Performance
International Visiting Artists: Magnús Logi Kristinsson (Iceland/Finland) & Denis Romanovski (Belarus/Sweden)

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

Performance
Melting Point: An Amusement by Warren Arcand

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

Performance
Egalitarian by Louise Liliefeldt

FADO presents Egalitarian, a new work by Louise Liliefeldt, one of Toronto’s premiere performance artists. This work is the first in a major new cycle of performances by the artist entitled DEADICATIONS: A Collection of Live Art Works, as well as being the latest instalment in FADO’s IDea series.

In Egalitarian, influences of pop culture and personal memories intersect as Liliefeldt creates the first in a series of “portraits shaped by ritualistic actions.” This special midnight performance takes place in the artist’s home, revealing a selection of her most private acts in an “intimate, honest, awkward and thoughtful” performance. Egalitarian will unfold through a series of images that respond to a specific set of popular songs. Liliefeldt explains: “I am interested in creating actions that respond to the pace and overall mood of each song while also representing ideas that until now I seemed unable to communicate within my artistic or social practices. They have something to do with deep and very personal opinions and emotions that have long been suppressed.”

Liliefeldt notes her deep connection to those who have influenced her work:

DEADICATIONS takes its inspiration from a handful of individuals whose life on earth was spent dedicated to the same things I believe in. I was profoundly affected by the dedication of these selected individuals, expressed through their chosen lifestyles and the messages they communicated – whether through the lyrics they professed, their various art forms, or the statements made through life altering actions. All were motivated, inspired by or had no choice but to act with all they had, which in some cases was their life. They were all passionately driven by issues related to the politics of race and class. They are artists, writers and musicians who have given me the inspiration and will necessary to become the individual I am today, and the individual I have always been, as I realize little has changed when reflecting on who and what I am as well as why I am. These individuals are physically dead, but the essence of everything they stood for continues.”

Egalitarian by Louise Liliefeldt
October 8, 2005
331 Bartlett Avenue, Toronto

Performance
Fashion Plate by Cindy Baker

The Drake Hotel, 1150 Queen Street West, Toronto

Cindy Baker invites you to get designing and turn her into a Fashion Plate. This two-week interactive performance is the second performance project in FADO’s IDea series.

For Fashion Plate, Cindy Baker will set up a sewing machine and various fabrics and pattern samples at Toronto’s The Drake Hotel. Audience members can drop in daily to meet with Baker and design an item of clothing—or perhaps an entire outfit—for her. Visitors are asked to take the process as far as cutting out the fabric, and then Baker (or her assistant) will finish the sewing job, with the results to be shown at a clothing launch on August 4.

For Baker, this process is about asking audience members “to think about a large woman’s body, about someone else’s body, regardless of size, about that body in relation to their own and in relation to fashion, (a visual translation of society’s rules or standards about bodies).”

“One of my interests with this project is in examining the dance people will do between wanting to create something that will fit (and look good) on my (relatively enormous) body, while avoiding creating something so large as to be farcical . . . This project asks the viewer to look at me not as a performance artist but as a model—they are the artist/designer, so there are many possible layers of awkwardness.

Fashion Plate is about taking categorically/traditionally/predictably disappointed expectations, culminating in nervous-viewer-meets-nervous-artist, and trying to come up with small solutions. What interests me about disappointed expectations is finding the truths hidden within: set up an unrealistic task, and map the strategies used in trying to achieve the task to reveal something real.

I usually take on these tasks to learn more about my limitations, but this project sets out to present small tasks to others who are willing—and I will share with them in return. For this to work, we must both be willing to be a bit vulnerable. It’s a negotiation; the more they share, the more I can share, and the more information changes hands, the more interesting (and perhaps wearable) the end product.”

Sponsored by The Drake Hotel, Toronto.

Performance
The Sun is Crooked in the Sky; My Father is Thrown over my Shoulders by Naufus Ramirez-Figueroa

FADO’s IDea series begins with The Sun is Crooked in the Sky; My Father is Thrown over my Shoulders, a continuous 100-hour performance by Guatemalan-born Canadian artist Naufus Ramirez-Figueroa.

