May 16 – 19, 2019

Mile Zero Dance, Spazio Performativo, 10816–95 street NW
dc3 Art Projects, 3E8, 10567–111 St NW
Latitude 53, 10242–106 Street

By Donation

Zero Gravity International Performance Art Festival | Produced by Mile Zero Dance | Curated by Beau Coleman | Co-Presented by dc3 Art Projects, Latitude 53 and the Goethe-Institut Toronto

Zero Gravity International Performance Art FESTIVAL is a four-day festival presenting the work of established and emerging performance artists from around the world and here at home.

The Zero Gravity International Performance Art FESTIVAL includes both indoor and site-specific performances, as well as artist talks, panels and discussions.  In these dangerous times we live in, the FESTIVAL asks how art can rise above it all and allow us to think in new and creative ways; not only as a means of escape, but as a call to action?  What do performance artists have to say about the ‘gravity’ of the world?


THURSDAY, MAY 16 | dc3 Art Projects, 10567-111 Street


Feel free to come and go.

  • Julia Orquera Bianco
  • Chelsea Boos
  • E.M. Alysee Bowd
  • Mitchell Chalifoux
  • Mark Hopkins
  • Michael Jenkins
  • Rebecca John
  • Aasttha Khajuria
  • Roseanna Nay
  • Stephanie Patsula
  • Thea Patterson
  • Laura Porter

FRIDAY, MAY 17 | Mile Zero Dance, Spazio Performativo, 10816-95 St.


Zierle & Carter, “Walking the Dawn”, SPILL Festival of Performance 2015, produced by Pacitti Company, London, United Kingdom Photo by: Guido Mencari


Black Clouds Falling

Artistic Practice and Working Process

Interdisciplinary, multi-sensory and often site and context responsive, Alexandra Zierle’s practice critically examines different modes of communication and what it means to be human, addressing notions of belonging and sense of place, investigating human interactions and encounters. Zierle’s work revolves around asking questions rather than making statements. Her material/process-led approaches highlight a deep listening process that acts as an invitation to venture into the spaces in-between the external and internal, permanent and transient, spoken and unheard. The objects and materials used become the extension of the body and externalize an inner landscape. The driving force is an amalgamation of intuitive responses married with ritualized actions and metaphorical use of materials, alluding to a narrative that often evolves around the principle: harmony through conflict. The work fundamentally explores society’s conventions, traditions, and rituals, often flipping them on their head, reversing orders, and disrupting the norm.


Alexandra Zierle recently presented solo performances in Germany at the Wuppertaler Performancenacht, the Istanbul Art Fair, and at TDanse in Italy. Her work as Zierle & Carter has been widely exhibited internationally throughout Europe, Canada, United States, South America, Australia, in Asia and Africa, such as the inaugural Venice International Performance Art Week, Federation Square (Melbourne), CIPAF (Cyprus), Grace Exhibition Space (New York), Rapid Pulse (Chicago), Bildmuseet (Umeå), and presented a world premiere triptych at The National Theatre and The Barbican for SPILL Festival of Performance 2015 (London). In 2016 she exhibited a retrospective show in China at the Chongqing Changjiang Contemporary Museum for the PARABIOSIS. Her final performance as Zierle & Carter was presented in Hong Kong in October 2017. Grants include a residency at the Banff Centre, R&D project in Australia, travel scholarship to Patagonia (Argentina/Chile). Publications: “Personal Structures: Time – Space – Existence”by Sarah Gold, Karlyn De Jongh and Peter Lodemeyer and Manuel Vason’s recent Double Exposures: Performance as Photography, Photography as Performance. Alexandra Zierle has worked as lecturer in the UK, USA, Sweden, Lithuania and Australia and has led workshops internationally, including PAStudies in Kaunas (LT), IPA in Bucharest (RO), co-facilitated The Marathon Workshops in Athens, Cyprus and Berlin, and has ran independent workshops in Germany, Spain, Sweden and China.

IMMA, performed at Club Jeudi, Marelia MEX. Homografia II Homography, 2017. Image Credit: Festival Homografia II Homography



An extrapolation of three performative exercises all reckoning with ideas of self-determination, bodily autonomy and trans-misogynistic/homophobic violence.

Artistic Practice and Working Process

Mikiki’s creative work is deeply rooted in the history of performance art, Queer and AIDS activism, and their performances actively sample and remix references from within performance and contemporary art discourses as well as popular culture, queer communities and public health discourses. Their identity as an artist is informed and intrinsically linked to their work as a sexual health educator and harm reduction worker. Mikiki is committed to using their body as a testing ground for questions of capacity, sustainability, endurance and tolerance. Or as Benny Nemerofsky-Ramsay once described my practice: “transferring fluids from one receptacle to another”.


Mikiki is a performance and video artist and queer community health activist of Acadian/Mi’kmaq and Irish descent from Newfoundland, Canada. They attended NSCAD and Concordia before returning to St. John’s to work as Programming Coordinator at Eastern Edge Gallery. They later moved to Calgary to work as the Director of TRUCK Gallery. Their work has been presented throughout Canada and internationally in self-produced interventions, artist-run centres and public galleries.

