival. During the time of the residency participants can prepare their individual projects or to form team(s) and work together. Under the term "long durational performance" we understand performances whose length will be from several hours to several days and which will be happening simultaneously with the rest of the program.

THEME: The theme of this year's edition of the festival is the SPACE.

It is a broad topic which could be approached from many different angles. From the mathematical perspective our current understanding of the space is largely based on the so called Euclid's axioms formulated by the ancient mathematician and geometer Euclid. For example that the sum of angles of a triangle equals 180° or that two parallels never intersect.

If we take a step from mathematics and physics we can think of the space in philosophy: the philosophy of space and time representing the whole independent stream of thinking. Its proponents being such figures as Immanuel Kant, Gottfried Leibniz or Martin Heidegger. Many people are fascinated by the infinite cosmic space as well as the microcosmos invisible to the human eye. The space as a space for living is indivisible from our everyday lives. In the context of the mental space we are saying: "My head is full, I have no space for thinking." The space which is given to an individual in a society differs significantly in relation to his or her place of origin, social class, economical situation, gender, race, sexual orientation etc.

In the art context the space is one of the basic elements defining the final artwork. What is the relation between the work and the space in which is it realized? Is it possible to transfer the piece into an other location or is it indivisible from the space in which it was created? What is the difference between the transferable projects created for the theatre "black boxes" (or "white cubes" of galleries) and site-specific works tightly connected to the particular locations? What is the size of the respective artwork? Is it small, almost invisible or monumental?

There are many factors which influence possibilities of an artist to realize him or herself freely, to "have a space" for their creation. Artist's economical situation is one of them. For those financially independent it is easier to create for quite obvious reasons: they do not have to invest energy and time in the money-making and can focus solely on their art. The art market offers an income opportunity but it also brings a risk of commodification. Both the content and the form are being adapted for the purposes of the grant applications, artists are fighting each other for funds. Rather than on the perfectioning of the work the energy is being spent on the self-promotion. Crucial is also the censorship issue. An impossibility to realize oneself freely complicates and deforms the artistic work. While in some communities the value of art for the society is recognized, in other cases the art becomes only a tool supporting the ruling ideology, be it due to the ignorance or with a deliberate power aims.


–technical support

–venue to perform



–promotion of the work

–assistance with obtaining visa to Belarus / issuing the visa to Belarus

For more information, please go to the Facebook posting:


TO APPLY, please fill out the google doc here: 





8. OPEN CALL FOR ARTISTS: DIS-SENSUS by VestAndPage and Andrigo&Aliprandi 

Deadline: April 30, 2019; City: Venice, Italy; Source: VestAndPage

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 sixth of a series of practical workshops on performance art in Venice:


Joint Performance Summer Class by VestAndPage and Andrigo&Aliprandi 

June 5–14, 2019

C32 performing art work space, Forte Marghera, Venice, Italy

With a final public presentation on June 14, 2019

The artist duos VestAndPage and Andrigo & Aliprandi merge their unique pedagogical practices in a joint immersive performance class "DIS-SENSUS" 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, a historical park facing the western bank of the Venice lagoon. A final public sharing of the workshop will be presented on Friday, June 14 and documentation of the workshop will become part of the archive of the VENICE INTERNATIONAL PERFORMANCE ART WEEK. The joint laboratory process will revolve around a range of techniques reflecting the two duos art practices and methodologies:


Societal systems of reference in which artists act and operate and to which they respond through their art making are ever-changing. In the contemporary global context, opportunistic ways of thinking are continuing to claim strategies and stages of development, to fuel impulsive, self-protective, ego-centric structures and behavior. Notwithstanding, the ingraining of conscientiousness, individualism, autonomy, and integration is actively moving forward, ubiquitously and intimately woven into the fabric of our collective existence. A growing freeing from oppressive demands goes along with a quality of synthesis, confrontation, and recognition within the plurality of individuals, and the evolutionary formation of societies.

