7A11d 2012.Pdf

7A*11D festival ofinternational perfo internationalrmance art2012 internationalToronto Margaret dragu, Rose: Memorial for 20th Anniversary Ecole Polytechnique Massacre, 2009 photo Mikki Herbold contents

4 Festival Schedule , ne diras point , Tu

6 Welcome

9 Éminences Grises

18 participating Artists

64 performance Art Daily

66 Festival Eyes and Ears c arl b ou hard and m art i n D u f ra s ne 2004 courtesy of the artists 2004 courtesy of

68 parallel Events

70 In Memoriam

74 7a*11d Collective Biographies

79 Festival Venues Festival Schedule 2012

Wedesday Oct 24 Thursday Oct 25 Friday Oct 26 Saturday Oct 27 Sunday Oct 28

11D 1286 Bloor St W (Lansdowne subway) 12 pm | toronto 12 pm | toronto free 12 pm | toronto free 12 pm | toronto free 12 pm | toronto free free gallery gallery gallery gallery gallery Toronto Free Gallery Performance Art Performance Art Performance Art Performance Art Performance Art 1277 Bloor St W * Daily Daily Daily Daily Daily (Lansdowne subway)

8 pm | Mercer Union 8 pm | Mercer Union 2:30 pm | Mercer 4 pm | offsite 2:30 pm | toronto OCAD University Carl Bouchard & Maria Hupfield Union Denis Romanovski free gallery 100 McCaul St (St Patrick subway) Martin Dufrasne Anna Kalwajtys Camille Turner Paul Hurley 6 pm | Butterfield 4 to 8 pm | toronto park (OCADU) 4 pm | Mercer Union Magnús Logi Festival Admission Guadalupe Neves free gallery Kristinsson Christof Migone Márcio Carvalho 7a*11d is a volunteer Denis Romanovski Sylvie Cotton organization and Nobuo Kubota 8 pm | Mercer Union Nobuo Kubota & audience support is 11D 8 pm | Mercer Union David Sait most appreciated. Agnes Yit Patrycja German b. burroughs Admission for all 7A Nyan Lin Htet programming is Rachel Echenberg pay-what-you-can. Jeff Huckleberry Suggested starting * Nobuo Kubota donation for evening Irene Loughlin programming is $10 Nopawan Sirivejkul Tomasz Szrama

2012 7A welcome

6 Each festival is a unique never-to-be-repeated of experience, and they pursue a wide range of 7 configuration of artists’ energies brought working methods. But they are all here because together in a single location for a limited time. somehow, sometime, somewhere, their work has This year we are honoured to host twenty-five touched us, inspired us, thrilled us, and provoked artists from over a dozen countries. If ”over a us – and we hope it will do the same for you. dozen” sounds vague, it is in part because we this year’s festival is a packed five days starting sometimes find it hard to identify just what at 10 am with yoga sessions led by Governor ‘home’ to ascribe to these global citizens, these General’s Award winner, Margaret Dragu (bring welcome nomads. Should we point to the country they your own mat!), followed by her morning were born in? The one(s) where they hold performance aktions, and then the Performance citizenship? Or to the place where they currently Art Daily (the lunchtime talk series initiated in live and work? Identifying artists by nationality is 2010 at Toronto Free Gallery), afternoon events common practice for all kinds of festivals (we’re (walks, talks, interventions, etc.), and an evening writing this during the Olympics, that apotheosis program at Mercer Union. We are excited to be of nationalist pride). We are not about national working once again with our long-time festival pride but instead about recognizing that we partner, FADO Performance Art Centre, who come from vastly different circumstances – and will be presenting three artists at the festival. that’s what makes this festival so extraordinary. The festival also features two Éminences this year’s featured artists come from Grises (Margaret Dragu and Nobuo Kubota), countries including Burma, Thailand, Iceland, senior Canadian artists whose work will weave Argentina and Canada. They have different levels throughout the festival. We’ve redesigned our website www.7a-11d.ca, where you’ll find the Éminences grises festival blog, with daily reports by commissioned writers, Sylvie Ferré, Randy Gledhill and Christine Korte, and photo documentation by Henry Chan (see Festival Eyes and Ears). Many of the invited artists organize events and festivals or run organizations in their own communities, and they are eager to find out more about Toronto artists and activity. As a new 8 initiative we’ve invited curators Jonas Stampe n. someone who exercises great power or 9 (Sweden/China) and Miriam Ginestier (Montréal) influence secretly or unofficially. as guests this year. Part of their role is to make contact with local artists to find out more about Inaugurated in 2002, this program highlights their work. If that sounds like something you’d 7a*11d’s commitment to bringing forward a lived like to take advantage of, we encourage you to history of performance art by presenting the contact us through the website and we will put work of seminal Canadian previous Éminences you in touch. artists. 2002 Welcome to the Ninth 7a*11d International This year we are honoured Bruce Barber (Nova Scotia) Festival of Performance Art. to have two recipients of the 2004 Governor General’s Award Cheryl l’Hirondelle (Saskatchewan) — [PC and JH for the] 7a*11d Collective in Visual and Media Arts: 2006 Margaret Dragu (2012) and Rita McKeough (Nova Scotia) Nobuo Kubota (2009) 2008 Robin Poitras (Saskatchewan) and Glenn Lewis (British Colombia) 2010 Michael Fernandes (Nova Scotia) and Sylvie Tourangeau (Québec) Margaret Dragu Forgetting & Remembering I yearn to be pure. But I am so messy.

I worked in the dance world from 1969-72, but Modern Dance was conservative, narrow; there was no place for me. I was introduced to the

’ H eureux ideas in Yvonne Rainier’s “No Manifesto” (1965) by making art with visual artists who were jumping G uy L off the walls to make Happenings with poets, 11 theatre artists, photographers, sculptors: photo

