domingo, 30 de maio de 2010


Chris Burden, 747, 1973

Patty Chang, Contortion, 2000

Marina Abramovic, Vito Acconci, Patty Chang, Tseng Kwong Chi, Valie Export, Young Hay, Tehching Hsieh, Zhang Huan, Ma Liuming, Hayley Newman, Dennis Oppenheim, Barbara Probst, Charles Ray, Roman Signer, Jemima Stehli, and Mathew Wilson


The strength of performance art has traditionally been thought to reside in its immediacy, implying that it is at odds with the technologies of reproduction and representation. Indeed, during the 1960s and 70s, there was certain skepticism regarding the role of the photograph in the documentation of performance art. Allan Kaprow, well known for orchestrating performance events in the 1960s, was bothered not only by the seeming incompatibility between still photography and temporal action-based art, but also by the effect of the camera’s presence on his happenings. He found that it brought an unwanted dimension of spectacle to the event, and that his participants behaved differently the minute photographers appeared on the scene.1

Direct experience was what performance artists (and most land artists, site-specific artists, and some conceptual artists) valued most in their attempts to “re-site” art outside of standard art appreciation systems. They wanted to protest against the objectification and commercialization of the artwork, and, as Dennis Oppenheim once said, “to stretch the limits of what can be done and to show others that art isn’t just making objects to put into galleries.”2 Many artists spoke of “intervening” in real life and providing a more egalitarian exchange between artist and viewer.

These attitudes, of course, presuppose a hierarchy in which one experience can be more authentic than another. They also ignore the fact that in the 1960s and 70s the experience of a live performance usually did include watching a photographer moving in tandem with the artist. Performance artists quickly realized that they relied on the documentation of their work to disseminate their ideas and actions to a larger audience. Many also found it helpful to be able to see, analyze and perhaps revise their works after the fact. Influenced by conceptual artists like Ed Ruscha who sought to purge art of its symbolic space and stylistic concerns, performance artists such as Chris Burden, Marina Abramovic and Vito Acconci favored simple black and white photographs or video, maps, and restrained textual descriptions to document their actions — and write their own histories.

It is somewhat ironic that performance artists, who privileged experience, adopted the formal style of conceptual artists, who privileged idea. But putting performance actions into a conceptual framework distills interesting issues: What is at stake if we accept these photographs and documents as adequate substitutes for the “real” action? Are we surrendering to postmodern ideology that deprives all art of its originality, autonomy and uniqueness? Or is plurality of interpretation the logical extension of having to reconstruct a temporal sequence when looking at a still photograph of an action? If we believe, as Plato and Aristotle did, that art is mimetic — that art always comes after experience — does it make sense to favor physical participation over imaginative participation?

From artists who perform in public and record their actions, to those who perform specifically for their cameras, the legacy of performance art from the mid-twentieth century has been richly mined and extended by contemporary artists, many of whom have made the limitations and special nature of photography a central concern. Intending to raise questions about the limits of art production and self-perception, issues of framing, and the nature of time, many artists have chosen to approach the enigma of photography by making it integral to the piece itself, creating what Vito Acconci (United States, born 1940) aptly dubbed “photo-actions.” In 12 Pictures (1969), for example, he snapped one flash photograph of an audience every time he took a step across a darkened stage. In his video Three Frame Studies (1969), he pushed a friend, long-jumped, and ran in a circle for his video camera, letting the physical limits of the action refer to the boundaries of the frame itself.

More recently, Barbara Probst (Germany, born 1969) arranges for multiple photographers to take pictures of the same subject from varying angles at precisely the same moment. These works allow us to escape the bounds of the frame. They also deconstruct the notion of a photographically fixed instant, and further, the photographic idea that time is a linear phenomenon where each moment is experienced from only one position. Jemima Stehli (Great Britian, born 1961) creates staged self-portraits using a mirror in her studio — often considered the site of narcissistic production - by performing naked for her own camera. The resulting images are disorienting compositions; although we can clearly discern the camera on its tripod, the mirror confuses both its position and our gaze, while Stehli’s body parts serve as both a frame within a frame and a barrier that frustrates our voyeuristic impulses.