In this intensive Summer Class, the artist duos VestAndPage and Andrigo&Aliprandi merge their performance methodologies to enquire into and strengthen a poetics of toleration, understanding, and acknowledgment of divergent thinking and its conceptual complexity. The aim is to highlight differences, ambiguities, and diversities as antidotes to the staling normative, both within the process of art-making and from a psycho-social perspective. We will work to embrace polarity and multiple facets through a training aiming to unfold the complication of an increasingly intricated world. Thinking multi-perspectively, we inquire into ourselves and our positions and take the viewpoints, stances, and needs of multiple social groups into consideration. Here, learning and togetherness are understood as unavoidable, and the unattainable as a possibility. Broad empathy towards oneself and the others favor the cherishing of individuality, and honor self-actualization to work out identities that reconcile to their destiny. We look at a merging with the world through art processes, where we no more hold onto a status quo, but engage in the flow of existence always at stake, by inquisitively inhabiting inner conflicts through performance making. In an alternation between complexity and simplicity, or construct and essence, the intermingling of different states of consciousness is possible. Thinking and acting in time cycles and historical dimensions we live our contemporaneity openly and progressively, all accepting aspects of one another.

How to sense – How to come in touch with our difference? Where is the source of performing a difference and what it is directed towards? How to dissent – Is difference something intimate, learned, imposed, or acquired? How to transform a possible difference in art? 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, including all levels and different abilities. Overall dates are June 5–14, with the arrival on June 4 and departure on June 15. We are able to offer this Intensive Summer Class for a comprehensive fee of 550 Euros, including shared accommodation in Forte Marghera and vegetarian meals during the workshop period.


Applications are now accepted on a rolling base until April 30, 2019. To apply, please fill in the online form on https://bit.ly/2MYfQcB.


For further information please contact (including both emails):


More info:





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, as well as the ongoing Educational Learning Program, Workshop Series and the residential "Co-Creation Live Factory". Since 2013, the ART WEEK | Workshop Series have been realized every year in collaboration with Live Arts Cultures Cultural Association. 





9. WORKSHOP: Zero Gravity Performance Art Workshop

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


Mile Zero Dance presents: Zero Gravity Performance Art Workshop



Beau Coleman (CA)

Dagmar I. Glausnitzer-Smith (DE)

Francesco Kiais (GR/IT)


Alexandra Zierle (UK/DE)


Presented by Mile Zero Dance; in partnership with dc3 Art Projects


Dates: May 10–17, 2019

Location: Edmonton, Canada

Spots available: Limited to 20 participants

Workshop Language: English

Website: http://milezerodance.com/2017/call-for-applications-workshop/

Facebook: www.facebook.com/events/271479887114983/



Early Bird Fee, until April 20: $400 CDN (approx. 260 Euros/$300 USD)

Regular fee, after April 20: $500 CDN (approx. 350 Euros/$370 USD)


DEADLINE: applications are being accepted on a ROLLING BASIS until May 1, 2019.   

We recommend submitting your application early, as places are limited and filling up. You will be notified shortly after applying regarding your acceptance.


This unique 8-day International Performance Art Workshop co-facilitated by Beau Coleman (Canada), Dagmar I. Glausnitzer-Smith (Germany), Francesco Kiais (Italy/Greece), PASHIAS (Cyprus), and Alexandra Zierle (Germany/UK), offers an exclusive and intense access into the working processes of 5 internationally-established performance artists. Participants will experience an array of methodologies and approaches to performance art, whilst being actively encouraged to delve into new and unchartered territory. The workshop includes solo and group exercises within an intensive, experimental and experiential context. Each participant will receive 1-to-1 mentoring during the development of their own original performance art work, that will be presented to the public on May 16th, as part of the Zero Gravity International Performance Art FESTIVAL (May 16–19), with a final workshop session held on the morning of May 17. Workshop participants will receive documentation of their work.


We welcome applications from both established and emerging performance artists, as well as those with a strong interest in performance art.  We particularly welcome applications from people who identify as Indigenous (First Nations, Inuit or Métis), ethnically-diverse, Deaf, Disabled or LGBTQ2S+.  All levels welcome to apply.


Selected participants are strongly encouraged to attend all days of Zero Gravity International Performance Art FESTIVAL (May 16–19, 2019), so they may view performances by a wide-range of Canadian and International performance artists (including the co-facilitators) and attend the festival’s artist talks, panels and discussions. 



To apply, please provide the following written materials as a single PDF in the order below (JPEG photos may be attached separately):


–Artist/Company Name (if applicable)

–Pronouns Preferred


–Phone Number (country and/or area code included)

–Artist Statement (300 words)

–How Do You Envisage This Workshop Benefitting Your Practice? (250 words)

–Artist CV

–Images of Your Work (JPEG, max 2MB each, attached separately – optional)

–Website/blogs/video links (optional)

–Do You Agree to Participate if Accepted?