No to spectacle no to virtuosity no to transformations and magic and make believe no to glamour and transcendency of the star image no to the heroic no to the anti-heroic no to trash imagery no to involvement of performer or spectator no to style no to camp no to seduction of spectator by the wiles of the performer no to

eccentricity no to moving or being moved. É mi nen c e s gr is Sexe! Action/VIVA! Art Action , 2006 Action/VIVA! Sexe! I was only dimly aware that the manifesto originated from Rainier. These ideas were mirrored and infused with what was happening in the real world – marches, grassroots organizing, social and educational upheaval, anti-Viet Nam War and Civil Rights Movements, the birth of feminism and gay rights, Back to the Land Communes. It wasn’t a time of labels, definitions or authorship. One of the techniques used to find new movement Yvonne Rainier’s move from dance to film was patterns was chance-choreography. Merce fed by an interest in narrative (deconstructed or Cunningham and John Cage employed chance manipulated) and a desire to break away from operations in the early 1950s at Black Mountain the body-as-object coolness and purity. To get College with avant-garde, modern, and minimalist messy. In fact, a need to be and express the visual artists, architects, sculptors, writers and female. I don’t know. I am probably projecting intellectuals. John Cage said that improvisation was myself onto her because I identify with her in not as interesting a method to find new movement some ways and share some common history. (or music or aktion), as the artist always improvises 12 by doing what he/she knows or with what she/he is Part of me longs to be pure and make work 13 comfortable. Chance breaks through that comfort. It is that follows Rainier’s manifesto and Cage-ian pure and head-driven. parameters. But somehow real life, the body, and discordant aesthetics always come into I still use chance techniques for performance. I find play, making my work messy. Even Yvonne, in it freeing. Still. The way durational work is freeing Feelings are Facts published in 2006 by MIT Press, because you have a real task that you must apply expresses some regret over her notorious “No yourself to by merely doing it – again, again, again Manifesto.” for a long time. This combined with exploring eastern religions surely is what led to durational/relational I yearn to be pure. But I am so messy.

practices (e.g. Vito Acconcci’s 1969 work Following É mi nen c e s gr is Piece). — Margaret Dragu

There remains a coolness, a purity and a head-first aesthetic/value to chance work(s) like Cage’s 4’33” (1952), Water Walk performed on a 1960 TV episode of “I’ve Got a Secret,” and Rainier’s Continuous Project – Altered Daily (1970), anything from the 800 performance “events” by Merce Cunningham. This in contrast to infamous frenzied outcomes like Carolee Schneemann’s 1964 Meat Joy work. Perhaps Nobuo Kubota Nobuo Kubota (b. 1932) left behind a 10-year career as an architect in 1969 to become one of Canada’s pre-eminent intermedia artists. For the past 50 years Kubota has performed, recorded, published, and exhibited internationally. He has produced an astonishing array of disciplinary hybrids including sound sculptures, performance- video installations, three-dimensional poems, and improvisational-art music. 15 Kubota’s early fascination with jazz inspired him to form The Artists’ Jazz Band with visual artists Gord Rayner, Bob Markle, Graham Coughtry, in courtesy of the artist courtesy of 1962. In 1974, Kubota, joined Canada’s seminal

photo free-music improvisational group, CCMC, with Michael Snow, Casey Sokol, Larry Dubin and Al Mattes. They opened the Music Gallery in Toronto.

By the 1990s Kubota’s musical and visual É mi nen c e s gr is

Nobuo Kubota, 2012 Nobuo Kubota, sensibilities converged blurring disciplinary borders with a fully integrated intermedial creative practice. The improvisational music process combined with his cultural background and interests in Kabuki, Korean storytelling and Zen resulted in Mouth Mechanics (1999), a unique form of sound poetry and performance video. Kubota’s Phonic Slices exhibited in Toronto in 2001 featured a collection of three-dimensional poem-bookworks: Phonic Slices, Deep Text, Phonic Traces. The exhibition was a paradigm OverVoicing by drawing a perfect grid on white of zonal interference where seeing, reading paper with ruler and pencil. Then he overpaints and hearing challenged traditional taxonomies the grid using a brush and black ink while blurring disciplinary borders, creative chanting in a meta-language — the permanence methodologies, and accepted linguistic cultural- of his delicate, idiosyncratic calligraphy practice. destabilized by the evanescence of sound play.

Video Lab: Loop Holes (2003) was Kubota’s In 2009, Nobuo Kubota received a Governor next public performance sound-installation General’s Award in Visual and Media Arts, 16 spectacular. Nine separate video monitors were Canada’s most prestigious arts prize. The award is 17 placed in a grid (3 X 3). Each monitor featured a fitting tribute to Kubota’s tireless work amongst the artist reciting the same improvisational sound the boundaries of the disciplines constructing poem with the running time of the tape on each and deconstructing beautiful zen-like ambiguities monitor advanced by half a second. This collision that transcend style and genre. of sound and image cleverly framed a mediated past to the immediate present and a constantly — W. Mark Sutherland shifting future.

Kubota never completely abandoned his

architectural practice, it continued throughout É mi nen c e s gr is his career as the structural bedrock of his sculptural installations. Passage (1986), Waves (1992), Sonarcissus (1993), Bending Machine (1993) and Hokusai Revisited (2008) are the most obvious manifestations of Kubota’s continuing interest in the field of architecture.

A recent performance video, Overwriting & OverVoicing (2010) contains a residue of the architect’s past. Kubota begins Overwriting & Guadalupe Neves photo courtesy of the artist to invitethem,andshare theirwork withyou. integrity of eachartist’spracticethat inspired us of connectionwillnodoubtemerge, butitisthe only afewyearsago.Artisticthemesandpoints while otherscametotheirperformance work their fourthdecadeof makingperformances, Some artistsinthisyear’sfestivalare entering international artistsare presented sidebyside. but oneshared characteristicisthat localand come together. Themixture isalwaysdifferent, – includingourfestival-where groups of artists in almostcontinuousmotion.There are points Performance artcirculates inaglobalcurrent, Participating Artists 19 welcome Carl Bouchard and Martin Dufrasne Wednesday October 24 8 pm | Mercer Union Canada Une résolution Simultaneously sarcastic, tender and insolent, the work of Bouchard and Dufrasne always demonstrates the implication of the Other, either through direct use of selected participants to contribute to the unfolding of the action, or by a demanding request to viewers who, generally 21 perceived as passive, are then made aware of their unavoidable participation in the completion

courtesy of the artists courtesy of of the work. Successively imposing on the viewer the roles of voyeur, accomplice, judge

photo and witness, Bouchard and Dufrasne provoke a reflection Since 1998, Carl Bouchard and Martin Dufrasne on the notions of receptivity have shared a common and responsibility. Joining interdisciplinary practice specificities of performance parallel to their individual ones. Their photographs, (authenticity, risk taking and installations, videos and

L’amour propre , 2004 L’amour presence) to those of theatre performances have been (poetical and meaningful presented in 30 exhibitions and events in Canada drifts), their work is infused (Québec, Ontario, New with the idea of surpassing Brunswick) and also France, oneself and getting into Columbia, Wales and Cuba. As a duo they have presented action while testing social over 100 works dealing with and political preconceptions. identity, otherness, duality and power games, as well as notions of collective living and engagement. carlbouchard_martindufrasne@ yahoo.fr b. burroughs Canada Friday October 26 8 pm | Mercer Union

