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SUMMARY:Hala Lotfy's Coming Forth by Day
DESCRIPTION:Wednesday\, October 28\, 2020\, 7–9:30 pm ET\nFree or suggested donation\nConversation with Hala Lotfy and Ekrem Serdar at 8:50 pm ET.\nRegistration required. Click here to register.\nAccess information: The film is presented in Arabic\, with English subtitles. Video introductions and conversations will feature ASL interpretation and open captions. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nHala Lotfy’s 2012 intimately observed narrative feature film Al-khoroug lel-nahar (Coming Forth by Day) follows a day and night in the life of a young woman named Suad living in Cairo on the days before the Egyptian Revolution. Living with her sick and disabled father\, whom she takes care of with her nurse mother\, Lotfy’s quiet and powerful film depicts the vigilance\, routines\, exhaustion and isolation that can accompany care work. When Suad decides to leave the house for a few hours\, a tide of change is set into motion. Set against the backdrop of a country at a moment of change\, and titled after the Egyptian Book of the Dead\, Lofty’s award-winning film heralded a new Egyptian cinema as it stretches time to imagine what comes tomorrow. \nI had this feeling that we were suffocating. Anyone who visited Egypt before the revolution just caught this feeling in the air. It was a huge despair and everyone had the feeling we could not proceed this way. So the film was not intended to be like this but it was something I could not avoid. Losing hope\, I could not avoid that. – Hala Lotfy\, The National \nFollowing the screening\, the filmmaker will be present for a conversation and Q&A with Ekrem Serdar. Audiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to view for 24 hours after the event and SW members will have access for 72 hours. \nHala Lotfy\, Al-khoroug lel-nahar (Coming Forth by Day)\, 100 min\, 2012\nThis event is part of Timeline(s) of Care. Comprised of five single-night screenings\, artist talks\, and interactive events taking place throughout Fall 2020. The series focuses on illness\, disability\, and care work across generations\, crisscrossing timelines\, and the minutiae of personal\, social\, political\, and institutional life. These works acknowledge the lives and work of those who came before us to create different tomorrows. \nBio \n\nHala Lotfy is an Egyptian director\, producer and the founder of Hassala Films collective. Ann Al Sho’our Bel Berouda (“Feeling Cold”\, 2005) is one of her notable documentary works\, which received numerous awards including the Special Jury Prize at the National Film Festival in Egypt. Lotfy also created seven documentaries for the TV series Arabs of Latin America for Al Jazeera. In 2011\, she was chosen by Charlotte Rampling to receive the Katrin Cartlidge Foundation Award. Lotfy’s feature fiction debut “Al-khoroug lel-nahar (Coming Forth by Day\, 2012) had its European premiere at the Berlinale Forum in 2013 and won many awards including the Prize of the FIPRESCI jury and Best Director from the Arab World at Abu Dhabi Film Festival. EXT./Night (2018) is the latest feature fiction she produced\, which premiered at the Toronto International Film Festival in 2018. \nEkrem Serdar is the curator at Squeaky Wheel.
URL:https://squeaky.org/event/hala-lotfys-coming-forth-by-day/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20201016T190000
DTEND;TZID=America/New_York:20201016T213000
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SUMMARY:Lana Lin's The Cancer Journals Revisited
DESCRIPTION:Friday\, October 16\, 2020\, 7 pm ET\nConversation with Lana Lin and Dessane Lopez Cassell at 8:45 pm ET.\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: The film is presented with closed captions. Video introductions and conversations will feature automated open captions and ASL interpretation. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nLana Lin’s 2018 poetic non-fiction film The Cancer Journals Revisited features a chorus of women who recite and ruminate on Black lesbian poet Audre Lorde’s 1980 memoir of her experience with breast cancer\, The Cancer Journals. Lorde’s resistance\, grief\, and transformational voice are brought into the present by twenty-seven writers\, artists\, activists\, health care advocates\, and current and former breast cancer patients. The filmmaker–who was diagnosed with breast cancer in 2010–weaves Lorde’s life across generations\, and powerfully into the present. \nFollowing the screening\, the filmmaker will be present for a conversation and Q&A with Dessane Lopez Cassell. Audiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to view for 24 hours after the event and SW members will have access for 72 hours. \nLana Lin\, The Cancer Journals Revisited\, 98 min\, 2018. \n\nThe film is an ode to this breaking of silence – for Lorde\, for the women interviewed\, and for the filmmaker Lin\, who eventually reveals her own cancer diagnosis…Ultimately\, like Lorde herself\, the film makes interesting connections between the personal and the political that at once underscore the timelessness and timeliness of her writing. – Beandrea July\, Hyperallergic \nThis event is part of Timeline(s) of Care. Comprised of five single-night screenings\, artist talks\, and interactive events taking place throughout Fall 2020. The series focuses on illness\, disability\, and care work across generations\, crisscrossing timelines\, and the minutiae of personal\, social\, political\, and institutional life. These works acknowledge the lives and work of those who came before us to create different tomorrows. \n\nBios of the artists \nLana Lin is an artist\, filmmaker\, and writer who has made experimental films since the early 1990s and collaborative mixed media projects as ‘Lin + Lam’ since 2001. Her work examines the fragilities and contradictions of human and discursive bodies\, emphasizing the conceptual and poetic capacities of moving image media. Her art and films have been shown at international venues including the Barcelona International Women’s Film Festival 2020\, BAMcinemaFest 2019\, Fringe! Queer Film & Arts Fest\, London\, Oberhausen Film Festival\, Cinema Politica Concordia\, Montreal\, Taiwan International Documentary Film Festival\, REDCAT contemporary arts center\, Los Angeles\, Busan Biennale 2018\, Museum of Modern Art and Whitney Museum\, NY\, Stedelijk Museum\, Gasworks and Whitechapel Gallery\, London. She has been awarded fellowships from the Jerome Foundation\, New York Foundation for the Arts\, MacDowell\, Wexner Center for the Arts\, and Vera List Center for Art and Politics\, among others. The Cancer Journals Revisited won the Favorite Experimental Film Award at BlackStar Film Festival\, Philadelphia and Best Feature Documentary at the San Diego Asian Film Festival. She is the author of Freud’s Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer (Fordham UP\, 2017) and is an Associate Professor of Media Studies at The New School\, NY. \nDessane Lopez Cassell is a curator\, writer\, and editor based in New York. Her research interests include artist’s moving image\, documentary\, and experimental film concerned with race\, gender\, and representation. Cassell has organized curatorial projects and screenings for the Brooklyn Academy of Music (BAM)\, MoMA Film\, and Flaherty NYC\, among numerous others. Currently\, she chairs the experimental film subcommittee for BlackStar Film Festival and serves as Editor of Reviews at Hyperallergic. \nFilm courtesy of Women Make Movies. Images of the film courtesy of Lana Lin. Special thank you to Dessane Lopez Cassell.
URL:https://squeaky.org/event/lana-lins-the-cancer-journals-revisited/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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SUMMARY:Timeline(s) of Care
DESCRIPTION:Timeline(s) of Care is comprised of five virtual single-night screenings\, artist talks\, and interactive events taking place throughout Fall 2020. The series focuses on illness\, disability\, and care work across generations\, crisscrossing timelines\, and the minutiae of personal\, social\, political\, and institutional life. These works acknowledge the lives and work of those who came before us to create different tomorrows. \nAll events in this series will be available to access and view for 24 hours. Squeaky Wheel members will have access to the event for 72 hours. Please see the individual event pages for access information. \n  \n\nFriday\, October 16\, 2020\, 7 pm\nScreening | Lana Lin’s The Cancer Journals Revisited\nFollowed by a conversation and Q&A between Lana Lin and Dessane Lopez Cassell \n \nWednesday\, October 28\, 2020\, 7 pm\nScreening | Hala Lotfy’s Coming Forth by Day\nFollowed by a conversation and Q&A between Hala Lotfy and Ekrem Serdar \n \nFriday\, November 6\, 2020\, 7 pm\nScreening | Jordan Lord’s Shared Resources\nFollowed by a conversation and Q&A between Jordan Lord and Emily Watlington \n \nFriday\, November 20\, 2020\, 7 pm\nWorkshop | What Would an Uprising Doula Do?\nAn interactive workshop by the What Does a HIV Doula Do? Collective \n \nWednesday\, December 9\, 2020\, 7 pm\nPresentation and Q&A | Taraneh Fazeli on Sick Time\, Sleepy Time\, Crip Time \nA presentation and conversation with Taraneh Fazeli and Amalle Dublon.
URL:https://squeaky.org/event/timelines-of-care/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Event Series,Virtual
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SUMMARY:Squeaky Wheel’s Excellent Adventure
DESCRIPTION:Fact Sheet | Prizes | How It Works | Rules & Info \nSqueaky Wheel’s biennial social media scavenger hunt is back! Named by Buffalo Spree magazine as the “Best New Fundraiser 2019\,” this fun\, family-friendly event sets participants on a mission to accomplish as many tasks as they can throughout the afternoon. The most points at the conclusion of the event win the Grand Prize\, with many additional special category prizes. The tasks (designed with equal parts cultural awareness\, media-savvy\, and silliness) encourage teams to creatively engage with their community outdoors in the open air and from the safety of their homes. \nThis year’s Excellent Adventure adapts easily to the challenging circumstances we’re living in now. With some thoughtful adjustments\, we’ve reconfigured this year’s event to prioritize safety and to allow for social distance\, yet it will remain an eminently social\, superbly fun activity. Additionally\, because of the measures we’ve taken to produce the opening and closing events online\, we can open up the Excellent Adventure to anyone in the world with a smartphone and an internet connection. So be sure to tell all your friends in Denver or Dakar! \nFunds raised at this event will support the free and low-cost media equipment access\, education programs\, and art exhibitions that Squeaky Wheel offers to Western New Yorkers of all ages and backgrounds every day. \n \nFact Sheet: \n\nWho: You and up to three others!\nWhat: Social media scavenger hunt\nWhere: Anywhere in the world! \nWhen: Saturday\, October 10\, 2020\n10:30 AM ET: Opening Event begins on Google Meet: Rules\, support announced\, Teams/Participants finalized.\n11 AM ET: List of tasks unveiled: The race begins!\n11 AM–4 PM ET: Embark on your adventure!\n4 PM ET: Final deadline to submit tasks\n5 PM ET: Closing Event on Google Meet: Team roll-call\, submissions screened\, prize-winners announced!\nWhy: To enjoy a fun-filled day of adventure and raise funds to support media literacy\, arts\, and education in Western NY\nHow: Assemble your team. PURCHASE TICKETS HERE at a sliding scale of $10-$25 per person.\nRegister early to receive a bonus clue! \n(by Friday\, October 9\, 5:00 PM; registration closes Saturday\, October 10\, 12 pm) \nPrizes: \nGrand prize: The Adventure Continues! ~$2\,000 value!\n– GoPro Hero9 kit \n– 4 Media Art Workshop vouchers for Squeaky Wheel \n– 4 Anytime lift tickets to Holiday Valley\n– Gift card to Steelbound Brewery & Distillery in Ellicottville \n– 1-year membership to Frank Lloyd Wright’s Graycliff \n– 4 annual Reddy Bikeshare memberships\n– Private fossil hunt and tour at Penn Dixie Fossil Park & Nature Reserve\n– New Era sports merchandise\n– Parkside Meadow gift card \n2nd Place: Photo finish! ~$800 value!\n– 35mm Analog Camera kit\n– 1 CEPA Gallery membership + 1 workshop voucher\, and swag\n– 4 memberships to Squeaky Wheel \n– Passes to the George Eastman Museum \n– 4 tickets to the National Comedy Center (2 dual admission tickets)\n– Private bike tour and swag from Buffalo Bike Tours \n3rd Place: Culture Vulture! ~$500 value!\n– 2 tickets to Buffalo Philharmonic Orchestra\n– $50 Giftcard for The Black Sheep\n– 2 Tickets Darwin Martin House 1 hour tour + souvenir book\n– 4 Tickets to the National Comedy Center (2 dual admission tickets)\n– 3 Individual memberships and 3 PineGrill T-shirts to African American Cultural Center \n– 4 Tickets to a Squeaky Wheel screening  \nMost Creative\n– $50 Pineapple Company gift card\n– $50 Gutter Pop Comics gift card + gift basket \n– $50 Lumpy Buttons gift card  \nBest Group Energy\n– 4 Vouchers for a Make Your Own Glass workshop + 4 admission passes at Corning Museum of Glass\n– Explore Buffalo family membership\n– Buffalo Science Museum family membership \nHonorable Mentions:\n– Owl prowl for 14 people with Buffalo Audubon Society\n– Shopping party at Half & Half: $50 gift certificate + 20% discount for up to 20 friends\n– $20 gift card to Revolver Records \n  \nHow the Excellent Adventure works:\nTraveling by foot\, bicycle\, vehicle\, assistive device\, or just going into your backyard\, participants will race to accomplish as many prompts as possible in photos or videos and upload them to Instagram with the hashtag #squeakyadventure. Thanks to Reddy Bikeshare and Buffalo Bike Tours\, participants will also have discounts to bicycle rentals for the day. For those new to Instagram or in need of technical support\, a virtual tech-help desk will be available at Squeaky Wheel for the duration of the event. Included with the list of tasks will be an FAQ with common questions and links to additional apps and tools that teams may find useful. \nAt 10:30 am EST\, the Excellent Adventure Opening Event begins\, and participants must be present. Rules will be explained\, teams finalized\, and other details\, including safety precautions\, discussed. Participants will be required to wear masks when social distance isn’t possible. \nAt 11:00 am (EST)\, the list of Excellent Adventure prompts will be revealed\, AND THE ADVENTURE STARTS! \nParticipants have until 4:00 pm to accomplish as many tasks as they can and win points for each one. Most tasks are open to interpretation\, such that whether you are participating from home or in the field\, as a real-world or virtual team\, you should be able to get them done. \nA panel of judges will review the uploaded imagery in real-time\, and they or staff will respond to each team’s task on Instagram to confirm that the task was received. Each prompt is assigned a certain number of points depending on difficulty. The judges will give points for completing tasks\, with bonus points\, at their discretion\, for creativity. The final deadline to submit tasks will be 4:00 pm. Between 4:00–5:00 pm\, the judges will confer\, and the staff will prepare for the Closing Event. \nAt 5:00 pm\, the Closing Event will begin where all will have a chance to view the submissions before the judges announce the prize winners. The Grand Prize is awarded to the team with the most points. Additional prizes will be awarded to teams completing tasks with humor\, innovation\, media-savvy\, and other special categories (the actual special categories are subject to change). Top prizes include a GoPro camera kit\, access to safe and healthy activities\, and gift cards to delicious eateries and breweries around Buffalo! For those competing outside of Buffalo\, prizes are shipped whenever possible. \n\nRULES: \n\nTEAMS:\n\n\n\n\nRegister and form your own team of up to 4 people up to 12 pm day of event (3 pt. bonus task for those who register by 10/3/20; 1pt bonus task for those who register by 10/9/20)\nYou can join as a single-member team or as a “free-agent” and Squeaky Wheel will connect you with other free agents or teams looking for additional members (must register as free-agent by October 9th).\nTeams can be from any geographic location.\nTeams can be virtual. This may take more creativity\, but if you have an online team\, tasks can be interpreted to fit a virtual team.\nTeam members must all take part in solving the task. They do not always have to be in the image/video\, but all must collaborate in coming up with each task submission.\n\n\n\n\n\nPLAY\n\n\n\n\nAt the opening event at 11 am the List will be revealed and the Squeaky Wheel’s Excellent Adventure officially commences. \nThe list contains 100 clues/tasks each of which can be completed for a certain number of points (1-4).\nEach team can select any number of tasks to complete. You do not have to complete all tasks (in fact it will be almost impossible). The more you accomplish\, the more points you will get.