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DTSTART;TZID=America/New_York:20200424T190000
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DTSTAMP:20260421T082939
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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:20260421T082939
CREATED:20251230T191332Z
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SUMMARY:Tiara Roxanne's I cannot decolonize my body
DESCRIPTION:Online Screening & Artist Talk | Wednesday\, April 15\, 8 pm\nFree or suggested donation\nClick here to get your tickets\nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this event has moved online. Live Introduction and presentations by the artist begin at 7:10 pm. You will receive an email with information on how to view the event live. Roxanne’s film will be available to view through April 22\, 2020\, 6:59 pm. \nA short film that serves to highlight the disvowal and silencing Indigenous peoples encounter historically\, presently and futuristically in social\, political and technological paradigms\, I cannot decolonize my body\, was made as an incantation for recovery and transformation. The short film is accompanied by a new text by the Berlin-based cyberfeminist\, scholar and artist titled Data Colonialism: Decolonial Gestures of Storytelling. Following the short film\, the artist will be in conversation with writer and curator Nora Khan on her work with the audience invited to participate in the Q&A. \nBiographies\nDr. Tiara Roxanne is an Indigenous cyberfeminist\, scholar and artist based in Berlin. Her research and artistic practice investigates the encounter between the Indigenous Body and AI. More particularly\, she explores the colonial structure embedded within artificial intelligence learning systems in her writing and her performance art through textile. Currently her work is mediated through the color red. She received the Zora Neale Hurston Award from Naropa University in 2013 where she graduated from with her MFA. Under the supervision of Catherine Malabou\, Tiara completed her dissertation\, “Recovering Indigeneity: Territorial Dehiscence and Digital Immanence” in June 2019. Tiara has presented her work at SOAS (London)\, SLU (Madrid)\, Transmediale (Berlin)\, Duke University (NC)\, re:publica (Berlin)\, Tech Open Air (Berlin)\, AMOQA (Athens)\, among others. She is currently a Researcher at DeZIM-Institut in Berlin\, Germany. \nNora N. Khan is a writer of criticism. Her research practice extends to a large range of artistic collaborations\, from librettos to a tiny house. She is a critic on the faculty at Rhode Island School of Design\, in Digital + Media\, teaching critical theory\, artistic research\, writing for artists and designers\, and technological criticism. She has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real through Art Metropole. She is a longtime editor at Rhizome and publishes in Art in America\, Flash Art\, Mousse\, and California Sunday. She has written commissioned essays for exhibitions at Serpentine Galleries\, Chisenhale\, the Venice Biennale\, Centre Pompidou\, Swiss Institute\, and Kunstverein in Hamburg. This year\, as The Shed’s first guest curator\, she organized the exhibition Manual Override\, featuring Sondra Perry\, Simon Fujiwara\, Morehshin Allahyari\, Lynn Hershman Leeson\, Martine Syms. Her writing has been supported by a Critical Writing Grant given through the Visual Arts Foundation and the Crossed Purposes Foundation (2018)\, an Eyebeam Research Residency (2017)\, and a Thoma Foundation 2016 Arts Writing Award in Digital Art. \nThis event is co-presented with Trinity Square Video\, Images Festival\, and PLASMA at the Department of Media Study\, SUNY University at Buffalo. \nImage courtesy of Tiara Roxanne\, by Charlotte de Bekker.