(when) a frog (is) a frog : i am, i ! am, i As an interdisciplinary artist working through sound, video, words, performance and actions, every piece/exercise i participate in serves to dissolve – if only momentarily – the pervading 23 complacence with which we tend to acclimatize ourselves to the way we experience our daily interaction(s). We wear a preoccupation with distraction as a sort of safety blanket. We wrap ourselves in the comfortable model of Achieve- ment arrived at by our most civilized humankind, recurringly solidified by our fearful and steadfast belief in the ultimate ‘reality’ of collectively agreed- upon constructs and systems (consisting of Time, Science, Politics, Medicine, Religion, etc. inflated

a speck for sparks; one gathering shard(s), 2008 a speck for sparks; one gathering video stills to fantastical anthropocentrism). Our linear living and delusional dwellings must be disrupted! I think this is done when we present our truth/selves to the present/moment. I suspect such interaction requires only a constant and continual question of order/in order to exist. Here, i pose my question in the form of action, an attempt at setting aside prejudgment by performing one simple

(unimportant) act. b. burroughs is an interdisciplinary artist based blip.tv/bburroughs in Sarnia. Márcio Carvalho Portugal/Germany Sunday, October 28 4 pm | Mercer Union

Now — an impossible presence The performance addresses the impossibility of grasping the NOW; its awareness exists only in memory. The performance attempts to speculate on the present instant, unfolding actions into an impossible chronology of Márcio Carvalho was past events. These events born in 1981 in Lagos, 25 highlight specific contexts Portugal. He considers and landscapes that reflect himself a strategist operating within cause-and-effect on collective memory and systems, building life- individual awareness. processes through his Joana Silva choices. He works as an artist, researcher and curator

photo with an interest in poetics, http://marcio-carvalho.com/ mythology, politics and index.html analytical psychology. He holds a Master’s Degree in Visual Arts, and will defend his Master’s thesis in Performing Arts at the Márcio Carvalho Márcio Universität der Künste Berlin in 2013. He is the founder of The Powers of Art, the first internationalT V Show dedicated to performing arts and paranormal activity. He founded Hotel25, an artist residence program in Berlin, and along with Dr. Bonaventure Soh Bejeng Ndikung and Savvy Contemporary founded and currently curates the performance art program CO-LAB editions. Sylvie Cotton Canada Friday October 26 4 pm | Toronto Free Gallery

INTERDEPENDANCE Sylvie Cotton’s art action projects are spare and direct in form. Her project, LIFE IS NOW, presents conditions founded on encounter, exchange and revelation. The performance draws on the private sphere, the biographical and intangible material. She describes this process-based practice as an 27 ethics of cordiality that results in the aesthetics of union. The work urges viewers to contemplate the fact that the present moment and the presence of others constitutes the only “reality” we have. Sylvie Cotton is an interdisciplinary artist from Quebec. Active since www.sylviecotton.com 1997, her work combines performance, drawing, courtesy of the artist courtesy of photography, objects and writing. In her performances,

photo she uses two kinds of approaches: self-referential inscription and interactive action leading to relationships with others. Her work can be found in public and private settings, and its results are presented in venues including galleries and festivals. She has presented her art extensively around the world in places including the United States, Finland, Germany, Estonia, Italy, Spain and Japan. Margaret Dragu Canada Wednesday October 24 to Sunday October 28 10 am yoga; 11 am action | Toronto Free Gallery

VERB WOMAN: remembering to forget I make art like I make bread. Je sais la recette pour la fabrication du pain mais je ne sais pas vraiment ce que je vais faire jusqu’au moment où

Martin L ipman je commence. I listen to my heart, psyche, and body. Like a bricoleur, I employ EVERYTHING 29

photo AT HAND: research, social engagement, community, photography, science, new media, social media; aussi bien que des disciplines traditionnelles comme la danse, la musique, le théâtre, la sculpture et les arts domestiques. My Margaret Dragu is the first artist featured in Fado’s performance, video and Canadian Performance Art new media work appears in Legends publication series flash mobs and art galleries, highlighting the work of senior Canadian performance billboards and bus shelters, artists. She is a 2012 Laureate

Margaret D ragu as L ady Justice, 2012 Margaret theatres and malls, on the of the Canadian Governor internet and your cell phone. General’s Award in Visual and Media Arts. She is also It is relational, durational, the recipient of the City of interventionist and Richmond’s Most Innovative community-based. Artist Award, Ethel Tibbett’s Woman of the Year Award for The Arts, Richmond Women’s Centre’s Inspirational Woman Award, and the Mall Peepre verbwoman.wordpress.com Award for Outstanding Fitness Leader. She is an internationally famous cleaning lady. Friday October 27 8 pm | Mercer Union

At home My performance work explicitly emphasizes the tensions and slippages between a fixed idea and the flux of experience. I am interested in integrating simple gestures into vulnerable, intimate or uncontrollable situations. This allows me to continually shift the focus away from the 31 expectations of any given image towards new possible meanings.

Sebastien Worsnip www.rachelechenberg.net Rachel Echenberg’s work has been performed, screened

hoto and exhibited since 1992 P across Canada as well as internationally in Chile, Czech Republic, England, France, Germany, Israel, Italy, Japan, Lebanon, Morocco, Northern Ireland, Poland, , 2011 Blind Spots Rachel Echenberg Canada Portugal, Switzerland and the United States. Her videos are available through Vidéographe Distribution. Patrycja German Poland/Germany Saturday October 27 8 pm | Mercer Union

More Lust / Less Suffering Patrycja German doesn’t content herself with hypothetical forms. Her art consists of creating concrete situations. At the centre of which is her person and a clearly structured (but not necessarily “simple”) instruction. {...} The suspense of her works is in their incalculability, 33 P atrycja G erman the potentiality resulting from the interaction. How will the other one react? photo Patrycja German was born in How do I deal with that 1979 in Wroclaw, Poland. She reaction? currently lives and works in — Dr. Margrit Brehm, Berlin, Germany. She studied at the Academy of Fine Arts Dicht an Dicht / Close Together in Karlsruhe, Germany. She has received several grants and awards including the www.patrycjagerman.de Schindler- Stipendium (Los Angeles); Artists and Architects in Residency

