Nathan Roy is an Anishnawbe from Wikwemikong located on Manitoulin Island. Nathan was born and raised in Toronto. He has been singing for over 25 years. He is apart of a previously grammy nominated singing/drumming group called Bear Creek. Nathan enjoys traveling across North America sharing his drum teachings and his singing.
PUSH.PULL
Curated by Dainty Smith & Golboo Amani
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, PUSH.PULL highlights QTBIPOC cabaret performers at the intersections of live stage performance and radical political performativity.
PERFORMANCES by:
Adrienne Huard, Anasimone, Babia Majora, Betsy Swoon, Cara De Melo, Cat Zaddy, Crocodile Lightning, Dolly Berlin, Gay Jesus, Imogen Quest, Ivory, James Knott, Johlene, Kimora Koi, LAL, Lucinda Mui, Lwrds, Mikiki, Ravyn Wngz, Suki Tsunami, Tanya Cheex, Tygr Willy.
SPECIAL APPEARANCES by: Perle Noire
, Rania El Mugammar, Aggie Panda
, Amber Dawn
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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.
PUSH.PULL presents BARE
Friday April 9 / 9:00pm (EST)
Featuring: Suki Tsunami, Lady Ore, Crocodile Lightning, Gay Jesus, Ivory, LAL
BARE: A showcase of sensual exploration that reimagines and extorts the expectations of our own desires. Performances offering consensual and deliberate confrontations, challenging the idea of the submissive and passive nude. When skin is presented, when nudity is shown, who is vulnerable? Who is powerless?
PUSH.PULL presents TAUNT
Friday April 23 / 9:00pm (EST)
Featuring: Betsy Swoon, Dolly Berlin, Johleen, Ravyn Wngz, Lucinda Miu, James Knott, Anasimone
TAUNT: A show that celebrates the power of seduction; of intentional sexuality. A thread of rage runs though burlesque. Burlesque is unapologetically rebellious, it is where the feminine, self-love, sexual agency and manipulation are performed without shame or explanation. It is a place and space where we can all misbehave together and where we are taunted by sexuality wielded like a weapon.
PUSH.PULL presents TOPPED
Friday May 14 / 9:00pm (EST)
Featuring: Imogen Quest, Babia Majora, Cara De Melo, Tanya Cheex, Cat Zaddy, Mikiki, Tygr Willy, Adrienne Huard
TOPPED: Cautions, titillates and teases. The cabaret is a feminized, glamourous and glittered, a holy and sacred place. Moving and living through expressions of sexuality in its full scope of dominance and assertion, the performer toys and plays with gender, power, laughter, vulnerability, and seduction. In cabaret, we have the audacity to believe that our bodies are important, invaluable, meaningful and worth listening to.
FREE Tickets for all showcases: Buddies in Bad Times Theatre
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PUSH.PULL 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. We’ve also included a series of workshops led by professionals in the field, aimed at engaging audience participants and community members in immersive skill-sharing experiences deepening appreciation, interest and critical engagement with cabaret.
April 14: Speaker Series: Unusal Business: The business of being a showgirl
April 28: Workshop: Body Love with Dainty Smith
For more information about PUSH.PULL workshops AND artist talks, visit Aluna Theatre
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PUSH.PULL is presented in association with Buddies in Bad Times Theatre & Aluna Theatre. Sponsored by FADO Performance Art Centre. Funded by the Canada Council for the Arts and the Ontario Arts Council.
FADO Performance Art Centre was pleased to help support Bricks & Glitter for their online and in-person (socially distanced) 2020 festival.
Bricks & Glitter is a community arts festival celebrating Two-Spirt, trans and queer talent, ingenuity, caring, anger and abundance. We are a trouble of queers who believe in creativity, collectivity and practicing the future in the now. We are intersectional be default and critical by necessity. Our 2020 festival centres Black, Indigenous and racialized artists coming together to imagine a world worth living in—for all of us.