URL:https://squeaky.org/event/tiara-roxannes-red-contd/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200411T100000
DTEND;TZID=America/New_York:20200502T130000
DTSTAMP:20260421T082939
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SUMMARY:POSTPONED - POETRY IN MOTION
DESCRIPTION:COVID-19 Program Update \nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this workshop is postponed until further notice \n  \nIf you have any further questions or concerns please reach out to our Director of Education\, Kevin Kline\, kevin@squeaky.org or our Education/Communications Coordinator Martina LaVallo\, martina@squeaky.org  \nInstructor: Jamie Hager \nSaturdays\, 10 am–1 pm  \nApril 11th–May 2nd  \nCost: $60 | $40 members \n  \nCollaborating with Just Buffalo’s Writing Center\, students will use poetry written by youth to create dynamic animated video poems. Students will use Adobe After Effects to create kinetic typography animations and designs that bring poetry to life.   \n 
URL:https://squeaky.org/event/poetry-in-motion/
LOCATION:NY
CATEGORIES:Tech Arts for Girls
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DTSTART;TZID=America/New_York:20200408T190000
DTEND;TZID=America/New_York:20200408T210000
DTSTAMP:20260421T082939
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Meet the Residents: Caleb Abrams & Saif Alsaegh
DESCRIPTION:Online artist talk & screening | *NEW DATE* Wednesday\, April 8\, 7 pm\nFree or suggested donation\nClick here to get your ticket\nYou will receive an email with information and a link on how to view the live event. The artists films will be available to view through April 15\, 2020\, 6:59 pm.\n \nClick here to view the video presentations by the artists with an introduction by the curator \nClick here to view the post-event Google Docs Q&A with the artists \nIn response to COVID-19\, our Spring artists in residence\, Caleb Abrams and Saif Alsaegh\, have continued their residencies from home and will engage with the public virtually. We invite you to convene online to learn about their past and ongoing projects at this artist talk and screening. Caleb Abrams will speak about his current film\, The Burning of My Coldspring Home\, an adaptation of a short story by Seneca Elder Stephen Gordon regarding the forced dislocation of the Seneca people following the building of the Kinzua dam by the Allegheny River. Saif Alsaegh will speak of his film Departure\, titled after a poem by Arthur Rimbaud\, which examines the idea of foreignness as it relates to the filmmaker’s past as a Baghdad born filmmaker living in California. Preceding the event will be a brief presentation by Squeaky Wheel curator\, Ekrem Serdar on how you can be part of the Workspace Residency program in the future. \nCaleb G. Abrams is an Onöndowa’ga:’ (Seneca) filmmaker and multimedia artist based out of what is currently considered Buffalo\, New York. Raised on the Seneca’s Allegany Territory\, much of his work emerges from the social\, historical\, and cultural background of the Seneca. Abrams has written and produced multiple independent short films and videos for the Seneca Nation\, Seneca-Iroquois National Museum/Onöhsagwë:dé Cultural Center\, and Odawi Law PLLC. He has also produced work in collaboration with PBS-WNED-TV\, Vision Maker Media\, Skipping Stone Pictures\, and Toward Castle Films. Lake of Betrayal (2017)\, the award-winning national public television documentary on which Abrams served as the associate producer\, examines the impact of the Kinzua Dam on the Seneca Nation – a topic much of his work has explored. Abrams’ films have been presented at universities\, historical societies\, libraries\, museums\, high schools\, and community and cultural resource organizations throughout Haudenosaunee Territory and the Northeast. \nSaif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s\, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel\, Kruzfilm Festival Hamburg\, Kasseler Dokfest\, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He earned his MFA in filmmaking at the University of Wisconsin-Milwaukee. \nThe residency is made possible with the support of the National Endowment for the Arts and presented in collaboration with Just Buffalo Literary Art Center and the sponsorship of Hostel Buffalo-Niagara.