Their identity as an artist is informed and intrinsically linked to their history of work as a sexual health educator and harm reduction worker. Mikiki’s creative themes often address safer sex negotiations, identity construction, attitudes about drug use, disclosure of sexual identity and health status, community building through skills sharing, testimonial and storytelling. Mikiki has worked as a Sexuality Educator in Calgary’s public schools, a Bathhouse Attendant in Saskatoon, and Drag Queen Karaoke Hostess in St. John’s. Mikiki has worked in various capacities in the Gay Men’s Health and HIV response in Ottawa, Montreal and Toronto, recently focusing on Harm Reduction Outreach and HIV testing.

Mikiki is now dedicated to their practice full time when not hosting their weekly Golden Girls screening series Rose Beef.

Kate Barry Vagina Painting FUSE, 2017 is by Scott Little


Vagina Painting

Vagina Painting, is a timely channelling of feminine passion, love, anger and drive through a 20-min performance that focuses on the physically of the body, both inner and outer dimensions.

Playing on the ritual of sacrament, I use red wine as index to a host of mythologies around sexuality, queer desires and gender fluctuations. I flirt with Dionysian sensibilities while creating a complex network of intersections in identity. An overriding theme in my work is human capacity for resilience. I attempt to create a composition that speaks to both contemplation and resistance. As a lesbian identified woman, this performance speaks to my lived experience of desire as bodily – in one’s blood. My connection to queerness directs my performance through conscience and unconscious choices, what is sensual will manifest.

Vagina Painting is homage to the Fluxus movement as well as making reference to abstract expressionism and action painting. In this performance, I focus on the formal aspects of painting, composition, scale and texture. I mediate the sensorial experience of layering a wine-paint mixture that refuses to be contained. I focus on my movements and connect with the audience through gesture and gaze. I leave the symbolism of these actions to be open to interpretation.

Artistic Practice / Working Process
In my work, I investigate the performative capacities of the human body through video, painting and live art. My performances reference queerness, feminist lineage, and gender theory. I attempt to create intense, interpersonal moments through a highly ritualized performance, striving for an intimate relationship with the audience. For Zero Gravity International Performance Art Festival, I would like to challenge myself
as well as the audience, by heightening the sensorial in our human experiences of sex and gender as well as the tension in this duality. I’m interested in creating conversations that think through gender and sexuality in new, expansive ways. I live and work between Toronto and Vancouver, Canada.


Kate Barry is an artist, educator and curator. Her works have been performed or exhibited in galleries and festivals throughout Canada and internationally, including the National Gallery of Canada, Vancouver Art Gallery, 7a*11d Festival of Performance Art (Toronto), Galerie SAW Gallery (Ottawa), LINK & PIN Performance Art Series (Montreal), World Pride Toronto and the Rider Project, NYC. In addition, she has self-produced work at the Muse d’Orsay (Paris, France) and Art Gallery of Ontario (Toronto).

Barry has contributed over 20 years to working in artist-run spaces committed to the exhibition of artwork outside of the mainstream. From 2011-2014 Kate Barry sat on the Board of Directors for FADO Performance Art Centre (Toronto) and from 2013 -2016, she was the project manager for More Caught in the Act: An Anthology of Performance Art by Canadian Women. Currently, she works at grunt gallery, Vancouver, as a curator/programmer for an outdoor urban screen, and as a sessional instructor at Emily Carr University.

David Yu David Yu, Oracular Spectacular, Locust Projects, Miami, Florida, USA, 2018 Image Credit: Elizabeth Withstandley


The thirst is real

The thirst is real is a durational interactive performance which creates a controlled poetic environment for viewers to witness the “performance” of a water droplet dropping through space and into the artist’s mouth. Installed on the ceiling is sculptural vessel which releases drops in specific intervals. The artist, though present, is otherwise engaged by his consuming whatever he so pleases through his phone throughout the endeavour of the performance. The audience, if so persuaded, can speak to him directly by texting him – 647 838 8530 – which acts as a direct conduit into the performance itself (perhaps even giving closer access than in other performances). Through engagement, the audience pulls themselves into the performance by occupying this heterotopic space of texting with the artist and in some ways performing themselves.
This work reveals the deep ennui of the contemporary oversaturation; we as a society consumes countless hours of content (news, entertainment, social media, apps, etc.) a day, almost paralyzing ourselves into inactivity. In a way the artist in this performance becomes a “martyr for the cause” – he is taking on the responsibility of consuming all of the content for the audience, who is silently watching him “fill up” literally.

Artistic Practice / Working Process

I have an interdisciplinary artistic practice that I subcategorize under multimedia, installation, and performance. My work stretches from sculptural forms and installation, to audio, video, and live performers. I position myself within the creator catalyst role that generates situations for viewers to negotiate, attempting to modify and pinpoint areas where art and audience intersect by exposing the notion of the performative gesture. I attempt to coerce viewers into performance, integrating themselves within the experience of the artwork.
Throughout 2018 I have spent time researching and developing a new self-coined theory, “relational performance,” through two solo exhibitions. “Relational performance” describes the moment when a work dictates or signals a requirement of the performative gesture from the audience. An example of “relational performance” could be seen in a path in the woods: the path itself is an object generated through the history of people walking repeatedly in the exact space until it was formed. Viewers encountering that path will be triggered to engage and “perform the path” by walking down it, or, simply, refuse – this is the site of “relational performance”.


