\nProgram duration is approx. 55 minutes. Descriptions provided by the artists. \nTony Nash\, Fabric\nDigital video\, 1:47 min\, 2025\nA funny interpretation about some things that happened to me\, based on facts \nJames John Gibbons\, WIYMMEIN?\nDigital video\, 5:22 min\, 2025\nIn this short documentary\, it follows the narrative of three different interviews and the interviewee’s most memorable experiences involving nature. Interviewees are presented with the same question at the beginning of each interview and the results vary greatly. Leading into fun stories involving personal accounts with nature. Each story is presented using varying visual techniques\, such as 2D digital animation\, stop-motion animation\, live-action footage\, and more! Warning: Explicit Language \nAmanda Besl\, An Illustrated Guide to Flowering Houseplants\nDigital video\, 5:10 min\, 2024\nMy experimental film\, An Illustrated Guide to Flowering Houseplants\, began as a reaction to the questionable and frustrating advice to “Bloom where you are planted” and follows both a woman and a Venus Flytrap\, one of which blooms by the end of the film. In truth\, an unhappy plant is just as likely to die as it is to flower when trapped in an inappropriate environment. I was interested in applying ideas of ecofeminism to an indoor garden to suggest an outgrown intimate relationship. The aesthetic reflects that of a vintage gardening show from the early 1970’s evoking ideas of outdated instruction subverted by personal experience. The soundtrack includes found audio from a public domain marriage training film from 1950. The surreal nature of the life within the paisley curtain references the short story The Yellow Wallpaper by Charlotte Perkins Gilman. I was also inspired by filmmaker Maya Deren and her disorienting 1943 film\, Meshes of the Afternoon. \nGrace LaPrade\, Rain\nDigital video\, 1:19 min\, 2022\nIn this charcoal animated short\, a dog is sent out into the rain\, which turns into a flood. \nEmily Engel\, Tired Old Dog\nDigital video\, 3:11 min\, 2025\nTired Old Dog is an original song written by local musician\, Tyler Westcott and animated by Emily Engel. This project was a part of a beautiful collaboration between us and the life we shared with our beloved companion\, Princess Buttercup. It explores interconnected themes of love\, grief\, and spirituality. Animations made using analog rotoscoping techniques. Created by printing out individual frames and drawing over them with paint markers and oil pastels. They are then scanned back in and edited with After Effects and Premier Pro. \nChace Lobley\, Lego Rex: The Movie\nDigital video\, 2:22 min\, 2025\nThe film is called Lego Rex. There is a lizard\, pterosaur\, T-rex\, and a triceratops. I was inspired by the dinosaurs and their behavior\, how they behave like no other animals in nature. I was inspired by the ways of the Mesozoic era. \nJennie Thwing\, The World Said No\nDigital video\, 8 minutes\, 2025\nThe World Said No is a short animation based on the question\, “What if nature decided to fight back?” It is an allegorical animation about ecological apathy and its consequences. It was animated using a combination of cell animation and stop motion. \nCorinne Teed\, Feral Utopias\nDigital video\, 7:20 min\, 2016\nFeral Utopias is a multi-channel animation that incorporates studio recordings of LGBTQ subjects and scans of 19th-century wood engravings carved by colonial naturalists. Digitally collaged together\, the animation presents a speculative\, other-worldly space. Audiences are immersed in multi-voiced narratives that reveal cross-species alliances in a time of ecological devastation. Participants attest to the ways they have survived homophobia\, settler colonialism\, patriarchy\, and alienation through identification with animal species. \nIn her essay Melancholy Natures\, Queer Ecology\, Catriona Mortimer-Sandilands writes “Recent queer scholarship on melancholia… is focused exactly on the condition of grieving the ungrievable: how does one mourn in the midst of a culture that finds it almost impossible to recognize the value of what has been lost?” Mortimer-Sandilands presents the embrace of melancholy as a political stance – preserving the beloved that society does not value. Relating the devastation of HIV/AIDS with that of climate change and extractive industries\, she offers a framework for queer ecology. From this stance of melancholy\, Feral Utopias documents voices and portraits of those on the margins. In the process\, we collaboratively define our existent\, ecocidal dystopia while articulating possibilities of alternative futures. \nMorgan Sears-Williams\, Through the Bushes and the Trees\, You’ll Find Me\n16mm on digital video\, 3:38 min\, 2024\nthrough the bushes and the trees\, you’ll find me intertwines the personal and political histories of Hanlan’s Point Beach\, the site of Canada’s first pride gathering in the early 1970s. A hole punch serves as a symbolic peephole\, reflecting the cruising areas on the beach that invite both spectatorship and participation. By situating the tender moments of queer affection amidst the vast body of water surrounding the Toronto islands\, the film celebrates and interrogates the histories and spaces of queer love and resistance. \nThis work was made by hole punching frame by frame using a cricut machine\, then manually taping together 10\,000+ frames. Digital scan and print made by Niagara Custom Lab. \nJelena Oroz (Director)\, No Room\nDigital video\, 6:22 min\, 2024\nThe cars are everywhere and they show no consideration for others. It’s time to get revenge! Produced and distributed by Vanja Andrijevic. \nStacey Sproule\, Sojourn\nDigital video\, 3:42 min\, 2025\nCentred on the South Shore of Ontario’s Prince Edward County\, a place of significant bio-diversity as well as a high density flight path for migratory songbirds\, Prince Edward County is also a popular tourist destination. This work was a meditation on access to nature\, land\, and temporary stays. The work is a way to grapple with rapid development\, loss of public access to nature and the ongoing destruction of habitat both in Prince Edward County and across the province. \nTia Brown\, re_set\nDigital video\, 1:23 min\, 2025\nHow do you reset in these challenging end times? \nAline Höchli\, Caries\nDigital video\, 9:41 min\, 2025 \n“Eager to create a monumental work of art\, a shaman remains blissfully unaware that she is painting her murals inside the mouth of a vain weather presenter. I like to tell stories that distort the world as we understand it. In my film Caries\, the disease that gives the story its title is not caused by acid-eroded tooth surfaces but by the inhabitants of the oral cavity smearing the teeth with wild murals. With this playful narrative style\, I want to encourage the audience to question the basic assumptions we hold about the world. Behind the absurd plotlines\, you can recognize connections to our reality. For example\, while brushing his teeth\, the weather presenter triggers a storm for the inhabitants of his oral cavity: so many of our everyday actions have a far bigger impact elsewhere in the world than we realize at first glance. Indeed\, the three cavepeople\, abruptly torn from their familiar surroundings because someone spits in another’s soup\, may prompt thoughts about immigration policy.” Distributor: Vanja Andrijevic \n
\n\nAline Höchli is an artist specializing in animated film and illustration. She studied film in the animation department at the Lucerne University of Applied Sciences and Arts HSLU\, graduating in 2015. She founded KOLOSS Studio in 2016. Aline currently lives and works in Bern. Filmography: Caries (2025)\, Why Slugs Have No Legs (2019)\, Kuckuck (2017)\, He Sö Kherö (2016\, graduation film). \nAmanda Besl is an experimental filmmaker and painter living in Buffalo\, NY. Besl holds an MFA from the Cranbrook Academy of Art\, Bloomfield Hills\, MI and a BFA from SUNY Oswego. She uses natural history as a platform to explore social issues. She was awarded a 2024 NYSCA grant for Temple of Hortus\, a botanically inspired installation of 2-d\, 3-d\, and video work questioning curated and commercial approaches to nature\, hybridization\, mutation and collection. Besl is represented by ArtResource and her 2022 solo exhibition Blue Mythologies at The Raft of Sanity gallery began her foray into experimental filmmaking. \nChace is currently a practicing artist in Starlight Art WOW program at the Buffalo AKG Art Museum. Chace began making dinosaurs around the age of 14 when he got “play clay” as a Christmas gift. When asked what he enjoys about dinosaurs he said he found an intensity about the creatures that inspired him to think about “their behavior and design – how they were made”. He enjoys sharing his creative output with his family and friends. \nCorinne Teed is a research-based artist working in printmaking\, book arts\, time-based media\, and social practice. Their work lives at the intersections of queer theory\, ecology\, and critical animal studies in the context of settler colonialism. Much of their creative practice centers on relationships\, through collaboration\, participation\, interview-based research\, and encounters with the more-than-human. Their work is supported by ongoing relationships with communities working toward social justice and ecosystem health. Teed currently works as an Assistant Professor in Printmaking at Tyler School of Art at Temple University in Philadelphia\, PA. \nEmily Engel is a Buffalo\, NY-based artist and designer whose work reflects her unique perspective and personal experiences. Her artistic practice encompasses a range of mediums\, including chainstitch embroidery\, motion graphics\, and printmaking while blending both traditional and contemporary techniques in her work. \nGrace LaPrade is an artist from Buffalo\, New York. She works primarily as an illustrator for picture books\, but her roots go back to experimental animation\, having specialized in stop-motion matchbox NASCAR races at the age of 9. In books and animation\, she loves visualizing stories that explore what it means to be human in our world\, whether that be through small curiosities or grand imaginations. She uses analog processes to create tactile drawings that reflect the imperfect\, weird\, and awesome layers of being alive. \nMy name is James Gibbons. I am a 20 year old student who is currently attending SUNY Fredonia in New York. I major in Animation/Illustration at college and have loved drawing and animating for my entire life. I find my creative direction tends to lead in a more comedic direction\, I hope you like what I have to show! \nJennie Thwing is an artist\, animator\, and educator. She has received multiple awards\, including the 2014 Meyer Family Award for Contemporary Art\, an Environmental Art Project Grant at the Schuylkill Center\, a 2013 – 15 Center for Emerging Artists Fellowship; a 2014 SPARC Artist in Residence grant\, a 2014 & 2019 Queens Arts Fund Grant\, and Wyoming Council for the Arts 2024 Individual Artist Grant and a 2025 New York State Council on the Arts Support for Artists Grant.\n \nJelena Oroz (1987) graduated with a BA in Fine Arts Education from the Academy of Arts in Osijek. In 2014\, she obtained her MA degree in Animated Film and New Media from the Academy of Fine Arts in Zagreb\, where she now works as a tenured professor. Jelena’s films have screened at numerous festivals around the world and won many awards. Filmography: No Room (2024)\, Letters From the Edge of the Forest (2022)\, Two for Two (2018)\, Wolf Games (2015\, graduation film)\, Fakofbolan: Forever or Never (2013\, music video)\, Comeback (2012\, student film)\, Waiting Room (2011\, student film) \nMorgan Sears-Williams (she/her) is an interdisciplinary artist and cultivator based in Toronto and Vancouver. Her practice reflects themes of feminist queer histories\, collective memory and exploring the materiality of moving images by using organic film developers. Investigating the use of analog film both as a form of projected image and as a sculptural material\, her current research focuses on how lived experiences inform queer aesthetics and articulations of memory and gender. Using plant-based film developers (also known as eco-processing) requires the artist to work directly with the film\, which results in an intimate collaboration among material\, concept\, and aesthetic. Bridging eco-processing\, experimental film and queer history (both personal and political) she aims to create intimate experiences for viewers to expand their ideas of queer space and time. She has exhibited her works across Turtle Island and internationally and was the recipient of the Roloff Beny Award in 2022\, Pandora Y. H. Ho Memorial Award and the Artscape Youngplace Career Launcher in 2017. In support of her artwork and research\, Morgan received the graduate scholarship from the Social Sciences and Humanities Research Council in 2023\, and has received grants from the Canada Council for the Arts and the Ontario Arts Council. Morgan was a founding member of The Rude Collective\, a queer arts collective amplifying voices of marginalized queer folks in Toronto. \nStacey Sproule is a Picton-based multi-disciplinary artist working in hand-drawn animation. Using and subverting animation techniques and processes she explores the liminal\, the ephemeral\, and the magical. She holds a BFA from OCAD in Drawing and Painting. Her work has been supported by the OAC\, she has received a full fellowship from the Vermont Studio Center\, and has exhibited at Forest City Gallery\, FADO\, the Art Gallery of Mississauga\, and others. Her work has been featured in festivals including 7a*11d International Performance Art Festival\, Les Sommets du cinéma d’animation\, the Rhubarb Festival\, and the West Virginia Mountaineer Film Festival. \nTia Brown is a multidisciplinary creative. They are the former editor of Utterance and their work has been featured in One for One Thousand\, CivicScience\, truthout\, and Qween City. Projections is an audiovisual examination of grief\, emotional uncertainty\, nature\, and the human. \nTony Nash: I am an artist living in Buffalo. \n \nSponsors\n \nVilla Maria College is the Reel Sponsor of Squeaky Wheel’s Animation Fest. Thank you to our sponsors Buffalo Spree\, Rigidized Metals\, Locust Street Art\, PUSH Buffalo\, Delaware Council Member Joel Feroleto\, Rich Products\, TriMain Center\, Harlequin Pet Service\, Hodgson Russ LLP\, Lumpy Buttons\, Buffalo State College Communication Dept\, Evolve Fitness\, New York State Senator Sean Ryan\, and the Buffalo AKG Art Museum. \nBanner image: A still from Jelena Oroz’s No Room. Drawings of cars with cat like single eyes and legs on a street. A person is watching them from the window. URL:https://squeaky.org/event/squeaky-wheels-22nd-animation-fest/ LOCATION:Buffalo AKG Art Museum\, 1285 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/09/NoRoom_07.jpg GEO:42.9324531;-78.87566 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Buffalo AKG Art Museum 1285 Elmwood Avenue Buffalo NY 14222 United States;X-APPLE-RADIUS=500;X-TITLE=1285 Elmwood Avenue:geo:-78.87566,42.9324531 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250926 DTEND;VALUE=DATE:20251213 DTSTAMP:20260412T114505 CREATED:20250915T201718Z LAST-MODIFIED:20251009T205629Z UID:10001249-1758844800-1765583999@squeaky.org SUMMARY:Radiation Borders DESCRIPTION:Opening Friday\, September 26\, 6–8pm\nOn view through December 12\, 2025\nSqueaky Wheel presents a group exhibition of work that traces the borders\, and lives inside and outside of nuclear toxicity. The four artists in the exhibition – through video essays\, 3D game environments\, illustration\, and more – investigate the violence\, responsibilities\, and destruction unleashed by nuclear technology\, and with it\, ruminates on the past\, present\, and futures of lives under threat of radiation. \nThe exhibition features work by Dion Smith-Dokkie (Treaty 8 territory in the Peace River region of BC and Alberta)\, Elizabeth Tannie Lewin (New York\, NY)\, Hanae Utamura (Troy\, NY and Berlin\, Germany)\, and Inas Halabi (Jerusalem\, Palestine and Amsterdam\, Netherlands); we are proud to bring back the work of two of our former Workspace Residents\, Hanae Utamura (2021) and Elizabeth Tannie Lewin (2018) for this exhibition. The exhibition is funded by Teiger Foundation. \nVisiting the exhibition\nThe exhibition features eight illustrated works and three video installations. Installations feature seating and room to navigate mobility devices. See Squeaky Wheel’s accessibility information here\, and see captioning and subtitle information for individual works below. The exhibition is on view\, Tuesday–Saturday\, 12–5 pm and by appointment. To make an appointment\, including fully masked visits\, email office@squeaky.org \nPublic programs\nFriday\, September 26\, 6–8 pm\nOpening of the exhibition\, with remarks by Curator Ekrem Serdar at 7 pm. \nWednesday\, October 15\, 6–8 pm This event is being rescheduled.\nCuratorial tour with Ekrem Serdar. \nFriday\, October 24\, 7 pm\nSpecial Event | Bit Depth\, Episode 1: Nuclear Set. With an artist talk with Elizabeth Tannie Lewin and Dana Tyrell\, a performance by Katie Weissman\, and films by Arwa Aburawa and Turab Shah\, Tomonari Nishikawa\, and the 1958 3D “documentary” Doom Town. \nWednesday\, November 6\, 7 pm\nScreening | Peter Blow’s Village of Widows: The Story of the Sahtu Dene and the Atomic Bomb \nFriday\, December 12\, 6–8 pm\nClosing and curatorial tour with Curator Ekrem Serdar. \nGallery\n\n\n