–Do You Agree to Participate If Accepted? ($100 Deposit due April 15, 2019 with remaining balance of $400 fee due May 1, 2019)



Beau Coleman 

Curator, Zero Gravity International Performance Art SUMMIT (Workshop & Festival)



Questions and inquiries welcome. We are able to provide letters of acceptance, should you wish to apply for funds from other sources.




Beau Coleman’s artistic practice is one of continual movement, encompassing the mediums of performance art, intermedia, site-specific performance, theatre, dance, video and installation. Themes of intimacy, isolation, suspension, grief and loss are interrogated in her work. In creating her performances, Beau finds raw material in the interplay with objects, physical response(s) to site, gestural movements, distillation processes, and found encounters with the unknown. 




Glausnitzer (DE) examines several aspects of collecting objects, the recollection of past ideas and images, voice and autobiography by means of ‘Performance Art’ and ‘Performance for the Camera’. There is a process of understanding ‘Self’ as portraiture or as non-linear actions in space. Live Actions and exhibitions took place in the USA, Germany, UK, France, Scotland, Denmark, Austria, New Zealand, Cyprus, Finland. She has been part of the Month of Performance Art, MPA-B Berlin 2012, 2013, 2015 and presented Live Performances and Performance Art Workshops at 1st and 2nd Cyprus International Performance Art Festival.




Kias's work focuses on dialogue between contrasts and differences, bringing the specificity of places and peoples’ memories, to be activated poetically in an individual and collective ritual, played on the ground of the mutual presence, both corporeal and/or incorporeal, of the performer and of those who attends/participates in the experience of a performance. Kiais is a member of the curatorial board of the VENICE INTERNATIONAL PERFORMANCE ART WEEK and creator of the [mind the] G.A.P. – Gathering Around Performance, a platform based in Athens and focussed on Performance art.



PASHIAS (Cyprus)

The practice of Greek Cypriot visual artist PASHIAS is grounded in the field of performance art, installation and photography, by establishing the artist’s body as basic material for creation. His work aims at the exploration of a "situation" or environment, based upon the relationship of a unit towards an ensemble, in a similar manner that every social setting perceives a person—through the establishment of presence, exchange and co-existence. PASHIAS has participated in solo and group exhibitions, as well as international festivals in the United Kingdom, France, Spain, Italy, Germany, Russia, Norway, Finland, Estonia, Sweden, Bulgaria, Turkey, Belgium and Brazil.




Interdisciplinary, multi-sensory and often site and context responsive, Alexandra Zierle’s practice critically examines different modes of communication and what it means to be human, addressing notions of belonging and sense of place, investigating human interactions and encounters. Alexandra Zierle recently presented solo performances in Germany at the Wuppertaler Performancenacht, the Istanbul Art Fair, and at TDanse in Italy. Her work as Zierle & Carter has been widely exhibited internationally throughout Europe, Canada, United States, South America, Australia, in Asia and Africa, such as the inaugural Venice International Performance Art Week, Federation Square (Melbourne), CIPAF (Cyprus), Grace Exhibition Space (New York), Rapid Pulse (Chicago) and Bildmuseet (Umeå).


(For full bios and descriptions of working methods, visit:





10. 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.


Or purchase a copy through Unbound:



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.







Date: May 3–4, 2019; City: Uppsala, Sweden; Source: Uppsala Art Museum



Uppsala Art Museum


Date: May 3–4, 2019

Venue: Uppsala slott, ingång E, Sweden

Info: https://konstmuseum.uppsala.se/revolve/revolve-closer-english/


Two days focusing on Swedish and international performance art—condensed, tactile and in process. 



Gregory Hari (CH)

Moa Franzén (SE)

Sara Gebran (VZ/DK)

Éva Mag (SE/RO)

Mira Mutka (SE)

Deva Schubert (DE)

Andros Zins-Browne (US/BE)


Revolve closer is an invitation to encounter performance art close up. The festival presents artists and artistic processes that negotiate in different ways, their immediate surroundings, where materials like memories, movements, clay or fluids, are being investigated in relation to the subject, and where personal histories together make up the collective. Questions are raised about intimacy and its relation to the political, acknowledging our private bodies as part of larger collective bodies. Where does my own body end and society start? Where do they intertwine?