Ma Liuming (China, born 1969) also performs for his camera, but like many performance artists before him, invites an audience to become part of the work. He sits on a stage, naked and sometimes drugged with sleeping pills, his face heavily made-up as his female alter ego Fen-Ma Liuming, and invites viewers to interact with him as a camera constantly takes pictures of the scene. His enlarged contact sheets reveal an audience that increasingly loses its inhibitions and uses his body as a rag-doll-like prop. They sit on his lap, hold up his limbs, and sometimes strip naked and pose next to him. In many ways Ma’s work is reminiscent of Marina Abramovic’s (Serbia, born 1946) Rhythym O (1974/94), in which she stood for hours in a gallery and allowed visitors to use 72 different objects, including a Polaroid camera, honey, and a scalpel, to manipulate her body and clothing, while she remained stoically silent and unengaged. Both Ma and Abramovic challenge the moral position of their audience, but the people in Ma’s audience are more playful and less violent than Abramovic’s, perhaps because they are deprived of weapons and inhibited by the incriminating and central presence of the camera. Both of these works are powerful studies in human vulnerability and social behavior.

Tehching Hsieh (Taiwan, born 1950; United States resident) explores the limits of his own physical and mental stamina by creating extreme endurance tests. His series of one-year performances include a year spent in solitary confinement, a year spent entirely out-of-doors in Manhattan, and a year spent tethered by an 8-foot-long rope to artist Linda Montano. In Time Piece (1980-81), Hsieh punched a time-clock every hour on the hour for one year and documented every register with a snapshot. The final piece, displayed as an installation of photographs, time cards, and a digital video that compresses the year’s worth of snapshots into a six-minute frenetic time warp, raises profound questions about the nature of time and the boundaries between life and art. Like Acconci’s video Watch (1971), where his eyes follow the second hands of a clock in real time, Hsieh dramatizes his experience of time’s passage, representing duration with photographic evidence.

The rigorous, even masochistic physical tests that Hsieh imposes upon himself have a long tradition in performance art. In the 1970s, Chris Burden (United States, born 1946) had a friend shoot him in the arm, Valie Export rolled her nude body over broken glass, and Stelarc pierced meat hooks through his skin and used them to suspend his body from the ceiling. These artists aimed to push their physical limits beyond the human scale, to manifest psychic suffering, and to extend corporeal consciousness. Patty Chang (United States, born 1973) follows in this tradition, testing her physical and psychological limits by letting live eels slither underneath her blouse while recording her discomfort with a video camera.

Other artists use their bodies and those of others to create ephemeral “sculptures” for the camera. In the 1970s Dennis Oppenheim (United States, born 1938), originally trained as a sculptor, created works such as Parallel Stress (1970) intended partly as a protest against the minimalist fixation on the essence of the object. In this work he tested the capacity of his body to suspend itself from fingertips and toes between two masonry walls, and then repeated the same position on his stomach in the notch between two gravel hills — his camera providing proof of the parallelism of his body’s arc. Charles Ray (United States, born 1953) wryly commented on minimalism by minimalists by making a humorous series of pictures of himself photographed as if a part of minimalist sculptures, like Plank Piece I & II (1973) in which a flat timber holds up his limp body pinned to a wall, orUntitled (1973) in which he lashed himself to a tree branch for an entire afternoon, referencing both site-specific earthworks and endurance pieces. This thematic blending of the body’s vulnerability and its comic temporary positioning is repeated more recently in the work of Erwin Wurm (Austria, born 1964), who directs himself and others to adopt ridiculous, often hilarious positions for a series of “one minute sculptures” that ultimately exist only as photographs.

Working in Europe at the same time as Oppenheim and Ray, Valie Export (Austria, born 1940) extended the ritualistic and existential concerns of Viennese Actionism, a collective of artists in 1960s Vienna who attacked societal taboos and repression using explicitly sexual and gory actions. By configuring her body for the camera in urban settings, Export created an elegant but somewhat ambiguous statement about the relevance of the female body in issues of social control. Similarly interested in the new spaces that emerge from the placing the body in unusual surroundings is Roman Signer (Switzerland, born 1938), who expands the traditional conception of sculpture by creating visually compelling, pseudo-scientific “experiments.” His trials include dousing himself with gunpowder while wearing a flame-resistant suit and lighting a match, and standing amongst buckets full of water being dropped from the ceiling. Using pyrotechnics and technological and natural forces, Signer aesthetically transforms the space in which his actions occur, recording them with video that he later edits into still images. While demonstrating and recording how a body responds to strange environments, both his and Export’s works also reveals how the body is transformed by the environment of the photograph.