More Lust / Less Suffering , 2011 Program of MAK (Vienna, 2010); HAP Grieshaber – Preis (2009); Saar- Ferngas – 1st Preis for Young Art (2008); and Kunststiftung Baden (Württemberg, 2007). Since 2002, she has been focusing on creating live performance and performance for the camera. Her work has been exhibited throughout Germany, Poland, and in Europe. Tomasz Szrama Poland/Finland Saturday October 27 8 pm | Mercer Union

My work deals with the self and the interaction of subjects within a social structure. Human conditions and activities in different socio- political realities are portrayed, analyzed and critiqued through the use of performance. The medium becomes a form of direct and confrontational communication between the 35 artist playing the role of provocative medium, and the public, in the hope of developing further questions concerning existential, social and Bea H omeyer political issues. My work also questions the role of the artist, the definition of art within society, photo and the boundaries of expression. As a Burmese artist, I strive towards an insightful understanding of local and international contexts and the ways in which these define my identity both locally and globally (i.e. the state of being caught between N yan L in H tet, 2012 Nyan Lin Htet Burma/France a repressive society under the military regime in Burma, and the rapidly-changing world outside Burma) as I try to define it on Nyan Lin Htet was born in my own terms. Burma/Myanmar in 1981. His work has been presented in Burma, Canada, France, Italy, www.theatreofthedisturbed.com Poland, Sweden and Thailand. [email protected] Jeff Huckleberry USA Saturday October 27 8 pm | Mercer Union

Attempt at not being a walking fucking joke What defines the location of the actual performance? Is it the last 3 seconds, where I am trying to hold something over my head for as long as I can, or is it all the work that led up to those 3 seconds? What determines how long I can hold it? Is it possible to hold it forever? I am 37 interested in physical strength and the perception of effort: what objects and actions will challenge my physical and mental capacity and modify my internal and external perceptions of self.

Jeff Huckleberry received his undergraduate and www.jeffhuckleberry.com graduate degrees from the totalartjournal.com School of the Museum of Fine Arts, Boston. Jeff has Martyna P iasecka been performing art for the last 20 years, both nationally

photo and internationally. He enjoys the bicycle, the hammer, the saw, the wood, his wife and son, his family, his friends, his work. (... except sometimes he doesn’t enjoy these things as much; it depends.) He is the son and grandson of far more practical people. Some people say he is more handsome without his glasses, and his mother thinks it is time to stop getting naked in front of people. Oh, and something about death. Maria Hupfield Canada/USA Thursday October 25 8 pm | Mercer Union

Fixed Time Interdisciplinary in nature, my practice explores universal conditions locating the body in relationship to self, objects and place. Through my work, I insert myself into new conversations with objects functioning as tools: jingle boots track body rhythms, bear masks channel 39 connection with the natural world, and silver bones quantify cultural memory. Working across disciplines allows me to engage in dialogues Jason L ujan between Western and non-Western visual representations and philosophical approaches. hoto P In this performance, I Maria Hupfield grew up on will enact a range of the shores of Georgian Bay, strategies to occupy Canada and currently lives space, create moments of in Brooklyn, New York. Born in 1975, she is of Anishnaabe engagement, and awaken (Ojibway) heritage, and a

Occupy This!, 2011 our consciousness. Moving member of Wasauksing through a series of basic First Nation. She holds an MFA in sculpture from York customs, I will attempt to University, Toronto. Her recall our connection to practice is interdisciplinary spirit, one-another and the and is grounded in a combination of both cosmos. Indigenous and Western art practices. She is the current www.mariahupfield.com Artist in Residence (2012) at Open Studio, Museum of Art and Design in New York. Paul Hurley UK Thursday October 25 8 pm | Mercer Union

Central to my work is the live moment: the in-betweenness that manifests in the mediation of a reality and a relation between artist and spectator, and between image or text (in its widest sense) and action. Recent work has explored ritualized actions that simultaneously perform and interrogate the shamanic function of 41 performance and the aesthetics of classic action art. These performances are often durational, physically and mentally demanding, and teeter between the sacred, the profane and the absurd. Motorcade / Flash P arade Motorcade Through familiarity and disruption, they function on a Paul Hurley is a UK-based

photo artist working primarily secular-spiritual level as well in live performance with as on that of ‘queering’ to occasional other solo and provoke reflection, empathy collaborative projects. He has recently been exploring the and humour. possibilities of performance in

, 2012 Overgave absentia through installaction work and Connection / Time, a project exploring live online www.paulhurley.org performance documentation. He has performed in galleries, theatres and public spaces in Europe, North America and Asia, had his work published internationally, and in 2009 was awarded a PhD from the University of Bristol for a practice-based project undertaken with Arnolfini Gallery and supported by the Arts and Humanities Research Council. Friday October 26 2:30 pm | Mercer Union

Freeing the Mind This performance questions certain aspects of the human condition in contemporary culture and the meaning of these factors in the construction of identity and of social transgression. I will focus on the limitations of humanity by investigating the topics of social cannibalism, mutual social 43 elimination, the exclusion of weaker individuals, Anna Kalwajtys currently repression, and isolation. lives in Gdańsk, Poland. She graduated from the Academies of Fine Arts in Gdańsk and Poznań. kalwajtysperformance.blogspot.ca While her main objective is ephemeral art, other fields of her activities are video-performance and

Mariusz Marchewa Marchlewicz Mariusz Marchewa object-installation art. Kalwajtys is also engaged in interdisciplinary and Anna Kalwajtys Anna Kalwajtys P oland 09 , 2009 Interakcje photo curatorial projects in the field of performative arts. Recent projects are Antropo-performance at the Institute of Ethnology and Cultural Anthropology in Łódź and Urban Transitions International Conference at the Economical University in Poznań. Kalwajtys uses provocation which enables her to illustrate existential situations of liminality. TomaszMagnús SzramaLogi Kristinsson Poland/FinlandIceland/Finland Wednesday October 24 8 pm | Mercer Union

Stories in a Box I am telling a story. The story I am telling is about myself from my times in Iceland. I only show my one hand to the audience, and with this hand I give the Magnús Logi Kristinsson extra details to my story. was born in 1975 in Reykjavík, Iceland. He moved to Amsterdam in 45 1999 to study at the Gerrit

A leksis Salusjärvi www.maggilogi.com Rietveld Academy, where he discovered performance art, and received his photo Bachelor of Arts degree. He received his Masters of Fine Art at the Academy of Fine Arts in Helsinki, where he now lives and works. Kristinsson’s main focus has been creating performances where he reads various lists. These performances

