\nSarah Jenkins\, Disappearing Acts\, 4 min\, 2022\nDarkness encroaches upon a loggy landscape of animated tricks and turns.\nJeffrey Zablotny\, Sub Terra\, 8.5 min\, 2022\nA routine tree inspection unexpectedly gives way to a journey into the deep. Set in a hidden subterranean world\, ‘Sub Terra’ is the haunting mystery of a cryptic\, first-person perspective. \nIvana Bosnjak Volda\, Thomas Johnson Volda\, Remember How I Used to Ride a White Horse\, 10 min\, 2022\nA waitress goes about her daily routine serving coffee whilst having thoughts of escaping her reality. A costumer is constantly recording and listening back to the surrounding sounds of the café and is completely fixated by this task. Apathy is a condition that leads consciousness into stagnation\, but do either of them realise that they are themselves examples of this condition? \nClaire Schlaikjer\, Baking With Piggu\, 3.5 min\, 2023\nWarning: contains some flashing images. Piggu started life as a real stuffed pig\, sewn out of canvas and stuffed with recycled fabric insulation\, which I made in the spring of 2020. The pig gradually acquired a striking physical presence that I had not intended or expected. The sparseness of his construction made him enigmatic — he was a (literal) blank canvas whose staring eyes could suggest any emotion and contain any experience. He became a perfect muse\, as a physically pliable but spiritually unyielding subject. This led me to consider the complexity of our relationships with anything creature-like\, where familiarity is often confused with understanding. For this animation\, I wanted to explore this dynamic of misidentification\, and what it would be like if Piggu’s internal world was as real as I imagine it to be. In the story\, toys suffer the same unfulfilled desires and fantasies as people\, but their real tragedy comes from their inability to express themselves. Piggu inspires empathy\, but this empathy breeds relationships that can be as doting as they are callous. Through animation\, I was curious to see the effect of empathy towards creatures or objects which we cannot communicate with\, especially when those creatures are given the chance to react but not respond. \nBirgit Rathsmann\, Primitive Games: Love Letter\, 5 min\, 2018\nThree shapes created by an animator create havoc in her computer while she is on her lunch break. They write a love letter to their animator\, but since they don’t know what it’s like to have a body\, the letter is .. unusual.\nBirgit Rathsmann: Writer\, Director\, Producer\, Animator\nBlue Shape: River L. Ramirez (Pervert Everything\, Los Espookys)\nWhite Shape: Mary Houlihan (CEO Skyscraper)\nRed Shape: Becket Bowes \nEmily Sasmor\, Flore\, 2 min\, 2022\nFLORE is a one act opera. Flore’s partner calls her up to declare their love to her in an endless night. \nAsparuh Petrov\, Trace\, 7 min\, 2022\nА young writer dedicates his nights to hunting entangled phrases with his pen. The moment he is confronted with the pregnancy of his wife his world collapses. Lingering fears and painful memories overwhelm him and he needs to trace the missing piece. \nKahstoserakwathe Paulette Moore\, The Clay She Is Made Of\, 2 min\, 2023\nThe Clay She Is Made Of draws parallels between the profound strength and creativity of Sky Woman from the Rotinonhsyón:ni / Haudenosaunee creation story and the filmmaker’s mother. This two-minute animated and live-action film is narrated all in Kanyen’kè:ha (Mohawk). \nMegan Young\, Carry On\, 3 min\, 2023\nThis piece is part of an ongoing project\, titled With What We Could Carry\, considering the responsibilities we embrace and what we shed as we travel across borders and through time. It explores the complexities of heritage\, labor\, and technological advancement through social practice and computational rendering. The resulting animation combines 3D mesh and models of myself\, my mother\, and my children collected through LiDAR and photogrammetry scans. Our flesh and figures are represented as overlapping and traversable landscapes reflecting themes of migration\, matriarchy\, and the dreams of our elders. (The looping animation was originally produced for viewing as a media installation.) \nJingyi Wang\, Good Old Days Part.1\, 5 min\, 2023\nGood Old Days Part.1” is a 5-minute experimental film that tells a story about a city with a collective memory of a bygone era and its tangled residents. It’s done through a series of absurd cinematic shots\, pixelated spatial transitions\, scenario-based sounds\, and symbolic graphical repetition. It is part of an ongoing experimental media project that plays around film and its extended forms\, which examines the rebellion of psychic structure against its environment in digital space. It keeps pace with time and ends when the end is near.\n
\n\nAsparuh Petrov (1981) developed a passion for animation after he graduated from the High School of Applied Arts in Trojan in 1999. Since 2007 he has worked as a freelance animation director\, and has been creating his own animation projects. Asparuh is one of the lead directors of Compote Collective productions. In 2016 he founds PHAZZA – a platform for examination of our problematic reality with the means of animation.\nWhile working on commercial animation\, motion graphics\, music videos and artists’ videos\, Birgit Rathsmann co-founded an Improv comedy group for shy visual artists. Now\, Birgit loves creating characters who navigate awkward situations with humorous results\, and this has resulted in a number of short films. Primitive Games”” is an improvised animated web series and a collaboration with comedians River L. Ramirez and Mary Houlihan. \nClaire Schlaikjer is an artist\, animator\, and illustrator from London\, England. She holds a BA in Visual Art and Computer Science from Brown University. As a freelance animator\, she has worked on projects ranging from science education to social advocacy\, and has collaborated with artists and arts institutions including the Museum of Contemporary Art in Denver and Women & Their Work in Austin\, TX. Her personal artwork explores the place that animals hold in our collective imagination and the ways in which the evolution of their visual representations reflects our changing relationship with the natural world. \nEmily Sasmor is a new media artist based in Brooklyn\, NY. They create animated operatic visual albums telling stories about violence and the comforts upheld by it. Their work has appeared in various shows\, festivals\, and screenings including; Curyatid in Hudson Yards\, 20/92 Video Festival\, and Digerati Emergent Media Festival. They have been awarded a Cultural Counsel Video Grant\, and Guaranteed Income from CRNY. They run Single Channel\, an experimental art publishing house. She received her MFA from the School of the Art Institute of Chicago\, and a BFA from Tyler School of Art and Architecture\, Temple University. \nIvana Bosnjak Volda (1983) graduated from the Graphics Department of the Academy of Fine Arts in Zagreb and Animation at the University in Volda\, Norway. Ivana has been professionally involved in various stop motion projects across Europe\, and has led animation workshops for children and students. Thomas Johnson Volda (1984) graduated in Time Based Media from the University of Wales Institute\, Cardiff\, and at the New Media Department of the Academy of Fine Arts in Zagreb. He is multidisciplinary artist often combining animation and performance art disciplines in his work\, and has created puppet performances at numerous festivals across Europe. Ivana and Thomas co-directed award-winning stop-animation short films Simulacra (2014)\, Imbued Life (2019) and Remember How I Used to Ride a White Horse (2022). \nJeffrey Zablotny is a director based in Toronto\, Canada. His film work is often marked by intricate sound design and unconventional use of visual effects as a way to explore how interior landscapes mirror a hidden world outside ourselves. His films have premiered at TIFF\, Austin Film Festival\, Hot Docs\, and internationally at festivals in Japan\, Germany\, and the United Kingdom. A member of VES (Visual Effects Society)\, his work has been made possible with support from the Canada Arts Council\, Ontario Arts Council\, and the NFB. \n镜伊Jingyi Wang is an artist and experimental filmmaker who lives and works in Shanghai and New York. Her work examines how psychic\, physical\, and symbolic structures imply and manifest themselves within everyday survival spectacles and sceneries. In her recent work\, she delves into the strangeness of private and public environments and the detachments of their subjects through film and computer graphics. \nKahstoserakwathe Paulette Moore is an independent filmmaker\, podcaster\, and educator. Moore is Kanyen’kehà:ka (Mohawk)\, a fluent Kanyen’kè:ha speaker (ACTFL intermediate/high)\, and an enrolled member of Six Nations of the Grand River territory. Moore is a founding member/co-owner of The Aunties Dandelion: a media-arts collective informed by traditional Onkwehòn:we (Indigenous) teachings and focused on revitalizing communities through stories of land\, language\, and relationships. She spent two decades in Washington\, DC as producer/director/writer with Discovery Channel\, National Geographic\, and others. Moore is a Banff 2023 Indigenous Screen Summit pitch participant and 2022 Banff Spark program participant for women who own media businesses. \nMegan Young is an interdisciplinary artist\, with a background in immersive and interactive design. Notable credits include ISEA in Hong Kong\, Open Spaces in Armenia\, Ammerman Center Biennial for Art & Technology at Connecticut College\, Open Engagement in Chicago\, and SPACES in Cleveland. She is a Lecturer and Digital Art Area Head at Indiana University and has previously taught for Cleveland Institute of Art and Kent State University. Young holds an MFA in Interdisciplinary Art + Media from Columbia College Chicago. \nSarah E. Jenkins is a queer Appalachian artist making work about extraction\, hidden labors\, and disappearance in an experimental animation practice. Their work has been shown at the MFA Boston\, Torrance Art Museum\, Emerson Contemporary\, and Wonzimer. Jenkins’ is a MacDowell Fellow and she was recently awarded a Changing Climate residency at SFAI. Their work is included in the forthcoming book Queering Appalachia’s Visual History: A Collection of Queer Appalachian Photographers\, University of Kentucky Press. Jenkins lives in Northampton\, MA with her darling cat\, Nessie.\n \nSponsors\nSqueaky Wheel’s Animation Fest is presented with generous support from the Richard W. Rupp Foundation\, FGI Landscaping\, PUSH Buffalo\, TriMain Center\, Rigidized Metals\, BreadHive\, Buffalo Expendables\, Buffalo State College Communication Dept\, Rose Jade Consulting Coop\, Lumpy Buttons Gifts\, Good Neighbors Credit Union\, and Villa Maria College. The North Park Theater event is presented with generous support from Councilman Joel Feroleto. \n\nBanner image: A red and white still from the film Trace by Asparuh Petrov. Three hand drawn faces looking to the right; their faces are intercut with lines like a comic strip. URL:https://squeaky.org/event/squeaky-wheels-20th-animation-fest/ LOCATION:Buffalo AKG Art Museum\, 1285 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/10/Trace-Animation-Fest.jpg.jpg GEO:42.9324531;-78.87566 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Buffalo AKG Art Museum 1285 Elmwood Avenue Buffalo NY 14222 United States;X-APPLE-RADIUS=500;X-TITLE=1285 Elmwood Avenue:geo:-78.87566,42.9324531 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231017T190000 DTEND;TZID=America/New_York:20231017T210000 DTSTAMP:20260502T160655 CREATED:20251230T191524Z LAST-MODIFIED:20251230T191524Z UID:10001123-1697569200-1697576400@squeaky.org SUMMARY:Echolocations: Films in translation and transcription DESCRIPTION:Tuesday\, October 17\, 7 pm ET\n@ Journey’s End Refugee Services (2495 Main St #530\, Buffalo\, NY 14214) and online\nFree or suggested donation\nTickets available below\nGathering nine short films\, this screening looks at how voice and language are made legible across borders and power. Bringing together essay films and personal non-fiction films\, historical analyses and experimental films\, the filmmakers’ approaches to subtitles\, captions\, translations\, and interpretation grapple with the histories\, present\, and futures of imperialism\, colonialism\, racism\, and ableism. Alternately playful\, angry\, contemplative\, utopian\, and generous\, the films help us imagine new relationships\, between films and audiences\, and between each other\, across languages and voices. \nFeaturing films by Alex Dolores Salerno\, Astria Suparak\, champoy\, JJJJJerome Ellis\, Johann Diedrick\, Nadia Shihab\, Saif Alsaegh\, Sky Hopinka\, and Buffalo filmmaker Olivia Ong Evans who will be in person. Presented as part of [Speaking in Foreign Language]. \nThis event will take place in person at Journey’s End Refugee Services (JERS) and online. \nFor in-person attendees: JERS is located on the fifth floor of Tri-Main Center; head left after you exit the elevator. Please note that you cannot enter Tri-Main Center after 7:30 pm. \nFor online attendees: Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nAccessibility: For in-person audiences: ASL interpretation can be requested with 3 days notice for the Q&A with Olivia Ong Evans. For both in-person and online attendees: Several of the films have open captions. Some of the films\, such as champoy’s english is yr mother tongue and Astria Suparak’s On the Neon Horizon have no spoken dialogue\, while Nadia Shihab’s Echolocation elects not to translate moments where Iraqi Turkmen is spoken. The subtitles in Sky Hopinka’s wawa actively think through the act of translation from Chinuk Wawa to English. Alex Dolores Salerno’s El Dios Acostado provides captions and audio descriptions in English and Spanish. Please see individual film notes below. \n