\n\nDescriptions provided by the artists \nDion Smith-Dokkie\, DECENTRALIZED TREATY 8 AUTHORITY\nVOLUME 3: UNCHAGA-ASINIYWACIYA CONFLUENCE APPENDIX A\, ENGLISH TRANSLATION 2207\, FEBRUARY\nText and digital illustrations printed on Duratrans and lightboxes\, 2018 \nI use Google Earth satellite images as source material for digital collages about land\, community and transformation. This image forms part of a series depicting northeastern British Columbia in the year 2207. The Nuclear and Oil Winters\, and the concurrent dissolution of the Canadian State\, triggered the development of the Decentralized Treaty 8 Authority (DT8A) as a sovereign\, Indigenous-led body in the region. Lingering environmental dangers necessitated the designation of large\, encompassing exclusion zones. This map and others illustrate how to safely navigate these saturated\, unnatural landscapes. One image in this work was commissioned by the Initiative for Indigenous Futures as part of the Illustrating the Future Imaginary series. \nInas Halabi\, We Have Always Known the Wind’s Direction\nSingle channel digital video with sound\, Arabic with English subtitles\, 11:59 min\, 2019 \nWe Have Always Known the Wind’s Direction has an outward subject and an inward one. Via a gear-shifting combination of conversation\, interview and expressive location footage\, it probes the possible burial of nuclear waste in the South of the West Bank. But as the footage cycles between fragmented conversations with a nuclear physicist and landscapes that are uneasily underscored by what we hear (and sometimes tinted an ill-omened red)\, another context emerges. In various ways\, the delivery of information is thwarted\, withheld\, or delayed \, and the film comes to turn on issues of representation and conveyance. The isotope Cesium 137\, invisible but deadly\, could be seen as a synecdoche for a more ungraspable invisibility – the systemic networks of power and control in the region – and this work as a meditation on how to account for the un-filmable but inexorable. \nElizabeth Tannie Lewin\, Nuclear Set (Rough draft)\nDigital video\, 10 min\, 2017–present \nThe invention of the internal combustion engine and broadcast radio marks a dramatic shift in our inherent understanding of time and space. It also marks a moment in history when the conventions of war begin to rapidly change. \nNuclear Set interweaves Jorge Luis Borges’s Library of Babel\, poetry by Maquis\, Rene Char\, the journals of Italian Futurist\, Filippo Tommaso Marinetti\, historical footage of the United States’ nuclear testing in the Marshall Islands\, and a 3D video game landscape of Bikini Atoll to speculate a future that will survive our extinction. \nHanae Utamura\, Spring Water\, Fault\, Body\nSingle channel digital video with sound\, Japanese with English subtitles\, 16:34 min\, 2021 \nThis work is based on performance workshops filmed during the fall 2019 residency at the Aomori Contemporary Art Center (ACAC)\, as well as footage shot at various locations in Aomori Prefecture and at the Horonobe Underground Research Center in Horonobe\, Hokkaido\, which conducts research and development on geological disposal technology for high-level radioactive waste. The structural video work Spring Water\, Faults\, and the Body is a performance piece. \nThis video consists of two parts. Superimposed onto the first part is the voice of the artist reading aloud the memoirs of her scientist father\, who used to be involved in the field of nuclear energy engineering. Utamura recounts how the “I” in the memoir grew up among animals and nature\, how he became fascinated with the phenomena of the natural world\, and how he chose nuclear energy as his specialty amid the turbulence of Japan’ s period of rapid economic growth. In contemporary society\, all issues are intricately intertwined with each other. Within this work\, representations of human beings\, nature\, and animals are equivalent substitutes for each other. “I\,” the father\, is represented as a tree\, while the family\, a unit connected by blood\, is linked to other species on this Earth. The temporal axis of human life is superimposed on the Earth’ s temporal axis\, which encompasses the 4.5 billion years since it came into being. \nThe scene of a goat giving birth that “I” saw as a child is superimposed onto the geological strata of the buried forest from the last glacial age in Dekijima\, Aomori Prefecture\, where coniferous trees from about 28\,000 years ago are preserved in the strata. The scene where the goat finishes giving birth and eats up the placenta is superimposed onto images of strata of reddish-brown cyanobacteria in a buried forest trickling with raindrops. Cyanobacteria were the first to photosynthesize and deliver oxygen to the Earth 3 to 2.5 billion years ago. \nThe tree as the “I” of the memoir is represented by silver ribbons flowing from the branches of the tree that represent light and invisible wind currents. In the memoir\, these silver ribbons might represent the trends of the times\, or instruments of experimentation. In the final scene in the sky overhead in the first part\, the artist walks on a mixture of ice and water that could break at any moment\, and encounters a tree with silver ribbons fluttering in her direction\, ending the first part. The scene of the spring water in Gudari Swamp in Tashirotai\, where melted snow from Hakkōda in Aomori gushes out\, represents an emission of the memories of life that have continued from our human ancestors\, a recurrence of the subject — circulating water released by tracing the path of a fault plane created by fluctuations in the Earth’ s crust. The work is recounted through the actions of the artist\, who became a mother during its creation\, as she reads aloud the childhood memoirs of her Father. The difference between the voice of the speaker and the subject of the story naturally raises the question of the history of gender differences. This reading aloud is an act of performance that imagines new subjects\, including non-humans\, in order to transcend the concept of the “individual” brought about by modernity. \nThe second part takes place underground\, where research is being conducted at the Horonobe Underground Research Center\, becoming a space-time where the past and future intersect\, with no humans as subjects. The subjects of the story are multiple “others\,” such as machines\, technology\, and geological formations. The only language involved is the English subtitles: the voices of the speakers disappear. The “fault” in the subtitle “Who is at fault?” is used with the double meaning of both a geological fault\, and responsibility. \nThe second part features vitrified nuclear waste to be disposed of in a geological formation. Glass is a material used in vitrification\, a technology for solidifying nuclear fission products (high-level radioactive liquid waste) together with glass materials. The glass materials of the future\, which store the energy waste that has sustained our civilization\, will be disposed of after passing through nuclear power plants and reprocessing plants\, hidden in deep geological strata. The fault planes of the strata distorted by human mining operations move with the howling of the Earth. They also provoke earthquakes caused by human activities that may occur in the future. \nFilming Location: Aomori Contemporary Art Centre (ACAC)\, Aomori Hotoke-ga-ura seashore\, The Submerged Forest in Dekijima seashore\, Spring Water of Gudari Swamp Higashi Hakkouda Tashiro Highlands\, Hokkaido Horonobe Underground Research Center\nCoorporation: Aomori Contemporary Art Centre(ACAC)\, istyle Art and Sports Foundation\, Squeaky Wheel’ s Workspace Residency.\nParticipants of Performance and Workshop: Satoko Kawamura\, Sonoko Shibata\, Daisuke Sugiura\, Miho Izumida\nWorkshop filmed by: Masanori Yokoyama\nSound for Chapter 1: ‘Echo Fantasy I’ (Composed by Eva-Maria Houben\, Performed by Ensemble Ordinary Affects)\nSound for Chapter 2: Aaron Michael Smith \n
\n\nDion Smith-Dokkie is a painter and visual artist who resides on Treaty 8 territory in the Peace River region of BC and Alberta. In broad strokes\, he is interested in location and place\, infrastructure\, and communication. Smith-Dokkie’s work has shown at a number of venues in Vancouver\, including the Polygon Gallery\, Gallery Gachet\, and Morris and Helen Belkin Gallery; he has also shown work at The Bows in Calgary and at the Art Gallery of Grande Prairie. Alongside art practice\, he enjoys writing about art\, having published in ReIssue\, Galleries West\, SAD Magazine\, and other venues. Dion is of mixed European-Indigenous (Dunne-za\, Cree\, Saulteaux) descent and is a member of West Moberly First Nations. \nElizabeth (Betsy) Tannie Lewin is a digital media artist interested in: technology\, landscape\, identity\, disappearance\, history\, and utopia. \nHanae Utamura is a Japanese interdisciplinary artist and an educator based in New York and Tokyo. Her work engages with historical memory\, questioning the notion of progress in modernity\, ecology and technology. Utamura’s media include video\, performance\, installation\, and sculpture. She connects human beings and earth\, using the physical human body as a conduit. She explores negotiations and conflicts between the human and the non-human\, and how all the varieties of the wills of life manifest such as in the field of science. By decentralizing the human perspective\, Utamura diversifies historical narratives\, and enters the imagination of nature. She received her Master of Fine Art at Chelsea College of Art and Design\, and her Bachelor of Fine Art at Goldsmiths\, University of London. Utamura has received support through numerous international residencies and fellowships including International Studio & Curatorial Program (NY)\, Akademie Schloss Solitude (Stuttgart\, Germany)\, Künstlerhaus Bethanien (Berlin)\, PACT Zollverein (Essen\, Germany)\, Art Omi (Hudson\, U.S.)\, Santa Fe Art Institute Residency\, Aomori Contemporary Art Center (Japan)\, National Museum of Contemporary Art\, Changdong Art Studio (Seoul\, S.Korea)\, Seoul Art Space_GEUMCHEON (Seoul\, S.Korea)\, Florence Trust (London\, U.K.) and more. She has been awarded NYSCA grant\, More Art Engaging Artist Fellowship\, NYFA Immigrant Artist Mentoring Program\, Shiseido Art Egg Award\, Grant program by the Japanese Ministry of Culture\, the Pola Art Foundation\, UNESCO-Aschberg Bursary Award\, and Axis/Florence Trust Award. She has been exhibited extensively in Asia\, Europe and U.S. She was a visiting scholar at New York University in 2019\, supported by Japanese Ministry of Culture\, Japanese government as a part of Japan – United States Exchange Friendship Program in the Art. \nInas Halabi (b.1988\, Palestine) is an Artist/Filmmaker. Her practice is concerned with how social and political forms of power are manifested and the impact that overlooked or suppressed histories have on contemporary life. Recent exhibitions and screenings include Luleå Biennial (2024)\, Hot Docs Canadian International Documentary Festival (2023)\, de Appel Amsterdam (solo 2023)\, Showroom London (solo 2022)\, Europalia Festival\, Brussels (2021)\, Silent Green Betonhalle\, Berlin (2021); Stedelijk Museum\, Amsterdam (2020); and Film at Lincoln Center\, USA (2020). Her recent work has been supported by Amarte\, Amsterdam Fonds Voor de Kunst (AFK)\, Mondriaan Fund\, and Sharjah Art Foundation. She lives and works between Palestine and the Netherlands. \n \nBanner image: Still of Inas Halabi\, We Have Always Known the Wind’s Direction (2019). A red and pink tinted filtered image of a Palestinian landscape with white subtitles. The subtitles state “TO CAPTURE AN IMAGE OF THE AREA ACCORDING TO THE LEVELS OF CESIUM 137”. URL:https://squeaky.org/event/radiation-borders/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/09/inas-halabi.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250918T190000 DTEND;TZID=America/New_York:20250918T213000 DTSTAMP:20260412T114505 CREATED:20250916T153503Z LAST-MODIFIED:20250916T215919Z UID:10001250-1758222000-1758231000@squeaky.org SUMMARY:Latin American Film Festival: Sofía Gallisá Muriente DESCRIPTION:Thursday\, September 18\, 7 pm\nFree or suggested donation\nSqueaky Wheel is excited to host the Latin American Film Festival with artist and filmmaker Sofía Gallisá Muriente! Muriente\, a visual artist from San Juan\, Puerto Rico\, will showcase her films that have been shown at venues such as the Museum of Modern Art\, the Smithsonian Museum\, and the Whitney Museum. She will screen her film Celaje (2020) . Ms. Muriente will take part in a conversation and Q&A following the screening\, including clips from her other short films such as Foreign in a Domestic Sense (co-directed with Natalia Lassalle-Morillo\, 2021). You can watch a profile of Ms. Muriente here. The 2025 Latin American Film Festival is organized by the University at Buffalo Department of Romance Languages and Literatures and CAS Office for Diversity\, Equity\, and Belonging and is a three-night celebration of Latin American cinema! Each evening will feature powerful films that highlight the Latin American diaspora through people’s lives\, histories\, and cultures. For more information\, see the flyer here or contact Donte McFadden\, CAS Unit Diversity Officer at dontemcf@buffalo.edu. \nAttendees: Please note that you cannot enter Tri-Main Center after 7:30 pm. Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Click here to see parking\, transportation\, and accessibility information. \nCelaje (Cloudscape)\n16mm and Super8 film with various treatments\, 41min\, 2020 \nCelaje (Cloudscape) oscillates between intimate chronicle\, dream and historical document. Combining images in Super 8 and 16mm\, hand development techniques and original music by José Iván Lebrón Moreira\, the piece weaves together en elegy to the death of the colonial project and the sedimentation of disasters in Puerto Rico. Memories move around like clouds\, images rot and age\, and the traces of the process are visible on the film and in the country\, like ghosts. \nIt is the third and final part of Assimilate & Destroy\, a series of works that examine the relationship between climate and memory in the tropics\, where nature imposes impermanence. \nBiography of the artist\nSofía Gallisá Muriente (b. 1986\, San Juan\, Puerto Rico) is a visual artist whose practice claims the freedom of historical agency\, proposing mechanisms for remembering and reimagining. Her works employ text\, image and archive as medium and subject\, exploring their poetics and politics. Sofía has been a fellow of the Cisneros Institute at MoMA\, Smithsonian Institute\, Puerto Rican Arts Initiative\, US LatinX Art Forum and others. Her work has been recently exhibited in Documenta Fifteen\, MoMA\, the Whitney Museum\, the Smithsonian Design Triennial\, MoCA TAipei\, Savvy Contemporary\, Museo de Arte Contemporáneo de Puerto Rico\, and galleries such as Proxyco\, El Kilómetro and Embajada. She has participated in artistic residencies with the Vieques Historical Archive (Puerto Rico)\, Alice Yard (Trinidad & Tobago)\, Headlands Center for the Arts (California)\, FAARA (Uruguay)\, and Fonderie Darling (Montreal)\, among others. From 2014 to 2020\, she co-directed the artist-run organization Beta-Local in San Juan. She was invited to curate the exhibition In Dispersion at VisArts Maryland in 2022\, featuring image-based works from Puerto Rican artists negotiating diasporic experiences throughout the world. In 2023\, she published the artist book Observatorio de lagunas: notas de campo with Editorial Educación Emergente. She lives and works in Puerto Rico and is currently a United States Artist Fellow (2024) and Trellis Art Fund Milestone grantee (2025). \nImage: Photograph of the artist by Erika Rodríguez. URL:https://squeaky.org/event/latin-american-film-festival-sofia-gallisa-muriente/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/09/SOFIA-GALLISA.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250729T180000 DTEND;TZID=America/New_York:20250729T190000 DTSTAMP:20260412T114505 CREATED:20251230T191648Z LAST-MODIFIED:20251230T191648Z UID:10001234-1753812000-1753815600@squeaky.org SUMMARY:Kayleigh Young's To Looking DESCRIPTION:Tuesday\, July 29\, 6 pm\nFree or suggested donation\nRSVP below\nTo Looking is a portrait of process and presence. Structured around a semester of hands-on assignments\, from tulip drawings to fingerprinting\, this short film explores the intersection of scientific inquiry and artistic expression. At the center of the story is the Coalesce Center for Biological Art at the University at Buffalo\, where such boundaries are intentionally blurred. Through conversation with the center’s founder and director\, Paul Vanouse\, and close observation of his Art and Life class\, To Looking offers a glimpse into a distinctive kind of learning environment where undergraduates from both the sciences and the humanities are confronted with new ways of seeing and making. Created as a Master of Science thesis project\, To Looking invites viewers to reconsider the divide between objectivity and subjectivity; between what we know and how we come to know it. \nAttendees: Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information. \nBiography\nKayleigh Young is a first-generation American photographer and filmmaker working at the intersection of art and science. Born in New Jersey and raised on a steady stream of science-fiction films\, Kayleigh developed a fascination with the strange and uncanny. She has a BS in Integrative Informatics from Allegheny College and is a candidate for an MS in Media Arts and Sciences at the University at Buffalo. Kayleigh draws from her background in the critical study of natural sciences\, posthumanism\, and media theory to create emotionally resonant films that support public understanding of complex scientific topics. Kayleigh’s work is centered on the belief that documentary film is a powerful tool for scientific literacy and civic engagement. She uses filmmaking to not only tell stories\, but to investigate the systems and interfaces through which knowledge is shared. URL:https://squeaky.org/event/kayleigh-youngs-to-looking/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Thesis presentation ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/07/Young-Film-Screening-Image.jpeg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250522 DTEND;VALUE=DATE:20250628 DTSTAMP:20260412T114505 CREATED:20251230T191647Z LAST-MODIFIED:20251230T191647Z UID:10001232-1747872000-1751068799@squeaky.org SUMMARY:Call for submissions: Squeaky Wheel's 22nd Animation Fest! DESCRIPTION:Deadline: June 27\, 2025\, 11:59 PM\nNotification Date: August 22\, 2025\nSqueaky Wheel announces the call for submissions for our annual Animation Fest! Celebrating its 22nd year\, we are proud to continue a festival showcasing short films and artworks made in a diverse variety of animation techniques\, including stop-motion\, claymation\, 3D animation\, hand-painted film\, motion graphics\, and more. All genres are welcome. Past festivals have showcased work from both rising artists as well as established artists. \nThe 22nd Animation Fest will be held online and in-person in Fall 2025. Films in the virtual program will be accessible for 24 hours thereafter for general audiences\, and 72 hours for Squeaky Wheel members. If selected\, you will be asked for a downloadable copy of your film and stills from your film. \n\nEach individual submission should not exceed ~10 minutes.