FADO E-LIST (January 2021)


1. FADO CALL FOR PROPOSALS: Performance Resolution(s)

Deadline date: February 15, 2021; City: Canada-wide

2. READ: An open letter to Canadian cultural institutions, arts professionals, journalists

Date: unspecified; City: the world; Source: claude wittmann

3. EVENT: Performance at Distance #3, R3: Scape-City

Date: January 8, 2021; City: on-line; Source: Responding Performance Festival

4. PUBLICATION: Rita Mckeough: Works
Date: now; City: the world; Source: Mountain Standard Time (M:ST)

5. CALL FOR PROPOSALS: Performance Research Vol. 26, No. 8: ‘On Biopolitics’

Deadline date: January 11, 2021; City: the world; Source: Performance Research

6. COURSE: Performance: Exploratory Approach with Sylvie Tourangeau

Date: January 14–April 3, 2021 (various); City: Sherbrooke, Quebec; Source: Facebook

7. EVENT: PUSH.PULL presents the Bare Showcase & Speaker Series

Date: January 15 & 27, 2021; City: on-line; Source: Dainty Smith

8. CALL FOR PROPOSALS: ANTI – Contemporary Art Festival 2021

Deadline date: January 15, 2021; City: Kuopio, Finland; Source: ANTI

9. CALL FOR APPLICATIONS: Reality Research Center

Deadline date: January 17, 2021; City: Kuopio, Finland; Source: ANTI

10. CALL FOR APPLICATIONS: MA in Live Art and Performance Studies

Deadline date: January 20, 2021; City: Helsinki, Finland; Source: University of the Arts

11. OPEN CALL: Performance Crossings 2021 ~ Remote Performance Art

Deadline date: January 30, 2021; City: on-line; Source: Performance Crossings

12. OPEN CALL: Victims of Love (working title) / Open Call 1 & 2

Deadline date: unspecified; City: the world; Source: asabank


Deadline date: February 8, 2021; City: on-line: Source: the Hemi




1. FADO CALL FOR PROPOSALS: Performance Resolution(s)

Deadline date: February 15, 2021; City: Canada-wide



  • a firm decision to do or not to do something.
  • the quality of being determined or resolute.
  • the action of solving a problem.
  • the process of reducing or separately something into its components.
  • the smallest interval measurable by an optical instrument.
  • the conversion of something abstract into another form.

It goes without saying that 2020 changed everything. (We resolve never to say, "it goes without saying" again.) The past year brought many changes to performance and live art practice. What happens to embodied practice when the bodies can’t be together irl? Events were cancelled and festivals postponed. With dizzying speed, we were compelled to bring performance to the tiny back-lit screen. Sometimes that worked and more often it didn’t. Without being able to gather in large groups, sometimes we leaned on old tricks (what performance artist doesn’t know what it’s like to perform in a half-empty theatre?) to shoehorn our work into the current context. More often than not, we stuck with the script—over producing and addicted to presentation.


But thankfully the new year brings with it fresh starts, new directions and an opportunity to reflect. We make promises in the form of new year’s resolutions—a private or public personal commitment to change. Most resolutions dissolve by the end of March, or sooner. If 2020 taught us anything, it taught us that transformation comes slowly. The real breakthroughs are still in the (social) distance, but a seed has been planted.


FADO is seeking proposals for Performance Resolution(s), our at-home residency series for winter/spring 2021. Performance Resolution(s) invites performance-based project proposals that engage with the theme of ‘resolution.'


Our inspirations for Performance Resolution(s) are the hope for a better 2021 for all, and a profound performance exercise designed by Marilyn Arsem that we think about from time to time. Read Marilyn's exercise HERE.


Our goal is to support up to 15 proposals. Artists will receive between $1,000 to $2,500 depending on the project scale and the number of applications received.