Like Ray responding directly to artists before him, and Export interrupting urban chaos with her sculptural presence, Young Hay(China, born 1963) reinterprets French painter Gustave Courbet’s painting of himself as a proud traveler-artist by having himself photographed in cities throughout the world with a large blank white canvas on his back. In these images, Young remains hidden and the canvas appears as an empty, luminous void interrupting the landscape. This series can be read as a reference to current transformations in China, as visual influences from the West have been incorporated into aesthetic patterns from the East. It could also be seen as reinterpreting a nineteenth century art historical reference as an allusion to the Buddhist notion of the void.

Also concerned with exchanges between the East and West is artist Zhang Huan (China, born 1965; United States resident), a peer of Ma Liuming from the Beijing East Village, a hub of artistic energy centering around a group of artists who created mostly performance art based on political themes during the 1990s. His work Foam (1996), multiple images of his foam-covered face with old black and white family pictures in his mouth, comments on the individual’s anchoring in the family as he prepared to emigrate from China to the United States in 1997. His work from the following year, Pilgrimage—Wind and Water in New York (1997), where he is surrounded by leashed dogs as he lays naked and face-down on a Chinese-style bed with a mattress of ice, poignantly recalls the Chinese homeland he left behind.

Tseng Kwong Chi (Hong Kong, born 1950; died United States, 1990), also a refugee from his homeland, left the English protectorate of Hong Kong as a young man for New York. Once there, he began his famous East-West series by donning a Mao uniform, sunglasses, and an official-looking “visitor” photo ID bearing the stamp “Slutforart.” He posed for his camera in public, often in front of well known tourist sites including Notre Dame Cathedral, Cinderella’s Castle at Disneyworld, and the World Trade Center. These images pioneered current preoccupations with identity, tourism, displacement, and “otherness” exacerbated by cultural globalization.

Also concerned with issues of personal identity, Chicago artist Mathew Wilson (Great Britain, born 1967) invites the public to his Surrender Office, where they are asked to reveal to him (and his video camera) the person, thing, or idea they would like to surrender to, or surrender from, their lives. At a mutually agreed upon time, Wilson brings an enormous white flag to a site of their choosing and performs a surrender ritual: he waves the white flag until they deem the exorcism to be complete. His collaborator, Thomas Lee, photographs these actions in black and white, creating images with the large white void of the flag reminiscent of Young’s work. The emotional impact of the images, however, depends largely on hearing and seeing the confessional video testimony that accompanies them.

As a fitting coda to all these variations, Hayley Newman’s (Great Britain, born 1969) Connotations - Performance Images 1994-98, an invented series of twenty fictitious performances and the photographic “documents” to accompany them, confronts most directly the complex history of the photograph as document of performance art. Her images and captions play off the style and language of performance documents from the 1960s and 70s, but the actions described are confusing and absurd. Many of the ideas for these works were taken from notes outlining ideas for performances that she never executed. Connotations, she explains, “provided a forum for an idea to exist without actually having to do it, except for the camera.” Her photographs, it turns out, are half-truths, as the actions required to construct the photograph come close to the actions described in the text. What Newman eliminates almost entirely from her work are most of the fundamental objectives of earlier performance artists: duration, intervention, endurance, collaboration, and physical pain. In this process she comically reminds us not to trust a referent, and to seriously consider the difference between her works and the photo documentation of performance pieces from the 1960s and 70s. If there is no primary viewing experience for the audience to imagine, are the transcendent—photographic—moments she asks the viewer to consider different from what they imagine when viewing the photographs of real performances?