\nYou may accomplish tasks in any order.\nEach completed task must be documented in a photo or video that includes the Squeaky Wheel placard with your team name and uploaded to Instagram with proper hashtag: #SqueakyAdventure and captioned with the Task #.\n\nNOTE: task number must coincide with the number assigned on the List. (For example\, if you do task #5 first\, your caption should say “Task 5”.\nThe Squeaky Excellent Adventure placard will be emailed and linked. You will need to print this out. (If you don’t have access to a printer\, you may trace the placard by hand.)\n\n\nDeadline to post tasks is 4:00 pm.\nRecommended Free Apps: TikTok\, Boomerang\, Hyperlapse\, Slo Mo Video\, Glitch Art\, Adobe Spark\, Layout\, Swipeable\, Stop Motion (names may differ for depending on OS)\nClosing event will be online (Google Meetings) at 5 pm where teams will be acknowledged\, judges introduced\, and prizes awarded. Participants will receive a link to the Closing event \n\n\n\n\nNEED TECHNICAL HELP? \nFor those new to Instagram or are in need of technical support\, a virtual tech-help desk will be available at Squeaky Wheel for the duration of the event. If you need help on the go\, feel free to text/call 716-427-4125 or message us on Instagram at @SqueakyBuffalo. \n\nBICYCLE RENTAL TOURS \nThanks to Buffalo Bike Tours all adventurers receive 20% off Bike Rentals. Use promo code SQUEAKY2020 and sign up here: https://www.buffalobiketours.com/rentals \nReddy Bikeshare also has a special deal for you! Sign up for a Group Pass for just $1.00 (normally $9.00) which gets you access to up to 4 bikes at once. But that’s not all! You also get your first hour free for four riders ($24 value!). After that\, your cost is just $0.10/min (or $6/hr) per bike.  \nTo sign up and ride:  \nClick https://widget.socialbicycles.com/#/78/1045?promoCode=SQUEAKY20 to get started! We’ve applied the promo code for you to make it easy. Next\, follow these \nsteps to redeem your free ride time: \n\n Download the Social Bicycles app for Android or iOS and login with your email and password that you just used to create your new account.\n Click the upper right corner\, then click on “Memberships”\, tap the arrow under your membership\, then “Add promo code”\n Enter the promo code SCAVENGE1 and hit apply.\n\nYou’re all set! You can use the same account number and PIN to unlock up to 4 bikes. \n\nPRIVACY CONCERNS? \n\nIf you don’t want to use your personal account\, you can set up a new Instagram account for the team.\nLet your teammates know if you don’t want to be tagged in the photos.\nLet your teammates know if you don’t want your image included.\n\n\nSAFETY & CONDUCT \n\nDon’t do anything illegal\nAbide by Squeaky Wheel’s Community Guidelines. (Details).\nBe respectful of people\, communities\, and public spaces. Please also be mindful of problematic and culturally appropriative digital behaviors\, i.e. digital Blackface.\nDo not record or photograph people without their consent.\nAbide by all regional CoVid19 safety precautions (link?)\nSqueaky Wheel may disqualify any team that fails to follow these rules and codes of conduct.\n\n\nJUDGING: \n\nA three person panel of judges (Liz Ferrer\, Bow Ty\, and Jenson Leonard) determines whether or not a submitted photo/video meets the criteria of a task. \nPoints are awarded for each completed task\, with additional points given (if appropriate) for effort or creativity or “going beyond” at the discretion of the judges. \nJudges or staff will respond in comments to each submission to confirm receipt.\nJudges will be reviewing between 11 am–4 pm\, and making selections between 4–5 pm\, with a moderator assisting the process.\n\n  \nBe sure to follow us on Facebook\, Instagram\, and Twitter @SqueakyBuffalo for updates. \nSqueaky Wheel’s Excellent Adventure is made possible through the generous support of Clover Group\, Inc.\, Lipsitz Green Scime Cambria LLP\, Rigidized Metals\, Allen Street Consulting\, Bluebird Mobility\, Catholic Health\, Putman Insurance Agency\, Stephens & Stephens\, LLP\, Bridget Donahue Gallery\, Buffalo State College Communication Department\, Paradise Wine\, Buffalo Spree\, Yelp\, Challenger News\, Buffalo Bike Tours\, and Reddy Bikeshare. \nWe are currently seeking additional sponsors for this event. If you are interested\, please contact kyla@squeaky.org. \n 
URL:https://squeaky.org/event/squeaky-wheels-excellent-adventure/
LOCATION:NY
CATEGORIES:Special Event
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DTSTART;TZID=America/New_York:20200925T190000
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SUMMARY:Squeaky Wheel's 17th Animation Fest!
DESCRIPTION:Friday\, September 25\, 2020\, 7 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nUpon registration\, you will receive an email with information on how to view the event. If you encounter any issues\, please send us a text message at 716-427-4125. \nSqueaky Wheel is excited to announce the 17th edition of our annual Animation Fest! The festival showcases artworks made in a diverse variety of animation techniques such as stop-motion\, claymation\, 3D animation\, hand-painted film\, special effects\, and motion graphics. This years virtual edition is guest curated by Tabia Lewis\, and focuses on the interconnectivity between magical realism\, trans-subjectivity\, and experimental animation. Filmmakers featured in the fest include aleksandar radan\, Azalia Primadita Muchransyah\, Jazmyn Palermo\, Jeanette Fantone\, Jia-Rey Chang\, Jordan Shaw\, Karis Jones\, Rosa Barbara Nussbaum\, sandra araújo\, Serena Lee. The 17th Animation Fest is sponsored by Villa Maria College. \nThe screening will be followed by a live Q&A over Google Docs with the curator and several of the artists at 8 pm. The screening and Google Docs Q&A will be available to view for up to 24 hours. An essay by the curator will be available for all who register for the event. If you miss the live event\, you can register to view the event through Saturday\, September 26\, 7 pm ET. \nProgram\n47 minutes total. This program is intended for audiences age 13 and up. Content warnings: Nudity\, flashing lights and images\, low-frequency noises\, body horror\, suggested death. Images and descriptions of the films courtesy of the filmmakers. \n \nSerena Lee\, Axolotl\, 6:19 min\, 2007\nBased on a short story by Julio Cortázar — please refer to email conversation between myself and Tabia Lewis 🙂 \n \nRosa Barbara Nussbaum\, The Golfers\, 2:13 min\, 2018\nA young woman finds golf balls and hatches them into tiny golfers on her night stand. Hand drawn cel animation. \n \nJeanette Fantone\, Duet\, 3:11 min\, 2019\nDuet is an audiovisual piece exploring the relationship between two siblings. In separate existence\, their eventual permeation is found with synchrony and saturation. \n \nKaris Jones\, Lawton\, 3:04\, 2020\nA collection of 312 drawings illustrating Lawton. A thing that lives in a room where things it does not understand happen. \n \naleksandar radan\, in between identities\, 9:00 min\, 2015\nIn between Identities originated from a game mod in which the artist manipulated disoriented\, half-naked avatars that wander around darkened cityscapes in bathing suits\, fur coats\, or with slices of cucumber over their eyes. They function as shell-like proxies for players\, appearing at once strangely massive and empty within the sometimes crude aesthetic of the computer game. The computer game offers a fascinating realm of possibility\, that both despite and because of its very specifications and preconfigurations continually offers room for improvisation and intuition. Within the circumscribed\, programmed space\, the freedom arises to undermine the “actual” purpose of the game. In abandoning the script and storyboard\, new narratives and choreography can be orchestrated with the remaining elements.\nHere\, the avatars seem to have their own lives in the grey zone between the player’s identity and that of the character played. The collapse of meaningful connections leaves behind a void that can be understood both as a free space outside of everyday routines as well as a space lacking in the means for making personal connections. As observers\, we experience ourselves as voyeuristic participants in the game and plunge into its dreamlike atmosphere of shifting realities and identities. \n \nsandra araújo\, MOM\, I’M NOT EATING\, 3:53 min\, 2019\nTransitional < body > Witch Warrior ()==[:::::::::::::> collaboration between trans dj / artist Odete && non-binary queer digital artist sandra araújo. Although\, labels should not matter as they (still) tend to objectify over human complexity\, it brings up to surface the translation / representation of < gender > into social space. This virtual identity #shout(s) out to a sensory and imaginative concept of identification through video game related characters. An empathic form of identity and strong emotional connection with the < avatar > as a set of default actions / assets that translate into tools / text of visual representation. \n \nJia-Rey Chang\, Living Wonderland\, 2:07 min\, 2020\nLiving Wonderland not only metaphorically reveals our lust of craving for freedom but also illustrates the kindness embedded in everyone during this COVID-19 epidemic/quarantine period. No matter it represents the lust or the kindness of every human being\, that Wonderland deep in everyone’s awareness is just like a “living thing” eager to break through the “frame” of any pre(post)-set constraints\, illness\, and boundary to look for hope. However\, we all know that keeping a distance at the time will benefit the entire world. Our inner nature is drastically swinging between the furious thoughts(fears) and the peaceful mind\, just like the heartbeat\, just like this living wonderland. It is a loop of a short 2-minute film piece. The audience might view the piece through their own 3D glasses to have the stereoscopic effect but not necessary and still can enjoy the colorful vision without it. The entire piece is created by the scripts of code as generative art (creative coding). \n \nJazmyn Palermo\, Teenie Hams’ Adventures in Genderland\, 9:54 min\, 2018\nA child leaves the bleak and boring world they know on an adventure to new worlds\, magical creatures\, and newfound identity. \n \nAzalia Primadita Muchransyah\, Concrete Jungle\, 1:00 min\, 2019\nAccompanied by a mix of soundscapes and music\, Concrete Jungle juxtaposes different living creatures with manmade architectures. It is a reimagination of how nature should reclaim its rightful place amidst the busy and deafening city life. \n \nJordan Shaw\, Canadian Abstracts #2\, 7:12 min\, 2020\nCanadian Abstracts #2 is a continuation of the machine learning series I’ve been working on over the last few years. Pretty excited to have been able to get the GAN network to produce higher resolution video. Canadian Abstracts is an exploration of computational creativity focused on the relationships with nature and our environment. Canadian Abstracts uses a Generative Adversarial Network (GAN) which is a type of Artificial Intelligence. This algorithm is trained on ~10000 artworks by all members of the Group of Seven. Through the visual exploration of these new Canadian Landscapes\, does our own understanding and view of Canada\, it’s wilderness and our environment match that of the algorithms? Are these A.I. landscapes familiar to you? Could these landscapes really exist? Or might these images only be the dreams of a technological system that is trying to understand our physical world? \nBios of the artists and curator \nAleksandar Radan was born in Offenbach am Main in 1988. He has been studying art at the Hochschule für Gestaltung Offenbach since 2010. His work is concerned with digital media and the fact that we are continually lagging behind. This notion of “lagging behind” may be understood on a metaphorical level.\nHowever\, it also finds direct expression in the artist’s marked interest both in body language that is influenced by technologies and mass-media communications as well as avatars and images in virtual spaces. The stereotypical\, pre-programmed gestures of digital avatars that oscillate between life-like and artificially stiff form a leitmotif in Radan’s work. Improvisational moments augment these gestures\, which are manipulated through game modding. Radan primarily films live action footage in altered computer game surroundings\, which the artist has deliberately altered to serve as his stage sets. By interfering with a game’s software database\, game modding enables one to rewrite the codes for a game’s visual surface textures and sounds\, for example. In turn\, they become artistic materials that can be manipulated. In Radan’s experimental short films\, the programmed meets the improvised\, and the default is confronted with the spontaneous actions of the artist—who is also the player—in a virtual environment.\nRadan’s works have been featured at multiple venues\, including the Clermont-Ferrand International Short Film Festival and the International Short Film Festival in Oberhausen. \nAzalia Muchransyah is a filmmaker\, writer\, and scholar from Indonesia. She is a Ph.D. Candidate in Media Study at University at Buffalo (SUNY)\, funded by the 2017 DIKTI Fulbright Scholarship. In 2019 she became a Humanities\, Arts\, Science\, and Technology Alliance and Collaboratory Scholar at HASTAC\, a Social Impact Fellow at University at Buffalo (SUNY)\, and a Finger Lakes Environmental Film Festival Diversity Scholar at Ithaca College. Her research is on activist media\, specifically for people living with HIV in Indonesian prison settings. Her short films have been officially selected and screened in international festivals and academic conferences. \nJaz is a trans artist working and living in Buffalo\, N.Y. with a focus in stop-motion animation. They graduated with a BFA from Alfred University in 2018. Their work explores gay and trans identity through the vehicle of a campy\, papier-mache\, hot glue disaster. \nJeanette Fantone is an animator from Santa Barbara County\, California. Her work pulls largely from themes of memory\, longing\, and what-ifs. There is an innate presence of honesty and emotional nuance. She is most excited about filmmaking that invokes curiosity and exploration within the process\, with a strong gravitation towards post production processing and digital-analog hybrid techniques. As a budding filmmaker\, Jeanette is patiently nurturing a transportive and mystical artistic voice. \nJia-Rey (Gary) Chang was born in Taiwan. After completing his M.Arch degree in Architecture and Urban Design Department\, UCLA\, under the direction of Neil Denari in 2009\, he came back to his Alma mater\, the Architecture Department in TamKang University\, Taiwan\, researching on interactive and parametric architecture. In 2010\, he established “P&A LAB” (Programming and Architecture LAB: pandalabccc.blogspot.com\, and lately integrated into archgary.com to continue) exploring the new possible relationship between the programming and architecture. Meanwhile\, he also worked in the Architecture Department of the National Taipei University of Technology as an adjunct lecturer. In 2011\, he joined the Hyperbody LAB (hyperbody.nl)\, Department of Architectural Engineering and Technology\, TU Delft\, for his Ph.D. research on Interactive Architecture. Cooperating with choreographers\, visual artists\, composers\, and programmers\, he has been involved in an EU project\, MetaBody (metabody.eu)\, during 2011-2014 to explore the pro-activeness and intra-action relationship between body movement and spatial quality. In early 2018\, he finished his Ph.D. research with the dissertation titles as “HyperCell: A Bio-inspired Design Frameworks for Real-time Interactive Architectures”\, proposing the idea of self-intelligent building components by exploring into the fields of computation\, embodiment\, and biology in design. Meanwhile\, he is also extremely interested in the transdisciplinary topics of interactive architecture\, tangible interactive design/art\, immersive sensory experience\, bio-inspired design\, AI (artificial intelligence)\, creative coding/generative art/visualization\, 3D modeling\, fashion design\, /wearable technology\, and motion tracking technology\, and has conducted numerous related workshops over the years. He is now an assistant professor in the IXD Lab\, Department of Art & Design\, University of Delaware continuing his research philosophy of ‘space as a living being’ as an immersive spatial Interaction Design\, and exploring his artistic trajectory on creating the experimental immersive sensory (audio/visual/VR/AR) space. More info: archgary.com \nJordan Shaw is an artist and creative technologist raised and currently based in Toronto\, Canada. He grew up in Scarborough\, an east-end borough of Toronto. He received his MFA from OCAD University’s Digital Futures program exhibiting his thesis project\, Habitual Instinct\, in 2017 during Vector Festival at InterAccess. Before that\, he completed his undergraduate degrees at Carleton University and Algonquin College\, where his final installation was exhibited at ACM SIGGRAPH. The manifestation of Jordan’s work seeks to visualize the hidden interactions between people and technology\, data collection and these digital systems trying to understand the physical world. These technical systems are not always physically tangible to the human senses. Jordan’s work intends to creatively express the invisibility of modern-day techno-culture into a tangible and concrete experience that exemplifies the connection between participants and digital systems. \nKaris Jones received their BFA from The University of Science and Arts of Oklahoma. Jones is currently an MFA candidate and instructor in drawing and painting at The State University of New York at Buffalo. Jones experiments with the fragility of the human condition. Their work exposes the frail\, unusual essence of the human form that is masked by societal compulsions to disguise the finite\, peculiar nature of humans as a species. Jones attempts to break down homo-sapiens into the most basic and intimate forms. They unapologetically present us as a species in its complete and utter truth. The work translates humanness into its pure essence\, which is temporary\, damaged and inherently feeble. Jones investigates the uncomfortable and odd nature that is human perception. \nRosa Nussbaum is a visual artist based in Philadelphia\, PA. Rosa received her MFA in Studio Art: Transmedia from the University of Texas at Austin in 2018 and her BFA from Wimbledon College of Arts\, London\, UK in 2014. Rosa makes work at the intersection of performance\, video and sculpture Her work explores the place where the body touches the institution\, with particular emphasis on issues of gender and immigration. \nsandra araújo is a < non-binary && genderqueer > digital artist that spent endless hours fighting monsters & strolling through mazes. so\, it only felt natural for < them > 2 evolve through an experimental & explorative process of gaming visual culture & popular gif files. also feeds on social media platforms 2 engage < her > animations into the depths of gender role play & political plots. < they > still plays old school video games. \nLayering forms and modalities\, Serena Lee practice stems from a fascination with polyphony and its radical potential for mapping power\, perception and belonging. She plays with cinema\, voice\, text\, installation\, drawing\, performance\, practising collaboratively and aleatorically.