\n\nThe total program length is ~85 minutes. Program notes courtesy of the artists.\n\nchampoy\, english is yr mother tongue\, 4 min\, 2020 \nWhen the American colonial education system in the Philippines imposed English as the sole language for teaching\, suppressing indigenous languages and turning classrooms into sites of linguistic dominance. How did we learn to embrace translation as a playful act? How did we reclaim our agency as a people and assert our own identities in the face of oppressive language policies? How How De Karabaw De Batuten. \nSaif Alsaegh\, 1991\, open captions\, 12 min\, 2018 \n1991 revolves around a conversation between the filmmaker\, an Iraqi asylum-seeker living in the US\, and his mother Bushra\, an Iraqi immigrant who was living in Turkey while she awaited approval to immigrate to the US. Both are in uncertain positions regarding their immigration statuses and have not been able to see each other for years. 1991 navigates the distance between them. Through a facetime phone conversation\, the film expresses the ways that a relationship becomes virtual and symbolic across forced distance. 1991 is set in a cabin where the filmmaker lives a semi-imaginary\, peaceful life\, building fires\, cooking\, and dancing. The central phone conversation details Bushra’s memory of the filmmaker’s birth in the middle of the 1991 Gulf War and the danger and suffering she went through. Through poetic juxtaposition of the virtual landscape of the phone\, the calm landscape of the cabin\, and the chaotic landscape of memory\, the film paints a cruel image of the horror of war\, displacement\, and separation. \nNadia Shihab\, Echolocation\, open captions\, 9 min\, 2021 \nThe rain in Oakland\, my grandmother’s home in Baghdad\, my aunts’ voices in What’s App\, my daughter learning to count to 10\, my brother playing the darbuka\, the cicadas in Texas\, the walls of my studio\, the search for new forms.\nNote: Dialogue in Iraqi Turkman is intentionally not translated / subtitled. \nJJJJJerome Ellis\, Impediment is Information\, open captions\, 15 min\, 2021 \nThis music-video-poem work centers on an 18th century newspaper advertisement for the recapture of a fugitive slave with “an impediment in his speech.” A handheld camera captures blurry conifers; a saxophone prays to a mountain. By rearranging the words of the advertisement to create lines of poetry\, I am seeking new meanings and sites of resistance in the archive. The work was commissioned by ISSUE Project Room in New York City. It premiered on Juneteenth\, a day that recognizes the emancipation of those who had been enslaved in the United States. In creating this work for the occasion of Juneteenth\, I wanted to celebrate Black freedom practices. I think these practices divinely exceed official proclamations\, emancipatory and otherwise. \nJohann Diedrick\, Dark Matters\, 2021 \nDark Matters exposes the absence of Black speech in the datasets used to train voice interface systems in consumer artificial intelligence products such as Alexa and Siri. Utilizing 3D modeling\, sound\, and storytelling\, the project challenges our communities to grapple with racism and inequity through speech and the spoken word\, and how AI systems underserve Black communities. \nAstria Suparak\, On the Neon Horizon\, 8:27 min\, 2023 \nOn the Neon Horizon is a short video essay that takes one of the world-building tics of white science fiction — gratuitous signage in Asian languages — to consider its utopian potential and dystopian applications. \nFantastical mise en scène\, breathtaking B-roll footage\, and special effects deliriums from four decades of mainstream sci-fi by white American\, Australian\, Canadian\, European\, and New Zealander filmmakers craft an insidiously Asian futurescape — sometimes achieved by simply shooting in a present-day Asian country or a North American Chinatown. In aggregate\, these productions inextricably tether non-white cultures to criminality and contagion\, portraying Asian cultures and people as existential threats to white Western ideas of freedom. \nSky Hopinka\, wawa\, open captions\, 4 min\, 2014 \nFeaturing speakers of chinuk wawa\, an Indigenous language from the Pacific Northwest\, this film begins slowly\, patterning various forms of documentary and ethnography. Quickly\, the patterns tangle and become confused and commingled\, while translating and transmuting ideas of cultural identity\, language\, and history. Courtesy of Video Data Bank. \nAlex Dolores Salerno\, El Dios Acostado\, 11 min\, 2020 \nEl Dios Acostado entangles conversations of rest\, care\, and colonialism\, and asks us to consider what the land has to teach us about rest. The video incorporates access as part of its aesthetic. Adding to the slow pace of the video\, all of the visual descriptions and narration are repeated twice\, once in Spanish and once in English\, with a doubling of large captions centered in the frame. The video begins with a nap alongside the mountain “Mandango”\, meaning “dios acostado” or “sleeping god”\, and describes the gentrification of the small town of Vilcabamba\, which was dubbed “the valley of longevity” by European and North American researchers in the 70s who the artist’s mother encountered as a child. The video then cuts to her hometown\, San Pedro de la Bendita\, a nearby town spared from worldwide recognition. Introduced through a view of family tombstones at the town’s cemetery\, the artist’s mother describes her relationship to her hometown\, highlighting the love and care that can flourish with a relationship to land and community. \nOlivia Ong Evans\, Identity Karma\, 11 min\, 2021 \nIdentity Karma is an abstract video project that emerged from a period of research and reflection on Suharto’s New Order Era in Indonesia. Creating the video was a way to reflect on the intergenerational consequences of cultural repression\, and the personal effects of anti-Chinese discrimination. It is an homage to my ancestors\, to my mother\, and to the land. The video was guided by the question: What happens to our cultural and racial identities when we are alone? It jumps between over-saturated\, multi-layered moments and landscapes removed from social context\, and scattered words in English\, Bahasa Indonesia\, Simplified Chinese\, and Hokkien. The distance and frustration of miscommunication co-exists with the closeness and familiarity that can be expressed through language. Footage from Bogor\, Indonesia and Haudenosaunee land in Buffalo and Western New York interact throughout the video. \n
\n\nAlex Dolores Salerno (b. 1994\, Washington D.C.) is an interdisciplinary artist based in Brooklyn\, NY. Informed by queer-crip experience\, community\, and culture\, they work to critique standards of productivity\, notions of normative embodiment\, 24/7 society\, and the commodification of rest. Salerno received their MFA from Parsons School of Design and their BS from Skidmore College. They have exhibited at the Museum für Moderne Kunst (Frankfurt)\, Espacio de Arte Contemporáneo de Castellón (Castellón)\, ARGOS centre for audiovisual arts (Brussels)\, Art Windsor-Essex (Canada)\, The Shelley & Donald Rubin Foundation’s 8th Floor Gallery\, the Ford Foundation Gallery (NYC)\, among others. Salerno is a recipient of the 2022 Wynn Newhouse Awards\, and their work has been featured in the New York Times and Art in America. They recently participated in the Visual Artist AIRspace Residency at Abrons Arts Center (2022-2023)\, and they are currently in residence at BRIClab: Contemporary Art Residency Program at BRIC (2023-2024). \nAstria Suparak is an artist and curator based in Oakland\, California. Her cross-disciplinary projects address complex and urgent issues (like institutionalized racism\, feminisms and gender\, and colonialism) made accessible through a popular culture lens\, such as science fiction movies\, rock music\, and sports. \nchampoy (pronouns: they/them/he/him/she/her/siya ) is a Filipinx interdisciplinary artist\, filmmaker and educator weaving historical and personal narratives through film\, installation and performance.” \nJJJJJerome Ellis is a proud stutterer. Through music\, literature\, performance\, video\, and photography he researches relationships among blackness\, disabled speech\, divinity\, nature\, sound\, and time. His body of work includes: contemplative soundscapes using saxophone\, flute\, dulcimer\, electronics\, and vocals; scores for plays and podcasts; albums combining spoken word with ambient and jazz textures; theatrical explorations involving live music and storytelling; and music-video-poems that seek to transfigure archival documents. Born in 1989 to Jamaican and Grenadian immigrants\, he lives in Norfolk\, Virginia\, USA with his wife\, ecologist-poet Luísa Black Ellis. They like walking in the woods and drinking tea together. \nJohann Diedrick (he/him) is an artist\, engineer\, and educator who makes listening rooms for encountering new sonic possibilities off the grid. His performances\, installations\, and sculptures surface resonant histories of past interactions inscribed in material and embedded in space\, peeling back vibratory layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. \nNadia Shihab is an artist whose work explores the personal\, the relational and the diasporic. Her first feature documentary Jaddoland was awarded five festival jury awards including the Independent Spirit “Truer than Fiction”” Award in 2020. Her recent short films include Sister Mother Lover Child (2023)\, Echolocation (2021) and Amal’s Garden (2012). Her work has screened internationally\, including at Cinema du Réel\, Walker Art Center\, Berkeley Art Museum\, Black Star Film Festival\, Images Festival\, DOXA\, Camden International Film Festival\, Kassel Dokfest and Cairo International Film Festival. Her creative practice is preceded by a decade of work as a community practitioner and housing advocate in the San Francisco Bay Area. She was raised in west Texas by immigrant parents from Iraq and Yemen and is an Assistant Professor in Film in the School for the Contemporary Arts at Simon Fraser University. \nOlivia Ong Evans is an artist living in Buffalo\, New York on Haudenosaunee homelands. Her video art often explores themes of migration and identity construction through experimental glitch. To shape identity from change\, to find meaning in misunderstanding\, to imagine home. Her video Identity Karma was created as part of the Squeaky Wheel Workspace Residency in the Summer of 2021. \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 indigenous Chaldean minority in the nineties and early 2000s\, and the U.S. landscape where he currently lives. His films have screened in festivals including Cinéma du Réel\, Kurzfilm Hamburg\, Kassel Dokfest\, Aesthetica Short Film Festival\, and in galleries and museums including the Wisconsin Triennial at the Madison Museum of Contemporary Art and Rochester Contemporary Art Center. \nSky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale\, Washington and spent a number of years in Palm Springs and Riverside\, California\, Portland\, Oregon\, and Milwaukee\, Wisconsin. In Portland he studied and taught chinuk wawa\, a language indigenous to the Lower Columbia River Basin. His video\, photo\, and text work centers around personal positions of Indigenous homeland and landscape\, designs of language as containers of culture expressed through personal\, documentary\, and non fiction forms of media. His work has played at various festivals including Sundance\, Toronto International Film Festival\, Ann Arbor\, Courtisane Festival\, Punto de Vista\, and the New York Film Festival. His work was a part of the 2017 Whitney Biennial\, the 2018 FRONT Triennial and Prospect.5 in 2021. He was a guest curator at the 2019 Whitney Biennial and participated in Cosmopolis #2 at the Centre Pompidou. He has had a solo exhibition at the Center for Curatorial Studies\, Bard College\, in 2020 and in 2022 at LUMA in Arles\, France. He was a fellow at the Radcliffe Institute for Advanced Study at Harvard University in 2018- 2019\, a Sundance Art of Nonfiction Fellow for 2019\, an Art Matters Fellow in 2019\, a recipient of a 2020 Alpert Award for Film/Video\, a 2020 Guggenheim Fellow\, and was a 2021 Forge Project Fellow. He received the 2022 Infinity Award in Art from the International Center of Photography\, and is a 2022 MacArther Fellow. \n \nAstria Suparak\, On the Neon Horizon\, 8:27 min\, 2023Saif Alsaegh\, 1991\, 12 min\, 2018Alex Dolores Salerno\, El Dios Acostado\, 11 min\, 2020Johann Diedrick\, Dark Matters\, 2021Nadia Shihab\, Echolocation\, 9 min\, 2021Olivia Ong Evans\, Identity Karma\, 11 min\, 2021JJJJJerome Ellis\, Impediment is Information\, 15 min\, 2021Sky Hopinka\, wawa\, 4 min 2014champoy\, english is yr mother tongue\, 4 min\, 2020\nImages from left to right\, top to bottom: Astria Suparak\, On the Neon Horizon (2023); Saif Alsaegh\, 1991 (2018); Alex Dolores Salerno\, El Dios Acostado (2020)\, Johann Diedrick\, Dark Matters (2021); Nadia Shihab\, Echolocation (2021); Olivia Ong Evans\, Identity Karma (2021); JJJJJerome Ellis\, Impediment is Information (2021); Sky Hopinka\, wawa (2014); champoy\, english is yr mother tongue (2020).\nBanner image: JJJJJerome Ellis\, Impediment is Information (2021). URL:https://squeaky.org/event/echolocations-films-in-translation-and-transcription/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/09/impediment-still-1.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230928T190000 DTEND;TZID=America/New_York:20230928T210000 DTSTAMP:20260502T160655 CREATED:20251230T191523Z LAST-MODIFIED:20251230T191523Z UID:10001115-1695927600-1695934800@squeaky.org SUMMARY:The Animation Fest: A Retrospective @ North Park Theatre DESCRIPTION:Thursday\, September 28\, 7 pm ET\n$7\nPurchase tickets to in-person screening at North Park Theatre (or just show up!)\nPurchase tickets to online screening via Eventbrite\nJoin us at the legendary North Park Theatre for a special retrospective screening that brings together 10 short films from the past 20 years of our Animation Fest! The short films collected here exemplify our little fest’s promise and potential: Personal visions and experiments\, and surprising and poignant uses of tools and technologies; and social and political commitment and critique. Open to young people and adults\, this special screening is Squeaky Wheel’s big fundraiser for the year – we invite our communities near and far to join us in celebration! \nThe 10 filmmakers present a vital cross section of our many communities\, from legends of the field to former Squeaky Wheel students from Buffalo and beyond\, including films by Adele Han Li\, Amanda Bonaiuto\, Ayoka Chenzira\, Hannah R.W. Hamalian\, Helen Hill\, Jazmyn Palermo\, Jodie Mack\, Leslie Supnet\, Maria Zjaia\, Miranda Javid\, and Robert C Banks. \nBegun as an outdoor screening in 2004\, the fest celebrates animation in all its forms. Often organized by emerging guest curators\, the fest has featured hundreds of classic and cutting edge animated works. All funds from this event go towards our award-winning exhibition\, education\, and equipment access programs. Join us! \nPlease note that the final two films\, X: The Baby Cinema and Second Sun feature flickering effects. Jodie Mack’s Unsubscribe #4: The Saddest Song in the World will not be available online\, and will only be screened in person. The total duration of the in-person screening is ~53 minutes; the online screening duration is ~50 minutes. \n
\n\nMaria Ziaja\, One Speck in the Universe\, 1 min\, open captions\, 2013\nMaria Ziaja\, Flying Bird\, 1 min\, 2013\nMaria Ziaja created these two videos during her time taking a Stop-Motion Animation class as part of Squeaky Wheel’s Tech Arts for Girls program\, taught by Alice Alexandrescu; the two films were included in the 2013 edition of the Animation Fest\, programmed by Squeaky Wheel’s 2013 staff and interns\, including Jax Deluca\, Mark Longolucco\, and Ryan Crowley. \nHelen Hill\, Madame Winger Makes a Film: A Survival Guide for the 21st Century\, 10 min\, 2001\nMadame Winger wants you to make a film about something you love. She shows you her favorite low budget filmmaking techniques\, from camera less animation to processing your own film in a bathtub. Filmed in 16 mm. Helen Hill’s work was featured in the first edition of the Animation Fest. Special thank you to Mark Johnson and the Harvard Film Archive. \nHannah R.W. Hamalian\, The Golden Age\, 9:58 min\, open captions\, 2021\n“An experimental documentary examining the traumatic history of being a woman at work in the animation industry. I put myself into conversation with a generation of women who experienced restricted creative opportunities in animation and a lack of acknowledgement as artists. Each manipulated frame is an ode to the disregarded labor of women\, wielded to create films that told young girls to dream.” – Hannah R.W. Hamalian. The Golden Age was included in the 2022 edition\, curated by Ekrem Serdar and Zainab Saleh; her work was previously included in the 2017 edition guest curated by Savion “Ineil Quaran” Mingo. \nAyoka Chenzira\, Hair Piece: A Film for Nappy Headed People\, 10:26 min\, open captions\, 1985\n“I was very concerned with the question of black women in this country and self-image aesthetics. If you look at all the commercials that come out and tell you how to fix yourself\, they are all based on the idea that there is something wrong with you. And so\, having a child\, these things became very glaring\, and I think that’s a part of Hairpiece. Hairpiece is funny\, but it comes from a position of real anger.” – Ayoka Chenzira. Included in the 2004 edition of the Animation Fest\, Hair Piece was one of the twenty-five films selected for the National Film Registry by the Library of Congress in 2018. The film received a 4K restoration by the Academy Film Archive and The Film Foundation with funding from the Hobson/Lucas Family Foundation\, which is the version that is on view. Film courtesy of Kino Lorber and Milestone Films. \nAdele Han Li\, Chella Drive\, 3:29 min\, digital video on projection\, sound on speakers\, 2016.\n“A dreamlike memory of a teenager’s summer complacency and the luscious suburban environment that surrounds her. Made using hand drawn animations projected onto real life settings and rephotographed frame by frame.” – Adele Han Li. Chella Drive as included in the 2016 edition curated by Ekrem Serdar. \nJodie Mack\, Unsubscribe #4: The Saddest Song in the World\, 2:50 min\, 2010\n…broken-hearted and mashed up. – Jodie Mack. This film was included in the 2012 edition of the Animation Fest; Mack’s films were included also in the 2016 edition of the fest. Film courtesy of Canyon Cinema.