FADO E-LIST (May 2019)


1. EVENT: An Evening with Guillermo Gómez-Peña

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

2. WORKSHOP: La Pocha Nostra Performance

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

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

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

4. WORKSHOP: Citizenguage : Humanism In Process : El Tendedero (The Clothesline)
Date: May 6–8, 2019; Belfast, N.Ireland; Source: Bbeyond
5. EVENT: Citizenguage : Humanism in Progress : Performance artists at work Part 2
Date: May 9–11, 2019; City: Belfast, N.Ireland; Source: Bbeyond
6. EVENT: ANIMAL, by Elin Lundgren and Petter Pettersson
Date: May 9–24, 2019 (various); City: Malmö, Sweden; Source: Lilith Performance Studio
7. EVENT: A Moment in Time by Anna Berndtson
Date: May 11, 2019; City: Berlin, Germany; Source: Berndtson
8. CALL FOR ARTISTS: Intensive Residency Class by VestAndPage & Marilyn Arsem
Deadline date: May 30, 2019; City: The Hague, Netherlands; VestAndPage
9. EVENT: RIPA – rencontre interuniversitaire de performance actuelle
Dates: May 30–31, 2019; City: Montreal, Canada; Source: RIPA
10. CALL FOR STORIES: Tipi Confessions
Date: June 14, 2019; City: Toronto, Canada; Source: TQFF
11. CALL FOR APPLICATIONS: Perform'Action Live Art 3
Deadline date: July 31, 2019; City: Yaoundé / Soa, Cameroon; Source: Perform'Action

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

Published by FADO Performance Art Centre and Centre for Orgchaosmik Studies




1. EVENT: An Evening with Guillermo Gómez-Peña

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


Friday, May 3


THEMUSEUM, 10 King Street West, Kitchener ON

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.



2. WORKSHOP: La Pocha Nostra Performance

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


On Saturday May 4 and Sunday May 5, Guillermo, Saula and Balitronica will conduct a two-day cross-cultural/cross-disciplinary/cross-generational workshop for performance artists, actors, dancers and students from diverse ethnic communities, generations and artistic backgrounds.



May 4 & 5

4:00PM TO 10:00PM

THEMUSEUM, 10 King Street West, Kitchener ON


Two-day registration fee is $150, $75 for students. 

Click here for workshop information and registration form:





3. 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)

Proposal deadline: Monday, May 6, 2019


Issue Editors:

Angenette Spalink, Texas A&M University

and Jonah Winn-Lenetsky, Institute of American Indian Arts


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.


Reference: 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.