In certain ways all of the works in this exhibition trace the demise of modernist positions in their increasing denial of a rigid hierarchy of form and their simultaneous acceptance of the artifice of photography and its inherent distortion, and even displacement, of time and space. Artists, it seems, have generally been ahead of the curve in knowing that photography is not a transparent medium for the transmission of an action to a secondary audience, and have treated the photograph and video document with great circumspection. Clearly, performance art and photography are radically different mediums, but both define a non-ordinary space by imposing parameters on it — a space that depends on the viewer to make it come alive.

1Judith F. Rodenbeck, “Foil: Allan Kaprow Before Photography,” in Experiments in the Everyday, Allan Kaprow and Robert Watts (New York: Columbia University, 1999), p. 58.

2Quoted in Henry M. Sayre, The Object of Performance (Chicago: The University of Chicago Press, 1989), p. 213.

-Karen Irvine, Associate Curator

This exhibition and related programs are sponsored in part by the Illinois Arts Council, a state agency; Mayer & Morris Kaplan Family Foundation; the City of Chicago Department of Cultural Affairs/Gallery 37; LG electronics, Chicago and American Airlines, the official airlines of the Museum of Contemporary Photography, and our members.

Museum of Contemporary Photography

sexta-feira, 28 de maio de 2010

In Time: A Collection of Live Art Case Studies A Live Art UK Project, 2010

In Time

A Collection of Live Art Case Studies

A Live Art UK project

In Time is a collection of ten case studies, designed to represent some of the innovative and pioneering ways in which Live Art has both posed and responded to many of the exciting cultural challenges of our times.

Each case study was directed by members of Live Art UK, using either their own work or the work of others as its focus. The case studies are complemented by contextualizing essays from cultural commentator Sonya Dyer and critic Lyn Gardner.

Live Art has, by desire or necessity, developed demonstrably different approaches to issues such as Critical Writing, Professional Development, Archiving and Audiences, and these approaches are proving to be influential, or have the potential to be influential, across a range of cultural sectors. Each case study focuses on one key issue, and in combination these documents reflect a dynamic set of inter-related successes, challenges, and opportunities.

Live Art UK is a consortium of venues, promoters and facilitators who collectively represent a range of practices and are concerned with all aspects of the development and promotion of the Live Art sector. Live Art UK aims to promote the understanding of Live Art practice, grow and develop audiences for Live Art, and inform regional and national policy and provision for Live Art.

The printed and bound version of In Time is available for purchase at:

A PDF version can be downloaded here.

Published by the Live Art Development Agency in collaboration with Live Art UK.

Call for Proposals for two new Live Art commissions

Restock, Rethink, Reflect Two
A series of activities on Live Art and Disability 2010

The Live Art Development Agency is delighted to invite proposals for two new Live Art commissions from UK-based artists who identify as disabled. The two new works will each receive an award of £2,000 and be presented in the Restock, Rethink, Reflect Two: Live Art and disability programme of events in Autumn 2010.

If you are interested in this opportunity and have an idea for a new work, please read on for the background to the project and details of how to apply.

Deadline for applications: June 24, 2010
Dates of events: Autumn 2010 (exact dates to be confirmed)

Download a PDF version of these guidelines here.
Download a version of the Monitoring Form here.


Introduction and context

In 2006, the Live Art Development Agency instigated Restock Rethink Reflect, a programme of initiatives for, and about, artists who are exploring and questioning notions of cultural identity.

Building on the achievements and findings of the first Restock, Rethink, Reflect, the Agency is currently developing Restock, Rethink, Reflect Two, a programme of activities exploring the ways in which the practices of artists who work with Live Art have engaged with, represented, and problematicised issues of disability in innovative and radical ways.

The Live Art Development Agency was founded in 1999 to support the proliferation of Live Art practices and critical discourses in the UK and internationally, and over the last ten years we have tried to respond to the exciting, innovative and diverse nature of Live Art, by developing an extensive portfolio of resources, professional development initiatives and projects.

Live Art is often an interdisciplinary, itinerant and ephemeral area of contemporary arts practice that operates within, in between, across, and at the edges of visual art, theatre, dance, digital media and the moving image. Inevitably there are many challenges to the documentation, archiving and contextualistion of such work, and these challenges can lead to the exclusion of significant artists and approaches from wider cultural discourses and art histories. This is particularly the case for artists concerned with politicised and complex questions of identity and cultural difference, whose experiences and practices are often sidelined within UK’s cultural histories.

