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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
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DTSTART;TZID=America/New_York:20201106T190000
DTEND;TZID=America/New_York:20201106T210000
DTSTAMP:20260502T172930
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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
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DTSTART;TZID=America/New_York:20201028T190000
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SUMMARY:Hala Lotfy's Coming Forth by Day
DESCRIPTION:Wednesday\, October 28\, 2020\, 7–9:30 pm ET\nFree or suggested donation\nConversation with Hala Lotfy and Ekrem Serdar at 8:50 pm ET.\nRegistration required. Click here to register.\nAccess information: The film is presented in Arabic\, with English subtitles. Video introductions and conversations will feature ASL interpretation and open captions. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nHala Lotfy’s 2012 intimately observed narrative feature film Al-khoroug lel-nahar (Coming Forth by Day) follows a day and night in the life of a young woman named Suad living in Cairo on the days before the Egyptian Revolution. Living with her sick and disabled father\, whom she takes care of with her nurse mother\, Lotfy’s quiet and powerful film depicts the vigilance\, routines\, exhaustion and isolation that can accompany care work. When Suad decides to leave the house for a few hours\, a tide of change is set into motion. Set against the backdrop of a country at a moment of change\, and titled after the Egyptian Book of the Dead\, Lofty’s award-winning film heralded a new Egyptian cinema as it stretches time to imagine what comes tomorrow. \nI had this feeling that we were suffocating. Anyone who visited Egypt before the revolution just caught this feeling in the air. It was a huge despair and everyone had the feeling we could not proceed this way. So the film was not intended to be like this but it was something I could not avoid. Losing hope\, I could not avoid that. – Hala Lotfy\, The National \nFollowing the screening\, the filmmaker will be present for a conversation and Q&A with Ekrem Serdar. Audiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to view for 24 hours after the event and SW members will have access for 72 hours. \nHala Lotfy\, Al-khoroug lel-nahar (Coming Forth by Day)\, 100 min\, 2012\nThis event is part of Timeline(s) of Care. Comprised of five single-night screenings\, artist talks\, and interactive events taking place throughout Fall 2020. The series focuses on illness\, disability\, and care work across generations\, crisscrossing timelines\, and the minutiae of personal\, social\, political\, and institutional life. These works acknowledge the lives and work of those who came before us to create different tomorrows. \nBio \n\nHala Lotfy is an Egyptian director\, producer and the founder of Hassala Films collective. Ann Al Sho’our Bel Berouda (“Feeling Cold”\, 2005) is one of her notable documentary works\, which received numerous awards including the Special Jury Prize at the National Film Festival in Egypt. Lotfy also created seven documentaries for the TV series Arabs of Latin America for Al Jazeera. In 2011\, she was chosen by Charlotte Rampling to receive the Katrin Cartlidge Foundation Award. Lotfy’s feature fiction debut “Al-khoroug lel-nahar (Coming Forth by Day\, 2012) had its European premiere at the Berlinale Forum in 2013 and won many awards including the Prize of the FIPRESCI jury and Best Director from the Arab World at Abu Dhabi Film Festival. EXT./Night (2018) is the latest feature fiction she produced\, which premiered at the Toronto International Film Festival in 2018. \nEkrem Serdar is the curator at Squeaky Wheel.
URL:https://squeaky.org/event/hala-lotfys-coming-forth-by-day/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20201016T190000
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SUMMARY:Lana Lin's The Cancer Journals Revisited
DESCRIPTION:Friday\, October 16\, 2020\, 7 pm ET\nConversation with Lana Lin and Dessane Lopez Cassell at 8:45 pm ET.\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: The film is presented with closed captions. Video introductions and conversations will feature automated open captions and ASL interpretation. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nLana Lin’s 2018 poetic non-fiction film The Cancer Journals Revisited features a chorus of women who recite and ruminate on Black lesbian poet Audre Lorde’s 1980 memoir of her experience with breast cancer\, The Cancer Journals. Lorde’s resistance\, grief\, and transformational voice are brought into the present by twenty-seven writers\, artists\, activists\, health care advocates\, and current and former breast cancer patients. The filmmaker–who was diagnosed with breast cancer in 2010–weaves Lorde’s life across generations\, and powerfully into the present. \nFollowing the screening\, the filmmaker will be present for a conversation and Q&A with Dessane Lopez Cassell. Audiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to view for 24 hours after the event and SW members will have access for 72 hours. \nLana Lin\, The Cancer Journals Revisited\, 98 min\, 2018. \n\nThe film is an ode to this breaking of silence – for Lorde\, for the women interviewed\, and for the filmmaker Lin\, who eventually reveals her own cancer diagnosis…Ultimately\, like Lorde herself\, the film makes interesting connections between the personal and the political that at once underscore the timelessness and timeliness of her writing. – Beandrea July\, Hyperallergic \nThis event is part of Timeline(s) of Care. Comprised of five single-night screenings\, artist talks\, and interactive events taking place throughout Fall 2020. The series focuses on illness\, disability\, and care work across generations\, crisscrossing timelines\, and the minutiae of personal\, social\, political\, and institutional life. These works acknowledge the lives and work of those who came before us to create different tomorrows. \n\nBios of the artists \nLana Lin is an artist\, filmmaker\, and writer who has made experimental films since the early 1990s and collaborative mixed media projects as ‘Lin + Lam’ since 2001. Her work examines the fragilities and contradictions of human and discursive bodies\, emphasizing the conceptual and poetic capacities of moving image media. Her art and films have been shown at international venues including the Barcelona International Women’s Film Festival 2020\, BAMcinemaFest 2019\, Fringe! Queer Film & Arts Fest\, London\, Oberhausen Film Festival\, Cinema Politica Concordia\, Montreal\, Taiwan International Documentary Film Festival\, REDCAT contemporary arts center\, Los Angeles\, Busan Biennale 2018\, Museum of Modern Art and Whitney Museum\, NY\, Stedelijk Museum\, Gasworks and Whitechapel Gallery\, London. She has been awarded fellowships from the Jerome Foundation\, New York Foundation for the Arts\, MacDowell\, Wexner Center for the Arts\, and Vera List Center for Art and Politics\, among others. The Cancer Journals Revisited won the Favorite Experimental Film Award at BlackStar Film Festival\, Philadelphia and Best Feature Documentary at the San Diego Asian Film Festival. She is the author of Freud’s Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer (Fordham UP\, 2017) and is an Associate Professor of Media Studies at The New School\, NY. \nDessane Lopez Cassell is a curator\, writer\, and editor based in New York. Her research interests include artist’s moving image\, documentary\, and experimental film concerned with race\, gender\, and representation. Cassell has organized curatorial projects and screenings for the Brooklyn Academy of Music (BAM)\, MoMA Film\, and Flaherty NYC\, among numerous others. Currently\, she chairs the experimental film subcommittee for BlackStar Film Festival and serves as Editor of Reviews at Hyperallergic. \nFilm courtesy of Women Make Movies. Images of the film courtesy of Lana Lin. Special thank you to Dessane Lopez Cassell.
URL:https://squeaky.org/event/lana-lins-the-cancer-journals-revisited/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200925T190000
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SUMMARY:Squeaky Wheel's 17th Animation Fest!
DESCRIPTION:Friday\, September 25\, 2020\, 7 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nUpon registration\, you will receive an email with information on how to view the event. If you encounter any issues\, please send us a text message at 716-427-4125. \nSqueaky Wheel is excited to announce the 17th edition of our annual Animation Fest! The festival showcases artworks made in a diverse variety of animation techniques such as stop-motion\, claymation\, 3D animation\, hand-painted film\, special effects\, and motion graphics. This years virtual edition is guest curated by Tabia Lewis\, and focuses on the interconnectivity between magical realism\, trans-subjectivity\, and experimental animation. Filmmakers featured in the fest include aleksandar radan\, Azalia Primadita Muchransyah\, Jazmyn Palermo\, Jeanette Fantone\, Jia-Rey Chang\, Jordan Shaw\, Karis Jones\, Rosa Barbara Nussbaum\, sandra araújo\, Serena Lee. The 17th Animation Fest is sponsored by Villa Maria College. \nThe screening will be followed by a live Q&A over Google Docs with the curator and several of the artists at 8 pm. The screening and Google Docs Q&A will be available to view for up to 24 hours. An essay by the curator will be available for all who register for the event. If you miss the live event\, you can register to view the event through Saturday\, September 26\, 7 pm ET. \nProgram\n47 minutes total. This program is intended for audiences age 13 and up. Content warnings: Nudity\, flashing lights and images\, low-frequency noises\, body horror\, suggested death. Images and descriptions of the films courtesy of the filmmakers. \n \nSerena Lee\, Axolotl\, 6:19 min\, 2007\nBased on a short story by Julio Cortázar — please refer to email conversation between myself and Tabia Lewis 🙂 \n \nRosa Barbara Nussbaum\, The Golfers\, 2:13 min\, 2018\nA young woman finds golf balls and hatches them into tiny golfers on her night stand. Hand drawn cel animation. \n \nJeanette Fantone\, Duet\, 3:11 min\, 2019\nDuet is an audiovisual piece exploring the relationship between two siblings. In separate existence\, their eventual permeation is found with synchrony and saturation. \n \nKaris Jones\, Lawton\, 3:04\, 2020\nA collection of 312 drawings illustrating Lawton. A thing that lives in a room where things it does not understand happen. \n \naleksandar radan\, in between identities\, 9:00 min\, 2015\nIn between Identities originated from a game mod in which the artist manipulated disoriented\, half-naked avatars that wander around darkened cityscapes in bathing suits\, fur coats\, or with slices of cucumber over their eyes. They function as shell-like proxies for players\, appearing at once strangely massive and empty within the sometimes crude aesthetic of the computer game. The computer game offers a fascinating realm of possibility\, that both despite and because of its very specifications and preconfigurations continually offers room for improvisation and intuition. Within the circumscribed\, programmed space\, the freedom arises to undermine the “actual” purpose of the game. In abandoning the script and storyboard\, new narratives and choreography can be orchestrated with the remaining elements.\nHere\, the avatars seem to have their own lives in the grey zone between the player’s identity and that of the character played. The collapse of meaningful connections leaves behind a void that can be understood both as a free space outside of everyday routines as well as a space lacking in the means for making personal connections. As observers\, we experience ourselves as voyeuristic participants in the game and plunge into its dreamlike atmosphere of shifting realities and identities. \n \nsandra araújo\, MOM\, I’M NOT EATING\, 3:53 min\, 2019\nTransitional < body > Witch Warrior ()==[:::::::::::::> collaboration between trans dj / artist Odete && non-binary queer digital artist sandra araújo. Although\, labels should not matter as they (still) tend to objectify over human complexity\, it brings up to surface the translation / representation of < gender > into social space. This virtual identity #shout(s) out to a sensory and imaginative concept of identification through video game related characters. An empathic form of identity and strong emotional connection with the < avatar > as a set of default actions / assets that translate into tools / text of visual representation. \n \nJia-Rey Chang\, Living Wonderland\, 2:07 min\, 2020\nLiving Wonderland not only metaphorically reveals our lust of craving for freedom but also illustrates the kindness embedded in everyone during this COVID-19 epidemic/quarantine period. No matter it represents the lust or the kindness of every human being\, that Wonderland deep in everyone’s awareness is just like a “living thing” eager to break through the “frame” of any pre(post)-set constraints\, illness\, and boundary to look for hope. However\, we all know that keeping a distance at the time will benefit the entire world. Our inner nature is drastically swinging between the furious thoughts(fears) and the peaceful mind\, just like the heartbeat\, just like this living wonderland. It is a loop of a short 2-minute film piece. The audience might view the piece through their own 3D glasses to have the stereoscopic effect but not necessary and still can enjoy the colorful vision without it. The entire piece is created by the scripts of code as generative art (creative coding). \n \nJazmyn Palermo\, Teenie Hams’ Adventures in Genderland\, 9:54 min\, 2018\nA child leaves the bleak and boring world they know on an adventure to new worlds\, magical creatures\, and newfound identity. \n \nAzalia Primadita Muchransyah\, Concrete Jungle\, 1:00 min\, 2019\nAccompanied by a mix of soundscapes and music\, Concrete Jungle juxtaposes different living creatures with manmade architectures. It is a reimagination of how nature should reclaim its rightful place amidst the busy and deafening city life. \n \nJordan Shaw\, Canadian Abstracts #2\, 7:12 min\, 2020\nCanadian Abstracts #2 is a continuation of the machine learning series I’ve been working on over the last few years. Pretty excited to have been able to get the GAN network to produce higher resolution video. Canadian Abstracts is an exploration of computational creativity focused on the relationships with nature and our environment. Canadian Abstracts uses a Generative Adversarial Network (GAN) which is a type of Artificial Intelligence. This algorithm is trained on ~10000 artworks by all members of the Group of Seven. Through the visual exploration of these new Canadian Landscapes\, does our own understanding and view of Canada\, it’s wilderness and our environment match that of the algorithms? Are these A.I. landscapes familiar to you? Could these landscapes really exist? Or might these images only be the dreams of a technological system that is trying to understand our physical world? \nBios of the artists and curator \nAleksandar Radan was born in Offenbach am Main in 1988. He has been studying art at the Hochschule für Gestaltung Offenbach since 2010. His work is concerned with digital media and the fact that we are continually lagging behind. This notion of “lagging behind” may be understood on a metaphorical level.