\n \nAmanda Bonaiuto\, Batfish Soup\, 5 min\, 2016\n“Wacky relatives give way to mounting tensions with broken dolls\, boiling stew and a bang.\nDIRECTOR’S NOTES:\nBatfish Soup is a fictionalized absurdist film based on memories of freakish childhood visitations with my grandparents. Though the film’s spark was autobiographical\, the film transformed over the course of its production into something more fictional. This film epitomizes my interest in the darkly humorous underpinnings of domestic drama. I produced this film as my first year film in the MFA Experimental Animation Program at California Institute of the Arts.”\nBatfish Soup was included in the 2017 edition of the Animation Fest\, guest curated by Jean Zhu. Bonaiuto work was additionally screened in the 2019 edition\, guest curated by Leanne Goldblatt. \nMiranda Javid\, What Humans Do\, 6:40 min\, 2023\n“A macro view of human-actions\, as told from within a singular body. The film is a catalog of homo sapien instincts; its sequences interlace extractive qualities of our species with embodied sensory experience\, in favor of a mindful awareness of what humans do to their habitats and planet Earth at-large.” – Miranda Javid. \nJazmyn Palermo\, Teenie Hams’ Adventures in Genderland\, 9:54 min\, 2018\n“Teenie Hams’ Adventures in Genderland is a stop-motion animation that explores a transgender perspective of finding oneself. As Teenie enters a world of fairies\, witches\, creatures\, ghouls and vampires\, they find themself on an adventure in the world of people they have only heard of in scary stories. They find friends and helpful hands along the way on their adventure of exploration and self discovery.” – Jazmyn Palermo. Teenie Hams’ Adventures in Genderland was included in the 2020 edition\, guest curated by Tabia Lewis. \nRobert C Banks\, X: The Baby Cinema\, 5 min\, 1992\nDrawing by hand directly on 16mm film\, Banks challenges commercial appropriations of the image of Malcolm X. The film was included in the 2007 edition of the Animation Fest\, guest curated by Kerry Maeve Sheehan.\n \nLeslie Supnet\, Second Sun\, 3 min\, 2014\n“The rising sound of drums emphasizes flashes of lights\, images of the solar system and a post-apocalyptic imagining of the birth of our Second Sun.” – Leslie Supnet \n“Leslie Supnet’s hand-drawn animation piece is an extension of her previous work First Sun (2014)\, with the monochrome drawings of the latter giving way to bright primary pencil colours. Like its predecessor\, Second Sun extensively employs basic geometrical shapes to represent cosmic phenomena and is scored to an exhortative percussive soundtrack hinting at a ritual\, a summoning. The figures move strictly horizontally or vertically on checkered paper as though underscoring their mathematically precise cyclicity\, with the central solar circle spawning clone stars\, moons\, planets and an entire solar system. The overall impression is that of witnessing a trance-inducing cultic invocation.” – Experimenta India” \n
\n\nWorking in painting\, video\, and installation\, Adele Han Li explores creating immersive and evocative environments through mixing materials and colliding surfaces. Her work has been exhibited at festivals and galleries throughout the US and internationally. Beyond her own creative projects\, Adele was previously programmer and festival manager of the Slamdance Film Festival\, and is passionate about cultivating inclusive and nurturing spaces for fellow artists. She studied animation at CalArts and painting at Yale and is now playing with textiles\, projectors and ceramics in her home studio just outside Los Angeles\, California. \nAmanda Bonaiuto (b. 1990) is an animation director\, artist\, and educator living in New York. She is best known for her short films and commissioned pieces which have screened at film festivals and galleries worldwide. She’s inspired by humor and tilted realities. She received a BFA from the School of the Museum of Fine Arts\, Boston in 2012 and an MFA in Experimental Animation from the California Institute of the Arts in 2018. She is an assistant professor of Illustration at Parsons School of Design\, and makes films and commissions in her studio. \nMeet Ayoka Chenzira\, the multi-talented and award-winning filmmaker\, Emmy and NAACP nominated television director\, and digital media artist.\nAs a child\, Ayoka discovered her interest in storytelling while listening to women talk in her mother’s Philadelphia beauty parlor. With a background in modern dance\, photography\, and music\, she discovered her passion for filmmaking after being taken to every age-inappropriate movie that her cinephile parent could find. Since then\, Ayoka is known to work across a range of genres\, including drama\, science fiction\, documentary\, animation\, and interactive cinema. As an actor’s director\, able to work with various acting styles and degrees of experience\, Ayoka’s visionary style of storytelling and character development takes center stage as does her ability to emotionally and visually elevate a story. Read more here. \nHannah R.W. Hamalian (she/her) is an artist intrigued by how complicated the world is. In her animation and film practice she tends towards an experimental and poetic mode of expression\, working with the movement of animation in collaboration with dance and landscape to represent paradox and complexity. She uses an interdisciplinary approach to aim for the emotional core of an experience and craft immersive soundscapes that create a space specifically designed for asking questions.\nHannah’s work has screened and shown at festivals internationally\, including ADF’s Movies by Movers\, KLIK Amsterdam Animation Festival\, Athens International Film and Video Festival (Ohio\, USA)\, and the Squeaky Wheel Animation Fest (New York\, USA). She received her BA from Carleton College and her MFA from UW-Milwaukee\, and she currently teaches at Lane Community College in Eugene\, OR. \nHelen Hill (1970 – 2007) was an experimental animator\, filmmaker\, educator\, artist\, writer and social activist who lived her last years in New Orleans\, Louisiana. A native of Columbia\, South Carolina\, Hill revealed her artistic talents at an early age\, making her first short\, animated Super 8 films when she was eleven. While studying English at Harvard (BS ’92)\, she minored in Visual and Environmental Studies where she made three 16mm animated short films: Rain Dance\, Upperground Show and Vessel. After receiving an MFA from the California Institute of the Arts in Experimental Animation\, Hill\, along with her husband Paul Gailiunas\, moved to his native Canada where he was studying medicine and where she continued to create films and teach film animation at the Nova Scotia College of Art and Design (now NSCAD University) and at the Atlantic Filmmakers Cooperative (AFCOOP). Soon after\, Hill and Gailiunas moved to New Orleans where Gailiunas would found a medical clinic for artists and low-income patients and where Hill\, meanwhile\, co-founded the New Orleans Film Collective and taught filmmaking. Read more here. \nJazmyn Palermo is a visual and expanded media artist living and working in Buffalo\, NY. They studied Fine Art at Alfred University with a focus in photography and video art. Their work explores a transgender perspective on fairy tales\, folklore\, and horror themes incorporating a stop-motion process and a lot of papier-mache. Their process includes asking their friends to put on a wig and move very\, very slowly. Jazmyn is inspired by the wonderful people they know and the beautiful place they live. They would like their work to create a comfortable place to enjoy the magic of finding yourself. \nJodie Mack (born 1983; London\, UK) is an experimental animator. Her films unleash the kinetic energy of material remnants of domestic and institutional knowledge to illuminate the relationship between decoration and utility. Straddling the boundary between rigor and accessibility\, her cinema questions how we ascribe value to things.\nMack’s 16mm films have screened at a variety of venues including the Locarno Film Festival\, the Toronto International Film Festival\, the New York Film Festival\, the Jeonju International Film Festival\, and the Viennale. She has presented solo programs at the 25FPS Festival\, Anthology Film Archives\, BFI London Film Festival\, Harvard Film Archive\, National Gallery of Art\, REDCAT\, International Film Festival Rotterdam\, Shenzhen Independent Animation Biennale\, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum\, Cinema Scope\, The New York Times\, and Senses of Cinema. She was a 2017/18 Radcliffe Fellow; a 2019 Artist in Residence at the Headlands Center for the Arts; a 2021 MacDowell Fellow; and a 2022 Visual Studies Center Fellow. She is a Professor of Animation at Dartmouth College. \nLeslie Supnet is an experimental filmmaker who creates media works that explore loss and change. Using animation\, live-action\, found footage and material exploration\, Supnet’s process is guided by lyricism and personal affect\, often bending analog and digital techniques. Leslie completed her MFA in Film at York University in 2016. Leslie’s works have screened at festivals such as TIFF\, International Film Festival Rotterdam (IFFR)\, International Film Festival Oberhausen\,Images Festival\, Onion City\, The Edge of Frame Weekend at the London International Animation Festival and as part of special programmes at the National Museum of Fine Arts of Quebec\, Art Gallery of Hamilton and the AGO. She has created commissions for Toronto Reel Asian International Film Festival\, ArtSpin/Pleasuredome\, Film POP!/POP! Montreal and Plug In ICA. \nMaria Ziaja is from Buffalo\, NY\, and is most passionate about Sustainability and Environmental Policy. She graduated from Vassar College with a degree in Environmental Studies and Russian and has worked in environmental consulting\, non-profit conservation initiatives\, and EHS policy for energy companies. She currently works at the Greenway Institute\, where she is helping reshape engineering education around goals of equity and sustainability. Before moving out of Buffalo for college\, Maria spent her formative years taking TechArts classes at Squeaky Wheel\, both at the Ansonia Building and Market Arcade locations. She feels that over the years these classes helped her grow creatively and develop an appreciation for the arts that still influences her work (now in the education sector). She is honored to be part of the Animation Fest! \nMiranda Javid (she/her) is an animator\, curator\, and art-educator currently living in Kingston New York. Her animations describe topics like cognitive experience\, human bias\, and the relationship between individuals and their communities. \nRobert C. Banks Jr. was born and raised in Cleveland\, Ohio in 1966\, and has attended Cleveland Institute of Art and Cleveland State University\, and has also served in the U.S. Air Force. Inspired by his father\, Banks is an experimental filmmaker\, cinematographer\, and teacher of filmmaking and photography at numerous colleges and universities. Banks’ films have been screened at numerous prestigious film festivals and art institutions\, both domestically and abroad\, such as Sundance Film Festival\, SXSW Film-Music Festival\, International Film Festival Rotterdam\, Museum of Modern Art\, The Robert Flaherty Film Seminar\, Chicago Underground Film Festival\, and Ann Arbor. He is a recipient of numerous awards\, including Filmmaker of the Year at the Midwest Filmmaker’s Conference\, and his film retrospectives have been featured at The BBC British Short Film Festival\, The Cleveland Cinematheque\, and The Walker Center for the Arts. One of Banks’ best-known works is the 1992 short film X: The Baby Cinema\, which chronicles the commercialization of Malcolm X’s image and legacy. Some of his other films include Motion Picture Genocide\, My First Drug\, the Idiot Box\, Outlet\, Goldfish and Sunflowers\, AWOL\, Autopilot\, and Don’t Be Still\, all of which were shot and edited on 16 and 35 mm film. Several of his short films have been added to the private collections of institutions such as The Yale University Film School and The Walker Center for the Arts. Most recently\, Banks has completed his first 35 mm feature film\, Paper Shadows\, which was seven years in the making. \nSponsors\nSqueaky Wheel’s Animation Fest is presented with generous support from the Richard W. Rupp Foundation\, FGI Landscaping\, PUSH Buffalo\, TriMain Center\, Rigidized Metals\, BreadHive\, Buffalo Expendables\, Buffalo State College Communication Dept\, Rose Jade Consulting Coop\, Lumpy Buttons Gifts\, Good Neighbors Credit Union\, and Villa Maria College. The North Park Theater event is presented with generous support from Councilman Joel Feroleto. \n\nBanner image: Hannah Hamalian\, The Golden Age. Yellow\, green\, and black paint is smeared into an abstracted version of a familiar cartoon dog character. URL:https://squeaky.org/event/the-animation-fest-a-retrospective-north-park-theatre/ LOCATION:North Park Theatre\, 1428 Hertel Avenue\, Buffalo\, NY\, 14216\, United States CATEGORIES:Fundraiser,Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/06/hamalian_golden-age_02-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230728 DTEND;VALUE=DATE:20230829 DTSTAMP:20260502T160655 CREATED:20251230T191506Z LAST-MODIFIED:20251230T191506Z UID:10001111-1690502400-1693267199@squeaky.org SUMMARY:Call for submissions: Squeaky Wheel's 20th Animation Fest! DESCRIPTION:Deadline: August 28\, 2023\, 11:59 PM\nNotification Date: October 1\, 2023\nSqueaky Wheel announces the call for submissions for our annual Animation Fest! Celebrating its 20th year\, we are proud to continue a festival showcasing artworks made in a diverse variety of animation techniques such as stop-motion\, claymation\, 3D animation\, hand-painted film\, special effects\, and motion graphics. Past festivals have showcased work from both rising artists as well as established artists. \nThe 20th Animation Fest will be held online and in-person on Friday\, November 3\, 2022\, an in-person screening at the Buffalo AKG Museum and a virtual screening through Squeaky Wheel. Films in the virtual program will be accessible for 24 hours thereafter for general audiences\, and 72 hours for Squeaky Wheel members. If selected\, you will be asked for a downloadable copy of your film. \nEach individual submission should not exceed ~10 minutes.\nThere is no submission fee.\nAll selected artists will receive a screening fee of $100 per selected film. (International applicants must have a Paypal account to receive their screening fee).\nAll selected artists will receive a one year membership to Squeaky Wheel.\nMultiple submissions per artist are accepted. Multiple submissions per artist are accepted. Artists who are African/Black\, Indigenous / Native / Aboriginal\, POC\, creatives with disabilities\, women\, 2SLGBTQIA+\, and artists who face systemic and structural barriers are highly encouraged to apply. \nClick here to submit\nPlease direct any questions about the application process and your submissions to Ekrem Serdar at ekrem@squeaky.org \nBanner image: An illustration of a red film projector against a starry backdrop. URL:https://squeaky.org/event/call-for-submissions-squeaky-wheels-20th-animation-fest/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Open Call,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/06/AnimationFestBanner.