\nThere is no submission fee.\nAll selected artists will receive a screening fee of $100 per selected film. (International applicants must have a Paypal account to receive their screening fee).\nAll selected artists will receive a one year membership to Squeaky Wheel.\nMultiple submissions per artist are accepted.\nFilms must have been completed within the past ~2 years.\n\nArtists who face systemic and structural barriers are encouraged to apply. Please direct any questions about the application process and your submissions to Ekrem Serdar at ekrem@squeaky.org \nClick here to submit your films\nImage description: Documentation from the 20th Animation Fest retrospective at North Park Theater. A projection in a darkened movie theater. On the screen is the word “Filmmakers!”\, which is from Helen Hill’s 2004 short film Madame Winger Makes a Film: A Survival Guide for the 21st Century. URL:https://squeaky.org/event/call-for-submissions-squeaky-wheels-22nd-animation-fest/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Open Call,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/05/North-Park-Helen-Hill.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250520T180000 DTEND;TZID=America/New_York:20250520T210000 DTSTAMP:20260412T114505 CREATED:20251230T191646Z LAST-MODIFIED:20251230T191646Z UID:10001230-1747764000-1747774800@squeaky.org SUMMARY:Seed Songs for Palestine DESCRIPTION:Tuesday\, May 20. 6–9 pm; screening at 7 pm\nat Duende (85 Silo City Row\, Buffalo\, NY 14203)\nRSVP below. Free. Click here to learn more about the “Revive Gaza’s Farmland” programme at Arab Group for the Protection of Nature.\nSqueaky Wheel is excited to present an evening of short films to benefit the farmlands of Gaza. The screening\, curated by wave~form~projects and re:assemblage collective\, includes work by Alanis Obomsawin\, Cecilia Vicuña\, Nicolás Grandi and Lata Mani\, Marwa Arsanios\, Rana Nazzal Hamadeh\, and Ryley Williams. This event has taken place in locations across the world\, including in cities such as Cape Town\, Glasgow\, Jakarta\, Oaxaca\, Toronto\, and cities across the U.S; we are excited to present it in Buffalo. \nHow to get to Duende: The event will take place at Duende\, on the second floor. The address is 85 Silo City Row\, Buffalo\, NY 14203. Duende is located at 85 Silo City Row. Turn off of Ohio Street onto Silo City Row\, then drive through the gate into Silo City. You will be driving through an active construction site. Parking is just past the bar. Duende is a 2-story building on the right hand side just past the red caboose train car. Please note that the second floor is only accessible with stairs. \nThe Revive Gaza’s Farmlands Project was initiated by Golo Besmlah in collaboration with Arab Centre for the Protection of Nature. Curated by wave~form~projects and re:assemblage collective. The Buffalo iteration of this program is presented by Squeaky Wheel\, in collaboration with Silo City\, Jewish Voice for Peace – Buffalo\, the Food Systems Planning and Healthy Community Lab at the University at Buffalo (aka UB Food Lab). Special thank you to Dee Hartman\, Noura al Khasawneh\, Samina Raja\, Toleen Touq\, and all our partners. \nAbout the program\nThe event will begin at 7pm. Doors will open at 6pm. There will be brief introductions and talks by associates of UB Food Lab\, Jewish Voice for Peace\, and Squeaky Wheel ahead of the films. We will have samosas available from Ali Baba Kebab and some bottles of water. The bar of Duende will be open through the event. \n“The films in Seed Songs for Palestine engage themes of seed sovereignty and Indigenous resilience\, highlighting the intrinsic connections between land\, culture\, and self-determination. Delving into the symbolic and practical importance of seeds\, plant life\, and relations with land as forms of resistance and continuity for Indigenous communities\, the films interrogate the dynamics of freedom and survival in the face of environmental and colonial oppression\, while also offering poignant reflections on both the fragility and resilience of existence. Collectively\, they illuminate the vital role of seed sovereignty in asserting Indigenous rights and preserving cultural heritage. This collection of shorts presents a rich tapestry of voices and radical perspectives that have existed from time immemorial\, considering the intersections of ecological stewardship and self determination which continue to disperse across fertile lands.” – wave~form~projects and re:assemblage collective. \nFilm program\nDuration: 74 minutes \n\nCecilia Vicuña\, Semiya (Seed song) (2015\, Chile\, 8 mins)\nAlanis Obomsawin\, Farming (1975\, Canada\, 2 mins)\nRana Nazzal Hamadeh\, We Would Be Freer (2023\, Palestine/Canada\, 9 mins)\nMarwa Arsanios\, Who is Afraid of Ideology\, Part I & II (2017-2019\, Lebanon/Iraqi Kurdistan\, North and East Syria\, 39 mins)\nRyley Williams\, it’s amazing that you still exist (2021\, Canada\, 4 mins)\nNicolás Grandi and Lata Mani\, Nocturne I (2013\, India\, 5 mins)\n\nSupplemental material from the curators and our partners\nVideo: The Untold Revolution: Food Sovereignty in Palestine (26 mins)\, Ameen Nayfeh\, 2021 \nVideo: Seeds are meant to disperse (8.5 mins)\, Christina Battle\, 2022. More information. \nReading: Forgotten history: a vision for Palestinian refugees’ agricultural self-sufficiency\, Nadi Abu Saada\, 2023 \nReading: Planning and Food Sovereignty in Conflict Cities: Insights From Urban Growers in Srinagar\, Jammu and Kashmir by Raja\, S.\, Parvaiz\, A.\, Sanders\, L.\, Judelsohn\, A.\, Guru\, S.\, Bhan\, M.\, … Frimpong Boamah\, E. Journal of the American Planning Association\, 2022 \nReading: UB’s Food Lab partners with prominent Kashmiri poet Zareef Ahmad Zareef to celebrate an important Indigenous green called haak\, University at Buffalo\, 2024. Read more about UB Food Lab’s global work here. \n\nBanner image: A still from Rana Nazzal Hamadeh\, We Would Be Freer (2023\, Palestine/Canada\, 9 mins) URL:https://squeaky.org/event/seed-songs-for-palestine/ LOCATION:Duende\, 85 Silo City Row\, Buffalo\, 14203\, United States CATEGORIES:Screenings,Special Event ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/04/Seed-Songs.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250510T190000 DTEND;TZID=America/New_York:20250510T213000 DTSTAMP:20260412T114505 CREATED:20251230T191631Z LAST-MODIFIED:20251230T191631Z UID:10001229-1746903600-1746912600@squeaky.org SUMMARY:No Other Land DESCRIPTION:Saturday\, May 10\, 4 pm and 7 pm\nat Hallwalls Contemporary Art Center (map)\nDoors open at 6:45 pm. Registration highly recommended; click here to register.\nBoth screenings are now sold out.\nThis free screening (92 minutes) will be followed by a discussion lead by LOLA and Jewish Voice for Peace Buffalo. \nA collective of Palestinian and Israeli activist/filmmakers chronicle the Israeli military’s incremental expulsion of the West Bank community of Masafer Yatta — home to 20 ancient Palestinian villages — in this tightly focused\, urgent documentary. Over a period of five years (2019–23)\, Masafer Yatta resident and Palestinian journalist Basel Adra shoots video of home\, school\, water well\, and road demolitions (legalized by the area’s conversion to an IDF training zone) and their consequent protests by displaced residents. Israeli journalist Yuval Abraham — free to move about while Adra’s movements are constricted — takes this nonviolent fight to a wider platform. The two form a complicated friendship and hopeful partnership in their efforts to resist a government-sanctioned mass eviction. \nPresented in partnership with Squeaky Wheel Film & Media Art Center\, Hallwalls Contemporary Arts Center\, LOLA\, Jewish Voice for Peace Buffalo\, and Buffalo Int’l Film Festival. \nFurther reading\nBasel Adra\, Our film is going to the Oscars. But here in Masafer Yatta\, we’re still being erased\, +972 Magazine\, February 10\, 2025 \nAnthony Kaufman\, No Other Distribution: How Film Industry Economics and Politics Are Suppressing Docs Sympathetic to Palestine and Critical of Israel\, Documentary Magazine\, January 15 2025 \nMary Turfah\, “No Other Land” for Whom?\, Mubi Notebook\, February 11 2025 \nBanner image: A man laying on a grassy and rocky knoll. A tractor is visible behind him. URL:https://squeaky.org/event/no-other-land/ LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/03/no-other-land.jpg GEO:42.8937279;-78.8753531 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hallwalls Contemporary Art Center 341 Delaware Avenue Buffalo NY 14202 United States;X-APPLE-RADIUS=500;X-TITLE=341 Delaware Avenue:geo:-78.8753531,42.8937279 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250423T190000 DTEND;TZID=America/New_York:20250423T203000 DTSTAMP:20260412T114505 CREATED:20251230T191631Z LAST-MODIFIED:20251230T191631Z UID:10001227-1745434800-1745440200@squeaky.org SUMMARY:Songs of Memory and Forgetting: Films by Assia Djebar\, Inas Halabi\, Onyeka Igwe\, Tiffany Sia DESCRIPTION:Wednesday\, April 23\, 7 pm\nFree or suggested donation\nGet tickets below\nSongs of Memory and Forgetting brings together three short films by Inas Halabi\, Onyeka Igwe\, and Tiffany Sia\, along with Assia Djebar’s essential 1982 anti-colonial classic\, The Zerda and the Songs of Forgetting. The artists in this screening take on archives and collective memories: where we search for and see them\, their possibilities and limitations in crafting a collective future. Part of the public programs of The Image in its Absence\, the screening complements the works in the exhibition. Catering\, including vegetarian options\, will be provided by Ali Baba Kebab. \nAttendees: Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information. \nThe screening is funded by Teiger Foundation. The films are courtesy of the artists and Video Data Bank (for Tiffany Sia)\, Lux (for Onyeka Igwe)\, and Arsenal (for Assia Djebar).’ \nStills\nA still from Onyeka Igwe’s No Archive Can Restore You. A blue bunch of 16mm film on a dusty floor.A still from Assia Djebar’s The Zerda and the Songs of Forgetting. A French person shooting with a 16mm camera. An Algerian man wearing a burnous is to his right\, looking at him. The French mans gaze and lens is past the Algerian.A still from Inas Halabi’s MNEMOSYNE. A woman sitting on a couch outside. The subtitles state “they placed all the young men from the village on a truck and took them to the Lebanese border”A still from Tiffany Sia’s What Rules the Invisible. Five people looking at a landscape in an old home movie.\nProgram\nTotal duration ~90 minutes. Descriptions courtesy the filmmakers and distributors. \nInas Halabi\, Mnemosyne\nDigital video\, 14 minutes\, Arabic with English subtitles\, 2016-2017 \nThe title of the work is borrowed from the Titan goddess of memory and the ‘inventress of language and words.’ The starting point for the project is a scar on the forehead of the artist’s grandfather. The scar was a result of a bullet shot in his direction by an Israeli soldier in the late 1940’s. Focusing on the sagas of myth and the construction of memory\, members of the same family are filmed individually as they narrate their version of the same event. By scratching the surface of family history\, the project explores the scar as a foundational hinge that arranges reality. The project also considers how one can play the role of a historian when the primary source is no longer there. ‘We do not remember. We rewrite memory much as history is rewritten.’ As such\, recollection becomes an act of transformation rather than reproduction. \nTiffany Sia\, What Rules the Invisible\nDigital video\, 9:50 minutes\, English and Cantonese\, 2022 \nWhat Rules The Invisible is a short film that upends archival travelog footage shot in Hong Kong. Spanning reappropriated amateur footage across the 20th century\, the sojourner’s gaze—distanced\, distorted and even voyeuristic—shows tropes and patterns. The same shots repeat across decades\, from landscape to cityscape to street scenes. Sometimes the footage reveals more about the traveler himself\, such as a sequence where the camera curiously tracks the hips and bare legs of women wearing cheongsam crossing a busy intersection. Sia’s essay film studies these travelogs to find indignant subjects glaring back at the camera\, or figures on the edges of the frame who appear pixelated and phantasmic\, showing the patina of the footage’s circulation. Meanwhile\, intertitles intermittently puncture this footage with an oral history of Hong Kong\, as told by Sia’s mother who describes colonial police\, excrement and hauntings in Kowloon of the postwar era. The viewer is left to imagine these scenes there are no images for. \nOnyeka Igwe\, No Archive Can Restore You\nDigital video\, 5:54 minutes\, 2020 \nThe former Nigerian Film Unit building was one of the first self-directed outposts of the British visual propaganda engine\, the Colonial Film Unit\, stands empty on Ikoyi Road\, Lagos\, in the shadow of today’s Nigerian Film Corporation building. The rooms are full of dust\, cobwebs\, stopped clocks\, and rusty and rotting celluloid film cans. Amongst these cans\, a long-lost classic of Nigerian filmmaking\, Shehu Umar (1976) was found in 2015. The films housed in this building are hard to see because of their condition\, but also perhaps because people do not want to see them. They reveal a colonial residue\, that is echoed in walls of the building itself. Taking its title from the 2018 Juliette Singh book\, No Archive Can Restore You depicts the spatial configuration of this colonial archive\, which lies just out of view\, in the heart of the Lagosian cityscape. Despite its invisibility\, it contains purulent images that we cannot\, will not\, or choose not to see. The film imagines ‘lost’ films from the archive in distinctive soundscapes\, juxtaposed with images of the abandoned interior and exteriors of the building. This is an exploration into the ‘sonic shadows’ that colonial moving images continue to generate. \nAssia Djebar\, La zerda et les chants de l’oubli (The Zerda and the Songs of Forgetting)\n16mm film on digital video\, 59 minutes\, Arabic with English subtitles\, 1982 \nFor La zerda et les chants de l’oubli\, Algerian writer Assia Djebar changed her field and recapitulated the colonization of the Maghreb using French newsreels. Through editing\, the film seeks in these “images of a killing gaze” the truth they precisely don’t reveal\, the “resistance behind the mask.” The soundtrack combines polyphonic chants and experimental music to create a furious elegy to colonial violence. Djebar creates a complex picture of Algeria’s colonial history\, focusing particularly on the role and portrayal of women during this period. Screenplay by Malek Alloula. \nBiographies of the filmmakers\nAlgerian-born\, Muslem raised\, Paris-educated\, Assia Djebar (1936- 2015) tackled all genres: poetry\, plays\, short-stories\, novels and essays. In her books Djebar explored the struggle for social emancipation and the Muslim woman’s world in its complexities. Several of her works deal with the impact of the war on women’s mind. She wrote\, directed\, and edited her own films\, winning the Biennale prize at the 1979 Venice Film Festival with her very first attempt\, La Nouba des Femmes du Mont Chenoua (The nouba or “ritual” festival of the Women of Mt. Chenoua). She staged her own plays and both translated and directed the plays of others (Amiri Baraka’s\, for example). In 2000\, she authored an operatic libretto\, Filles d’Ismaël dans le vent et la tempête (Daughters of Ishmael\, through wind and storm). Based on her 1991 narrative on the life of the Prophet\, Far from Medina\, this oratorio was performed to excellent reviews in Rome and at the Palermo Arts Festival. A second version\, in classical Arabic this time\, is commissioned for future performance in Holland. Djebar is one of North Africa’s most famous and influential writers\, and was elected to the Académie française on June 16\, 2005\, the first writer from the Maghreb to achieve such recognition. She won the following awards: Peace Prize of Frankfurt Book Fair (2000); International Prize of Palmi (Italy); Marguerite Yourcenar Prize for Literature (Boston\, MA); International Literary Neustadt Prize (1996); International Critics Prize\, Biennale of Venice\, for the film “La nouba des femmes du Mont Chenoua.” (08/18) – Biography via Women Make Movies \nInas Halabi (b.1988\, Palestine) is an Artist/Filmmaker. Her practice is concerned with how social and political forms of power are manifested and the impact that overlooked or suppressed histories have on contemporary life. Recent exhibitions and screenings include Luleå Biennial (2024)\, Hot Docs Canadian International Documentary Festival (2023)\, de Appel Amsterdam (solo 2023)\, Showroom London (solo 2022)\, Europalia Festival\, Brussels (2021)\, Silent Green Betonhalle\, Berlin (2021); Stedelijk Museum\, Amsterdam (2020); and Film at Lincoln Center\, USA (2020). Her recent work has been