Bricks & Glitter on Facebook
Bricks & Glitter on Instagram
ARTISTS
Ms. Nookie Galore
Franny Galore
Mikiki
leZlie lee kam
Tamai Kobayashi
Rhona Spencer
Buster Cherry
David Bateman
Jord Camp
DJ Xeynamay
DJ Mirass
DJ MXMSXY
DJ Pothound
Ivory
TravoyInTheFlesh
Mango Lassi
Drag King Sebastian
Pastel Supernova
Cat Zaddy
Midnight Wolverine
Billie the Kid
Namitha Rathinappillai
Gesturing Towards Decolonial Futures Collective
Mina Minou
Cat Zaddy
Tygr Willy
Ola Minou
Daddy Gambino
Kareena Pussy Couture
Sage Lovell
Thurga Kanagasekarampillai
AND MANY MORE!
Bricks & Glitter 2020 was funded by the Ontario Arts Council, Toronto Arts Council, FADO Performance Art Centre and Groundswell Community Justice Trust Fund.
Learn more about Bricks & Glitter: https://bricks-glitter.com/
Nathan Roy is an Anishnawbe from Wikwemikong located on Manitoulin Island. Nathan was born and raised in Toronto. He has been singing for over 25 years. He is apart of a previously grammy nominated singing/drumming group called Bear Creek. Nathan enjoys traveling across North America sharing his drum teachings and his singing.
Nathan Roy is an Anishnawbe from Wikwemikong located on Manitoulin Island. Nathan was born and raised in Toronto. He has been singing for over 25 years. He is apart of a previously grammy nominated singing/drumming group called Bear Creek. Nathan enjoys traveling across North America sharing his drum teachings and his singing.
Nathan Roy is an Anishnawbe from Wikwemikong located on Manitoulin Island. Nathan was born and raised in Toronto. He has been singing for over 25 years. He is apart of a previously grammy nominated singing/drumming group called Bear Creek. Nathan enjoys traveling across North America sharing his drum teachings and his singing.
FADO Performance Art Centre was pleased to support the artists who presented their work in Pi*llOry Part 3 and Part 4.
ARTISTS
Sadie Berlin
lo bil
Simla Civelek
Nicole Lynn Deschaine
Madeleine Lychek
Tess Martens
Sheri Osden Nault
[ field ] (Coman Poon & Brian Smith)
Randa Reda
Amber Helene Müller St. Thomas
Holly Timpener
Johannes Zits
Pi*llOry is an event for Queer, BIPOC and Feminist performers to show case their work, focusing on trauma. Pi*llOrists are examining how we personally and politically dismantle heteronormative hegemony and engage in healing that puts an end to the repetition of communal trauma. Pi*llOry’s performers are liberating queer bodies as a primary agency that can harness the transformative power of presence, space, politics, shame and (dis)/ability while refracting their infinite incarnations. Pi*llOry’s artists renounce the binary and traditional gender roles, they not only create new ones for themselves, but give space for others to create their own as well. Through oral, visual and visceral mediums, Pi*llOry explores the depths of fragmented gender/queer identity, pushing beyond labels and classifications. On the edge of complete uncertainty, with only the already structural, limited and bound ways of description and discrimination of queerness, Pi*llOrists arm themselves with the unknown to disrupt inherited historical trauma invoking a lasting communal cultural healing.
Pi*llOry would like to thank FADO for their sponsorship and support of Pi*llOry part three and four.
Nathan Roy is an Anishnawbe from Wikwemikong located on Manitoulin Island. Nathan was born and raised in Toronto. He has been singing for over 25 years. He is apart of a previously grammy nominated singing/drumming group called Bear Creek. Nathan enjoys traveling across North America sharing his drum teachings and his singing.
Deanne Hupfield is Anishnawbe from Temagami First Nation, Ontario, Canada. A descendant of Indian Residential School survivors, Deanne has dedicated her life to learning and preserving her culture. She learned to dance from a small age and has spent her life passing on related teachings to her community. She has taught dance for the past 15 years, including weekend classes at The Native Canadian Center of Toronto, and currently teaches virtual regalia making courses as owner of www.deannehupfield.com. As an educator she actively teaches the history of Canadian policy that affects Indigenous people. Deanne was Ironwoman, Wiki Pow Wow 2015.