We are interested in proposals that are process, research and practice-based; that are open-ended and investigative. We are interested in conceptual one-offs and elaborately dreamed performance journeys, in equal measure. We are interested in radical ephemerality, experimentation, and performances that are not really performances (but are still deeply engaged with time, material, site, context). We are less interested in the outcome, and more curious about your own resolve.



We are only accepting proposals from performance artists living in Canada. Applications from international artists will not be considered at this time. Artists at all levels in their careers are encouraged to apply, as are artists who are new to FADO’s platform.



–contact information

–description of your performance proposal/project (500 words)

–description of process/resolution/goals (250 words)

–bio/statement, CV, documentation


Please use the online form for your submission:



DEADLINE: February 15, 2021


If you don’t have a google account, or would feel more comfortable submitting your proposal in a different way, please email us and we will make the necessary accommodations.


Submissions will be reviewed and artists will be notified by the end of February. 


If you have any questions, please contact Shannon Cochrane: info@performanceart.ca




2. READ: An open letter to Canadian cultural institutions, arts professionals, journalists

Date: unspecified; City: the world; Source: claude wittmann


An open letter to Canadian cultural institutions, arts professionals, journalists:

In the last few weeks the socio-political situation in Cuba has been deteriorating, and has achieved a point in which the help of international institutions is required in an attempt to avoid the escalating tension. On December 2nd, Coco Fusco wrote a similar open letter to American cultural institutions and arts professionals addressing these escalating tensions.


A few weeks ago, a diverse group of 14 people, part or related to Movimiento San Isidro (artists, writers, teachers, scientists, supporters and friends) gathered in a house in Old Havana as a way to continue their demands to release Denis Solís, a young hip hop artist previously sentenced to 8 months in prison for contempt of authority. The gathering later transformed into a hunger strike of 9 of the members and finally to the raid of the headquarters and the disbandment of the group on November 26th. After this, all the members of the group have been under political siege, surveillance and house arrest.


On the morning of November 27th, a group of artists gathered in the Ministerio de Cultura, the leading government institution for culture. They demanded the excarcelacion and fair trial for Denis Solis as well as more general demands. Essentially, they demanded “the right to have rights”. A dialogue between 30 representatives of the few hundred artists gathered there and the Ministerio took place for several hours. One of the members of this group was Tania Brugera, an internationally renowned Cuban artist who is also an activist, grassroots organizer and has exhibited, been an artist in residence, given lectures at and has been written about in these Canadian institutions The Art Gallery of Ontario, the MOCA, the AGYU, OCAD, Art Metropole, Canadian Art, MOMUS, FADO and 7a*11d among others. The agreements reached there however, were violated early the next day with a criminalization campaign presented in the government media (and formally rejected on December 4th). Accusations of collaborating with foreigners and plans to destroy the Revolution were the centre of the campaign.


Defamation and criminalization of both San Isidro movement and the 30 representatives of artists of November 27, known now as 27N, has been continuous since then. Constant police harassment accompanies the campaign. Tania Bruguera has been threatened and detained briefly on several occasions. She is not the only one to have suffered from the repressive wave. Also, Carlos Manuel Alvarez, prominent Cuban writer as well as several artists were subjected to similar tactics. The repressive events, along with the criminalization campaign in the face of internal public opinion, sends worrying signals. Artists, intellectuals and people in other sectors of society, are in a difficult position in relation to the Cuban government.


A fundamental asymmetry, emerging from the totalitarian nature of the government, it’s inability to open up to talk about the growing demands of civil society and the threat implied in the defamation public campaign as well as displays of force, demands the help of international voices. We ask that institutions and individuals within the art community who have worked with artists like Tania Bruguera to speak out on her behalf and her colleagues and friends and on behalf of the respect for human rights and creative freedom and support a growing part of Cuban society in the face of disproportionate state power.


This is why we ask, in the name of our colleagues and friends in Cuba resisting and fighting the repressive and defamatory wave, to express your support and concern for these artists that right now represent the catalysis to social change.