Following a research gathering in October 2009 with a small group of radical artists working with issues of disability in innovative and exciting ways, the Agency is now developing plans for a major public project for 2010 that will involve commissioned and invited performances, presentations, and discussions. The event will also include screenings of rarely seen but influential films and/or documentation of work by key artists and/or reflecting key moments. The public event will generate material for, and be followed by, a publication which will be published and distributed by the Live Art Development Agency.

Restock, Rethink, Reflect Two aspires to reflect, map and archive the ways in which Live Art has been, and continues to be, a potent platform for artists to explore notions of identity and representation; and to resource and empower artists now and in the future. We hope that the Restock, Rethink, Reflect Two event and publication will be aimed at, and of interest to, artists, students, scholars, activists, policymakers, critical writers, and thinkers.

Artists from the research gathering are working with the Agency as the Restock, Rethink, Reflect Two advisory group: Tonny A, Katherine Araniello, Bobby Baker, Pete Edwards, Mat Fraser, Catherine Long, Maria Oshodi, Jenny Sealy and Aaron Williamson.

Restock, Rethink, Reflect Two is financially assisted by Arts Council England.


The Restock, Rethink, Reflect Two Commissions

Proposals are invited from artists, or collaborations between artists, who identify as disabled and are working in Live Art and related areas for two new “live” works to be presented in the Restock, Rethink, Reflect Two programme of events in Autumn 2010 (dates tbc). As noted above, Restock Rethink Reflect has been developed as an opportunity for artists who are exploring and questioning notions of identity and representation in innovative and radical ways, and proposals will be assessed in that context.

Conclusions reached at the Restock, Rethink, Reflect Two research gathering have also informed this Call for Proposals, and although not essential as part of your proposal, we particularly welcome applications engaging with one or more of these issues:

1. Ideas of interdisciplinarity; new intergenerational dialogue; and/or new collaborative partnerships.

2. Enhancing the commissioned work by professional development support that will be self-identified by the commissioned artist (for example, working with a mentor or dramaturg, development of critical writing around the project, and/or specific ‘skills’ development).

It is anticipated that the Restock, Rethink, Reflect Two programme will take place in Club Row (Shoreditch, London) or another similar gallery or “empty” space in London. The proposed works should therefore be “non theatrical” in their conception and staging, not have extensive or elaborate technical requirements, and ideally be works that might be located in a range of spatial and curatorial contexts in the future with minimum set up.

Each new work will receive an award of £2,000 (inclusive of all taxes and expenses). The £2,000 award can be applied towards: artists’ and collaborators’ fees for the research, development and presentation of the project at RRR2; research and development expenses (for example, rehearsal space, travel, materials, props); and professional development expenses. The commissioned artists will in addition be provided with technical, access and staff support for the public presentation of the commissioned works.

Successful applicants will be notified by mid July. The commissioned works will be presented no earlier than mid-October 2010.

It is intended that the commissions will be documented by the Agency and that the works will be represented in the proposed Restock, Rethink, Reflect Two publication. Applicants are encouraged to consider and propose ways in which their work might be documented in visual and textual ways.



• Undergraduate students may not apply.
• Applicants must live or work in the UK.
• The commission is for new work which has not been shown in the UK before.
• The Restock, Rethink, Reflect Two Commissions can be used as a match for existing funds but only if the project can be feasibly delivered within the Restock, Reflect, Rethink Two project timescale.



Please contact the Agency if you wish to receive these guidelines in an alternative format.

We welcome applications in the following formats: written proposal, audio proposal, video proposal, a presentation in person or via Skype. Please note that the method of the submission format should reflect the access needs of the applicant.

Applications must include the following:

1) A summary of your proposed work – for example, this could include the form, content, and/or context of the proposed work; an outline of your intended creative research and development process etc.

• How the project responds to the opportunity to explore and question notions of identity and representation in innovative and radical ways.

• Please highlight if the proposed work is responsive to ideas of interdisciplinarity; new intergenerational dialogue; and/or new collaborative partnerships.

• If you have included this within your plan, your professional development needs and the ways that these will be addressed through your proposed commission (for example, working with a mentor or dramaturg, development of critical writing around the project, and/or specific ‘skills’ development).