On top of the festival , 2011 On top of are minimalist and poetic, and are concerned with “rearticulating the obvious, mentioning the unnoticed, and proclaiming the already known” (Maarten de Reus.) He also makes durational performances where he blends in with the general public. From 2005 to 2007, Kristinsson performed with the interdisciplinary performance group Oblivia. Kristinsson has presented his works throughout Europe and in the United States. Nobuo Kubota Canada Wednesday October 24 and Friday October 26 8 pm | Mercer Union Sunday October 28 with David Sait 4 pm | Mercer Union

I like the idea of performing without any preconceived notion of what I am going to present. I suppose much of my attitude comes from the influence of John Cage and the idea of 47 ‘chance operations’ and improvisation. There are many forms or degrees of improvisation, but I am of the opinion that a constant flow of courtesy of the artist courtesy of new original ideas during Nobuo Kubota was born in

photo a performance is rare. My 1932, in Vancouver, B.C. He improvisation depends upon graduated from the University the support of a ‘style’ and of Toronto with a degre in ‘mannerism’ in my technique architecture and practiced

ubota, 2012 for 10 years before deciding and presentation. I enjoy to become an artist. He was performing with musicians introduced to sound poetry by the Four Horsemen in N obuo K without having any prior idea 1984 and is an improvising of the kind of music they vocalist, as well as a sculptor, play. video artist, performer and Eminence Gris for the 7a*11d Festival. David Sait is a guzheng improviser, the co-editor of Soundlist (an e-newsletter for Toronto experimental music), co-curator of the Gone Fishing Experimental Music Series, and a member of the 10-person collective who operates the artist-run space Somewhere There in Toronto. Saturday October 27 8pm | Mercer Union

A performance consisting of three parts: 1. mental illness in childhood 2. mental illness as a young adult 3. mental illness in the workplace

N aufus R amirez-Figueroa The performance incorporates live voice, video and pre-recorded audio with actions which both resist and succumb to the constructs of mental 49

N aufus R amirez-Figueroa illness as experienced in the first quarter and half deo St i ll V i deo of my life.

deo St i ll V i deo Irene Loughlin was born challenging the social in the industrial, working constructs surrounding class city of Hamilton, mental illness, drawing Ontario, where she spent visual metaphors from her formative years and medical, ecological and currently resides. She further diasporic landscapes in

Poor Love , 2003 developed her practice as an order to comment on our w

, 2009 Station By Grand Central artist in the city of Vancouver, contemporary emotive BC, Canada, particularly in the discourse. The work Irene Loughlin Canada top b elo historic Downtown Eastside features images drawn from neighbourhood, where she childhood, spiritism, labour, contributed to the activist and exercise, diagnosis, sexual disability community through abuse, marginal housing, gallery gachet, VANDU, and processed food, ideas of the Carnegie Centre. For the health and nourishment, past fifteen years she has comfort, addiction, worked with images rehabilitation, sexuality, desire, speech, anxiety, silence, and feminist/art historical re enactments. www.ireneloughlin.com Christof Migone Canada Saturday October 25 6 pm Butterfield Park | OCAD U | 100 McCaul St

Hit Parade Think. Do. Doubt. Discuss. Repeat. Discuss. Do. Doubt. Think. Repeat. Doubt. Do. Think. Discuss. 51 Repeat. Think. Do. Discuss. Doubt. Repeat. Do. Think. Doubt. Discuss. Repeat. Christof Migone is an

R obert Szkolnicki artist, curator and writer. He obtained a PhD from the www.christofmigone.com Department of Performance photo Studies at the Tisch School of the Arts of New York University. He has performed internationally at events Hit Parade including Mois Multi, Mutek, Images Festival, Send+Receive, Kill Your Timid Notion, and the Whitney Biennial. He is a Lecturer in the Department of Visual Studies at the University of Toronto Mississauga and the Director/Curator of the Blackwood Gallery. Thursday October 25 8 pm | Mercer Union

Past Perfect What is time? Are we only time? Is there something that continues after time passes? Does memory conserve time? Does time become damaged as it goes by?

Guadalupe Neves is a multimedia artist and performer with a background in Philosophy and Arts. She has presented her work in courtesy of the artist courtesy of festivals in Mexico, Chile, Finland, Japan, Italy, France,

Guadalupe Neves A rgentina photo Uruguay and Argentina. As an organizer, she organized international performance festivals including In Transit (En tránsito) in the Japanese- Argentine Performance Exchange, and Mutaciones, Tribute to Portillos. DenisTomasz Romanovski Szrama Belarus/SwedenPoland/Finland Thursday October 25 8 pm | Mercer Union Saturday October 26 4 pm | Off site

That’s OK (manifesto fragment) To mean nothing – that’s OK.

students. 2012 To have money and to be hungry – that’s OK.

To do nothing under surveillance – that’s OK. KKH To wait for better times and to be still alive – 55 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 was born in 1970 in Minsk, Belarus. He currently lives and works That’s OK manifesto written in Stockholm, Sweden. He in collaboration with Kungl. works in performance art, Konsthögskolan (KKH) students. experimental forms of digital ndreas Fägerskjöld A ndreas media, and artistic research. His work has been presented in international festivals and Worldclassrun performance with OK. Worldclassrun That’s photo www.romancovski.se exhibitions in Belarus, Finland, France, Italy, Poland, Sweden, Thailand, UK, and the USA. He is also an active organizer of international performance festivals including Navinki 1991-2008 (Belarus), Navinki-Weld 2008 (Sweden), No-budget Performance: a Stockholm Odysssey 2010- 2011 (Sweden), and PALS - Performance Art Links 2012 (Sweden). Since 2010, he has been teaching performance art at KKH in Stockholm. Nopawan Sirivejkul Thailand Friday October 26 8 pm | Mercer Union

Vulnerable life is like an egg

… we share the painfulness… Nopawan Sirivejkul is an active member of Thailand’s I would like to search human performance art community. sense to create a state of She has been a manager of intimacy and profound Asiatopia International Performance Art Festival 57 familiarity with emotion. in Thailand, as well as L in Shiyun When you see… you can organizing her own events. touch. When you hear… you In 2007 she started photo MiniMoves, a group that can touch. When you smell… organizes contemporary you can touch. When you art exchanges in Bangkok. taste... you can touch. MiniMoves responds to what we find in pop culture, from … the rhythm of life... shared identity to alienation. Where are the margins of this new world without borders, where communities www.wix.com/madcap-aor/ are forced to face up to new nopawan Let’s the Flower says…, 2011 Let’s the Flower says…, things? In what relationships do people find themselves? Projects to date have brought together Thai artists with artists from Japan, Myanmar and Singapore. Nopawan is also a cultural writer for magazines and newspapers. Her photographs have been exhibited in the Tadu Gallery and Thailand’s National Art Gallery. As a performance artist, she has performed in Thailand, Poland, Germany, Japan, Korea, Philippines, Singapore and Myanmar. Tomasz Szrama Poland/FinlandPoland/Finland Friday October 26 8 pm | Mercer Union