David Yu is a Canadian multimedia, installation, and performance artist. He received a Masters in Fine Art from The Slade School of Fine Art in London, UK and received a Bachelors in Fine Art from the Ontario College of Art and Design. His exhibition record includes participation with Flux Night 2012 (Nuit Blanche Atlanta, Georgia) with a multi-channel video installation, Small Meteorites, projected within five vehicles; a city wide art installation commissioned and curated by the Duncan and Jordanstone College of Art and Design, funded by the Scottish Arts Council (2010); a solo exhibition at the Monster Truck Gallery in Dublin Ireland (2015); a Triangle Arts Trust residency and solo exhibition at the Kuona Trust Gallery in Nairobi, Kenya (2010); a special selection honour at Videoholica 2010; a residency and solo exhibition at MART Gallery Dublin, Ireland funded by the Ontario Arts Council (2015). David recently completed two solo exhibitions in 2018: one at YYZ Artist Outlet, Toronto, Canada and the other at the Orleans Gallery (Ottawa School of the Arts), Ottawa, Canada. In September 2018 David also exhibited a new performance piece Oracular Spectacular for Locust Projects, Miami, Florida, USA for their 20/20 exhibition, in celebration of their 20 year anniversary.

SATURDAY, MAY 18 | Latitude 53, 10242-106 Street

12pm–1:30pm | Artist Discussion

2pm–5pm | Performances

“Dale a tu cuerpo (Training for performance #10)”,PASHIAS, For “SWAB Performance”, Barcelona – 2016,Photo: M. Medina


Tall & Vertical

Through his ongoing research regarding the relationship of the human body to systems of structural support, visual artist PASHIAS presents the live performance “Tall & Vertical” as an attempt to investigate the creator’s figure in terms of a pillar supporting an existing weight. As observed at the Acropolis of Athens, the Caryatids appear as the column support for the temple of Erechtion, connected to the maidens of Karyai – an ancient town of Peloponnese. Serving the temple dedicated to the goddess Artemis, the maidens are mythically depicted as dancing joyful women holding baskets of fruits, seeds and other sacred products used in feasts, on their head, in contrast to the still and stoic positioning of the female figure supporting a common roof at the Acropolis. This ritual act of servitude – joyful or stoic – depicts the process of ‘carrying’ in terms of honor or duty, fulfilling an eternal position of support. In a similar manner, PASHIAS employs the merging of human bodies with the structural necessities of architecture as observed in performance art, to investigate an individual’s duty in carrying out a task or upholding a responsibility, that is of service to a community or social ensemble.

Artistic Practice and Working Process
The practice of Greek Cypriot visual artist PASHIAS is grounded in the field of performance art, installation and photography, by establishing the artist’s body as basic material for creation. His work aims at the exploration of a ‘situation’ or environment, based upon the relationship of a unit towards an ensemble, in a similar manner that every social setting perceives a person – through the establishment of presence, exchange and co-existence.


PASHIAS has participated in solo and group exhibitions, as well as international festivals in the United Kingdom, France, Spain, Italy, Germany, Russia, Norway, Finland, Estonia, Sweden, Bulgaria, Turkey, Belgium and Brazil. More specifically, he has collaborated with cultural organizations, such as the Marina Abramovic Institute, Estonia Contemporary Art Museum, SESC São Paulo, Besancon Institut Supérieur des Beaux Arts, Mediterranean Biennale of Contemporary Art and Thessaloniki Biennale of Contemporary Art. PASHIAS co-founded in 2013 the epitelesis – Performance Art Foundation as an international platform for the support of cultural activities, has been engaged in curating exhibitions and series of events on the relationship of live action to other artistic practices and has been working as an educator/lecturer through various academic programs. More information available at:


To Not Die Alone: Mid-Air

The images of falling men being pushed off roofs because of their homosexuality were the starting point for Felix Roadkill’s previous performances in The Murder Series. For Zero Gravity, he no longer deals with the factuality of murder. Instead, the artist embarks on a search for a sensitive approach to the dialectics of falling-down and pulling-up. What happens to the falling men when they are pushed over the edge? They plunge down to the ground on which they hit and cease to be. Before they fall further into the earth’s interior? Or do they ascend in zero gravity? Roadkill is interested in the moment between fall and impact when anything would be possible, time and gravity could be released from their fatal connection. Considering his own body as a tool, Roadkill exposes himself to the kind of nausea that comes over you when you do not know what to do – even if the laws of physics could be refuted.

Artistic Practice / Working Process

Felix Roadkill is interested in aliveness, barriers, and death ever since he found a dead fox on the road of his childhood home. His performances bear witness to a fascination for the transient and its staging. Roadkill’s approaches, which ignore the limits of physical resilience, place physical vulnerability in the foreground of perception. From the interplay of his body with natural, yet industrially manufactured materials such as wood, coal, glass or cotton, Roadkill develops urgent images of collectivity and exceedance of limits, raising the question of the difference between externally inflicted violence and self-determined injury. The audience is addressed witnesses and occasionally involved as collaborators to complete a desired image. To date, Roadkill’s works can be subdivided into three thematic series: Fuchs, a critical discussion about Roadkill’s hometown; Murder, an aesthetic examination of public executions; To Not Die Alone, in which Roadkill contemplates dying as a social construct.