Will you please add your name to this letter of support and share it with your colleagues and community? To do so, please send an email to Magela Hernandez at the following: xochitlobsidiana@gmail.com


Please follow these links for more information: 






3. EVENT: Performance at Distance #3, R3: Scape-City

Date: January 8, 2021; City: on-line; Source: Responding Performance Festival


The global spread of COVID-19 has made transnational mobility difficult, and communication has compelled to have physical distance. It has become challenging to share performances in the same space and to achieve the festivity that emerges from the specific sites. Following these situations, R3: Scape-City uses the online platform to explore the possibilities of performance art as an experimental venue for new performative communication that is neither live performance nor video art.


The artists, who will take part in the R3: Scape-City in the town of Shimo-Suwa, Nagano prefecture next year, will produce a performance for online in a way that is currently possible for them, depending on the situation they are in. Responding to the conditions we are now facing, we aim to promote interactive communication through online performative practices that connects directly local and local globally as well as to bridge between this particular time and the actual performance festival next year.



Antony Karwowski (Poland)
Béatrice Didier (Belgium)
Chomphunut Phuttha (Thailand)
Daisuke Takeya (Japan/Canada)
Elvira Santamaria-Toress (Mexico)
Evamaria Schaller (Austria)
Ezzam Rahman (Singapore)
Graciela Ovejero Postigo (Argentina/USA)
Jacquelyn Soo (Singapore)
Jason Lee (Singapore)
Justin Lee (Singapore)
Kokaung Matthu (Myanmar)
Mineki Murata (Japan)
Miri Hamada (Japan)
Nia Pushkarova (Bulgaria)
Pingkan Persitya Polla (Indonesia)
Sophia Natasha Wei (Singapore)
Tan Wei Chen (China)
Urich Lau (Singapore)
Watan Wuma (Taiwan)
Xu Fuchen (China)
Yuzuru Maeda (Japan)



January 8, 2021


Performance at Distance #3 with: Antony Karwowski (Poland), Justin Lee (Singapore), Kokaung Matthu (Myanmar)


For information and to view the past and upcoming works: https://r3.responding.jp/r3scape-city-online-project




4. PUBLICATION: Rita Mckeough: Works
Date: now; City: the world; Source: Mountain Standard Time (M:ST)


Rita Mckeough: Works

Edited by Diana Sherlock


With texts by Anthea Black, Eli D. Campanaro, Elizabeth Diggon, Johanna Householder, Areum Kim, Cheryl L’Hirondelle, Deidre Logue, Jude Major, Rita McKeough, Jeanne Randolph, and Mary Scott.

This critical monograph documents Rita McKeough’s collaborative artistic process and pedagogy from the late 1970s on; her interactions with visual and media arts communities in Halifax, Toronto, Vancouver, and Calgary, particularly alternative music and performance scenes; and the audio, installation and performance work that is her ongoing contribution to the contemporary Canadian art community.

Published by EMMEDIA Gallery & Production Society, M:ST Performative Art Festival, and TRUCK Contemporary Art in Calgary.

The Slipcase is $75 and includes the book as well as a vinyl record with five audio works from installations and performances.

The Limited Edition is $280 and includes the book, vinyl, and an artist multiple by Rita McKeough that references The Lion’s Share (2012), an exhibition which incorporated kinetics, performance, and sound, and used a humorous and dream-like scenario to raise questions about the complexities of our relationship to eating animals.