4. WORKSHOP: Citizenguage : Humanism In Process : El Tendedero (The Clothesline)
Date: May 6–8, 2019; Belfast, N.Ireland; Source: Bbeyond
Citizenguage: Humanism In Process: El Tendedero (The Clothesline)
In 1978, Mónica Mayer presented El Tendedero (The Clothesline) an installation at the Museum of Modern Art in Mexico City. The piece consisted on inviting women of different ages, occupations and neighbourhoods to respond to the phrase As a woman, what I dislike the most of the city is: in small pink slips which were placed on a 3 x 2 meter clothesline. Most answers denounced sexual harassment in the street and public transport. Over the years El Tendedero has appeared many times, in different communities, responding to issues on violence against women. In recent versions, Mónica starts by: Giving a lecture open to the general public in which she talks about her work since the seventies which contextualizes her work and that of other feminist artists in Mexico.  
Workshop content:
a) Mayer shares information on specific iterations of the Clothesline and opens a discussion on political art.
b) She facilitates activities for participants to share their experiences of violence with the purpose of defining the specific questions that are appropriate in that context for the new Clothesline.
c) Artists and activists participating in the workshop are invited to share their work and propose new individual or collective pieces.
d) The group goes out to the places they determine to get answers from people in public spaces, universities, etc. and mounts them on the structure.
e) Final group session to evaluate the process and the project.
Workshop Details
Monday, May 6
Flaxart Studios, Havelock House, Ormeau Rd, Belfast N.Ireland
Tuesday, May 7
Markets Community Centre, Market St, Belfast N.Ireland
Wednesday, May 8
Markets Community Centre, Market St, Belfast N.Ireland
Cost: 3-Day Workshop, £60 includes lunch
Booking or further information, please contact Brian Patterson: bbeyond@europe.com
Bbeyond: Art in Life Life in Art
5. EVENT: Citizenguage : Humanism in Progress : Performance artists at work Part 2
Date: May 9–11, 2019; City: Belfast, N.Ireland; Source: Bbeyond
“A culture is not an abstract thing. It is a living, evolving process. The aim is to push beyond the standard-setting and asserting human rights to make those standards a living reality for people everywhere” Mary Robinson
Humanism in process: female performance artists at work, addresses issues of feminism and art, promoting visibility of inequalities and strategies to address these situations, creating openness, awareness and supporting women’s wellbeing through performance art. Demonstrating how performance art has been and is a contemporary art form that suits the needs of human diversity and expressions of freedom.
The project resonates with feminist demands for spaces, activities and a culture for expression to their needs, demands and concerns. Since the 60s, women and feminist struggles have embrace performance art in order to convey their concerns, positions and demands, forming political empowered communities.
The female artists we have invited to this event have fought, embodied and influenced their artists communities and, to a certain extend, their societies, opening new ways to approach issues of gender through their artistic practice, sometimes under hard conditions. These artists have a valuable experience to share with artists and women in Northern Ireland and continue the historical rehabilitation of women's rights and the humanistic process of equality, based on creativity, knowledge, reflection and debate.
The overall project includes invited artists Mónica Mayer (Mexico), Denys Blacker (Spain) Sandra Johnston, Jayne Cherry(NI), Aine Philips (Ireland) and SARC artists (Sonic Art Research Centre) Una Lee and Paula Guzzanti.
The May programme is as follows:
Performance Evening
Artists: Mónica Mayer (Mexico) Victor Lerma (Mexico) Jayne Cherry (NI), Elvira Santamaria (Mexico/NI)
Thursday, May 9
Pollen Studios 7 Queen St, Belfast N.Ireland
Performance Event
El Tendedero (The Clothesline) by Monica Mayer (Mexico)
Friday, May 10
City Hall vicinity, Belfast N.Ireland
Talk and Roundtable
peakers: Mónica Mayer, Bronagh Lawson, Conny Ortiz, Siobhan Craig, Emma Cambell, Elvira Santamaria
Saturday, May 11
Golden Thread Gallery, 84-94 Great Patric Street, Belfast N.Ireland
Bbeyond: Art in Life Life in Art
6. EVENT: ANIMAL, by Elin Lundgren and Petter Pettersson
Date: May 9–24, 2019 (various); City: Malmö, Sweden; Source: Lilith Performance Studio
a major performance by Elin Lundgren and Petter Pettersson 
in collaboration with the musician Cecilia Nordlund
Imagine that Lego would produce a model called "rock club." A small package of everything you need to enter the fiction, rock club; stage, band, sound, light, bar and audience. This rock club model is now set up in scale 1.1 at Lilith Performance Studio in Malmo.
The rock club with its unspoken rules; predetermined dramaturgy, directed spontaneity and, not least, its permissive attitude to dramatic excesses and ecstatic states, has long been a place where Lundgren and Pettersson thrive and can feel passionate fellowship with.
With the power fields generated at a rock club, they want to make visible and simultaneously dissolve the boundary between fiction and reality, actor and viewer. In ANIMAL, Lundgren and Pettersson examine our need for accommodative group affiliation and rebellious individualism.
ANIMAL is a collaboration with the Malmo based musician Cecilia Nordlund. She is maybe best known as the front figure in the alternative rock band Souls in the 90s. Now she is current with the band Fullmånen från Helvetet (Full Moon from Hell) who released their first full-length album "Åska & Blod" (Thunder & Blood) Nov 2018. Nordlund together with the musicians Christine Owman, Åsa Gjerstad and Irma Svensson enter this work as a fictitious rock band persona. In addition to the musicians, over 20 participants will also take part in the performance piece.