\nRecent projects: Centre Régional d’Art Contemporain Occitanie (Sète)\, Mitchell Art Gallery (Edmonton)\, Scarborough Museum with Aisle 4\, SAW Video/Knot Project Space (Ottawa)\, Cubitt (London)\, S1 Artspace (Sheffield)\, transmediale (Berlin)\, Museum of Contemporary Art (Toronto)\, Whitechapel Gallery (London)\, Vtape (Toronto)\, Images Festival (Toronto)\, FADO Performance / The Theatre Centre (Toronto)\, Mountain Standard Time (Calgary).  Serena is currently based between Vienna and Tkaronto/Toronto. \nTabia Lewis is a Black\, trans writer\, curator\, and DJ living in Charlotte\, North Carolina. They hold a BA in English from East Carolina University with a minor in creative writing. During their time at ECU they found their passion for curating while working in Joyner Library’s Special Collections. Their work is aligned with Black\, radical imagination\, the ordinary as extraordinary\, and transness beyond physical matter. Outside of writing and music\, they also use collage\, zines\, and homemaking as mediums/platforms for their work.\nCurrently\, they are working on a project that investigates Black existentialism and its ties to social justice. In the future\, they hope to work on projects that explore their relationship to ghosts as a Black trans person\, Black\, queer homemaking\, and queer-coded families in cartoons. By 2022 they hope to have completed their memoir. \n\nSqueaky Wheel’s Animation Fest is sponsored by Villa Maria College’s Animation program. Villa Maria College’s Animation Program teaches the fundamentals of animation and fine art\, and builds from there. The small classes are instructed by our renowned faculty\, and allow students to get a personalized\, hands-on education. \nBanner image: Serena Lee\, Axolotl\, 2007. Image courtesy of the artist.
URL:https://squeaky.org/event/squeaky-wheels-17th-animation-fest/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200904T190000
DTEND;TZID=America/New_York:20200904T203000
DTSTAMP:20260612T114500
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SUMMARY:Johann Diedrick's Prelude to Wake
DESCRIPTION:Friday\, September 4\, 2020\, 7 pm ET\nFree and suggested donation\nUpon registration\, you will receive an email with information on how to view the event. If you encounter any issues\, please send us a text message at 716-427-4125.\nClick here to register \nJohann Diedrick’s Prelude to Wake is a ~20 minute\, urgent\, mournful\, and world-building sonic performance that centers the loss of ourselves and environments due to climate change. The work is performed by a fictional character named “The Sound Collector” who collects buried vibrations and releases them from material through an ancient technological device. Combining field recordings\, original music composition\, and generative audio techniques\, Prelude to Wake stages an encounter between the audience\, a past that we are losing due to catastrophe\, and what may exist in the future. \nThis digital\, online performance is transmitted digitally from Tortoise Town in Brooklyn\, NY. The artist’s original proposal – titled Wake – was a site-specific\, in-person performance at Silo City’s Marina A\, set as an encounter between the Sound Collector and the histories and ecology of the Buffalo River. Due to the pandemic\, his in-person performance in Buffalo is tentatively rescheduled for late Spring 2021. \nAudiences will be able to participate in a Q&A with the artist through Google Docs at 7:30 pm ET. \nJohann Diedrick is a Caribbean-American artist who makes installations\, performances\, and sculptures that allow you to explore the world through your ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space\, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. He was a Spring 2020 technology artist-in-residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council. Along with receiving an Asian Cultural Council grant\, his work has been featured in Wire Magazine\, Musicworks Magazine\, and presented at MoMA PS1 (in collaboration with Jonathan González)\, Somerset House (London\, UK)\, Social Kitchen (Kyoto\, Japan)\, Common Ground (Berlin\, Germany)\, Recess (Brooklyn\, NY)\, Knockdown Center (Queens\, NY)\, and Pioneer Works (Brooklyn\, NY). \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. Special thanks to Scribe Video Center. See more information about the Workspace Residency here. \nBanner image by Johann Diedrick: “A view of the sunrise as seen from the summit of Panther Mountain\, a mountain in the Catskills which sits atop a meteorite impact crater from around 375 million years ago.”
URL:https://squeaky.org/event/johann-diedricks-prelude-to-wake/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Performance,Residencies,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200828T190000
DTEND;TZID=America/New_York:20200828T210000
DTSTAMP:20260612T114500
CREATED:20251230T191346Z
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SUMMARY:Race Jam: A panel on memes and online imagined blackness
DESCRIPTION:Friday\, August 28\, 2020\, 7 pm ET\nFree and suggested donation\nUpon registration\, you will receive an email with information on how to view the event. If you encounter any issues accessing the event\, please send us a text message at 716-427-4125.\nRegister here \nIn this intimate public knowledge-sharing event led by Jenson Leonard ( @coryintheabyss )\, and featuring Ashley Khirea Wahba ( @th0t_catalog )\, Nicolas Vargas ( @blackpowerbottomtext )\, and Pastiche Lumumba ( @pastichelumumba )\, Leonard and the participants will lead a discussion on the origins of the internet meme\, its mobilization as political ejecta in the 2016 election\, its shared resonances with graffiti and conceptual art practices\, and the structural and ethical pitfalls of the medium in the context of mass surveillance\, data extraction\, and digital blackface. \nAudiences will be able to ask questions to the panelist in the live chat\, which will be sent to the panelists upon moderation by SW. \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. Special thanks to Scribe Video Center. See more information about the Workspace Residency here. \nBanner image by Jenson Leonard.
URL:https://squeaky.org/event/race-jam-a-panel-on-memes-and-online-imagined-blackness/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200826T190000
DTEND;TZID=America/New_York:20200826T210000
DTSTAMP:20260612T114500
CREATED:20251230T191346Z
LAST-MODIFIED:20251230T191346Z
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SUMMARY:Distributed Technology for Digital Cooperation
DESCRIPTION:Wednesday\, August 26\, 2020\, 7 pm ET\nFree or suggested donation.\nThis is an online event. Upon registration\, you will receive an email with information on how to participate in the workshop. Attendance is limited. If the event reaches capacity\, you can sign up for the waitlist and be notified if there are any openings.\nRegister here. \nHow do distributed technologies\, peer-to-peer\, and blockchain-based currencies provide corrective measures to ailing economic and political systems? To what extent do these new technologies re-inforce the same power dynamics and abuses as our current systems? \nIn this skill-share\, Eric Barry Drasin will introduce projects that use decentralized technologies to affect progressive social change. Drasin will discuss projects such as Bailbloc\, which mines cryptocurrency to pay for bail funds; CirclesUBI\, which attempts to create a mutual credit solidarity economy; and discuss how blockchain technology has exacerbated the economic and political conditions it was supposed to disrupt. \nAfter his introduction\, audiences will be randomly set in two Zoom breakout rooms to discuss the potential of such technology. Upon the end of the discussion\, Drasin will lead a participatory demonstration of quadratic voting through Google Sheets. Audiences are welcome to participate or simply attend. \nThis skill-share is open to all interested in blockchain as a collaborative tool. Want to learn more about blockchain before the skill-share? Click here for an introductory lecture by the artist. \nThe workshop will be held over Zoom and utilize Google Sheets\, which requires a Google account. If you are encountering any issues accessing the event\, please send us a text message at 716-427-4125. \nEric Barry Drasin is a research-based artist exploring the relationship between art and systems of value. Through emerging blockchain technologies\, his current research explores “distributed” processes\, objects\, and organizations that problematize and reprogram fundamental assumptions about how value is constructed and disseminated. Using contracts and legal frameworks as a platform for enacting collectivity\, his work injects cooperation and utopian absurdity into systems designed to consolidate power. The notion of the art object is rematerialized in digital space and expanded to engage notions of cultural production and collective agency. Value is thus performed as a form of disruption\, and capitalism itself is the terrain for the refiguration of the economic landscape. \nSqueaky Wheel’s Workspace Residency is a bi-yearly residency open to artists and researchers working in art and technology. The program is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. For more information about the program\, click here.
URL:https://squeaky.org/event/distributed-technology-for-digital-cooperation/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200822T190000
DTEND;TZID=America/New_York:20200822T190000
DTSTAMP:20260612T114500
CREATED:20251230T191346Z
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SUMMARY:Meet our Residents: Emily Watlington\, Eric Drasin\, Jenson Leonard\, Johann Diedrick
DESCRIPTION:Saturday\, August 22\, 2020\, 7 pm ET\nFree or suggested donation. Registration required.\nThis is an online event. Upon registration\, you will receive an email with information on how to view the event. Automatic captioning will be provided. \nRegister here \nJoin Squeaky Wheel for a chance to meet our Summer 2020 Workspace Residents and learn more about their past and ongoing projects in this evening of artist talks. \nDuring their residency\, Emily Watlington will be working on a chapter for a book on accessibility as an artistic medium\, focusing on artistic uses of closed captioning. Eric Barry Drasin will be researching digital art cooperatives vis a vis distributed technologies\, online communities spaces\, experimental finance\, and alternative forms of governance. Jenson Leonard will be filming and editing Workflow\, an installation centered around the velocity and momentum of blackness (historically and as imagined online) as it relates to the philosophical concept of acceleration-the idea that the only way out of capitalism is through its intensification. Johann Diedrick will be composing music for Wake\, an hour-long sonic performance relating to the local ecology in and around Silo City and its connection to the Buffalo River\, and that offers a moment to mourn over the loss of our environment\, our world\, and ourselves. The Summer 2020 residency was juried by Ekrem Serdar\, Martina LaVallo\, and Liz Park. Biographies of the residents and juries can be found below. \nA brief presentation before the artist talk will update you on how you can take part in the Workspace Residency with the upcoming application period in September. \nThis event will be streamed live on Youtube with automated captioning. Audiences will be able to ask questions through Youtube’s live-chat function. \nEmily Watlington is assistant editor at Art in America. She writes about contemporary art—primarily video—often through the lenses of feminism and disability justice. A Fulbright scholar with a master’s degree from MIT in the history\, theory\, and criticism of architecture and art\, she has held curatorial positions at the MIT List Visual Arts Center and MassArt’s Bakalar and Paine Galleries (now the MassArt Art Museum). Her writing has appeared in publications such as Artforum\, Mousse\, and Frieze\, and she has contributed to numerous books and exhibition catalogues\, including Before Projection: Video Sculpture 1974–1995 (2018)\, An Inventory of Shimmers: Objects of Intimacy in Contemporary Art (2017)\, and Independent Female Filmmakers (Routledge\, 2018). \nEric Barry Drasin is a research-based artist exploring the relationship between art and systems of value. Through emerging blockchain technologies\, his current research explores “distributed” processes\, objects\, and organizations that problematize and reprogram fundamental assumptions about how value is constructed and disseminated. Using contracts and legal frameworks as a platform for enacting collectivity\, his work injects cooperation and utopian absurdity into systems designed to consolidate power. The notion of the art object is rematerialized in digital space and expanded to engage notions of cultural production and collective agency. Value is thus performed as a form of disruption\, and capitalism itself is the terrain for the refiguration of the economic landscape. \nJenson Leonard\nMy practice involves the intersection of poetry\, conceptual art\, and internet memes. Not unlike the earliest forms of oral poetry\, memes transmit our cultural memory. I scour the web for these preserves…the copies and reproductions of our collective digital id\, dragging and dropping(sculpting) my findings into the Adobe Suite to create a bricolage of text and image that call into question notions of identity and empire. I chart an internet psychogeography that questions the sensorial exhaustiveness of audiovisual capitalism–An art that\, in the framework of predictive algorithms and data extractions attempts intervention within the infrastructure of social media. \nJohann Diedrick is a Caribbean-American artist who makes installations\, performances\, and sculptures that allow you to explore the world through your ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space\, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. He is currently a Spring 2020 technology artist-in-residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council. Along with receiving an Asian Cultural Council grant\, his work has been featured in Wire Magazine\, Musicworks Magazine\, and presented at MoMA PS1 (in collaboration with Jonathan González)\, Somerset House (London\, UK)\, Social Kitchen (Kyoto\, Japan)\, Common Ground (Berlin\, Germany)\, Recess (Brooklyn\, NY)\, Knockdown Center (Queens\, NY)\, and Pioneer Works (Brooklyn\, NY). \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. Special thanks to Scribe Video Center. See more information about the Workspace Residency here. \nImage\, left to right: Emily Watlington\, Eric Barry Drasin\, Jenson Leonard\, Johann Diedrick. Images courtesy of the residents.