To order: www.mountainstandardtime.org/shop




5. CALL FOR PROPOSALS: Performance Research Vol. 26, No. 8: ‘On Biopolitics’

Deadline date: January 11, 2021; City: the world; Source: Performance Research


Performance Research

Vol. 26, No. 8: ‘On Biopolitics’ (December 2021)


Issue Editors:

Eve Katsouraki (University of the West of Scotland)

Simon Donger (Royal Central School of Speech and Drama, University of London)


‘To live with the sensation of helplessness: today, probably this is the moral state under which, by resisting, we could be faithful to our times.’ (Imre Kertész in Duarte 2005)


In the lecture course The Birth of Biopolitics at the Collège de France in 1978–9, Foucault defined biopolitics as a fundamental historical change in the way that power is exercised in our culture and society. Turning away from notions of sovereignty, he looked at the management of groups, populations and the human species that he ultimately identified with market-oriented liberalisms and, eventually, neo-liberalisms. For Foucault (1990 [1976]), biopolitics indicated the historical passing of our society into biological modernity that stood, he claimed, for much of a dangerous threshold—that is, the passage from the governing of people as political subjects of law to the governing of living beings—as a ‘population’—with a natality rate, a mortality rate, a morbidity rate, an average life expectancy and so forth. Power, now conceived as ‘biopower’, Foucault insisted, uses populations like a machine for production—the production of wealth, good and other individuals. Yet even if biopolitics could claim to increase productivity across all sectors (public and private, governmental and independent), it was, in fact, organizing unequally the production of wealth in certain sectors over others. This could not be more visible, for example, during this current coronavirus pandemic.


Indeed, what the corona crisis has most strongly demonstrated is the contradictions at work in the economic, political and social fabric of life under late Capitalism. Although we are being urged to stay at home and work from home, there are still many who are being forced to go to work every day because they cannot work from home or do not have a home to stay at in the first place. And although we are encouraged to applaud the medical and care workers at the forefront of fighting corona (and we should surely applaud them), don’t we also equally need to celebrate the delivery people who brings goods to our homes while we remain safely inside? Or the supermarket and pharmacy cashiers, or the public-transportation drivers, the factory workers, the police officers and all those people working in mostly low-income jobs? Racism is another reoccurring feature to the event of any such differential exposure of human beings to health and social risks being one of the constitutive features of biopolitical governmentality. And, finally, the last, most profound perhaps, biopolitical lesson of life that this pandemic has also taught us is the disciplinarization of a city and its inhabitants that is a deeply biopolitical norm.


Please refer to the website for complete statement regarding the themes of this edition:



This journal edition will therefore attempt to critically explore the conceptual, performative, political and creative intersections between biopolitics, theatre and performance. We invite scholars, artists, political and cultural theorists, environmental, animal and anti-racism activists to contribute pieces that seek to untangle the complex web of ideas outlined above, understood here in relation to a variety of disparate but connected phenomena:

—as ways of defining groups, populations or species according to which human/non-human subjects and their positions are produced, thus as administrating life/death and levels of individual/collective agency;

—as the enactment of an ethics of collective and/or self-accountability/responsibility, or conversely as a matter of standardizing thoughts, behaviours and biologies;

—as the performance of bodies conceived as one body within various institutional settings and demands;

—as specific ways of acting—intervening in or directing human groups within or in relation to the mechanisms and techniques of exposure and supervision that constitute the technologies of state reason, authority and care.


Proposals: 11 January 2021
First Drafts: April 2021
Final Drafts: June 2021
Publication: December 2021


Alongside long-form articles, we encourage short articles, provocations and other forms of creative response. As with other editions, we welcome artist’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.

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:
Eve Katsouraki: eve.katsouraki@uws.ac.uk

Simon Donger: simon.donger@cssd.ac.uk 




6. COURSE: Performance: Exploratory Approach with Sylvie Tourangeau

Date: January 14–April 3, 2021 (various); City: Sherbrooke, Quebec; Source: Facebook


University of Sherbrooke / Université de Sherbrooke

WINTER 2021 intensive weekends


This course is for participants who are interested in performance art and would like to discover the artistic foundations of this practice, and deepen their understanding of its methods and vocabulary. Since 2019, ART 228-Performance: Exploratory Approach has been offered as a part of the University of Sherbrooke’s Certificate in Visual Arts, but it is possible to register as a free student or to add it to your schedule as an optional or off-schedule class. No preconditions are necessary. In winter 2021, this course will be given by Sylvie Tourangeau, artist, author and teacher specialized in performance art.