• Your approach to the documentation of the proposed work.

Please note that written submissions should be no more than three pages of A4. Other methods of submission should be the equivalent in length.

2) An up to date CV or biography, which outlines your relevant experience.

3) We would also like you to include a short statement (250 words maximum if written, or the equivalent in length if the submission is in another format) on your response to the following questions:

• In what ways have Live Art practices offered you a platform, a context, a framework, and a language?
• In what ways have Live Art practices and approaches contributed to discourses around the construction and performance of identity, and particularly to awareness of ideas about the issue of ‘disability’?
• What are the moments, people, events and works that have influenced you as an artist and in what ways would you like to influence future generations?

4) A link to your, or a relevant, website as supporting material.
If you do not have a website you can submit supporting material that is appropriate and representative with your proposal, including DVDs (of films and/or images), publications, press and letters of recommendation (if available).

Please include a list of the supporting material you submit, and ensure that all supporting material is clearly marked with your name and address. Please note that any material you submit is done so at your own risk and we can only return supporting materials if a SAE (stamped address envelope) is enclosed.

5) You must complete a monitoring questionnaire (at the end of these guidelines) and return it with your proposal; your application will not be eligible without it. We will not use the information you provide there as part of the assessment and selection of proposals, and will detach it from your application.


Assessment Criteria and Selection

Applications will be assessed and selected by the staff of the Live Art Development Agency, project consultant Rajni Shah and members of the Restock, Rethink, Reflect Two advisory group.

Assessment criteria:

• The strength and originality of the project concept, and, if included in the application, approaches to ideas of interdisciplinarity, new intergenerational dialogues, new collaborative partnerships and/or professional development.

• The viability of the idea within the context of Restock, Rethink, Reflect Two. ie. as an opportunity for artists who are exploring and questioning notions of identity and representation in innovative and radical ways.


Further information

We very much welcome discussion with all potential applicants. If you wish to talk about any aspect of your proposal in advance of submission please do not hesitate to contact Lois or 0207 033 0275.


Application deadline

Completed applications must be received by June 24, 2010

Applications, marked Restock, Reflect, Rethink Two Commissions in the subject line, should be emailed to as a Word attachment, a RTF document or a PDF.

Please note we can only accept applications by email, unless there are exceptional circumstances which must be discussed with the Agency in advance of the deadline. We will only consider applications received by the deadline.


Notification of results

Successful applicants will be notified by mid July.

We will write to applicants by email giving the outcome of their application.


Complaints procedure

Complaints and appeals in relation to Restock, Reflect, Rethink Two are undertaken under the Complaints and Appeals Procedure of the Agency. Information about the procedure is available on request from the Agency.


Equality of Opportunity

The Live Art Development Agency supports issues of diversity in the practice and politics of Live Art and is positioned and structured to be able to work effectively with, and within, a range of cultural frameworks, artistic practices and social issues.

The Live Art Development Agency is committed to responding to the complex needs of a diverse society and, in its schemes and initiatives, aims to enhance the involvement of artists and the public regardless of age, sex, race, disability, sexual orientation or education.

The Live Art Development Agency is committed to equality of opportunity in all selection procedures.


Contact details

Live Art Development Agency
Rochelle School
Arnold Circus
London E2 7ES
United Kingdom
+ 44 020 7033 0275



The Live Art Development Agency places a strong emphasis on equality of opportunity and access. In order to help us monitor this commitment, please complete this monitoring questionnaire. You must return this questionnaire with your application, which will not be eligible without it.

This questionnaire asks for statistical information only. We will not use the information you provide here as part of the assessment and selection of proposals, and will detach it from your application.

We have designed the questions on this form to help us analyse applications for Restock, Reflect, Rethink Two, and to be compatible with information that will be collected by Arts Council England. We will share the data collected through this form with Arts Council England for monitoring purposes. You should choose the answers which best describe you.

Cultural Diversity
Please state what you consider to be or how you chose to define your ethnic origin (for example, Asian, British Asian, White European, Black Caribbean, British Chinese, etc:

The Disability Discrimination Act defines disability as a physical or mental impairment which has a substantial and long term adverse effect on a person’s ability to carry out normal day-to-day activities.