\nHowever\, it also finds direct expression in the artist’s marked interest both in body language that is influenced by technologies and mass-media communications as well as avatars and images in virtual spaces. The stereotypical\, pre-programmed gestures of digital avatars that oscillate between life-like and artificially stiff form a leitmotif in Radan’s work. Improvisational moments augment these gestures\, which are manipulated through game modding. Radan primarily films live action footage in altered computer game surroundings\, which the artist has deliberately altered to serve as his stage sets. By interfering with a game’s software database\, game modding enables one to rewrite the codes for a game’s visual surface textures and sounds\, for example. In turn\, they become artistic materials that can be manipulated. In Radan’s experimental short films\, the programmed meets the improvised\, and the default is confronted with the spontaneous actions of the artist—who is also the player—in a virtual environment.\nRadan’s works have been featured at multiple venues\, including the Clermont-Ferrand International Short Film Festival and the International Short Film Festival in Oberhausen. \nAzalia Muchransyah is a filmmaker\, writer\, and scholar from Indonesia. She is a Ph.D. Candidate in Media Study at University at Buffalo (SUNY)\, funded by the 2017 DIKTI Fulbright Scholarship. In 2019 she became a Humanities\, Arts\, Science\, and Technology Alliance and Collaboratory Scholar at HASTAC\, a Social Impact Fellow at University at Buffalo (SUNY)\, and a Finger Lakes Environmental Film Festival Diversity Scholar at Ithaca College. Her research is on activist media\, specifically for people living with HIV in Indonesian prison settings. Her short films have been officially selected and screened in international festivals and academic conferences. \nJaz is a trans artist working and living in Buffalo\, N.Y. with a focus in stop-motion animation. They graduated with a BFA from Alfred University in 2018. Their work explores gay and trans identity through the vehicle of a campy\, papier-mache\, hot glue disaster. \nJeanette Fantone is an animator from Santa Barbara County\, California. Her work pulls largely from themes of memory\, longing\, and what-ifs. There is an innate presence of honesty and emotional nuance. She is most excited about filmmaking that invokes curiosity and exploration within the process\, with a strong gravitation towards post production processing and digital-analog hybrid techniques. As a budding filmmaker\, Jeanette is patiently nurturing a transportive and mystical artistic voice. \nJia-Rey (Gary) Chang was born in Taiwan. After completing his M.Arch degree in Architecture and Urban Design Department\, UCLA\, under the direction of Neil Denari in 2009\, he came back to his Alma mater\, the Architecture Department in TamKang University\, Taiwan\, researching on interactive and parametric architecture. In 2010\, he established “P&A LAB” (Programming and Architecture LAB: pandalabccc.blogspot.com\, and lately integrated into archgary.com to continue) exploring the new possible relationship between the programming and architecture. Meanwhile\, he also worked in the Architecture Department of the National Taipei University of Technology as an adjunct lecturer. In 2011\, he joined the Hyperbody LAB (hyperbody.nl)\, Department of Architectural Engineering and Technology\, TU Delft\, for his Ph.D. research on Interactive Architecture. Cooperating with choreographers\, visual artists\, composers\, and programmers\, he has been involved in an EU project\, MetaBody (metabody.eu)\, during 2011-2014 to explore the pro-activeness and intra-action relationship between body movement and spatial quality. In early 2018\, he finished his Ph.D. research with the dissertation titles as “HyperCell: A Bio-inspired Design Frameworks for Real-time Interactive Architectures”\, proposing the idea of self-intelligent building components by exploring into the fields of computation\, embodiment\, and biology in design. Meanwhile\, he is also extremely interested in the transdisciplinary topics of interactive architecture\, tangible interactive design/art\, immersive sensory experience\, bio-inspired design\, AI (artificial intelligence)\, creative coding/generative art/visualization\, 3D modeling\, fashion design\, /wearable technology\, and motion tracking technology\, and has conducted numerous related workshops over the years. He is now an assistant professor in the IXD Lab\, Department of Art & Design\, University of Delaware continuing his research philosophy of ‘space as a living being’ as an immersive spatial Interaction Design\, and exploring his artistic trajectory on creating the experimental immersive sensory (audio/visual/VR/AR) space. More info: archgary.com \nJordan Shaw is an artist and creative technologist raised and currently based in Toronto\, Canada. He grew up in Scarborough\, an east-end borough of Toronto. He received his MFA from OCAD University’s Digital Futures program exhibiting his thesis project\, Habitual Instinct\, in 2017 during Vector Festival at InterAccess. Before that\, he completed his undergraduate degrees at Carleton University and Algonquin College\, where his final installation was exhibited at ACM SIGGRAPH. The manifestation of Jordan’s work seeks to visualize the hidden interactions between people and technology\, data collection and these digital systems trying to understand the physical world. These technical systems are not always physically tangible to the human senses. Jordan’s work intends to creatively express the invisibility of modern-day techno-culture into a tangible and concrete experience that exemplifies the connection between participants and digital systems. \nKaris Jones received their BFA from The University of Science and Arts of Oklahoma. Jones is currently an MFA candidate and instructor in drawing and painting at The State University of New York at Buffalo. Jones experiments with the fragility of the human condition. Their work exposes the frail\, unusual essence of the human form that is masked by societal compulsions to disguise the finite\, peculiar nature of humans as a species. Jones attempts to break down homo-sapiens into the most basic and intimate forms. They unapologetically present us as a species in its complete and utter truth. The work translates humanness into its pure essence\, which is temporary\, damaged and inherently feeble. Jones investigates the uncomfortable and odd nature that is human perception. \nRosa Nussbaum is a visual artist based in Philadelphia\, PA. Rosa received her MFA in Studio Art: Transmedia from the University of Texas at Austin in 2018 and her BFA from Wimbledon College of Arts\, London\, UK in 2014. Rosa makes work at the intersection of performance\, video and sculpture Her work explores the place where the body touches the institution\, with particular emphasis on issues of gender and immigration. \nsandra araújo is a < non-binary && genderqueer > digital artist that spent endless hours fighting monsters & strolling through mazes. so\, it only felt natural for < them > 2 evolve through an experimental & explorative process of gaming visual culture & popular gif files. also feeds on social media platforms 2 engage < her > animations into the depths of gender role play & political plots. < they > still plays old school video games. \nLayering forms and modalities\, Serena Lee practice stems from a fascination with polyphony and its radical potential for mapping power\, perception and belonging. She plays with cinema\, voice\, text\, installation\, drawing\, performance\, practising collaboratively and aleatorically.\nRecent projects: Centre Régional d’Art Contemporain Occitanie (Sète)\, Mitchell Art Gallery (Edmonton)\, Scarborough Museum with Aisle 4\, SAW Video/Knot Project Space (Ottawa)\, Cubitt (London)\, S1 Artspace (Sheffield)\, transmediale (Berlin)\, Museum of Contemporary Art (Toronto)\, Whitechapel Gallery (London)\, Vtape (Toronto)\, Images Festival (Toronto)\, FADO Performance / The Theatre Centre (Toronto)\, Mountain Standard Time (Calgary).  Serena is currently based between Vienna and Tkaronto/Toronto. \nTabia Lewis is a Black\, trans writer\, curator\, and DJ living in Charlotte\, North Carolina. They hold a BA in English from East Carolina University with a minor in creative writing. During their time at ECU they found their passion for curating while working in Joyner Library’s Special Collections. Their work is aligned with Black\, radical imagination\, the ordinary as extraordinary\, and transness beyond physical matter. Outside of writing and music\, they also use collage\, zines\, and homemaking as mediums/platforms for their work.\nCurrently\, they are working on a project that investigates Black existentialism and its ties to social justice. In the future\, they hope to work on projects that explore their relationship to ghosts as a Black trans person\, Black\, queer homemaking\, and queer-coded families in cartoons. By 2022 they hope to have completed their memoir. \n\nSqueaky Wheel’s Animation Fest is sponsored by Villa Maria College’s Animation program. Villa Maria College’s Animation Program teaches the fundamentals of animation and fine art\, and builds from there. The small classes are instructed by our renowned faculty\, and allow students to get a personalized\, hands-on education. \nBanner image: Serena Lee\, Axolotl\, 2007. Image courtesy of the artist.
URL:https://squeaky.org/event/squeaky-wheels-17th-animation-fest/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200821T180000
DTEND;TZID=America/New_York:20200821T210000
DTSTAMP:20260502T172930
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SUMMARY:Virtual Screening: From the Out Here
DESCRIPTION:Virtual Screening and Filmmaker Q&A: From the Out Here\nFriday\, August 21\, 2020\, 6–7 pm\nLive Q&A at 6:20 pm\nFree or suggested donation. Click here to register.\nUpon registration\, we will email you a link to view the event.\nAsk questions before the event! \nFrom the Out Here is an experimental documentary film created by the Buffalo Youth Media Institute. Utilizing free and open-source applications\, Kyle Everette\, Patricia O’Sullivan\, Timiyah Curry\, Tyler Everette\, and Zahara Morrell weave together five meditations on topics such as mental health\, federal discretionary spending\, ignorance\, and healthcare. The film was developed during a four-week virtual intensive\, making it both a reflection on and a product of our current world. Pointing to an uncertain future\, the filmmakers ask themselves\, “are we the answer?” \nLead Teaching Artist\, Jesse Deganis Librera\nSupport Teaching Artist\, Kaitlyn Lowe\nTeaching Assistant\, Breanna Roberts \nAbout \nEstablished by Squeaky Wheel in 2005\, Buffalo Youth Media Institute works in partnership with the Buffalo Center for Arts & Technology to build social capital through the cultivation of critical thinking and 21st-century skills\, such as innovation\, digital literacy\, and collaboration. Through videos\, lectures\, critiques\, and hands-on demonstrations\, youth producers work with Squeaky Wheel’s lead teaching instructors to learn digital production skills and create self-directed projects. Learn more. \nBuffalo Youth Media Institute summer intensive is funded by National Endowment for the Arts and Simple Gifts Fund. \n  \n  \n  \n  \n  \n  \n 
URL:https://squeaky.org/event/virtual-screening-from-the-out-here/
LOCATION:NY
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200424T190000
DTEND;TZID=America/New_York:20200501T210000
DTSTAMP:20260502T172930
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SUMMARY:Sindhu Thirumalaisamy’s The Lake and The Lake
DESCRIPTION:Online Screening | Friday\, April 24\, 7 pm\nFree or suggested donation. Registration required.\nClick here to register \nClick here to view the post-screening Google Docs Q&A with Sindhu Thirumalaisamy \nSindhu Thirumalaisamy’s 2019 film ಕೆರೆ ಮತ್ತು ಕೆರೆ (The Lake and The Lake)  dwells in the peripheries of a polluted lake in Bangalore\, “India’s Silicon Valley”\, where the act of observation is interrupted by flying foam\, noxious gases\, daydreams\, and questions from passers-by. Despite its spectacular toxicity\, the lake remains a valuable resource and refuge for counter-publics. The Lake and The Lake will be preceded by Thirumalaisamy’s short film Different Colourful Designs (2016) on state-sponsored murals in Bangalore. We are excited to host filmmaker Sindhu Thirumalaisamy\, who will be present for an introduction and Q&A. \nDifferent Colourful Designs\, 15 mins\, SD video\, 2011–2016\nDescribed as “a beautification exercise”\, the Bangalore Beautification Project is a city-sponsored effort to prevent posters and advertisements from being pasted on public walls. In 2009 the Bangalore Bruhat Mahanagra Palike (BBMP) hired sign-painters to produce a number of prescribed murals on public walls across the city. Familiar symbols of myths\, heroes and nature—cursory tales of national identity and pride—were chosen to greet Bangalore’s residents and guests. But there are several gaps between instruction and realization in this beautification exercise. The resulting images complicate the official narratives that they try to portray. Fantastical images\, fearful images\, duplicitous images\, and incomplete images all stand together in trying to keep the walls clean. Different Colourful Designs takes a closer look at these images and the city that etches over them. Footage was shot over several years\, adding to the film over the years\, observing the decay of these murals. It was completed at a time when the BBMP voiced intent to repaint the walls in the spirit of Swachh Bharat. \nಕೆರೆ ಮತ್ತು ಕೆರೆ (The Lake and The Lake)
\, 38 mins\, HD video\, India/USA\, 2019\nThe Lake and The Lake dwells in the peripheries of a polluted lake in Bangalore\, “India’s Silicon Valley”\, where the act of observation is interrupted by flying foam\, noxious gases\, daydreams\, and questions from passers-by. Despite its spectacular toxicity\, the lake remains a valuable resource and refuge for counter-publics. Standing alongside fishing communities\, migrant waste workers\, private security guards\, street dogs\, and children\, it is evident that there is no nature that doesn’t also include all of us. Hindi\, Tamil\, Kannada\, English\, and Bangla\, are spoken and sung in the film amidst a chorus of non-human sounds. \nBiography\nSindhu Thirumalaisamy is an artist working across video\, sound\, text\, and installation. Sindhu holds an MFA in visual art from the University of California\, San Diego\, is a participant of the Whitney Independent Study program\, an almunus of the Skowhegan School of Painting and Sculpture\, the Robert Flaherty Film Seminar\, and the SOMA Summer program. Sindhu’s work has been exhibited at The Museum of Contemporary Art San Diego\, San Diego Museum of Art\, Current:LA Public Art Triennial\, Montreal International Documentary Festival (RIDM)\, Artists’ Television Access\, Los Angeles Asian Pacific Film Festival\, Edinburgh Festival of Art\, Flux Factory\, Kunsthaus Langenthal\, Khoj International Artists’ Association\, International Documentary and Short Film Festival of Kerala\, and Dharamshala International Film Festival. \nImage: Sindhu Thirumalaisamy\, The Lake and The Lake (2019). Co-presented with PLASMA at the Department of Media Study\, SUNY University at Buffalo.