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230413T180000 DTEND;TZID=America/New_York:20230413T210000 DTSTAMP:20260502T160655 CREATED:20251230T191451Z LAST-MODIFIED:20251230T191451Z UID:10001093-1681408800-1681419600@squeaky.org SUMMARY:Soon-rye Yim's 와이키키 브라더스 (Waikiki Brothers)\, with Molly Hyo Kim DESCRIPTION:Thursday\, April 13\, 2023\, 6–9 pm\n@ Journey’s End Refugee Services (2495 Main Street\, Suite #530)\nFree or suggested donation\nPresented as the opening of the symposium Genre\, Gender and Language in Korean Film and Drama\, Soon-rye Yim’s 와이키키 브라더스 (Waikiki Brothers\, 109 min\, 2001) is about high school friends who form a band and struggle to find success\, relationships and happiness. The screening will be followed by a lecture by Molly Kim of Hanyang University about the film’s writer and director\, Soon-rye Yim. The lecture\, “Korean Cinema and The Single Woman: Korean Women Filmmakers through Yim Soon-rye\,” will be the opening keynote lecture of UB Asia Research Institute’s Korean studies symposium\, followed by a Q&A with Margaret Rhee\, assistant professor of Media Studies at SUNY Buffalo and The New School\, and Ekrem Serdar\, curator at Squeaky Wheel. Special thank you to Kathy Spillman and Journey’s End Refugee Services. \nMolly Hyo Kim is Adjunct Professor of the College of Humanities at Hanyang University. She earned a Ph.D. in Communications from the University of Illinois\, Urbana-Champaign\, an M.A. in Cinema Studies from New York University\, and a B.A. in Communication and Culture from Indiana University at Bloomington. She has published her works in Acta Koreana\, the Journal of Cultural Studies\, the International Journal of Korean History\, and more. \nMargaret Rhee is a poet\, scholar and new media artist. Rhee’s debut poetry collection\, “Love\, Robot\,” was published in 2017 and has been named a 2017 Best Book of Poetry by Entropy Magazine and awarded a 2018 Elgin Award by the Science Fiction Poetry Association and the 2019 Best Book Award in Poetry by the Asian American Studies Association. \nAs a new media artist\, her project The Kimchi Poetry Machine is exhibited at the Electronic Literature Review Volume III and included in the anthology Art as Social Practice: Technologies for Change(Routledge\, 2022). From 2008 – 2018\, with collaborators from the San Francisco Department of Public Health\, she co-lead the participatory project From the Center which focused on digital storytelling\, women of color\, and HIV/AIDS education in the San Francisco Jail. \nRhee is an assistant professor at The New School in the School of Media Studies. Prior to The New School\, Rhee held a faculty appointments at the University at Buffalo-SUNY\, Harvard\, and University of Oregon. Rhee earned her Ph.D. from the University of California\, Berkeley in ethnic studies with a Designated Emphasis in new media studies\, and her B.A. in Creative Writing/English from the University of Southern California. \nThis symposium Genre\, Gender and Language in Korean Film and Drama will feature scholars from the U.S\, Asia and Europe examining a wide range of topics in Korean film and television\, including sexuality\, LGBTQ representation\, translation\, violence\, and popular productions like Squid Game and Parasite. This event is sponsored by the UB Asia Research Institute\, Academy of Korean Studies\, and Squeaky Wheel. Cosponsors include the UB Departments of Media Study\, English\, Global Gender and Sexuality Studies\, Art\, and Linguistics\, UB Asian Studies Program\, Global Film Studies Minor Program\, and Gender Institute. \nImage: A still from Waikiki Brothers. Four young people looking off to the side of the camera lens on a sunny day. URL:https://squeaky.org/event/soon-rye-yims-%ec%99%80%ec%9d%b4%ed%82%a4%ed%82%a4-%eb%b8%8c%eb%9d%bc%eb%8d%94%ec%8a%a4-waikiki-brothers-with-molly-hyo-kim/ LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/04/waikiki-brothers.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230303T190000 DTEND;TZID=America/New_York:20230303T203000 DTSTAMP:20260502T160655 CREATED:20251230T191504Z LAST-MODIFIED:20251230T191504Z UID:10000879-1677870000-1677875400@squeaky.org SUMMARY:Exhalations: Films by Kalpana Subramanian DESCRIPTION:***New date: Friday\, March 3\, 2023\, 7 pm ET***\nIn-person @ Journey’s End Refugee Services\, and online\nFree or suggested donation\nClick here to register\nFor over 20 years\, Kalpana Subramanian has created a remarkable body of work spanning films\, media art\, children’s books\, scholarship\, and curatorial work. Her recent work is invested in a cinema of breath: a framework for radical cinema grounded in intersectional-feminist and decolonial thought\, alternative approaches to embodiment\, and what Achille Mbembe calls “the universal right to breathe.” This solo screening by the celebrated film and media practitioner brings together recent and older short films from 2002 to the present day\, including the entirety of her Light Mediated series. The filmmaker will be present for a Q&A following the screening. \nThis online and event will take place in the theater of Journey’s End Refugee Services\, located at the 5th floor of Tri-Main Center. Please note that the online event will only have the films\, not the Q&A with the artist. The online films will be available for 24 hours. Squeaky Wheel members will receive extended access for 72 hours. \nProgram\nTotal duration: 54 minutes. Please note that woolgathering contains flickering imagery. \nThe Maze of Lanes (SD\, 6 min\, Sound\, Color\, 2002) \nIncantation (HD\, 8 min 37 sec\, sound\, color\, 2021) \nwoolgathering (HD\, 3 min 10 sec\, sound\, color\, 2020) \nTattva (HD\, 4.34 min\, Sound\, Color\, 2018) \nLight Mediated Series \nLiquid is Light (8mm transferred to Digital\, 4 min 2 sec\, sound\, B&W\, 2016) \nEmpyrean (HD\, 6 min 20 sec min\, silent\, color\, 2016) \nLight Rooms (HD\, 1 min 45 sec\, silent\, color\, 2016) \nPrismatic Resonance (HD\, 12 min 46 sec\, sound\, color\, 2016) \nA Dialogue of Dissonance (HD\, 6 min 23 sec\, Sound\, Color\, 2016) \nBio\nKalpana Subramanian is an artist-filmmaker and scholar of experimental film and media. Her current research investigates the poetics of breath in experimental film using a transcultural and interdisciplinary approach. Her work has been supported by grants including a Humanities Institute Advanced PhD Fellowship (University at Buffalo\, 2022-23)\, the UK Environmental Film Fellowship (2006) and the Fulbright Nehru Academic and Professional Excellence Fellowship (University of Colorado Boulder\, 2015-16). Her films have been presented at venues including the Yamagata International Documentary Film Festival\, Toronto International Film Festival\, Interfilm Berlin\, National Gallery of Modern Art (Mumbai\, India)\, UNESCO (France)\, Antimatter Media Arts (Canada)\, Asia Society\, Union Docs and Flaherty NYC Seminar (USA) among others. She has received awards for her films at the Documentary Festival of History and Archeology (Perugia\, Italy\, 2015)\, Montana CINE International Film Festival (2003\, 2005) and CMS Vatavaran (2008). Her curated film programs have been screened at the Alternative cinema series (Colgate University\, USA)\, Bristol Experimental Expanded Film (UK) and Simon Fraser University (Canada) among others. She is presently a doctoral candidate and an adjunct lecturer at the Department of Media Study\, University at Buffalo. \nSpecial thank you to Kathy Spillman and Journey’s End Refugee Services. \nBanner image: Kalpana Subramanian\, Incantation (2021). A photograph depicting multiple images projected on a surface. The shadows of what look like two young people\, arms on each other’s shoulders\, standing under an arched gateway to a historic building in Delhi\, India. Upon this image is an extended hand\, palm open. It looks like the young people are in the palm. URL:https://squeaky.org/event/exhalations-films-by-kalpana-subramanian/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2023/01/Kalpana-Subramanian-Incantation-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20221014T173000 DTEND;TZID=America/New_York:20221014T190000 DTSTAMP:20260502T160655 CREATED:20251230T191451Z LAST-MODIFIED:20251230T191451Z UID:10001083-1665768600-1665774000@squeaky.org SUMMARY:Squeaky Wheel's 19th Animation Fest! DESCRIPTION:Friday\, October 14\, 2022\, 5:30 pm ET\nIn-person at the Burchfield Penney Art Center as part of M&T Second Fridays\nFree or suggested donation\nTo attend the in-person event\, just come to BPAC!\nFor the online screening\, register here\n \nSqueaky Wheel is excited to present the annual 19th Animation Fest! The annual festival features some of the most exciting voices working in animation today\, from Western New York and beyond. \nThe eleven short films in the 19th Animation Fest feature animation techniques such as rotoscoping\, 3D animation\, stop-motion\, hand-drawn celluloid films\, music videos and documentary works. These unique and personal films address topics and concerns such as gender and sexuality\, women in the history of animation\, disability and belonging\, the perceptual possibilities of animation\, and much more. \nFeaturing films by Ahmad Saleh\, Anne-Marie Bouchard\, Hannah R.W. Hamalian\, James Leong Holston\, Kelly Gallagher\, LIZN’BOW (Liz Ferrer & Bow Ty Enterprises Venture Capital)\, Lynn Kim\, Marisa Michaels and Sianna Le\, Poyen Wang\, Wenhua Shi\, and Youmee Lee. Curated by Ekrem Serdar and Zainab Saleh. \nAccess information: \nFor in-person viewers\, see accessibility information for BPAC here. The in-person screening will feature an ASL interpretation for the introduction and Q&A. See individual film descriptions for caption and subtitle information in the “Program” section below. \nFor online viewers: See individual film descriptions for caption and subtitle information in the “Program” section below.The screening will be available to view for 24 hours\, and 72 hours for Squeaky members. Ahmad Saleh’s Night is not available for online viewers. \nPlease see the individual film descriptions for content notes. Some of these films may contain strong themes such as war\, trauma\, body dysmorphia\, flicker\, or images that may be unsuitable for young children. \n Program \nYoumee Lee\, Rite of Identity\n4:16 min\, sound\, 2022\, USA \nA 2D animation film about a deaf girl who has exceptional artistic talent but struggles with an overwhelming soundscape. Many deaf symbols and motifs are conveyed through her lens. The film is based on Youmee Lee’s personal experience as a deaf student in a mainstream school. \nWenhua Shi\, Because the Sky is Blue\n4 min\, sound\, 2021\, USA \nMuybridge captured the galloping horse one hundred forty years ago in a brief 12 frames. The duration of today’s social media video clips is similar to Muybridge’s brevity. Wenhua tries to reimagine what subject Muybridge would capture today. All source footage is from Wenhua’s social media feed. He used the cyanotype method to reprint the individual frames to create the final short videos. \nAnne-Marie Bouchard\, Bleue\n2:48 min\, sound\, 2021\, Canada\nContent notes: Flickering imagery \nAn improvised film around the color blue and a questioning. This gestural film is woven over my moods during the pandemic lock-down. Constraints: 100 feet of transparent film; work on the persistence of vision (drawings 1 image out of 2). Acrylic paint\, nail polish\, and inks are applied directly on 16mm film. Marie-Loup Cottinet improvised the music on her cello over the animation. \nJames Leong Holston\, Olive and Otis\n5:20 min\, sound\, 2022\, USA\nContent notes: Animated nudity\, body dysphoria\, brief animated images of surgery and blood \nA short animated horror film about dysphoria\, gender transition\, and the self. \nMarisa Michaels and Sianna Le\, You Are What You Eat\n1 min\, sound\, 2022\, USA \nA short\, gem-like and precise animated film by two students working collaboratively at Nichols School. Winner of the Squeaky Wheel award at the 2022 Nichols School Flickfest. \nHannah Hamalian\, The Golden Age\n9:58 min\, sound\, English with captions\, 2021\, USA \nAn experimental documentary examining the traumatic history of being a woman at work in the animation industry. I put myself into conversation with a generation of women who experienced restricted creative opportunities in animation and a lack of acknowledgement as artists. Each manipulated frame is an ode to the disregarded labor of women\, wielded to create films that told young girls to dream. \nPoyen Wang\, Recess\n4:16 min\, silent\, 2020\, USA \nRecess is a moving image work from The Black Sun series\, which is informed by the literature of Japanese author Motojiro Kajii. Melancholy atmosphere permeates throughout a series of dreamlike vignettes in Recess\, depicting a boy-man figure sitting alone in a timeless\, cave-like classroom. The wind blows the curtains; ceiling fans operate endlessly; clouds slowly pass through the blue sky; a group of butterflies subtly flap their wings on a bulletin board. Conversely\, the protagonist remains still while a ray of sun breaks the darkness of the room through the window\, almost like a rope\, illuminating the statue-like figure. Written in a confessional manner\, Kajii conflates fiction and autobiography\, reflecting on the banality and wonder of quotidian life through the vision of a dying person. Reinterpreting Kajii’s literature through my lived experience as a queer person and an immigrant from East Asia\, I create a series of portraits and still lifes to explore repressed emotions and foreground mortality and alienation as a universal human experience. \nKelly Gallagher\, In the Future\n3:30 min\, sound\, English with captions\, 2021\, USA \nKnowing that another world is possible\, individuals young and old share their hopes and dreams for the future. \nAhmed Saleh\, ليل (Night)\n16 min\, sound\, Arabic with English subtitles\, 2021\, Palestine/Germany\nContent notes: Non-violent depictions of war victims and parental trauma \nThe dust of war keeps the eyes sleepless. Night brings peace and sleep to all the people in the broken town. Only the eyes of the mother of the missing child stay resilient. Night must trick her into sleeping to save her soul.\nPlease note: This film will only be available in the in-person screening \nLynn Kim\, CONDUIT\n5:25 min\, sound\, 2022\, USA\nContent notes: Flickering imagery \nA running body powers the cycle between states of being. CONDUIT is a tribute to Korean musical rituals and the wonder of locomotion\, both spiritual and physical. \nLIZN’BOW (Liz Ferrer & Bow Ty Enterprises Venture Capital)\, Dame Leche\n3:24 min\, sound\, English and Spanish partially subtitled\, 2022\, USA\nContent notes: Flickering imagery\, brief language \nLiz Ferrer and Bow Ty’s collaborative work spans film making\, photography\, video\, and performance art. Through a queer and comedic lens\, their work together has been building a reputation for critiquing American and Latin pop. Their most recent projects together are feminist reggaeton band Niña and new media collaborative LIZN’BOW. Niña is a feminist reggaeton duo and performative art project. They started this project to bring diverse voices to the traditionally male genre of reggaeton. Dame Leche was directed\, produced\, written\, edited\, and animated by Liz Ferrer and Bow Ty. This video is part one of our visual album Niñalandia. Niñalandia pushes social constructs by bringing diverse voices to the traditionally male genre of reggaeton. Dame Leche is set in a post climate change Miami where half of the city is underwater\, people ride jet skis to work and everyone has an addiction to leche. This project has been funded by Oolite Arts Ellies Creator Award. \n \n Filmmaker biographies \nAhmad Saleh is a Palestinian/German writer and director. His first film\, HOUSE\, 2012 was nominated for the German Short Film Award and his second film\, AYNY\, 2016 won the Student Academy Award. Recently he finished his third short film\, NIGHT and is developing his first feature. \nAnne-Marie Bouchard lives and works in Québec City. She directed several experimental videos and installations. Her work is about exploring the mysteries and wonders of the world and questioning the way we perceive and analyze it. To sense\, to feel\, to be immersed\, and to question: her cinema is poetry.