The Sun is Crooked in the Sky; My Father is Thrown over my Shoulders is a visceral, searching visual and action-based exploration of aspects of the artist’s personal history. In his notes for the performance, Ramirez-Figueroa writes:

“The artist’s family, like many other Guatemalan—and Latin American—families, has dealt with common, though taboo issues of class and race differences that have affected the family dynamic. In the case of Ramirez-Figueroa there is a history of indigenous women having the children of whiter men, men who become fathers unwilling to recognize the children as their own. By using metaphorical elements of his childhood—like powdered milk—and through sleep deprivation, Ramirez-Figueroa will push the limits of his endurance with the purpose of reaching an altered state of consciousness through which to meditate upon a genealogy of absent white fathers.”

Performance
The Route to Rosa by Alain-Martin Richard

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Performance
Tyranny of Bliss

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Performance
Cleaning and Loving It by Margaret Dragu

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Performance
Pentagram by Gustaf Broms

Gustaf Brom’s artistic practice is engaged with the exploration of the nature of consciousness, the dualistic concept of “i”, and the biological reality of the body, in an effort to understand the ‘being mind’ as a direct experience of ‘reality.’ In his practice, he started off working photography and installation, but two work in particular led him to work with the more formless processes of performance. In 1991, Broms burned all of his work, and in doing so realized that the intensity of the action and the remaining ash far outdid anything he had previously made. In 2005, he completed a series of works entitled 5 Faiths for a Brave New World in which he worked with objects that were physically too heavy for the body to move. These two experiences created a longing to explore the formless and led up to the project entitled A Walking Piece made with Trish Littler, in which the two artists spent 18 months walking across Eastern Europe. The result is considered a drawing.

Currently, Broms’ continues to work with a series of movements that look at concepts of inner/outer and movement/stillness, working with his own body as the tool for examining these processes. The constant question for Broms is, “why are the dancing atoms of this body not merging wit the dancing atoms surrounding it?”

The complicated relationship 
HuMans and the surroundings
/natural / human / species /
must be resolved on a psychological level, 
before any real change can take place ?
do I live with identity restricted to the borders of my skin ?
or
do I live with the understanding that this is a construct of mind ?
as the water and air flows through my body
 is it at all possible to identify with this vessel ?
The work I am planning for Toronto is my first attempt to
explore the possibilities to aid this change,
using the language of the body as tool.
~Gustaf Broms

FADO Performance Art Centre presents a new durational performance work, Pentagram, by Gustaf Broms. From September 23-27, 2013 Broms will perform a series of street actions in public spaces throughout Toronto’s downtown core, each day from 9am to 5pm, mimicking a “typical” work day. In addition, Broms will perform on Saturday September 28 in an evening program along with International Visiting Artists: Macarena Perich Rosas (Chile) and Tomasz Szrama (Finland/Poland) at Collective Space.

MONDAY SEPTEMBER 23
Union Station, 65 Front Street West
On Day 1, you can find Gustaf in the pedestrian path between Union Station and the Go Station. If the artist chooses to move locations during the course of the day, you will find him on lower York Street, south of Front Street, in the middle of the road under the underpass.

TUESDAY SEPTEMBER 24
Toronto-Dominion Centre, 66 Wellington Street West
On Tuesday, you can find Gustaf in sculpture park nestled between the three towers that make up the Toronto-Dominion Centre (look for the reclining cows). You can get there on Wellington Street, or from King Street, just east of York Street.

WEDNESDAY SEPTEMBER 25
Bay Street, just south of Kind Street West, near the old Stock Exchange
On Wednesday, you can find Gustaf near the corner of King Street West and Bay Street, just south of King Street, across from the old Stock Exchange facade. If not exactly there, the artist will be in the vicinity. 

THURSDAY SEPTEMBER 26
Bay Street, south of Wellington Street
On Thursday, you can find the artist on Bay Street, south of Wellington Street or in the immediate vicinity.

FRIDAY SEPTEMBER 27
Queen’s Park Crescent
On the last day of the performance you can find the artist at the top part of Queen’s Park circle, just south of Bloor Street. Closest subway station is Museum Station.

ARTIST TALK: Gustaf Broms, Tomasz Szrama, Macarena Perich Rosas
September 25 @ 7:00pm
hub 14 | 14 Markham Street, Toronto

Performance
International Visiting Artists: Macarena Rosas Perich (Chile) & Tomasz Szrama (Poland/Finland)

FADO Performance Art Centre is proud to present a new solo performance work by Tomasz Szrama (Poland/Finland). The evening will also include a performance from Macarena Perich Rosas (Chile) and Gustaf Broms (Sweden).