. I do not have any fixed views. I do not believe in any system, or any absolute truth. Cosmos expands. The world is evolving. As I age, I have more doubts. My art is in a constant flux between sarcasm and sincerity, humor and melancholy, ground and atmosphere. I am 59 frantically trying to capture the essence of a situation, a state of mind. My performances cannot ever be completely finished. They are a forum, a space in time for interaction with the omasz Szrama

T audience. I still naively believe that anyone can create a phenomenon on a cosmic scale. Then

photo I feel it is the meaningless Tomasz Szrama (b. sacrifice of an insignificant 1970) graduated from the man. I hope that in my Fine Art Academy in Wroclaw, desperate gestures viewers Poland (1998) and currently lives in Helsinki, Finland. , 2012 Untitled will identify for themselves Since 2005, he has been one something meaningful, even of the organizers of New transcendent... I am fine and Art Contact performance art events, and in 2011 he I’m scared to death. co-organized the Fake Finn Festival of Experimental Art. Szrama also documents live [email protected] art events. He presently works at the Helsinki International Artist Programme (HIAP). Camille Turner Canada Sunday October 28 2:30 pm Toronto Free Gallery

SonicWalk:

We will visit familiar places for the first time, embracing strange and wonderful worlds that hide in plain view. 61

www.camilleturner.com Camille Turner is a Toronto based media/performance artist and curator. She is the

Michele Clarke founder of Outerregion, a performance company that creates perception photo altering experiences and was co-founder of Year Zero One, a digital media organization. She has curated numerous exhibitions for Subtle Technologies, a festival

. 2011 Walk Jane’s that blurs the boundaries between art and science. Camille has presented talks, performances, workshops and exhibitions in Canada and internationally. Her ongoing projects include Miss Canadiana, a beauty queen on a ‘round the world Red, White and Beautiful Tour and The Final Frontier, an afro- futurist performance in which astronauts from an ancient African civilization return to earth to save the planet. Agnes Yit Singapore/Malaysia/UK Wednesday October 24 8pm | Mercer Union

Drift In The Society of the Spectacle, Debord claims that we live our lives surrounded by an immense accumulation of spectacles. Things that were once directly lived are now lived by proxy. Once an experience is taken out of the real world it becomes a commodity. As a commodity the 63 spectacular is developed to the detriment of the real. It becomes a substitute for experience. My intent is to embrace a world view gathered from my influences and conscious of my immediate environment, and then to renew this mentality Agnes Yit is a multi- disciplinary art and design by figuring out alternative practitioner and graduate of ways to deviate from it. The Architectural Association School, London, UK in 2011. Agnes has been an active member of the Post-Ulu

Graceful Skater Fallern from Grace I , 2006 Fallern Graceful Skater group of The Artists Village, Singapore since 1998, and has initiated many performance art and video events, festivals and projects, in Asia and Europe, from Berlin to Yogyakarta. Her art-making is linked to her design and architectural practices. She often engages herself spatially with her environment to generate relationships between the body, people, space and time at a moment specifically relevant to the present. Fri October 26 Performance Art Daily The language of Artists’ Talks materials

Moderator Wanda Nanibush Wednesday October 24 to Sunday October 28 12 pm | Toronto Free Gallery Maria Hupfield Paul Hurley Guadalupe Neves 64 Performance Art Daily is a lunchtime artist “talk Wed October 24 65 show” series featuring discussions with and The international Sat October 27 among many of the festival’s visiting artists, network The cutting edge

curators, organizers and theorizers. It is an Moderator Moderator opportunity for the festival audience to meet Randy Gledhill Istvan Kantor and converse with our invited artists. Find out more about the ideas within and behind the Miriam Ginestier Sylvie Cotton performances. Learn about how performance Jonas Stampe Nyan Lin Htet art is produced and presented in various Anna Kalwajtys communities around the globe. Engage with the Thurs October 25 artists about the subjects that concern them and Theatricality Sun October 28 raise your own questions about performance Moderator Reflections on praxis art’s hot-button issues. The talks will be i ly per f or m an c e art da Jessica Wyman Moderator recorded live and archived online. Check: Johanna Householder www.youtube.com/user/7a11d Carl Bouchard & Martin Dufrasne Rachel Echenberg Camille Turner Patrycja German Jeff Huckleberry Agnes Yit Festival Eyes and Ears

We invite you to follow our festival blog at: www.7a-11d.ca. Updated daily, the blog contains critical writing and reflections by our commissioned writers, Sylvie Ferré, Randy Gledhill and Christine Korte, 66 as well as photographs by our Henry Chan has has Sylvie Ferré is an Randy Gledhill has an Christine Korte is 67 been documenting independent curator, international history a PhD candidate in festival photographer, Henry Chan. performance art in lecturer and writer of artistic recognition the York and Ryerson 7a*11d collective member Annie Toronto since 2006. He on contemporary spanning over three Joint Program in Onyi Cheung will be tweeting live has photographed four and performance art. decades, including his Communication and consecutive 7a*11d She is the Director ground breaking and Culture. She recently updates from this year’s festival. festivals, the activities of the Polysonneries influential collaborative returned to Toronto Follow her on twitter @onyionyi, and of FADO Performance Festival based in Lyon, partnership as after a DAAD research remember to hashtag your tweets Art Centre, as well as France. Her research one half of Randy fellowship in Berlin events, exhibitions strives to develop & Berenicci (with and a guest lectureship with #7a11d to share your thoughts and performances at links between visual Berenicci Hershorn). position at the and photos with others! various contemporary art, performance, and His chameleon oeuvre Johannes Gutenberg art venues in the city other creative forms of activities includes University in Mainz.