URL:https://squeaky.org/event/meet-the-residents-caleb-abrams-saif-alsaegh/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200407T180000
DTEND;TZID=America/New_York:20200416T200000
DTSTAMP:20260421T082939
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:POSTPONED Screenwriting
DESCRIPTION:COVID-19 Program Update \nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this workshop is postponed. Please stay tuned for updates! \nIf you have any questions or concerns please email Education & Communications Coordinator Martina LaVallo\, martina@squeaky.org \n\n  \nApril 7–16  \nTuesdays and Thursdays 6 pm–8 pm  \nBefore the lights\, the camera\, and the action you need a plan. In this introductory workshop\, you will learn the structure and format of bringing a screenplay to life. \n  \n \n\nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/screenwriting-2/
LOCATION:NY
CATEGORIES:Media Art Workshop
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200325T190000
DTEND;TZID=America/New_York:20200325T210000
DTSTAMP:20260421T082939
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Miko Revereza’s No Data Plan
DESCRIPTION:Online Screening | Wednesday\, March 25\, 7 pm\nLive Q&A at 8:30 pm.\nFree or suggested donation. Click here to get tickets.\nA private link will be sent to your email account upon registration.\n \nClick here to view the introduction to the film by curator Ekrem Serdar and Justice for Migrant Families’ Anna Porter \nClick here to view the post-screening Google Docs Q&A with Miko Revereza \nMiko Revereza’s acclaimed feature documentary No Data Plan features a narrator rehashing details about his mother’s affair as he crosses America by train. “Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.” Taking place entirely within a three day trip upon a train—including a tense stop near Buffalo—Revereza’s film evokes images and thoughts from far away\, illustrating an undocumented subjectivity\, a site of precarious movement\, migration\, and fugitivism in the United States. \nThis screening is co-presented with Justice for Migrant Families. JFMF is a 501(c)(3) nonprofit agency that promotes justice for migrant families by providing support to individuals in the federal detention facility in Batavia\, information and resources to families in the community\, and advocacy both within and beyond the local community.\nJFMF is currently seeking donations to allow detainees in the Batavia Detention Center to make phone calls to their loved ones as all visitations have been cancelled due to COVID-19. Find out about JFMF current activities on their Facebook page and donate to them here. \nBiography of the filmmaker\nMiko Revereza (b.1988 Manila\, Philippines) is an experimental filmmaker and undocumented immigrant. Since relocating from Manila as a child\, he has lived illegally in the United States for over 25 years. This life long struggle with documentation\, assimilation and statelessness informs his films\, DROGA! (2014)\, DISINTEGRATION 93-96 (2017) and his debut feature\, No data plan (2018). Miko’s films have been widely screened and exhibited internationally at festivals such as\, International Film Festival Rotterdam\, Yamagata International Documentary Film Festival\, International Short Film Festival Oberhausen\, True/False Film Festival\, Images Festival\, and Berwick Film & Media Arts Festival. DISINTEGRATION 93-96 was featured and streamed on MUBI.com. He is listed as Filmmaker Magazine’s 2018 25 New Faces of Independent Cinema. \n\nImage: Miko Revereza\, No Data Plan\, 70 minutes\, digital video\, 2019. Courtesy of Sentient Art Film.
URL:https://squeaky.org/event/miko-reverezas-no-data-plan/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200324T180000
DTEND;TZID=America/New_York:20200402T200000
DTSTAMP:20260421T082939
CREATED:20251230T191332Z
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SUMMARY:POSTPONED Digital Animation
DESCRIPTION:COVID-19 Program Update \nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this workshop is postponed. Please stay tuned for updates! \nIf you have any further questions or concerns please reach out to Education & Communications Coordinator Martina LaVallo\, martina@squeaky.org \n\nwith Character Animator \nMarch 24–April 2 \nTuesdays and Thursday 6–8 pm \n  \nCharacter Animator is a creative and adaptable digital animation tool. This workshop will lead you through the process of creating your own character with this versatile Adobe software. \n  \n \n\nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/digital-animation/
LOCATION:NY
CATEGORIES:Media Art Workshop
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200317T163000
DTEND;TZID=America/New_York:20200319T173000
DTSTAMP:20260421T082939
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Non-fiction Poetics: A Youth Writing Workshop
DESCRIPTION:***Effective immediately\, all in-person youth and adult workshops\, events\, and screenings will be canceled or available virtually on a case-by-case basis\, and equipment rentals will continue on a reduced basis. Stay tuned for updates!*** \nTuesday\, March 17\, 2020\, 4:30 p.m.–5:30 p.m.\nThursday\, March 19\, 2020\, 4:30 p.m.–5:30 p.m.\n@ Just Buffalo Writing Center\nNo registration required. This workshop is free\, aimed at young students aged 12–18\, and limited to 12 participants.\n \nTaught by poet and filmmaker Saif Alsaegh\, this workshop explores how poetry is established and emerges in documentary and non-fiction films. Students will read poetry and watch films to understand the intersection of the two arts. Presented in collaboration with Just Buffalo Literary Arts Center. \nThe Spring 2020 session of Workspace Residency is sponsored by Hostel Buffalo-Niagara. \nSaif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s\, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel\, Kruzfilm Festival Hamburg\, Kasseler Dokfest\, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He earned his MFA in filmmaking at the University of Wisconsin-Milwaukee. \nImage: Saif Alsaegh\, Departure\, in-progress.