URL:https://squeaky.org/event/meet-our-residents-emily-watlington-eric-drasin-jenson-leonard-johann-diedrick/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200821T190000
DTEND;TZID=America/New_York:20200821T210000
DTSTAMP:20260612T114500
CREATED:20251230T191346Z
LAST-MODIFIED:20251230T191346Z
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SUMMARY:Frameworks for Accessibility in Art
DESCRIPTION:Friday\, August 21\, 2020\, 7 pm ET\nFree or suggested donation. This workshop will take place with real-time captioning.\nThis is an online event. Upon registration\, you will receive an email with information on how to participate in the workshop. Attendance is limited. If the event reaches capacity\, you can sign up for the waitlist and be notified if there are any openings.\nRegister here. \nHow can we make artworks accessible? What do we presume about an audience’s body and mind when we make art and exhibitions? In this skill-share\, Emily Watlington will provide a framework on accessibility and art\, with examples of accessible artworks\, including both works that were created with accessibility from the start\, and “retrofits”\, which include curatorial approaches to making artwork accessible after it has been made. \nUpon the end of her lecture\, participants will have the opportunity to workshop specific artworks or exhibitions with the group. \nThe workshop will be held over Zoom. If you are encountering any issues accessing the event\, please send us a text message at 716-427-4125. \nEmily Watlington is assistant editor at Art in America. She writes about contemporary art—primarily video—often through the lenses of feminism and disability justice. A Fulbright scholar with a master’s degree from MIT in the history\, theory\, and criticism of architecture and art\, she has held curatorial positions at the MIT List Visual Arts Center and MassArt’s Bakalar and Paine Galleries (now the MassArt Art Museum). Her writing has appeared in publications such as Artforum\, Mousse\, and Frieze\, and she has contributed to numerous books and exhibition catalogues\, including Before Projection: Video Sculpture 1974–1995 (2018)\, An Inventory of Shimmers: Objects of Intimacy in Contemporary Art (2017)\, and Independent Female Filmmakers (Routledge\, 2018). \nSqueaky Wheel’s Workspace Residency is a bi-yearly residency open to artists and researchers working in art and technology. The program is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. For more information about the program\, click here. \nBanner image: Shannon Finnegan’s Do you want us here or not\, 2018\, at the Dedalus Foundation\, New York. Image description: A blue bench with hand-painted white text reads: This exhibition has asked me to stand for too long. Sit if you agree.
URL:https://squeaky.org/event/frameworks-for-accessibility-in-art/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Skill Share,Virtual
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DTSTART;TZID=America/New_York:20200821T180000
DTEND;TZID=America/New_York:20200821T210000
DTSTAMP:20260612T114500
CREATED:20251230T191346Z
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SUMMARY:Virtual Screening: From the Out Here
DESCRIPTION:Virtual Screening and Filmmaker Q&A: From the Out Here\nFriday\, August 21\, 2020\, 6–7 pm\nLive Q&A at 6:20 pm\nFree or suggested donation. Click here to register.\nUpon registration\, we will email you a link to view the event.\nAsk questions before the event! \nFrom the Out Here is an experimental documentary film created by the Buffalo Youth Media Institute. Utilizing free and open-source applications\, Kyle Everette\, Patricia O’Sullivan\, Timiyah Curry\, Tyler Everette\, and Zahara Morrell weave together five meditations on topics such as mental health\, federal discretionary spending\, ignorance\, and healthcare. The film was developed during a four-week virtual intensive\, making it both a reflection on and a product of our current world. Pointing to an uncertain future\, the filmmakers ask themselves\, “are we the answer?” \nLead Teaching Artist\, Jesse Deganis Librera\nSupport Teaching Artist\, Kaitlyn Lowe\nTeaching Assistant\, Breanna Roberts \nAbout \nEstablished by Squeaky Wheel in 2005\, Buffalo Youth Media Institute works in partnership with the Buffalo Center for Arts & Technology to build social capital through the cultivation of critical thinking and 21st-century skills\, such as innovation\, digital literacy\, and collaboration. Through videos\, lectures\, critiques\, and hands-on demonstrations\, youth producers work with Squeaky Wheel’s lead teaching instructors to learn digital production skills and create self-directed projects. Learn more. \nBuffalo Youth Media Institute summer intensive is funded by National Endowment for the Arts and Simple Gifts Fund. \n  \n  \n  \n  \n  \n  \n 
URL:https://squeaky.org/event/virtual-screening-from-the-out-here/
LOCATION:NY
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200819T190000
DTEND;TZID=America/New_York:20200819T203000
DTSTAMP:20260612T114500
CREATED:20251230T191347Z
LAST-MODIFIED:20251230T191347Z
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SUMMARY:The Great Indoors: An Online Soundscapes Workshop
DESCRIPTION:Wednesday\, August 19\, 2020\, 7 pm ET\nFree or suggested donation.\nThis is an online event. Upon registration\, you will receive an email with information on how to participate in the workshop. Attendance is limited. If the event reaches capacity\, you can sign up for the waitlist and be notified if there are any openings.\nRegister here. \nHow can we encounter the soundscapes in our own indoor environments? How can these encounters lead us to find resonances in each other’s experiences? Led by Johann Diedrick\, this collaborative\, participatory workshop will feature a brief presentation on sonic encounter\, upon which participants will be invited to move around their homes/apartments to records sounds with their phones / recording devices. Afterwards\, participants will come back and learn how to compose these sounds with Audacity\, have an opportunity to create a soundscape with everyone’s recordings\, and share them with the group. \nThis workshop requires participants to have a computer with internet access\, an audio recording device like a phone or a field recorder. The workshop will be held over Zoom and use Audacity\, a free audio editing tool. Click the links to download and install ahead of the workshop. \nJohann Diedrick is a Caribbean-American artist who makes installations\, performances\, and sculptures that allow you to explore the world through your ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space\, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. He is currently a Spring 2020 technology artist-in-residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council. Along with receiving an Asian Cultural Council grant\, his work has been featured in Wire Magazine\, Musicworks Magazine\, and presented at MoMA PS1 (in collaboration with Jonathan González)\, Somerset House (London\, UK)\, Social Kitchen (Kyoto\, Japan)\, Common Ground (Berlin\, Germany)\, Recess (Brooklyn\, NY)\, Knockdown Center (Queens\, NY)\, and Pioneer Works (Brooklyn\, NY). \nSqueaky Wheel’s Workspace Residency is a bi-yearly residency open to artists and researchers working in art and technology. The program is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. For more information about the program\, click here.
URL:https://squeaky.org/event/the-great-indoors-an-online-soundscapes-workshop/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share,Virtual
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DTSTART;TZID=America/New_York:20200501T180000
DTEND;TZID=America/New_York:20200801T200000
DTSTAMP:20260612T114500
CREATED:20251230T191331Z
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SUMMARY:Virtual Exhibition: SIMULATION
DESCRIPTION:May 1st – August 1st\, 2020 \nSIMULATION is a virtual exhibition created and designed by Saturday Cafe that explores the feelings of uncertainty\, changing perceptions of time\, and increased digital interactions since the beginning of social distancing measures to prevent the spread of COVID-19. The exhibition consists of generated “gifalage’s” (.gif + collage) created by Cafe members using various software and sourced imagery. The process utilizes accessible technologies that allow the members to adapt and create media arts having low access to digital processes. The exhibition reflects on how our students are adapting to virtual learning\, collaboration\, socializing\, and the unfamiliar and surreal nature of their daily lives during this time. \nSaturday Cafe is an experimental advanced track youth media education project\, that provides students with artistic mentorship\, professional development and learning opportunities. \nClick to Image to enter the gallery. \n \nFAQ’s for joining our virtual gallery \nWe are hosting our virtual gallery in Mozilla’s Hub rooms\, please watch the video below for a full set of instructions for entering. \n-The Gallery will be viewable on any browser. \n-Click on the linked image above and you will be taken to a page where you will see the gallery\, this is known as the “lobby” \n-Click “enter room” and you will be prompted to create an avatar. One will be generated for you and you can just accept or have some fun making your own. \n-Once you have created your avatar\, click in the text box directly above to add your name\, and accept. User Setting FAQ can be found here \n-Click “enter room” and you will be prompted to allow permissions to your device’s camera and microphone. \nAfter you have entered the space you will be placed at one of many “spawn points” throughout the space. \n-To move use the directional keys of W (forward) A (Left) D (Right) and S (Backwards) \n-Simply use these keys and your cursor to point and click in the directions you want to move. Full “Controls” FAQ for desktop and mobile can be found here \n–Full Hub Room FAQ can be found here \n \n \n  \n  \n  \n  \nImage: Raymarri Hugh\, SIMULATION (2020) \n\nAbout Saturday Cafe \nSaturday Cafe is an experimental advanced track youth media education project\, that provides students with artistic mentorship\, professional development and customized learning opportunities. \nAbout the Artists: \n \nJolie Criscione is a multi-disciplinary media artist and humorist interested in social justice. Her satirical and meticulously crafted work often utilizes puns. Showcasing a sensitive approach to internet culture\, Criscione’s works display a subtle beauty and humor. \n \nMatthew Dearmyer is a hopeless multimedia “illustrator” with too much time and zero motivation to pick up a pencil\, Matthew is a relentless believer in representation for all. Through digital and traditional storytelling and experimentation\, he finds a pedestal for himself. He’s most inspired by pop culture and music you don’t hear on the radio. He isn’t hesitant to explore dark topics and push the comfort zone of his viewers. \n \nZaire Goodman is a fantasy writer and media artist. Goodman’s work utilizes gaming and anime stories to investigate the real world. His work has been included in numerous screenings and exhibitions across the country. \n \nRaymarri Hugh is a video maker and young media educator. He is known for his inventiveness and systematic method of creating work and is a consummate perfectionist and collaborator. His work is driven by compassion for and curiosity of spaces of injustice. \n \nFiona Rigney is a polymath moonlighting as an illustrator\, animator\, and experimental filmmaker. Her work ranges from the absurd to the deeply thoughtful all while maintaining a high degree of aesthetic prowess. Her pursuits are limited only by imagination. The central focus of her work revolves around the beauty in humor and digital social spaces from the past and present. \n \nBreanna Roberts is an experimental filmmaker and motion graphic artist. Her works focus on the impacts of governmental policies on underrepresented communities. Roberts’ videos have been exhibited and screened in numerous festivals around the country\, with her recent work\, Flint II (2019) being included in the Albright Knox Future Curators 2019 exhibition. \n \nDominique Scruggs is an experimental media maker and artist. Her work addresses intimate loss and structures of power. She is interested in playfully destroying elements to create new ones. The textures in her work often communicate their emotions. Scruggs’ work has been screened nationally at numerous film festivals. \n  \nMember illustrations: Matthew Dearmyer \n  \nSqueaky Wheel Educational Programming is made possible in part by the generous support of the Wendy Pierce Simple Gifts Fund\, Adobe’s TakingITGlobal Equity and Access\, M&T Charitable Foundation\, First Niagara Foundation\, Josephine Goodyear Foundation\, Cameron & Jane Baird Foundation\, Children’s Foundation of Erie County\, Marks Family Foundation\, Margaret L. Wendt Foundation\, Best Buy Foundation\, Erie County Cultural Funding\, City of Buffalo\, National Endowment for the Arts\, and New York State Council on the Arts.