Felix Roadkill works at the interface of performance art, curation, and cultural education. Since studying Aesthetic Practice with Dr. Helge Meyer, he has mostly worked on solo-performances. Born in 1989 in Bautzen, Germany, he developed his interest in physical cross-border performances out of a longing for the real in art. In his curatorial work, Roadkill focuses on political art forms that contemplate intersectionality through race, class, and gender and generate innovative, audience-oriented formats of cultural education. He worked for art and culture institutions such as Gay Museum, and Maxim Gorki Theater in Berlin, Buergerbuehne in Dresden and Shotgun Players in Berkeley. Since 2018, he has been a board member of the Association for Performance Art in Berlin e.V. (APAB), where he is responsible for outreach and international cooperation. Felix Roadkill lives and works in Berlin and Vienna and exhibits his works worldwide in galleries and at festivals such as RiAP Québec, LAPSody Helsinki, ArTrend Taiwan, Dirty Debut Berlin, WIPAW Warsaw, among others.


Breaking the Silence

Breaking the Silence is a performative response to the deafening silence surrounding those enabling authoritarianism. Through a simple action, Coleman evokes the struggles of the working class, as they strive to be seen and heard in this era of favouring the one percent.

Artistic Practice and Working Process

Beau Coleman’s artistic practice is one of continual movement, encompassing the mediums of performance art, intermedia, site-specific performance, theatre, dance, video and installation. Themes of intimacy, isolation, suspension, grief and loss are interrogated in her work. In creating her performances, Beau finds raw material in the interplay with objects, physical response(s) to site, gestural movements, distillation processes, and found encounters with the unknown. Her work as a performance artist includes one-to-one, live actions, site-specific and durational works.


Beau Coleman is a multidisciplinary artist who whose work as a performance artist has received solo and group exhibitions across North America, Europe and in parts of Africa, Oceania and Asia. She has made work for a diverse range of locations and contexts, whether situated in galleries, festivals and/or site-specific locations. Recent performances include: Sisters Academy (30-day durational), Den Frie Centre for Contemporary Art (Copenhagen, Denmark, 2017); Walking Kindness, Unpack Studio (Havana, Cuba, 2017); Path of Longing, Luissa Catucci Gallery (Berlin, Germany, 2017); Let Me Tell You That I Love You (Distant Islands), Fluid States North (Copenhagen, Denmark, 2015); Culture House (Torshaven, Faroe Islands, 2015); Nuuk Art Museum (Nuuk, Greenland, 2015); Nuit Rose/Artscape (Toronto, 2014) and These Are Not My Mother’s Hands, Trinity Square Video (Toronto, Canada 2013). Beau is on faculty at the University of Alberta, where she specializes in contemporary performance and interdisciplinary creation and is the Co-Director of the new Faculty of Arts’ Signature Area in Research-Creation.

5pm–6:30pm | Patio Panel: Performance Art in Canada

8pm–11pm | Performances

F.KIAIS Dedicate 2dDay Image Credit: F.Olsevski



The fragility of the robin, as every tiny figure who moves migrating, overcoming borders, provides a parallel to the fragility and strength of those who, today, migrate facing humiliation and violence, finding even death in their path.

The flight of the robin is symbolically related to both lightness and gravity, bringing in itself, at the same time, the idea of extreme freedom and extreme coercition.

Artistic Practice and Working Process:

(aesthisi): that is, the feeling, the perception, the experience of the senses. The aesthetic knowledge leads us to consider the body as a center. But, only if they are aware of the context – and of the presence of the other that is beyond me, around me – the centrality of my body acquires a meaning. Without the other, I’m just in the middle of myself, isolated.

The work of Kiais (IT/GR) focuses on dialogue between contrasts and differences, bringing the specificity of places and peoples’ memories, to be activated poetically in an individual and collective ritual, played on the ground of the mutual presence, both corporeal and/or incorporeal, of the performer and of those who attends/participates in the experience of a performance.

Kiais works on the body’s gestures and images, as possibility to meet the others in the ephemeral territory of a common experience. The processes of meeting, clash, integration, division, collision, and of necessary coexistence and tolerance, and finally of relation, that characterize our social contradictions and lives and histories, converges in an aesthetic gesture/experience involving both the performer and the present people in a living image. In this process all media and materials can be used.


Kiais is a member of the curatorial board of the VENICE INTERNATIONAL PERFORMANCE ART WEEK and creator of the [mind the] G.A.P. – Gathering Around Performance, a platform based in Athens and focussed on Performance art. He has been invited as visitor lecturer by several Universities (Venice, Athens, Corfu, Florina), and to lead or participate in round-tables on Performance Art at institution of international level like the Benaki Museum, the Athens Biennale, SALT Istanbul, as well as at Festivals and cultural events. He worked as a facilitator and guest lecturer or leading a workshop for different educational programs on performance art, like PAS | Performance Art Studies (Athens and Venice), Transient Bodies (Istanbul), Performance now (Thessaloniki, University of West Macedonia), besides his involvement as a facilitator in The Marathon – Performance Art Workshop.