Born in Poland in 1970 and living in Finland, Szrama’s practice shifts between multiple disciplines, including photography and video. Regardless of the medium, a dominate common thread in all of his work is the use of his own body and methods of performance art, such as action, gesture, and the physical manipulation of everyday materials. Szrama’s work is humourous and self-reflexive, often putting his own body into impossible and even ridiculous situations such as attempting to hang himself with helium balloons, covering his entire body in plaster cast making himself immobile and then waiting for hours in a busy tourist street, or attempting to board a plane with his own parachute. HIs work touches on themes of travel, trust, and the ever present potential for personal failure.

Click here for a map to Collective Space.

—-

ARTIST TALK
Join us for a casual artist talk with Tomasz Szrama, Macarena Perich Rosas (Chile), and Gustaf Broms (Sweden). The artists will present their practices and talk about the performances they will be making in Toronto.

Wednesday September 25, 7pm
hub 14
14 Markham Street (at Queen Street)
FREE

Tomasz Szrama’s appearance in Toronto is in partnership with VIVA! Art Action. Established in 2006, VIVA! Art Action is an international performance and live art festival presented once every two years in Montréal. The festival takes place in the of old bath St Michel in Mile End, and with the participation of the network of artist-run centres in the city.
www.vivamontreal.org

Performance
International Visiting Artists: Sandra Johnston

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Performance
Spotlight on Belfast: Hugh O’Donnell & Sinead O’Donnell

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Performance
DONE NODE by Alastair MacLennan

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Performance
Polish Power Players: Dariusz Fodczuk & Arti Grabowski

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Performance
Survey from Singapore: Amanda Heng, Kai Lam & Lee Wen

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Performance
International Visiting Artists: Karin Mendelovici, Meir Tati & Yaron David (Israel)

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Performance
International Visiting Artists: Andrés Galeano (Spain) & Ieke Trinks (Netherlands)

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Performance
International Visiting Artists: Claudia Bucher & Andrea Saemann (Switzerland)

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Performance
Rencontre Performance

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Performance
Walking and Getting Rid of Something by Kirsten Forkert

Kirsten Forkert’s Walking and Getting Rid of Something is the final performance project in FADO’s three year long Public Places / Private Spaces series. This performance considers the problems of living in a consumer culture, juxtaposing two situational questions: what to do with unwanted material goods; and how to work through a collaborative or community decision-making process.

SEEKING: participants for collaborative performance action on March 1, 2003.
You are invited to come along for a walk. Bring an object you would like to get rid of. 

This could be:
for personal reasons
because it’s broken or useless or just takes up space
for other reasons, you just don’t need it anymore
because it can be easy, or difficult, to give something up

We are going to meet on March 1 and go for a walk together. During this walk, we will each find a way to get rid of the object, without simply throwing it away or selling it. We will help each other to do this. We will all decide together on the directions the walk will take, depending on where people want to go and how well we know the area. The walk will be over once everyone has rid themselves of their objects.

This project developed out of a collaboration with Peter Conlin. It is inspired by questions of what defines a collective experience: Why did you come here? Why are we here together? What kinds of relationships and dialogues could develop out of a group of people brought together, absurdly, by what we don’t need? Could this be thought of as community, however brief? Is this utopian? Maybe.

Walking and Getting Rid of Something
March 1 @ 2:00pm
Sheraton Centre food court, 123 Queen Street West, Toronto

Artist Talk with Kirsten Forkert and Sylvie Cotton
February 26, 2003 @ 8:00pm
WARC (Women’s Art Resource Centre), 122–401 Richmond Street West, Toronto

Performance
Promenades by Sylvie Cotton

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Performance
The Rootless Man by Iwan Wojono

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Performance
Disposition by Adina Bar-On

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Performance
Feu de Joie by Randy & Berenicci

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Performance
Talking to my Horse by Archer Pechawis

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Performance
A Gathering for Her by Reona Brass

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Performance
One Stitch at a Time by Devora Neumark

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Performance
Mettachine (Sequence 1) by Louise McKissick