URL:https://squeaky.org/event/non-fiction-poetics-a-youth-writing-workshop/
LOCATION:Just Buffalo Literary Center\, 468 Washington St #2\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Education,Residencies
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200314T100000
DTEND;TZID=America/New_York:20200404T130000
DTSTAMP:20260421T082939
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:POSTPONED -Stop Frame Go!
DESCRIPTION:COVID-19 Program Update \nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this workshop has been canceled. \n If you have any further questions or concerns please reach out to our Director of Education\, Kevin Kline\, kevin@squeaky.org or our Education/Communications Coordinator Martina LaVallo\, martina@squeaky.org \n\nInstructor: Jamie Hager \nMarch 14th–April 4th \nSaturdays 10 am–1 pm  \nCost: $60 | $40 members \n  \nIn this stop motion animation workshop\, students will collaborate to make an elaborate cut out animation video. Using professional cameras and software students will storyboard\, construct and bring to life a vibrant world. \n 
URL:https://squeaky.org/event/stop-frame-go/
LOCATION:NY
CATEGORIES:Tech Arts for Girls
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200311T190000
DTEND;TZID=America/New_York:20200311T210000
DTSTAMP:20260421T082939
CREATED:20251230T191331Z
LAST-MODIFIED:20251230T191331Z
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SUMMARY:Representation in Filmmaking with Caleb Abrams
DESCRIPTION:Wednesday\, March 11\, 7–9 pm\nFree and open to the public \nAs a filmmaker\, what does it mean to represent a community? How do you impart the emotion of another person’s experience? Join filmmaker and Spring 2020 Workspace Resident\, Caleb Abrams for a conversation on the questions above through a behind the scenes look at his practice. \nCaleb Abrams is an Onöndowa’ga:’ (Seneca) filmmaker and multimedia artist based out of what is currently considered Buffalo\, New York. Raised on the Seneca’s Allegany Territory\, much of his work emerges from the social\, historical\, and cultural background of the Seneca. Abrams has written and produced multiple independent short films and videos for the Seneca Nation\, Seneca-Iroquois National Museum/Onöhsagwë:dé Cultural Center\, and Odawi Law PLLC. He has also produced work in collaboration with PBS-WNED-TV\, Vision Maker Media\, Skipping Stone Pictures\, and Toward Castle Films. Lake of Betrayal (2017)\, the award-winning national public television documentary on which Abrams served as the associate producer\, examines the impact of the Kinzua Dam on the Seneca Nation – a topic much of his work has explored. Abrams’ films have been presented at universities\, historical societies\, libraries\, museums\, high schools\, and community and cultural resource organizations throughout Haudenosaunee Territory and the Northeast. \nThe Spring 2020 session of Workspace Residency is sponsored by Hostel Buffalo-Niagara. \nImage: Caleb Abrams\, The Burning of My Coldspring Home(in-progress)
URL:https://squeaky.org/event/representation-in-filmmaking-with-caleb-abrams/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Skill Share
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200310T180000
DTEND;TZID=America/New_York:20200319T200000
DTSTAMP:20260421T082939
CREATED:20251230T191331Z
LAST-MODIFIED:20251230T191331Z
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SUMMARY:Illustration and Design
DESCRIPTION:COVID-19 Program Update \nTo help keep our communities safe and healthy and reduce the spread of COVID-19 the remainder of this workshop is being offered virtually. \n  \nIf you have any further questions or concerns please email Education/Communications Coordinator Martina LaVallo\, martina@squeaky.org \n\nwith Adobe Illustrator \nMarch 10–19  \nTuesdays and Thursdays 6–8 pm \nCost: $175 | $155 members \nTap into the powerful illustration and design potential of Adobe Illustrator. Learn to navigate the software and take control of your design and illustration needs. \n  \n \n\nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/illustration-and-design/
LOCATION:NY
CATEGORIES:Media Art Workshop
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DTSTART;TZID=America/New_York:20200219T190000
DTEND;TZID=America/New_York:20200219T210000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Data and Human Rights: Open Source Research Tools
DESCRIPTION:Wednesday\, February 19\, 7–9 pm\nFree; ages 18+ \nThe Syrian Archive develops open-source tools to document human rights violations around the world. Learn about the organization’s practice through a hands-on workshop introducing you to online research techniques. Facilitated by Lead Researcher Jeff Deutsch. A limited number of computers will be available for use\, and we ask that participants bring their laptops if they have one. \nAll participants should download Google Earth Pro and the following image below ahead of the workshop. \n\n \nThe Syrian Archive aims to support human rights investigators\, advocates\, media reporters\, and journalists in their efforts to document human rights violations in Syria and worldwide through developing new open source tools as well as providing a transparent and replicable methodology for collecting\, preserving\, verifying and investigating visual documentation in conflict areas. \nCo-presented with PLASMA at the Department of Media Study\, SUNY University at Buffalo.