Crash Pad, 2018, dc3 Art Projects. Image Credit: Stephanie Patsula


Nothing I didn’t already know

My current practice focuses heavily on my ten-year catalogue of dreams, exploring the relationship between trauma, memory, and the body, and building on both past work and my ongoing interests in social systems and embodiment. I believe that the gravity of our dreams and their connection to a deeper meaning may be unveiled through re-visiting them in waking life. I’m interested in the potential for transformation, and the opportunity for a close examination of that transformation, in realizing my dreams. It is an experiment in awe and wonder grounded in cynical acknowledgement of the possible. For me, the art lies in unpacking how I might be changed through this process, and how that might change the world.

Artistic Practice/Working Process
As an interdisciplinary performance artist with a background in object-making, my work explores human relationships to “things” – both my relationship to things as object-maker and the audience’s relationship to those things, emotional and physical/tactile. I employ diverse materials and techniques from the low-craft to digital fabrication and performance.

Coming from the ‘outsider’ position of a queer woman with a fat body, I make work that challenges normative standards of the body, beauty ideals, gender and sexuality. Coming from the ‘insider’ position of an artist who’s worked for 20 years within the gallery system, my work addresses the performative/presentation context and the roles people play within it, including the performance of expected viewership behaviour. In my larger practice, I aim to employ a synthesis of both of these impulses. I also recognize my relative class and educational privilege, and want to use it to make space for those who do not. Curatorial and collaborative projects are thus essential facets of my creative practice. Key methods of intervention and collaboration allow me to work simultaneously from without and within the cultures/subcultures that form my communities.

Proposing methodological approaches that provoke risk, transgression, distance, and intimacy, I hope to enable a shift in focus from my body to others’ bodies, the othered body, and embodiment as a concept. So doing, the work can effectively build empathetic and egalitarian relationships within the presentation space.


Based out of Lethbridge and Edmonton, Alberta, Cindy Baker’s work is informed by a fierce commitment to ethical community engagement and critical social inquiry, drawing from queer, gender, race, disability, fat, and art theories. Baker’s interdisciplinary research-based practice moves fluently between the arts, humanities, and social sciences; she works with diverse materials and techniques from the low-craft to digital fabrication and performance, emphasizing the theoretical, conceptual and ephemeral aspects of her work. Baker’s practice draws from two decades of experience working and participating in art, queer, and fat communities; she has worked in non-profits throughout Western Canada. Currently, she is a sessional instructor at the University of Alberta, an independent facility development consultant, and contract art technician.

Baker holds an MFA from the University of Lethbridge where she received a SSHRC grant for her research in performance in the absence of the artist’s body. She has exhibited and performed across Canada from Open Space in Victoria, BC to Eastern Edge in St. John’s, NF, and internationally in cities including Los Angeles, CA, Minneapolis, MN, Richmond, VA, and Kuopio, Finland. Baker is represented by dc3 Art Projects in Edmonton.

Photo Credit: MANJAR-Setembro-2017-©-Renato-Mangolin


Dark Corner

Artistic Practice and Working Process

My artistic practice focuses on creating works that utilize my body, supporting conceptual elements, place, and the viewer to visualize power relations between the individual and the different contexts in which power operates. My body of work is dedicated to exploring social themes, including the nature of existence, cultural traditions, and social injustices that occur within and beyond my country of origin, Cuba. Themes that recur throughout my work include histories of racism, gender, immigration, and working with source communities as part of my commitment to communicate the issues that impact human dignity globally. Through my art, I criticize the western European values upon which the American hemisphere was colonized, specifically practices of institutionalized racism and xenophobia that have marginalized, segregated, exterminated, and oppressed non-white groups, including Latinxs and Caribbean immigrants in the U.S. and African immigrants in Europe, with special attention drawn to the struggle of undocumented immigrants.


Carlos Martiel (born 1989, Havana). Lives and works in New York and Havana. He graduated in 2009 from the National Academy of Fine Arts “San Alejandro,” in Havana. Between the years 2008-2010, he studied in the Cátedra Arte de Conducta, directed by the artist Tania Bruguera. Martiel’s works have been included in the 14th Sharjah Biennial, UAE; 14th Cuenca Biennial, Ecuador; 57th Venice Biennale, Italy; Casablanca Biennale, Morocco; Biennial “La Otra”, Colombia; Liverpool Biennial, United Kingdom; Pontevedra Biennial, Spain; Havana Biennial, Cuba. He has had performances at the Stedelijk Museum, Amsterdam, The Netherlands; La Tertulia Museum, Cali, Colombia; Centro de Arte Contemporáneo, Quito, Ecuador; Walker Art Center, Minneapolis, USA; The Museum of Fine Arts Houston (MFAH), Houston, USA; Museo de Arte Contemporáneo del Zulia (MACZUL), Maracaibo, Venezuela; Padiglione d’Arte Contemporanea, Milan, Italy; Robert Miller Gallery, New York, USA; Nitsch Museum, Naples, Italy. He has received several awards, including the Franklin Furnace Fund in New York, USA, 2016; “CIFOS Grants & Commissions Program Award” in Miami, USA, 2014; “Arte Laguna” in Venice, Italy, 2013. His work has been exhibited at The Museum of Latin American Art (MOLAA), Long Beach, USA; Zisa Zona Arti Contemporanee (ZAC), Palermo, Italy; Patricia and Phillip Frost Art Museum, Miami, USA; Benaki Museum, Athens, Greece; National Museum of Fine Arts, Havana, Cuba; Tornielli Museum, Ameno, Italy; Museum of Modern Art of Buenos Aires, Argentina; among others.