Practical and theoretical aspects will be privileged to highlight several ways to approach performance art and its derivatives such as transactional, relational and stealth practices. You will explore the conceptualization, ownership, structure and presentation of individual actions, duo and collective. You will also be required to critically reflect on your own relationship with performance art.


The course dates are: January 14, 23, 24; February 13, 14; March 13, 14 and April 3.


Description: Know the conceptual and artistic foundations of performative practices; familiarize yourself with the basic concepts and language specific to these practices; experiment with several learnings integrating observation, ownership, structure, presentation and critical input related to performing actions integrating other disciplines.


Content: Global, non-chronological portrait, structured according to the broad conceptual orientations of performative practices from visual elements, texts, group exchanges; exploration of practical exercises leading to performative actions; critical reflections on incarnation of a performance practice whose basic materials are body, time, and space.



–Get familiar with the basic notions, understanding vocabulary and learning the reading modes linked to this practice based on here and now;

–Develop a personalized approach to a performance practice;

–Experiencing a learning approach through practical exercises leading to the presentation of sequences of performative actions.


For information and to register contact Josianne Bolduc, Academic Coordinator at Josianne.Bolduc@usherbrooke.ca




7. EVENT: PUSH.PULL presents the Bare Showcase & Speaker Series

Date: January 15 & 27, 2021; City: on-line; Source: Dainty Smith


PUSH.PULL is a six-month online series of interdisciplinary events examining emergent and intersectional developments in performance art and QT BIPOC cabaret. Curated by storyteller, producer and stage performer Dainty Smith and multidisciplinary artist Golboo Amani highlights QTBIPOC cabaret performers at the intersections of live stage performance and radical political performativity. 

PUSH.PULL presents three online Showcases featuring performers from across North America. Each showcase offers a diverse range of contemporary practices reflecting the theatrical, political and emotional range and depth of cabaret performance. 


Bare Showcase: January 15, 2021 @ 9PM

Taunt Showcase: March 26, 2021 @ 9PM

Topped Showcase: May 14, 2021 @ 9pm


For more info about PUSH.PULL Showcases visit: www.buddiesinbadtimes.com/show/push-pull/



PUSH.PULL Speaker Series

Next event: January 27, 2021


PUSH.PULL also includes a three-part speaker series inviting performers and cultural creatives to engage in conversations at the intersections of visual culture, sex work, performance and politics by recognizing cabaret as a site of cultural production and community engagement.


For more information about the PUSH.PULL Speaker Series:



PUSH.PULL is presented in association with Aluna Theatre & Buddies in Bad Times Theatre, is sponsored by FADO Performance Art Centre and is supported by Canada Council for the Arts.








8. CALL FOR PROPOSALS: ANTI – Contemporary Art Festival 2021

Deadline date: January 15, 2021; City: Kuopio, Finland; Source: ANTI


ANTI Festival 2021 – Call for Proposals on the theme of gifts and giving

The 20th edition of ANTI – Contemporary Art Festival will take place between September 14–19, 2021 in Kuopio, Finland. We now invite artists, working in any field, to propose projects that directly engage with the theme of gifts and giving.


As we approach our 20th festival, amid these challenging times, we turn to an idea that sits at the heart of ANTI Festival’s mission - free to attend for audiences, the festival is framed from within; its name translates from the Finnish as ‘gift’. In addition, see below for Reality Research Center's call for applications to the Residency for Impossible Performance initiative.


"What better time, as we celebrate two decades of activity, to think through the founding principle of the festival – to give, to be in the act of giving. When working on ANTI we have often returned to the idea of the pure gift – an act which is not elicited, not bought, not reciprocated, not anticipated perhaps, but instead breaks our more usual models of exchange, it disrupts and often makes us uncomfortable. It doesn’t require anything in return, its value is not expressed by what might be offered back, instead it sets up a different kind of exchange, a different kind of encounter. Ideas of giving evoke similarly challenging acts – to give care, to give attention, to give one’s self," Artistic Directors Gregg Whelan and Johanna Tuukkanen write.