John Hupfield Waaseyaabin is Anishinaabe from Wasauksing First Nation, Ontario, Canada. He is a Phd Candidate in Education at York University, living and working in Toronto where he is a recognized dancer and active community member. He attended powwows his entire life but only started grass dancing in his mid-20s. He is a regular invited and head dancer at many First Nations’ and community powwows throughout Ontario. His dancing can be seen in the music video for Indian City, 2016, by A Tribe Called Red, The One Who Keeps on Giving, 2017, double channel video by Maria Hupfield and Miigis, 2018, a production fusing contemporary Indigenous dance with athleticism by Red Sky Performance, Toronto.
Abigail Lim is a Criminology graduate from the University of Toronto. She competed for Team Canada in the 2018 World Naginata Championships. She is currently a member of the University of Toronto Naginata Club.
Lutan Lui a PhD student at University of Toronto. She has been practicing naginata at the University of Toronto Naginata Club for seven years. In 2019 Lui (along with on Abigail Lim) competed as a pair in Engi division of World’s Naginata Championship in Wiesbaden, Germany.
This program of performance works is an accompaniment to the exhibition Native Art Department International: Bureau of Aesthetics at Mercer Union, on view October 14–31, 2020.
In the final weeks of their exhibition, Native Art Department International (NADI) and FADO Performance Art Centre are facilitating a series of performance (and other) interventions in the space of NADI’s exhibition at Mercer Union.
Created by participants working in a variety of disciplines including performance, dance, music and martial arts, these activations demonstrate NADI’s commitment to kinship and their desire to build solidarity through forms of collaboration that promote non-competition. Each performance is privately executed and the documentation of each gesture will live on the websites of [FADO Site] and [Mercer Union Site]. This approach speaks to the adaptive methodologies of artists and institutions alike to consider how the pandemic environment impacts the practice and presentation of performance art. Here, the perennially debated theories concerning liveness dissolve for a timely discussion around intimacy, kinship and support; tenets that are fully embodied within the ethos and history of performance work.
êkâya-pâhkaci [ee-guy-uh-puck-a-chee] (don’t freeze up)
êkâya-pâhkaci operates through an intersection of nomadic site-specificity, visual patterning, language, narrative, movement and rhythm. In this work the artist stages a performance presented under an adaptable traveling tent from where she relates and offers information to the audience using her body, voice and graffiti/tagging. The audience, by proximity and in accepting her invitation to witness her activities “comes in from the cold” and becomes part of her “camp.”
Presented in the context of the imagineNATIVE Film + Media Art Festival
Performance: October 16 @ 8:00pm
Installation viewing: October 16 @ 12:00pm–6:00pm
Toronto Free Gallery, 1277 Bloor Street West, Toronto
Faculty of Art Speaker’s Series: An Evening with Cheryl L’Hirondelle
October 15, 2008 @ 6:00pm
Ontario College of Art & Design, 100 McCaul Street, Toronto
Curated by Paul Couillard
Cellu(h)er Resistance: The Body with/out Organs? is an epic 5-day performance-as-installation process piece by Toronto artist, educator and cancer survivor, Pam Patterson. The work combines sound, drawing, action, video and collaborative writing examining the artist’s body, the body with disease and the body without organs.