In addition, each artist is invited to “zoom-in” on one aspect of their work in an artist talk or conversation, an opportunity both for the audience and the artists to get closer to the artistic processes and ideas behind the works.


Rebecka Wigh Abrahamsson, Uppsala Art Museum

Kajsa Wadhia och Tove Salmgren, Köttinspektionen Dans


Revolve Performance Art Days is an annual festival that started in 2016. The festival takes on different formats from year to year according to curatorial ideas and participating collaborators. The network of collaborators include: Uppsala Art Museum, Köttinspektionen Dans, Uppsala Konsert & Kongress, Uppsala City Theatre and Gustaf Broms.


The festival is organized in collaboration with the Region County of Uppsala, the Cultural Department/the Adviser for the Visual Arts, Sensus and is supported by Uppsala Municipality’s Cultural Committee.



Moa Franzén is an artist and writer based in Stockholm. Her practice encircles writing and performance and places itself in and between visual arts, choreography and literature. Franzen’s work evolves around the relation between language and violence, rhetoric and ideology, body, power and vulnerability–most often with writing as the base, voice as the tool and performance as form. She often works in curatorial collaborations, and her works appear as often on the printed page as on the stage. Franzén has an MFA in New Performative Practices from DOCH.



Mira Mutka works within the field of choreography, dance, production and teaching, often by initiating, discussing and sharing practices. Mira has an MFA in New Performative Practices from DOCH 2015, where she (in various collaborations) developed Gait, Slowathon and Slothing, practices who emerged from an interest in exploring walks, slowness and black holes. Recent and current collaborators include Scenkonst Sörmland, The Cullberg Ballet, Together Alone, etc., collaborations in which she has taken the role as performer, dancer, choreographer, rehearsal assistant, producer and/or choreography assistant.



Sara Gebran has a BA/MA in Urban planning at University Simón Bolivar Venezuela (1987), dance studies at Instituto Superior de Danza Caracas (1992) and Post-Studies in The History of Images and its Representation at The Royal Institute of Art, Stockholm (2013). Her works are situated within performance art, exploring medias such as video, sound, text, digital works, and finding sustainable ways to produce and create art works that generate genuine autonomy and collaboration.



Éva Mag received her artistic education at the Royal Institute of Art, Stockholm where she graduated in 2015. Beside sculpture Mag also works with performance art and social projects. Recently she has been a part of the group shows New Materialism, Bonniers konsthall and the Moderna Exhibition, Moderna Museet or as set designer in MILF at MDT with Nadja Hjorton. In 2015 Éva Mag was the Anna-Lisa Thomson Grant recipient and one of her sculptures On all four #1, belongs to the Uppsala Art Museum collections and is on display on floor 4.



Andros Zins-Browne is an American choreographer making performances at the intersection of installation and dance that twist virtuality and embodiment. His work has been shown at a.o.- Centre Pompidou, Paris; ICA, London; Kaaitheater, Brussels, Het Stedelijk Museum, Amsterdam, the 10th Berlin Biennale and the MoMA, New York City. His solo performance Already Unmade, where he practices the "unmaking" of his own performance archive, was commissioned by the Boghossian Foundation and has been performed at BOZAR Museum, Brussels; The Whitney Museum in New York, the Rockbund Museum in Shanghai, and the Fondation Galeries Lafayette for Festival d’Automne in Paris. In 2013, he founded The Great Indoors, an association for artistic research and production.


Deva Schubert is a dancer and choreographer living in Berlin and Munich. Her work deals with intimacy and the dynamics of interactions as performative means. She studied Dance in Salzburg, Kassel and Copenhagen, Fine Arts at the Kunsthochschule Kassel and Choreography at HZT Berlin. As a dancer she worked for artists like Christoph Winkler, Ivo Dimchev, Shai Faran, Mute Company and Costa Company, performing at the Venice Biennale, Documenta 14, and others.



Gregory Hari is a visual and performance artist, and musician who will graduate with a Master of Arts at the Academy of Art and Design Basel. He studied Fine Arts at F+F School of Art and Design Zurich. Hari has exhibited and performed internationally such as at Tempo_Festival in Rio de Janeiro in 2018. By voice and movement his artwork deals with bodily memory and traditions, belonging, questioning traditional concepts of masculinity.