URL:https://squeaky.org/event/sindhu-thirumalaisamys-the-lake-and-the-lake/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200415T200000
DTEND;TZID=America/New_York:20200415T220000
DTSTAMP:20260502T172930
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SUMMARY:Tiara Roxanne's I cannot decolonize my body
DESCRIPTION:Online Screening & Artist Talk | Wednesday\, April 15\, 8 pm\nFree or suggested donation\nClick here to get your tickets\nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this event has moved online. Live Introduction and presentations by the artist begin at 7:10 pm. You will receive an email with information on how to view the event live. Roxanne’s film will be available to view through April 22\, 2020\, 6:59 pm. \nA short film that serves to highlight the disvowal and silencing Indigenous peoples encounter historically\, presently and futuristically in social\, political and technological paradigms\, I cannot decolonize my body\, was made as an incantation for recovery and transformation. The short film is accompanied by a new text by the Berlin-based cyberfeminist\, scholar and artist titled Data Colonialism: Decolonial Gestures of Storytelling. Following the short film\, the artist will be in conversation with writer and curator Nora Khan on her work with the audience invited to participate in the Q&A. \nBiographies\nDr. Tiara Roxanne is an Indigenous cyberfeminist\, scholar and artist based in Berlin. Her research and artistic practice investigates the encounter between the Indigenous Body and AI. More particularly\, she explores the colonial structure embedded within artificial intelligence learning systems in her writing and her performance art through textile. Currently her work is mediated through the color red. She received the Zora Neale Hurston Award from Naropa University in 2013 where she graduated from with her MFA. Under the supervision of Catherine Malabou\, Tiara completed her dissertation\, “Recovering Indigeneity: Territorial Dehiscence and Digital Immanence” in June 2019. Tiara has presented her work at SOAS (London)\, SLU (Madrid)\, Transmediale (Berlin)\, Duke University (NC)\, re:publica (Berlin)\, Tech Open Air (Berlin)\, AMOQA (Athens)\, among others. She is currently a Researcher at DeZIM-Institut in Berlin\, Germany. \nNora N. Khan is a writer of criticism. Her research practice extends to a large range of artistic collaborations\, from librettos to a tiny house. She is a critic on the faculty at Rhode Island School of Design\, in Digital + Media\, teaching critical theory\, artistic research\, writing for artists and designers\, and technological criticism. She has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real through Art Metropole. She is a longtime editor at Rhizome and publishes in Art in America\, Flash Art\, Mousse\, and California Sunday. She has written commissioned essays for exhibitions at Serpentine Galleries\, Chisenhale\, the Venice Biennale\, Centre Pompidou\, Swiss Institute\, and Kunstverein in Hamburg. This year\, as The Shed’s first guest curator\, she organized the exhibition Manual Override\, featuring Sondra Perry\, Simon Fujiwara\, Morehshin Allahyari\, Lynn Hershman Leeson\, Martine Syms. Her writing has been supported by a Critical Writing Grant given through the Visual Arts Foundation and the Crossed Purposes Foundation (2018)\, an Eyebeam Research Residency (2017)\, and a Thoma Foundation 2016 Arts Writing Award in Digital Art. \nThis event is co-presented with Trinity Square Video\, Images Festival\, and PLASMA at the Department of Media Study\, SUNY University at Buffalo. \nImage courtesy of Tiara Roxanne\, by Charlotte de Bekker.
URL:https://squeaky.org/event/tiara-roxannes-red-contd/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200325T190000
DTEND;TZID=America/New_York:20200325T210000
DTSTAMP:20260502T172930
CREATED:20251230T191332Z
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SUMMARY:Miko Revereza’s No Data Plan
DESCRIPTION:Online Screening | Wednesday\, March 25\, 7 pm\nLive Q&A at 8:30 pm.\nFree or suggested donation. Click here to get tickets.\nA private link will be sent to your email account upon registration.\n \nClick here to view the introduction to the film by curator Ekrem Serdar and Justice for Migrant Families’ Anna Porter \nClick here to view the post-screening Google Docs Q&A with Miko Revereza \nMiko Revereza’s acclaimed feature documentary No Data Plan features a narrator rehashing details about his mother’s affair as he crosses America by train. “Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.” Taking place entirely within a three day trip upon a train—including a tense stop near Buffalo—Revereza’s film evokes images and thoughts from far away\, illustrating an undocumented subjectivity\, a site of precarious movement\, migration\, and fugitivism in the United States. \nThis screening is co-presented with Justice for Migrant Families. JFMF is a 501(c)(3) nonprofit agency that promotes justice for migrant families by providing support to individuals in the federal detention facility in Batavia\, information and resources to families in the community\, and advocacy both within and beyond the local community.\nJFMF is currently seeking donations to allow detainees in the Batavia Detention Center to make phone calls to their loved ones as all visitations have been cancelled due to COVID-19. Find out about JFMF current activities on their Facebook page and donate to them here. \nBiography of the filmmaker\nMiko Revereza (b.1988 Manila\, Philippines) is an experimental filmmaker and undocumented immigrant. Since relocating from Manila as a child\, he has lived illegally in the United States for over 25 years. This life long struggle with documentation\, assimilation and statelessness informs his films\, DROGA! (2014)\, DISINTEGRATION 93-96 (2017) and his debut feature\, No data plan (2018). Miko’s films have been widely screened and exhibited internationally at festivals such as\, International Film Festival Rotterdam\, Yamagata International Documentary Film Festival\, International Short Film Festival Oberhausen\, True/False Film Festival\, Images Festival\, and Berwick Film & Media Arts Festival. DISINTEGRATION 93-96 was featured and streamed on MUBI.com. He is listed as Filmmaker Magazine’s 2018 25 New Faces of Independent Cinema. \n\nImage: Miko Revereza\, No Data Plan\, 70 minutes\, digital video\, 2019. Courtesy of Sentient Art Film.
URL:https://squeaky.org/event/miko-reverezas-no-data-plan/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200129T190000
DTEND;TZID=America/New_York:20200129T210000
DTSTAMP:20260502T172930
CREATED:20251230T191317Z
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SUMMARY:Punctures | Threading Histories
DESCRIPTION:Wednesday\, January 29\, 7pm\n$7 General / $5 Members / Free for Arts Access Pass Holders \nHow do textiles and media speak to individual\, collective\, and social histories? Featuring films by Alta Kahn\, Cydnii Wilde Harris\, Eytan İpeker\, Laura Kraning\, Lesley Loksi Chan\, the Manaki Brothers\, Senga Nengudi\, and Susie Bennally\, the eight films in this group screening include a found-footage film that utilizes Gone with the Wind to explore the cotton industry and transatlantic slavery in the United States; two films made as part of the project Navajo Film Themselves (1966) by Alta Kahn and Susie Bennally; and one of the few films shot in the Ladino language by Eytan Ipeker. With filmmaker Laura Kraning in person who will be present for a conversation and Q&A for her film Language of Memory. \nProgram \nCydnii Wilde Harris\, Cotton: Fabric of Genocide\n4 min\, digital\, sound\, 2018\n“This is a video essay about slavery. Oops. I mean\, cotton.” – Cydnii Wilde Harris \nLesley Loksi Chan\, Curse Cures\n11 min\, digital\, sound\, 2009\n“The arrival of a new worker to a jeans factory causes changes to the rhythms of the workplace. This mysterious narrative integrates personal and collective history with fiction. The visuals were created with both found images and original photography reproduced on acetate sheets which were subsequently sewn together and projected onto a wall and video-taped. This mixed-media work is a reflection on the repetitive labour and materiality of textile work and the im/possibilities for resistance to challenging working conditions.” – Lesley Loksi Chan. Courtesy of Vtape. \nLaura Kraning\, Language of Memory\n3 min\, 16mm on digital video\, sound\, 2009\n“Language of Memory is a hand-processed\, optically printed film composed of rayographs of my grandmother’s still negatives from the early 1900s\, strips of her old lace casting abstract patterns on high contrast film\, and the overlapping gestures of sewing and splicing film\, related techniques historically attributed to women. It is both homage to my grandmother’s creative influence and a deconstruction of memory through fragmentation and the accretion of associations surfacing from the tactile processes of the film’s making.” – Laura Kraning \nSusie Bennally\, A Navajo Weaver\n24 min\, 16mm on digital\, silent\, 1966 \nAlta Kahn\, Second Weaver \n10 min\, 16mm on digital\, silent\, 1966 \nA Navajo Weaver and Second Weaver are two films produced in a workshop in 1966 taught by Sol Worth\, John Adair and Richard Chalfen. They traveled to Pine Springs\, Arizona\, where they taught a group of Navajo students to make documentary films\, including Alta Kahn and her daughter Susie Bennally. In her life\, Kahn was known as a renowned weaver\, and Bennally was an accomplished weaver\, having worked with her mother since the age of eight. \nThe series of films made through this workshop is known as Navajo Film Themselves. Emerging by a critique from the anthropologists that anthropological film had been “dictated by American (or Western) trained eyes and hands and guided by the emotions\, attitudes\, and values of that culture”\, the project nonetheless evinces several colonial presumptions on the part of the instructors. The two films\, which have been shown in venues such as the Flaherty Film Seminar and the Navajo National Museum\, are both depictions of two experienced and skilled weavers (Kahn and Bennally)\, but also open important questions on the nature of ethics\, aesthetics\, and pedagogy. Courtesy of Visionmaker Media. \nSenga Nengudi\, The Threader \n6 min\, digital\, sound\, 2007\n“…The Threader (2007)\, Nengudi shows the moving body actively engaged with sculptural material. Produced from a residency at The Fabric Mills Workshop and Museum in Philadelphia\, this film follows the movements of a worker carefully striding across the factory floor with a collection of threaded spools. His gestures\, practiced movements used in his daily work\, are as seamless as a choreographed dance. She cuts to close ups of his fingers delicately tying thread to a hook and of the swaying metal machinery… the artistry of this work relies on the medium of the moving image to build narrative by cutting to discrete moments\, or exploring the space of the factory itself.” – Simone Krug\, Contemporary Art Review Los Angeles. Digital file courtesy Thomas Erben Gallery. \nYanaki and Milton Manaki\, The Weavers (also known as Grandmother Despina)\n1 min\, 35mm on digital\, silent\, 1905\nWidely considered to be the first film shot in the Ottoman Empire\, this film shot in the city of Monastir (modern day Bitola\, North Macedonia)\, which was a economic and cultural center of the empire. Originally titled “Our 114-year-old grandmother at work weaving”\, the film and its filmmakers have come to symbolize an enigmatic moment at the turn of the 20th century\, coinciding with the dissolution of the Ottoman Empire\, and emergence of the many modern states throughout the region.\n\nEytan İpeker\, Dantelacı (The Lace Peddler)\n18 min\, 16mm on digital video\, Turkish and Ladino with English subtitles\, 2005\n“Adapted from the award-winning short story by Eli Aji\, Dantelacı (The Lace Peddler) depicts traveling lace seller Yasef Efendi as he adjusts to societal changes in 1950s Istanbul.” – Eytan İpeker \n\nThis screening is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-threading-histories/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20200115T190000
DTEND;TZID=America/New_York:20200115T210000
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SUMMARY:Punctures | no idle hands and Hearts and Hands
DESCRIPTION:Wednesday\, January 15\, 2019\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nSqueaky Wheel presents an evening of two films that investigate how women have asserted and gained political and social agency through textiles. Featuring Sabrina Gschwandtner’s no idle hands (2008) and Pat Ferrero’s Hearts and Hands (1988)\, this screening coincides with the exhibition of Gschwandtner’s two works on view in the gallery: Hands at Work (for Pat Ferrero) and Hands at Work (for Pat Ferrero) II\, both of which were made with 16mm film prints of films by Pat Ferrero. Sabrina Gschwandtner will be present via Skype to introduce the screening. \nGschwandtner’s no idle hands\, shot of the string-like material of Super 8mm\, is a traveloge film taking viewers on a symbolic journey of the history of knitting. As the artist states\, the title no idle hands\, “historically referred to women pitching in to help the war movement; to the act of keeping busy to avoid unease or unrest\, and to the actions of those who want to stimulate change. This film evokes the latter meaning\, as it depicts women placing textiles within feminist\, queer\, and collaborative art contexts.” The film is followed by Pat Ferrero’s 1988 documentary Hearts and Hands\, which chronicles the lives and quilt making practices of ordinary women as well as individuals such as Harriet Tubman\, Elizabeth Keckley\, Frances Willard and Abigail Scott Duniway through the 19th century. Made over a period of ten years\, and with unprecedented access to historic quilts in both private and public collections\, Ferrero’s film traces the role of quilts in forming communities that speak to abolition\, patriotism\, social justice and settler-colonialism. \nProgram\nSabrina Gschwandtner\, no idle hands\, 9:43min\, Super 8 film transferred to video\, sound\, 2008\nPat Ferrero\, Hearts and Hands\, 60min\,16mm film transferred to video\, 1988 \nPat Ferrero is an independent filmmaker whose work as a producer/director includes Hopi: Songs of the Fourth World\, Hearts & Hands and Quilts in Women’s Lives. These films have won numerous awards\, been screened nationally on cable and PBS\, and have been exhibited at national festivals including Sundance\, New York Film Festival\, National Educational Film and Video Festival\, the Hawaii and San Francisco Internl Film Festivals\, as well as international festivals in Asia\, Latin America\, and Europe. \nSabrina Gschwandtner’s artwork has been exhibited in the United States as well as internationally at institutions including the Smithsonian American Art Museum in Washington DC; the Museum of Arts and Design in New York; and the Victoria and Albert Museum in London. Her work has been featured and reviewed in the New York Times\, Artforum\, Modern Painters\, Frieze\, Photograph\, Cabinet\, the Los Angeles Times\, the Washington Post\, Der Standard\, INCITE Journal of Experimental Media\, and on NPR\, among other media outlets and scholarly publications. She has been awarded residencies at Wave Hill (2012)\, the International Artists Studio Program in Sweden (IASPIS\, 2009)\, the Museum of Arts and Design (2009)\, and the MacDowell Colony (2004\, 2007\, and 2016). She recently received a 2019 City of Los Angeles (COLA) Individual Artist Fellowship. Her work is held in the permanent collections of the Smithsonian American Art Museum; the Museum of Fine Arts\, Boston; the Mint Museum; Philbrook Museum of Art; Boise Art Museum; Alfond Collection of Contemporary Art at Rollins College; Carl and Marilynn Thoma Foundation\, and the RISD Museum\, where a series of 12 film quilts is currently on permanent display. In 2015 she was awarded a NY Public Art Project commission for her first public art project\, a large scale photographic collage printed on glass\, which was installed permanently at an elementary school in the Bronx in 2017. She was born in Washington D.C. in 1977 to an Austrian father and American mother. She received a BA with honors in art/semiotics from Brown University. She studied video with VALIE EXPORT in Salzburg\, Austria\, and received her MFA from Bard College. She lived in New York City from 2000 – 2015\, and currently live in Los Angeles\, CA\, where she is represented by Shoshana Wayne Gallery. \nThis screening is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters. \nBanner image: Sabrina Gschwandtner\, no idle hands\, 9:43min\, Super 8 film transferred to video\, sound\, 2008