“After decades of dis-ease and illness, the pain of poverty, dis-ability and being reconfigured by surgery my hands now make another body for my body. . . there are sounds, images, becomings. . . it is accomplished the moment I undertake it. It isn’t the case that the body/I like(s) pain per se; rather, the body/I like(s) being a Body without Organs, and the pain is the price the body/I is/am willing to pay for that.” ~Pam Patterson
Co-presented with XPACE Cultural Centre
Opening Performance
February 27, 2008 @ 8:00pm
58 Ossington Avenue, Toronto
Performance-as-Installation
Open daily from 12:00pm–6:00pm
58 Ossington Avenue, Toronto
Final Performance Action
March 2, 2008 @ 6:00pm
58 Ossington Avenue, Toronto
Edited by Paul Couillard
Design by Sameer Farooq/New Ink
2009, 286 pp. (32-pp. colour section) with index
Includes DVD documentation of Mars’ performance Tyranny of Bliss
With articles by: Paul Couillard, Tagny Duff, Jennifer Fisher, Randy Gledhill, Nelson Henricks, Will Kwan, Paul Ledoux, Joanna Nash, Jennifer Oille, John Oughton and Pam Patterson, Andrew James Paterson, Kim Sawchuk, Dot Tuer
Tanya Mars has been a key figure in Canadian art since she burst on the scene in 1974 with her first groundbreaking exhibition, Codpieces Phallic Paraphernalia. Provocative and political, Mars has relentlessly shown us that the way to the jugular is through the funny bone, creating a series of compelling “three-dimensional pictures” that have made her one of Canada’s most acclaimed and important performance artists. This anthology offers a comprehensive look at her career, including a DVD with photo and video documentation of many of her major works.
An innovative leader in the performance art scene here and internationally, Tanya Mars makes art that is courageous, humourous, operatic and original. Ironic to Iconic gives the reader a cogent and too little-known background to Mars’ career and her role in the development of performance art in Canada.
~Jessica Bradley, curator and director of Jessica Bradley Art + Projects
Join us for an afternoon conversation with Bruce Barber on the occasion of the launch of his latest two volume book, Performance, [Performance] and Performers (edited by Marc James Leger, YYZBooks, 2007).
Conversation moderated by Clive Robertson
Bruce Barber is an artist, writer, curator, and educator based in Halifax, Nova Scotia, where he teaches at NSCAD University. His artwork has been shown at the Paris Biennale, the Sydney Biennial, the New Museum of Contemporary Art, the Walter Phillips Gallery, London Regional Gallery, and ArtSpace Auckland. Barber is the editor of Essays on Performance and Cultural Politicization and of Conceptual Art: the NSCAD Connection 1967-1973. He is co-editor, with Serge Guilbaut and John O’Brian of Voices of Fire: Art Rage, Power, and the State. His critical essays have appeared in numerous anthologies, journals and magazines. His art practice is documented in the publication Reading Rooms. He is best known for his early performance work, his Reading Rooms, Squat Projects and his writing and theory on Littoral Art.
“Bruce Barber is the quintessential dissident theorist/artist. Navigating the history of contemporary performance and performative conceptual art with ease, he maintains the position of the artist, the maker. His unique approach is dense and rewarding, a virtual intervention into the standard social performance narratives. Barber’s subtle iconoclasm—aimed at the generalizations (we) critics have promulgated—expands the context in which performance is considered and creates in the process a new kind of criticism that tackles the contradictions embedded in postmodernism and political art activism. Barber zeroes in on the function of the work, monitoring a kind of chain reaction as it acts on culture, rather than as an enactment in culture. These two volumes contain the most intelligent treatment of performance phenomena to date.” ~Lucy R. Lippard, author of Get the Message? A Decade of Art for Social Change
A Conversation with Bruce Barber
May 3, 2008 @ 1:00pm
VMAC Gallery, 401 Richmond Street West, Toronto
Kristine Stiles is an associate professor at Duke University. She is a prolific writer on contemporary art theories, a multi-disciplinary artist and an academic. Her performances have been widely celebrated with such fellow artists as Yoko Ono, Francesco Conz and Sherman Flemming. Stiles co-edited Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings (1996). Currently, she is working on five books.
b. 1950, Taiwan / USA
https://www.tehchinghsieh.net/
Renowned former performance artist, and currently self-declared non-artist, Tehching Hsieh, is most recognized for his One Year performances. He has lived in a cage, he has lived by the clock, he has lived outside, and he has lived tied by a six-foot rope to a fellow performance artist, Linda Montano. Each performance lasted for one year. His fifth and final performance, Earth, the content of which remained a secret for thirteen years, was disclosed to the public with a simple statement “I kept myself alive. I passed the December 31st, 1999.” Hsieh believes that with the completion of his thirteen year piece that there is nothing left for him to accomplish in this world.