supported by Amarte\, Amsterdam Fonds Voor de Kunst (AFK)\, Mondriaan Fund\, and Sharjah Art Foundation. She lives and works between Palestine and the Netherlands. \nOnyeka Igwe is an artist and researcher working between cinema and installation. She is born and based in London\, UK. In her non-fiction video work Onyeka uses dance\, voice\, archives\, sound design and text to create structural ‘figure-of-eights’\, a format that exposes a multiplicity of narratives. The work comprises of untieable strands and threads\, anchored by a rhythmic editing style\, as well as close attention to the dissonance\, reflection and amplification that occurs between image and sound; in the work as much in life\, what is said and what we see are not always the same thing. www.onyekaigwe.com \nTiffany Sia (b. 1988) is an artist\, filmmaker\, and writer. Sia’s films have screened at TIFF Toronto International Film Festival\, New York Film Festival\, MoMA Doc Fortnight\, and elsewhere. She has had solo exhibitions at Artists Space\, New York; Maxwell Graham Gallery\, New York; and Felix Gaudlitz\, Vienna. Sia is the author of On and Off-Screen Imaginaries (Primary Information\, 2024)\, a compendium of essays that makes a case for fugitive\, exilic cinema\, moving beyond national identity and the politics of place as a critical lens. Her work has been included in group exhibitions at Museum of Modern Art\, New York; Fondazione Prada\, Milan; Seoul Museum of Art\, Seoul and elsewhere. Her essays have appeared in Film Quarterly\, October\, and more. The recipient of the Baloise Art Prize in 2024\, Sia has given talks at Dia Art Foundation\, Stanford University\, and has taught at Cooper Union. The artist and filmmaker’s work at its core challenges genre. Working across mediums\, her multidisciplinary practice materializes across multiple forms from films\, video sculptures\, artist books\, scholarly essays\, and more. Sia’s work blends nonfiction with poetics and theoretical inquiry. Her formal explorations confront questions about the representation of memory and place\, relating especially the imaginaries of exceptional and irregular polities beyond the national (from Hong Kong to elsewhere). Throughout\, her conceptual focus remains in the struggle to represent historical time\, geography\, and the limits of official records. Sia currently lives and works in New York. \nBanner image: A still from Onyeka Igwe’s No Archive Can Restore You (2020). A blue and green bunch of 16mm film on an uneven\, dusty\, and mud encrusted floor. URL:https://squeaky.org/event/songs-of-memory-and-forgetting/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/03/Screenshot-2025-03-13-at-3.40.11-PM-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250416T180000 DTEND;TZID=America/New_York:20250416T200000 DTSTAMP:20260412T114505 CREATED:20251230T191632Z LAST-MODIFIED:20251230T191632Z UID:10001223-1744826400-1744833600@squeaky.org SUMMARY:Found-Footage and Archival Experimental Filmmaking with G. Anthony Svatek and Kaija Siirala DESCRIPTION:Wednesday\, April 16\, 6–8 pm\nFree or suggested donation. Limited capacity.\nRegister below\nIn this special workshop led by G. Anthony Svatek (Brooklyn\, NY) and Kaija Siirala (Hamilton\, ON)\, participants will learn about creative approaches and strategies for making experimental films using no-cost archival\, found\, and/or reappropriated materials. Resources for both image and sound archives will be explored\, as well as examples of historical and contemporary artists who work with such materials\, including work by Bruce Conner among others. Students will also gain basic knowledge of legal frameworks for re-appropriating images and sounds\, including acquiring material releases\, credit attribution\, and frameworks such as Creative Commons among others. Open to anyone new to making artist-driven and non- commercial found-footage filmmaking. \nAttendees: Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information. \nThis event is part of the Spring session of Squeaky Wheel’s Workspace Residency\, funded in part by the National Endowment for the Visual Arts and Teiger Foundation. \nBiographies of the artists\nHaving grown up at the foot of the Austrian Alps\, G. Anthony Svatek is awed by the living world and how it is increasingly impacted by our techno-urban lives. Anthony’s work screened at NYFF\, Intl FF Rotterdam\, Ann Arbor\, Big Sky\, Prismatic Ground\, DOCNYC\, amongst others. Supporters include NYSCA\, Simons Foundation\, Austrian Cultural Forum NY. He is the recipient of the New Visions Golden Gate Award at SFFILM. Commissioned work includes projects for NYS Parks\, BBC\, Deutsche Welle\, and Pioneer Works. He has staffed seasonally at the Flaherty Film Seminar\, The Climate Museum\, and the American Museum of Natural History. \nKaija Siirala works in documentary media as a picture editor\, sound designer and educator. She has a keen interest in process-based collaboration and storytelling that pushes against the bounds of classical narrative structures. Films she has worked on have screened at the National Gallery of Canada\, True/False Film Festival\, Camden International Film Festival\, MoMI First Look\, Hot Docs\, DOC NYC\, Big Sky\, AFI fest\, IDFA\, DOK Leipzig\, Flaherty Seminar 2023\, Prismatic Ground and as a New York Times Op-Doc. Her audio work has appeared on the BBC\, On Air Fest and in installation contexts. She was a member-in-residence of the Meerkat Media Collective in Brooklyn\, NY from 2016-2018. In May 2018\, she completed her MFA in Integrated Media Arts at Hunter College (CUNY) and is now based in Hamilton\, ON. \nBanner image: Audience of seated men attending a petroleum conference in the 1950s overlaid with a waterfall in a National Park. Courtesy of G. Anthony Svatek URL:https://squeaky.org/event/found-footage-and-archival-experimental-filmmaking-with-g-anthony-svatek-and-kaija-siirala/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/03/Workshop-Still.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250411T190000 DTEND;TZID=America/New_York:20250411T210000 DTSTAMP:20260412T114505 CREATED:20251230T191632Z LAST-MODIFIED:20251230T191632Z UID:10001208-1744398000-1744405200@squeaky.org SUMMARY:Meet the Residents: G. Anthony Svatek & Kaija Siirala\, Kyla Kegler\, Sue Ding DESCRIPTION:Friday\, April 11\, 7 pm ET\nIn-person at Squeaky Wheel and online\nFree or suggested donation\nGet tickets below\nSqueaky Wheel is pleased to present this hybrid artist talk with our Spring 2025 Workspace Residents! G. Anthony Svatek & Kaija Siirala (Brooklyn\, NY and Hamilton\, ON)\, Kyla Kegler (Buffalo\, NY) and Sue Ding (Los Angeles\, CA) will be presenting on their previous and current projects\, along with a Q&A with the residents moderated by curator Ekrem Serdar. \nFor in-person attendees: The event will take place at Squeaky Wheel. Please note that you cannot enter Tri-Main Center after 7:30 pm. Catering from Ali Baba Kebab\, with vegetarian options\, will be provided. \nFor online attendees: A private link will be sent to you; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nDirector G. Anthony Svatek & editor and sound designer Kaija Siirala will be working on the post-production of Humboldt USA\, an experimental documentary about the legacy of 19th century queer German geographer Alexander von Humboldt. Long before today’s globalized world – rapid travel\, the internet\, artificial intelligence\, etc. – Humboldt made a radical proposal while reflecting on his travels through the Americas: nature as “one great whole\,” an interconnected web-of-life. His ideas planted the seeds for Western environmentalism and information science\, earning him such global notoriety that no other person’s name has been given to as many places\, species\, and things – none of which Humboldt ever saw or named himself. The film was shot in three locations across the United States\, including Buffalo’s Humboldt Parkway\, with key protagonist Terry Robinson of the East Side Parkways Coalition\, highlighting the community’s struggle against solidifying the expressway with the “toxic tunnel” project\, as proposed by the New York State Department of Transportation. \nKyla Kegler will be working on Care-Core\, a multi-channel video installation examining self-care\, collective care\, somatic knowledge\, and utopian responses to individualistic culture. Drawing on historical\, contemporary\, and embodied care practices\, the project will explore how people want to give and receive care\, imagining post-capitalistic and sustainable structures for interdependent living. The research considers the tension and incongruities between collective ideals and individualistic agendas; between ego and altruism. It investigates the mechanisms of human prosperity and happiness — mapping alternative ways of living with and for one another in the face of an ever escalating global eco- political catastrophe. \nSue Ding will be working on The Spectacle of Her Appetites\, a two-channel video installation exploring female hunger and its portrayal on screen. Appropriating footage from popular films and television\, the project interrogates the cinematic language of women and food\, tracing intersections of desire\, shame\, and discipline. \nWorkspace Residency is supported by Teiger Foundation and the National Endowment for the Arts. Special thank you to Kiesha Lillian Adamczyk-Bennett at Faith Real Estate Services\, Inc. and William Marcus Bennett at Bennett Home Inspection for sponsoring this session of the residency. Learn more about the program here: squeaky.org/workspace-residency \nBiographies of the artists\n \nHaving grown up at the foot of the Austrian Alps\, G. Anthony Svatek is awed by the living world and how it is increasingly impacted by our techno-urban lives. Anthony’s work screened at NYFF\, Intl FF Rotterdam\, Ann Arbor\, Big Sky\, Prismatic Ground\, DOCNYC\, amongst others. Supporters include NYSCA\, Simons Foundation\, Austrian Cultural Forum NY. He is the recipient of the New Visions Golden Gate Award at SFFILM. Commissioned work includes projects for NYS Parks\, BBC\, Deutsche Welle\, and Pioneer Works. He has staffed seasonally at the Flaherty Film Seminar\, The Climate Museum\, and the American Museum of Natural History. \nKaija Siirala works in documentary media as a picture editor\, sound designer and educator. She has a keen interest in process-based collaboration and storytelling that pushes against the bounds of classical narrative structures. Films she has worked on have screened at the National Gallery of Canada\, True/False Film Festival\, Camden International Film Festival\, MoMI First Look\, Hot Docs\, DOC NYC\, Big Sky\, AFI fest\, IDFA\, DOK Leipzig\, Flaherty Seminar 2023\, Prismatic Ground and as a New York Times Op-Doc. Her audio work has appeared on the BBC\, On Air Fest and in installation contexts. She was a member-in-residence of the Meerkat Media Collective in Brooklyn\, NY from 2016-2018. In May 2018\, she completed her MFA in Integrated Media Arts at Hunter College (CUNY) and is now based in Hamilton\, ON. \n \nKyla Kegler is an artist and filmmaker who’s work explores desire and connection between people\, place and purpose. She is the founder and director of performance / movement space Agatha Falls. Kegler’s practice draws from her past work with Bread and Puppet Theater (Vermont) and as co-founder of theater\, “Zuhause” (Berlin\, Germany). She received an MA in Solo/Dance/Authorship from the Art University of Berlin and an MFA in Studio Art from the University at Buffalo. Her past projects include: Feel Me\, video installation exploring the mindfulness industry; The House on Fire Show\, teen web-drama about the climate crisis; Mountains: a tragicomedic puppet soap opera; Relationships don’t finish\, they change\, a video and sculpture installation exhibited at the Handwerker Gallery at Ithaca College\, Ithaca\, NY\, 2024. \n \nSue Ding is a filmmaker and visual artist based in Los Angeles. Her work explores race\, gender\, and diaspora through the lens of visual culture. In her research-based practice\, she emphasizes process\, form\, and deep readings of both media and landscapes. Sue’s work has screened internationally at venues including SXSW\, IDFA\, Antimatter [Media Art]\, and Copenhagen Contemporary\, and can be found on platforms including PBS\, Netflix\, and The New York Times. Sue’s interdisciplinary practice spans film\, installation\, and emerging media\, and she consults and lectures widely on filmmaking and media arts. In 2023\, she was named one of Filmmaker Magazine’s “25 New Faces of Independent Film.” URL:https://squeaky.org/event/meet-the-residents-spring2025/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Artist Talk ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/01/Announcing-Squeaky-Wheels-Spring-2025-Residents-YouTube-Horizontal-Ad.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250409T180000 DTEND;TZID=America/New_York:20250409T200000 DTSTAMP:20260412T114505 CREATED:20251230T191630Z LAST-MODIFIED:20251230T191630Z UID:10001225-1744221600-1744228800@squeaky.org SUMMARY:Collage Aesthetics: Working With Found Footage with Sue Ding DESCRIPTION:Wednesday\, April 9\, 6–8 pm\nFree or suggested donation. Limited capacity. Open to ages 16+\nRegister below\nIn this special seminar with visiting artist Sue Ding (Los Angeles\, CA)\, participants will learn about creative strategies for working with photographic and moving image archival\, with a focus on popular media. The workshop will showcase a variety of approaches for remixing archival materials\, including stop-motion animation\, supercut editing\, and sound interventions. The artist will share clips from found footage and collage-driven works by herself and others\, followed by a discussion with participants. \nRemixing allows us to critique and contextualize popular media texts\, as well as to transform them into new creative works. This workshop aims to instill in participants a greater sense of agency with regards to media imagery and narratives\, empowering them to deconstruct and reimagine popular media in creative ways. \nAttendees: Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information. \nThis event is part of the Spring session of Squeaky Wheel’s Workspace Residency\, funded in part by the National Endowment for the Visual Arts and Teiger Foundation. \nBiography of the artist\nSue Ding is a filmmaker and visual artist based in Los Angeles. Her work explores race\, gender\, and diaspora through the lens of visual culture. In her research-based practice\, she emphasizes process\, form\, and deep readings of both media and landscapes. Sue’s work has screened internationally at venues including SXSW\, IDFA\, Antimatter [Media Art]\, and Copenhagen Contemporary\, and can be found on platforms including PBS\, Netflix\, and The New York Times. Sue’s interdisciplinary practice spans film\, installation\, and emerging media\, and she consults and lectures widely on filmmaking and media arts. In 2023\, she was named one of Filmmaker Magazine’s “25 New Faces of Independent Film.” \nBanner image: Collage of retro tv screens and makeover movie images on notebook paper background. Image courtesy of Sue Ding. URL:https://squeaky.org/event/collage-aesthetics-working-with-found-footage/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/03/Screenshot-2025-03-07-at-4.09.45-PM-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250407T180000 DTEND;TZID=America/New_York:20250407T200000 DTSTAMP:20260412T114505 CREATED:20251230T191630Z LAST-MODIFIED:20251230T191630Z UID:10001224-1744048800-1744056000@squeaky.org SUMMARY:Somatic and Devised Performance Workshop with Kyla Kegler DESCRIPTION:Monday\, April 7\, 6–8 pm\nFree or suggested donation. Limited capacity. Open to ages 16+\nRegister below\nSqueaky Wheel presents a special performance based workshop with Workspace Resident Kyla Kegler (Buffalo\, NY) based on her project Care-Core that examines self-care\, collective care\, and somatic knowledge. Participants will be guided through a series of somatic / embodiment exercises\, journaling in response to prompts\, group sharing\, culminating in the collaborative development and ultimately performance of a Sesame-Street-esque song and dance responding to what emerges from this process. The workshop is suitable for all bodies and levels of experience. \nAttendees: For the workshop\, please: \n\nWear comfy clothes / footwear you can move in\nBring a reference object: anything at all that you’re interested in looking at and thinking about\nBring a notebook + pen\nSqueaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information.