including The Images leading to original performances, She also has performed al eye s and ear Festival and The Power collaborations. She is installations, public art with the Vinge/ Plant Contemporary a contributing editor commission, videos, Mueller ensemble in f e s t iv Art Gallery. When he for several publications sculptures, critical various productions is not using a camera, including Inter, Mapra, writing, curation and staged in Berlin, Oslo Henry is crunching Alternatives Théatrales, cultural activism. He and Bergen. Prior numbers and pushing and Avignon’s Festival. is currently Executive to starting her PhD, paperwork as an She has written texts Director and Curator Christine worked at the accountant. for books on artists of Vancouver’s transmediale festival including Jan Fabre, LIVE Performance for new media art and Kirsten Justesen, Art Biennale; and other festivals and Lamberto Pignotti, and is researching new residency centres in Roi Vaara. global performance Berlin and Los Angeles. art manifestations, movements, and networks. Parallel Events Parallel Events

SPLICE FOOD=NEED Wed Oct 24 Mon Oct 29 Fri Nov 3 At the Intersection FOOD=NEED is a week of Art and Medicine 6 pm of performances, 12–5 pm | DPNC 6 pm | DPNC Blackwood Gallery workshops and SPLICE, curated by Kaneff Centre discussion forums Chrissy Poitras ARTIFACTS, Nina Czegledy, is the University of Toronto around food and with Arts4All Margaret Dragu, first large-scale public Mississauga its use, facilitated Free arts workshop Chrissy Poitras 68 69 showing of archival 3359 Mississauga Rd by WIAprojects in & Claude(ia) images selected North collaboration with Wittmann from the collection Arts4All, DPNC and Tues Oct 23 Performance & Food housed at Biomedical 7a*11d. Wed Oct 3 7 pm Khadija Baker Event Communications, University of Toronto My little voice can’t lie 1–4 pm | DPNC University of Toronto, Performance artists WIAprojects is a Art Centre (UTAC) feminist arts-informed complemented Khadija Baker’s work ARTIFACTS, Chrissy Margaret Dragu 15 King’s College Circle research, mentoring and challenged explores social and Poitras, Claude(ia) Rising and practice program. by contemporary political themes Wittmann and A durational Diana Burgoyne We provide women- artworks. The related to persecution, Margaret Dragu will performance- What do you think the centred, praxis- exhibitions at displacement and work on-site and installation employing mind is? focused classes, University of Toronto memory. She was with Davenport Perth time, yeast, sugar, Art Centre (UTAC) and Neighbourhood Centre flour, water, oil, fire workshops, exhibitions, born and educated in e v ent s parallel Diana Burgoyne performances, Blackwood Gallery the town of Amoude, (DPNC) community and sweat, Rising is refers to herself as an research support, include performances Syria and received members throughout a celebration of food electronic folk artist. courses and outreach by Diana Burgoyne and a Master’s degree the week of October and the domestic A recurring theme to people working in Khadija Baker. from the University 29 to November 3 at in response to the in her work is the the arts, education and of Damascus. In 2001, DPNC, 1900 Davenport global obliteration of relationship between community services. Khadija moved to Road and at Dufferin traditional rural life. society, technology, For more Montréal where she is Grove Park. and environment, information and a full completing an MFA at which she investigates schedule of events: Concordia University. through the use of Thurs Nov 1 www.wiaprojects.com sound, performance 1–4 pm | Dufferin and installation. She Grove Park has taught Creative Electronics at Emily Claude(ia) Carr University of Art + Wittmann Design since 1998. In Memoriam Norbert Klassen

Born May 30, 1941 in Duisburg, Germany. Died December 1, 2011 in Bern, Switzerland. Two sets of facts, two pseudo-sentences: delineated by periods but sharing a single implied 71

H enry Chan subject. And between them, a little gap. No more than the standard space between two words. hoto

P Perhaps the breadth of a breath. and, somehow – absurdly – what is held (or what is meant to be held) in that tiny space is the implication of the whole of a life, complexly lived. I listen to the whirring ceiling fan above me, the chirping crickets outside my window, the i n m e or a brief clamour of a passing plane, and then the tinny thrum-beat of my mechanical heart valve The Art of Making Art , 2008 The Art of echoing in my chest, suddenly made loud by the dissipation of the engine noise, and amid all of this I also find some part of that life (complexly lived) held here. Where? In a stillness that bristles along the edges of my skin and sets my arm hairs on alert. In a liveliness that animates my spine and rib cage and pulls my organs ever so slightly upward and inward. In the mask of my face, vibrating along a contour these two actions, contradictory and yet that traces the wetness between my teeth and somehow alike, might both involve no more than tongue, spreads outward along my sinuses and simply acknowledging and attending to what nasal passages, and gathers into a peculiar curlicue discloses itself as being there: as time, as space, that manifests in the steadfastness of my gaze. as matter, as texture. At the same time, neither It is a precise inhabitation of the dynamic action could be anything less than a simultaneous corporeal architecture of my body, an enactment act of creation and destruction. and an alignment that not only signals but also at a certain point, it becomes meaningless to somehow contains – only through and always even try to distinguish the hollowing out from the 72 beyond its timespace materiality – a connection filling up. 73 with my friend, Norbert. What can be said? I smell his dried blood on a Who is, unaccountably, present in his not- piece of gauze – one constellation of items in a box presentness. A being... a doing... a becoming... a of performance residue that Norbert constructed dwelling within... and then sold as part Based in Switzerland, That holding, which of The Art of Making founding member of the Norbert Klassen began working in cannot be described, Art, a performance performance art group Black experimental theatre in the 1970s, Market International. From 1990 working as a stage director and of which these words he did at the 2008 Klassen concentrated primarily actor as well as studying dance provide only a butchered 7a*11d festival – and it on intermedia projects, including i n m e or a therapy and speech training. glimmer, is what Norbert smells like all human exhibitions in Germany and Finland. Although he maintained links to He contributed substantially to the theatre world throughout his continually reveals to blood. But my body the international performance art career – teaching for many years me of himself. What he remembers, and so it network through his participation at the Drama School in Bern and continually teaches me doesn’t just smell like in numerous events around the working regularly as a director at world, solo and as part of Black the Theater an der Effingerstrasse about myself. any human blood. It Market. As well, he maintained a – Klassen came to identify himself In life, Norbert set smells like Norbert thematic performance art festival in primarily as a performance artist himself the task of to me. Bern called Bone. Norbert Klassen after his “experiments” were participated in the Sixth 7a*11d considered unrecognizable as attunement. His art was a — Paul Couillard International Festival of Performance theatre by his colleagues, but were double-edged practice of Art (2008) as a creative resident, embraced by the performance using what is there and of gracing us with two extraordinary art community. Klassen began performances and an hilariously creating solo “performances” in making what one does all beautiful intervention on the 1979, and in 1980 became a that is there. final day. 7a*11d Collective members