12. EVENT: An evening with Guillermo Gómez-Peña

Date: May 3, 2019; City: Kitchener, Canada; Source: CAFKA



With cameos by La Pocha Nostra members Saual Garcia and Balitronica


May 3, 2019


FREE / open to all

THEMUSEUM, 10 King Street, Kitchener CANADA


Combining spoken word poetry, activist theory, radical storytelling and language experimentation, Gómez-Peña offers critical and humorous commentary about the art world, academia, new technologies, the culture of war and violence in the US, organized crime in Mexico, gender and race politics, and the latest wave of complications surrounding gentrification in the “creative city”.


Guillermo Gómez-Peña (US/Mexico) is a performance artist, writer, activist, radical pedagogue and director of the performance troupe La Pocha Nostra. Born in Mexico City, he moved to the US in 1978. His performance work and 11 books have contributed to the debates on cultural & gender diversity, border culture and US/Mexico relations. His artwork has been presented at over nine hundred venues across the US, Canada, Latin America, Europe, Russia, South Africa and Australia. A MacArthur Fellow, Bessie and American Book Award winner, he is a regular contributor for newspapers and magazines in the US, Mexico, and Europe and a contributing editor to The Drama Review (NYU/MIT) and the Live Art Almanac (Live Art Development Agency-UK). Gómez-Peña is a Senior Fellow in the Hemispheric Institute of Performance and Politics, a Patron for the London-based Live Art Development Agency, was named Samuel Hoi Fellow by USA Artists in 2012 and received a Eureka Fellowship from the Fleishhacker Foundation in 2013.


Gómez-Peña’s unique format reveals to an audience the process of creating, languaging and performing material and this process becomes the actual project. It is precisely in his new solo work where Gómez-Peña’s literature, theory, activism, pedagogy & live art come together in a wonderfully strange mix. 


Gómez-Peña has spent many years developing his unique solo style, “a combination of embodied poetry, performance activism and theatricalizations of postcolonial theory.” In his ten books, as in his live performances, digital art, videos and photo-performances, he pushes the boundaries still further, exploring what’s left for artists to do in a repressive global culture of censorship, paranoid nationalism and what he terms “the mainstream bizarre.” 


Gómez-Peña examines where this leaves the critical practice of artists who aim to make tactical, performative interventions into our notions of culture, race and sexuality. Most recently he has also been exploring the poetic and activist use of new technologies and social media.   



The Big Ideas in Art and Culture lecture series is a co-production of Musagetes and CAFKA. 

The Musagetes Foundation is concerned with the role the arts can play in addressing the fault lines of modern society. Musagetes is a hub for activist interventions that advance the role of the arts in modern life. It operates mainly by convening – by creating living experiences, some small, some large, that bring people together to articulate social needs, generate ideas and spark action.


CAFKA initiates conversations around public space and the social and critical functions of art. CAFKA's programming seeks resonance and support in the community where issues of ecology, marginalized communities, cultural participation, technology and urban life overlap with the issues addressed by contemporary artists.





13. WORKSHOP: With La Pocha Nostra @ CAFKA

Date: May 4–5, 2019; City: Kitchener, Canada; Source: Gordon Hatt


Cross-cultural/cross-disciplinary/cross-generational workshop with Guillermo Gómez-Peña, Saula Garcia Lopez and Balitronica Gomez for performance artists, actors, dancers and students from diverse ethnic communities, generations and artistic backgrounds.


Date: May 4–5, 2019

Time: 4–10pm

Venue: THEMUSEUM, 10 King Street West, Kitchener

FEE: $150 (general) / $75 (students) Limited to maximum of 22 participants


To register: https://tinyurl.com/y6pn9x99

Fore more information: www.cafka.org/event/la-pocha-nostra-workshop


The objectives of the Pocha Nostra workshops are:

–To feed / stretch emerging artists and inquisitive students, helping them to sharpen and develop their performance and analytical skills in dialogue with like-minded cultural radicals;

–To create temporary communities of rebel artists from different disciplines, ages, ethnic backgrounds, gender persuasions, and nationalities, in which difference and experimentation are not only accepted but encouraged;

–To develop new models for relationships between artists and communities, mentor and apprentice, which are neither colonial nor condescending;

–To find new modes of relating laterally to the ‘other' in a less-mediated way, bypassing the myriad borders imposed by our professional institutions, our religious and political beliefs, and pop-cultural affiliations. To experience this, even if only for the duration of the workshop, can have a profound impact in the participant’s future practice;

–To discover new ways of relating to our own bodies.  By decolonizing and then re-politicizing our bodies, they can become sites for activism and embodied theory; for memory and reinvention; for pleasure and penance;

–To raise crucial questions: Why do we do what we do? Which borders do we wish to cross and why? Which are the hardest borders to cross both in the workshop and in our personal lives? How do we define our multiple communities, and why do we belong to them? What is the relationship between performance, activism, pedagogy and our everyday lives? What about the relationship between the physical body and the social body?