Do you consider yourself to be a disabled person? Yes No

To which age group do you belong?

Below 20
20 – 29
30 – 39
40 – 49
50 – 59
Above 60

How do you describe your gender?

sábado, 22 de maio de 2010

PER-FORMATE ´X ACCIÓ // 2ª edició 2010


PER-FORMATE ´X ACCIÓ // 2ª edició 2010//


10 Julio-17 Julio 2010






PER-FORMATE ´X ACCIÓ // 2ª edició 2010//

10 juliol - 17 juliol 2010





PER-FORMATE ´X ACCIÓ // 2nd edition 2010//

10 July-17 July 2010



segunda-feira, 10 de maio de 2010

FADO Performance Art Centre

Call for proposals


Deadline: December 31, 2011

FADO Performance Art Centre is the only artist-run centre in English Canada whose mandate is directly and singularly focused on the genre of performance art. FADO was established in 1993 as a collective of artists to present the work of performance artists for audiences in Toronto. At that time, there wasn't a lot of performance art activity. Many years later, FADO continues to be on the forefront of performance art presentation with year-round programming.

The artists and the work we present is curated by the Artistic Director, working individually or in collaboration with members of our Programming Committee. At times during the year, we put our calls for submissions to solicit interest and potential works for either thematic series we might be working on, or for our annual Emerging Artists series. Please watch this space, or sign up for our e-bulletin to receive these calls for submissions.

Although we don't do many or regular Call for Submissions, we are always interested to know what artists are doing, what curators are interested in, and what new work is out there waiting for us to discover. If you wish to send us a proposal for a curated program, or a package of your own work for our interest, please feel welcome.

You can find out more about FADO and our mandate here

FADO Performance Art Centre
448-401 Richmond Street West
Toronto, Ontario, Canada
M5V 3A8

FADO Performance Art Center


Inter, art actuel propose à ses lecteurs et lectrices son plus récent numéro orienté vers l'art action et la performance.

L'art action et la performance s'imposent depuis quelques décennies comme une composante incontournable de l'expression artistique. En guise d'introduction, nous vous proposons un article de Richard Martel, coordonateur de la revue Inter, art actuel, sur l'impact de la performance dans la conjoncture actuelle.

Le poète sonore et professeur de performance à l'Université de Valence, Bartolomé Ferrando prend le relais et réfléchit sur l'art action en lien avec l'exercice théâtral. Son article met en relief les notions mises à l'avant-scène dans le Théâtre de la cruautéd'Antonin Artaud, idées qui rejoignent celles défendues par la performance. « L'art corporel est un mode d'intervention qui, bien que souvent rejeté, exerce toujours une influence sur l'art de la performance. L'empreinte d'Artaud est bien visible », conclut Ferrando.

Ce constat introduit, on ne peut mieux, le travail « viscéral et controversé, extrême et radical » de Regina José Galindo, artiste guatémaltèque qui, dans ses performances à caractère politique, soumet son corps à la torture et à des rituels qui impliquent presque toujours la violence et la douleur. La photographie de notre couverture montre Galindo dans une action publique réalisée en 2004, El peso de la sangre.

« Les performances sont des mises en scène brèves et délocalisées de nos rencontres avec notre corps, le soi, la mort, la solitude, l'autre, la souffrance », enchaîne Michaël La Chance, écrivain, philosophe et professeur en art à l'Université du Québec à Chicoutimi. En disséquant les performances de l'artiste taïwano-américain Tehching Hsieh, La Chance démontre comment, désormais, caméra et performance s'interpénètrent : la prise de photos est devenue avec le temps un marqueur de temps indissocié, indissociable de l'art action. Son analyse donne lieu à une réflexion sur le temps et la temporalité, et sur le paradoxe induit par le travail de Hsieh : le non-art comme œuvre d'art.

Inter, art actuel propose aussi des fragments d'art : ponctions, biopsies, prélèvements d'action pris sur le vif au cours de festivals ou de manifestations d'art en Pologne comme en Amérique centrale, en Asie comme en Roumanie, mais aussi à diverses expositions d'ici et d'Europe. [Sommaire]

Inter - Le Lieu