URL:https://squeaky.org/event/data-and-human-rights-open-source-research-tools/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Education
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200215T100000
DTEND;TZID=America/New_York:20200307T130000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:MAKE A MUSIC VIDEO with HOP HOP!
DESCRIPTION:Instructor: Jamie Hager \nSaturdays\, 10 am–1 pm  \nFebruary 15th–March 7th \nCost: $60 | $40 members \n  \nJoin local musician HOP HOP and us as we collaborate to create an original music video. Students will work together to storyboard\, shoot\, and edit a fantastical representation of HOP HOP’s magical music.
URL:https://squeaky.org/event/make-a-music-video-with-hop-hop/
LOCATION:NY
CATEGORIES:Tech Arts for Girls
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200214T190000
DTEND;TZID=America/New_York:20200214T220000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Love & Sex Show: Sweet Nothings
DESCRIPTION:Special Event | Friday\, February 14\, 7–10 pm\n$7 General\, $5 Members\, free for ArtsAccess Pass holders\nAges 18+ only. Please review our community guidelines.  \nSqueaky Wheel’s annual Valentine’s day event celebrating intimacy and sexuality returns with a special auditory edition. Listen to headphones filled with ASMR and other tracks by artists Erin Gee and Hope Mora; create a live soundtrack to a new film by Caroline Doherty; sing along to karaoke films by Michael Robinson\, and Wayne Yung\, and enjoy a performance by lyricist and hip hop artist Desiree Kee\, and much more! \nProgram\n7–8 pm: Listen to artist made audio tracks by Hope Mora and Erin Gee on remote headphones\, and sing your heart out with karaoke! \n8 pm: Come together in the microcinema to watch\, listen\, sing\, and vocalize to films by Caroline Doherty\, Dina Georgis and Sharlene Bamboat\, Jess Dobkin\, Lauren Fournier\, Michael Robinson\, Thirza Curthand\, and Wayne Yung! \n9 pm: Gather in the gallery to listen to a performance by lyricist Desiree Kee\, followed by more karaoke! \nAudio Works\nChannel 1\nErin Gee\, of the soone\, 18:39 min\, digital sound\, 2019\nErin Gee leads the listener in a first-person roleplay as a specialist of a new experimental neural treatment: language processing and deprocessing. After a brief testing of equipment and EEG monitoring\, Gee reads out the processes of a long-short term memory algorithm as it “learns” language from the classic book of passions gone awry\, “Wuthering Heights” by Emily Brontë. This exposure to machined-evolution of linguistic patterns is intended to reset or recalibrate human linguistic patterns in your brain\, offering a form of abstracted\, deep tissue neural “massage”. \nChannel 2\nHope Mora\, Sex With Harmony\, 1:48 min; Basic Need With Dajah\, sound\, 1:21 min; My Neck My Back\, Bell Hooks Love\, and Magic Booty\, 5:03 min\, digital sound\, all 2020 \nScreening program\nThirza Curthand\, Helpless Maiden Makes An “I” Statement\, 6 min\, digital video\, 1999\nBy using clips of evil queens/witches this video plays off the sadomasochistic lesboerotic subtexts commonly found in children’s entertainment. A helpless maiden is tiring of her consensual s/m relationship with her lover\, and “evil” queen. She wants to break up. An impassioned monologue in a dungeon with our heroine in wrist cuffs quickly becomes an emotionally messy ending in flames. This video was inspired by the artist’s own childhood “kiddie porn”\, Disney movies which turned her on to no end and kicked off many a prepubescent masturbation session. \nLauren Fournier\, Sex and Death\, 4 min\, digital video\, 2015\nThe performer re-frames the Freudian tension between eros and thanatos using the feminist tradition of performance for video. She repeats the locution “sex and death and sex and death and sex and death” aloud as she shimmies across the screen. The formal integrity of the loop meets the failures of the body\, as the performer playfully moves across the screen\, trying to catch her breath to continue the spell-like invocation. Sex and death— the drive toward binding (eros) and the drive toward destruction (thanatos)— are configured by Freud to be the two fundamental drives behind Western civilization. In