\n \nHannah R.W. Hamalian (she/her) is an artist intrigued by how complicated the world is. In her animation and film practice she tends towards an experimental and poetic mode of expression\, working with the movement of animation in collaboration with dance and landscape to represent paradox and complexity. She uses an interdisciplinary approach to aim for the emotional core of an experience and craft immersive soundscapes that create a space specifically designed for asking questions. \nJames Leong Holston is a Los Angeles-based animator and filmmaker originally from Berkeley\, California. He studied Experimental Animation at the California Institute of the Arts and graduated in 2022. \nKelly Gallagher is a filmmaker\, animator\, and Associate Professor of Film at Syracuse University. Her creative work is rooted in themes of resistance\, struggle\, political histories\, and personal explorations. Her award-winning films and commissioned animations have screened internationally at venues including: the Museum of Modern Art\, the National Gallery of Art\, Sundance Film Festival\, the Smithsonian Institution\, and Tribeca Film Festival. Her most recent animations have also screened on Netflix and PBS. She’s presented solo programs of her work at institutions including: SFMOMA\, Close-Up Cinema London\, SF Cinematheque\, and Wexner Center for the Arts. \nLiz and Bow‘s work has been featured at Mana Contemporary\, Squeaky Wheel\, Borscht Film Festival\, ICA Miami\, The Bass Museum\, The Satellite Show Art Fair Art Basel\, Albright-Knox Art Gallery\, The Koubek Center\, Cunsthaus\, MOCA Miami\, Museum of Modern Art Santo Domingo\, and Albright Knox Center. They are recipients of the Knights Art Challenge award from the Knight Foundation\, Franklin Furnace Grant\, Locust Projects WaveMaker\, Oolite Arts Ellies Award\, Knight Sundance Short Film Miami Intensive Fellows\, Atlantic Center for the Arts Residency\, Elsewhere Southern Constellations Fellowship\, Caldera Arts Residency\, Squeaky Wheel Residency\, Borscht Film Festival Grant\, En Residencia Fellowship\, Tempus Projects Residency Fellowship\, Acre Residency\, and La Sierra de Santa Marta Residency. \nLynn Kim is a Korean American filmmaker and educator who uses live-action and animation techniques to create short films that explore the social conditions and realities of the human body. She is particularly interested in how questions around gender\, race\, health and sexuality can be explored through metaphorical and abstract means\, and her work is often centered in her own body and lived experiences. \nPoyen Wang was born in Taiwan and is currently based in New York City. His recent practice employs world building through 3D computer graphics to create narratives that grapple with issues of identity\, sexuality and masculinity. He has solo exhibitions at Taipei Digital Art Center (2020)\, 18th Street Arts Center (Los Angeles\, 2018)\, Flux Factory (New York\, 2018)\, and the National Taiwan Museum of Fine Arts (2016). \nWenhua Shi pursues a poetic approach to moving image making\, and investigates conceptual depth in film\, video\, interactive installations and sound sculptures. His work has been presented at museums\, galleries\, and film festivals. He is the founder and one of curators of RPM Fest. \nBased in upstate New York\, Youmee Lee is a deaf Korean American animator who weaves narrative illustrations into her art. She currently teaches courses on deaf art and cinema after earning her M.F.A. in Film and Animation at Rochester Institute of Technology. Growing up with limited access to the aural world\, she delved entirely into the visual world and studied art in New York City\, Amsterdam\, and Seoul. As a first-generation American raised by an immigrant family\, her work is a colorful tapestry of her intersectionality. She strives to deconstruct the stigma towards people with disabilities. Youmee continues to explore storytelling with different materials\, embodying the nuances of sign language and physical movements. Her goal is to create visually poetic work that is accessible to a wide audience. \nAbout our Partner Sponsor \nAnimators belong at Villa. Look around: Animation is everywhere—movies and TV\, advertising\, video games. Future animators are curious\, creative\, and embrace technology in meaningful ways. But most importantly—they’re storytellers. They have rich imaginations and take inspiration from other disciplines like photography\, music\, and film. At Villa\, you’ll channel what you discover to create characters and environments that capture the interests of a range of audiences. Click here for more information. \nImage: Lynn Kim\, CONDUIT (2022). A traced image of a person moving over a black backdrop. An abstract white shadow falls on the floor. URL:https://squeaky.org/event/squeaky-wheels-19th-animation-fest/ LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Ave\, Buffalo\, 14222\, United States CATEGORIES:Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2022/09/Lynn-Kin-Conduit.jpg GEO:42.932726;-78.8783211 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Burchfield Penney Art Center 1300 Elmwood Ave Buffalo 14222 United States;X-APPLE-RADIUS=500;X-TITLE=1300 Elmwood Ave:geo:-78.8783211,42.932726 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220826T190000 DTEND;TZID=America/New_York:20220826T210000 DTSTAMP:20260502T160655 CREATED:20251230T191436Z LAST-MODIFIED:20251230T191436Z UID:10000864-1661540400-1661547600@squeaky.org SUMMARY:Jenson Leonard's Workflow DESCRIPTION:Friday\, August 26\, 7 pm ET\nOnline or in-person at Squeaky Wheel\nFree or suggested donation\nClick here to get tickets\nOnline and in-person at Squeaky Wheel (617 Main Street\, Buffalo\, NY 14203). For in-person attendees: Participants must be masked through the duration of the event. The online video will be available to register and view for 24 hours. SW members will have access to the event for 72 hours. \nSqueaky Wheel is excited to present a screening of Jenson Leonard’s newest short video Workflow. Presented as the closing event of the artists exhibition GLAND PRIX\, Leonard will be joined by his Summer 2020 co-resident Johann Diedrick for a conversation on the film after the screening. \nLearn more about GLAND PRIX here. \n“Drawing from Aria Dean’s essay ‘Notes on Blaccelleration’\, Workflow is a film centered around the velocity and momentum of blackness as it relates to the philosophical concept of acceleration-the idea that the only way out of capitalism is through its intensification. Workflow is primarily concerned with the interplay of blackness and aesthetic vocabularies of finance capital\, how the black (non)subject grapples with its commodified status within the labor market despite\, or resultant of its own history as a commodity via chattel slavery\, threading linkages between the primitive accumulation of the New World and speculative accumulation of latter day. Workflow is defined as “the sequence of industrial\, administrative\, or other processes through which a piece of work passes from initiation to completion”\, my film seeks to disabuse notions of completion wherein blackness is\, as Dean notes\, ‘always already accelerationist’ via its incongruence with western humanism\, and thus always already disengaged from the locomotive fetish of capital. The film presents a quarterly earnings report for a fictitious financial advisory firm that depicts a floating phantasmagoric Michael Jackson Halloween mask espousing a surrealist poem/public relations speech that points to the shared grammars inherent in afro pessimism and speculative finance. Behind the floating head\, stock footage premised around the shape of ‘the grid’ and the promise of sustainability & renewability highlight the inherent relationship of infrastructure\, visual knowledge production\, and statecraft.” – Jenson Leonard \nBiographies of the artists \nJenson Leonard\, (artist) b. Detroit\, Michigan\, and raised in Pittsburgh\, Pennsylvania\, United States of America. Lives and works in New York\, United States of America. Initially a poet\, Jenson Leonard became interested in memes during his six-year tenure as a cook at a Belgian waffle kiosk. He found himself drawn to the immediacy and reach of instant publication on social media\, the confluence of which exacerbate the arguably inherent power of the image for those who see. His early work used the canonical Twitter meme format\, but developed into the more ornately parodic style that predominates in the left-leaning corners of Facebook. He holds an MFA in Creative Writing from Pratt Institute. He has completed residencies at Obracadobra (Oaxaca\, Mexico)\, Squeaky Wheel (Buffalo\, NY) and Pioneer Works (Brooklyn\, NYC). His work has been featured in VICE Motherboard\, Juxtapoz\, AQNB\, and Rhizome. \nJohann Diedrick (guest speaker for Screening: Jenson Leonard’s Workflow\, taking place on August 25\, 2022) is an award-winning artist\, engineer\, and musician that makes installations\, performances\, and sculptures for experiencing the world through sonic encounter. He surfaces resonant histories of past interactions inscribed in material and embedded in space\, peeling back vibratory 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 the founder of A Quiet Life\, a sonic engineering and research studio that designs and builds audio-related software and hardware products for revealing new sonic possibilities off the grid. He is the Director of Engineering at Somewhere Good\, a 2022 Future Imagination Collaboratory Fellow at the Tisch School of the Arts at NYU\, a 2021 Mozilla Creative Media Award recipient\, a 2020 Pioneer Works Technology resident\, a member of NEW INC\, and an adjunct professor at NYU’s ITP program. His work has been featured in Wire Magazine\, Musicworks Magazine\, and presented internationally at MoMA PS1\, the New Museum\, Ars Electronica\, Science Gallery Dublin\, Somerset House\, and multiple NIME conferences\, among others. \nImage description: An image from Workflow\, courtesy of Jenson Leonard. A floating\, plastic\, seemingly smiling mask of Michael Jackson with no eyeballs is super-imposed on a distorted landscape of futuristic blue skyscrapers. URL:https://squeaky.org/event/jenson-leonards-workflow/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Hybrid,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2022/08/wfscreencap2-min.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220503T190000 DTEND;TZID=America/New_York:20220503T210000 DTSTAMP:20260502T160655 CREATED:20251230T191436Z LAST-MODIFIED:20251230T191436Z UID:10001075-1651604400-1651611600@squeaky.org SUMMARY:Crystal Z Campbell and Allan Jamieson DESCRIPTION:Tuesday\, May 3\, 7 pm\nat Journeys End Refugee Services theater (5th floor of Tri-Main Building\, 2495 Main St #530\, Buffalo\, NY 14214)\nFree or suggested donation\nClick here to register\nAccess information: Proof of COVID-19 vaccination through a Vaccination card or NY Excelsior Pass will be required for entry. Masks will be required for the duration of the event. \nFeaturing three short films of legends that flow from Niagara Falls to Sweden\, Squeaky Wheel and Buffalo Arts Studio present an evening with filmmakers Crystal Z Campbell and Allan Jamieson. The three films bring to fore questions on how we imagine and relate to lands we inhabit\, from the settler-colonial mindset critiqued in Jamieson’s 1996 documentary Thunderbeings and the Maid of the Mist\, to the fugitivity of migrants in contemporary Sweden in Campbell’s VIEWFINDER. The hour long program will be followed by a Q&A with Campbell and Jamieson on their work and the shared themes between their films. \nThe program is presented as part of Crystal Z Campbell\, VIEWFINDER\, an immersive film installation at Buffalo Arts Studio that takes cues from Swedish folktales\, gestures\, and movements to explore belonging\, allyship\, and living monuments. If our bodies are archives\, what is the currency of place\, of movement\, of memory? \nProgram \nCrystal Z Campbell\, A Meditation on Nature in the Absence of an Eclipse\, 8:12 min\, 2016-2020 \nA Meditation on Nature in the Absence of an Eclipse is a poetic glimpse of how centuries of extraction\, racism\, pollution\, and commoditizing nature has altered our relationship to sacred land and resources. How has nature been historically shaped and imaged for pleasure\, status\, and control by many hands of invisible labor? Constellated and intersectional histories and source material include testimony from a Water Protector at Standing Rock protesting the Dakota Access Pipeline\, contaminated water in Flint Michigan\, original footage of Hierve el Agua near Oaxaca\, Mexico revered for its healing properties\, archival images of gardens and hands of artists who resided in Tulsa\, Oklahoma and children brushing their teeth––a reflection of the innocuous ways which contaminated water and resources shapes the lives of individuals completing banal\, daily\, routine tasks. \nCritical to the film is the intentional use of unlicensed footage\, bearing a brand across the center that detracts from what’s happening in the actual footage\, and becomes a viewfinder for how that footage is read or deemed important enough to view because there is a branded stamp of approval. Historically\, the watermark is used to connote ownership and authenticity. The film is a consideration of how documentary practice can be another form of resource extraction\, of which this filmmaker is implicated. Licensing fees are an example of the barriers to access\, ultimately deciding who will control critical narratives of environmental racism and discourse. Originally commissioned by Wave Hill Public Garden & Cultural Center\, the work was made in 2017 and reedited in 2020. – Crystal Z Campbell \nAllan Jamieson\, Thunderbeings and the Maid of the Mist\, 26 min\, 1996\n“This is a Seneca teaching story\, whose true meaning is one of sharing. The sharing of information with each other. The sharing of letting each other know when something is wrong.” – Allan Jamieson \nCharting both a moment in Western New York’s Native American activism and a rare document of a Seneca chief and elder\, Allan Jamieson’s 1996 film Thunderbeings and the Maid of the Mist takes on a racist educational video and retelling of the Haudenosaunee legend of the Maid of the Mist by the Maid of the Mist corporation\, which operates the famous Niagara Falls boat tours. Jamieson’s documentary showcases segments of the Maid of the Mist corporation’s video\, showcasing how it is informed by Western and colonial viewpoints\, followed by interviews with tourists on their thoughts on the legend. The film is especially notable for featuring an extended interview with the late Seneca Chief and elder Corbett Sundown\, who tells the original story of the Maid of the Mist as it was told to him by his grandparents\, and passed away after filming was completed. \nThe film was part of extended efforts by our region’s Native American communities to pressure the Maid of the Mist Corporation to change its false gallery exhibit and video. Initially resistant\, the Maid of the Mist Corporation eventually did so. \nThe documentary received support from the New York State Council of the Arts\, and was edited in Squeaky Wheel’s post-production studio in 1996. The film is presented here in a digital transfer from a 3/4 tape\, broadcast as part of Squeaky Wheel’s Axlegrease television show in 1997. Learn more about Axlegrease here. – Ekrem Serdar \nCrystal Z Campbell\, VIEWFINDER\, 18:26 min\, 2020 \nFilmed entirely in Swedish spa town\, VIEWFINDER takes cues from political gestures\, and decisive movements to explore belonging\, allyship\, and monuments. – Crystal Z Campbell \nBiographies of the artists \nAllan Jamieson is a Faithkeeper from the wolf clan of the Cayuga people\, one of the Six Nations. Coordinator of Neto\, a Native American managed non-profit organization. He brings a wealth of knowledge and research in his presentations. One of the founding members of Neto\, he is responsible for the overall management of the organization including meeting the goals\, coordinating activities and managing the budget. His experience includes extensive research on the WNY geographic area and oral history related to the WNY. Currently he is responsible for coordinating art exhibits and projects sponsored by Neto… and these activities include scheduling artist workshops\, hiring artists and curators\, scheduling exhibits and providing publicity for all events. His educational background includes a Bachelor of Arts from the State University of New York College at Buffalo and a Master of Arts from the University of Buffalo\, 1987. While a graduate student he developed and taught the currently offered course in Native American literature. In addition to his interest in art he recently completed training as a Alternative Dispute Resolution facilitator to work with families in crises. He has been an active member of the Native community in the Western New York region which includes the Buffalo and Niagara Falls areas for the past 20 years assisting area art institutions with Native American programming. \nCrystal Z Campbell (they/them) is currently a 2021–22 UB Center for Diversity Innovation Distinguished Visiting Scholar\, multidisciplinary artist\, experimental filmmaker\, and writer of Black\, Filipinx\, and Chinese descents. A 2021 Guggenheim Fellow in Fine Arts\, Campbell finds complexity in public secrets—fragments of information known by many but undertold or unspoken. Their archive-driven work in film/video\, performance\, installation\, sound\, painting\, and text\, has been exhibited at The Drawing Center\, Nest\, ICA-Philadelphia\, Bemis\, Studio Museum of Harlem\, SculptureCenter\, and SFMOMA\, and a forthcoming monographic screening at MOMA. Honors and awards include the Pollock-Krasner Award\, MAP Fund\, MacDowell\, Skowhegan\, Rijksakademie\, Whitney ISP\, Franklin Furnace\, Tulsa Artist Fellowship\, UNDO Fellowship\, and Flaherty Film Seminar. Campbell’s writing has been featured in World Literature Today\, Monday Journal\, GARAGE\, and Hyperallergic. Campbell\, a former Harvard Radcliffe Film Study Center & David & Roberta Logie Fellow\, was recently named a Creative Capital Awardee\, and is founder of the virtual programming platform archiveacts.com. \nThis program is supported by the Andy Warhol Foundation of the Visual Arts and presented in collaboration with Buffalo Arts Studio. Special thank you to Journey’s End Refugee Services. \nImage: Crystal Z Campbell\, A Meditation on Nature in the Absence of an Eclipse\, 8:12 min\, 2016-2020 URL:https://squeaky.org/event/crystal-z-campbell-and-allan-jamieson/ LOCATION:Journey’s End Refugee Services\, 2495 Main Street\, Suite #530\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2022/04/Screen-Shot-2022-04-25-at-4.05.04-PM-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220428T190000 DTEND;TZID=America/New_York:20220428T210000 DTSTAMP:20260502T160655 CREATED:20251230T191436Z LAST-MODIFIED:20251230T191436Z UID:10001073-1651172400-1651179600@squeaky.org SUMMARY:21st Annual Nichols School Flick Fest Student Film and Video Festival DESCRIPTION:Call for submissions deadline: April 11\, 2022. Submit your films here.