SUNDAY, MAY 19 | Mile Zero Dance, Spazio Performativo, 10816 – 95th St.

12pm–3pm | Performances


Performance Description

In this work invite my body into a dialog with a 6mm section of reflective glass at multiple intersections of my body, introducing a kinaesthetic element that changes the work as a negation of space occurs between my-self and the object. Throughout the duration of the performance I expand upon an exploration of the ephemerality of light, shadow, reflection and fragmentation. Through movements I hide and reveal new compositional arrangements in the space. Slow and considered confluences of body and object act as meditation over anthropocentric ritual and its relationship to the passage of time.

Artistic Practice / Working Process
Stephanie Patsula is an interdisciplinary artist. In her ongoing art practice she works to produce soundscapes, installation, sculpture, durational performance and photography. Across these media Patsula investigates a phenomenological analysis of object/subject relationship within her environment, decentralizing the artist herself. Relying on her own embodied self as a recurring site of exploration, she moves through and with selected environments. Historically, such performances took place predominantly in natural landscapes, bringing a repertoire of mirrors and documenting her spontaneous interactions with them. More recently, Patsula constructs artificial spaces rather than primarily utilizing naturalistic sites, thoughtfully curating rooms to accommodate research, embodying dynamic movements within built environments in order to explore the interplay between her active thematic perspectives. These performances often include altered kinetic values by the artists relationship to objects and a manner of movement to achieve sound.


Canadian artist Stephanie Patsula lives and resides in Edmonton Alberta where she is approaching her second year at the University of Alberta as an MFA candidate in multi-media practices. In 2015 Patsula was included in the partnering of AKA Artist Run Center in Saskatoon, Canada and Scheifmuiglasse 12-14in Vienna Austria that resulted in From Place to Space an exhibition curated by Tarin Dehod. Continuing in her professional practice as an emerging artist she has exhibited both nationally and internationally and is presently included in the Capture Photography Festival in Vancouver, British Columbia as well as Dyscorpia, an exhibition and symposium exploring future intersections of the body and technology that is in progress in her home city of Edmonton. Patsula’s interest in curation is not synonymous to her own artistic practices as she has curated a number of exhibitions. These include: Assembled, Pop-up Gallery Space sponsored by the Kamloops Art Gallery and Art of Giving & Receiving: Visual Narrative Expression at the Thompson Rivers Gallery in conjunction with the United Way of Kamloops. These experiences have led her to a vested interest in the arts and culture community where she invests time as an Art Educator with the City of Edmonton and an active artistic collaborator with various artists.

Image Credit: Julianna Barabas



Building upon the theme of the festival this performance will offer audience and artists moments to exchange emotions and release fears, hopes, and other emotions through emphatic interchanges through looks, touch, listening, smells, and tastes. Our lives are busy, complex and full this performance will allow chances for moments of tenderness, acceptance and calm.

Artistic Practice / Working Process

For the past thirteen years Todd Janes’ artistic research has concentrated around intimacy and empathy primarily involving one-on-one performances with individuals from a very wide variety of of socio-economic places throughout places in Canada. These interventions and shared performance can last a few minutes to the longest lasting 30 hours and often take the form of furtive practices without official documentation and approval.


Todd Janes is a contemporary artist with a background in movement and spoken word. He has performed throughout Canada for over 20 years. He was Mile Zero’s artist in residency in 2007 with a year-long process that still threads through his current research practices. Currently, his work examines themes of intimacy and kindness and sites for positive change.

Mathieu Léger PERFform 17SCKS81 Credit Annie France Noel


In Regard to Rendering / Dilapidating Symbols in a (Creatively) Destructive Era

As much as the world seems increasingly precarious, dangerous, or complicated, we must force ourselves to be optimistic, otherwise, the alternative is dire and meaningless. In a sequence of actions referring to the potential of both optimism and pessimism, the artist will attempt to suggest meaning through the poetic use of simple materials that contain history and mythology. Materials and objects used in this performance underline our desire to discover and our use of capital, which are challenging the inherent philosophical reasons behind accumulation of wealth and the meaning of prosperity.

In a sequence of actions, the artist will use elements to conjure multiple narratives that articulate material meaning through time. During this performance, the artist intends to refer to ways that scientific process can manipulate literary ideas, mythologies, and quotidian behaviours. By using materials such as salt, flowers, and charcoal, the artist ponders the significance of each, and how their combination becomes alchemical or mythological. Performance artists tell stories in visual, material, and kinaesthetic ways; we must not be afraid to make both mental leaps and logical links between things.

Artistic Practice / Working Process

I am a serial artist in residence. Artist’s residencies have become an integral part of my practice over the past 20 years both at home and abroad. My residency practice investigates notions of displacement, identity, territory, and memory. I am informed through experience. My work strives to contribute meaningful, poetic content to the world through language and art. In my performance practice, recent themes explore ideas around permanence, impermanence, and the potential between these states. Through observation, I reflect on the world, its inhabitants, and my place within it. My physical volume seeks to engage with society through poetic actions that hopefully result in meaningful experiences that help people engage the world, its systems, and the interrelation between it all.


