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CALL FOR PROPOSALS: Performance Resolution(s)

Deadline date: February 15, 2021


Performance Resolution(s)
At-home Residency Series
winter/spring 2021

Resolution:

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

 

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

 

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

 

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

 

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

 

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

 

 

WHAT WE ARE LOOKING FOR

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

 

 

WHO SHOULD APPLY

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

 

 

YOUR PROPOSAL includes:

–contact information

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

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

–bio/statement, CV, documentation

 

Please use the online form for your submission:

https://forms.gle/TBDg2s19Sbiw14cM8

 

DEADLINE: February 15, 2021

 

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

 

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

 

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

 

 

____

 

The following performance exercise is by Marilyn Arsem. You can find it on page 192 of the new publication about Arsem's work entitled Responding to Site: The performance work of Marilyn Arsem.

 

 

Exercise

On Experiencing Ephemerality

 

In a course on documenting ephemeral work, I being by examining the reasons that we try to hold onto the past, as well as the ways that our memories are fluid and elusive. Early in the course I give this task:

  1. Chose a place nearby that you have always wanted to visit and see, but have not yet gone.
  2. Go there, taking as much time as you wish to explore and experience the place.
  3. Before you leave, choose one object to bring back as a souvenir. Only one.
  4. And finally, you must agree never to return to that place again.

Initially this exercise appears mundane, until the final stipulation of never returning is added. The most revealing part of the process is each student’s debate on where they will go, knowing that they can’t return. The ones that choose the place they most desire have the most intense experience, and those that play it safe and choose a place that has minimal significance for them have the least meaningful experience.

 

I designed this exercise in an effort to replicate the experience of making a performance or other ephemeral work, and the profound feeling of loss that can occur when it is over. In particular, I am interested in pointing out that this kind of work is not unlike one’s own life, in that you cannot return to the past, but only—and if you are lucky—save a relic or memory of it.

 

 

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