“My idea is that time becomes the main thing, how I pass the time is my main concern. It doesn’t matter what I do, I pass time.” ~Tehching Hsieh
Presented by Blank Slate with support from the 7a*11d International Festival of Performance Art.
Curated by Istvan Kantor
Life=Art=Life is designed to be an exploratory forum evaluating the past and present trends of performance art in the context of everyday life. Under the auspices of Blank Slate, the weekend event will bring together local and international artists and theorists to present and discuss their work.
The artists include local tableau-vivant diva, Louise Liliefeldt; art-action ambassador Richard Martel from Québec City; writer, professor and Dr. of destruction and art theory Kristine Stiles from North Carolina; and self-declared non-artist Tehching Hsieh from New York City forever famous for his one year performances. Among guests at the Sunday panel discussion will be One Night Only, a Regina based performance art collective, in Toronto for their event Home Repair hosted by FADO. The six members of the group are Adam Budd, Felipe Diaz, Blair Fornwald, Tanis Keiner, Tammy McGrath, and Anna Scott.
Today it seems to us, that performance art, as a rebellious and revolutionary force, has completed its mandate by infiltrating every aspect of life. The life=art=life theory, historically supported by the avant garde, has never been more relevant than today.
If it is true that performance art, as a social engine and generator of change, has accomplished its mission, then what is its’ place in current artistic activities and everyday life?Blank Slate hosts forums for discussions, critical talks, conferences, workshops and interdisciplinary events, conducted in a non-intimidating environment. Participants are encouraged to freely express their ideas concerning today’s artistic activities, new trends, theoretical issues and practical methods. The purpose of Blank Slate is to encourage everyone in the exploration of creative ideas and critical thinking, blending together science, technology, philosophy, politics and art.
ABOUT BLANK SLATE
The first Blank Slate event took place in 2003 and was marked by the world famous blackout that put Blank Slate into the right track of enlightening discussion. Since, Blank Slate has hosted ten Discussion cocktail events with local and international artists and has co-operated with performance art agency Fado Perfomance Inc. Participants have included action-artist Gusztav Uto from Transylvania, Canadian Art editor Richard Rhodes, artist stand-ups Shawna Dempsey and Lorri Millan from Winnipeg, avant-garde legends Eldon Garnet and Istvan Kantor, Toronto Arts Council visionary Jim Garrard, emerging local talents Maria Legault, Jennifer Matotek and Beth McEachen. The Blank Slate strategy based on the practical doctrine that life is a collective social sculpture and everyone is an artist/constructor/architect. This is event is supported by the Canada Council for the Arts, and coordinated by Istvan Kantor and Karen Schreiber.
February 20, 2004 @ 7:30pm
Karen Schreiber Gallery, Toronto
Performances by Louise Liliefeldt, Richard Martel
February 20, 2004 @ 10:00pm–dawn
Polish Canadian Legion No.621, 2290 Dundas Street West, Toronto
Performances/Videos/DJ featuring Ulysses Castellanos, Marlee Cargill, Lewis Kaye, Machinesexactiongroup and others.
February 21, 2004 @ 7:30pm
Karen Schreiber Gallery, Toronto
Performances by Tehching Hsieh, Kristine Stiles
February 22, 2004 @ 2:00pm
Karen Schreiber Gallery, Toronto
Panel discussion with the artists from One Night Only, Life=Art=Life
From Iconic to Ironic: The Performance Works of Tanya Mars
Edited by Paul Couillard
Tanya Mars has been a key figure in Canadian art since she burst on the scene in 1974 with her first groundbreaking exhibition, Codpieces: Phallic Paraphernalia. Provocative and political, Mars has relentlessly shown us that the way to the jugular is through the funny bone, creating a series of compelling “three-dimensional pictures” that have made her one of Canada’s most acclaimed and important performance artists. This anthology offers a comprehensive look at her career, including a DVD with photo and video documentation of many of her major works.