URL:https://squeaky.org/event/virtual-exhibition-simulation/
LOCATION:NY
CATEGORIES:Exhibition,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200424T190000
DTEND;TZID=America/New_York:20200501T210000
DTSTAMP:20260612T114500
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Sindhu Thirumalaisamy’s The Lake and The Lake
DESCRIPTION:Online Screening | Friday\, April 24\, 7 pm\nFree or suggested donation. Registration required.\nClick here to register \nClick here to view the post-screening Google Docs Q&A with Sindhu Thirumalaisamy \nSindhu Thirumalaisamy’s 2019 film ಕೆರೆ ಮತ್ತು ಕೆರೆ (The Lake and The Lake)  dwells in the peripheries of a polluted lake in Bangalore\, “India’s Silicon Valley”\, where the act of observation is interrupted by flying foam\, noxious gases\, daydreams\, and questions from passers-by. Despite its spectacular toxicity\, the lake remains a valuable resource and refuge for counter-publics. The Lake and The Lake will be preceded by Thirumalaisamy’s short film Different Colourful Designs (2016) on state-sponsored murals in Bangalore. We are excited to host filmmaker Sindhu Thirumalaisamy\, who will be present for an introduction and Q&A. \nDifferent Colourful Designs\, 15 mins\, SD video\, 2011–2016\nDescribed as “a beautification exercise”\, the Bangalore Beautification Project is a city-sponsored effort to prevent posters and advertisements from being pasted on public walls. In 2009 the Bangalore Bruhat Mahanagra Palike (BBMP) hired sign-painters to produce a number of prescribed murals on public walls across the city. Familiar symbols of myths\, heroes and nature—cursory tales of national identity and pride—were chosen to greet Bangalore’s residents and guests. But there are several gaps between instruction and realization in this beautification exercise. The resulting images complicate the official narratives that they try to portray. Fantastical images\, fearful images\, duplicitous images\, and incomplete images all stand together in trying to keep the walls clean. Different Colourful Designs takes a closer look at these images and the city that etches over them. Footage was shot over several years\, adding to the film over the years\, observing the decay of these murals. It was completed at a time when the BBMP voiced intent to repaint the walls in the spirit of Swachh Bharat. \nಕೆರೆ ಮತ್ತು ಕೆರೆ (The Lake and The Lake)
\, 38 mins\, HD video\, India/USA\, 2019\nThe Lake and The Lake dwells in the peripheries of a polluted lake in Bangalore\, “India’s Silicon Valley”\, where the act of observation is interrupted by flying foam\, noxious gases\, daydreams\, and questions from passers-by. Despite its spectacular toxicity\, the lake remains a valuable resource and refuge for counter-publics. Standing alongside fishing communities\, migrant waste workers\, private security guards\, street dogs\, and children\, it is evident that there is no nature that doesn’t also include all of us. Hindi\, Tamil\, Kannada\, English\, and Bangla\, are spoken and sung in the film amidst a chorus of non-human sounds. \nBiography\nSindhu Thirumalaisamy is an artist working across video\, sound\, text\, and installation. Sindhu holds an MFA in visual art from the University of California\, San Diego\, is a participant of the Whitney Independent Study program\, an almunus of the Skowhegan School of Painting and Sculpture\, the Robert Flaherty Film Seminar\, and the SOMA Summer program. Sindhu’s work has been exhibited at The Museum of Contemporary Art San Diego\, San Diego Museum of Art\, Current:LA Public Art Triennial\, Montreal International Documentary Festival (RIDM)\, Artists’ Television Access\, Los Angeles Asian Pacific Film Festival\, Edinburgh Festival of Art\, Flux Factory\, Kunsthaus Langenthal\, Khoj International Artists’ Association\, International Documentary and Short Film Festival of Kerala\, and Dharamshala International Film Festival. \nImage: Sindhu Thirumalaisamy\, The Lake and The Lake (2019). Co-presented with PLASMA at the Department of Media Study\, SUNY University at Buffalo.
URL:https://squeaky.org/event/sindhu-thirumalaisamys-the-lake-and-the-lake/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200415T200000
DTEND;TZID=America/New_York:20200415T220000
DTSTAMP:20260612T114500
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Tiara Roxanne's I cannot decolonize my body
DESCRIPTION:Online Screening & Artist Talk | Wednesday\, April 15\, 8 pm\nFree or suggested donation\nClick here to get your tickets\nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this event has moved online. Live Introduction and presentations by the artist begin at 7:10 pm. You will receive an email with information on how to view the event live. Roxanne’s film will be available to view through April 22\, 2020\, 6:59 pm. \nA short film that serves to highlight the disvowal and silencing Indigenous peoples encounter historically\, presently and futuristically in social\, political and technological paradigms\, I cannot decolonize my body\, was made as an incantation for recovery and transformation. The short film is accompanied by a new text by the Berlin-based cyberfeminist\, scholar and artist titled Data Colonialism: Decolonial Gestures of Storytelling. Following the short film\, the artist will be in conversation with writer and curator Nora Khan on her work with the audience invited to participate in the Q&A. \nBiographies\nDr. Tiara Roxanne is an Indigenous cyberfeminist\, scholar and artist based in Berlin. Her research and artistic practice investigates the encounter between the Indigenous Body and AI. More particularly\, she explores the colonial structure embedded within artificial intelligence learning systems in her writing and her performance art through textile. Currently her work is mediated through the color red. She received the Zora Neale Hurston Award from Naropa University in 2013 where she graduated from with her MFA. Under the supervision of Catherine Malabou\, Tiara completed her dissertation\, “Recovering Indigeneity: Territorial Dehiscence and Digital Immanence” in June 2019. Tiara has presented her work at SOAS (London)\, SLU (Madrid)\, Transmediale (Berlin)\, Duke University (NC)\, re:publica (Berlin)\, Tech Open Air (Berlin)\, AMOQA (Athens)\, among others. She is currently a Researcher at DeZIM-Institut in Berlin\, Germany. \nNora N. Khan is a writer of criticism. Her research practice extends to a large range of artistic collaborations\, from librettos to a tiny house. She is a critic on the faculty at Rhode Island School of Design\, in Digital + Media\, teaching critical theory\, artistic research\, writing for artists and designers\, and technological criticism. She has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real through Art Metropole. She is a longtime editor at Rhizome and publishes in Art in America\, Flash Art\, Mousse\, and California Sunday. She has written commissioned essays for exhibitions at Serpentine Galleries\, Chisenhale\, the Venice Biennale\, Centre Pompidou\, Swiss Institute\, and Kunstverein in Hamburg. This year\, as The Shed’s first guest curator\, she organized the exhibition Manual Override\, featuring Sondra Perry\, Simon Fujiwara\, Morehshin Allahyari\, Lynn Hershman Leeson\, Martine Syms. Her writing has been supported by a Critical Writing Grant given through the Visual Arts Foundation and the Crossed Purposes Foundation (2018)\, an Eyebeam Research Residency (2017)\, and a Thoma Foundation 2016 Arts Writing Award in Digital Art. \nThis event is co-presented with Trinity Square Video\, Images Festival\, and PLASMA at the Department of Media Study\, SUNY University at Buffalo. \nImage courtesy of Tiara Roxanne\, by Charlotte de Bekker.
URL:https://squeaky.org/event/tiara-roxannes-red-contd/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200408T190000
DTEND;TZID=America/New_York:20200408T210000
DTSTAMP:20260612T114500
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Meet the Residents: Caleb Abrams & Saif Alsaegh
DESCRIPTION:Online artist talk & screening | *NEW DATE* Wednesday\, April 8\, 7 pm\nFree or suggested donation\nClick here to get your ticket\nYou will receive an email with information and a link on how to view the live event. The artists films will be available to view through April 15\, 2020\, 6:59 pm.\n \nClick here to view the video presentations by the artists with an introduction by the curator \nClick here to view the post-event Google Docs Q&A with the artists \nIn response to COVID-19\, our Spring artists in residence\, Caleb Abrams and Saif Alsaegh\, have continued their residencies from home and will engage with the public virtually. We invite you to convene online to learn about their past and ongoing projects at this artist talk and screening. Caleb Abrams will speak about his current film\, The Burning of My Coldspring Home\, an adaptation of a short story by Seneca Elder Stephen Gordon regarding the forced dislocation of the Seneca people following the building of the Kinzua dam by the Allegheny River. Saif Alsaegh will speak of his film Departure\, titled after a poem by Arthur Rimbaud\, which examines the idea of foreignness as it relates to the filmmaker’s past as a Baghdad born filmmaker living in California. Preceding the event will be a brief presentation by Squeaky Wheel curator\, Ekrem Serdar on how you can be part of the Workspace Residency program in the future. \nCaleb G. Abrams is an Onöndowa’ga:’ (Seneca) filmmaker and multimedia artist based out of what is currently considered Buffalo\, New York. Raised on the Seneca’s Allegany Territory\, much of his work emerges from the social\, historical\, and cultural background of the Seneca. Abrams has written and produced multiple independent short films and videos for the Seneca Nation\, Seneca-Iroquois National Museum/Onöhsagwë:dé Cultural Center\, and Odawi Law PLLC. He has also produced work in collaboration with PBS-WNED-TV\, Vision Maker Media\, Skipping Stone Pictures\, and Toward Castle Films. Lake of Betrayal (2017)\, the award-winning national public television documentary on which Abrams served as the associate producer\, examines the impact of the Kinzua Dam on the Seneca Nation – a topic much of his work has explored. Abrams’ films have been presented at universities\, historical societies\, libraries\, museums\, high schools\, and community and cultural resource organizations throughout Haudenosaunee Territory and the Northeast. \nSaif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s\, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel\, Kruzfilm Festival Hamburg\, Kasseler Dokfest\, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He earned his MFA in filmmaking at the University of Wisconsin-Milwaukee. \nThe residency is made possible with the support of the National Endowment for the Arts and presented in collaboration with Just Buffalo Literary Art Center and the sponsorship of Hostel Buffalo-Niagara.
URL:https://squeaky.org/event/meet-the-residents-caleb-abrams-saif-alsaegh/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200325T190000
DTEND;TZID=America/New_York:20200325T210000
DTSTAMP:20260612T114500
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Miko Revereza’s No Data Plan
DESCRIPTION:Online Screening | Wednesday\, March 25\, 7 pm\nLive Q&A at 8:30 pm.\nFree or suggested donation. Click here to get tickets.\nA private link will be sent to your email account upon registration.\n \nClick here to view the introduction to the film by curator Ekrem Serdar and Justice for Migrant Families’ Anna Porter \nClick here to view the post-screening Google Docs Q&A with Miko Revereza \nMiko Revereza’s acclaimed feature documentary No Data Plan features a narrator rehashing details about his mother’s affair as he crosses America by train. “Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.” Taking place entirely within a three day trip upon a train—including a tense stop near Buffalo—Revereza’s film evokes images and thoughts from far away\, illustrating an undocumented subjectivity\, a site of precarious movement\, migration\, and fugitivism in the United States. \nThis screening is co-presented with Justice for Migrant Families. JFMF is a 501(c)(3) nonprofit agency that promotes justice for migrant families by providing support to individuals in the federal detention facility in Batavia\, information and resources to families in the community\, and advocacy both within and beyond the local community.\nJFMF is currently seeking donations to allow detainees in the Batavia Detention Center to make phone calls to their loved ones as all visitations have been cancelled due to COVID-19. Find out about JFMF current activities on their Facebook page and donate to them here. \nBiography of the filmmaker\nMiko Revereza (b.1988 Manila\, Philippines) is an experimental filmmaker and undocumented immigrant. Since relocating from Manila as a child\, he has lived illegally in the United States for over 25 years. This life long struggle with documentation\, assimilation and statelessness informs his films\, DROGA! (2014)\, DISINTEGRATION 93-96 (2017) and his debut feature\, No data plan (2018). Miko’s films have been widely screened and exhibited internationally at festivals such as\, International Film Festival Rotterdam\, Yamagata International Documentary Film Festival\, International Short Film Festival Oberhausen\, True/False Film Festival\, Images Festival\, and Berwick Film & Media Arts Festival. DISINTEGRATION 93-96 was featured and streamed on MUBI.com. He is listed as Filmmaker Magazine’s 2018 25 New Faces of Independent Cinema. \n\nImage: Miko Revereza\, No Data Plan\, 70 minutes\, digital video\, 2019. Courtesy of Sentient Art Film.
URL:https://squeaky.org/event/miko-reverezas-no-data-plan/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200317T163000
DTEND;TZID=America/New_York:20200319T173000
DTSTAMP:20260612T114500
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Non-fiction Poetics: A Youth Writing Workshop
DESCRIPTION:***Effective immediately\, all in-person youth and adult workshops\, events\, and screenings will be canceled or available virtually on a case-by-case basis\, and equipment rentals will continue on a reduced basis. Stay tuned for updates!*** \nTuesday\, March 17\, 2020\, 4:30 p.m.–5:30 p.m.\nThursday\, March 19\, 2020\, 4:30 p.m.–5:30 p.m.\n@ Just Buffalo Writing Center\nNo registration required. This workshop is free\, aimed at young students aged 12–18\, and limited to 12 participants.\n \nTaught by poet and filmmaker Saif Alsaegh\, this workshop explores how poetry is established and emerges in documentary and non-fiction films. Students will read poetry and watch films to understand the intersection of the two arts. Presented in collaboration with Just Buffalo Literary Arts Center. \nThe Spring 2020 session of Workspace Residency is sponsored by Hostel Buffalo-Niagara. \nSaif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s\, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel\, Kruzfilm Festival Hamburg\, Kasseler Dokfest\, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He earned his MFA in filmmaking at the University of Wisconsin-Milwaukee. \nImage: Saif Alsaegh\, Departure\, in-progress.