this video\, the Freudian tension is taken up through a floundering\, vaguely sexual performance. The function of humour is something which has been increasingly (re)claimed by Canadian feminist video and performance artists in recent years\, and is something that I find both politically efficacious and formally refreshing. \nJess Dobkin\, It’s Not Easy Being Green\, 3 min\, digital video\, 2011\nA heartfelt and provocative rendition of Kermit the Frog’s melancholic It’s Not Easy Being Green\, where the artist\, in the role of Kermit the Frog\, is fisted by a woman in drag in the role of Jim Henson. Together\, as human puppet and puppeteer\, they lip sync the much loved song. This film is a for-camera version of a performance previously presented to live audiences. For mature audiences. \nDina Georgis and Sharlene Bamboat\, In Queer Corners\, 6 min\, digital video\, 2013\nIn Queer Corners is a collaborative video by Dina Georgis and Sharlene Bamboat. The video examines the ways in which archives harbour stories\, those that are spoken\, and those left unsaid. Based on serendipitous encounters\, and employing the language of dreams and desire\, Georgis and Bamboat narrate each other’s stories and address the complications of queer re-tellings. In Queer Corners explores the limits and possibilities of the archive through the theme of narration and storytelling. Working with a found object from the dusty and neglected corners of the Canadian Lesbian & Gay Archive\, this work explores how archival objects can come to life through their encounter with the present\, with other desires\, and with unexpected responses and meanings.\nThe archive\, if left unexamined\, works authoritatively to construct and stabilize knowledge. Though it selects and gathers signs unconsciously\, what is held within its walls is neither arbitrary nor innocent. In resistance to interpret archival objects into a synchronized story of the past\, In Queer Corners looks to its archival object as an affective placeholder from which new meanings and new stories can be made. The narratives recorded in this work respond to the found image in narrative accounts where the line between dream and reality is distorted. They speak a non-literal truth about desire\, insecurity\, despair\, sex\, race and class\, and the difficulty of uttering and representing these very things. Knowledge itself is vulnerable\, made in relation\, and articulated in broken stories. Reaching for some thing or some place\, the bodies represented tell unfinished narratives. Though the bodies stand alone\, the line between self and other is obfuscated and they depend on each other to tell their stories. \nWayne Yung\, One Night in Heaven\, 5 min\, digital video\, 1995\nIn this queer Asian spoof of karaoke\, a new boy in town discovers the dark side of the big city. The story follows his adventures to an underground club where sex and murder are in store. \nCaroline Doherty\, Rock\, Soft Place\, ~5 min\, digital video\, 2020 \nMichael Robinson\, Hold Me Now\, 5 min\, digital video\, 2008\nPlagued by blindness\, sloth\, and devotion\, a troubled scene from Little House On The Prairie offers itself up to karaoke exorcism. \n \n \nDesiree Kee \n \nDina Georgis and Sharlene Bamboat\, In Queer Corners (2013) \nBios of the artists \nCaroline Doherty is an artist based in Buffalo\, NY. She employs multiple mediums\, including performance\, video\, sculpture\, and public projects. She has participated in residencies including the Squeaky Wheel Workspace Residency in Buffalo; the SOMA Summer Program in Mexico City; Guapamacátaro Center for Art and Ecology in Michoacán\, Mexico; and ArtPark in Lewiston\, NY. Her work has been exhibited throughout North America\, in Europe\, and in China. Caroline has been an educator for over 15 years\, facilitating art making for youth\, university students\, and adults in formal and informal settings in the US\, Mexico\, and Canada. \nDesiree Kee is a 25 year old lyricist that was born and raised Queens\, Ny. She moved from NYC to Maryland in 2002 and later relocated to Buffalo\, NY in 2011. She currently has two projects available on her soundcloud which is I AM NOT A RAPPER EP (2017) and This Mixtape Is