\n\nThis event is part of the Spring session of Squeaky Wheel’s Workspace Residency\, funded in part by the National Endowment for the Visual Arts and Teiger Foundation. \nBiography of the artist\nKyla Kegler is an artist and filmmaker whose work explores desire and connection between people\, place and purpose. She is the founder and director of performance / movement space Agatha Falls. Kegler’s practice draws from her past work with Bread and Puppet Theater (Vermont) and as co-founder of theater\, “Zuhause” (Berlin\, Germany). She received an MA in Solo/Dance/Authorship from the Art University of Berlin and an MFA in Studio Art from the University at Buffalo. Her past projects include: Feel Me\, video installation exploring the mindfulness industry; The House on Fire Show\, teen web-drama about the climate crisis; Mountains: a tragicomedic puppet soap opera; Relationships don’t finish\, they change\, a video and sculpture installation exhibited at the Handwerker Gallery at Ithaca College\, Ithaca\, NY\, 2024. URL:https://squeaky.org/event/somatic-and-devised-performance-workshop-with-kyla-kegler/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/03/Screenshot-2025-03-07-at-3.31.15-PM-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250405T190000 DTEND;TZID=America/New_York:20250405T210000 DTSTAMP:20260412T114506 CREATED:20251230T191630Z LAST-MODIFIED:20251230T191630Z UID:10001222-1743879600-1743886800@squeaky.org SUMMARY:Carolina Ebeid and Joe Hall DESCRIPTION:Saturday\, April 5\, 7 pm\nFree or suggested donation\nSqueaky Wheel is proud to present a poetry reading by Carolina Ebeid and Joe Hall as part of the public programs accompanying our exhibition\, The Image in its Absence which features an installation by Ebeid. Catering from Ali Baba Kebab\, with vegetarian options\, will be available to attendees. Special thank you to Judith Goldman and Laura Marris. This program is funded by Teiger Foundation\, and co-sponsored by the Poetics Program at University at Buffalo. \nAttendees: Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information. \nBiographies of the artists\nCarolina Ebeid is a multimedia poet. She is the author of You Ask Me to Talk About the Interior (Noemi Press\, 2016) and the chapbook Dauerwunder: a brief record of facts (Albion Books\, 2023). Her next book Hide is forthcoming from Graywolf Press in winter of 2026. Her work has been supported by the Stadler Center for Poetry at Bucknell University\, CantoMundo\, the NEA\, and a residency fellowship from the Lannan Foundation. She is the current Bonderman Assistant Professor of poetry at Brown University. A longtime editor\, she currently edits poetry at The Rumpus\, as well as the multimedia zine Visible Binary. Carolina grew up in West New York\, New Jersey in a Cuban and Palestinian family. \nJoe Hall is a Buffalo-based writer and researcher. His six books of poetry include Fugue & Strike (Black Ocean 2023) and People Finder\, Buffalo (Cloak 2024). Current Affairs on Fugue & Strike: “a remarkable poetic project\, unlike anything else in literature today.” Hall has performed and delivered talks nationally at bars\, squats\, universities\, and rivers. Protean\, The Cleveland Review of Books\, Eighteen-Century Fiction\, Poetry Daily\, Fence Digital\, mercury firs\, dollar bills\, and an NFTA bus shelter have all featured his writing. He has taught community-based writing workshops for teachers\, teens\, and workers. Community Mausoleum recently featured his essay “PEN America: Cultural Imperialism’s Avant-Garde.” Find more at http://joehalljoehall.com. URL:https://squeaky.org/event/carolinaebeidandjoehall/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Special Event ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/03/Carolina-and-Joe.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20250321 DTEND;VALUE=DATE:20250531 DTSTAMP:20260412T114506 CREATED:20251230T191630Z LAST-MODIFIED:20251230T191630Z UID:10001221-1742515200-1748649599@squeaky.org SUMMARY:The Image in its Absence: Azza El-Hassan\, Carolina Ebeid\, Crystal Z Campbell\, Noor Abuarafeh DESCRIPTION:Opening\, Friday\, March 21\, 6–8 pm. On view through May 30\nRemarks by Curator Ekrem Serdar at 7 pm\nOn view Tuesdays\, Thursdays\, Fridays\, 12–5 pm\, Wednesdays 12–7pm\, and by appointment.\nExtended hours for final week of the exhibition:\nFriday\, May 23\, 12–7 pm\nSaturday\, May 24\, 12–5pm\nTuesday–Friday\, May 27–30\, 12–7pm\nFree and open to the public\nThe Image in Its Absence is a group exhibition and public events featuring work on archives that have been displaced and destroyed\, and how communities care for and imagine them in their absence. The exhibition includes contemplative essay films\, speculative video\, poetry\, and more\, featuring work by Azza El-Hassan\, Carolina Ebeid\, Crystal Z Campbell\, and Noor Abuarafeh. The public programs include work by Assia Djebar\, Inas Halabi\, Joe Hall\, Onyeka Igwe\, and Tiffany Sia. \nThe works in the exhibition and public programs focus on several different historiographic approaches to how artists address the absence of archives. Azza El-Hassan’s A Remake of a Revolutionary Film reconstructs the last five minutes of Palestinian Film Unit member Hani Jawherieh’s (1939-1976) life before he was killed by Israeli forces in Lebanon. The film is accompanied by In the Presence of a Fighter\, a projection of seven photographs by Jawherieh\, made in Lebanon in 1969 before he was killed\, and that is part of El-Hassan’s long-standing archival work as part of The Void Project. Noor Abuarafeh\, in The Moon is a Sun Returning as a Ghost\, contemplates the role of exile in collective memories. The work the follows the fate of artworks that were featured in a 2005 exhibition in Switzerland by Palestinian artists\, and which were unable to be returned to Palestine due to challenges by the Israeli government. Crystal Z Campbell\, in Go-Rilla Means War\, fabulates a new narrative for an unfinished\, vinegar damaged\, and neglected 35 mm film found on the floor of a now demolished Black Civil Rights movie theater in gentrifying Brooklyn. Carolina Ebeid’s poem\, She Got Love: A Circle of Spells for Ana Mendieta\, focuses on the testimony and lack of witnesses to the death of the singular Cuban-American artist; its circle is both protective and repellant\, seemingly circling Mendieta herself. In the context of the exhibition\, the work dives into what is hidden in recorded official testimony\, and what exists beyond it. \nThe exhibition is accompanied by two public programs\, including a screening of films by Inas Halabi\, Onyeka Igwe\, Tiffany Sia\, and Assia Djebar’s The Zerda and the Songs of Forgetting; and a poetry reading with Carolina Ebeid and Joe Hall. \nThe exhibition is curated by Ekrem Serdar\, who would like to thank Judith Goldman\, Laura Marris\, the University at Buffalo Poetics program\, Zeynep Öz\, and Jeff Sherven. This program is funded by Teiger Foundation\, and co-sponsored by the Poetics Program at University at Buffalo. \nImages\nA still from Crystal Z Campbell’s Go-Rilla Means War. A seemingly disintegrating film strip in pink\, with a black person holding his fists up towards the camera. Other damage is visible across the frame.A still from Noor Abuarafeh’s The Moon Returns as a Ghost. Numerous boxes across shelves\, with the subtitle “Countless shelves stand as witnesses”A still from Azza El-Hassan’s A Remake of a Revolutionary Film. A photograph of the Hani Jawharieh holding a 16mm camera in black and white. On the image is the subtitle\, “Hani remained in black and white.”A still from Noor Abuarafeh’s The Moon is a Sun Returning as a Ghost. An image of the moon in grey\, black\, and patches of purple blue\, with the words “I wonder when something disappears” on the bottom left.\nLeft to right: 1. Crystal Z Campbell’s Go-Rilla Means War (2017). Noor Abuarafeh\, The Moon Returns as a Ghost (2023). Azza El-Hassan\, A Remake of a Revolutionary Film (2019) Noor Abuarafeh\, The Moon is a Sun Returning as a Ghost (2023).\nPublic programs and special hours\nSaturday\, April 5\, 7 pm at Squeaky Wheel\nReading with Carolina Ebeid and Joe Hall. Click here for more information. \nWednesday\, April 23\, 7 pm at Squeaky Wheel\nScreening of short films by Inas Halabi\, Onyeka Igwe\, Tiffany Sia\, and Assia Djebar’s feature\, The Zerda and the Songs of Forgetting. Click here for more information. \nWednesday\, May 14\, 6 pm at Squeaky Wheel \nTour with curator Ekrem Serdar \nFriday\, May 23\, 12–5 pm\nSaturday\, May 24\, 12–5 pm\nTuesday–Friday\, May 27–30\, 12–7pm\nExtended hours for final week of the exhibition \nVisiting the exhibition\nThe exhibition features four video and audio installations\, with a total running time of ~40 minutes. Installations feature seatings and room to navigate mobility devices. See Squeaky Wheel’s accessibility information here\, and see captioning and subtitle information for individual works below. The exhibition is on view\, Tuesday\, Thursdays\, Fridays\, 12–5 pm\, with extended hours on Wednesdays\, 12–7 pm\, and by appointment. To make an appointment\, including fully masked visits\, email office@squeaky.org. \nWorks in the Exhibition\nDescriptions provided by the artists.\nAzza El-Hassan\, A Remake of a Revolutionary Film\nDigital video\, Arabic with English subtitles\, 7 minutes\, 2019\nFrom the personal photo album of Palestinian photographer and cinematographer\, Hani Jawherieh\, El-Hassan reconstructs the last five minutes of Hani Jawherieh’s life\, who was killed while filming in the mountains in Lebanon. The five minutes were featured in Palestine in the Eye (1977) a film made by the Palestine Film Institute to commemorate the life of one of its founders. Yet\, forty-two years later\, what motivates these images takes on a different turn in A Remake of a Revolutionary Film. \nAzza El-Hassan\, In the Presence of a Fighter\nDigital video\, silent\, 2:43 minutes looped\, 2019\nIn the Presence of a Fighter is a modern digital installation by Azza El-Hassan of Palestinian fighters portraits which Palestinian photographer\, Hani Jawherieh\, made in 1969. The portraits were first exhibited by Jawherieh in 1969 as gigantic prints to illustrate the presence and strength of the fighters. These portraits were plundered by the Israeli army in 1982 during the Israeli invasion in Lebanon\, and they no longer exist in public spaces. In this modern installation\, reflections of the images are projected on the empty wall. The fighters are phantoms who appear only to disappear. \nCrystal Z Campbell\, Go-Rilla Means War\n35mm scanned to digital video by the artist\, English with open captions\, 20 minutes\, 2017\nGo-Rilla Means War is a filmic relic of gentrification featuring 35mm film salvaged from a now demolished Black Civil Rights Theater in Bedford-Stuyvesant\, Brooklyn. After finding the film unfinished and un-canned on the floor of The Slave Theater\, Campbell collaborated with the unknown director (presumably amateur filmmaker Judge John Phillips who owned the Slave Theater) to finish the film. A secret Black fraternal organization dominates the visual narrative\, accompanied by a parable that binds intersections of development\, cultural preservation\, and erasure. \nNoor Abuarafeh\, The Moon is a Sun Returning as a Ghost \nDigital video\, Arabic with English subtitles\, 10 minutes\, 2023\nThe video is based on research that follows the cases of seventeen exhibitions by Palestinian artists\, each containing different artworks and exhibited in different countries around the world\, the majority of which are considered missing today. The Moon is a Sun Returning as a Ghost follows one of these cases\, an exhibition that took place in 2005 in the Swiss town of Martigny. The works could not be returned to the artists and were instead moved from a country to another and from one storage facility to another. The video questions how the immateriality of missing objects affects our memory of them\, especially in a colonized context where the materiality of the object is constantly in danger of being manipulated\, destroyed or stolen. The work shows that by poetically liberating historiography from its objecthood\, more narratives can emerge that extend beyond the materiality of the object in which it is transmitted orally. \nCarolina Ebeid\, She Got Love: A Circle of Spells for Ana Mendieta\nPoetry on vinyl and read by the artist in digital sound\, 2:55 minutes\, 2024\nShe Got Love: a circle of spells for Ana Mendieta is a visual poem that centers the letter O\, whose orthographic origins date back to the Phoenician pictograph of the eye. While there was no eye-witness to Mendieta’s death (other than her husband Carl Andre\, who was arrested and later acquitted)\, a witness heard her say “no” as recounted in testimony. The poem then conjurs the O of the witness and the O of no to open up a protective space whose ensorcelling text the viewer and listener can read in a multitude of ways. The work was first installed in the exhibition and concurrent publication A Mouth Holds Many Things: A De-Canon Hyrbid-Literary Collection at Stelo Arts (Portland\, OR) in 2024; the exhibition was curated and the publication was edited by Dao Strom and Jyothi Natarajan\, co-directors of De-Canon.\n \nBiographies of the artists\nAzza El-Hassan is a visiting professor of practice at the Doha institute for Graduate Studies and an award winning documentary filmmaker. She is the founder of The Void Project\, a research and media production project that examines the effect of colonial plundering on the formation of a present visual Arab narrative. Her book The Afterlife of Palestinian Images: Visual Remains and the Archive of Disappearance is considered a groundbreaking study in how colonial violence alters and changes visual objects – which in turn affects how a society and culture relates to its own images. \nCarolina Ebeid is a multimedia poet. She is the author of You Ask Me to Talk About the Interior (Noemi Press\, 2016) and the chapbook Dauerwunder: a brief record of facts (Albion Books\, 2023). Her next book Hide is forthcoming from Graywolf Press in winter of 2026. Her work has been supported by the Stadler Center for Poetry at Bucknell University\, CantoMundo\, the NEA\, and a residency fellowship from the Lannan Foundation. She is the current Bonderman Assistant Professor of poetry at Brown University. A longtime editor\, she currently edits poetry at The Rumpus\, as well as the multimedia zine Visible Binary. Carolina grew up in West New York\, New Jersey in a Cuban and Palestinian family. \nCrystal Z Campbell\, 2021 Guggenheim Fellow in Fine Arts\, is a visual artist\, experimental filmmaker\, and writer of Black\, Filipinx\, and Chinese descents whose works center the underloved. Working through archives and omissions\, Campbell finds complexity in public secrets—fragments of information known by many but undertold or unspoken.\nCampbell’s works have screened and exhibited internationally: MIT List Visual Arts Center\, SFMOMA\, Walker Art Center\, St. Louis Art Museum\, The Drawing Center\, Nest\, ICA-Philadelphia\, MOMA\, BLOCK Museum\, REDCAT\, Artissima\, Bemis\, Project Row Houses\, SculptureCenter\, Semana Cinema de Negro in Belo Horizonte\, 67th Flaherty Film Seminar\, and others. Awards include a NYFA/NYSCA Fellowship\, Creative Capital Award\, Freund Fellowship\, Harvard Radcliffe Fellowship\, Pollock-Krasner Award\, MAP Fund\, MacDowell\, Skowhegan\, Rijksakademie\, Whitney ISP\, Franklin Furnace\, Black Spatial Relics\, and a DUKE DocX Fellowship.\nCampbell’s writing is featured in two artist books published by Visual Studies Workshop Press\, World Literature Today\, Monday Journal\, GARAGE\, and Hyperallergic. Campbell is a Visiting Associate Professor in Art and Media Study at the University at Buffalo. \nNoor Abuarafeh is a Palestinian artist based between Jerusalem and Rotterdam. Her practice spans video\, performance\, publications\, and video installations\, with a focus on the themes of memory\, history and archives and the complexities of tracking absence. Noor’s videos and performances are based on texts and call the complexity of history into question: how it is formed\, constructed\, made\, perceived\, visualized and understood. She asks how all these elements are related and investigates the possibility of representing the past when the past is still present. Her videos and socially-engaged works are based on interviews\, workshops and other participatory encounters.\nIn the past Abuarafeh has shown in solo and group exhibitions at De Appel (2024)\, Art Jameel (2024)\, Jakarta Biennale (2024)\, Frieze Museum (2023)\, Venice Biennale (2022)\, Berlin Biennale (2020)\, and Sharjah Biennale 13 (2017). She also participated in the Off-Biennale Gaudipolis in Budapest (2017) and the Qalandia International in Jerusalem (2018)\, among others. In 2019\, she held her first solo exhibition\, The Moon is a Sun Returning as a Ghost\, curated by Lara Khaldi in Jerusalem. \nBanner image: A still from Azza El-Hassan’s A Remake of a Revolutionary Film. A photograph of Hani Jawharieh holding a 16mm camera in black and white. On the image is the subtitle\, “Hani remaind in black and white.” URL:https://squeaky.org/event/the-image-in-its-absence-azza-el-hassan-carolina-ebeid-crystal-z-campbell-noor-abuarafeh/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Exhibition ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/02/Azz-Remake-of-a-Film-Screenshot-2025-01-31-at-12.00.34-PM-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250313T183000 DTEND;TZID=America/New_York:20250313T210000 DTSTAMP:20260412T114506 CREATED:20251230T191631Z LAST-MODIFIED:20251230T191631Z UID:10001207-1741890600-1741899600@squeaky.org SUMMARY:Seed Stories DESCRIPTION:Thursday\, March 13\, 6:30 pm\nFree or suggested donation\nRSVP below\nJoin us for a screening of Chitrangada Choudhury & Aniket Aga’s Seed Stories (42 minutes\, 2024)\, followed by a discussion with the filmmakers in conversation with Dr. Samina Raja (UB Planning). There will be catering with vegetarian options by Ali Baba Kebab. The doors will open at 6:30 pm\, and the screening will begin at 7 pm. \nIn a village in the Niyamgiri mountains of Odisha’s Eastern Ghats\, a heroic effort is underway: barefoot ecologist Dr. Debal Deb and his 3 member-team are conserving in-situ over 1000 endangered heirloom varieties of rice. Odisha’s Eastern Ghats region is one of the world’s surviving biodiversity hotspots\, with Adivasi communities like the Kondhs possessing the knowledge of growing multiple crops with their folk seeds\, evolved over centuries. At the same time\, the village and the wider region is irreversibly changing with the coming of genetically modified cotton seeds and associated chemicals. Seed Stories takes a worm’s eye view of how this is reshaping a geography and a people steeped in agro-ecological knowledge\, and altering their attitudes towards farming\, food and ecology. It invites audiences to reflect on the question\, “What is sustainability?” \nOfficial Selection: Kolkata People’s Film Festival\, Chennai International Documentary & Short Film Festival\, Festival delle Terre\, Rome\, Give Peace A Screen\, Torino Other Screenings: Vikalp@Prithvi – Films for Freedom\, Mumbai; India International Centre\, Delhi; National Centre for Biological Sciences\, Bengaluru; Bengaluru International Center; Museum of Goa. Click here to read a review of the film American Anthropologist. \nAttendees: Squeaky Wheel is located in Suite 310 of Tri-Main Center. Take the elevator to the third floor\, and head left. Please note that you cannot enter Tri-Main Center after 7:30 pm. Click here to see parking\, transportation\, and accessibility information. \nThis program is presented and funded by UB Department of Geography\, UB Asia Research Institute\, UB Center for Global Health Equity\, UB Department of Indigenous Studies\, UB Food Lab\, UB Critical Ecologies Research Collaborative. \nBiographies of the filmmakers\nChitrangada Choudhury is a journalist\, filmmaker and PhD candidate in Geography at the University of Zurich. Her reportage on the environment and social justice has been cited for multiple awards including the Sanskriti Foundation Award\, the Press Council of India’s National Award for Investigative Reporting\, and the Lorenzo NataliJournalism Prize twice. She has been on the founding team of The People’s Archive of Rural India and is on the Editorial Board of Article 14 – two award-winning digital publications. Her research has appeared in journals and edited volumes including Elementa – Science of the Anthropocene\, Capitalism Nature Socialism\, Economic & Political Weekly\, and the Columbia Journalism Review. \nAniket Aga is Assistant Professor of Geography at UB-SUNY\, the author of Genetically Modified Democracy: Transgenic Crops in Contemporary India (Yale University Press\, 2021) which won the 2022 Fleck Best Book Prize from the international Society for the Social Studies of Science. His research lies at the intersection of science and technology\, development and democracy. His article on pesticide marketing and caste\, published in the Journal of Peasant Studies\, won the 2019-20 Krishna Bharadwaj-Eric Wolf Prize from the journal. URL:https://squeaky.org/event/seed-stories/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2025/01/SEEDSTORIESFILMSTILL3_ChitrangadaChoudhury.