In performance related to fellowship, group affiliation and exclusion, Lundgren and Pettersson build their works as living images with an absurd raw humor and a bare documentary narration. Their base tone is universal issues such as love, loss and grief, driven by the desire to move into the viewer's consciousness as a disturbance and a hope of understanding what it is about being a human being. Lundgren and Pettersson’s last major performance piece for a Malmo audience was ”Island in the Sun” shown in a hangar-like building in collaboration with Sommarscen Malmö 2016 and HeadHouse at Lilith Performance Studio 2012. 
Date: May 9–11, 16–18, 24, 2019
Open Hours: 19:45–22:30 
Email boka@lilithperformancestudio.com with your name and the number of tickets you want. The ticket(s) must be paid after you have received a confirmation, to be valid. The audience will be booked in different time slots starting from 19:45-21:30h. You get all further information needed when you book.
7. EVENT: A Moment in Time by Anna Berndtson
Date: May 11, 2019; City: Berlin, Germany; Source: Berndtson
Performance UNlimited | Anna Berndtson
May 12–23, 2019
SOMA Art Space
Liegnitzer str. 35 10999  Berlin, Germany
A Moment in Time by Anna Berndtson
Saturday, May 11
Time is a construct of man. We are the only animal on the planet that has left our subjective sensation of time and put this temporal measurement into mechanic or electronic units. We are aware of the limited time we have at our disposal and our own mortality. Expressions like “wasting time” and “time is money” show how important time can be in our society. Dealing with time in this way looks at not just the passing of time but also the meaning of time and questions about, if we use our time in a meaningful way.
You are invited to SOMA Art Space Berlin to choose the time you want to spend with Anna Berndtson for an individual experience of time, a one to one moment in the performance. The public can come and go throughout the duration of the performance. 
8. CALL FOR ARTISTS: Intensive Residency Class by VestAndPage & Marilyn Arsem
Deadline date: May 30, 2019; City: The Hague, Netherlands; VestAndPage
Performance Site Den Haag presents a two-week international performance art project:
Project ID In-Between Identities
25 June to 7 July 2019
The Hague, The Netherlands
Applications for the Intensive Residency Class by VestAndPage & Marilyn Arsem are now accepted on a rolling base until May 30, 2019 through http://bit.do/project-id
Open Call Residency Class tutored by VestAndPage & Marilyn Arsem
Tuesday, June 25 to Wednesday, July 3
Exhibition, evening lectures and artist talks at Stichting Ruimtevaart
Friday, June 28 and Sunday, 30
Collective performance opera
Friday, July 5
Live performance program at De Helena and De Barthkapel
Friday July 5 to Sunday, July 7
Project ID In-Between Identities is a temporary creative community project aiming to face artistically the issue of the crisis of identity, working in performance art through personal and the societal conceptions of individuality. In a 10-days intensive Residency Class, P.s. Den Haag provides for a space to develop solo and collective performances under the tuition of artist duo VestAndPage together with Marilyn Arsem, to be presented during the weekend July 5 - 7, 2019 in a public event. A collective performance opera, solo and collaborative performances by the participants and additional invited international artists, as well as lectures and an exhibition, happen in the centre of The Hague at the former school building De Helena, Stichting Ruimtevaart, and De Barthkapel, a suggestive old convent chapel.
The intensive Residency Class is tutored in a joint methodological process by VestAndPage and Marilyn Arsem.
For the Residency Class, we are calling for a maximum of 20 international artists, performers, actors, movers, sound artists and poets interested in a collaborative and physical art practice, including all levels of experience and different abilities.
We are able to offer the Residency Class for the total costs of 450€. This includes shared accommodation at The Hague Hostel and vegetarian meals during the period of the project, with arrival on June 24 and departure on July 8, 2019. (Participants who count on private accommodation, or who intend to assist only the Residency Class excluding the public event weekend, please contact us for the price.)
Applications for Project ID – In-Between Identities are now accepted on a rolling base until May 30, 2019. To apply, please fill in and submit the application form on http://bit.do/project-id
For further information please contact: performancesitedenhaag@gmail.com
Please whitelist this email on your account to not miss our notifications.
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
Marilyn Arsem has been creating live events since 1975, from solo gallery performances to large-scale, site-specific works at festivals, conferences, alternative spaces, galleries, museums and universities in 29 countries throughout North and South America, Europe, the Middle East and Asia. Thematically, her work has ranged from feminist deconstruction of images of traditional women’s work, to performances concerning the Cold War, to the impact of US imperialism in countries throughout the world, to works about environmental issues. The topic to which she has continually returned over the years has been our understanding of time, its passing, and mortality. She presented 100 Ways to Consider Time at the Museum of Fine Arts, Boston, which was 100 different six-hour performances in 103 days, from November 9, 2015 to February 19, 2016. Over the years Arsem has experimented with different ways of designing performances so that audiences share responsibility in making the work. In some cases, the audience is given control over the actions of the performer, in other works the audience has taken a specific role in creating the event. This reflects an interest in redefining power structures and illuminating how meaning is generated and shared between people. She is a member and founder of Mobius, Inc., a Boston-based collaborative of interdisciplinary artists. She taught at the School of the Museum of Fine Arts, Boston for 27 years, establishing one of the most extensive programs internationally in visually-based performance art. www.marilynarsem.net