URL:https://squeaky.org/event/non-fiction-poetics-a-youth-writing-workshop/
LOCATION:Just Buffalo Literary Center\, 468 Washington St #2\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Education,Residencies
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200311T190000
DTEND;TZID=America/New_York:20200311T210000
DTSTAMP:20260612T114500
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SUMMARY:Representation in Filmmaking with Caleb Abrams
DESCRIPTION:Wednesday\, March 11\, 7–9 pm\nFree and open to the public \nAs a filmmaker\, what does it mean to represent a community? How do you impart the emotion of another person’s experience? Join filmmaker and Spring 2020 Workspace Resident\, Caleb Abrams for a conversation on the questions above through a behind the scenes look at his practice. \nCaleb Abrams is an Onöndowa’ga:’ (Seneca) filmmaker and multimedia artist based out of what is currently considered Buffalo\, New York. Raised on the Seneca’s Allegany Territory\, much of his work emerges from the social\, historical\, and cultural background of the Seneca. Abrams has written and produced multiple independent short films and videos for the Seneca Nation\, Seneca-Iroquois National Museum/Onöhsagwë:dé Cultural Center\, and Odawi Law PLLC. He has also produced work in collaboration with PBS-WNED-TV\, Vision Maker Media\, Skipping Stone Pictures\, and Toward Castle Films. Lake of Betrayal (2017)\, the award-winning national public television documentary on which Abrams served as the associate producer\, examines the impact of the Kinzua Dam on the Seneca Nation – a topic much of his work has explored. Abrams’ films have been presented at universities\, historical societies\, libraries\, museums\, high schools\, and community and cultural resource organizations throughout Haudenosaunee Territory and the Northeast. \nThe Spring 2020 session of Workspace Residency is sponsored by Hostel Buffalo-Niagara. \nImage: Caleb Abrams\, The Burning of My Coldspring Home(in-progress)
URL:https://squeaky.org/event/representation-in-filmmaking-with-caleb-abrams/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Skill Share
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SUMMARY:Love & Sex Show: Sweet Nothings
DESCRIPTION:Special Event | Friday\, February 14\, 7–10 pm\n$7 General\, $5 Members\, free for ArtsAccess Pass holders\nAges 18+ only. Please review our community guidelines.  \nSqueaky Wheel’s annual Valentine’s day event celebrating intimacy and sexuality returns with a special auditory edition. Listen to headphones filled with ASMR and other tracks by artists Erin Gee and Hope Mora; create a live soundtrack to a new film by Caroline Doherty; sing along to karaoke films by Michael Robinson\, and Wayne Yung\, and enjoy a performance by lyricist and hip hop artist Desiree Kee\, and much more! \nProgram\n7–8 pm: Listen to artist made audio tracks by Hope Mora and Erin Gee on remote headphones\, and sing your heart out with karaoke! \n8 pm: Come together in the microcinema to watch\, listen\, sing\, and vocalize to films by Caroline Doherty\, Dina Georgis and Sharlene Bamboat\, Jess Dobkin\, Lauren Fournier\, Michael Robinson\, Thirza Curthand\, and Wayne Yung! \n9 pm: Gather in the gallery to listen to a performance by lyricist Desiree Kee\, followed by more karaoke! \nAudio Works\nChannel 1\nErin Gee\, of the soone\, 18:39 min\, digital sound\, 2019\nErin Gee leads the listener in a first-person roleplay as a specialist of a new experimental neural treatment: language processing and deprocessing. After a brief testing of equipment and EEG monitoring\, Gee reads out the processes of a long-short term memory algorithm as it “learns” language from the classic book of passions gone awry\, “Wuthering Heights” by Emily Brontë. This exposure to machined-evolution of linguistic patterns is intended to reset or recalibrate human linguistic patterns in your brain\, offering a form of abstracted\, deep tissue neural “massage”. \nChannel 2\nHope Mora\, Sex With Harmony\, 1:48 min; Basic Need With Dajah\, sound\, 1:21 min; My Neck My Back\, Bell Hooks Love\, and Magic Booty\, 5:03 min\, digital sound\, all 2020 \nScreening program\nThirza Curthand\, Helpless Maiden Makes An “I” Statement\, 6 min\, digital video\, 1999\nBy using clips of evil queens/witches this video plays off the sadomasochistic lesboerotic subtexts commonly found in children’s entertainment. A helpless maiden is tiring of her consensual s/m relationship with her lover\, and “evil” queen. She wants to break up. An impassioned monologue in a dungeon with our heroine in wrist cuffs quickly becomes an emotionally messy ending in flames. This video was inspired by the artist’s own childhood “kiddie porn”\, Disney movies which turned her on to no end and kicked off many a prepubescent masturbation session. \nLauren Fournier\, Sex and Death\, 4 min\, digital video\, 2015\nThe performer re-frames the Freudian tension between eros and thanatos using the feminist tradition of performance for video. She repeats the locution “sex and death and sex and death and sex and death” aloud as she shimmies across the screen. The formal integrity of the loop meets the failures of the body\, as the performer playfully moves across the screen\, trying to catch her breath to continue the spell-like invocation. Sex and death— the drive toward binding (eros) and the drive toward destruction (thanatos)— are configured by Freud to be the two fundamental drives behind Western civilization. In this video\, the Freudian tension is taken up through a floundering\, vaguely sexual performance. The function of humour is something which has been increasingly (re)claimed by Canadian feminist video and performance artists in recent years\, and is something that I find both politically efficacious and formally refreshing. \nJess Dobkin\, It’s Not Easy Being Green\, 3 min\, digital video\, 2011\nA heartfelt and provocative rendition of Kermit the Frog’s melancholic It’s Not Easy Being Green\, where the artist\, in the role of Kermit the Frog\, is fisted by a woman in drag in the role of Jim Henson. Together\, as human puppet and puppeteer\, they lip sync the much loved song. This film is a for-camera version of a performance previously presented to live audiences. For mature audiences. \nDina Georgis and Sharlene Bamboat\, In Queer Corners\, 6 min\, digital video\, 2013\nIn Queer Corners is a collaborative video by Dina Georgis and Sharlene Bamboat. The video examines the ways in which archives harbour stories\, those that are spoken\, and those left unsaid. Based on serendipitous encounters\, and employing the language of dreams and desire\, Georgis and Bamboat narrate each other’s stories and address the complications of queer re-tellings. In Queer Corners explores the limits and possibilities of the archive through the theme of narration and storytelling. Working with a found object from the dusty and neglected corners of the Canadian Lesbian & Gay Archive\, this work explores how archival objects can come to life through their encounter with the present\, with other desires\, and with unexpected responses and meanings.\nThe archive\, if left unexamined\, works authoritatively to construct and stabilize knowledge. Though it selects and gathers signs unconsciously\, what is held within its walls is neither arbitrary nor innocent. In resistance to interpret archival objects into a synchronized story of the past\, In Queer Corners looks to its archival object as an affective placeholder from which new meanings and new stories can be made. The narratives recorded in this work respond to the found image in narrative accounts where the line between dream and reality is distorted. They speak a non-literal truth about desire\, insecurity\, despair\, sex\, race and class\, and the difficulty of uttering and representing these very things. Knowledge itself is vulnerable\, made in relation\, and articulated in broken stories. Reaching for some thing or some place\, the bodies represented tell unfinished narratives. Though the bodies stand alone\, the line between self and other is obfuscated and they depend on each other to tell their stories. \nWayne Yung\, One Night in Heaven\, 5 min\, digital video\, 1995\nIn this queer Asian spoof of karaoke\, a new boy in town discovers the dark side of the big city. The story follows his adventures to an underground club where sex and murder are in store. \nCaroline Doherty\, Rock\, Soft Place\, ~5 min\, digital video\, 2020 \nMichael Robinson\, Hold Me Now\, 5 min\, digital video\, 2008\nPlagued by blindness\, sloth\, and devotion\, a troubled scene from Little House On The Prairie offers itself up to karaoke exorcism. \n \n \nDesiree Kee \n \nDina Georgis and Sharlene Bamboat\, In Queer Corners (2013) \nBios of the artists \nCaroline Doherty is an artist based in Buffalo\, NY. She employs multiple mediums\, including performance\, video\, sculpture\, and public projects. She has participated in residencies including the Squeaky Wheel Workspace Residency in Buffalo; the SOMA Summer Program in Mexico City; Guapamacátaro Center for Art and Ecology in Michoacán\, Mexico; and ArtPark in Lewiston\, NY. Her work has been exhibited throughout North America\, in Europe\, and in China. Caroline has been an educator for over 15 years\, facilitating art making for youth\, university students\, and adults in formal and informal settings in the US\, Mexico\, and Canada. \nDesiree Kee is a 25 year old lyricist that was born and raised Queens\, Ny. She moved from NYC to Maryland in 2002 and later relocated to Buffalo\, NY in 2011. She currently has two projects available on her soundcloud which is I AM NOT A RAPPER EP (2017) and This Mixtape Is A Cry For Help (2019) as well as 4 self-directed visuals which can be found on her youtube. \nHope Mora is a visual artist from West Texas\, currently teaching and completing her MFA at The University at Buffalo and holds a BFA from Texas State University in San Marcos. She has shown work in selected gallery and public space exhibitions in Central Texas and Western New York\, such as Mexic-Arte Museum\, Public Art San Antonio\, Anna Kaplan Contemporary\, and The Buffalo Institute for Contemporary Art. \nThe Love & Sex Show: Sweet Nothings is sponsored by City Wine Merchants and SE2 Silent Disco. \nBanner image: Wayne Yung\, One Night in Heaven (1995).
URL:https://squeaky.org/event/love-sex-show-sweet-nothings/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Special Event
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SUMMARY:Punctures | Charlie Best & Jodi Lynn Maracle
DESCRIPTION:Artist talks & Closing | Friday\, February 7\, 7 pm\nFree and open to the public \nJoin us for the closing event of Punctures with artist talks by Charlie Best and Jodi Lynn Maracle. Best will speak about their window installation We Interrupt this Program\, made as “an invitation for confusion and joy\, full of noise\, for trans people.” Jodi Lynn Maracle will share her video work A Song to the Water from a Loving Child which explores generational relationships to and for lands and waters. The artists will be joined by curator Ekrem Serdar for a conversation and Q&A following their presentations. \nCharlie Best is an artist and seamstrix living and working in what is currently known as buffalo\, ny. Picking and choosing between fiber and textiles\, video\, collage\, performance\, and sculpture\, Charlie’s work interrupts transmissions of the gender binary\, lack of imagination\, capitalism\, and other ills lurking in common cultural forms. Richard Scarry illustrations\, men’s shirts\, catholic mass\, and network television are just some of what awaits the cut of the scissors. Charlie is committed to the joys\, lessons\, fears\, and aesthetics of nonbinary imagination practices. They received a bfa in sculpture and expanded media from alfred university’s school of art and design (2018)\, and were the recipient of a fellowship to the cite internationale des arts\, paris\, france. They have exhibited locally and nationally\, most recently at sugar city (buffalo\, ny) with “something from the basement”. The current interests of their practice include the application of anarchist tactics/thoughts/dreams and children’s stories to garment and accessory design\, and the history of VHS. Charlie and collaborator Jaz Palermo are in pre production for their first film\, titled st. tilapia’s school for gayward girls\, which they both hope gets banned somewhere. \nBorn and raised in what is currently considered Buffalo\, NY\, Jodi Lynn Maracle is a Kanien’keha:ka mother\, artist\, teacher and language learner. Jodi utilizes Haudenosaunee material language and techniques\, such as hand tanning deer hides\, and corn husk twining\, in conversation with sound scapes\, projections\, video\, and performance to interrogate questions of place\, power\, erasure\, story making\, and responsibility to the land. She has shown her work throughout Dish With One Spoon Territory in site specific installation performances such as the Mush Hole Project at the defunct Mohawk Institute Residential School (home of the Woodland Cultural Centre) in Brantford\, ON\, as well as the Gardiner Museum in Toronto\, ON\, Artpark in Lewiston\, NY\, and Squeaky Wheel Film and Media Art Center\, in Buffalo\, NY. Her research as a PhD student at the University at Buffalo focuses on Haudenosaunee material culture\, language\, land and birth practices. Of her accomplishments\, she is most proud to hear her son speak his Mohawk language each day. \n\nThis exhibition is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters. \nImage: Jodi Lynn Maracle\, A Song to the Water from a Loving Child (2020)
URL:https://squeaky.org/event/punctures-charlie-best-jodi-lynn-maracle/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk
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DTSTART;TZID=America/New_York:20200129T190000
DTEND;TZID=America/New_York:20200129T210000
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SUMMARY:Punctures | Threading Histories
DESCRIPTION:Wednesday\, January 29\, 7pm\n$7 General / $5 Members / Free for Arts Access Pass Holders \nHow do textiles and media speak to individual\, collective\, and social histories? Featuring films by Alta Kahn\, Cydnii Wilde Harris\, Eytan İpeker\, Laura Kraning\, Lesley Loksi Chan\, the Manaki Brothers\, Senga Nengudi\, and Susie Bennally\, the eight films in this group screening include a found-footage film that utilizes Gone with the Wind to explore the cotton industry and transatlantic slavery in the United States; two films made as part of the project Navajo Film Themselves (1966) by Alta Kahn and Susie Bennally; and one of the few films shot in the Ladino language by Eytan Ipeker. With filmmaker Laura Kraning in person who will be present for a conversation and Q&A for her film Language of Memory. \nProgram \nCydnii Wilde Harris\, Cotton: Fabric of Genocide\n4 min\, digital\, sound\, 2018\n“This is a video essay about slavery. Oops. I mean\, cotton.” – Cydnii Wilde Harris \nLesley Loksi Chan\, Curse Cures\n11 min\, digital\, sound\, 2009\n“The arrival of a new worker to a jeans factory causes changes to the rhythms of the workplace. This mysterious narrative integrates personal and collective history with fiction. The visuals were created with both found images and original photography reproduced on acetate sheets which were subsequently sewn together and projected onto a wall and video-taped. This mixed-media work is a reflection on the repetitive labour and materiality of textile work and the im/possibilities for resistance to challenging working conditions.” – Lesley Loksi Chan. Courtesy of Vtape. \nLaura Kraning\, Language of Memory\n3 min\, 16mm on digital video\, sound\, 2009\n“Language of Memory is a hand-processed\, optically printed film composed of rayographs of my grandmother’s still negatives from the early 1900s\, strips of her old lace casting abstract patterns on high contrast film\, and the overlapping gestures of sewing and splicing film\, related techniques historically attributed to women. It is both homage to my grandmother’s creative influence and a deconstruction of memory through fragmentation and the accretion of associations surfacing from the tactile processes of the film’s making.” – Laura Kraning \nSusie Bennally\, A Navajo Weaver\n24 min\, 16mm on digital\, silent\, 1966 \nAlta Kahn\, Second Weaver \n10 min\, 16mm on digital\, silent\, 1966 \nA Navajo Weaver and Second Weaver are two films produced in a workshop in 1966 taught by Sol Worth\, John Adair and Richard Chalfen. They traveled to Pine Springs\, Arizona\, where they taught a group of Navajo students to make documentary films\, including Alta Kahn and her daughter Susie Bennally. In her life\, Kahn was known as a renowned weaver\, and Bennally was an accomplished weaver\, having worked with her mother since the age of eight. \nThe series of films made through this workshop is known as Navajo Film Themselves. Emerging by a critique from the anthropologists that anthropological film had been “dictated by American (or Western) trained eyes and hands and guided by the emotions\, attitudes\, and values of that culture”\, the project nonetheless evinces several colonial presumptions on the part of the instructors. The two films\, which have been shown in venues such as the Flaherty Film Seminar and the Navajo National Museum\, are both depictions of two experienced and skilled weavers (Kahn and Bennally)\, but also open important questions on the nature of ethics\, aesthetics\, and pedagogy. Courtesy of Visionmaker Media. \nSenga Nengudi\, The Threader \n6 min\, digital\, sound\, 2007\n“…The Threader (2007)\, Nengudi shows the moving body actively engaged with sculptural material. Produced from a residency at The Fabric Mills Workshop and Museum in Philadelphia\, this film follows the movements of a worker carefully striding across the factory floor with a collection of threaded spools. His gestures\, practiced movements used in his daily work\, are as seamless as a choreographed dance. She cuts to close ups of his fingers delicately tying thread to a hook and of the swaying metal machinery… the artistry of this work relies on the medium of the moving image to build narrative by cutting to discrete moments\, or exploring the space of the factory itself.” – Simone Krug\, Contemporary Art Review Los Angeles. Digital file courtesy Thomas Erben Gallery. \nYanaki and Milton Manaki\, The Weavers (also known as Grandmother Despina)\n1 min\, 35mm on digital\, silent\, 1905\nWidely considered to be the first film shot in the Ottoman Empire\, this film shot in the city of Monastir (modern day Bitola\, North Macedonia)\, which was a economic and cultural center of the empire. Originally titled “Our 114-year-old grandmother at work weaving”\, the film and its filmmakers have come to symbolize an enigmatic moment at the turn of the 20th century\, coinciding with the dissolution of the Ottoman Empire\, and emergence of the many modern states throughout the region.