“An innovative leader in the performance art scene here and internationally, Tanya Mars makes art that is courageous, humourous, operatic and original. Ironic to Iconic gives the reader a cogent and too little-known background to Mars’ career and her role in the development of performance art in Canada.” ~Jessica Bradley, curator and director of Jessica Bradley Art + Projects
Publication Launch
May 10, 2008 @ 1:00pm–3:00pm
Art Metropole, 788 King Street West Toronto
Time Zones Residency with Tania Bruguera and Glenda Leon
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In this 6-day intensive MayDay performance art workshop, participants experience VestAndPage’s unique method through the process of making a performance art piece. Through practical exercises and reflecting on the use of the body as a tool, the workshop will focus on introspection as a way to develop authentic modes of expression and artistic action, and participants will be provided with the means to conceive, develop, and realize their own performance piece. Through methodology aimed at understanding prevailing behavioral patterns, participants will develop new ways of communicating and overcoming fears created by conflicting contemporary conditions. The workshops will also offer insight into the framework of process-led and conceptual art practice, with the aim to provide basis for future material. Participants will develop a heightened awareness of mind and body, with the means to stimulate artistic personal action though inner sensitivity.
As facilitators, VestAndPage will lead exercises on a range of performance techniques and approaches which blur the boundaries between fine art, live art and contemporary performance practices:Working solo and as a group;
Through the following processes:
Actions and exercises are innovative and process-led, inspired by processes and methods such as: Dynamic Creative Breathing, Social Theater, Living Theater, Grotowski, Barba Stanislavsky, Leclerc, Oriental Theatre, Martial Arts, Contemporary Dance & Butoh, Authenticity, Inner Library, Liminality, Breath, Archetypes, Rituality, Memory activation, Object work, Time-Duration-Rhythm, Voice/Sound, Emotional Atmosphere, Inter-activity, Group dynamics, Macro- and Microspherology.
COST: $150
We don’t want cost to be a barrier. Please contact us is you are experiencing economic circumstances that might prevent your participation. For more information and to register: info@performanceart.ca
CONDITIONS: Participants are asked to commit to the entirety of the workshop period. Maximum number of participants is 15.
Location: Artscape Youngplace, 180 Shaw Street, Toronto
Workshop: April 14–19, daily from 9:00am to 6:00pm
Public Presentation: April 19 @ 7:00pm
b. 1945, Germany
www.blackkit.org
www.performanceartarchive.com
Boris Nieslony has worked intensively as a performance artist, curator, archivist and independent scholar, staging various installations, interventions and artist projects since the 1970s. He is the founder of Black Market International, a performance group that meets regularly in various configurations to realize group performance projects, and ASA, a foundation for a self-organizing rhizomatic network of performance artists and theorists. Today, Boris Nieslony is recognized as one of the most prolific and significant contributors to performance art, presenting his work around the world.
Thanks to the Goethe Institut in Toronto for hosting this very special artist talk with performance artist Boris Neislony. This artist talk accompanies a new performance entitled, Four Nature Studies.
Artist Talk with Boris Neislony
November 17, 2003 @ 6:00pm
Goethe-Institut Toronto | 163 King Street West, Toronto
Four Nature Studies by Boris Neislony
November 18, 2003 @ 8:00pm
Cinecycle | 129 Spadina Avenue, Toronto
In partnership with the 7a*11d International Festival of Performance Art, FADO presents two new performance works by Magnús Logi Kristinsson (Iceland/Finland) and Denis Romanovski (Belarus/Sweden).