P.s. Den Haag is an artist-run organisation based in The Hague, creating space for a wide range of performance art practices and educational opportunities. Since 2016, P.s. organises performance art events in The Hague with international guest artists facing topics that aim to inspire insight, research and discussion. www.performancesite.nl
9. EVENT: RIPA – rencontre interuniversitaire de performance actuelle
Dates: May 30–31, 2019; City: Montreal, Canada; Source: RIPA
Alexandra Bischoff
Ariane Gagné and Sophie Merizzi
Emma Forgues and Sam Bourgault
Gabrielle Desrosiers
Gabrielle Poulin
Jacqueline Beaumont
Léo Gaudreault and Charles Voyer
Sungjae Lee
Performance evening
Thursday May 30, 2019
Doors at 6:00pm / Closing Party until 2:00am
Bar on site
Fonderie Darling
745 Ottawa Street, Montreal
Square Victoria Metro Station
Tickets: $9
Presale for $7, starting Monday, May 6. Details to come. (Free for children 12 and under)
Discussion Panel
Friday, May 31, 2019
2:00pm–4:30pm / Free admission
For this eighth edition, RIPA – rencontre interuniversitaire de performance actuelle will take place on May 30th and 31st 2019 at the Darling Foundry. The event will unfold in two stages: on the first day will be held a performance evening honouring eleven emerging artists from university networks as well as Victoria Stanton stepping in as this year's mentor artist. On the following day will take place a discussion panel addressing current themes in performance art. 
The following day, May 31st, the discussion panel will offer a space to reflect on performative practices and will allow for discussions regarding the interventions presented the evening prior. This year’s discussion panel will be divided into two thematic panels: “Vital Space” and “Social Space”. 
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.
10. CALL FOR STORIES: Tipi Confessions
Date: June 14, 2019; City: Toronto, Canada; Source: TQFF
Tipi Confessions
in bed with TQFF, Aboriginal Curatorial Collective/Collectif des commissaires autochthone, OPIRG and FADO Performance Art Centre
We are looking for Toronto area performers to share their stories.
Tipi Confessions is produced by three Indigenous women: University of Alberta professors Kim TallBear (Sisseton-Wahpeton Oyate) and Tracey Bear (Nehiyaw'iskwew from Montreal Lake Cree Nation), and PhD student Kirsten Lindquist (Cree-Métis). We are an offshoot of the popular Austin, Texas show, Bedpost Confessions, founded in 2010.
Tipi Confessions is a live storytelling show on sex, sexuality, and gender that features spoken word, personal narrative, erotic fiction, burlesque, live musicians, and short theatre performances. Produced by three Indigenous women (Kim TallBear, Tracy Bear, and Kirsten Lindquist), this curated evening highlights Indigenous, decolonial, political, humourous, creative, feminist, and educational perspectives.
Submit your Story. Become a Tipi Confessions performer! We seek diverse voices from the Toronto area, especially if stories like yours go untold. We are an ALL-INCLUSIVE enterprise: we welcome storytellers and performers of all genders, races, sexualities, and abilities. 
Types of Performances. Our shows have featured spoken word readings, personal narrative, memoir, fiction, burlesque, live musicians, and short theatre performances/stage readings. We are also open to stand-up comics, video clips, and lively short lectures. 
How to propose a concept. Deadline: May 10, 2019. Describe and explain your proposed performance, but also include some context for us such as motivation and intent. If you have specific questions about our expectations, please ask. Your submission should be: A Word document, 15000 words or less, double-spaces. Email submissions to: tipiconfessions@gmail.com
The Review Process: Results by: May 17, 2019. Acceptances may be contingent upon an audition/interview (in person or via Skype). We encourage you to submit sexually-themed stories and performances. Your performance doesn't need to be "erotic" (although we love well-crafted erotica), but it should pertain positively to sex and sexuality. Consider telling your story from a political, humours, creative, feminist, or educational perspective. We want stories that fit our mission of ethics, education, and entertainment around sex, sexuality, and gender.
Tipi Confessions will take place on June 14, 2019 at Buddies in Bad Times Theatre. For more information on the event: http://buddiesinbadtimes.com/show/tipi-confessions/
11. CALL FOR APPLICATIONS: Perform'Action Live Art 3
Deadline date: July 31, 2019; City: Yaoundé / Soa, Cameroon; Source: Perform'Action
International Festival of Performance Art of Cameroon
Perform'Action Live Art 3
The International Festival of Performance Art of Cameroon launches a Call for Applications for the third edition Perform'Action Live Art 3 to be held from November 29 to December 6, 2019 in Yaoundé and Soa. The theme of this edition is: "Art and Ecology, Performance Art against Pollution."

The call for applications is open to all artists around the world, no age limit, artists must be available throughout the duration of the Festival, for 8 days: workshops, discussions, conferences, residencies, restitution ...

All artists who work with used objects, and in the public space are encouraged to apply. We accept Performances, non-standard, extreme, anti-conformist, and offbeat. The festival encourages interdisciplinary creations, including installations, and works using multimedia. The festival also encourages intercultural exchanges and collaborative productions to apply.
The deadline for applications is July 31, 2019.
Perform'Action Live Art 3 support: meals, internal transport in Cameroon, homestay accommodation is encouraged.
Artists support: international transport between their departure city and Yaoundé and probably accommodation.
Send your file: CV, Letter of motivation, a short biography to: performactionliveart@yahoo.com

12. 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.







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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