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Performance
Remembrance Day by Johanna Householder

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Performance
Disclosure by UNDO

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Performance
Meridian by Marilyn Arsem

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Performance
The Addmore Sessions by Istvan Kantor

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Performance
Public Web by Tagny Duff

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Performance
Spoken House by Otiose

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Performance
Numb/Hum: A Subterranean Metropolitan Opera by Christine Carson

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Performance
Between Us by Jerzy Onuch

For Between Us, the audience entered a room set up with six industrial fans. As the performance progressed, a repetitive soundtrack gradually increased in volume over 20 minutes from nearly inaudibly to uncomfortably loud, then slowly faded away over the next 20 minutes to silence. The performer, dressed anonymously, moved slowly around the room, whistling quietly into people’s ears and presenting a card with a poetic text. 

Between Us addresses the discomforts associated with intimacy, examining the double-edged sword of awkwardness, which can encourage solidarity and bonding or lead to alienation and isolation. The work also considers issues of proximity and personal space, setting up a situation that questions the role of the performer and his relationship to the audience.

This performance is part of FADO’s Public Space/Private Places series, curated by Paul Couillard.

Between Us by Jerzy Onuch
October 26, 2000 @ 7:30pm
Art System, 2–327 Spadina Road, Toronto

Presented in the context of the 7a*11d International Performance Art Festival.

Performance
where do I go from here? by Stefanie Marshall

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Performance
Urban Disco Trailer by Jinhan Ko

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Performance
Evanescent Rumour by Tony Romano

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Performance
Even Out The Pressure by Agnes Nedregard

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Performance
Pneumatic Vision: Cut by Helge Meyer

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Performance
Ranchero by Jamie McMurry

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Performance
MONOMYTHS Stage 14: The Return Home

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Performance
MONOMYTHS Stage 8: Atonement with the Father/State

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Performance
MONOMYTHS Stage 7: Ordeals

PULSE by MC Coble

Cinesphere, Ontario Place, Toronto
September 15–25, 2016
Performances nightly from 8:00–8:30pm

In Mary Coble’s Pulse, the artist climbs the iconic Cinesphere at Ontario Place each day in order to repurpose it as a beacon of protest. A series of Morse Code messages are transmitted from the structure to receivers on the ground positioned throughout Ontario Place island who then relay the message on using their own light source. The transmitted messages are composed of statements and chants used in recent and current protests and fights for civil rights which will be selected from the artist’s archive as well as in collaboration with local community. This collaborative gesture of solidarity merges activist and nautical language to amplify a collective call for action.

Coble’s Pulse fits into the MONOMYTHS journey at Stage 7: Ordeals. During this stage of the journey the heroine has come face to face with their personal challenge. In this moment they either confront death or face their greatest fear. The hope of this stage of the journey is that by confronting their greatest fear and conquering it, they can embark on a new life. Coble’s response to illuminating this stage of the journey suggests the necessity of challenging seemingly inaccessible structures and systems (social, political personal), while insisting on the interdependency of a collective effort by employing the communication of multiple bodies, versus attempting to cross this personal bridge alone. Refraining from a heroic narrative of conquering an iconic structure, the piece lends itself to chance and even possibly, failure.

PULSE is presented in the context of in/future, a festival of art and music, presented by Art Spin in partnership with Small World Music. 100+ transformative experiences re-animating the West Island of Ontario Place during this once-in-a-lifetime festival. 60+ artists including large scale installations, films, and performances. 40+ musical performances on the Small World Music stage.

Thanks to Rui Pimenta and Layne Hinton (Art Spin), Mike Hazleton (Ontario Place), and special thanks to Matthew Languay and Basecamp Climbing for their expertise and support. Thanks to Matt Seto for facilitating the climbing team who are supporting this project. 

Performance
Reimaging & remembering by Tharmila Rajasingam

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Performance
MONOMYTHS Stage 5: Belly of the Whale

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Performance
MONOMYTHS Stage 9: Apotheosis/Journey to Inmost Cave

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Performance
MONOMYTHS Stage 10: The Road Back

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Performance Yellow

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?

Top Notes

yellow mandarin, mimosa

Middle Notes

honey, chamomile, salt

Base Notes

narcissus, guaiac wood, piss, beer


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