Stories in a Box by Magnús Logi Kristinsson
October 24, 2012 @ 8:00pm
Mercer Union | 1286 Bloor Street West, Toronto
The artist is inside a large wooden box, and he is telling a story. A story about himself from his times in Iceland. He only shows one foot and one hand to the audience and with that hand, he give extra details to the story.
That’s Ok by Denis Romanovski
October 25, 2012 @ 8:00pm
Mercer Union | 1286 Bloor Street West, Toronto
That’s OK Manifesto (fragment) *written in collaboration with KKH students
To mean nothing – that’s OK.
To have money and to be hungry – that’s OK.
To do nothing under surveillance – that’s OK.
To wait for better times and to be still alive – that’s OK.
To hate museums and rebellions – that’s OK.
To sing for old people and to dance with strangers – that’s OK.
ETC.
Denis Romanovski will also be presenting guerilla performance in the form of a tour of the Toronto subway system on October 26. Check the festival website for details.
Presented in the context of the 7a*11d International Festival of Performance Art
This 5-day intensive performance art workshop will be led by internationally recognized performance artist and educator BBB Johannes Deimling. Presented in partnership with the 7a*11d International Festival of Performance Art, the participants will present final performances in the context of festival programming.
Workshop dates: October 17–21, 2008
Final performances: October 23–24, 2008
PARTICIPATING ARTISTS
lo bil
Val Desjardins
Agnieszka Forfa
Alica Grant
Rodolphe-Yves Lapointe
Hélène Lefebvre
Christian Messier
Guillaume Provost
ABOUT 7A*11D
7a*11d is a not-for-profit, artist-driven collective that curates and produces English Canada’s oldest ongoing biennial of performance art. In non-festival years collective members engage in a variety of other performance-based projects. 7a11d was established in 1997 by a group of performance artists, collectives, and organizers, eager to develop a forum for performance art in Toronto. The first 7a11d International Festival of Performance Art, in August 1997, presented the work of 60 local, national and international artists.
Performance Art is often defined as a non-objectual art practice that celebrates proudly its ephemeral character by creating situations that are experienced live. Despite this almost every performance art work can be characterized by the interaction of the artist’s body with objects in concrete time and space. This performance art workshop aims to focus on the different uses, potential interactions and properties regarding this very important performance element: the object.
Some objects seem to gaze back at us and attract our attention and curiosity. The workshop will explore these “special” objects and our relation to them through the concepts of aura, fetish, relic, symbol, poetic, memories, body, narration, fiction, transformation, function, meaning, (im)materiality, (in)visibility, presence/absence etc. in order to create a performance based on a composition of actions involving objects.
The workshop will provide each participant with cross-disciplinary artistic instruments (such as text, speech, sound, video, photography, painting, sculpture, installation) and with historical and contemporary examples of different strategies for dealing with objects (including Dadaism, Happenings, Fluxus, Body Art, Minimalism, Conceptual Art, Arte Povera, Visual Poetry, Concrete Music) in order to obtain the necessary theoretical and practical background for developing their own performances.
Every participant is asked to bring three personal objects to work with during the workshop. These objects will be the starting point for the various tasks and discussions in the workshop. The objects could be personally very resonant, reminding of a specific time or place, or they can be mundane objects that are encountered on a daily basis. In either case they will be treated as propositions for potential actions and conceptual exploration.
STRUCTURE OF THE WORKSHOP
Day 1: Introduction of the participants and of the workshop topics through the presentation of the personal objects. Physical exercises to warm up the body and get confidence in the group and in the space. Exploration of the body as an object: Exercises to be present and neutral.
Day 2: Some group tasks and improvisations interacting with objects: exploring the meaning, function, use and properties of specific objects. Research around the immateriality and invisibility of objects and our personal memories and stories related to them. Some historical and contemporary examples of art works that approach objects from an interesting point of view. Screening of videos and photos to illustrate each position and open discussion.
Day 3: Some individual tasks and improvisations based on interacting with objects. Preparation of a proposal for an own performance based on the three personal objects. Individual discussion of the proposal with the facilitator and group.