\n\nEytan İpeker\, Dantelacı (The Lace Peddler)\n18 min\, 16mm on digital video\, Turkish and Ladino with English subtitles\, 2005\n“Adapted from the award-winning short story by Eli Aji\, Dantelacı (The Lace Peddler) depicts traveling lace seller Yasef Efendi as he adjusts to societal changes in 1950s Istanbul.” – Eytan İpeker \n\nThis screening is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-threading-histories/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20200115T190000
DTEND;TZID=America/New_York:20200115T210000
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SUMMARY:Punctures | no idle hands and Hearts and Hands
DESCRIPTION:Wednesday\, January 15\, 2019\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nSqueaky Wheel presents an evening of two films that investigate how women have asserted and gained political and social agency through textiles. Featuring Sabrina Gschwandtner’s no idle hands (2008) and Pat Ferrero’s Hearts and Hands (1988)\, this screening coincides with the exhibition of Gschwandtner’s two works on view in the gallery: Hands at Work (for Pat Ferrero) and Hands at Work (for Pat Ferrero) II\, both of which were made with 16mm film prints of films by Pat Ferrero. Sabrina Gschwandtner will be present via Skype to introduce the screening. \nGschwandtner’s no idle hands\, shot of the string-like material of Super 8mm\, is a traveloge film taking viewers on a symbolic journey of the history of knitting. As the artist states\, the title no idle hands\, “historically referred to women pitching in to help the war movement; to the act of keeping busy to avoid unease or unrest\, and to the actions of those who want to stimulate change. This film evokes the latter meaning\, as it depicts women placing textiles within feminist\, queer\, and collaborative art contexts.” The film is followed by Pat Ferrero’s 1988 documentary Hearts and Hands\, which chronicles the lives and quilt making practices of ordinary women as well as individuals such as Harriet Tubman\, Elizabeth Keckley\, Frances Willard and Abigail Scott Duniway through the 19th century. Made over a period of ten years\, and with unprecedented access to historic quilts in both private and public collections\, Ferrero’s film traces the role of quilts in forming communities that speak to abolition\, patriotism\, social justice and settler-colonialism. \nProgram\nSabrina Gschwandtner\, no idle hands\, 9:43min\, Super 8 film transferred to video\, sound\, 2008\nPat Ferrero\, Hearts and Hands\, 60min\,16mm film transferred to video\, 1988 \nPat Ferrero is an independent filmmaker whose work as a producer/director includes Hopi: Songs of the Fourth World\, Hearts & Hands and Quilts in Women’s Lives. These films have won numerous awards\, been screened nationally on cable and PBS\, and have been exhibited at national festivals including Sundance\, New York Film Festival\, National Educational Film and Video Festival\, the Hawaii and San Francisco Internl Film Festivals\, as well as international festivals in Asia\, Latin America\, and Europe. \nSabrina Gschwandtner’s artwork has been exhibited in the United States as well as internationally at institutions including the Smithsonian American Art Museum in Washington DC; the Museum of Arts and Design in New York; and the Victoria and Albert Museum in London. Her work has been featured and reviewed in the New York Times\, Artforum\, Modern Painters\, Frieze\, Photograph\, Cabinet\, the Los Angeles Times\, the Washington Post\, Der Standard\, INCITE Journal of Experimental Media\, and on NPR\, among other media outlets and scholarly publications. She has been awarded residencies at Wave Hill (2012)\, the International Artists Studio Program in Sweden (IASPIS\, 2009)\, the Museum of Arts and Design (2009)\, and the MacDowell Colony (2004\, 2007\, and 2016). She recently received a 2019 City of Los Angeles (COLA) Individual Artist Fellowship. Her work is held in the permanent collections of the Smithsonian American Art Museum; the Museum of Fine Arts\, Boston; the Mint Museum; Philbrook Museum of Art; Boise Art Museum; Alfond Collection of Contemporary Art at Rollins College; Carl and Marilynn Thoma Foundation\, and the RISD Museum\, where a series of 12 film quilts is currently on permanent display. In 2015 she was awarded a NY Public Art Project commission for her first public art project\, a large scale photographic collage printed on glass\, which was installed permanently at an elementary school in the Bronx in 2017. She was born in Washington D.C. in 1977 to an Austrian father and American mother. She received a BA with honors in art/semiotics from Brown University. She studied video with VALIE EXPORT in Salzburg\, Austria\, and received her MFA from Bard College. She lived in New York City from 2000 – 2015\, and currently live in Los Angeles\, CA\, where she is represented by Shoshana Wayne Gallery. \nThis screening is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters. \nBanner image: Sabrina Gschwandtner\, no idle hands\, 9:43min\, Super 8 film transferred to video\, sound\, 2008
URL:https://squeaky.org/event/punctures-no-idle-hands-and-hearts-and-hands/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20200110T180000
DTEND;TZID=America/New_York:20200207T170000
DTSTAMP:20260612T114500
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SUMMARY:Punctures | Betty Yu & Sabrina Gschwandtner
DESCRIPTION:Opening: Friday\, January 10\, 6–9pm\nConversation with Betty Yu and Jasmina Tumbas at 7:30pm\nFree and open to the public\nOn view January 10–February 7\, 2020\n \nThe final exhibition of Punctures brings together two artists in collective considerations of gendered and immigrant work. Betty Yu’s The Garment Worker (2014) is an interactive installation that focuses on the daily life of a garment worker and the hardships they encounter working in a sweatshop\, through the integration of a sewing machine\, video\, audio\, and ephemera. Sabrina Gschwandtner’s Hands at Work (for Pat Ferrero) and Hands at Work (for Pat Ferrero) II consist of two of her acclaimed film quilts–gorgeous 16mm film strips sewn\, installed on lightboxes\, and depicting hands at work. \nBetty Yu\, The Garment Worker (2014) \n \nSabrina Gschwandtner\, Hands at Work (for Pat Ferrero)\, 2017. Documentation by Joshua White. \n  \n\nBetty Yu is a multimedia artist\, filmmaker\, educator and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu is a socially engaged multimedia artist integrating documentary film\, new media platforms and community-infused approaches into her practice. Her community-based arts projects have fused together video\, photography\, interactive mapping\, new media\, installation\, augmented reality\, 3-D elements and live projections. Ms. Yu’s documentary Resilience about her garment worker mother fighting sweatshop conditions screened at national and international film festivals including the Margaret Mead Film and Video Festival. Yu’s multi-media installation\, The Garment Worker was featured at Tribeca Film Institute’s Interactive. She worked with housing activists and artists to co-create People’s Monument to Anti-Displacement Organizing that was featured in the Agitprop! show at Brooklyn Museum. Betty was a 2012 Public Artist-in-Resident and received the 2016 SOAPBOX Artist Award from Laundromat Project. In 2017\, Ms. Yu has been awarded several artist residencies from institutions such as the International Studio & Curatorial Program\, Skidmore College’s Documentary Studies Collaborative and SPACE at Ryder Farm. In 2015\, Betty co-founded Chinatown Art Brigade\, a cultural collective using art to advance anti-gentrification organizing. Betty won the 2017 Aronson Journalism for Social Justice Award for her film Three Tours about U.S. veterans returning home from war in Iraq and their journey to overcome their PTSD. Ms. Yu is a 2017-18 fellow of the Intercultural Leadership Institute. Betty recently had her first solo exhibition\, “(DIs)Placed in Sunset Park” at Open Source Gallery in September 2018 in New York City. This work was also included in 2019 BRIC’s Biennial where her project received an honorable mention in the New York Times. \nSabrina Gschwandtner’s artwork has been exhibited in the United States as well as internationally at institutions including the Smithsonian American Art Museum in Washington DC; the Museum of Arts and Design in New York; and the Victoria and Albert Museum in London. Her work has been featured and reviewed in the New York Times\, Artforum\, Modern Painters\, Frieze\, Photograph\, Cabinet\, the Los Angeles Times\, the Washington Post\, Der Standard\, INCITE Journal of Experimental Media\, and on NPR\, among other media outlets and scholarly publications. She has been awarded residencies at Wave Hill (2012)\, the International Artists Studio Program in Sweden (IASPIS\, 2009)\, the Museum of Arts and Design (2009)\, and the MacDowell Colony (2004\, 2007\, and 2016). She recently received a 2019 City of Los Angeles (COLA) Individual Artist Fellowship. Her work is held in the permanent collections of the Smithsonian American Art Museum; the Museum of Fine Arts\, Boston; the Mint Museum; Philbrook Museum of Art; Boise Art Museum; Alfond Collection of Contemporary Art at Rollins College; Carl and Marilynn Thoma Foundation\, and the RISD Museum\, where a series of 12 film quilts is currently on permanent display. In 2015 she was awarded a NY Public Art Project commission for her first public art project\, a large scale photographic collage printed on glass\, which was installed permanently at an elementary school in the Bronx in 2017. She was born in Washington D.C. in 1977 to an Austrian father and American mother. She received a BA with honors in art/semiotics from Brown University. She studied video with VALIE EXPORT in Salzburg\, Austria\, and received her MFA from Bard College. She lived in New York City from 2000 – 2015\, and currently live in Los Angeles\, CA\, where she is represented by Shoshana Wayne Gallery. \nJasmina Tumbas (PhD\, Art History\, Duke University) is an Assistant Professor of Contemporary Art History & Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her teaching and research fields focus on modern and contemporary art history and theory\, histories and theories of performance\, body and conceptual art\, art and activism\, feminist art\, critical theory\, and contemporary East European art history. She is currently finishing her first book\, “I Am Jugoslovenka!” Feminist Performance Politics During & After Yugoslav Socialism\, and is also working on a second manuscript\, On Gender Violence and Nationalism In Europe: Feminist Art and Resistance Beyond Citizenship. Her research has appeared inArtMargins\, Camera Obscura: Feminism\, Culture\, and Media Studies\, Art Monthly\, Art in America\, ASAP Journal\, and Art and Documentation\, and in the anthologies Shifting Corporealities in Contemporary Performance\, Performance Art in the Second Public Sphere\, Making Another World Possible – 10 Creative Time Summits\, and Aktionskunst jenseits des Eisernen Vorhangs. Künstlerische Kritik in Zeiten politischer Repression. \nThis exhibition is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-betty-yu-sabrina-gschwandtner/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20191214T150000
DTEND;TZID=America/New_York:20191214T170000
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SUMMARY:Punctures | Jodie Mack’s The Grand Bizarre
DESCRIPTION:PLEASE NOTE: Due to the weather\, we have postponed the screening of this film to the date below. \nWednesday\, December 14\, 2019\, 3pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nJodie Mack’s feature film The Grand Bizarre (2018) investigates recurring patterns and techniques in textile production and consumption in a global economy through a collage of textiles\, tourism\, language\, and music. Join us for a screening of the celebrated film! \nJodie Mack\, The Grand Bizarre\, 60:30 minutes\, 16mm on digital projection\, color\, sound\, 2018\n“A postcard from an imploded society. Bringing mundane objects to life to interpret place through materials\, The Grand Bizarre transcribes an experience of pattern\, labor\, and alien[-]nation[s]. A pattern parade in pop music pairs figure and landscape to trip through the topologies of codification. Following components\, systems\, and samples in a collage of textiles\, tourism\, language\, and music\, the film investigates recurring motifs and how their metamorphoses function within a global economy.” – Jodie Mack \nThis screening is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-jodie-macks-the-grand-bizarre/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20191207T190000
DTEND;TZID=America/New_York:20191207T210000
DTSTAMP:20260612T114500
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SUMMARY:Punctures | Kite’s Everything I Say Is True
DESCRIPTION:Saturday\, December 7\, 2019\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nPerformance artist\, visual artist\, and composer Kite will perform a piece integrating dress\, sound\, video\, and emerging technologies with her family’s ephemera and historical documents. Join us for this special performance of Everything I Say Is True\, tied to Kite’s installation in the gallery\, followed by a Q&A with the artist and Jolene Rickard. \nKite aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University and Research Assistant for the Initiative for Indigenous Futures. Her research is concerned with contemporary Lakota epistemologies through research-creation\, computational media\, and performance practice. Recently\, Kite has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nJolene Rickard is an Associate Professor in the departments of History of Art and Art\, and the Director of the American Indian and Indigenous Studies Program (AIISP) at Cornell University\, Ithaca. Her research and artistic practice focus on contemporary Indigenous art\, materiality\, and ecocriticism with an emphasis on Haudenosaunee aesthetics. A selection of publications include: “Arts of Dispossession\,” in From Tierra del Fuego to the Artic: Landscape Painting in the Americas\, Art Gallery of Ontario (2015)\, The Emergence of Global Indigenous Art\, Sakahán\, National Gallery of Canada (2013)\, Visualizing Sovereignty in the Time of Biometric Sensors\, The South Atlantic Quarterly: Sovereignty\, Indigeneity\, and the Law\, 110:2 (2011) and Haudenosaunee Art: “In the Shadow of the Eagle”\, Three Centuries of Woodlands Indian Art: A Collection of Essays (ERNAS Monographs 3) (2007). Jolene is on the editorial board of American Art\, the Otsego Institute and is part of the Initiative for Indigenous Futures (IIF). She co-curated two of the four inaugural exhibitions of the National Museum of the American Indian (2004-2014). Jolene is from the Tuscarora Nation\, turtle clan. \nThis performance is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-kites-everything-i-say-is-true/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Performance