URL:https://squeaky.org/event/punctures-no-idle-hands-and-hearts-and-hands/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20191214T150000
DTEND;TZID=America/New_York:20191214T170000
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SUMMARY:Punctures | Jodie Mack’s The Grand Bizarre
DESCRIPTION:PLEASE NOTE: Due to the weather\, we have postponed the screening of this film to the date below. \nWednesday\, December 14\, 2019\, 3pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nJodie Mack’s feature film The Grand Bizarre (2018) investigates recurring patterns and techniques in textile production and consumption in a global economy through a collage of textiles\, tourism\, language\, and music. Join us for a screening of the celebrated film! \nJodie Mack\, The Grand Bizarre\, 60:30 minutes\, 16mm on digital projection\, color\, sound\, 2018\n“A postcard from an imploded society. Bringing mundane objects to life to interpret place through materials\, The Grand Bizarre transcribes an experience of pattern\, labor\, and alien[-]nation[s]. A pattern parade in pop music pairs figure and landscape to trip through the topologies of codification. Following components\, systems\, and samples in a collage of textiles\, tourism\, language\, and music\, the film investigates recurring motifs and how their metamorphoses function within a global economy.” – Jodie Mack \nThis screening is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-jodie-macks-the-grand-bizarre/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20191023T190000
DTEND;TZID=America/New_York:20191023T210000
DTSTAMP:20260502T172930
CREATED:20251230T191316Z
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SUMMARY:We Tell: Environments of Race and Place
DESCRIPTION:Wednesday\, October 23\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess Pass holders \nWe Tell: Environments of Race & Place is a screening of short\, community made short films focused on issues surrounding immigration\, migration\, and racial identity unique to a specific environment. Including films by Outta Your Backpack Media\, Third World Newsreel\, among others. Don’t miss the Buffalo stop of this nationally touring screening series\, with co-curator Patricia Zimmermann in person for introduction and Q&A. \nProgram \n91 minutes \nSan Francisco Newsreel\, Black Panther a.k.a. Off the Pig (Newsreel #19)\, black and white\, 15 minutes\, 1967\nBlack Panther a.k.a. Off the Pig (Newsreel #19)\, also known as Off the Pig\, documents the Black Panther Party in 1967. It was one of Newsreel’s most widely distributed films\, made and used by members of the Black liberation movement. It contains a prison interview with Black Panthers’ Minister of Defense Huey P. Newton\, an interview with Minister of Information Eldridge Cleaver\, footage of the aftermath of the police assault against the Los Angeles Chapter headquarters\, and political demonstrations supporting Huey Newton’s release from jail. \nMimi Pickering\, Buffalo Creek Flood: An Act of Man\, black and white\, 39 minutes 1975\nOn February 26\, 1972 in West Virginia\, a Pittson Company coal-waste dam collapsed at the top of Buffalo Creek Hollow\, leaving 125 dead and 4\,000 homeless. Buffalo Creek Flood: An Act of Man juxtaposes interviews with survivors\, union and citizen’s groups representatives\, and company officials. Pittson executives knew of the hazard in advance of the flood and that the dam’s structure violated state and federal regulations. Nevertheless\, the Pittston Company denied any wrongdoing\, maintaining that the disaster was an act of God.\n\nMichael Siv and Aram Siu Wai Collier (Spencer Nakasako\, facilitator)\, Who I Became\, color\, 20 minutes\, 2003\nWho I Became is the story of Pounloeu Chea\, a first-generation Cambodian American. In the early 1980s\, he and his family escaped from Cambodia and settled in San Francisco. In 1998\, his father returned to Cambodia\, leaving behind his wife and three sons. In 2002\, his mother joined his father. Since her departure\, Pounloeu was found guilty of driving stolen cars intended for export\, and placed on parole. About to become a father\, he must hold a job and obey the law to avoid being sent to jail or deported to Cambodia.\n\nYusi Brieland El Boujami\, Ned del Callejo\, Ariane Farnsworth\, Shyanna Marks\, Shelby Ray\, and Amber Vigil from the Outta Your Backpack Workshop with Indigenous Youth (Klee Benally\, facilitator)\, Legend of the Weresheep\, color\, 2:45 minutes\, 2007\nIn this short animation\, a sheep drinks water from a toxic factory and turns into a zombie. Legends of the Weresheep was made with hand-drawn images that feature a river next to a factory spewing out black smoke. A herd of sheep graze next to the river. When they drink the polluted water\, toxic symbols are emblazoned on their fur. The film was produced by Indigenous youth participating in a Fall 2009 Media Workshop in Flagstaff\, Arizona conducted by the activist media collective Outta Your Backpack. \nChristi Cooper\, Katie Lose Gilbertson\, Kelly Matheson\, Stories of TRUST: Calling for Climate Recovery: TRUST Alaska\, color\, 8 minutes\, 2011 \nStories of TRUST: Calling for Climate Recovery is a ten-part series about youth\, law\, and justice. These short documentaries feature the voices of daring youth from across the country who went to court to compel the government to protect our atmosphere in trust\, for future generations. In TRUST Alaska\, seventeen-year-old Nelson Kanuk explains why erosion\, floods\, intense storms\, and permafrost melt\, threaten their homes\, communities\, and culture. Nelson’s story unfolds the human and environmental damage caused by climate change. \nMyron Dewey\, Digital Smoke Signals: Aerial Footage from the Night of November 20\, 2016 at Standing Rock\, color\, 7:06 minutes\, 2016\nFrom April 2016 to February 2017\, Standing Rock Indian Reservation members and environmental activists protested Energy Transfer Partners’ Dakota Access Pipeline—built to move oil from the North Dakota Bakken oil fields to southern Illinois—with an encampment to protect water\, land\, and Indigenous sacred sites. Myron Dewey of Digital Smoke Signals (DSS) describes drone footage that captures the North Dakota State Troopers\, the National Guard\, and private contractors committing human rights violations against the Indigenous Water Protectors. \n\nThis screening is part of We Tell: Fifty Years Of Participatory Community Media: On the Frontlines of Politics and Place\, 1967-2017\, a nationally touring\, curated screening series that explores and unearths the fifty-year history of participatory community documentary in the United States. It focuses on place-based documentaries that situate their collaborative practice in specific locales and communities. These works embrace and enhance the micro rather than the macro\, moving away from the national to the local and from the long form theatrical feature to the short form of documentary circulating within and across communities and politics. The exhibition of comprised of six thematic programs that probe salient topics emerging in participatory community media. Exhibitors and programmers may select among these different programs\, depending on their needs and programming space. Curated by Louis Massiah & Patricia Zimmermann. \n  \nImage: Christi Cooper-Kuhn\, Katie Lose Gilbertson\, Kelly Matheson\, WITNESS\, Stories of TRUST: Calling for Climate Recovery: Alaska (2011).
URL:https://squeaky.org/event/environments-of-race-and-place/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20191012T113000
DTEND;TZID=America/New_York:20191012T170000
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SUMMARY:Buffalo International Film Festival
DESCRIPTION:Saturday\, October 12\nTickets: buffalointernationalfilmfestival.com \nThe Buffalo International Film Festival returns to Squeaky Wheel for its thirteenth year\, with a special showcase of films by students in our youth education initiatives and a juried selection of films with regional and global perspectives. \n11:30am: Ovacık\n1:30pm: Youth Program\n3pm: Spiral Farm \nThe Buffalo International Film Festival is the region’s premiere celebration of the moving image. BIFF is one of the largest film festivals in New York State outside of New York City\, and is the longest-running film festival in Western New York. BIFF champions local\, national\, and international films that test the limits of independent cinema. Every year\, we present top selections from thousands of submissions to WNY’ers and travellers seeking to explore the great food\, nightlife\, history and adventure that defines Buffalo. BIFF also proudly supports local filmmakers by offering workshops\, seminars\, panels and fiscal sponsorship on a year-round basis.
URL:https://squeaky.org/event/buffalo-international-film-festival-4/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20190925T190000
DTEND;TZID=America/New_York:20190925T220000
DTSTAMP:20260502T172930
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SUMMARY:Punctures | Wang Bing’s Bitter Money
DESCRIPTION:Wednesday\, September 25\, 2019\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nWang Bing’s celebrated Bitter Money (2016) follows a handful of workers in the city of Huzhou\, home to 18\,000 clothing factories. Capturing them both at work—where they may labor for more than 12 hours a day—and in their off-hours\, this demanding\, rewarding film incisively captures the conditions of the contemporary textile industry. \nWang Bing\, Bitter Money\, 152 minutes\, digital video\, 2016 \nBing has an unreal talent for finding precisely the right way to frame candid moments. —Hyperallergic \nWang’s camera captures the relentless hopelessness of the Chinese low-income working class\, not for us to gawk at\, but for us to experience\, to become a part of it\, and to maybe also understand it.—Frameland\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. \nImage: Wang Bing\, Bitter Money (2016). Special thanks to Icarus Films.
URL:https://squeaky.org/event/punctures-wang-bings-bitter-money/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190906T193000
DTEND;TZID=America/New_York:20190906T203000
DTSTAMP:20260502T172930
CREATED:20251230T191304Z
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SUMMARY:Squeaky Wheel’s 16th Animation Fest!
DESCRIPTION:Friday\, September 6\, 7:30pm\n@ Albright Knox Art Gallery\nFree as part of M&T First Fridays \nShowcasing animated shorts\, including 3D animations\, crayon kaleidoscopes\, and more this 16th edition of our annual Animation Fest is curated by Leanne Goldblatt\, and features films by Amanda Bonaiuto\, Cassie Shao\, Evan Tapper and Scott Sørli\, Hallie Bahn\, Kristjan Holm\, Krystal Downs and Alex Krokus\, LIZN’BOW\, Lori Malépart-Traversy\, Tammy Renée Brackett\, and Vanja Andrijevic. \nProgram ~47min \nOrbit \nTess Martin\n7 min digital file\, 2019\nThe Sun’s energy circulates through the Earth\, feeding the cycle of life. Everything is connected in a natural loop\, which repeats\, like the circular discs of magical optical toys. This perfectly balanced rhythm is disrupted by human excess\, throwing the cycle out of orbit and temporarily stopping the circulation of energy in nature. The natural cycle can and will continue\, only without the human race in the mix. Submitted by Vanja Andrijevic. \nThe Clitoris\nLori Malépart-Traversy\n3 min\, digital file\, 2016\, subtitled\nWomen are lucky\, they get to have the only organ in the human body dedicated exclusively for pleasure: the clitoris! In this humorous and instructive animated documentary\, find out its unrecognized anatomy and its unknown herstory. \nHEDGE \nAmanda Bonaiuto \n6 min\, digital file\, 2018\nA singularly comical/surreal vision of a family visiting a funeral home. \nnée Rabbit \nHallie Bahn \n3 min\, digital file\, 2018\nnée Rabbit confronts the mind’s struggle to maintain a true identity even as our memory begins to fade. Can we continue to know ourselves when we have no recollection of our past actions and reactions? Do we adapt our identity to incorporate this loss into our life’s story? Or do we resign ourselves to wake up each day anew and if so\, who are we? \nYour Black Friend \nKrystal Downs and Alex Krokus \n3 min\, digital file\, 2018\nBen Passmore‘s necessary contribution to the dialogue around race in the United States\, Your Black Friend is a letter from your black friend to you about race\, racism\, friendship and alienation. \nAll Your Photos \nTammy Renée Brackett \n2 min\, digital file\, 2019 \nA photo booth that promises to deliver ALL your photos for a quarter. \nThere Were Four of Us \nCassie Shao \n7 min\, digital file\, 2019\, subtitled\nIn a room\, there are four people. \nLife24 \nKristjan Holm \n9 min\, digital file\, 2019 \nConfirmed bachelor Einar Jernskjegg wins the lottery. \nGay Alien Shame Parade (GASP!)