A Cry For Help (2019) as well as 4 self-directed visuals which can be found on her youtube. \nHope Mora is a visual artist from West Texas\, currently teaching and completing her MFA at The University at Buffalo and holds a BFA from Texas State University in San Marcos. She has shown work in selected gallery and public space exhibitions in Central Texas and Western New York\, such as Mexic-Arte Museum\, Public Art San Antonio\, Anna Kaplan Contemporary\, and The Buffalo Institute for Contemporary Art. \nThe Love & Sex Show: Sweet Nothings is sponsored by City Wine Merchants and SE2 Silent Disco. \nBanner image: Wayne Yung\, One Night in Heaven (1995).
URL:https://squeaky.org/event/love-sex-show-sweet-nothings/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Special Event
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200211T180000
DTEND;TZID=America/New_York:20200220T200000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Podcast Production
DESCRIPTION:February 11th–February 20th  \nTuesdays and Thursdays 6–8 pm \nCost: $175 | $155 members \n  \nYou listen to them\, you love them. Our introductory course on podcast production will give you the know-how to make one of your own. \n  \n \n\nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/podcast-production-3/
LOCATION:NY
CATEGORIES:Media Art Workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200207T190000
DTEND;TZID=America/New_York:20200207T210000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Punctures | Charlie Best & Jodi Lynn Maracle
DESCRIPTION:Artist talks & Closing | Friday\, February 7\, 7 pm\nFree and open to the public \nJoin us for the closing event of Punctures with artist talks by Charlie Best and Jodi Lynn Maracle. Best will speak about their window installation We Interrupt this Program\, made as “an invitation for confusion and joy\, full of noise\, for trans people.” Jodi Lynn Maracle will share her video work A Song to the Water from a Loving Child which explores generational relationships to and for lands and waters. The artists will be joined by curator Ekrem Serdar for a conversation and Q&A following their presentations. \nCharlie Best is an artist and seamstrix living and working in what is currently known as buffalo\, ny. Picking and choosing between fiber and textiles\, video\, collage\, performance\, and sculpture\, Charlie’s work interrupts transmissions of the gender binary\, lack of imagination\, capitalism\, and other ills lurking in common cultural forms. Richard Scarry illustrations\, men’s shirts\, catholic mass\, and network television are just some of what awaits the cut of the scissors. Charlie is committed to the joys\, lessons\, fears\, and aesthetics of nonbinary imagination practices. They received a bfa in sculpture and expanded media from alfred university’s school of art and design (2018)\, and were the recipient of a fellowship to the cite internationale des arts\, paris\, france. They have exhibited locally and nationally\, most recently at sugar city (buffalo\, ny) with “something from the basement”. The current interests of their practice include the application of anarchist tactics/thoughts/dreams and children’s stories to garment and accessory design\, and the history of VHS. Charlie and collaborator Jaz Palermo are in pre production for their first film\, titled st. tilapia’s school for gayward girls\, which they both hope gets banned somewhere. \nBorn and raised in what is currently considered Buffalo\, NY\, Jodi Lynn Maracle is a Kanien’keha:ka mother\, artist\, teacher and language learner. Jodi utilizes Haudenosaunee material language and techniques\, such as hand tanning deer hides\, and corn husk twining\, in conversation with sound scapes\, projections\, video\, and performance to interrogate questions of place\, power\, erasure\, story making\, and responsibility to the land. She has shown her work throughout Dish With One Spoon Territory in site specific installation performances such as the Mush Hole Project at the defunct Mohawk Institute Residential School (home of the Woodland Cultural Centre) in Brantford\, ON\, as well as the Gardiner Museum in Toronto\, ON\, Artpark in Lewiston\, NY\, and Squeaky Wheel Film and Media Art Center\, in Buffalo\, NY. Her research as a PhD student at the University at Buffalo focuses on Haudenosaunee material culture\, language\, land and birth practices. Of her accomplishments\, she is most proud to hear her son speak his Mohawk language each day. \n\nThis exhibition is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters. \nImage: Jodi Lynn Maracle\, A Song to the Water from a Loving Child (2020)