Mathieu Léger hails from the Maritime region of Eastern Canada. Serial artist-in-residence, he has participated in more than 60 artist’s residencies. Léger holds a Bachelor of Arts (Literature / Fine Art – Université de Moncton, 01998). His work reflects on ideas surrounding wilderness, geological time, and process related activities of the natural world. Scouring time, place, and space, his projects are delivered through performance, textworks, photography, and video/sound installations. He is currently developing several long-term projects that investigate the physicality of spatial awareness through performance, sound, and image. He shares his time between far away places and Moncton, NB, Canada.

Title: Untitled, Location: Toronto, ON, Date: 7a11d Festival, 2012, Photo Credit: Henry Chan



The gravity of our world situation is accompanied by the pervasive anxiety and shame of our contemporary condition. The performance is an action that feels through the pain of having collectively worked to destroy the ecosystem that sustains us and having failed to dismantle the colonial and patriarchal systems that oppress us. In a seated action, I gently reference the ancient Catholic action of self-flagellation as a means to create a visual image encompassing both shame and healing. I combine this action with the Druidic tradition of communication with trees which act as conduits of messages from the sublime. During the performance I ask the trees for assistance in transforming this anxiety and shame which blocks us from love, resilience, positive action, and the hope of future possibility.

Artistic Practice / Working Process

I research and visit sites of collaboration relevant to the work I am developing. For this performance, I have learned about trees through daily observation. I have noticed how the trees surrounding me have changed through the turn of the season. This transformative knowledge is gathered as a kind of experiential and emotional material. I create visual analogies and metaphors with the images I present, and I make visible alchemical processes of emotive transformation. By generating a visual image and working through the elements and progression of the work in my mind, I rehearse works mentally for several months prior to performing. I imagine what the work looks like outside myself, since I am physically ‘inside’ it. In effect,
I cultivate the ‘fantasy of reception’, which I then communicate to the viewer.


Irene Loughlin is an artist whose practice centres upon investigations of performativity, colonialism, feminism and resistant, ecological and neuro-diverse perspectives. Her work gives visual representation to disavowed experiences such as the suppressed realities of depression and dissociation. Performance art allows the artist to dismantle immediate negative associations; in performance art ‘shame’ is transformed into ‘beauty’ and vice versa. Therefore, she undertakes performance in order to experience and share its alchemical properties. She works with visual imagery that comments upon our contemporary emotive discourse, particularly in relation to the anxiety and shame of living in the early 21st century, at a time when we are facing major challenges to our continuity as a species.

Loughlin has studied at the University of Toronto (MVS), Simon Fraser University (BFA), OCA (AOCA) and the SVA and NSCAD Studio Programs in New York. She has been awarded the Lynch Staunton Award, Canada Council for the Arts, for mid-career, interdisciplinary practice. Her presentations include the Disability Culture Symposium (University of Michigan), the UAAC Conference (OCAD, Toronto) and the Performance Studies International Conference (New York University). She is the author of numerous essays and conference proceedings, including publications in Mousse magazine (Milan) and Fillip (Vancouver).

4pm–6pm | Long Table Discussion | Location: Zocalo (next door to Mile Zero Dance)

7pm–10pm | Performances

… It’s cup for the other (uptime and downtime)

Concept Thoughts:

The Live Action with its movement in a given location is equipped with several attempts of semiotic defiance and uncertainty. Formations of the body’s action maneuver in unstructured, pre-defined territories between thought, intuition and impulse. Multiple exchange of uncontrollable energy investment tests the momentary engagement with the spirit-mind grasp of materials as objects.
Zero Gravity could be at the pivotal of the indetermination of presupposed laws of gravitation, which at the center of a philosophical quest could determine a physical image and function of the planet earth. This image in any case is impossible to imagine as a whole. Thus its parts become a larger unknown factor to be visualized. There is defiance of attraction observed in space. Some of the prerequisites are the existence of matter noticeable by gravitation.
A less circular installation and position allows for a multi-variable exertion of how the body may interpret and simplify a chain of non-reactive behavior in a public space and beyond.
There is a different formation of matter and materials when two masses attract each other, and the closer the attraction, i,e. the distance, the stronger the gravitation!? – or the stronger the repulsion.
The temptation potential is the action itself.

Artistic Practice and Working Process:

Glausnitzer (DE) examines several aspects of collecting objects, the recollection of past ideas and images, voice and autobiography by means of ‘Performance Art’ and ‘Performance for the Camera’. There is a process of understanding ‘Self’ as portraiture or as non-linear actions in space. Three-dimensional images reflect a temporary trueness to the artist’s enquiry, and inventive methods facilitate to re-position herself in the world of Life’s occurrences. Negotiations between being in the ‘now’ in the absence of image concurs with projections of data and material of planning.