\nEvan Tapper and Scott Sørli\n5 min\, digital video\, 2018\, subtitled\nGay Alien Shame Parade (GASP!) was created for Nuit Rose\, Pride Toronto\, 2017. The previous year\, Black Lives Matter – Toronto intervened in the Toronto Pride parade\, resulting in significant changes to Pride 2017. Among the most controversial of BLM-Toronto’s demands was the removal of police floats in Pride marches and parades. The artists were disturbed by the negative response to this demand from gay cis white men that the artists encountered on social media and in person. These men had no memory\, nor understanding\, of the long history of police violence against the LGBT+ communities\, and especially against People of Colour\, a history that continues today. In solidarity with BLM-Toronto\, the artists animated a satirical Shame Parade in another world\, composed entirely of floats that document police violence against the LGBT+ communities in the greater Toronto area from the 1940s to the present day. \nFlowerbombs \nLIZN’BOW \n2 min\, digital file\, 2016\nFlowerbombs is an infomercial made during a 6 week new media feminist workshop series in partnership with Breakthrough Miami outreach program. \nBios of the artists and curator \nAmanda Bonaiuto (b. 1990) is an animator and artist originally from Massachusetts. She currently lives and works in Los Angeles. Her work has screened at the Annecy International Animated Film Festival\, Stuttgart Festival of Animated Films\, Ann Arbor Film Festival\, Ottawa International Animation Festival\, Slamdance\, Pictoplasma\, and more. She is a 2017 Princess Grace Honoraria in Film. She graduated with an MFA in Experimental Animation from CalArts in 2018. \nCassie Shao is an Animation Artist currently based in Los Angeles. She is a graduate of SAIC and Hench-DADA School of Cinematic Arts at USC. She works across the field of independent films\, music videos\, projection mapping\, advertising as well as animated television series. Her last short film Synched screened at festivals such as MIAF\, LIAF\, Athens Animfest and Anim!Arte\, and received two awards. Her collaborative project Black Bird with live action director Haonan Wang screened at Ars Independent\, Cucalorus and KLIK etc. It also won several awards including Best Animation at Ibiza Music Video Festival. She recently completed her MFA graduation film There Were Four of Us and is sending it worldwide. \nEvan Tapper received a BFA Honours from the School of Art\, University of Manitoba and a MFA from the School of Art\, Carnegie Mellon University. His multimedia work has been exhibited throughout Canada\, the United States\, Europe\, South America\, the Middle East\, Australia and Asia. He has received grants and awards from such organizations as the Canada Council for the Arts\, the Ontario Arts Council\, New York State Council on the Arts\, the Manitoba Arts Council\, and the Toronto Arts Council. Evan has held academic appointments at the State University of New York Fredonia\, McMaster University\, the Ontario College of Art and Design University\, and the University of Toronto. To view Evan’s work\, please visit: www.evantapper.net. \nHallie Bahn is an interdisciplinary artist working in stop-motion animation. Through her narratives and handcrafted sets\, Bahn’s practice explores themes of time\, memory\, and self-preservation. Bahn is currently completing her MFA in Visual Studies at Minneapolis College of Art & Design. \nKristjan Holm was born in 1976 in Tallinn\, Estonia. Graduated Estonian Academy of Arts in 1999 as an interior designer. In time the understanding that a room is limited to four walls\, started to trouble him though. An unexpected discovery that also film frame has four walls\, gave him the final impulse to change the subject and dedicate his life to investigating the ties between frames and walls. \nDoggo Studios is Krystal Downs and Alex Krokus. We freelance out of Brooklyn\, NY and our goal is to make cartoons of incredible power. Whether that is achieved through humor\, emotional storytelling or just looking really badass depends on the project. \nLIZN’BOW is a project in which we use media technology\, digital tools\, and community building exercises as vehicles to visualize\, play\, and explore different social and creative possibilities. We combine social practice and technology to create empowering collaborations with people. Our work provides space for people to form nuanced and expanded ideas of identity\, representation\, power\, and possibility. We have worked with NSU Art Museum\, Squeaky Wheel Media Center\, The Bass Museum\, Institute of Contemporary Art Miami\, Breakthrough Miami\, Hands to Help\, La Sierra Artist Residency Columbia\, Tempest Projects\, Cunsthaus\, Miami Lighthouse for the Blind\, Domino Park\, Borscht Film Festival\, the Koubek Center\, and Young at Art Museum of Fort Lauderdale. \nLori Malépart-Traversy was born in 1991 in Montreal\, Canada. She studied in Studio Arts and Film Animation at Concordia University\, where she graduated in 2016. Her graduation film\, The Clitoris\, has since been shown in more than 140 film festivals around the world and has received 15 prizes and mentions. She is now working on a project about female masturbation at the National Film Board of Canada (NFB). \nScott Sørli’s transdisciplinary practice concerns itself with the moments when form and matter engage the political and economic forces that produce the city. He has taught design research at several architecture schools and has exhibited and published work internationally\, winning several awards. He was co-curator of “convenience”\, a window gallery that provides an opening for art that engages\, experiments\, and takes risks with the architectural\, urban and civic realms. GASP! is his first short film\, with best Judy and colleague Evan Tapper. \nTammy Renée Brackett creates work that poses epistemological questions regarding identity\, categorization\, and location. Brackett has an MFA in Electronic Integrated Art from the School of Art and Design at Alfred University and has exhibited work in China\, Japan\, Croatia\, Hungary\, and the United States. She is a recipient of the College Art Association Professional Development Fellowship for Visual Artists\, funded by the NEA. Her work has been included in the Albright Knox’s biennial exhibition Beyond/In Western NY\, at the Ball State Museum of Art\, and in a solo show titled Deer Dear at SUArt Galleries in Syracuse NY. Brackett is currently Professor and Chair of Digital Media and Animation at Alfred State College\, Alfred NY. \nTess Martin is an independent animator who works with cut-outs\, ink\, paint\, sand or objects. Her work often blurs the boundary between experimental and narrative\, animation\, film and art. She has received numerous grants\, prizes and artist residencies in support of her work which can be seen in festivals and galleries worldwide. Recent residencies include the Camargo Foundation (France\, 2019)\, the Bogliasco Foundation (Italy\, 2017) and Open Workshop (Denmark\, 2016). Filmography: Orbit (2019)\, Ginevra (2017)\, The Lost Mariner (2014)\, Mario (2014)\, They Look Right Through You (2013)\, Hula Hoop (2012)\, The Whale Story (2012)” \n16th Animation Fest curator: Leanne Goldblatt is a mother\, student\, and coach born and raised in Westchester\, N.Y.  She is currently pursuing a masters in Studio Art at the University of Buffalo.  As an interdisciplinary practitioner Leanne works primarily in the mediums of print\, sculpture\, and glass to create an autobiographical body of work.   \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: Gay Alien Shame Parade (GASP!) by Evan Tapper and Scott Sørli. Squeaky Wheel’s Animation Fest is sponsored by Villa Maria College’s Animation program. \n 
URL:https://squeaky.org/event/squeaky-wheels-16th-animation-fest/
LOCATION:Buffalo AKG Art Museum\, 1285 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190820T180000
DTEND;TZID=America/New_York:20190820T200000
DTSTAMP:20260502T172930
CREATED:20251230T191304Z
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SUMMARY:1988
DESCRIPTION:Premiere Film Screening 1988\nAugust 20th\, 6–8 PM\n@ Burchfield Penney Art Center \nArtist Talk following the film\nFree and open to the public \n  \nJoin us at the Burchfield Penney Art Center for the premiere of the Buffalo Youth Media Institute film 1988!\n1988 is a speculative documentary revolving around the subject of climate change. The film takes place in a dystopian alternate reality 2019 where everyone is immersed in a stream of television programming. All communications and media channels are controlled by the Obsolete Corporation\, which also produces most of the consumer products for the world. The Corporation’s signal is jammed by the Activist International\, a group of young activists fighting back against this accepted reality by calling out for change. The title of the film is taken from the year when a group of climate scientists spoke to Congress and warned of the impending climate crisis. Through a series of satirical skits and sobering interviews\, 1988 delves deeply into the complicated and urgent topic of global warming. \nThis film is made possible with support from Erie County and the Marks Family Foundation. This project is also funded by the Global Warming Art Project Grant (from Ben Perrone and the “Environment Maze” project donors); administered by Arts Services Initiative of WNY. \nBuffalo Youth Media Institute is a collaboration between Squeaky Wheel Film & Media Art Center and Buffalo Center for Arts & Technology and is supported by the National Endowment for the Arts and Children’s Foundation of Erie County\, with exhibition and venue support from Burchfield Penney Art Center. \n  \n  \n  \n  \n  \n  \n  \nMade in collaboration with:
URL:https://squeaky.org/event/1988/
LOCATION:NY
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20190814T190000
DTEND;TZID=America/New_York:20190814T210000
DTSTAMP:20260502T172930
CREATED:20251230T191304Z
LAST-MODIFIED:20251230T191304Z
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SUMMARY:Endless Dreams and Water Between
DESCRIPTION:Wednesday\, August 14\, 7pm\n$7 General / $5 Members / Free for ArtsAccess pass holders \nRenée Green’s Endless Dreams and Water Between is a feature film with four fictitious characters sustaining an epistolary exchange in which their “planetary thought” is woven with the physical locations they inhabit: the island of Manhattan\, the island of Majorca\, in Spain\, and the islands and peninsula that form the San Francisco Bay Area. Connected through ruminations on the 17th century author George Sand (Amantine Lucile Aurore Dupin)\, the characters’ reflections and dreams enact what could be described as “an archipelagic mind\,” linking worlds\, time\, and space. \n\nThis screening is part of our summer film series\, Three Storms for Summer Eves. These three dreamy films to provide moments to restore\, heal\, and gather strength for the months ahead. Taking place on Wednesday evenings\, we invite audiences to leave work\, join us to find relief in the dark\, and to exit and see the night anew. Feel free to bring pillows. Co-presented with Cultivate Cinema Circle. \nJune 19: Blissfully Yours \nJuly 12: Hale County This Morning\, This Evening \nAugust 14: Endless Dreams and Water Between \nCultivate Cinema Circle is an emerging screening series that aims to help foster a healthy\, fervent film culture in the Buffalo area. \n  \n  \nImage copyright of the artist\, courtesy of Video Data Bank\, www.vdb.org\, School of the Art Institute of Chicago.
URL:https://squeaky.org/event/endless-dreams/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20190717T190000
DTEND;TZID=America/New_York:20190717T210000
DTSTAMP:20260502T172930
CREATED:20251230T191249Z
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SUMMARY:Hale County This Morning\, This Evening
DESCRIPTION:Wednesday\, July 17\, 7pm\n$7 General / $5 Members / Free for ArtsAccess pass holders \nNominated for an Academy Award for Best Documentary Feature in 2019\, Hale County This Morning\, This Evening is composed of intimate and unencumbered moments of people in a community\, allowing the viewer an emotive impression of the Historic South. A visually stunning film which trumpets the beauty of life and consequences of the social construction of race\, it is a testament to dreaming – despite the odds.\n \nHow does one express the reality of individuals whose public image\, lives\, and humanity originate in exploitation? Photographer and filmmaker RaMell Ross employs the integrity of nonfiction filmmaking and the currency of stereotypical imagery to fill in the gaps between individual black male icons. Hale County This Morning\, This Evening is a lyrical innovation to the form of portraiture that boldly ruptures racist aesthetic frameworks that have historically constricted the expression of African American men on film. \nIn the lives of protagonists Daniel and Quincy\, quotidian moments and the surrounding southern landscape are given importance\, drawing poetic comparisons between historical symbols and the African American banal. Images are woven together to replace narrative arc with visual movements. As Ross crafts an inspired tapestry made up of time\, the human soul\, history\, environmental wonder\, sociology\, and cosmic phenomena\, a new aesthetic framework emerges that offers a new way of seeing and experiencing the heat\, and the hearts of people in the Black Belt region of the U.S. as well far beyond. \n\nThis screening is part of our summer film series\, Three Storms for Summer Eves. These three dreamy films to provide moments to restore\, heal\, and gather strength for the months ahead. Taking place on Wednesday evenings\, we invite audiences to leave work\, join us to find relief in the dark\, and to exit and see the night anew. Feel free to bring pillows. Co-presented with Cultivate Cinema Circle. \nJune 19: Blissfully Yours \nJuly 17: Hale County This Morning\, This Evening \nAugust 14: Endless Dreams and Water Between \nCultivate Cinema Circle is an emerging screening series that aims to help foster a healthy\, fervent film culture in the Buffalo area.
URL:https://squeaky.org/event/hale-county/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190619T190000
DTEND;TZID=America/New_York:20190619T210000
DTSTAMP:20260502T172930
CREATED:20251230T191250Z
LAST-MODIFIED:20251230T191250Z
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SUMMARY:Blissfully Yours
DESCRIPTION:Wednesday\, June 19\, 7pm\n$7 General / $5 Members / Free for ArtsAccess pass holders \nThe feature debut of Thai director Apichatpong Weeserakathul\, Blissfully Yours (2002) is an enigmatic\, surprising film that charts a road trip and picnic in a jungle between three people –a Burmese national working in Thailand without documentation\, his girlfriend\, and an older woman. Gestures\, glances\, and a lush landscape  releasing emotions\, superstitions\, and eroticism. This is a transformative summer movie of pop music and naps\, sex and sun through leaves\, and launched the director to international acclaim. \nOne of the best entries at Cannes…with its languid pacing and poetic sense of quiet and gesture\, Blissfully Yours would eventually uncover a world of hope\, possibility and bliss at the crossroads of human connection and aesthetic achievement. – Manohla Dargis (LA Weekly) \n\nThis screening is part of our summer film series\, Three Storms for Summer Eves. These three dreamy films to provide moments to restore\, heal\, and gather strength for the months ahead. Taking place on Wednesday evenings\, we invite audiences to leave work\, join us to find relief in the dark\, and to exit and see the night anew. Feel free to bring pillows. Co-presented with Cultivate Cinema Circle. \nJune 19: Blissfully Yours \nJuly 12: Hale County This Morning\, This Evening \nAugust 14: Endless Dreams and Water Between \nCultivate Cinema Circle is an emerging screening series that aims to help foster a healthy\, fervent film culture in the Buffalo area.