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241221T120000 DTEND;TZID=America/New_York:20241221T130000 DTSTAMP:20260412T114506 CREATED:20251230T191613Z LAST-MODIFIED:20251230T191613Z UID:10001197-1734782400-1734786000@squeaky.org SUMMARY:Work in progress: Kalpana Subramanian's Breath Worlds DESCRIPTION:Saturday\, December 21\, 12 pm ET\nFree or suggested donation\nOnline over Zoom. RSVP below\nSqueaky Wheel is excited to welcome back Kalpana Subramanian for an online artist talk on her in-progress project Breath Worlds – an interdisciplinary project composed of sound works\, emerging technologies\, moving image and performance. \nWith breathing in crisis\, our existence as a respiratory species is becoming increasingly precarious and inequitable. This project speculates on what it means to breathe\, in an era when breath itself can no longer be taken for granted. How can breath be reclaimed from the forces that imperil it? Can breath be cultivated and shared? These are just some of the motivations that guide this project – exploring breath and breathing as a universal right (Mbembe\, 2020)\, a form of interconnectedness and a future paradigm. \nThe project is supported by the New York State Council of the Arts’ Support for Artists grant. \nBiography of the artist \nKalpana Subramanian\, PhD\, is a multidisciplinary artist\, filmmaker and scholar whose recent practice explores transcultural and interdisciplinary approaches to experimental film and media. Her arts-based doctoral research at the Department of Media Study\, University at Buffalo\, proposes a novel mode of experiencing cinema through an attention to breath philosophy and poetics. Her films have been exhibited at venues including the Yamagata International Documentary Film Festival\, Toronto International Film Festival\, Images Festival (Canada)\, Alchemy Film and Moving Image Festival (Scotland)\, Chicago Underground Film Festival\, Flaherty NYC Seminar (USA) UNESCO (France)\, Wildscreen UK\, and National Gallery of Modern Art (Mumbai\, India) among others. Her films have received awards from the Documentary Festival of History and Archeology (Italy\, 2015)\, Montana CINE International Film Festival (USA\, 2003\, 2005) and the Center for Media Studies Vatavaran Film Festival (India\, 2008). Her curated programs have screened at Simon Fraser University (Canada)\, Harvard FAS CAMLab\, Alternative Cinema series (Colgate University\, USA) and Bristol Experimental Expanded Film (UK) among others. Subramanian is recipient of a UK Environmental Film Fellowship (2006)\, Fulbright Nehru Academic and Professional Excellence Fellowship (2015-16) and a New York State Council on the Arts grant (2024) among other honors. She is an Assistant Professor of Cinema Arts at the University of Colorado Boulder. \nBanner image: Blue and orange light curved around a flecked surface. On top of the image are the logos of Squeaky Wheel and the New York State Council of the Arts and the words “Breath Worlds. Kalpana Subramanian”. URL:https://squeaky.org/event/work-in-progress-kalpana-subramanians-breath-worlds/ LOCATION:Virtual\, NY\, United States CATEGORIES:Artist Talk,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/12/BREATH-WORLDS-FLYER-MB-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241206T190000 DTEND;TZID=America/New_York:20241206T220000 DTSTAMP:20260412T114506 CREATED:20251230T191614Z LAST-MODIFIED:20251230T191614Z UID:10001190-1733511600-1733522400@squeaky.org SUMMARY:Squeaky Wheel's Holiday Fundraiser Squeaktacular: Art Auction! Party! Music! Basket Raffle! DESCRIPTION:December 6\, 7 pm – 10\n6 – 7 pm VIP includes open bar\, light refreshments\, a bid number and full access to the party!\n$20 presale\n$40 VIP includes open bar\, refreshments 6 pm – 7\n$25 at the door\n$10 online only bid\n
\n\nJoin us for Squeaky Wheel’s 2024 holiday fundraiser—a festive evening with a cosmic twist! There will be a BASKET RAFFLE! There will be COSTUMES! There will be DANCING and a DRAG SHOW and LIVE MUSIC by Pam Swarts and friends and DRINKS! And there will be so much amazing art available at the auction with online bidding. Come celebrate our friends and community with an evening of music\, dancing\, libations\, and art\, and help us continue our mission to foster artistic expression and innovation. Your support keeps us reaching for the moon! \nThe art auction will be online for remote bidding if you aren’t able to make it in person! More details and auction preview available soon! \nBanner image: An orange cat in a spacesuit on the moon\, with a purple space field of stars and a planet. A flag is planted on it with the Squeaky Wheel logo. The text on the image states: “INTERGALACTIC HOLIDAY SQUEAKTACULAR PARTY & ART AUCTION. 7-10pm // 6-7 VIP. December 6\, 2024” URL:https://squeaky.org/event/squeaky-wheels-holiday-fundraiser-squeaktacular-art-auction-party-music-basket-raffle/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Fundraiser,Party ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/10/Squeaktacular-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241108T190000 DTEND;TZID=America/New_York:20241108T210000 DTSTAMP:20260412T114506 CREATED:20251230T191614Z LAST-MODIFIED:20251230T191614Z UID:10001194-1731092400-1731099600@squeaky.org SUMMARY:The Big Picture Event: Vague Questions by Nick Mass and Silas Rubeck DESCRIPTION:Friday\, November 8\, 7 pm\nFree\nAs part of The Big Picture series\, Squeaky Wheel is excited to screen Vague Questions by Nick Mas and Silas Rubeck. \nVague Questions is an interview series conducted by Nick Mass and Silas Rubeck. Together they have compiled a series of interviews documenting the reactive minds of their respective peers and members of the community. Through a series of Rorschach tests and an auto didactic interview process that gives control of the questions to the interviewee\, what answers might you find? This project is supported by The Generator Fund\, a grant for artists administered by The Buffalo Institute for Contemporary Art and funded by the Andy Warhol Foundation for the Visual Arts. \nThe Big Picture is a Squeaky Wheel access program initiative designed to provide local artists a platform to showcase their projects; to impact and be impacted by the community of makers\, viewers\, critics & supporters and to grow from the experience. URL:https://squeaky.org/event/the-big-picture-event-vague-questions-by-nick-mass-and-silas-rubeck/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Event Series,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/10/IMG_20241010_104038.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241023T190000 DTEND;TZID=America/New_York:20241023T203000 DTSTAMP:20260412T114506 CREATED:20251230T191612Z LAST-MODIFIED:20251230T191612Z UID:10001189-1729710000-1729715400@squeaky.org SUMMARY:Works-in-progress: Three video games by Kurt Treeby DESCRIPTION:Wednesday\, October 23\, 7 pm\nFree or suggested donation\nSqueaky Wheel welcomes artist Kurt Treeby for a presentation of three in-progress video games based on art historical themes\, and based on older titles created for older game consoles such as the Atari 2600 or Nintendo Entertainment System : Constantin Brancusi’s Endless Column\, Guernica\, and Un Chien Andalou. The artist will present the games and speak to his work and process. Computers will be available for audiences to play the individual games the evening of. \nBiography of the artist\nA native of Buffalo\, NY\, Kurt Treeby first studied art at the College of Art and Design at Alfred University. While at Alfred he studied painting\, drawing\, and art history. After receiving his MFA from Syracuse University\, Treeby developed a conceptual-based approach to art making that continues to develop as he works with a wide range of fiber and textile processes\, and has recently begun to explore electronic art. His work comments of the production and reception of art\, as well as the role art plays in our collective memories. He focuses on iconic imagery and the connection between so-called “high” and “low” art forms. Treeby has exhibited his work on a national and international level. He teaches studio art and design at Erie Community College. He lives and works in Buffalo. \nBanner image: A still from Kurt Treeby\, Guernica. A video game field composed of a limited number of pixels depicting apartments\, a car\, and people across a digital field. Some of the people are dressed like soldiers holding guns\, and a black and white image of a woman in a dress. URL:https://squeaky.org/event/works-in-progress-three-video-games-by-kurt-treeby/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Work-in-progress ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/09/Kurt-Treeby-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241004T180000 DTEND;TZID=America/New_York:20241004T193000 DTSTAMP:20260412T114506 CREATED:20251230T191613Z LAST-MODIFIED:20251230T191613Z UID:10001177-1728064800-1728070200@squeaky.org SUMMARY:Squeaky Wheel's 21st Animation Fest! DESCRIPTION:Friday\, October 4\, 6 pm ET\nIn-person at the Buffalo AKG Art Museum and online\nIn-person is free as part of M&T First Fridays. Online is free or $10 suggested donation\nSqueaky Wheel is excited to present the 21st annual Animation Fest! Featuring eleven films from Buffalo and beyond\, this years edition provides a survey of gorgeous vistas and inventive joy\, with films made in a variety of techniques and media\, from charcoal drawings to 3D animation. \nThe films take on love and identity\, landscapes and gardens\, artificial intelligence\, and much more. Featuring films by Alisi Telengut\, Calvin Hardick\, Delia Hass\, Eva Davidova\, J. Ramos\, Kolya Kishinsky & Geneva Huffman\, Marina Santana De la Torre\, Miranda Javid\, S4RA\, Suncana Brkulj and Tony Nash. \nContent notes: The 10th film in the program\, Red Thumb\, features a foreboding atmosphere and a scene of a character choking another that may not be appropriate for young children. See film descriptions below for caption availability. \nTo attend in-person: The screening will take place at 6 pm at the Buffalo AKG Art Museum’s auditorium. Just show up! \nTo attend online: Get your ticket below! Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nAlisi Telengut’s Baigal Nuur is courtesy of Fabian&Fred Studio. Suncana Brkulj’s Butterfly and Delia Hass’ On Hold are courtesy of Bonobo Studios. Special thank you to Fabian Driehorst\, Vanja Andrijevic\, Charlie Garland and Amina Boyd. This years edition of the Animation Fest was curated by Squeaky Wheel staff Carra Stratton\, Ekrem Serdar\, Mark Longolucco\, and Zainab Saleh. \n
\n\nProgram duration: ~53 minutes. Descriptions courtesy of the filmmakers and distributors. \nTony Nash\, Where Was I?\n1:37 minutes\, open captions\, 2024\nThis work was inspired by friendship and nostalgia. \nDelia Hess\, On Hold\n7:11 minutes\, 2024\nA young woman is stuck in the hold queue of a telephone hotline. A surreal episodic short film about the absurdities of urban life and the frustration of a paralysing standstill. \nMiranda Javid\, What Humans Do\n6:40 minutes\, open captions\, 2023\nA macro view of human-actions\, as told from within a singular body. Animated frame by frame with biodegradable ink + paper. \nMarina Santana De la Torre\, La Estación de las Rosas (The Season of the Roses)\n2:45 minutes\, Spanish with English subtitles\, 2024\nChronicle about freedom and sexual diversity. The film centres on the gay relationship between two university students who discover what life is like when they graduate. \nJ. Ramos\, Eldritch Kiss\n2:53 minutes\, open captions\, digital video\, 2024\nA workplace romance sparks up at a small convenience store. Claire is a shy\, awkward girl with a secret. Addie is a nice girl who is unaware of Claire’s truth. Will their newfound love survive Claire’s reveal? \nCalvin Hardick\, Silo\n1:17 minutes\, 2024\nA very personal and specific representation of universal creative energy manifested as a character. Inside of an impossible structure somewhere in the cosmos\, seen through the impenetrable safety of a viewing portal\, we get to witness the moment of ascension into the material plane. We\, the viewers\, our hoppy two dimensional friend\, and the being born in the silo are all segments of an infinite accordion\, seeing\, feeling\, sharing\, and expressing. \nS4RA\, bot3quim\n4:45 minutes\, Spanish with English subtitles\, 2023\nstage for intellectuals\, artists & freethinkers 2 meet\, a cultural institution that has become the sanctuary for creative expression & a symbol of resistance during the portugese dictatorship \nAlisi Telengut\, Baigal Nuur (Lake Baikal)\n8:56 min\, Buryat-Mongolian with English subtitles\, 2023\nThe formation and history of Lake Baikal in Siberia are re-imagined with hand-made animation\, featuring the voice of a Buryat woman who can still recall some words in her endangered Buryat-Mongolian language. \nEva Davidova\, Vinson And Flying Dancers Over A Lush Garden With Animals\n2:46 minutes\, 2024\nVinson and Flying Dancers Over a Lush Garden with Animals is an experimental animation investigating through hundreds of prompts the biases in the dataset of Runway’s LLM about dancers of color\, and the frustrating attempts at feeding concepts like Flying (we ended up writing Falling to achieve Flying)\, Bare Feet\, or Dancing with Animals. The sound is a mix by Eva Davidova\, based on Matthew D. Gantt experiments with Artificial Intelligence in sound. \nKolya Kishinsky and Geneva Huffman\, Red Thumb\n5:52 min\, 2024\nA stop motion short about a gardener who tries to control his environment as he discovers a pulsing red plant. As it physically grows so does their connection\, becoming his prized blooming obsession. \nSuncana Brkulj\, Butterfly\n8:07 minutes\, 2024\nA community of garden creatures all contribute to the flow of life\, using water from a fountain. When a butterfly gets stuck in the fountain\, they’re faced with an unfamiliar situation. \n