Day 4: After a period of individual preparation. Workshop culminate in an informal public presentation of the performances.
PARTICIPATION CRITERIA
The workshop is open to students and professional artists who have a background in contemporary art practice. Although this is a performance art workshop, applicants are welcome from any artistic background, as long as they have a desire to engage with a performative process and tasks. The workshop may be of particular relevance to visual artists or text and sound based artists who have an interest in more conceptual based processes.
Performance Art Workshop: Interaction with Objects
Workshop: February 20-23, 2013
Performances: February 23, 2019 @ 3:00pm
The Theatre Centre Pop-up, 1095 Queen Street West, Toronto
This workshop is presented in association with The 34th Rhubarb Festival and coincides with the presentation of Step by Step, a performance by Andrés Galeano and Ieke Trinks, taking place at Buddies in Bad Times Theatre from February 23–March 3, 2013.
Japan
Yoshinori Niwa is a physical performance artist who often incorporates animals, plants, and the environment into his work. Niwa’s aim is to explore how to live with others, especially those with different life experience (ethno-cultural, economic, etc). Some of his performances are site-specific, however is especially interested in how performances change from venue to venue and between audiences, so he is well attuned to responding to that which is around him. Niwa is a graduate of the Tama Art University Department of Moving Images and Performing Arts (Tokyo) and he has performed in Britain, Canada, China, Estonia, Germany, Hungary, Japan, Montenegro, Poland, Romania, Serbia, and Slovakia. He has also undertaken artistic residences through VENT Live Art (Oxford, UK), The Asahi Shimbun Foundation (Japan), and Tou Scene (Norway). In addition to his performance work, Niwa is active as a cultural producer in Japan and he has collaborated on a range of events and projects including the 2006 Tokyo-San Francisco Arts Festival. In 2007, he coordinated an international art festival titled “Artist as Activist,” which took place in Tokyo.
The sixth in the Golden Book series and essential reading for the performances presented in FADO’s Performance Club series, Performance Club: The Syllabus contains everything you need for your Performance Club 4–6 experience (including that pesky homework).
TABLE OF CONTENTS
1. This is a Queer Series
Introduction by Moynan King
2. Queer/Play
By Moe Angelos
3. Three O’Clock
By Cornell Woolrich
4. I Wanted To Be Bisexual But My Father Wouldn’t Let Me
By David Bateman
Designed by Lisa Kiss Design
72 pages
FADO presents a new performance by Warren Arcand. Melting Point: An Amusement is a reflection on Aboriginal experience in Canada early in the 21st Century. Melting Point is presented as part of the Drake’s Notes from the Underground series and is a part of FADO’s on-going IDea series.
Melting Point: An Amusement offers a set of actions regarding desire and identity, a body in heat, a pantomime of becoming—combining elegant, cynical wit with an extra-strength dose of hopeful persistence. Pulling together disparate threads of historical, political and cultural theory, the performance plays out through a vaudeville of hilarity tinged with monstrousness. Filtered through the perspective of “the Abo experience within the idea of Canada,” this performance is, in the artist’s words, “. . . an Amusement regarding nations, naming, the making or modelling of an individual, what it is or isn’t—and maybe finally arriving at an appreciation that much is at stake at making Individuals because it entails making a claim on the world—a potentially totalitarian reproduction.”
Sponsored by The Drake Hotel, Toronto
Melting Point: An Amusement by Warren Arcand
January 26, 2006 @ 10:00pm
The Drake Hotel | 1150 Queen Street West, Toronto
Bonus Performance: The Chair by Warren Arcand
January 27, 2006 @ 8:00pm
The Drake Hotel Yoga Den | 1150 Queen Street West, Toronto
This fragrance opens us to the question, has the show started? Its winter, the theatre is colder than the street and the room is filled with people and all their winter smells: wet faux leather, down, too much shampoo, and beer breath. The atmosphere is a trickster. Am I late, am I early?
yellow mandarin, mimosa
honey, chamomile, salt
narcissus, guaiac wood, piss, beer