\nScreening: Thursday\, April 28\, 2022\, 7 pm\n@ North Park Theater (1428 Hertel Avenue\, Buffalo\, New York\, 14216)\nFree and open to the public\nSqueaky Wheel is excited to co-present the 21st edition of Nichols School’s fest for young media makers! The festival accepts entries by middle and high school students from all over Western New York. Student work submitted to the festival is judged by a panel of student filmmakers and curated into a single evening screening. Participation in the Flick Fest gives student filmmakers the opportunity to showcase their work to a Western New York audience\, meet fellow filmmakers\, and view work by their filmmaking peers. The festival committee works to make the evening entertaining and informative. In addition to the screening\, there is an award ceremony for the winning films\, with several cash prizes from $25-$50 dollars. \n \nBanner image: courtesy Nichols School. A comic strip like image with Spiderman holding a camera. The words Amazing Flick-Fest are overlaid on it. URL:https://squeaky.org/event/21st-annual-nichols-school-flick-fest-student-film-and-video-festival/ LOCATION:North Park Theatre\, 1428 Hertel Avenue\, Buffalo\, NY\, 14216\, United States CATEGORIES:Open Call,Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2022/04/flickfesst-fragment.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20211202T180000 DTEND;TZID=America/New_York:20211202T200000 DTSTAMP:20260502T160655 CREATED:20251230T191419Z LAST-MODIFIED:20251230T191419Z UID:10000850-1638468000-1638475200@squeaky.org SUMMARY:Cinema of Breath: Poetics of Migrancy DESCRIPTION:Thursday\, December 2\, 2021\, 6 pm ET\nFree or suggested donation\nRegister here\nDoes cinema breathe? Can we understand migration through cinematic poetry? \nCurated by Kalpana Subramanian\, Cinema of Breath: Poetics of Migrancy brings together a series of cinematic experiments that range across registers of the personal\, collective\, scientific\, and archival. Together\, these short films explore ideas of home and mobility\, exile and displacement\, and memories of place. \nThe program showcases films by Alexandra Cuesta\, Crystal Z Campbell\, Erin Espelie\, Gariné Torossian\, MTL Collective\, Sky Hopinka\, Sonali Gulati\, Suneil Sanzgiri\, and Kalpana Subramanian. It will be followed by a discussion with the curator and guest filmmakers. \nCinema of Breath is based on Subramanian’s doctoral research in Media Study at the University at Buffalo. Her research into experimental film draws from breath practices in Yoga and Buddhist philosophy. Through this lens\, “breath” can be thought of as the creational force of cinema that brings it to “life.” \nClick here to download the program notes and learn more about the individual films and filmmakers. \nThe event will be accessible to audiences for 24 hours after the event. Squeaky Wheel members will have access for 72 hours. Not a member? Sign up here. \nThis event is presented by the New York Immigration Coalition with Squeaky Wheel Film & Media Art Center. \nThe New York Immigration Coalition (NYIC) is an umbrella policy and advocacy organization that represents over 200 immigrant and refugee rights groups throughout New York. The NYIC not only establishes a forum for immigrant groups to voice their concerns\, but also provides a platform for collective action to drive positive social change. Since its founding in 1987\, the NYIC has evolved into a powerful voice of advocacy by spearheading innovative policies\, promoting and protecting the rights of immigrant communities\, improving newcomer access to services\, developing leadership and capacity\, expanding civic participation\, and mobilizing member groups to respond to the fluctuating needs of immigrant communities. See more at nyic.org \nBanner image: Detail of Erin Espelie\, A Free Inquiry Into Air: 110721\, 2021 URL:https://squeaky.org/event/cinema-of-breath-poetics-of-migrancy/ LOCATION:Virtual\, NY\, United States CATEGORIES:Screenings,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/11/ErinEspelie.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210903T200000 DTEND;TZID=America/New_York:20210904T210000 DTSTAMP:20260502T160655 CREATED:20251230T191418Z LAST-MODIFIED:20251230T191418Z UID:10001051-1630699200-1630789200@squeaky.org SUMMARY:Squeaky Wheel's 18th Animation Fest! DESCRIPTION:September 3\, 2021\, 8 pm ET\n@ Albright-Knox Northland and virtually\nFree\nReserve your in-person spot here or register for the virtual screening here. \n\nSqueaky Wheel’s family-friendly Animation Fest returns to delight\, amaze\, and excite with a program of short films from Western New York and around the world! In partnership with Villa Maria College\, this year’s Animation Fest will be an outdoor drive-in and sit-down screening at the Albright-Knox Northland in Buffalo\, NY. Join us under the stars for a dazzling showcase of artist-made animations\, from the hand-drawn to stop-motion to 3D modeling\, and more. If you can’t make it in person\, be sure to join the virtual Fest\, screening simultaneously wherever you are! \nThe 18th Animation Fest features films by Abby Castillo\, Becky Brown\, Benjamin Rosenthal and Eric Souther\, Emma Geiger\, Gabriella Mykal\, Hanlin Wang\, Lydia Moyer\, Petra Zlonoga\, S4RA\, Terrance Houle & Neko Wong-Houle. This years event welcomes back curator Tabia Lewis who will provide a special remote introduction to the event. A post-screening Q&A with the curator and filmmakers will take place on Google Docs after the screening. Please note that some of the films include flashing images\, and distorted video and audio. See details in the program below. \nHow to attend in-person: \nRSVP for the event at the link above on the Albright Knox to reserve your spot! Drive-in and view the event from your car\, or bring blankets and lawnchairs for an open air screening. See more information\, including guidance regarding COVID-19\, at the Albright-Knox event page. \nHow to attend virtually: \nRegister above at the link. An email with a link will be sent to your email address\, accessible on the event date. The films will be accessible for 24 hours. Squeaky Wheel members get extended access to the films for 72 hours. Not a member? Sign up here. \nClick on the arrows below to expand. \n[expand title=”Program”] \nTotal duration: 45 minutes. Please note that some films feature flashing images\, distorted video\, and distorted audio. You can see which films below. Descriptions and images for the films provided by the filmmakers. \nThese pieces speak to disruption or (re)construction\, largely by non-narrative means. It felt really relevant considering the world at large had experienced a huge disruption and almost simultaneous reconfiguration of their lives so recently. These two things aren’t necessarily opposites\, but complementary and sometimes the very antidote to one another. When something we know to be just or honest isn’t\, we make a motion to disrupt that; that which we don’t understand\, we examine in an attempt to. – Tabia Lewis. \n \nTerrance Houle & Neko Wong-Houle\, Otanimm/Onnimm (Daughter/ Father)\, 3:33 min\, 2020\nA short animation based on the relationship of an Indigenous artist and his daughter\, and their deep connection to one another. Using dialogue\, music\, traditional animation\, stop-motion\, experimental DIY photography using Caffenol (coffee/vitamin C developer) and 2D rotoscoping Terrance and his daughter Neko share a unique look at an indigenous father/daughter story. \n \nEmma Geiger\, Elysian\, 1:06 min\, 2021\nElysian is an expression of a memory of connection\, reduced to momentary sketches. In it the passage of time is experienced as the alternating absence and presence of light. The images are a collection of memories in Southern California\, linked by their emotional content- a found paradise. \n \nLydia Moyer\, Study for Unsettling\, 2:16\, 2016. This film features flashing images.\nSourced from images on cabinporn.com\, a popular website that catalogs pictures of tiny cabins in sublime landscapes\, Study for Unsettling is a frame-by-frame animation that erases the focal point of the built structures to recast the viewers’ attention on the natural environments in which the structures sit. The marks left are remnants of the disruptive energy of settlers. \n \nBecky Brown\, dark parts\, 4:51 min\, 2020. This film features distorted audio and video.\n“I was learning Blender when I started making this piece\, and while browsing related content\, I frequently saw renders posted of manicured houses too perfect to imagine myself living in them. These were renders of houses so well done you could mistake them for reality\, but so uncluttered that no one could possibly live there. So I decided I wanted to make a piece about putting some ugliness back in. I wrote and finished everything by February 2020\, just a month before the dream-like house-trap shown in this piece became a reality for everyone! Or\, said another way:\nThis piece is inspired by perfect\, impossible homes\,that exist only between magazine covers and the visions of architects. Homes before the people are in them\, before the newspaper pile on the sofa\, before the rotting grapefruit in the back of the fridge\, before the overflowing laundry basket beside the bed. Homes when they are just ideas\, places that seem to smudge all their textures away when you dream about them\, illuminated by axioms you are so certain of until you wake up. Homes that make you feel less like yourself. Homes when you’re not sure how to change. Homes that are just houses\, raw buildings in someone else’s plan for no one’s future.”\n \n \nBenjamin Rosenthal and Eric Souther\, the gleaners\, and: ritual for signaled bodies\, 8:33 min\, 2020. This film features flashing images and distorted audio.\nthe gleaners\, and: ritual for signaled bodies performs at the edges between body and the external\, oscillating and eroding those boundaries. A ritual for creating new worlds and situations for fragmented bodies\, signals pass through the joints of animated and genderless bodies and body parts entangling the body-signal-actions both materially and conceptually as these control mechanisms interfere with pre-animated content. Perpetually shifting surfaces and skins serve as sites of projection and interference\, contributing to the further “”queering”” of the state of these bodies and fragments that are stretched and submerged into and outside of the environment they inhabit\, as they encounter desire\, distress\, and ritualized oscillations. Signals that generate sounds and compel movement\, the making of the images\, and the body\, further challenges the stability and integrity of the space; it’s otherworldliness and the spatial relationships it establishes with the audience. At the edge between crisis and satisfaction\, the work adopts the role of Millet’s own “”gleaners\,”” making-do on the boundary between sustenance and the devoid.\nExtended Technical Information/Statement on LGBTQ Content:\nThis is an experimental animation that is made in part with live techniques where 3D animations are “”performed”” in synchronization with sound to produce images that are recorded\, layered\, re-performed\, and re-recorded. The process in which we make this is an innovative process that pushes the boundaries of what is possible via real-time rendering.\nIt is important for us to clarify as artists that we feel strongly that this film comes from a queer point of view and a queer perspective. Rosenthal (as a member of the LGBTQ community) and Souther as a strong ally\, are interested in disrupting hegemonic structures around what constitutes gay and queer aesthetics\, which often privilege cis-white\, gay male sexual desire as opposed to more diverse and divergent points of departure. The bodies in our work are both fundamentally queer in their presentation and in their actions\, but the work also subjects viewers to an experience of queer “”fragmentation.”” Rosenthal describes this “”fragmentation”” as related to a kind of slippage\, rather than traditional compartmentalization\, where identity and body construction become unstable. By subjecting the viewer to sensorially intense fragmentation\, we destabilize normative viewing experiences and “”queer”” the space of the audience.” \n \nPetra Zlonoga\, One of Many\, 5:32 min\, 2018\nI am one. One of many. One of everyone yet the only one. What is it that I am looking for\, that always seems out of reach? \n \nS4RA\, privacy-GrDN. Info\, 8:00 min\, 2021\nHybrid emulation of a website that deals with prediction (in a broad sense) which uses the coding produced into programming its own simulation as the backbone structure into a semiotic < container > / metalanguage. \n \nAbby Castillo\, easy_v3.4\, 2:21\, 2020\nThis is the music video for my song easy_v3.4\, which is composed of looping animations superimposed on clips of Portland\, OR during 2020 (back when I went as “Twin Chicken” instead of “abbymachines”). Some of the clips focus on animals and nature\, and one is from last year’s wildfires. The song itself is a pop song about perseverance and strength\, inspired by my recovery from an abusive relationship. \n \nGabriella Mykal\, all i have pt iii\, 1:47\, 2021. This film features captions.\na deep dive into reality stardom and digital death\, ‘all i have pt iii’ explores online archetypes and politics surrounding light skin black women by focusing on four case studies: Disney star turned adult actress and producer Zendaya\, widely loved reality star and former Bachelorette Tayshia Adams\, conservative political commentator Candace Owens\, and former actress turned Duchess of Sussex Meghan Markle.\nThe four women’s images grind and faze into each other in an illusion of cohesion as the automated voice considers how far they must be willing to go to be desired\, accepted\, protected\, or respected.” \n \nHanlin Wang\, Neither Here Nor There\, 7:47 min\, 2021. This film features flashing images.