\n\nAlisi Telengut is a Canadian artist of Mongolian origin\, living between Berlin and Tiohti:áke/Montréal. Her work received multiple awards and nominations and has been screened and exhibited internationally\, including at the Academy Museum of Motion Pictures\, Sundance Film Festival\, TIFF\, Videonale\, among others. \nCalvin Hardick is a multi-disciplinary illustrator and animator from Buffalo\, NY. \nDelia Hess studied animation at the Lucerne School of Art and Design in Switzerland. Since her graduation in 2012 she has been working independently on her own short film projects as well as on commissioned films and illustrations. She lives and works in Lucerne.\nFilmography: On Hold (2024)\, Emmen by the Lake (2021)\, Circuit (2018)\, Around the Stairway (2018)\, Morning Train (2012\, student film)\, Partition (2011\, student film)\, In the City (2011\, student film) \nEva Davidova explores behavior\, ecological disaster\, and the social implications of technology through performative works rooted in the absurd. Challenging a singular narrative\, she combines ancient mythology with current technologies to address the impending ecological catastrophe. Her practice involves research\, performance\, 360 video and 3D animation\, game engines\, participatory Virtual Reality\, and interactive\, site-specific immersive installations. Davidova has exhibited at the Bronx Museum\, the UVP at Everson Museum\, Buffalo AKG Museum\, MACBA\, CAAC Sevilla\, La Regenta\, ISSUE Project Room\, Harvestworks\, Instituto Cervantes\, and the Museum of Moving Image (MoMI) in New York. \nJ. Ramos is someone inspired by their own experiences with sexuality and mental health. They’re pursuing a BFA in Animation at Villa Maria College\, going into their senior year in 2024. They love animation and working on new projects as they come. \nKolya Kishinsky is a recent RISD graduate and Bay Area born animator where in the foggy hills one’s hand disappears if it’s too far from the body. As in the fog\, his work focuses on searching\, autonomy and creating personal identity. He works in both stop motion and 2D animated mediums as well as holding a printmaking and illustration practice focused on telling surreal yet personal stories.\nGeneva Huffman is a recent graduate from the Rhode Island School of Design\, working in both 2D and 3D aspects of illustration. She particularly enjoys fabrication in the world of stop motion and is constantly tinkering. Geneva is probably making something creepy and macabre this very moment. Be afraid\, be very afraid. \nMarina Santana is a Mexican Director\, cinematographer\, animator and sound designer. Her work explores dreams and eerie circumstances as well as fear of the unknown. She has screened at Ann Arbor\, Shorts México\, Festival Internacional de Cine de Hidalgo\, Austin Arthouse\, ICDOCS\, Pantalla de Cristal\, New York City International Film Festival and Trinidad y Tobago Film Festival. She holds an MFA from the California Institute of the Arts and is an alumni of the Robert Flaherty Film Seminar. \nMiranda Javid (she/her) is an animator\, curator\, and art-educator. Her animations describe cognitive experience\, human bias\, and the relationship between individuals and their communities. \nS4RA is an < non-binary && genderqueer > interdisciplinary artist that feeds on con*sensual power dynamics & gender role play through a /non/ linear looping hybrid process between digital animation & ( immersive : ) environments. also spends endless hours strolling through post-capitalism mazes & it’s influence on libidinal pleasure. \nSuncana Brkulj (1997) earned her MA in animation from the Academy of Fine Arts in Zagreb. Her student films have been selected for screenings at prestigious festivals in Annecy\, Ottawa\, Zagreb\, Stuttgart\, and elsewhere\, winning several awards. After graduating\, Suncana undertook a residency at Open Workshop in Viborg\, where she made her first professional film\, Butterfly. \nTony Nash: I began painting about 50 years ago and now also enjoy making video artwork. \nSponsors\nThank you to Villa Maria College for being the Reel Sponsor of Squeaky Wheel’s Animation Fest. Thank you to our sponsors Buffalo Spree\, Rigidized Metals\, Rose Jade Consulting Co-op\, Delaware Council Member Joel Feroleto\, Tri-Main Center\, Harlequin Pet Services\, Buffalo State College Communication Dept\, Rich Products Corporation\, Legislator April Baskin\, 26 Allen\, Lumpy Buttons\, Niagara Council Member David Rivera\, PUSH Buffalo\, Buffalo AKG Art Museum Altreuter & Berlin\, If Music Be. \n \nBanner image: A still from Suncana Brkulj’s Butterfly (2024). A colorful\, unrealistic. and dense landscape of cute creatures smiling or looking sad. Some are sitting next to each other\, some are dancing\, some have their hands up in joy. Two circles that could be the sun and moon overlook them. URL:https://squeaky.org/event/squeaky-wheels-21st-animation-fest/ LOCATION:Buffalo AKG Art Museum\, 1285 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States CATEGORIES:Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/08/Butterfly.jpg GEO:42.9324531;-78.87566 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Buffalo AKG Art Museum 1285 Elmwood Avenue Buffalo NY 14222 United States;X-APPLE-RADIUS=500;X-TITLE=1285 Elmwood Avenue:geo:-78.87566,42.9324531 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240906T190000 DTEND;TZID=America/New_York:20240906T200000 DTSTAMP:20260412T114506 CREATED:20251230T191600Z LAST-MODIFIED:20251230T191600Z UID:10001176-1725649200-1725652800@squeaky.org SUMMARY:Silo City | Kathryn Ramey's SILVER & earth: Marine A DESCRIPTION:Friday\, September 6\, 7 pm\n@ Silo City (85 Silo City Row\, Buffalo\, NY 14203)\nFree or suggested donation; register below\nJoin us at Silo City for a projection performance by artist and filmmaker Kathryn Ramey! Made in collaboration with Noam Ramey-Winikur\, SILVER & earth: Marine A is a three projector 16mm performance which will highlight environmentally conscious artistic practices within reclaimed post industrial sites such as Silo City. The work is a holistic portrait of the site\, featuring both the site of Marine A\, and developed\, not with traditionally toxic photographic formulas\, but with Ramey’s ecological processes and plants from the grounds of Marine A. Working with the habitat-restorative approach of Silo City’s staff\, the work showcases how artists can approach the complicated legacies of 20th century industry. \nThe ~20 minute long projector performance will be preceded by an introduction by Kathryn Ramey speaking to her practice and process. Audiences will have the opportunity to closely inspect the films on a light table following the event. \nPart of a larger suite of work\, SILVER & earth: Marine A\, focuses on analogue film\, using outdated material that would otherwise find its way to a landfill through a variety of experimental gestures. These include: phytograms in which Vitamin C\, plant material and soda or wood ash is used to print onto film; burying film in compost; among other methods. Ramey’s project marks a deepening of Squeaky Wheel’s partnership with Silo City to also support ecological media arts practices. \nThe event will take place at Silo City. Entrance will be through the garden of Duende (85 Silo City Row\, Buffalo\, NY 14203) at 7 pm. This event marks the final event with our summer residents. Special thank you to Carl Lee and our partners at Silo City. \nAbout the artist and our partner\nKathryn Ramey (1967)\, Vancouver\, WA / USA. A Guggenheim and Creative Capital fellow with an MFA in film and a PhD in anthropology who has made over a dozen films and installations\, contributed numerous articles to anthologies and journals and written the essential text Experimental Filmmaking: BREAK THE MACHINE (2015). Her films operate at the intersection of experimental analogue processes and ethnographic research and are characterized by hand-processing\, optical printing\, and animation. She has screened at several festivals such as Toronto\, Ann Arbor\, TriBeca\, Ji.hlava\, and 25fps\, among others. \n \nSilo City is a unique post-industrial landscape comprised of the world’s largest collection of historical grain elevators. We create and host happenings on site through our 501(c) 3 nonprofit organization that operates under the legal name Friends of Silo City. Click here to learn more. \nBanner image courtesy of Kathryn Ramey. Several strips of 16 mm film overlaid with plant clippings at Silo City. URL:https://squeaky.org/event/silo-city-kathryn-rameys-silver-earth-marine-a/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Performance,Residencies ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/08/IMG_6481-scaled.jpeg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240827T180000 DTEND;TZID=America/New_York:20240827T200000 DTSTAMP:20260412T114506 CREATED:20251230T191600Z LAST-MODIFIED:20251230T191600Z UID:10001173-1724781600-1724788800@squeaky.org SUMMARY:Essay Filmmaking with Ahmed T. Ragheb & Lily Ekimian Ragheb DESCRIPTION:Tuesday\, August 27\, 6–8 pm\n$10 general | $7 members\nRegister below\nIn this one-time workshop by visiting filmmakers and Workspace Residents Ahmed T. Ragheb & Lily Ekimian Ragheb\, the filmmakers will introduce and provide a space for participants to workshop their own essay films. The pair will provide a brief introduction to essay filmmaking\, with examples of their own work and films by Chantal Akerman\, among others. The filmmakers will then facilitate a workshop space for participants to write their own treatments and loglines for their own essay films. Participants will then discuss and workshop their ideas as a group. \nThe event will take place at Squeaky Wheel. Please note that you cannot enter Tri-Main Center after 7:30 pm. Squeaky Wheel members can email ekrem@squeaky.org for their discount code ahead of checking out. \nBiographies of the residents\nAhmed T. Ragheb & Lily Ekimian Ragheb are a married experimental filmmaking duo based in Pittsburgh. Lily – American\, Russian and Armenian – grew up between Washington\, D.C.\, and Cairo\, Egypt. Ahmed – Egyptian\, Dutch and American – was born and raised in Cairo. Their films emphasize identity\, place\, feminism\, cultural dislocation and domestic relationships and are noted for their use of voiceover and mixed media. Their work has screened at Oscar-qualifying festivals including Uppsala Short Film Festival (Nominated\, Ingmar Bergman Award)\, Athens Int’l Film & Video Festival and RiverRun\, as well as the Arab American National Museum\, Pittsburgh Shorts\, and the Arab Film and Media Institute’s Arab Film Festival. Together they founded the independent production company Studio Ragheb. \nThis workshop is presented as part of the Workspace Residency program. Learn more here. \nBanner image: Studio Ragheb\, She Sings (2024). A woman\, lit in red\, holding her hand up to the lens. URL:https://squeaky.org/event/essay-filmmaking-with-ahmed-t-ragheb-lily-ekimian-ragheb/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/07/Ragheb-Workshop-She-Sings.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240823T190000 DTEND;TZID=America/New_York:20240823T203000 DTSTAMP:20260412T114506 CREATED:20251230T191612Z LAST-MODIFIED:20251230T191612Z UID:10001172-1724439600-1724445000@squeaky.org SUMMARY:Meet the Residents: Ahmed T. Ragheb\, Lily Ekimian Ragheb\, and Kathryn Ramey DESCRIPTION:Friday\, August 23\, 2024\, 7 pm ET\nOnline and in-person @ Squeaky Wheel\nFree or suggested donation. Catering from AliBaba Kebab provided for in-person attendees.\nASL interpretation available; request by Tuesday\, August 20.\nRegister below\nSqueaky Wheel is pleased to present this hybrid artist talk with our Summer 2024 Workspace Residents! Ahmed T. Ragheb & Lily Ekimian Ragheb (Pittsburgh\, PA) and Kathryn Ramey (Roslindale\, MA) will be presenting on their previous and current projects\, along with a Q&A with the residents moderated by curator Ekrem Serdar. \nFor in-person attendees: The event will take place at Squeaky Wheel. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: A private link will be sent to you; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nAhmed T. Ragheb & Lily Ekimian Ragheb will be working on Visitor\, a short experimental essay film about an Egyptian vampire who travels to America in search of family. The film will pair a fictional voiceover narrative with docu-style video footage of the post-industrial landscapes of Pittsburgh and Buffalo. Consisting of hand-held\, point-of-view shots with no on-screen actors\, the observational style of Visitor will facilitate an exploration of Arab and Arab-American cultural identity\, immigration\, family and the changing landscape of the American Rust Belt. \nDuring her residency\, Kathryn Ramey will be working on SILVER & earth: Marina A which will be presented to the public on Friday\, September 6 at Silo City. The multi-channel digital and 16mm projection performance will highlight environmentally conscious artistic practices within reclaimed post industrial sites such as Silo City. Part of a larger suite of work\, SILVER & earth: Marina A\, focuses on analogue film\, using outdated material that would otherwise find its way to a landfill through a variety of experimental gestures. These include: phytograms in which Vitamin C\, plant material and soda or wood ash is used to print onto film; burying film in compost; among other methods. Ramey’s project marks a deepening of Squeaky Wheel’s partnership with Silo City to also support ecological media arts practices. \nBiographies of the residents\nAhmed T. Ragheb & Lily Ekimian Ragheb are a married experimental filmmaking duo based in Pittsburgh. Lily – American\, Russian and Armenian – grew up between Washington\, D.C.\, and Cairo\, Egypt. Ahmed – Egyptian\, Dutch and American – was born and raised in Cairo. Their films emphasize identity\, place\, feminism\, cultural dislocation and domestic relationships and are noted for their use of voiceover and mixed media. Their work has screened at Oscar-qualifying festivals including Uppsala Short Film Festival (Nominated\, Ingmar Bergman Award)\, Athens Int’l Film & Video Festival and RiverRun\, as well as the Arab American National Museum\, Pittsburgh Shorts\, and the Arab Film and Media Institute’s Arab Film Festival. Together they founded the independent production company Studio Ragheb. \nKathryn Ramey (1967)\, Vancouver\, WA / USA. A Guggenheim and Creative Capital fellow with an MFA in film and a PhD in anthropology who has made over a dozen films and installations\, contributed numerous articles to anthologies and journals and written the essential text Experimental Filmmaking: BREAK THE MACHINE (2015). Her films operate at the intersection of experimental analogue processes and ethnographic research and are characterized by hand-processing\, optical printing\, and animation. She has screened at several festivals such as Toronto\, Ann Arbor\, TriBeca\, Ji.hlava\, and 25fps\, among others. \nBanner photo: Two photographs side by side: Ahmed Ragheb and Lily Ekimian Ragheb sitting side by side in a black and white photograph. Kathryn Ramey\, a white woman in her 50’s with long gray blond hair in a bun wearing a black and white plaid mock turtle-neck blouse and a black cotton blazer and pink glasses sits smiling facing the camera in front of a white picket fence with green trees and blue sky in the background. This photo was taken at Camden Film Festival. URL:https://squeaky.org/event/meet-the-residents-ahmed-ragheb-lily-ekimian-ragheb-and-kathryn-ramey/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Artist Talk,Hybrid,Residencies ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/06/Ahmed-Lily-Kathrynjpg.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240821T180000 DTEND;TZID=America/New_York:20240821T200000 DTSTAMP:20260412T114506 CREATED:20251230T191612Z LAST-MODIFIED:20251230T191612Z UID:10001174-1724263200-1724270400@squeaky.org SUMMARY:Plant Cinema Workshop at Silo City with Kathryn Ramey DESCRIPTION:Wednesday\, August 21\, 6–8 pm\n@ Silo City (85 Silo City Row\, Buffalo\, NY 14203)\n$10 general | $7 members\nOpen to ages 16+\nRegister below\nIn this one-time workshop by visiting filmmaker and Workspace Resident Kathryn Ramey at Silo City\, the filmmaker will show participants how to expose and process 16mm film with plants. Participants will use plant materials from Silo City’s environment\, that they will develop and expose with a sodium carbonate and vitamin C mixture. Ramey will then show participants how to fix their films\, upon which they’ll let them dry and project them on site. \nThe event will take place at Silo City; please gather promptly at Duende (85 Silo City Row\, Buffalo\, NY 14203) at 6 pm. Squeaky Wheel members can email ekrem@squeaky.org for their discount code ahead of checking out. Special thank you to Olivia McCarthy and Silo City. \nAbout the artist and our partner\nKathryn Ramey (1967)\, Vancouver\, WA / USA. A Guggenheim and Creative Capital fellow with an MFA in film and a PhD in anthropology who has made over a dozen films and installations\, contributed numerous articles to anthologies and journals and written the essential text Experimental Filmmaking: BREAK THE MACHINE (2015). Her films operate at the intersection of experimental analogue processes and ethnographic research and are characterized by hand-processing\, optical printing\, and animation. She has screened at several festivals such as Toronto\, Ann Arbor\, TriBeca\, Ji.hlava\, and 25fps\, among others. \n \nSilo City is a unique post-industrial landscape comprised of the world’s largest collection of historical grain elevators. We create and host happenings on site through our 501(c) 3 nonprofit organization that operates under the legal name Friends of Silo City. Click here to learn more. \nThis workshop is presented as part of the Workspace Residency program. Learn more here. \nBanner image provided by Kathryn Ramey. Sage leaves from a volunteer plant in the artists garden are harvested\, soaked in vitamin C and sodium carbonate\, placed on undeveloped black and white film and left in the sun. The leaves print themselves onto the film which is revealed when the film is run through a weak fixer. URL:https://squeaky.org/event/plant-cinema-at-silo-city-with-kathryn-ramey/ LOCATION:Silo City\, 85 Silo City Row\, Buffalo\, NY\, 14203\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/07/sageflowers-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240522T180000 DTEND;TZID=America/New_York:20240522T200000 DTSTAMP:20260412T114506 CREATED:20251230T191558Z LAST-MODIFIED:20251230T191558Z UID:10001164-1716400800-1716408000@squeaky.org SUMMARY:Football Practice: Speculative Football Players with Kristin McWharter DESCRIPTION:Wednesday\, May 22\, 2024\, 6–8 pm ET\nOnline over Zoom\nFree or suggested donation; register below\nJoin us for this workshop intensive in which participants explore the cultural impact of American football and collectively contribute to a new simulation of the sport. Part performance lecture\, part interactive imagining\, participants will be given prompts to write and craft new players for the artists Football Practice simulation software. Each workshop designs and “drafts” two players into the scrimmage of the software\, directly shaping the speculative imaging of the game. Inspired by the surrealist game Exquisite Corpses and video game sports simulations such as Madden\, this workshop discusses the importance of consent\, aggression\, and competitive drive as participants playfully imagine speculative football futures in real time. \nThe workshop is open to anyone regardless of their knowledge or interest in football. A Zoom link will be shared with your email address near the event date. \nThis workshop is presented as part of an ongoing project by Kristin McWharter. To learn more\, click here. \nBiography of the artist\nKristin McWharter uses performance and play to interrogate the relationship between competition and intimacy. Her work conjoins viewers within immersive sculptural installations and viewer- inclusive performances that critically fuse folk games within virtual and augmented worlds. Her software installations and performative objects incorporate experimental technologies and playful interaction to produce performances that speculate upon alternative forms of social behavior. Inspired by 20th century sports narrative\, collective decision making\, and technology as a contemporary spiritual authority\, her work blurs the boundaries of intimacy and hype culture to challenge viewer relationships to affection and competitive drive. Her work has been exhibited at The Hammer Museum\, Walt Disney Concert Hall\, Bangkok Arts and Cultural Center\, Ars Electronica\, Museo Altillo Beni\, and FILE Festival among others. McWharter received her MFA from UCLA in Design Media Arts and is currently an Assistant Professor in Art & Technology Studies at SAIC. \nImage description: Two digital avatars on a digital grassy field. The figures are wearing American football outfits. Both the outfits and the grassy field look like they were crocheted. URL:https://squeaky.org/event/football-practice-speculative-football-players-with-kristin-mcwharter/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/04/Kristin-McWharter-Hero-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240514 DTEND;VALUE=DATE:20240615 DTSTAMP:20260412T114506 CREATED:20251230T191539Z LAST-MODIFIED:20251230T191539Z UID:10001165-1715644800-1718409599@squeaky.org SUMMARY:Call for submissions: Squeaky Wheel's 21st Animation Fest! DESCRIPTION:Deadline: June 14\, 2024\, 11:59 PM\nNotification Date: August 15\, 2024\nSqueaky Wheel announces the call for submissions for our annual Animation Fest! Celebrating its 21st year\, we are proud to continue a festival showcasing artworks made in a diverse variety of animation techniques such as stop-motion\, claymation\, 3D animation\, hand-painted film\, special effects\, and motion graphics. Past festivals have showcased work from both rising artists as well as established artists. \nThe 21st Animation Fest will be held online and in-person on Friday\, October 4\, 2024\, an in-person screening at the Buffalo AKG Art Museum and a virtual screening through Squeaky Wheel. Films in the virtual program will be accessible for 24 hours thereafter for general audiences\, and 72 hours for Squeaky Wheel members. If selected\, you will be asked for a downloadable copy of your film. \n\nEach individual submission should not exceed ~10 minutes.