We are seeking to identify between two and five small scale projects, through the open call. Supported projects will sit within a broader programme of invited works. Successful projects will engender engagement with audiences and publics and will have a physical manifestation on the ground in Kuopio – remote and digital projects can be proposed however an element of the project must engage directly with the festival’s local audience and environment.


Submitting a Proposal for ANTI Festival 2021:
Read the application guidelines carefully before submitting your proposal.

Send your proposal by using the electronic form (link below).

The proposal deadline for all proposals is January 15, 2021 at 16.00 (EET/Finnish time).

Please use the online application form:



For more information about ANTI – Contemporary Art Festival:





9. CALL FOR APPLICATIONS: Reality Research Center

Deadline date: January 17, 2021; City: Kuopio, Finland; Source: ANTI


The Residency Program for Impossible Performance invites applications from artists at the beginning of their career or people with an otherwise utopian agenda who work in performing arts in Finland and who have dreams that haven’t come true yet. The program is part of the main programme of Reality Research Center in 2019–2021.


Reality Research Center will select the artists for the residency through an open application process and each year the Artists in Residency will produce an “impossible”, unprecedented performance for the ANTI Festival in September 2021.


The application period for the 2021 Reality Research Residency is December 15, 2020 to January 17, 2021.


Read further instructions here: https://todellisuus.fi/in-english/

For information about ANTI Festival: https://antifestival.com/en/




10. CALL FOR APPLICATIONS: MA in Live Art and Performance Studies

Deadline date: January 20, 2021; City: Helsinki, Finland; Source: University of the Arts


MA in Live Art and Performance Studies

University of the Arts Helsinki, Finland


Application period: January 7–20, 2021 



Uniarts Helsinki’s Theatre Academy welcomes applications for the master’s programme in Live Art and Performance Studies. Live Art and Performance Studies (LAPS) is a full-time, research-preparatory, two-year master’s programme in English that uniquely combines contemporary performance and live art practices with performance studies, visual cultures and artistic research.


The LAPS master’s programme combines critical thinking with experimentation in artistic work and artistic research. The programme empowers its students to develop and activate new knowledge in practice and theory. LAPS is one of the first, and still one of the very few master’s programmes in the world that combines performance studies and practice of live art & performance art.


LAPS is designed for students that already have a foundation in live art, performance art, or they work in the multidisciplinary field of contemporary art, but want to develop their research skills alongside their artistic practice.


The programme is equally designed for those who have already carried out research in another field in the humanities or sciences, but want to focus more on e.g. embodied practices or performative research.


Professionals from a wide range of fields, including people from the non-academic or activist backgrounds, are encouraged to apply.


We welcome applications between January 7–20, 2021 (ending at 3pm local Finnish time on the last day). The programme is open to international students and is tuition free for EU / EEA students.


The University of the Arts Helsinki (Uniarts Helsinki), located in Finland’s capital Helsinki, provides the highest level of education in music, fine arts, theatre and dance in Finland. Uniarts Helsinki is an international forerunner in education and research in the field of arts and strengthens the role of art as a force that reforms society. Established in 2013, Uniarts Helsinki consists of the Academy of Fine Arts, Sibelius Academy and Theatre Academy.




11. OPEN CALL: Performance Crossings 2021 ~ Remote Performance Art

Deadline date: January 30, 2021; City: on-line; Source: Performance Crossings


Performance Crossings 2021 ~ Remote Performance Art


Performance Crossings 2021 is the fifth volume of an international performance art festival that takes place in Prague, Czech Republic. Annually the festival becomes a presentation platform for over 30 artists and a meeting place with local audience & professionals. It is one of the key events in the region that brings together diverse approaches to the medium of performance art and creates an environment of artistic explorations, experiments and networking.