Live Actions and exhibitions took place in the USA, Germany, UK, France, Scotland, Denmark, Austria, New Zealand, Cyprus, Finland. She has been part of the Month of Performance Art, MPA-B Berlin 2012, 2013, 2015 and presented Live Performances and Performance Art Workshops at 1st and 2nd Cyprus International Performance Art Festival 2013 and 2014, Live Performance Work with epitelesis – Performance Art Foundation in Athens 2014 at ArtWall Gallery and 2015 LAPSody Helsinki, International Performance Art Conference, TEAK with Live Performances, Lecture and Workshop Day, 2015 co-facilitating Berlin Performance Art Workshop with Zierle & Carter at Cell63, 2015 Athens co-facilitating Performance Art Workshop – The Marathon – with PASHIAS, Francesco Kiais and Zierle & Carter hosted by epitelesis – Performance Art Foundation, China 2015 Live Art Tour #2, Beijing, Tianjin, Shen Zhen, January 2016 Solo Exhibition and Live Performances Kunstfoerderverein Schoeningen, Exhibition and Live Performances at Parabiosis, Chongqing Museum of Contemporary Art, China, June 2016 facilitating Performance Art Workshops in Beijing and Tianjin, China, September 2016 co-facilitating – The Marathon – Performance Art Workshop with PASHIAS, Francesco Kiais and Zierle & Carter in Cyprus, Nicosia.



Bringing together notions of gender, containment and the group, this piece draws on drag, dada and camp aesthetics. In this work the artist interacts with objects that gesture at questions of domesticity, territory and power: a cake, a chain link gate, makeup and an apron. Finally the audience is compelled to become participate through the simple gesture of helping to eat the cake. Darkly humorous, this piece is intended to both amuse and unsettle, and to instill in the audience an uneasy awareness of our complicity in the underlying power tensions that dominate our current social climate.

Artistic Practice and Working Process
I draw on my experiences of promiscuity, transness and un-belonging to inform my performance experiments. In my current work I explore the intersections of colonial, cowboy and leather imaginaries, performing as a leather daddy who engages in erotic encounters with nature. These performances seek to elicit questions of power, landscape and masculinity, asking how our desires inform how we relate to place, land and the sexualized body.


Migueltzinta Solís was raised in Mexico and California. An interdisciplinary artist, he works in various visual mediums including performance, video, textile and installation. He favors questions of power, gender, territory, perversity, institutional intrigue and the North American West. Migueltzinta holds a BA in Interdisciplinary Studies from The Evergreen State College in Washington State. He is a second-year graduate student at the University of Lethbridge.

He is very gay and very trans.

Photo: Courtesy of Canonge Studio NYC. Copyright © Hector Canonge, 2018


LEV-EDAD (Lightness)

LEV-EDAD (Lightness) is a new performance by Hector Canonge created for the Zero Gravity International Performance Art SUMMIT. LEV-EDADA (Lightness) – a word play that can also mean a specific time period – treats notions of temporal and psychological displacement while reflecting on the ever-changing nature of personal relations. Through a series of actions and corporal resistance, Canonge creates an experience that speaks of his personal migratory experience, and the universal human condition to find oneself in relation to the world.

Artistic Practice and Working Process

I am an interdisciplinary artist working at the intersections of Visual Performance Art, interactive installation, experimental cinema, and movement based narratives. My work integrates various means of communication and artistic production using physical environments, new-media technologies, and interactive narratives that prompt public engagement, dialogue, and reflection. Based on notions of geography, identity, gender roles, and the politics of migration, I explore issues that affect diverse urban communities. My performance art work mediates the somatic relation between objects and human corporeality. My performances are characterized for their endurance, ritualistic processes, and movement explorations. My work treats issues related to constructions of Self, social (re)presentation, and (re)construction of private and public spheres incorporating historical, literary, and cultural references.


Hector Canonge is an interdisciplinary artist, curator, and cultural producer based in NYC. His work incorporates Visual Performance Art, Multimedia Installation, Experimental and Butoh Dance, and Social Practice to treat issues of identity, gender roles, and migration politics. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully produced performance projects involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, performance art work, and literary readings have been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge is the person behind the creation and implementation of programs and platforms such as: ITINERANT, the Annual Performance Art Festival of NYC; ARTerial Performance Lab (APLAB), a transcontinental initiative to foster collaboration among performance artists from the Americas; PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the United States and Europe; LiVEART.US, the monthly program at the Queens Museum. He also organizes the annual performance art platform, NEXUS presented during Miami Art Basel, directs the International Performance Art Festival of Santa Cruz de la Sierra, LATITUDES, in Santa Cruz de la Sierra, Bolivia, and in 2019 launched AUSTRAL, Performance Art Festival Buenos Aires in Argentina.


Ghost Days

Ghost Days is an ongoing project Evoking our colonial and non-colonial histories that exist in the light of night as in the darkness of the day, GHOST DAYS awakens a collaboration with artists, audience, and spirit.

Artistic Practice and Working Process

Terrance Houle is an internationally recognized interdisciplinary media artist and a member of the Blood Tribe. Involved with Aboriginal communities all his life, he has travelled to reservations throughout North America participating in Powwow dancing along with his native ceremonies. Houle utilizes at his discretion performance, photography, video/film, music and painting. Likewise, Houle’s practice includes tools of mass dissemination such as billboards and vinyl bus signage.


A graduate of the Alberta College of Art and Design, Terrance Houle received his B.F.A in 2003. In 2004 he received the award for Best Experimental Film at the Toronto ImagineNATIVE Film Festival and in 2006 he received the Enbridge Emerging Artist Award. Houle’s work has been exhibited across Canada, the United States, Australia, the UK and Europe. Most recently, Houle has been touring his multimedia project GHOST DAYS across Canada. His work is also featured in the Alberta Art Gallery 2018 exhibition LandMark and is part of the gallery’s permanent collection. Houle maintains his practice and lives in Calgary, Alberta.