Gale Allen is a visual Annie Onyi Cheung Shannon Cochrane Paul Couillard is a Jess Dobkin’s work Francisco-Fernando artist currently based is an emerging is the Director of founding member of is presented at Granados is a in Toronto, Canada. performance, video FADO Performance the 7a*11d collective. museums, galleries, Guatemalan-born, Allen’s practice investi- and installation Art Centre (www. As an artist, he has theatres, universities Toronto-based artist gates the aesthetics artist whose work performanceart.ca), created more than 200 and in public spaces primarily focused of revolt present in is concerned with an artist-run centre solo and collaborative internationally. She on making live work. popular culture. Allen relational politics, with based in Toronto that performance works has taught as a Disillusioned by has recently exhibited increasing focus on presents the work in 21 countries, often Sessional Instructor nationalism, he is 74 with the Harbourfront site and materiality. of contemporary working with his at OCAD University happy to be identified 75 Centre’s HATCH: Her projects have performance artists partner Ed Johnson. and the University of as a performance artist. emerging performance shown most recently year-round. Shannon’s Couillard was the Toronto and serves He has presented work projects (Toronto), All I at Varley Art Gallery performance work Performance Art on the University of in venues including Ever Wanted” Pleasure (2012), Scotiabank investigates the Curator for FADO from Toronto/Sheridan Kulturhuset Stockholm, Dome (Toronto), “Must Nuit Blanche (2011 relationship of the 1993 until 2007, and College Art and Art Ex Teresa Arte Actual be the colours and and 2010), Labspace audience to the artist is the editor of FADO’s History Program (Mexico City), The the kids that keep me Studio (2011), and by deconstructing the Canadian Performance Advisory Committee. Hessel Museum at Bard alive” (Toronto), TAAFI Subtle Technologies formal presentation Art Legends publication She was the 2011- College, RAPID PULSE (Toronto) “Play”, and Festival (2011). She of art action, the series. Alain-Martin 2012 Guest Curator of (Chicago), the Darling the First International has been a member of aesthetics of social Richard: Performances, Harbourfront Centre’s Foundry (Montreal), Prize for Performance the 7a*11d collective interaction, and the manœuvres et HATCH residency the Vancouver Art (Italy) “I need you since 2009, and role of authorship, autres hypothèses program and is a Gallery, and LIVE to need me”. Allen recently co-curated a repertoire and the de disparition Fellow at the Mark (Vancouver). He is the recently curated 3-week outdoor art- archive in the practice / Performances, S. Bonham Centre recipient of a Governor “Extra-Rational” for installations festival of performance art Manoeuvres and for Sexual Diversity General of Canada’s 7a*11D collective bios 7a*11D collective FADO’s annual Emerging for Art of the Danforth. itself. Her work has Other Hypotheses Studies at the Silver Medal for Performance Artist Born in Hong Kong, been presented in for Disappearing, University of Toronto. academic achievement, series. She has been a Annie currently lives Toronto, Montréal, produced with co- She has been a and holds a Masters member of the 7a*11d and works in Toronto Halifax and Vancouver; editor Alexandra Liva, member of the 7a*11d of Visual Studies collective since 2005. and Halifax. and internationally will be released soon. collective since 2009. from the University of www.onyi-ajar.com throughout Europe, UK Couillard is currently a www.jessdobkin.com Toronto. He has been a and Asia. Shannon doctoral candidate in member of the 7a*11d is a founding member the York/Ryerson Joint Collective since 2012. of the 7a*11d Graduate Program in collective. www. Communication and shannoncochrane.com Culture. Acknowledgements

Adam Herst is Johanna Householder Tanya Mars is a a Toronto-based has been making feminist performance artist working in performances, video artist who has been performance and and other artworks involved in the electronic media. He since the late Canadian art scene is interested in the 1970s and teaching since 1973. She has tension between ideas, performance art performed widely their ownership, and since the early 90s. across Canada, as 76 their reproduction A member of the well as internationally. 77 and in exploring the notorious feminist She is co-editor with implications of the ensemble, The Johanna Householder proposition that ideas Clichettes in the 80s, of OCAD of Caught in which are designed Householder practices the Act: an anthology for dissemination her own brand of of performance by will be disseminated. cultural détournement. Canadian women What’s with the name? Most recently, Adam She has performed (2004) published by Some people might be flummoxed by our performed Intersection, extensively, most YYZ books. She is the a 21-day performance recently in China, NYC, recipient of a 2008 unpronounceable name. Where did it come from for AOD in Toronto. Sweden and Ireland. Governor General’s and what is it supposed to mean? Does it have some Adam holds degrees She edited, with Tanya Award in Visual connection to the convenience store? Here’s one w ledge m ent s in Arts Management Mars, Caught in the and Media Arts. In with a Major in Studio Act: an anthology addition a book on version: the numbers 7 and 11 come from the dates c kno

and in Cognitive of performance by her work published of our first festival, August 7 to 11, 1997, while the “a” a Psychology with a Canadian women, by FADO and edited and the “d” refer to the “across” and “down” nature Major in Philosophy. published by YYZ by Paul Couillard, When Adam isn’t Books, Toronto, 2005. Ironic to Iconic: The of our early programming, which was a complex creating art, he A Professor at OCAD Performance Works conglomeration of independently curated thematic provides information University, she is of Tanya Mars, was programs in multiple locations. We wondered if the technology services currently Chair of published in 2008. to arts organizations. the Criticism and She currently teaches audience would be able to decipher our Byzantine Adam has been a Curatorial Practice at the University of programming format, which would be like trying to member of the 7a*11d Program and is on the Toronto Scarborough. read a crossword puzzle. 7 across, 11 down, 7a, 11d! collective since 2008. Board of Performance She has been a Studies international. member of the 7a*11d 7a*11d was the final version, though that still leaves She is a founding collective since 1998. the mystery of the “silent” asterisk… member of 7a*11d since 1997. Festival Venues

Mercer Union 79 1286 Bloor Street West www.mercerunion.org

Toronto Free Gallery 1277 Bloor Street West Polish Kiss , video still www.torontofreegallery.org

Butterfield Park a G er m an OCAD cj (at University) 100 McCaul Street atry P Festival Contact Info www.7a-11d.ca [email protected] 416.822.3219 jeff huckleberry photo Martyna Piasecka

irene loughlin corbadh - ciorrú coil, 2012 photo Alexéi Tellerías 11D * 7A festival of perfo international of rmance international 2012 art Toronto international