URL:https://squeaky.org/event/blissfully-yours/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190405T193000
DTEND;TZID=America/New_York:20190405T203000
DTSTAMP:20260502T172930
CREATED:20251230T191229Z
LAST-MODIFIED:20251230T191229Z
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SUMMARY:Hands as Far as the Eye Can See
DESCRIPTION:April 5th \n7:30pm \nAlbright Knox Art Gallery \nFREE & Open to the Public \nJoin us at the Albright Knox Art Gallery during their ‘First Fridays’ for a screening of student works made in response to artist Htein Lin’s exhibition “A Show of Hands”. This multi-youth program project explores the work of Artist Htein Lin as a jumping off point to create multi-media works that look at the role of hands and the stories of people. Squeaky Wheel’s two flagship media arts programs\, West Side Studio\, and Buffalo Youth Media Institute produced individual works that circle around the image and performance of the hand as a common visual connection between all the works. The pieces will explore everything from personal stories\, food traditions\, and even include poems from Just Buffalo’s Writing Center’s young writers. This screening will be a series of vignettes that relate and react to the work of Htein Lin as well as highlight the depth and talent of media arts in Buffalo young makers. \nThe screening will be followed by a Q&A with the young filmmakers. \nInformation about Htein Lin’s exhibition can be found here.  \n \nWest Side Studios \nLead Teaching Artist – Jesse Deganis-Librera \nTeaching Assistants – Raymari Hughs & Bhakti Williams-Brown \n  \nBuffalo Youth Media Institute  \nTeaching Artists – Lewgua Benson & Kevin Kline \n  \nJust Buffalo Writing Center \nLead Teaching Artist – Robin Jordan \n  \n\nThere is a free shuttle running from the West Side of Buffalo to the Albright Knox at various Locations throughout the day. Click Here for Details.  \n  \nSqueaky Wheel’s West Side Studios & Buffalo Youth Media Institute would like to\nthank our amazing supporters & partners: M&T Charitable Foundation\, First Niagara\nFoundation\, Josephine Goodyear Foundation\, Cameron & Jane Baird Foundation\,\nChildren’s Foundation of Erie County\, Marks Family Foundation\, Margaret L. Wendt\nFoundation\, Best Buy Foundation\, Erie County Cultural Funding\, City of Buffalo\,\nNational Endowment for the Arts\, New York State Council on the Arts\, the Buffalo\nCenter for Arts & Technology\, and PUSH Buffalo. \nThis program is part of M&T FIRST FRIDAYS @ THE GALLERY at the Albright-Knox Art\nGallery. On the first Friday of every month—from 10 am to 10 pm—admission to part\nof the museum and select events are free for everyone. \n     
URL:https://squeaky.org/event/hands-as-far-as-the-eye-can-see/
LOCATION:Buffalo AKG Art Museum\, 1285 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190405T190000
DTEND;TZID=America/New_York:20190405T210000
DTSTAMP:20260502T172930
CREATED:20251230T191248Z
LAST-MODIFIED:20251230T191248Z
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SUMMARY:Worldline ⃝ Timeline
DESCRIPTION:With filmmaker Bryan Oliver Green in-person\, and a live Skype performance by Dana McKnight\nFriday\, April 5\, 7pm\n$7 General / $5 Members / Free for ArtsAccess Pass holders\n***A limited amount of free tickets for this screening will be set aside for members of the Black and indigenous community. Click here to claim your ticket.***\n \nSqueaky Wheel presents an evening of films and performances that form a constellation of times and spaces outside of colonial thought. The screening features a live science-fiction Skype performance by artist Dana McKnight; Bryan Oliver Green’s Recurrence Plot: The Family Circle (2018)\, adapted from a short story by Black Quantum Futurism’s Rasheedah Phillips; Amanda Strong’s Mia’ (2015)\, a supernatural stop-motion film of a young Indigenous female street artist who finds ways to root herself within her ancestry; and concluding with John Akomfrah’s essential 1996 film\, The Last Angel of History\, which examines the relationships between Pan-African culture\, science fiction\, intergalactic travel\, and rapidly progressing computer technology. Join us for a special evening traveling through space and time\, with visiting filmmaker Bryan Oliver Green in person. \nThis event is presented as part of the public programming accompanying Black Quantum Futurism: ON THE EDGE OF THE BUSH / A LONG WALK INTO THE UNKNOWN\, on view at Squeaky Wheel\, Jan 25–April 20\, 2019. Special thanks to Vtape and Icarus Films. \nProgram \n\nMia’ (Salmon)\nAmanda Strong\n8 min\, digital\, sound\, 2015\nA young Indigenous female street artist named Mia’ walks through the city streets painting scenes rooted in the supernatural history of her people. Lacking cultural resources and familial connection within the city\, she paints these images from intuition and blood memory. She has not heard the stories from her Elders lips\, but has found her own methods to re-discover them. The alleyways become her sanctuary and secret gallery\, and her art comes to life. Mia’ is pulled into her own transformation via the vessel of a salmon. In the struggle to return home\, she traverses through polluted waters and skies\, witnessing various forms of industrial violence and imprint that have occurred upon the land. \nMia’ is a hybrid documentary using animation and sound as a vehicle to tell the story of transformation and re-connection. Indigenous people in Canada experienced displacement once commercial trade turned into settlement. Today the urban population of Native people now outnumbers those living on-reserve. Many struggle being disconnected from their land\, rites\, and protocol. This film is not an adaptation or a re-telling of a traditional story but is based in the circular time of\, and passage of\, oral history. Mia’ challenges the notions and format of conventional documentaries and presents Indigenous oral traditions as truth and not myth or legend. (Description courtesy of Vtape.) \n\nRecurrence Plot: The Family Circle\nBryan Oliver Green\, adapted from a short story by Rasheedah Phillips\n16 min\, digital\, sound\, 2018\nA crystal\, memory-storing bracelet transports a young mother back to the day of her own mother’s traumatic death and challenges the notion that time flows in only one direction… \nUntitled live skype performance\nDana McKnight\n~10 min\, 2019 \n\nThe Last Angel of History\nJohn Akomfrah\n45 min\, digital\, sound\, 1996 \nJohn Akomfrah\, director of Seven Songs of Malcolm X\, returns with an engaging and searing examination of the hitherto unexplored relationships between Pan-African culture\, science fiction\, intergalactic travel\, and rapidly progressing computer technology. \nThis cinematic essay posits science fiction (with tropes such as alien abduction\, estrangement\, and genetic engineering) as a metaphor for the Pan-African experience of forced displacement\, cultural alienation\, and otherness. \nAkomfrah’s analysis is rooted in an exploration of the cultural works of Pan-African artists\, such as funkmaster George Clinton and his Mothership Connection\, Sun Ra’s use of extraterrestrial iconography\, and the very explicit connection drawn between these issues in the writings of black science fiction authors Samuel R. Delaney and Octavia Butler. \nIncluded are interviews with black cultural figures\, from musicians DJ Spooky\, Goldie\, and Derek May\, who discuss the importance of George Clinton to their own music\, to George Clinton himself. Astronaut Dr. Bernard A. Harris Jr. describes his experiences as one of the first African-Americans in space\, while Star Trek actress Nichelle Nichols tells of her campaign for a greater role for African-Americans in NASA. Novelist Ismael Reed and cultural critics Greg Tate and Kodwo Eshun tease out the parallels between black life and science fiction\, while Delaney and Butler discuss the motivations behind their choice of the genre to express ideas about the black experience. \nIn keeping with the futuristic tenor of the film\, the interviews are intercut with images of Pan-African life from different periods of history\, jumping between time and space from the past to the future to the present\, not unlike the mode of many rock videos or surfing the Internet. \nBanner image: John Akomfrah\, The Last Angel of History\,1996. Courtesy of Icarus Films.
URL:https://squeaky.org/event/worldline-timeline/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181215T140000
DTEND;TZID=America/New_York:20181215T150000
DTSTAMP:20260502T172930
CREATED:20251230T191227Z
LAST-MODIFIED:20251230T191227Z
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SUMMARY:The Big Picture: A Member Community Screening
DESCRIPTION:  \nThis event has been POSTPONED!!!!!!!!! \nScreening date: December 15\, 2018\, 4 pm \nJoin the creative community on Saturday\, December 15 at 4 pm for The Big Picture at Squeaky Wheel!  Producer Fred Massey Jr. will be talking about his new project Breakin’ Legs\, a video series showcasing overlooked music scenes incubating in equally overlooked cities.  The first episode focuses on Benny the Butcher from Buffalo\, NY.  Come check out the project’s progress and\, if you yourself are a maker\, how you can get your own Big Picture event here at Squeaky Wheel!\n\nThe Big Picture is an access program initiative designed to provide local artists a platform to showcase their projects and to receive feedback; to impact and be impacted by the community of makers\, viewers\, critics & supporters and to grow from the experience. So join us on Saturday\, December 15 at 4 pm and become part of The Big Picture!\n\nIf you have any questions please contact Mark Longolucco via mark@squeaky.org \n\n 
URL:https://squeaky.org/event/the-big-picture-a-member-community-screening/
LOCATION:NY
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181201T190000
DTEND;TZID=America/New_York:20181201T220000
DTSTAMP:20260502T172930
CREATED:20251230T191207Z
LAST-MODIFIED:20251230T191207Z
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SUMMARY:SHAKEDOWN
DESCRIPTION:Saturday\, December 1\, 7pm\n@ Varsity Theatre (3165 Bailey Ave)\n$10 Screening\n$20 Screening + After-party benefitting Dreamland\nClick here to buy tickets. \nAs Buffalo’s LGBTQ+ spaces face closings and erasure\, Squeaky Wheel presents Leilah Weinraub’s SHAKEDOWN (2017). Documenting a series of Black lesbian dance and strip parties in the 2000s\, Weinraub’s film is a tender\, hilarious\, and utopic portrait of a space and community. Join us at Varsity Theatre for the screening of this vital film with director and Hood by Air co-founder Leilah Weinraub in person\, followed by a benefit party for Dreamland at Sweets Lounge featuring a performance by burlesque troupe Femme Noire. \nAs a director\, Weinraub resists operating as a liaison between viewer and subject; she seems more interested in the play between voyeurism and fantasy. Shakedown is neither an experimental art film nor an anthropology of gay\, black femme performance in L.A. Rather\, Weinraub sought to capture a moment and turn it into cinema. – Cassie da Costa\, New Yorker \nIt’s a dreamy glimpse into a scene subjected to outrageous pressures — from the spectral cop of homophobia and even more from the real cops — that was a wellspring of fun\, love\, desire and good times regardless. – Hannah Black\, Dazed \nLeilah Weinraub’s bold\, immersive documentary\, SHAKEDOWN (2017)\, both enthralls and makes us question how we think about sex and its presentation on camera. A tribute to Weinraub’s talent\, the film takes us into the eye of the spectacle — the dance club floor with dynamic\, erotic figures of Black female dancers who strip for women — and then elegantly pulls us back. Weinraub finds a place of distance and subtle re-calibration where nothing is what it at first appears. This is a fitting approach for a film that celebrates a communal physical and symbolic space in which one can create a perfectly fluid\, slippery identity to be desired and worshipped for — a state of grace\, as we come to understand\, that still rarely exists outside subaltern club culture. – Ela Bittencourt\, Hyperallergic \nSHAKEDOWN presented in collaboration with Dreamland\, Buffalo-Niagara LGBTQ History Project. Thanks to our sponsors at the Varsity Theatre\, and Sweet Lounge. \nBanner image: Leilah Weinraub\, Shakedown. 2017. Still courtesy Leilah Weinraub.
URL:https://squeaky.org/event/shakedown/
LOCATION:NY
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181006T110000
DTEND;TZID=America/New_York:20181006T170000
DTSTAMP:20260502T172930
CREATED:20251230T191206Z
LAST-MODIFIED:20251230T191206Z
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SUMMARY:Buffalo International Film Festival
DESCRIPTION:Saturday\, October 6\, 10am–7pm\nPurchase Tickets Here  \nBuffalo International Film Festival returns to Squeaky Wheel for its twelfth year with a special showcase of films by students in our youth education initiatives. BIFF presents a juried selection of films with regional and global perspectives. \n10am: BIFF Shorts: Youth by Squeaky Wheel (1hr) FREE!\n11am: Panel: Make Your Movie in WNY (1hr)\n12:15pm: Panel: Women in Film (1hr)\n1:30pm: Panel: What Kind of Producer are You?(1hr)\n3pm: Geometry of Desire (1:31hr)\, with The Girls Were Doing Nothing Wrong (17min)\n5:15pm Playing Frisby in North Korea (1:20hr) with\, The Pledge (7min)\, Black (4min)\, and Unforgivable (30min) \nMore information on the films can be found at the festival website
URL:https://squeaky.org/event/buffalo-international-film-festival-3/
LOCATION:NY
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180830T130000
DTEND;TZID=America/New_York:20180830T140000
DTSTAMP:20260502T172930
CREATED:20251230T191207Z
LAST-MODIFIED:20251230T191207Z
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SUMMARY:Premiere Screening: A Long\, Long Now
DESCRIPTION:Brought to you by: Squeaky Wheel Film & Media Art Center\, Buffalo Center for Art & Technology \nPowered by AT&T \n \nJoin us at The Burchfield Penney on Thursday\, August 30th at 1 pm for the premiere screening of our Buffalo Youth Media Institute’s film\, A Long\, Long Now. The film will be presented with the students and a Q&A with the young filmmakers after the screening. \nDescription\n\nIn this hybrid documentary/narrative film\, students of the Buffalo Youth Media Institute explored different possibilities of future and technology and how they relate to current uses and equity of those technologies. The film is a combination of interviews with future thinking artists and elected officials mixed with fantastical skits offering up machines that can cure social\, economic\, or cultural ills of our communities. The film’s premise is that this project exploring hopes and fears about the future of technology is found 300 years in the future by the people who exist then. The film then is put back together by the people of that time and presented to the best of their understanding of our culture is at that time. This film is part fiction and part truth-seeking meant to leave us all thinking of what our role is when it comes to the future and equitable technologies that can benefit us all. \n \n-Zaire Goodman\n2nd year Buffalo Youth Media Institute Student\n\n\n\nInterviews with\n\n\nAmerican Artist: Interdisciplinary Artist whose work extends dialectics formalized in Black radicalism and organized labor into a context of networked virtual life. Their practice makes use of video\, installation\, new media\, and writing to reveal historical dynamics embedded within contemporary culture and technology. \nStacey Robinson: Designer\, Illustrator and Professor of Art at University of Illinois at Urbana-Champaign. His art speculates futures where Black people are free from colonial influences. Along with John Jennings\, he is part of the collaborative duo ‘Black Kirby\,’ which explores Afro Speculative existence via the aesthetic of Jack Kirby. Robinson’s work is rooted in traditional comic illustration and is calm and beautiful. Subtly expressing a desire for an equitable future for bodies and identities of color. \nDevin Hentz: is a researcher and writer based in Dakar\, Senegal. She recently participated in the second session of the RAW Academie\, directed by Chimurenga\, at RAW Material Company before working there as a librarian and researcher. She is the founder of the B/Look Club which meets once per month to activate the archive of RAW Base (RAW’s Library). Her writings have been published in LESS Magazine and the upcoming issue of Something We Africans Got. Her areas of interests include\, Afro/African futures\, development narratives in Africa\, dress practices\, and radical pedagogy. \nPhillip Stearns: is the creator of the Year of the Glitch\, a yearlong glitch-a-day project\, and Glitch Textiles\, a project exploring the intersection of digital art and textile design. Stearns’ work is concerned with our relationships with technologies. Through deconstruction and reconfiguration the technologically mediated environment is approached as an assemblage\, where human activity plays a role of equivalent importance to environmental agency. From this perspective\, the development and application of our technologies\, machines and tools reveals our perceptual biases\, desires\, dreams and fears—both conscious and unconscious. Cultural values and meaning\, then\, can be viewed as derivative\, shaped by the particular conditions facilitating the distribution of agency through cascading exchanges of mediated interactions. \n\nCrystal People-Stokes: Assemblymember Crystal D. Peoples-Stokes has faithfully served New York State’s 141st Assembly district since 2003. An advocate with clear and principled service\, she has always put people and policy before politics. She was appointed as Chair of the Assembly’s Committee on Governmental Operations in 2015. This committee maintains oversight on ethics reform and FOIL requests\, state police\, homeland security\, disaster and emergency preparedness\, MWBE\, crime victims\, human rights\, and military and naval affairs. In June 2017\, she was voted by her colleagues to be Chair of the New York State Legislative Women’s Caucus which is a bi-partisan and bi-cameral group.\n\nSean Ryan: Assemblymember Sean Ryan serves the people of the 149th District in Buffalo\, NY. Sean’s broad legal experience includes work for Neighborhood Legal Services\, private law practice collaboration with the Learning Disabilities Association of WNY\, concentrating on the rights of disabled students\, and the Legal Aide Bureau of Buffalo. His legal career highlights include a record award for a victim of housing discrimination\, a successful challenge to a school district’s denial of special education services to children enrolled in parochial schools\, and an action to compel enforcement of Buffalo’s Living Wage Ordinance.\n\nThis event is free and open to the public
URL:https://squeaky.org/event/premiere-screening-a-long-long-now/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Ave\, Buffalo\, 14222\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180804
DTEND;VALUE=DATE:20180908
DTSTAMP:20260502T172930
CREATED:20251230T191146Z
LAST-MODIFIED:20251230T191146Z
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SUMMARY:Squeaky Wheel's 15th Animation Fest!