\nTold solely through images captured from Google Street View\, Google Maps\, and Google Earth coupled with text\, Neither Here Nor There traverses a life from birth to death via the places that define it. \n[/expand]\n[expand title=”Bios of the filmmakers and curator”] \nAbby Castillo (she/her) is a transgender Mexican-American multidisciplinary artist working primarily in music\, literature\, visual and video art. She currently lives and works in Portland\, OR\, and she grew up at the US-Mexico border between San Diego and Tijuana. \nBecky Brown is a composer\, harpist\, artist\, and web designer\, interested in producing intensely personal works across the multimedia spectrum. She focuses on narrative\, emotional exposure\, and catharsis\, with a vested interest in using technology and the voice to deeply connect with an audience\, wherever they are. She is currently pursuing graduate studies in Composition and Computer Technologies at the University of Virginia. \nBenjamin Rosenthal holds (b.1984\, New York\, NY\, Lives and Works in Kansas City\, Missouri) an MFA in Art Studio from the University of California\, Davis and a BFA in Art (Electronic Time-Based Media) from Carnegie Mellon University. His work has been exhibited internationally in such venues/festivals as the Stuttgarter Filmwinter (Stuttgart\, Germany)\, High Concept Labs at Mana Contemporary (Chicago\, IL)\, ESPACIO ENTER: Festival International Creatividad\, Innovacíon y Cultural Digital (Tenerife\, Canary Islands\, Spain)\, FILE Electronic Language International Festival (São Paulo\, Brazil)\, Vanity Projects (New York\, NY)\, Locomoción Festival de Animacion (Mexico City\, Mexico)\, the LINOLEUM Festival of Contemporary Animation and Media Art (Kyiv\, Ukraine)\, and SIGGRAPH Asia (Bangkok\, Thailand)\, among others. He has been in residence at the Fjúk Arts Centre (Husavík\, Iceland)\, Signal Culture (Owego\, New York) and the Ox-Bow School of Art (Saugatuck\, Michigan)\, the Charlotte Street Foundation (Kansas City\, Missouri)\, and is currently in residence at The Studios Inc (Kansas City\, Missouri). His work across media explores what he theorizes as queer “technosexuality” and challenges the supremacy of physical contact in a technocultural age. Rosenthal is Associate Professor of Expanded Media in the Department of Visual Art at the University of Kansas\, where he has been since 2012\, and teaches video art\, performance art\, experimental animation\, a variety of special topics seminars and interdisciplinary practices. \nEric Souther is a new media artist who draws from a multiplicity of disciplines\, including anthropology\, linguistics\, ritual\, critical theory\, and New Materialism. He develops video instruments that investigate technological & cultural ecologies\, agency\, and emergence. He looks for new ways of seeing beyond the seductive qualities of an image\, and to find unseen connections that help us understand our digital and non-digital existence. His work takes many pathways\, which include single-channel video\, interactive installation\, projection mapping\, print\, virtual reality\, and audiovisual performance. His work has been featured nationally and internationally at venues such as the Museum of Art and Design\, NYC\, Everson Museum of Art\, Syracuse\, NY\, and the Museum of Art\, Zhangzhou\, China. His work has screened in The Athens Digital Arts Festival\, Athens\, Greece\, Istanbul International Experimental Film Festival\, Beyoglu\, Instanbul\, Cronosfera Festival\, Alessandria\, Italy\, the Galerija 12 New Media Hub\, Belgrade\, Serbia\, the Simultan Festival\, Timisoara\, Romania\, and the Festival ECRÃ of Audiovisual Experimentations\, Rio de Janeiro. In 2016\, Eric won the Juried Award for Time-Based at the international art competition ArtPrize. He received his BFA in New Media from the Kansas City Art Institute in 2009 and his MFA in Electronic Integrated Arts from the New York State School of Ceramics at Alfred University in 2011. He currently is an Assistant Professor in the Division of Expanded Media at NYSCC at Alfred University. Eric is also a board member of Signal Culture\, where he co-develops experimental video instruments (software). \nEmma Geiger is a filmmaker and photographer currently based in Durham\, North Carolina. \nGabriella Mykal is a West Indian American visual artist and filmmaker. Through film\, video installation\, writing\, and sculpture\, her work treats personal trauma as an access point to humor and social hyperreality. She combines narrative and experimental techniques to explore vulnerability\, femme friendship\, romance\, and sexual disfunction as grounds for political discourse. Found footage\, unreliable narrators\, and oversharing craft a technicolor\, Cyberfeminist sensibility. Mykal’s films have been shown nationally and internationally. \nHanlin Wang grew up in Fremont\, California. He discovered a love for filmmaking in the many video projects he created during high school. In college he explored this storytelling instinct through various mediums from live-action narrative and experimental shorts to virtual reality and computer-generated imagery. He admires the creative work of Richard Linklater\, Wong Kar-Wai\, Alfonso Cuarón\, and Philip Glass. Hanlin is currently exploring the fields of VFX and computer graphics and hopes to pursue a career at the intersection of moviemaking and technology. \nLydia Moyer is a visual artist and media maker who lives and works in Central Virginia\, USA. She is a professor in the art department at the University of Virginia in Charlottesville. \nPetra Zlonoga (1982) holds an MA in Graphic Design from the School of Design (2007) and MA in Animated Film and New Media from the Academy of Fine Arts in Zagreb (2011). Since 2009 she works as a freelance graphic designer\, illustrator and animator. Filmography: One of Many (2018)\, Dota (2016)\, Hunger (2014)\, Daniil Ivanovich\, You Are Free (2011\, graduation film)\, Fox (2010\, student film)\, Gregor (2010\, student film)\, Daniil Ivanovich\, Marry Me (2007\, student film). \nS4RA is a non-binary && genderqueer transmedia artist that spent endless hours fighting monsters & strolling through mazes. so\, it only felt natural 2 evolve through an experimental & explorative process of gaming visual culture & popular gif files. also feeds on social media platforms 2 engage animations into the depths of gender role play & political plots. still plays old school video games. \nTabia Lewis is a Black\, trans writer\, curator\, and DJ living on Catawba Nation territory in Charlotte\, NC. While they mostly creative non-fiction and critical essays they also have an affinity for poetry. Their work is aligned with Black radical imagination\, memory\, mythography\, and transness beyond physical matter. They’re also a big fan of cartoons. \nTerrance Houle and Neko Wong-Houle are an award winning father/daughter duo team who have collaborated on the recent short animation Otanimm/Onnimm. Terrance has worked extensively in the Arts Film/ Video and Performing Arts internationally\, nationally & locally\, Neko recently graduated from a High School program in a Performance Visual Arts and is the Award winner of the Golden Sheaf Indigenous Art Award at the Yorkton Film Festival for Otannim/Onnimm (writer\, director actor) \n[/expand]\nAbout our Partner Sponsor \nAnimators belong at Villa. Look around: Animation is everywhere—movies and TV\, advertising\, video games. Future animators are curious\, creative\, and embrace technology in meaningful ways. But most importantly—they’re storytellers. They have rich imaginations and take inspiration from other disciplines like photography\, music\, and film. At Villa\, you’ll channel what you discover to create characters and environments that capture the interests of a range of audiences. Click here for more information. \nSponsors \nSqueaky Wheel wishes to thank the following event sponsors: Clover Group Inc.\, Rigidized Metals\, Buffalo State College Communication Department\, Department of Art at the University of Buffalo\, Department of Media Study at the University of Buffalo\, Fox Pest Control\, Pan American Sound\, and Stephens & Stephens Law Offices. \n \n\n\n\n \n \n \nBanner image: Petra Zlonoga\, One of Many\, 2018 URL:https://squeaky.org/event/squeaky-wheels-18th-animation-fest/ LOCATION:Albright-Knox Northland\, 612 Northland Avenue\, Buffalo\, NY\, 14211\, United States CATEGORIES:Screenings ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/08/OneofMany-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210407T190000 DTEND;TZID=America/New_York:20210408T190000 DTSTAMP:20260502T160655 CREATED:20251230T191418Z LAST-MODIFIED:20251230T191418Z UID:10001034-1617822000-1617908400@squeaky.org SUMMARY:Adam Khalil and Bayley Sweitzer's EMPTY METAL DESCRIPTION:Wednesday\, April 7\, 2021\, 7 pm ET\nFree or suggested donation\nClick here to register\nAccess information: The film is available with Spanish subtitles. The Q&A will take place over a shared doc on pad.riseup . If you encounter any issues\, please send us a text message at 716-427-4125. \nAdam Khalil & Bayley Sweitzer\, EMPTY METAL\, 83 minutes\, 2018. \nAn unsettling and cutting political thriller\, EMPTY METAL features an apathetic punk band who are ensnared to commit a series of assassinations by an Indigenous family whose mother communicates telepathically with her meditation companions\, a Rastafarian hacker\, and a Buddhist whose son is a member of a secret militia. These disparate actors are united by rage\, boiled in the history of the United States\, and finding itself at a point of no return in our contemporary moment. Inspired by Lizzie Borden’s classic Born in Flames (1983)\, Adam Khalil and Bayley Sweitzer’s film has been widely acclaimed since its debut in 2018. It is an essential portrait of current day American violence and politics\, and posits its inevitable consequences. \nThe artists will be present for a post-screening Q&A on April 7. 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 register and view for 24 hours. SW members will have access to the event for 72 hours. \nEMPTY METAL is co-presented with the PLASMA series at the University at Buffalo’s Department of Media Study. Adam Khalil will be presenting an artist talk on Monday\, March 15. Click here to see more information about their artist talk. \n“Filled with energy\, rage\, and the smallest measure of hope\, Empty Metal is a new kind of political film for these extraordinary times” -Film Society Lincoln Center \nBios of the artists \nBayley Sweitzer is a filmmaker based in Brooklyn. His practice revolves around a dynamic\, high-mobility engagement with the margins\, as well as taking an earnest look at the chronomorphic qualities of narrative\, specifically the camera’s ability to consolidate dimensions. His work has been shown at Film Society Lincoln Center\, Anthology Film Archives\, Pacific Film Archive\, Motel Gallery (Brooklyn)\, Other Cinema (San Francisco) and MIIT House (Osaka). Bayley works professionally as a camera assistant and is a member of the International Cinematographers Guild\, IATSE Local 600. \nAdam Khalil is a filmmaker and artist. His practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Adam’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Spektrum (Berlin)\, Trailer Gallery (Sweden)\, Carnival of eCreativity (Bombay). Khalil is a 2017 Sundance Art of Nonfiction grantee\, 2017 Sundance Institute Indigenous Film Opportunity Fellow\, UnionDocs Collaborative Fellow and Gates Millennium Scholar. \nThe PLASMA speaker series brings cutting-edge guests to UB to discuss innovations in media art and culture shaping the new millennium communication world. PLASMA 2021 is sponsored by the University at Buffalo’s Department of Media Study and funding is provided by the Office of the Dean of the College of Arts and Sciences. The series is curated by Dr. Paige Sarlin\, Assistant Professor of Media Study\, in collaboration with Liz Park – UB Art Galleries and Squeaky Wheel Film & Media Art Center. PLASMA 2021 is curated by Paige Sarlin. URL:https://squeaky.org/event/bayley-sweitzer-and-adam-khalils-empty-metal/ LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/03/Khalil-Empty-Metal-.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210226T170000 DTEND;TZID=America/New_York:20210403T180000 DTSTAMP:20260502T160655 CREATED:20251230T191418Z LAST-MODIFIED:20251230T191418Z UID:10001030-1614358800-1617472800@squeaky.org SUMMARY:Passing Through the Heart: Episode 3 DESCRIPTION:Friday\, February 26\, 6 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: This event will be live-streamed with automated closed 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. \nPassing Through the Heart\, Episode 3 from Squeaky Wheel on Vimeo. \nPoached chicken with ginger and rice is the star of the third episode of Passing Through the Heart. Presented by Public Visualization Studio (PVS)\, and guest starring artist and cook Cheng Yang “Bryan” Lee and food journalist Evelyn Kwong\, this multi-media art and cooking show will be accompanied by a conversation on immigrant and refugee knowledge sharing\, animated with PVS’ motion capture tools. You’re invited to watch\, cook\, and ruminate on how food is intertwined with memory and heritage in this live virtual episode. Episode 3 is co-presented with El Museo. Special thank you to our media sponsor Yelp. \nAudiences 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 register and view for 24 hours. SW members will have access to the event for 72 hours. \nPassing through the Heart is a multi-media installation and series of virtual events by Public Visualization Studio that utilize non-optical motion capture\, photogrammetry\, videography\, and audio recording come together to create a dialogue about migration\, community\, political conflicts\, mourning\, healing\, and transformation. \nPoached Chicken with rice and ginger sauce by Cheng Yang “Bryan” Lee\nIngredients \n\n1 whole chicken (3 to 4 pounds)\nginger\nscallion\ngarlic\ncucumber\ncilantro\nrice\noil\n\nRecipe \n\nClean the chicken: remove any stray feathers\, rinse both the exterior and the cavity\, and pat dry.\nLightly salt the chicken all over and set aside for at least 15 minutes\, up to 1 hour.\nBring a large pot of water to just a simmer\, and add a few scallions and slices of ginger.\nHolding the chicken either by the neck (if attached) or with tongs (careful not to rip the skin)\, submerge the chicken in the hot water\, swirl it around for a few seconds\, then remove and let water drain back into the pot. Repeat this\ndipping process a few times\, allowing the water to come back up to temperature if needed. The skin of the chicken will start to look tight and smooth and slightly opaque.\nReturn the chicken to the pot\, cover\, and adjust the heat to maintain a water temperature of about 180-185F (82-85C). Do not let the water boil or you will end up with chicken soup.\nPoach for 40 minutes to 1 hour depending on size of chicken.\nIf you’re not sure whether it’s cooked\, you can test with a thermometer (175F in the thickest part of the thigh)\, but ideally you shouldn’t pierce the chicken at this point.\nCarefully transfer chicken to a large bowl of ice water to chill completely. Do not discard the cooking broth.\nWhile the chicken cools\, make the rice.\nRinse and drain jasmine (or other medium-grain) rice\, then use the chicken cooking broth instead of water to cook the rice.\nOptional step: Saute minced garlic in some oil until fragrant\, add the rice and stir to coat\, before adding to rice cooker.\nNow\, make the ginger sauce.\nPeel and roughly chop a lot of ginger.\nUsing a food processor\, blitz the ginger to a fine texture. It will start to give off some liquid\, and there should be no more long fibers remaining. Transfer the ginger to a heatproof bowl.\nPress the ginger to squeeze out most of the juice. It does not have to be totally dry\, but too much ginger juice will make the sauce too spicy.\nUsing same food processor\, finely mince 1 or 2 scallions and add to ginger. Season with some salt.\nHeat up a few tablespoons of peanut or vegetable oil in a small skillet or saucepan until it is extremely hot and begins to smoke.\nPour the oil slowly all over the ginger mixture and stir. It should sizzle vigorously and form a paste.\nAdd some of the chicken cooking broth to adjust the consistency\, and more salt if desired.\nWhen the chicken is fully cooled\, the skin should have a firm\, snappy bite\, and the meat will be succulent with jellied chicken juices.\nCarve and arrange on a platter with sliced cucumbers and chopped cilantro. Serve with rice. The cooking broth also makes a good side soup (add some salt and garnish with cilantro/scallion).\nIn addition to the ginger sauce\, the chicken goes well with soy sauce\, various chili sauces\, or fish sauce.