In 2020, due to mobility restrictions caused by the pandemics, the festival proposed a specific practice of Remote Performance Art—a collaborative concept of artists and curators that allows particular performances to happen from distance. It is a practice that goes beyond the now-a-day’s usual way of streaming by searching for new formats of executing performances remotely or by unveiling or re-imagining the already existing ones.


Being aware that artistic mobility is a privilege that is not shared equally and not all artists have the same access to the possibilities to travel, Performance Crossings 2021 decided to continue in the practice of Remote Performance Art and make a call for those for whom the mobility is restricted for any reason (economical, ecological, political etc.).


We invite artists to participate in the 5th Performance Crossings Festival in 2021 remotely, presenting their work for local audiences and attending various networking events. The chosen remote artists may be far but we wish to do our best to make everyone feel like being part of the festival. About 3–5 participants will be selected from this open call. All selected artists will be remunerated. The exact amount will be announced upon results of funding (end of winter 2021).


Deadline to submit applications: January 30, 2021

Results posted: February 8, 2021

Festival dates: May 18–22, 2021


Application form: https://forms.gle/3JtEsh5D779qtGys6



In case of any questions or uncertainties, we would like to invite you for a group online talk that will happen on January 10 from 14:00–15:00 CET. In this informal meeting, you can ask about the details of the open call, the festival or just to meet with the curatorial team and have a chat to get to know the people who are behind the project. Please don’t be shy! Link to the Q&A video call: meet.google.com/avp-gavg-qjk


Other inquiries? Please get in touch with us through the festival email:



More information about Remote Performance Art can be found in the recording of The Performance Crossings symposium: https://youtu.be/NMP95lYr2t4


Curators: Antonín Brinda, Klaudie Osičková, Petr Dlouhý & PC crew





12. OPEN CALL: Victims of Love (working title) / Open Call 1 & 2

Deadline date: unspecified; City: the world; Source: asabank


The "E.P.I. Zentrum Cologne" and the performance art archive "Black Kit" have several orientations. Besides archiving materials of Performance Art and Live Art, contextualizing these materials, preparing them for optimal and free use by artists and theorists, it is an idea like "Science for Humus", which develops various projects from the archive and enables their realization. 


A new project, which started in spring 2020 and now gives rise to the following open call. "Victims of Love" as a working title. The love, the passion for something (things, techniques, places, land, sea, elements or the cosmos) has a wider horizon than the conditional or unconditional interpersonal relationship, which is (also) called "love".


This love in the passions, are "extreme" in their actions and manifestations and usually exceed the norm and the normal. Leaving the "normal" and transcending it has as much in mind the exit from artistic styles such as live art and performance art as the formats of action that statically stand for other cultural or social references. The body, practiced in knowledge with the world, is too much deceived by the human norm. What do these passions look like? Where are the fools with their insatiable passions?


Open Call_1
Contributions to the theoretical approach of the project "Victims of Love" are / could / should be texts, essays, discourses, descriptions and narratives. The open call asks for the submission of these texts. They will be added to the logbook. This book outlines the path of the project and has been on-going since March 2020.


Open Call_2
Contributions to actions, projects and suggestions for cultural practices. Possible realizations of the project "Victims of Love" could be: conference / exhibition with symposium / cultural interventions / ways of life / utopian drafts / revaluations of one's own actions / and everything that I cannot describe or think about. (My heart and mind is ripped open in anticipation of what might come)

The project has an open lead time (not unlimited) and is realized when theoretical and conceptual condensations require realization. 