\nThere is no submission fee.\nAll selected artists will receive a screening fee of $100 per selected film. (International applicants must have a Paypal account to receive their screening fee).\nAll selected artists will receive a one year membership to Squeaky Wheel.\nMultiple submissions per artist are accepted.\n\nArtists who are African/Black\, Indigenous / Native / Aboriginal\, POC\, creatives with disabilities\, women\, 2SLGBTQIA+\, and artists who face systemic and structural barriers are encouraged to apply. Please direct any questions about the application process and your submissions to Ekrem Serdar at ekrem@squeaky.org \nClick here to apply\nImage description: Documentation from the 20th Animation Fest retrospective at North Park Theater. A projection in a darkened movie theater. On the screen is the word “Filmmakers!”\, which is from Helen Hill’s 2004 short film Madame Winger Makes a Film: A Survival Guide for the 21st Century. URL:https://squeaky.org/event/call-for-submissions-squeaky-wheels-21st-animation-fest/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Open Call,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/05/North-Park-Helen-Hill.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240507T190000 DTEND;TZID=America/New_York:20240507T210000 DTSTAMP:20260412T114506 CREATED:20251230T191539Z LAST-MODIFIED:20251230T191539Z UID:10001163-1715108400-1715115600@squeaky.org SUMMARY:Rushes: Films and actions by Jason Livingston DESCRIPTION:Tuesday\, May 7\, 7 pm ET\n@ Journey’s End Refugee Services (2495 Main St #530\, Buffalo\, NY 14214) and online\nFree or suggested donation\nTickets available below\nSqueaky Wheel presents an evening of films\, actions\, and conversation with artist Jason Livingston. This evening of films showcases Livingston’s long-standing work on the climate crises and protest movements through visual and linguistic play. Featuring his celebrated film Ancient Sunshine (2020)\, the screening features work made by the filmmaker from 2012 to the present day. This event is organized on the occasion of his exhibition with Phoebe A. Cohen\, In the Sun’s Absence. The artist will be present to deliver an artist talk ahead of the screening\, and the exhibition will be open after the screening at Squeaky Wheel. \nFor in-person attendees: JERS is located on the fifth floor of Tri-Main Center; head left after you exit the elevator. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. Please note that the artist talk will not be available online. \n Program (click to expand) \nTotal program time approximately 65 minutes. \nIntroduction and artist talk by Jason Livingston \n#RUSHES/URL\n11:52 min\, silent\, 16mm on digital video\, 2015 \nAn in-camera 16mm edit of the 1st anniversary/birthday/funeral of OWS in New York City\, as seen from an embedded role in the Jellyfish Brigade\, an ad hoc affinity group formed to participate in the day’s event. Bold impact fonts compliment and countervail the images toward a warm antagonism. \n“Experimental filmmakers with no obligation to spoon feed the public fared better in documenting Occupy in a manner that proved more meditative and avoided reducing the movement to a list of talking points. Jason Livingston’s short film\, #Rushes\, provides an alternative to what the filmmaker himself labels “populist agitprop.” The two versions of the film deploy contrasting reflexive strategies designed to challenge standard representations of dissent and on-the-spot reportage of street activism. Offering a glimpse of a festive protest cum celebration commemorating the first anniversary of Occupy Wall Street in 2012\, Livingston juxtaposes the culture-jamming antics of the Jellyfish Brigade with familiar scenes of police intimidation and use of force. Demonstrators dressed in whimsical costumes holding signs such as “No Fossil Fuels…Frack Wall Street\, Not Water” highlight the march’s blend of earnestness and carnivalesque glee; the differences in tone are reinforced by\, on the one hand\, the satirist Reverend Billy’s comic spiel and\, on the other\, the unironic politicking of perennial presidential candidate Jill Stein and Cheri Honkala\, her 2012 vice-presidential candidate. \nForsaking digital for 16mm with in-camera edits\, the initial version of #Rushes was projected silently to live audiences. Refusing to bombard the audience with riot porn clichés\, talking heads\, voice over—or even the ambient sounds of a demonstration—Livingston instead solicited a running commentary from the audience at various screenings and encourage a participatory ethic and aesthetic. His decision to shoot in 16mm and move away from the more au courant DSLR aesthetic evolved from his revulsion towards consumerist pressure to abandon “technologies deemed obsolescent.” \nAlthough Livingston’s regarded his stripped-down aesthetic—and his promotion of audience participation—as “Occupy poetics\,” a screening at Union Docs in Brooklyn convinced him to launch an extended auto-critique of his own neo-Brechtian assumptions concerning “active spectatorship.” Despite the fact that #Rushes inspired some impassioned responses from audiences (particularly a frenetic screening at Squeaky Wheel in Buffalo which Livingston loved because it engendered a “lot of talking” over the silent images)\, he feared “that by encouraging ‘participation’ (i.e. talking) without sufficient direction on my part\, I was inadvertently disavowing my role as the maker (not that it’s much power in the end…)\, and actually promoting a very\, very vague participatory democracy that felt all too much like upper management’s penchant for doodlepolls\, or asking workers for ‘input’.” \nLivingston’s ambivalence towards his own attempt to emulate Occupy-style egalitarianism one microcinema at a time convinced him to accompany the film with narration\, later transformed into a series of memes embedded in a second version of the film\, that undercuts the celebration of a participatory ethos with what he terms a “warm antagonism.” Warm antagonism might be defined as playful self-laceration\, almost a parody of the type of self-criticism that was once de rigueur among authoritarian leftists. In the self-détourned version of #Rushes\, Livingston proclaims:: “Against participation\, not because participation denies the primary role of the artist in any given work and thus projects an anti-hierarchical fantasy…but because participation itself is a bureaucratic imagination.” While there’s a tongue-in-cheek aspect to Livingston’s self-indictment\, the cadences of his manifesto also undermine the pieties of “active spectatorship” and the hallowed entity known as the “emancipated spectator.” In certain respects\, the alternative film world’s penchant for participatory events might constitute a farcical equivalent of the pseudo-participation that anarchists discerned as integral components of Yugoslavian experiments in self-management. From another perspective\, the film’s dialogue with its audience\, and with itself\, is close to the kind of “auto-ethnography” that David Graeber proposes as a riposte to the vanguardist sensibility.” – Richard Porton\, author of Film and the Anarchist Imagination\, 2nd edition \n7.24.14\n4.5 mins\, silent\, 16mm film on digital video\, 2014 \nDemonstration in support of Gaza and against Operation Protective Edge on July 24\, 2014 in Ithaca\, NY. \nShale Raga\n4.5 min\, sound\, digital video\, 2015 \nSet to an excerpt of Don Cherry’s Malkauns from his border-erasing 1975 album\, Brown Rice\, Shale Raga extracts a mining industry in-house video to put pressure on carbon-based capitalist sorcery\, in this case EcoShale technology\, which is patented by Alberta-based Red Leaf Resources\, Inc. and promises to “revolutionize” oil shale production in the Book Cliffs of eastern Utah by accelerating geological time. The video is a counter-spell to ward off venture capital’s appetite for ancient life forms baked into rock. \nACID REIGN\n4.5 min\, sound\, digital video\, 2012 \nCombining archival/found footage\, treated images and diaristic Hi-8 video\, ACID REIGN explores the ongoing battle between human beings’ technologies of control and other life forms. In this case\, animals re-inhabit a post-human urban landscape. \nAncient Sunshine\n19.5 mins\, sound\, 16mm film on digital video\, 2021 \nA fossil cast in plastic\, an artificial plateau\, classic cars running on the fumes of the nation. Ancient Sunshine marks a path through fossil fuel extraction and climate defense in the American West. The film proposes solidarity against the violence by which “earth” becomes “resource.” \nUtah Tar Sands Resistance has been fighting experimental mining in the Tavaputs Plateau for almost a decade\, setting up camp every summer in sight of heavy equipment and construction crews. The film asks\, how might the concept of horizontalism be applied to the physical horizon\, its decimation\, and to capital’s propensity for vertical extrication? Ancient Sunshine interweaves the endless remaking of the Western landscape with labor history\, reflections on anarchist organization\, and interspecies economies. \nAncient Sunshine consists of interviews with the Utah Tar Sands Resistance primary organizers and other Utah land protectors\, and sets their voices in and against an industrialized landscape. The film presents an array of voices\, drawing attention to the role of resistance and kinship during times of threat and extinction. \nToward a poetic solidarity\, toward a formal politics. \n \nBiography of the artist\nJason Livingston is a media artist\, filmmaker\, and educator. His award-winning films have been widely exhibited at festivals and museums\, including the National Gallery of Art in Washington\, D.C.\, the International Film Festival Rotterdam\, and Media City in Canada. He is currently researching histories of extractive cinema and abolitionist re-imaginings of our shared world as a Presidential Fellow in the Department of Media Study\, University at Buffalo. \nBanner image: A still from Jason Livingston’s film #Rushes/URL (2012). Two policemen on scoooters on a sunny day in New York City. On top and on the bottom of the image are superimposed words like a mid-2000s meme in Impact font: “AGAINST THE ACTIVATED SPECTATOR.” URL:https://squeaky.org/event/rushes-films-and-actions-by-jason-livingston/ LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States CATEGORIES:Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/04/Livingston-Rushes-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240423T180000 DTEND;TZID=America/New_York:20240423T200000 DTSTAMP:20260412T114506 CREATED:20251230T191539Z LAST-MODIFIED:20251230T191539Z UID:10001160-1713895200-1713902400@squeaky.org SUMMARY:The Fuzzy Edges of Character Encoding with Everest Pipkin DESCRIPTION:Tuesday\, April 23\, 2024\, 6–8pm\nFree or suggested donation\nOpen to ages 16+.\nBring your own laptops or computational device. Students will need a basic text editor installed. Details will be given in registration email.\nWorkspace Resident Everest Pipkin will lead a workshop on the history\, politics and computational basics of text-based character encoding. Discussions will cover morse code\, ASCII\, Unicode (including emoji)\, and alternative text encoding schemes\, as well as their social\, ethical\, and emotional stories. The second part of the workshop will be a laptops-open play along exploration through software demos and creative exercises. What “is” a character on a computer? How can we play around with the foundational building blocks of digital materials in ways that lets us understand files as materials? How can we think about language as a type of logical encoding that makes computers work? \nBiography of the artist\nEverest Pipkin is a game developer\, writer\, and artist from central Texas who lives and works on a sheep farm in southern New Mexico. Their work both in the studio and in the garden follows themes of ecology\, tool making\, and collective care during collapse. They hold a BFA from University of Texas at Austin\, an MFA from Carnegie Mellon University\, and have shown and spoken at The Design Museum of London\, The Texas Biennial\, The XXI Triennale of Milan\, The Photographers Gallery of London\, Center for Land Use Interpretation\, and other spaces. When not at the computer in the heat of the day\, you can find them in the hills spending time with their neighbors— both human and non-human. \nWorkspace Residency is generously supported by the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. \nImage description: An image from The Barnacle Goose Experiment (2022) by Everest Pipkin. An old-school text-based interface is open\, with various lists of items\, verbs\, experiments\, locations and actions available to you\, like “cry” or “eat [honey]”. Each one is a link. URL:https://squeaky.org/event/the-fuzzy-edges-of-character-encoding-with-everest-pipkin/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/png:https://squeaky.org/wp-content/uploads/2024/03/Everest-Text.png GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240422T180000 DTEND;TZID=America/New_York:20240422T200000 DTSTAMP:20260412T114506 CREATED:20251230T191540Z LAST-MODIFIED:20251230T191540Z UID:10001159-1713808800-1713816000@squeaky.org SUMMARY:Artifacts of Identity: Crafting Meaningful Narratives with Personal Objects by Léwuga Benson DESCRIPTION:Monday\, April 22\, 2024\, 6–8 pm\nFree or suggested donation\nOpen to ages 16+. All materials provided. Please bring a meaningful personal object you wish to explore!\nWorkspace Resident Lewuga Benson will facilitate conversations with participants on the transformative powers of personal artifacts and the ways they can shape personal and community narratives. This workshop will be both structured and flexible\, and participants will be encouraged to share and explore in depth the meanings of their own personal objects. Lewuga will then guide students through creative exercises in different mediums around their chosen artifact. The workshop encourages collaboration\, reflection\, and meaningful dialogue among participants\, fostering a sense of community and creative exploration. \nBiography of the instructor\nLéwuga Tata Benson: As an interdisciplinary artist and filmmaker\, my work bridges cultures and explores the dynamic interplay between identity\, environmental sustainability\, and human connection. Rooted in my Ogoni heritage in Nigeria\, I draw inspiration from our tradition of repurposing to prevent waste. This ethos infuses my art\, as seen in installations like “The Land Gives Until It No Longer Can\, 2022\,” “Hang in There\, 2022\,” “Traces of Displacement\, 2023\,” “Carrying Identity\, Carrying The Weight\, 2023\,” and “Fueling Change\, 2024.” In Ogoni storytelling\, we engage all the senses\, integrating songs\, dance\, and props for a holistic experience. My artistic practice seamlessly incorporates these traditions to create immersive narratives that provoke thought\, foster empathy\, and celebrate cultural richness. My journey has been marked by awards and accolades\, including the NYSCA 2024 Grant and the Gregory Capasso scholarship for outstanding work in film\, underscoring my commitment to the arts. \nWorkspace Residency is generously supported by the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. \nImage description: Léwuga Tata Benson’s installation The Land Gives Until It No Longer Can (2022) at the University at Buffalo. URL:https://squeaky.org/event/artifacts-of-identity-crafting-meaningful-narratives-with-personal-objects-by-lewuga-benson/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Residencies,Skill Share ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2024/03/Benson-Installation.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT END:VCALENDAR