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DTSTART;TZID=America/New_York:20191122T180000
DTEND;TZID=America/New_York:20191221T210000
DTSTAMP:20260612T114500
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SUMMARY:Punctures | Eniola Dawodu and Kite
DESCRIPTION:Opening\, November 22\, 2019\, 6–9pm\nArtist Talk and Q&A with Eniola Dawodu and Amy Sall at 7:30pm\nOn view through December 22\, 2019\nFree and open to the public \nThe second exhibition of Punctures features two works placed in conversation: Kite’s multi-media installation and performance Everything I Say Is True (2017)\, which considers concepts of truth in relation to Oglala Lakota knowledge systems. Eniola Dawodu’s IRAN SI IRAN (2019)\, funded by the Creative Arts Initiative\, is a newly commissioned textile work which reassembles a fragmented chorus of ancestral African women’s strategic radical overtures toward autonomy and cultural sovereignty. \nJoin us for the opening of the exhibition on November 22nd with artist Eniola Dawodu in conversation with Amy Sall (Founder and Editor-in-Chief\, SUNU: Journal of African Affairs\, Critical Thought + Aesthetics). Artist Kite will be present for a performance of Everything I Say Is True on Saturday\, December 7\, with a conversation between her and Dr. Jolene Rickard. \n \nImage: Eniola Dawodu\, Iran Si Iran (2019). Image by Kaitlyn Lowe. \nEniola Dawodu is a British-born Nigerian based between Dakar\, Senegal and Brooklyn\, NY. She is engaged in the cultural archiving of memories\, methods\, and magic concerning West African textiles and aesthetics of style + self-presentation. Her research and creative practice privilege traditional dress practice\, its motif and methodology\, as potent conduits for cross-generational communication\, situated in the liminal and powerfully charged with legacy and history. With reverence to foremothers\, Dawodu reimagines garments of power as masques within which space is held for the latent narratives of ancestral African experiences. In alliance with master artisans via ancient techniques\, past and present-day collapse into cross-dimensional expression. Woven memoirs unite; a foundation upon which truths are embroidered. \nKite aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University and Research Assistant for the Initiative for Indigenous Futures. Her research is concerned with contemporary Lakota epistemologies through research-creation\, computational media\, and performance practice. Recently\, Kite has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nA graduate from Columbia University’s Graduate School of Arts & Sciences\, Amy Sall holds a master’s degree in Human Rights Studies\, concentrating on the right to development and youth empowerment in Sub-Saharan Africa. She received her BA in 2012 from The New School University in Culture and Media Studies\, with a concentration in Cultural Studies and a minor in Journalism.  Sall is Founder and Editor-in-Chief of SUNU: Journal of African Affairs\, Critical Thought + Aesthetics (SUNU Journal)\, a forthcoming publication seeking to amplify emerging voices and perspectives on matters and ideas concerning Africa and the Diaspora. From 2016 to 2017\, she was a Part-time Lecturer in the Culture and Media Studies department of The New School University’s Eugene Lang College\, where she developed and taught two courses: Third Cinema & The Counter Narratives\, and The African Gaze: Postcolonial Visual Culture of Africa & The Social Imagination. She is a 2016 Independent Curators International (ICI) + RAW Material Company Fellow.\nWith a keen interest in cultural studies\, African affairs and artistic expression\, Amy Sall is interested in the ways in which visual culture\, literature\, postcolonial and critical theory inform\, shape and encourage contemporary discourses surrounding the socioeconomic\, political and cultural. She consults for entities engaged in projects\, programming\, exhibitions\, and/or research relating to contemporary African and Afro-diasporic visual culture (specifically photography and cinema). Her consulting also extends to projects and research centered on African/Afro-diasporic theory\, literature and social science. Amy Sall is also a collector of vintage vernacular photography and printed matter coming from Africa and the diaspora (ca. 1950s – 1970s). These Pan-African artifacts are housed in her small\, but growing private collection\, The Sall Collection. The Sall Collection was established with the ideas of cultural preservation and cultural sovereignty in mind. Its existence serves as a means to maintain agency by pushing back against the neocolonial ways of archiving\, collecting\, and disseminating African/Black artifacts. \nThis exhibition is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters. \nEniola Dawodu’s exhibition is supported through a residency from the Creative Arts Initiative at the University at Buffalo. Creative Arts Initiative is a university-wide initiative\, dedicated to the creation and production of new work upholding the highest artistic standards of excellence and fostering a complementary atmosphere of creative investigation and engagement among students\, faculty\, visiting artists\, and the community. \nBanner Image: Kite\, Everything I Say Is True (2017). Courtesy of the artist.
URL:https://squeaky.org/event/punctures-eniola-dawodu-and-kite/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20191023T190000
DTEND;TZID=America/New_York:20191023T210000
DTSTAMP:20260612T114500
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SUMMARY:We Tell: Environments of Race and Place
DESCRIPTION:Wednesday\, October 23\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess Pass holders \nWe Tell: Environments of Race & Place is a screening of short\, community made short films focused on issues surrounding immigration\, migration\, and racial identity unique to a specific environment. Including films by Outta Your Backpack Media\, Third World Newsreel\, among others. Don’t miss the Buffalo stop of this nationally touring screening series\, with co-curator Patricia Zimmermann in person for introduction and Q&A. \nProgram \n91 minutes \nSan Francisco Newsreel\, Black Panther a.k.a. Off the Pig (Newsreel #19)\, black and white\, 15 minutes\, 1967\nBlack Panther a.k.a. Off the Pig (Newsreel #19)\, also known as Off the Pig\, documents the Black Panther Party in 1967. It was one of Newsreel’s most widely distributed films\, made and used by members of the Black liberation movement. It contains a prison interview with Black Panthers’ Minister of Defense Huey P. Newton\, an interview with Minister of Information Eldridge Cleaver\, footage of the aftermath of the police assault against the Los Angeles Chapter headquarters\, and political demonstrations supporting Huey Newton’s release from jail. \nMimi Pickering\, Buffalo Creek Flood: An Act of Man\, black and white\, 39 minutes 1975\nOn February 26\, 1972 in West Virginia\, a Pittson Company coal-waste dam collapsed at the top of Buffalo Creek Hollow\, leaving 125 dead and 4\,000 homeless. Buffalo Creek Flood: An Act of Man juxtaposes interviews with survivors\, union and citizen’s groups representatives\, and company officials. Pittson executives knew of the hazard in advance of the flood and that the dam’s structure violated state and federal regulations. Nevertheless\, the Pittston Company denied any wrongdoing\, maintaining that the disaster was an act of God.\n\nMichael Siv and Aram Siu Wai Collier (Spencer Nakasako\, facilitator)\, Who I Became\, color\, 20 minutes\, 2003\nWho I Became is the story of Pounloeu Chea\, a first-generation Cambodian American. In the early 1980s\, he and his family escaped from Cambodia and settled in San Francisco. In 1998\, his father returned to Cambodia\, leaving behind his wife and three sons. In 2002\, his mother joined his father. Since her departure\, Pounloeu was found guilty of driving stolen cars intended for export\, and placed on parole. About to become a father\, he must hold a job and obey the law to avoid being sent to jail or deported to Cambodia.\n\nYusi Brieland El Boujami\, Ned del Callejo\, Ariane Farnsworth\, Shyanna Marks\, Shelby Ray\, and Amber Vigil from the Outta Your Backpack Workshop with Indigenous Youth (Klee Benally\, facilitator)\, Legend of the Weresheep\, color\, 2:45 minutes\, 2007\nIn this short animation\, a sheep drinks water from a toxic factory and turns into a zombie. Legends of the Weresheep was made with hand-drawn images that feature a river next to a factory spewing out black smoke. A herd of sheep graze next to the river. When they drink the polluted water\, toxic symbols are emblazoned on their fur. The film was produced by Indigenous youth participating in a Fall 2009 Media Workshop in Flagstaff\, Arizona conducted by the activist media collective Outta Your Backpack. \nChristi Cooper\, Katie Lose Gilbertson\, Kelly Matheson\, Stories of TRUST: Calling for Climate Recovery: TRUST Alaska\, color\, 8 minutes\, 2011 \nStories of TRUST: Calling for Climate Recovery is a ten-part series about youth\, law\, and justice. These short documentaries feature the voices of daring youth from across the country who went to court to compel the government to protect our atmosphere in trust\, for future generations. In TRUST Alaska\, seventeen-year-old Nelson Kanuk explains why erosion\, floods\, intense storms\, and permafrost melt\, threaten their homes\, communities\, and culture. Nelson’s story unfolds the human and environmental damage caused by climate change. \nMyron Dewey\, Digital Smoke Signals: Aerial Footage from the Night of November 20\, 2016 at Standing Rock\, color\, 7:06 minutes\, 2016\nFrom April 2016 to February 2017\, Standing Rock Indian Reservation members and environmental activists protested Energy Transfer Partners’ Dakota Access Pipeline—built to move oil from the North Dakota Bakken oil fields to southern Illinois—with an encampment to protect water\, land\, and Indigenous sacred sites. Myron Dewey of Digital Smoke Signals (DSS) describes drone footage that captures the North Dakota State Troopers\, the National Guard\, and private contractors committing human rights violations against the Indigenous Water Protectors. \n\nThis screening is part of We Tell: Fifty Years Of Participatory Community Media: On the Frontlines of Politics and Place\, 1967-2017\, a nationally touring\, curated screening series that explores and unearths the fifty-year history of participatory community documentary in the United States. It focuses on place-based documentaries that situate their collaborative practice in specific locales and communities. These works embrace and enhance the micro rather than the macro\, moving away from the national to the local and from the long form theatrical feature to the short form of documentary circulating within and across communities and politics. The exhibition of comprised of six thematic programs that probe salient topics emerging in participatory community media. Exhibitors and programmers may select among these different programs\, depending on their needs and programming space. Curated by Louis Massiah & Patricia Zimmermann. \n  \nImage: Christi Cooper-Kuhn\, Katie Lose Gilbertson\, Kelly Matheson\, WITNESS\, Stories of TRUST: Calling for Climate Recovery: Alaska (2011).
URL:https://squeaky.org/event/environments-of-race-and-place/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191019T200000
DTEND;TZID=America/New_York:20191020T010000
DTSTAMP:20260612T114500
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
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SUMMARY:Scary-oke!
DESCRIPTION:October 19\, 2019\, 8pm–1am \nMarket Arcade (617 Main Street)\nSlasher Ticket $15 | Pre-sale $20 | Door $25\nGet tickets here* \n  \nScary-oke is back! \nSqueaky Wheel Film & Media Art Center’s popular Halloween Karaoke Party returns! This 8th edition of our legendary fundraiser\, Peepshow\, Scary-oke takes on the theme of “Haunted Futures”.  \nThere’s something for everyone at Scary-oke! Karaoke lovers: hop between three haunted movie-themed karaoke rooms designed by local artists Obsidian Bellis\, Charlie Best\, and Brian Milbrand accompanied by karaoke jockeys Incognegro\, Holly Johnson\, and Rick Vallone. Dance partiers: project your moves into another world using our green-screen backdrop\, boogie through the haunted halls with Silent Disco\, or dance the night away with DJs @ABCDJ. \nArt lovers: bid on exciting work by local and regional artists in a special silent Art Auction. Gamers: get spooked with a creepy survival horror game by Buffalo Game Space’s Wase Qazi.  Exhibitionists: pose for photos on the silver carpet\, indulge yourselves in multiple selfie spots\, or enter for your chance to win amazing prizes in the Costume Contest hosted by Grovey Cleves. \nBe sure to stick around for performances by Cat & Cat the Incredible Conjoined Stripper Clowns\, Max Darling\, Fifi Laflea\, and Vidalia May. And you won’t want to miss the Epic Song Sing-a-Long to cap off the night!\nProceeds help benefit Squeaky Wheel’s award-winning youth and adult media education programs\, along with our low-cost equipment access and exhibitions. Don’t miss the biggest karaoke event in WNY and help make a difference! \nThis fundraiser is made possible by the generous support of the following sponsors\, to date: Clover Management\, Lipsitz Green Scime Cambria\, Buffalo Rising\, Buffalo Spree\, Allen Street Consulting\, Challenger News\, Cheryl Lyles\, Quick Brown Fox Labs\, Half and Half Boutique\, Shea’s Performing Arts Center\, Yelp\, Putman Insurance Agency\, Bluebird Transportation\, LLC\, 2FilmCritics.com\, Café 59\, Block Club\, Buffalo State College Dept. of Communication\, Lumiflux Media\, Catherine Linder Spencer\, Andrews\, Bernstein\, Maranto & Nicotra\, PLLC\, Mister Goodbar\, Allasen Carpet\, Fry Baby Donuts\, Mohawk Cryo\, Renoun Creative\, UB Dept of Art\, UB Dept of Media Study\, Savoy Buffalo\, Paranormal Club @ Medaille College\, Interdisciplinary Studies Dept. Medaille College\, DeBellis Catherine & Morreale Corporate Staffing\, and John McKendry. \n  \n*Before purchasing a ticket please review our community guidelines
URL:https://squeaky.org/event/scaryoke/
LOCATION:NY
CATEGORIES:Special Event
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191012T113000
DTEND;TZID=America/New_York:20191012T170000
DTSTAMP:20260612T114500
CREATED:20251230T191303Z
LAST-MODIFIED:20251230T191303Z
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SUMMARY:Buffalo International Film Festival
DESCRIPTION:Saturday\, October 12\nTickets: buffalointernationalfilmfestival.com \nThe Buffalo International Film Festival returns to Squeaky Wheel for its thirteenth year\, with a special showcase of films by students in our youth education initiatives and a juried selection of films with regional and global perspectives. \n11:30am: Ovacık\n1:30pm: Youth Program\n3pm: Spiral Farm \nThe Buffalo International Film Festival is the region’s premiere celebration of the moving image. BIFF is one of the largest film festivals in New York State outside of New York City\, and is the longest-running film festival in Western New York. BIFF champions local\, national\, and international films that test the limits of independent cinema. Every year\, we present top selections from thousands of submissions to WNY’ers and travellers seeking to explore the great food\, nightlife\, history and adventure that defines Buffalo. BIFF also proudly supports local filmmakers by offering workshops\, seminars\, panels and fiscal sponsorship on a year-round basis.
URL:https://squeaky.org/event/buffalo-international-film-festival-4/
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/2019/08/BIFF.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
END:VCALENDAR