In great anticipation and warm greetings,

Boris Nieslony

Performance Art Archive – Black Kit
E.P.I. Zentrum Cologne / Boris Nieslony
Poller Kirchweg 78-90
Bell 0.04
51105 Cologne, Germany

First contact for more information: 






Deadline date: February 8, 2021; City: the world: Source: the Hemi



EMERGENYC is an incubator for artist-activists interested in developing their creative voice, exploring the intersections of art and activism, and connecting to a thriving community of independent practitioners—most of them POC, women, and LGBTQIA+ folks. First launched in 2008 at NYU’s Hemispheric Institute—and now independent, in partnership with BAX/Brooklyn Arts Exchange and Abrons Arts Center—EMERGENYC offers varied entry points into art and activism, prioritizing process, discovery and reflection, and fostering a brave space for experimentation, risk-taking and community-building. The annual program encourages participants to take interdisciplinary leaps, mix styles and traditions, and develop incisive new work at the intersection of performance and politics. Over the years, EMERGENYC has activated a strong network of artivists—in NYC and beyond—who have built solidarity across differences and challenged dominant narratives through artistic cultural resistance.


The Program: 2021 Zoom Version


While we miss the in-person experience, this pandemic-era virtual iteration has allowed for an expansion of the network of participants—folks can now be anywhere and still be a part of the cohort—which in 2020 brought us unforeseen magic and pleasure. For 2021, we will continue creating in our virtual playhouse: with a decolonial lens, we will explore the intersection of art and activism through creative writing, autobiographical narratives, group work, and other multi-disciplinary adventures—all while creating and re-creating a space in which all participants build community with one another, actively listen with their bodies, and build intentional trust to lay a foundation where compassion and risk-taking guide our work together.


The deadline to submit materials via Submittable is Monday, February 8th, 2021 at 5pm (Eastern Time). 


Selected participants will take part in weekly Sunday workshops facilitated by George Emilio Sánchez and Marlène Ramírez-Cancio, as well as workshops by established artists who are leaders in the field of performance and politics. Workshop leaders for 2021 will be announced closer to the date. (See the Faculty page to see past instructors.) We ask applicants to define issues that are important to them and explore how creative practices can harness their political voice. Participants have explored themes of racism and racial violence; police brutality and mass incarceration; joy as resistance; queer world-making; disability rights; undocumented immigrant activism; war and human rights; environmental justice; and myriad topics that affect their lives. These engagements have resulted in the creation of performance art pieces, multimedia installations, theatrical explorations, street performances, video art, and more. The program will take place every Sunday (10am–2pm Eastern Time) from Sunday April 4th to Sunday July 11th (*except for July 4th), with the final works-in-progress presented on July 8th, 2021 via Zoom.


This 3-month program has a fee of USD $500. A modest amount of financial aid will be available to cover part of the tuition on a need basis. If your enrollment depends on financial aid, please let us know in your application.


Who can apply:
EMERGENYC is now open to ALL emerging activists/artists/performers (not just NYC-based) who are fluent in English and can participate in online workshops from 10am–2pm Eastern Time. Applicants must have prior experience in various performance genres and/or activist practices. Age is not a factor (past participants have ranged in ages 18–45, all bringing their best selves to the experience); what we define as ’emerging’ is fluid, and has more to do with how you self-define than anything else. We very much encourage BIPOC, LGBTQIA+, and disabled artists to apply.


Visit the website for the online application form: www.emergenyc.org



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 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.

FADO acknowledges that as settlers, we are not the first people to gather, live and work on the land where we currently operate and present our activities, currently referred to as the city of Toronto. In truth, Toronto's real name is tkaronto, meaning "place where trees stand in the water" and it is the traditional and unceded territory of many First Nations and peoples including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples. We work and live here in the spirit of the traditional treaty—the Dish with One Spoon treaty between the Anishinaabe, Mississaugas and Haudenosaunee—that binds and protects the land. 

Artistic + Administrative Director
Shannon Cochrane

Board of Directors
Julian Higuerey Núñez, Chair
Jennifer Snider Cruise, Vice Chair
Cathy Gordon, Treasurer
Clayton Lee, Secretary
Francesco Gagliardi
Freya Björg Olafson


Copyright © 2020 FADO Performance Inc., All rights reserved.