DESCRIPTION:Screening 1\nSaturday\, August 4\, 12pm\nat the Frank E. Merriweather Library\n\nScreening 2\nFriday\, September 7\, 7:30pm\nat the Albright Knox Art Gallery \nAll screenings are free and open to the public! \nSqueaky Wheel is proud to announce our 15th Animation Festival! This free\, all-ages\, family-friendly affair with the famous Squeaky edge is a showcase of short animated film\, featuring a variety of techniques\, from hand-made film to 3D animation. Guest curated by Savion “Ineil Quaran” Mingo (D.O.P.E. Collective)\, we are proud to present the biggest animation fest yet. Make sure to attend all screenings to see all the films! \nAmong the works featured in the festival are Orisha’s Journey\, an African tale of a girl named Orisha who journeys into the spirit world; Two Spirit\, a reflection on the term indicating someone of native descent who possesses both male and female spirits; Mahogany Too\, an experimental Nollywood sequel to the lustrous 1975 Diana Ross drama. Other works visualize the snapping boasts of Muhammad Ali; elegantly explore Brazillian dance and Yoruba spirituality through hand-painted animation; and showcase the trials of a black queer youth who tries to find acceptance. Foregrounding artists of African and Indigenous/Native descent\, the screening features works from around the world\, and the possibilities of science fiction courses through the veins of all three screenings. \nWith films by Adrian Baker\, Donovan Vim Crony\, Sergio Di Bitetto\, Hannah R.W. Hamalian\, Carrie Hawks\, Adam Khalil\, Zack Khalil & Jackson Polys\, Elizabeth LaPensée\, Laura Marguiles\, Lucas Martell\, Everard McBain\, Teouria Morris\, Abdul Ndadi\, Akosua Adoma Owusu\, Ibrahim Waziri\, Don Jonathan Webb\, and Jin Woo. \n  \n \nOrisha’s Journey by Abdul Ndadi\n \nHepa! by Laura Margulies\n \nPlugin by Sergio Di Bitetto\n \nBeautiful\, by Jin Woo\nScreening 1 Program\nHepa! by Laura Margulies\n6:30min\, 16mm on digital\, 1998\nAward winning (NYFA and Dance Films Association)\, Hepa! played at the Sundance film festival. It is a hand painted\, animated exploration into Brazilian Capoeira\, dance\, Orishas and drum. Live action footage blended with animation. Featuring Marivaldo Dos Santos of Stomp. \nCelflux Reluctant Heroes Trailer by Everard McBain\n1:45min\, digital\, 2017\nThe trailer for the upcoming animated series Celflux. \nPlugin by Sergio Di Bitetto\n4:29min\, digital\, 2014\nPlugin is the story of a mechanical city in which every citizen is a part of the city itself\, responsible for generating lights by connecting the male and female parts of the mechanism. Everyone seems to fit into this perfect puzzle except the main character\, G-O\, a man who does not match the rest of his world. G-O finally finds his perfect match – another man – but the City Authority try to stop this uncommon union. It is up to G-O and Ico to show their city that every connection is after all part of the same energy – love. \nMuhammad Ali – “How Great I Am” (Animated) by Don Jonathan David Webb\n1min\, digital\, closed captioned\, 2017\nMuhammad Ali was so much more than a professional boxer\, he was a global icon\, civil-rights activist\, and an American hero.\nThe audio used in this animation was from a 1974 event promoting the upcoming Ali-Foreman fight (aka “The Rumble in the Jungle”).\nAli’s use of poetry\, language and humor was a tool he utilized to build momentum\, and in a sense\, to proclaim victory in his upcoming fights.\nThis animated video is dedicated to him. The Greatest! \nThe Violence of a Civilization without Secrets by Adam Khalil\, Zack Khalil\, Jackson Polys\n10min\, digital\, 2017\nAn urgent reflection on indigenous sovereignty\, the undead violence of museum archives\, and postmortem justice through the case of the “Kennewick Man\,” a prehistoric Paleo-American man whose remains were found in Kennewick\, Washington\, in 1996. \nAnnie & Dave by Teouria Morris\n2:50min\, digital\, 2018\nWithin a classroom at North Ridge High sits Annie\, a girl with a big appetite and Dave\, a quiet misunderstood boy. Over the course of the class Annie’s eating gets Dave in trouble repeatedly with their strict teacher\, who tolerates no disobedience from her students. In the end a truce is formed\, a new friendship is beginning and sharing food is tolerated. \nOrisha’s Journey by Abdul Ndadi\n5:20\, digital\, 2014\nBased on African folklore; “Orisha’s Journey” is the fantasy tale of a girl called Orisha\, who ventures into the spirit world and must learn the importance of remembering her roots. \nemptying\, to make room for overflowing by Hannah R.W. Hamalian\n5min\, digital\, 2017\nWhat if there are really gleaming cities hung upside-down over the desert sand? A girl contends with her fate by taking on a var hiiety of forms. A cube becomes a vessel\, a site of transformation\, a container of the universe. \nMahogany Too by Akosua Adoma Owusu\n3min\, Super-8mm on digital\, 2018\nInspired by Nollywood’s distinct re-imagining in the form of sequels\, Mahogany Too\, interprets the 1975 cult classic\, Mahogany\, a fashion-infused romantic drama. Starring Nigerian actress Esosa E.\, Mahogany Too\, examines and revives Diana Ross’ iconic portrayal of Tracy Chambers\, a determined and energetic African-American woman enduring racial disparities while pursuing her dreams. Mahogany Too uses analog film to achieve its vintage tones which emphasizes the essence of the character\, re-creating Tracy’s qualities through fashion\, modeling\, and styling. \nAquarium by Hannah R.W. Hamalian\n4:46min\, digital\, 2018\nThe composition of the human body is interpreted through fractal geometric shapes\, which are released into pulsating movements. A monochromatic visual world pairs with a fragmented soundtrack to speculate about the possibility of cohesion. Limbs and pieces assemble and disassemble within a red pool\, as desire for unity is mediated. \nNOISE GATE by Donovan Vim Crony\n8min\, digital\, 2013\nNOISE GATE is an experimental sci-fi short film about a dimensional traveling Scientist who is in search of the ultimate reality. His only passage into that realm is something called the NOISE GATE. \nScreening 2 Program\nHepa! by Laura Margulies\n6:30min\, 16mm on digital\, 1998\nAward winning (NYFA and Dance Films Association)\, Hepa! played at the Sundance film festival. It is a hand painted\, animated exploration into Brazilian Capoeira\, dance\, Orishas and drum. Live action footage blended with animation. Featuring Marivaldo Dos Santos of Stomp. \nBeautiful\, by Jin Woo\n7:40min\, digital\, 2014\nThis picture portrays the society’s heavy influence on the unification of individual characters in this world. \nPlugin by Sergio Di Bitetto\n4:29min\, 2014\, digital\nPlugin is the story of a mechanical city in which every citizen is a part of the city itself\, responsible for generating lights by connecting the male and female parts of the mechanism. Everyone seems to fit into this perfect puzzle except the main character\, G-O\, a man who does not match the rest of his world. G-O finally finds his perfect match – another man – but the City Authority try to stop this uncommon union. It is up to G-O and Ico to show their city that every connection is after all part of the same energy – love. \nOrisha’s Journey by Abdul Ndadi\n5:20min\, digital\, 2014\nBased on African folklore; “Orisha’s Journey” is the fantasy tale of a girl called Orisha\, who ventures into the spirit world and must learn the importance of remembering her roots. \nMuhammad Ali – “How Great I Am” (Animated) by Don Jonathan David Webb\n1min\, digital\, closed captioned\, 2017\nMuhammad Ali was so much more than a professional boxer\, he was a global icon\, civil-rights activist\, and an American hero.\nThe audio used in this animation was from a 1974 event promoting the upcoming Ali-Foreman fight (aka “The Rumble in the Jungle”).\nAli’s use of poetry\, language and humor was a tool he utilized to build momentum\, and in a sense\, to proclaim victory in his upcoming fights.\nThis animated video is dedicated to him. The Greatest! \nCelflux Reluctant Heroes Trailer by Everard McBain\n1:45min\, digital\, 2017\nThe trailer for the upcoming animated series Celflux. \nBuried by Adrian Baker\n3:10min\, digital\, 2013\nBuried: Ohlone activist and educator Corinna Gould talks about the destruction of sacred sites\, with a focus on the shellmounds in the San Francisco Bay Area of California. \nThe Violence of a Civilization without Secrets by Adam Khalil\, Zack Khalil\, Jackson Polys\n10min\, digital\, 2017\nAn urgent reflection on indigenous sovereignty\, the undead violence of museum archives\, and postmortem justice through the case of the “Kennewick Man\,” a prehistoric Paleo-American man whose remains were found in Kennewick\, Washington\, in 1996. \nblack enuf* by Carrie Hawks\n22:16min\, digital\, closed-captioned\, 2016\nA queer oddball seeks approval from black peers despite a serious lack of hip-hop credentials. This short animated documentary takes you on a quest for belonging. \nBio of the curator \nSavion “Ineil Quaran” Mingo is an afro-futurist multidisciplinary artist and ghetto organizer born in Buffalo\, NY and raised in the Kenfield/Langfield Projects. Through his fine art and multimedia collages he recreates memories and dreamscapes incorporating themes of self-preservation\, Black celebration\, imagination\, and grief. He developed his skill by blocking-out neighborhood sidewalks with chalk drawings and studying digital tutorials. Institutionally he attended Buffalo Academy of Visual Performing Arts and briefly\, Villa Maria College majoring in animation. Growing up Ineil indulged in: Walt Disney animations\, climbing trees\, the epics of ancient religions and folklore\, anime\, early 2000’s hip hop and R&B\, science fiction adventure\, and his gullah/geechee heritage. \nIn 2014 he co-owned\, graphic design business and zine distributor\, VENT. Soon after in 2015 he co-founded D.O.P.E. Collective (Dismantling Oppressive Patterns for Empowerment)\, a Black youth-led anti-oppressive arts organization that aims to strengthen  local resources for creative and exploited communities which resists through art forms and arts movements considered: white-washed\, extreme\, stigmatized\, political\, and/or experimental.  \nIneil Quaran is now developing work for his first solo art show and is continuing to cultivate resources supporting the East Side\, melaninated creatives\, and all the black and brown *QTs! \n*QT = queer and trans people \nBios of the artists \nOver the past two decades Adrian Baker has produced\, written and directed numerous projects for television and the web\, including the award-winning animated poetry series SlamBox\, which was produced in partnership with Youth Speaks. As Creative Director for MadLab Creative his client list included DreamWorks Records\, Sony Screenblast\, and Wild Brain Animation. Adrian’s current project is Injunuity\, an episodic documentary using a unique mix of animation\, music and real audio to explore modern American life from a contemporary Native American perspective\, which aired nationally on PBS in November\, 2013 and has been seen (in part or whole) in numerous film festivals worldwide. Injunuity 2.0 is now in production. The project also includes an educational portal and is being produced in partnership with the Independent Television Service (ITVS) and Vision Maker Media. In addition to his animation\, Adrian has also worked extensively in the education field as a teacher\, mentor and coach\, has published several pieces of short fiction and has optioned a feature length screenplay. Currently Adrian lives in Oakland\, California with his wife and daughter.” \nDonovan Vim Crony is a film/TV Producer and visual artist living and working in Los Angeles. His work focuses on fusing themes of rock & roll and speculative fiction (sci-fi\, horror\, fantasy) in contemporary and dystopian societies. His visual art style is highly influenced by comic book and anime culture as seen through the lens of the African diaspora. For more information on Donovan Vim Crony\, visit www.vimcrony.com. IG: @VimCrony \nSergio Di Bitetto is an Italian animator and designer born in a small town of the south of Italy who has always dreamed to work in the Cartoons industry. Grew up with Disney’s classical feature films and Japanese anime\, he developed his skills attending an artistic high school\, then moving to Milan where he obtained his degree in Media design and Multimedia Arts. After graduating he had the chance to enter in the business as motion graphic designer and compositor\, working for many Italian and international brands in the TV and video commercial industry. After three years of work experience in this field\, he decided to go back to his passion for animation\, moving to Canada where he attended the Classical Animation program at Vancouver Film School. He’s now currently working the animation industry in Canada\, while trying to pursuing his childhood dream to tell story that will inspire the world. \nHannah R.W. Hamalian is a filmmaker engaged in demonstrating complexity in order to point to the richness of life. Through animation\, live action\, and appropriated video\, she asks questions of herself and her viewers in order to untangle the forces that shape people into who they are. Interpreting being as a daily process of renewal rather than a static mode\, her work often centers the body as a site of transformation. She is drawn to motion and immersive soundscapes as tools to create experiences of expanded possibility. She is currently based in Milwaukee\, Wisconsin where she is an instructor in the Film department at UW-Milwaukee. \nCarrie Hawks harnesses the magic of animation to tell stories. The artist works in a variety of medium including drawing\, doll-making\, and performance. Their work addresses gender\, sexuality\, and race. They have shown in New York\, Atlanta\, Kansas City\, Toronto\, and Tokyo. They hold a BA in Art History & Visual Arts from Barnard College and a BFA in Graphic Design from Georgia State University. Their first film\, Delilah\, won the Best Experimental Award at the Reel Sisters of the Diaspora Film Festival (2012). Their films have screened at BlackStar Film Festival (Philadelphia)\, CinemAfrica (Stockholm\, Sweden)\, and MIX Queer Experimental Film Festival (New York). black enuf* won the ‘Best Animation’ at Reel Sisters of the Diaspora\, and ‘Best Women’s Short Film-Audience Award’ at the 30th Annual Out on Film Festival in Atlanta\, Georgia. \nAdam Khalil (Ojibway) is a filmmaker and artist. He attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. His and his brother Zack’s work has been exhibited at the Museum of Modern Art\, UnionDocs\, e-flux\, and the Walker Art Center. \nZack Khalil (Ojibway) is a filmmaker and artist. His work centers on indigenous narratives in the present—and looks towards the future—through the use of innovative nonfiction forms. Along with his brother Adam\, he is a Gates Millennium Scholar\, UnionDocs Collaborative Fellow\, and current Sundance Native Film Fellow. \nElizabeth LaPensée\, Ph.D. is an award-winning designer\, writer\, artist\, and researcher who creates and studies Indigenous-led media such as games and comics. She is an Assistant Professor of Media & Information and Writing\, Rhetoric & American Cultures at Michigan State University. Most recently\, she designed and created art for Thunderbird Strike (2017)\, a lightning-searing side-scroller game which won Best Digital Media at imagineNATIVE Film + Media Arts Festival. \nLaura Marguiles began animating in 1988 as a means to combine her love of dance and art. Animation has continued to inspire Laura\, who has spent over twenty five years exploring paint in motion. Her personal films have been screened worldwide in film festivals (Sundance\, Ann Arbor\, Margaret Mead\, Anima Munde\, Asifa\, New York Children’s Film Festival\, and Cardiff International Film Festival\, Hawaii International Film Festival\, Honolulu Museum of Art\, etc) and her commissioned work has aired nationwide (PBS\, CBS\, MTV\, VH1\, Sundance Channel etc.). She has received awards and grants from Cinedance Film Festival\, Broadcast Design\, Asifa East\, Ann Arbor\, and Creativity Magazine\, New York University\, the New York Foundation for the Arts\, Dance Films Association\, Te PEW Charitable Funds. Besides creating her own flms\, Laura has worked as a designer and colorist at MTV Animation on the classics Te Head\, Beavis and Butthead and Daria and as a freelance illustrator\, animator and artist. Laura has taught animation at Pratt\, New York Film Academy\, School of Visual Arts\, Punahou School\, I’olani School\, Hawaii Women in Filmmaking  and at New York University’s Tisch School of the Arts where she was on the faculty and taught for thirteen years. She has been teaching animation at the Academy of Creative Media at the University of Hawaii since 2015. She continues to work on freelance jobs. Most recently she supervised the animation as well as creating animation for a collaborative event Symphony of Birds at Blaisdell Cancert Hall in Honolulu. “ \nLucas Martell’s first short film Pigeon: Impossible has been shown in over 250 festivals in 43 countries\, and won more than 20 awards including Best Short at the Montreal World Film Festival and Best in Show at ArtFutura in Spain. The film was also a viral hit online\, having passed 11 million views on YouTube alone. Since Pigeon: Impossible\, Lucas has developed several feature animation projects and runs Mighty Coconut\, a full- service animation studio in Austin\, Texas. The OceanMaker is his second 3D animated film. \nEverard McBain is the Creative Director and CEO of GemGfx. GemGfx is a multidisciplinary design consultancy based in Trinidad and Tobago. He has been involved in the field of Graphic Design for over 14 years. He is also the art director and co-author of the graphic novel Celflux which he created along with his wife Dixie Ann Archer-McBain. \nBorn in Buffalo\, NY\, Teouria Morris’s ultimate goal would be to live in a world filled with free Hamilton tickets\, swarms of puppies\, and lakes full of chocolate. A senior at Villa Maria College\, Teouria\, is an artist\, animator\, and a visual development artist. Originally wanting to pursue only Animation\, she was eventually won over by the beauty of environments such as Tarzan and Big Hero 6. When shes not drawing or creating interesting characters\, she can be found eating or dancing around the classroom\, usually on a sugar-rush. \nAbdul Ndadi is an independent animator of Ghanaian descent living in New York City. He graduated from the School of Visual Arts in 2013. His animated short Orisha’s Journey (based on African folklore) premiered in Japan at the Hiroshima International Animation Festival and screened at over 50 film festivals across the globe. A believer in the strength of the human spirit to overcome all adversities\, with his work he’d like to give a platform for those who feel voiceless and help build a bridge of common understanding for all people. Abdul works as a freelance artist for film and commercial productions. \nAkosua Adoma Owusu (born January 1\, 1984) is a Ghanaian-American filmmaker\, producer and cinematographer whose films address the collision of identities\, where the African immigrant located in the United States has a “triple consciousness.” Owusu interprets Du Bois’ notion of double consciousness and creates a third cinematic space or consciousness\, representing diverse identities including feminism\, queerness and African immigrants interacting in African\, white American\, and black American culture. Her films have screened internationally including Rotterdam\, Rencontres Internationales Paris/Berlin\, Toronto\, New Directors/New Films\, BFI London Film Festival and San Francisco International Film Festival among others. She was a featured artist at the 56th Robert Flaherty Seminar programmed by renowned film critic Dennis Lim. In 2015\, she was named by Indiewire as one of 6 preeminent Avant-Garde Female Filmmakers Who Redefined Cinema. Currently\, she divides her time between Ghana and New York\, where she works as a Visiting Assistant Professor at the Pratt Institute in Brooklyn. \nJackson Polys is a visual artist who seeks to dissolve artificial boundaries between perceptions of traditional Native art forms\, practices\, and contemporary life. He holds an MFA in visual arts from Columbia University. He is the recipient of a 2017 NACF Mentor Artist Fellowship and is advisor to Indigenous New York at the Vera List Center. \nIbrahim Waziri Teaching Children About Africa & The World: There’s always something new going on as the world around them hurtles on and changes. With Bino and Fino’s curiosity and thirst for learning there is always something new to discover.  It could be an African dish\, an animal\, a heavy tropical lightning storm\, a country\,a fruit\, a word in an African language\, a musical instrument\, African geography\, a folktale… Featured in ​Huffington Post​ \, ​Blavity​ and ​CNN​. With over 2 million ​Youtube​ Views\, public screenings in over 7 countries\, customers in over 10 countries Bino and Fino opens up a fantastic world of learning for children. The show has been embraced by parents and educators in countries like the USA as a genuine way to teach about diversity\, Africa and more.  \nDon Jonathan Webb uses his passion for history to tell stories that highlight and honor the richness of the African-American experience. Using 2D animation he creates short vignettes that seek to educate\, inspire and entertain viewers. \nJin Woo is an independent short animation director since 2012. VJ. Went to Krakow ASP 2016 dropped off in 2017. Graduate from Kaywon Art School 2012. Born and grew up in S.Korea but also lived in the different countries as an outsider.
URL:https://squeaky.org/event/squeaky-wheels-15th-animation-fest/
LOCATION:NY
CATEGORIES:Screenings
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SUMMARY:Let's Start the Conversation: Hues of Humanity
DESCRIPTION:Saturday\, June 30\, 2018\n3:30pm\nFree and open to the public \nAs part of Squeaky Wheel’s Community Screenings\, we are pleased to present Hues of Humanity\, a film produced by Rachel and Dianna Henderson\, co-founders of Colorfully Beautiful. Addressing topics such as empathy and emotional awareness the film attempts to build permanent bridges through authentic conversation. Join us for an audience/filmmaker talk back on how we can all contribute something in order to help positively co-create our existing realities. \nMember Profile: Rachel Henderson \n \nIf you walked into our media lab at any given time this Spring you probably would have come across Squeaky Wheel member\, Rachel Henderson editing her latest film on one of our lab stations. This season we are pleased to introduce Rachel here in our special Members Spotlight.  \nBorn and raised in Buffalo\, Rachel joined Squeaky Wheel as an Artist Member in July of 2017. After a move back home from Los Angeles\, California\, she found that Squeaky Wheel answered all her technical questions! Rachel began her journey in film after receiving her B.A. in Communication from Roberts Wesleyan College where she was also awarded title of Alum of the Year. From the workshops provided to equipment rental\, Squeaky Wheel has given her both the access and the freedom to create her own work. Currently she is assisting on productions for both the Albright Knox and Buffalo Public Schools and is working on her own independent mini-doc.  \nOn her latest film Henderson states: \n“I’m extremely invested in creating a story that the audience feels like it’s something they’ve never seen before or creating a perspective they’ve never thought of. Illuminating new ideas\, concepts\, realities.”
URL:https://squeaky.org/event/lets-start-the-conversation-hues-of-humanity/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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SUMMARY:Bring Your Own Tony
DESCRIPTION:Friday\, May 11\n6:30pm door | 7pm show\nFree and open to the public \nTony as hypnotist\, Tony as magician\, Tony as naturalist\, Tony on a bike\, Tony on skype! As we near the end of Introducing Tony Conrad: A Retrospective\, and the multi-institutional celebrations that took place throughout early 2018\, we are excited to celebrate with an evening of films and videos featuring the late polymath\, made by his friends\, colleagues\, and students. We remember our founder fondly\, and hope to offer a fun and warm gathering for our community\, with a couple of surprises thrown in. \nFeaturing work from 1984–2016\, originating in Super 8mm to cellphone snaps\, by Alice Alexandrescu\, Martha Colburn\, Stephen Gallagher\, David Gracon\, Tyler Hubby\, David McCreery\, Zeljko McMullen\, and Lara Odell. \nProgram \np0st-it t0ny\nAlice Alexandrescu\n2min\, 2010\nImpromptu performance. Tony Conrad asked for my input on a superbly complex topic in media analysis. I gave him my best answer to fit the time constraints of a graduate level course and left the room. \nWilderness Theater\nAnya Lewin & Lara Odell\n11min\, digital\, 2006\n“Wilderness Theater is a collaborative video by Anya Lewin and Lara Odell\, with Tony Conrad as The Naturalist. Two bears\, one brown and one white (played by Lewin and Odell)\, somnambulate through multiple split-screen spaces: a desert\, a snowscape\, a post-industrial ruin\, a forest\, and an interior dreamscape. The white bear\, or ghost bear\, is maybe the brown bear’s unwanted thought. Meanwhile\, a naturalist logs his visions of the bears with a camera and notebook.” \nWomen in Jail Doc\nDavid McCreery\n10min\, 2010\nA “documentary” of Tony Conrad at work in his studio\, in preparation for filming his film “women in jail” w/ Tony Conrad\, Anna Brantwood and George Sherer. \nTony as my violin priest \nMartha Colburn\n2:30min\, 2014\nThis is one of the last rolls of sound super 8mm ever processed. I made it one afternoon in tonys studio. He dressed up and we made a little set and he played violin. \nTangible Man\nStephen Gallagher\n15min\, 1984\nTangible Man (TM\, also for trademark or transcendental meditation) is a critique of artist’s ability to render their interior world tangible in the form of an artwork. \nWe Are Fools – Scene 1 : The Magician\nZeljko McMullen\n5min\, 2013\nOver the course of 7 years\, I made an experimental feature film based off of different artists invoking archetypes from the Major Arcana of the Tarot. I set the stage for each of the 22 scenes\, and had different artists improvise within it. \nTony Conrad: Bryant Park (excerpt)\nTyler Hubby\n6:53min\, 2016\nTony Skypes his media class while discussing his the installation of ‘Bryant Park Moratorium’ and later visits contemporary Bryant Park. \nWe Ride Bikes!\nDavid Gracon\n10:30min\, 2000\nThis is a short lo-fi documentary about Buffalo’s first Critical Mass bike ride. Critical Mass is a celebration of community\, public space and bike culture. The Buffalo Police shut down this ride and a debate ensued regarding bicycle rights. \nBanner image: Tony Conrad with a video camera\, c. mid-1990s. Image courtesy Tony Conrad Archives 
URL:https://squeaky.org/event/bring-your-tony/
LOCATION:NY
CATEGORIES:Screenings
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SUMMARY:Chris Marker’s Level Five
DESCRIPTION:Laura\, a French programmer\, is tasked with creating a video game about the Battle of Okinawa. Using the internet to conduct her research she is led down a rabbit hole of philosophical debates\, while she tries to make sense of her own history in relation to human history. \nReleased when the internet was still in its infancy\, Level Five (104min\, 1997) offers a startlingly prophetic vision of the ability to archive and alter history\, while probing the limitations of human memory. The film is a mesmerizing and utterly unique hybrid of documentary and science fiction. Curated with an introduction by Squeaky Wheel’s Fall 2018 Curatorial Intern James Werick. Courtesy of Icarus Films. \n Preview \nBio of the curator\nJames Werick graduated from the University at Buffalo in 2017\, with a BA in Media Study. In addition\, he spent one semester in 2017 at Kansai Gaidai University in Osaka\, Japan. He is currently writing a film script\, and working at the Buffalo & Erie County Public Library.
URL:https://squeaky.org/event/level-five/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings
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