–To seek a new hybrid and interdisciplinary aesthetic, reflective of the spirit and tribulations of our times, and of the concerns of each participant;

–To empower participants as individuals to become civic-minded artists;

–To make performance art pertinent to a new generation of potential activist-artists. They may eventually have to save us from the very monsters and pitfalls that we, their arrogant forefathers, have either created or allowed to happen.

A reflection on the history and philosophy of La Pocha Nostra's live performance events:



For more information, contact: cafka@cafka.org




14. CALL FOR PROPOSALS: Performance Research 'On Dark Ecologies'

Deadline date: May 6, 2019; City: the world; Source Performance Research


Vol. 25, No. 1: ‘On Dark Ecologies’ (Jan/Feb 2020)


Issue Editors:

Angenette Spalink, Texas A&M University

and Jonah Winn-Lenetsky, Institute of American Indian Arts


Proposal deadline: Monday, May 6, 2019


Timothy Morton describes dark ecology as ‘ecological awareness, dark-depressing. Yet ecological awareness is also dark-uncanny. And strangely it is dark-sweet.’ The concept of dark ecology represents a crucial intervention in the current moment of political conservatism and climate change denial and enables a focused exploration of a wide range of issues relating to performance and ecology. Human activity on the planet is responsible for a number of ecological and political dilemmas, including (but not limited to) global climate change, pollution, leaking pipelines, fragmentation of ecosystems, diminishing natural resources and nuclear meltdowns.


While some may harbour hope and positivity about the future, it is easy to feel overwhelmingly hopeless about these large-scale, complex problems. Morton refers to the awareness of these substantial ecological dilemmas as ‘ecognosis’, which he describes as ‘a riddle… It is something like coexisting. It is like being accustomed to something strange.’ It is this tension between hope and despair, the coexistence between ‘depressing’ and ‘sweet’,—this space of ‘dark ecologies’ in our current political and ecological climate—that we will explore in this issue.


This volume considers dark ecology in relation to performance and explores the ways that performance can intervene in or engage with a plurality of dark ecologies. We are interested in a range of approaches to the topic, such as: performative events, analysis of text-based plays, theorizing the potential of performance, pedagogical concerns, first-person analysis of practice, and artist pages.


Proposal topics may include, but are not limited to:

—Diverse approaches to the concept of dark ecologies and performance that transport readers to a range of places (for example, the deep sea, an Iowa cornfield or a tropical cloud forest), and explore ‘bodies’—both visible (for example, farm crops, sea and land creatures or garbage) and invisible (for example, sewage byproducts, bacteria or microscopic fungi).

—Hope and despair and their relationship to the climate both physical and political. How may these two opposing ideas be held together in productive ways in performance?

—Climate change and climate change denial, along with their ecological and economic consequences, and the role that performance may play to intervene and interrupt ‘business-as-usual’.

—Radical hope and the possibility of pursuing new ecological narratives and methodologies through performance.



Morton, Timothy (2016) Dark Ecology: For a logic of future coexistence, New York: Columbia University Press.


We are inviting essays approximately 4,000 to 6,000 words and artist pages (number of pages to be agreed with the editors). Please send 300–400 word abstracts plus a 100 word bio.



Proposals:  6th May 2019

First drafts: August 2019

Final drafts: October 2019

Publication: Jan/Feb 2020


Issue contacts:

All proposals, submissions and general enquiries should be sent direct to Performance Research at: info@performance-research.org


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

Angenette Spalink (Texas A&M University): aspalink@tamu.edu

Jonah Winn-Lenetsky (Institute of American Indian Arts): jonah.winn-lenetsky@iaia.edu


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 other 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.






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


FADO on Instagram: @fadoperformanceartcentre
FADO on Facebook: FADO Performance Art Centre

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