\n\nBios of the artists \nCheng Yang “Bryan” Lee is the curator at El Museo\, a contemporary arts organization that focuses on underserved artists and communities in Buffalo and Western New York. Originally from Malaysia\, he is a graduate of the University at Buffalo. \nEvelyn Kwong is a journalist based in Toronto whose passion is covering inequities\, stories on identity\, and spotlighting voices that are often unheard. Growing up raised by a single-mother (and watching her do three jobs to put food on the table for a family of 3)\, her inspirations to fight for equity came from discovering her own identity as a Chinese-Canadian woman\, overcoming abuse as a survivor\, and being introduced to mental health struggles earlier on in her life. Due to those life experiences\, she decided to go into journalism as a career to provide a platform for those who feel voiceless. Her latest work as an editor of the Star is leading the charge on the opinion column “In Their Own Voices” where she takes stories\, experiences\, opinions on identity with an intersectional lens from humans across Canada. \nImmony Mèn is an artist\, educator\, and community-based researcher. He is an Assistant Professor of Interaction Design in the Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies at OCAD University. \nPatricio Dávila is a designer\, artist\, researcher and educator. He is Associate Professor\, Cinema and Media Arts\, and core member of Vision: Science to Applications (VISTA) at York University. \nPublic Visualization Studio is a design collective whose members are designers\, artists\, creative technologists and researchers. The collective creates projects as a means to pursue inquiries into the political and conceptual aspects of interaction\, space and media. Its members attempt to investigate how specific technologies of vision\, communication and gesture support our experiences in participatory spaces. Members of the collective have exhibited nationally and internationally\, and have worked in a variety of areas including public projection\, media architecture\, locative media\, video installation\, exhibition design\, interaction\, communication design and media scholarship. PVS works in collaboration with the Public Visualization Lab\, a university-based lab in Toronto. PVS founding members are Patricio Dávila\, Dave Colangelo\, and Immony Mèn. PVS is located in Toronto\, Canada. \nEl Museo is a 501(c)3 nonprofit\, professionally directed visual arts organization dedicated to the exhibition of contemporary work by underserved artists\, and cultural programming that engages diverse communities through the arts and humanities. More information about El Museo here. \nSpecial thank you to our media sponsor Yelp. URL:https://squeaky.org/event/passing-through-the-heart-episode-3/ LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/02/PVS3-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201211T180000 DTEND;TZID=America/New_York:20210403T200000 DTSTAMP:20260502T160655 CREATED:20251230T191403Z LAST-MODIFIED:20251230T191403Z UID:10001027-1607709600-1617480000@squeaky.org SUMMARY:Passing Through the Heart: Episode 2 DESCRIPTION:Friday\, December 11\, 6 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: Video conversations will feature automated 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. \nPublic Visualization Lab\, Passing Through the Heart: Episode 2\, 35 min\, 2020 \nJoin us for the second episode of Public Visualization Studio’s (PVS) Passing Through the Heart\, with guest Kalpana Subramanian! PVS’ Immony Mèn and Patricio Dávila host Subramanian for a special session to cook Green Chutney with Idli in a conversation on immigrant and refugee family and knowledge-sharing through cooking. Members of PVS cook recipes from their heritage that are recorded through traditional and emergent technologies. \nSubramanian will join Mèn and Dávila after the episode for a post-screening Q&A. 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 register and view for 24 hours. SW members will have access to the event for 72 hours. \nPassing through the Heart is a multi-media installation and series of virtual events by Public Visualization Studio that utilize non-optical motion capture\, photogrammetry\, videography\, and audio recording come together to create a dialogue about migration\, community\, political conflicts\, mourning\, healing\, and transformation. \nKalpana Subramanian is an artist-filmmaker\, educator and Ph.D. candidate in Media Study at the University at Buffalo. Her research investigates the poetics of light and breath in experimental film using a trans-cultural\, interdisciplinary and practice-based framework of inquiry. She was a Fulbright Nehru Academic and Professional Excellence Fellow at University of Colorado Boulder in 2015-16 and a UK Environmental Film Fellow in 2006. Her films have been screened at several international film festivals including the Yamagata International Documentary Film Festival\, Interfilm Berlin\, Toronto International Film Festival\, Antimatter Media Arts (Canada)\, Olhar de Cinema (Brazil)\, Digital Anthropologies (France) and Wildscreen (UK) among others. She has received various honors including a Jury’s Special Mention at the CMS Vatavaran International Film Festival (2007)\, Audience Award at the Documentary Festival of History and Archeology in Italy (2015)\, awards for Creative Approach\, Cinematography (2003) and Merit Award for Conservation Message (2005) at the Montana CINE International Film Festival. Her recent films include the five-part series Light Mediated: Eyes on Brakhage (2016)\, Tattva (2018) and Choreography for Disembodiment (2019). Subramanian is also a vocalist\, and author of four children’s books. \nImmony Mèn is an artist\, educator\, and community-based researcher. He is an Assistant Professor of Interaction Design in the Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies at OCAD University. \nPatricio Dávila is a designer\, artist\, researcher and educator. He is Associate Professor\, Cinema and Media Arts\, and core member of Vision: Science to Applications (VISTA) at York University. \nPublic Visualization Studio is a design collective whose members are designers\, artists\, creative technologists and researchers. The collective creates projects as a means to pursue inquiries into the political and conceptual aspects of interaction\, space and media. Its members attempt to investigate how specific technologies of vision\, communication and gesture support our experiences in participatory spaces. Members of the collective have exhibited nationally and internationally\, and have worked in a variety of areas including public projection\, media architecture\, locative media\, video installation\, exhibition design\, interaction\, communication design and media scholarship. PVS works in collaboration with the Public Visualization Lab\, a university-based lab in Toronto. PVS founding members are Patricio Dávila\, Dave Colangelo\, and Immony Mèn. PVS is located in Toronto\, Canada. \n URL:https://squeaky.org/event/passing-through-the-heart-episode-2/ LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/12/PVSep2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201113T180000 DTEND;TZID=America/New_York:20210403T200000 DTSTAMP:20260502T160655 CREATED:20251230T191404Z LAST-MODIFIED:20251230T191404Z UID:10001026-1605290400-1617480000@squeaky.org SUMMARY:Passing Through the Heart: Episode 1 DESCRIPTION:Friday\, November 13\, 6 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: Video conversations will feature automated 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. \n= \nPublic Visualization Studio\, Passing Through the Heart: Episode 1\, 37 minutes\, color\, sound\, 2020 \nJoin Immony Mèn and Patricio Dávila to watch the first episode of their cooking show as part of their exhibition Passing Through the Heart! Passing through the Heart is a multi-media installation and series of virtual events by Public Visualization Studio (PVS) that focus on immigrant and refugee family and knowledge-sharing through cooking. Members of PVS cook recipes from their heritage that are recorded through traditional and emergent technologies. Non-optical motion capture\, photogrammetry\, videography\, and audio recording come together to create a dialogue about migration\, community\, political conflicts\, mourning\, healing\, and transformation. \nIn this first episode\, watch Public Visualization Studio’s Immony Mèn and Patricio Davila as they prepare Cambodian crepes as part of a group discussion on diasporic experiences and transnational identities. Depicted using emergent technologies such as motion capture and live-visualization\, a portrait emerges on the moving\, translating\, healing\, transformative possibilities of storytelling. \nPublic Visualization Studio’s Immony Mèn and Patricio Dávila will be present for a conversation and Q&A following the screening. 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 register and view for 24 hours. SW members will have access to the event for 72 hours. More information on the work\, and bios of the artists can be found here. \nImmony Mèn is an artist\, educator\, and community-based researcher. He is an Assistant Professor of Interaction Design in the Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies at OCAD University. \nPatricio Dávila is a designer\, artist\, researcher and educator. He is Associate Professor\, Cinema and Media Arts\, and core member of Vision: Science to Applications (VISTA) at York University. \nPublic Visualization Studio is a design collective whose members are designers\, artists\, creative technologists and researchers. The collective creates projects as a means to pursue inquiries into the political and conceptual aspects of interaction\, space and media. Its members attempt to investigate how specific technologies of vision\, communication and gesture support our experiences in participatory spaces. Members of the collective have exhibited nationally and internationally\, and have worked in a variety of areas including public projection\, media architecture\, locative media\, video installation\, exhibition design\, interaction\, communication design and media scholarship. PVS works in collaboration with the Public Visualization Lab\, a university-based lab in Toronto. PVS founding members are Patricio Dávila\, Dave Colangelo\, and Immony Mèn. PVS is located in Toronto\, Canada. \n URL:https://squeaky.org/event/passing-through-the-heart-episode-1/ LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/11/PVSEp1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201106T190000 DTEND;TZID=America/New_York:20201106T210000 DTSTAMP:20260502T160655 CREATED:20251230T191404Z LAST-MODIFIED:20251230T191404Z UID:10000815-1604689200-1604696400@squeaky.org SUMMARY:Jordan Lord's Shared Resources DESCRIPTION:Friday\, November 6\, 2020\, 7–9:30 pm ET\nConversation with Jordan Lord and Emily Watlington at 8:45 pm ET.\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: The film is presented with open captions and audio description. Video introductions and conversations will feature live 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. \nWatch the conversation with Jordan Lord\, Albert Lord\, Deborah Lord\, and Emily Watlington above. \nMade over five years\, Jordan Lord’s feature-length documentary Shared Resources depicts the filmmaker and their family after Lord’s father was fired from his job as a debt collector and their parents declared Chapter 13 bankruptcy. Following their parents day to day lives and the filmmaker’s complicated relationship with them\, the film self-reflexively utilizes open captions and visual descriptions both to provide access to Blind and Deaf audiences and to open the processes of documentary-making and reception. Much as the film finds the ties of moral\, institutional\, societal\, and financial debt amongst the filmmaker and their family members\, it accordingly asks what debts are owed to audiences. Moving\, humorous\, and propelled by Lord’s central question – what does it mean to owe each other everything – Shared Resources depicts a Southern\, white\, middle-class family navigating the devastating effects of capitalism to propose a documentary practice based in continual consent and acknowledgment of the debts between filmmakers\, the people whose lives they document\, and audiences. \nThe filmmaker will be present for a conversation and Q&A with Emily Watlington following the screening. 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 register and view for 24 hours. SW members will have access to the event for 72 hours. \n \n \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 \nJordan Lord is a filmmaker\, writer\, and artist\, working primarily in video\, text\, and performance. Their work addresses the relationships between historical and emotional debts\, framing and support\, access and documentary. Their work has been shown internationally at festivals and venues including DOCNYC\, Artists Space\, Anthology Film Archives\, and Camden Arts Centre. Their solo exhibition of video work “After…After…” was presented by Piper Keys at Raven Row in London\, UK\, and their work was screened as part of the festival on art and disability “I Wanna Be with You Everywhere” at Performance Space NY. \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). \nImages provided by Jordan Lord and Emily Watlington. Jordan Lord’s picture by Mengwen Cao. URL:https://squeaky.org/event/jordan-lords-shared-resources/ LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States CATEGORIES:Screenings,Virtual ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/09/Shared-Resources_Mom-laughing_cropped_Squeaky-wheel-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201028T190000 DTEND;TZID=America/New_York:20201028T210000 DTSTAMP:20260502T160655 CREATED:20251230T191404Z LAST-MODIFIED:20251230T191404Z UID:10000817-1603911600-1603918800@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/09/ComingForthByDay-Still1.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201016T190000 DTEND;TZID=America/New_York:20201016T213000 DTSTAMP:20260502T160655 CREATED:20251230T191403Z LAST-MODIFIED:20251230T191403Z UID:10000813-1602874800-1602883800@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/09/CJR-open-book-1-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200925T190000 DTEND;TZID=America/New_York:20200926T190000 DTSTAMP:20260502T160655 CREATED:20251230T191346Z LAST-MODIFIED:20251230T191346Z UID:10000811-1601060400-1601146800@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/09/Axolotl_SLee_Still-2-scaled.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200821T180000 DTEND;TZID=America/New_York:20200821T210000 DTSTAMP:20260502T160655 CREATED:20251230T191346Z LAST-MODIFIED:20251230T191346Z UID:10000806-1598032800-1598043600@squeaky.org 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 ATTACH;FMTTYPE=image/png:https://squeaky.org/wp-content/uploads/2020/08/Screen-Shot-08-14-at-10.01.21-AM-copy.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200424T190000 DTEND;TZID=America/New_York:20200501T210000 DTSTAMP:20260502T160655 CREATED:20251230T191332Z LAST-MODIFIED:20251230T191332Z UID:10001006-1587754800-1588366800@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/01/rsz_kmk_still_tableau.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200415T200000 DTEND;TZID=America/New_York:20200415T220000 DTSTAMP:20260502T160655 CREATED:20251230T191332Z LAST-MODIFIED:20251230T191332Z UID:10001007-1586980800-1586988000@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/01/fullsizeoutput_1d40.jpeg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200325T190000 DTEND;TZID=America/New_York:20200325T210000 DTSTAMP:20260502T160655 CREATED:20251230T191332Z LAST-MODIFIED:20251230T191332Z UID:10001008-1585162800-1585170000@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/01/NoDataPlanStill06-p1dvf4ruo812rj1e70p7t1agqoqp.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200129T190000 DTEND;TZID=America/New_York:20200129T210000 DTSTAMP:20260502T160655 CREATED:20251230T191317Z LAST-MODIFIED:20251230T191317Z UID:10001004-1580324400-1580331600@squeaky.org 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 ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/01/threading-histories.jpg GEO:42.8906261;-78.8721258 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261 END:VEVENT END:VCALENDAR