URL:https://squeaky.org/event/punctures-charlie-best-jodi-lynn-maracle/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200129T190000
DTEND;TZID=America/New_York:20200129T210000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED: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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200128T180000
DTEND;TZID=America/New_York:20200206T200000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Video Editing
DESCRIPTION:with Adobe Premiere \nJanuary 28th–February 6th \nTuesdays and Thursdays 6–8 pm \nCost: $175 | $155 members \nAfter shooting has wrapped it’s time to weave together that masterpiece. Let our Adobe Premiere editing workshop give you the skills to finish your project. \n  \n \n\nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/video-editing-10/
LOCATION:NY
CATEGORIES:Media Art Workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200118T100000
DTEND;TZID=America/New_York:20200208T130000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:FOUND FOOTAGE DOCUMENTARY
DESCRIPTION:Instructor: Jamie Hager \nJanuary 18th–February 8th \nSaturdays\, 10 am–1 pm \nCost: $60 | $40 members \n  \nIn this video editing workshop\, students will learn the art of visual storytelling through editing. Using found footage and audio\, students will collage together a short documentary that explores a topic that is meaningful to them. \n  \n 
URL:https://squeaky.org/event/found-footage-documentary/
LOCATION:NY
CATEGORIES:Tech Arts for Girls
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200115T190000
DTEND;TZID=America/New_York:20200115T210000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200114T180000
DTEND;TZID=America/New_York:20200123T200000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Video Produciton
DESCRIPTION:The Art of the Interview \nJanuary 14th–23rd \nTuesdays and Thursdays 6–8 pm \nCost: $175 | $155 members \nLearn the fundamentals of video production in a project-based class environment. Focusing on the interview\, you will practice the basics of lighting\, audio\, and shooting. \n  \n \n\nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/video-produciton/
LOCATION:NY
CATEGORIES:Media Art Workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200111T120000
DTEND;TZID=America/New_York:20200111T140000
DTSTAMP:20260421T082939
CREATED:20251230T191317Z
LAST-MODIFIED:20251230T191317Z
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SUMMARY:Threading Roots with Augmented Reality
DESCRIPTION:January 11\, 12–2 pm\nOpen to youth ages 14+\nFree\nClick here to register \n\n\nThis special youth workshop with visiting artist Betty Yu will encourage the exploration of personal stories and roots in a collective story-telling circle. Participants will learn how to use augmented reality to animate those stories\, and will have the choice to have their works be part of her work\, The Garment Worker\, in the exhibition Punctures: Textiles in Digital and Material Time that is on view at Squeaky Wheel through February 7\, 2020. A limited number of iPad’s will be available\, and we ask that participants bring a smartphone if they have one. \n\nBetty Yu is a multimedia artist\, filmmaker\, educator and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu is a socially engaged multimedia artist integrating documentary film\, new media platforms and community-infused approaches into her practice. Her community-based arts projects have fused together video\, photography\, interactive mapping\, new media\, installation\, augmented reality\, 3-D elements and live projections. Ms. Yu’s documentary Resilience about her garment worker mother fighting sweatshop conditions screened at national and international film festivals including the Margaret Mead Film and Video Festival. Yu’s multi-media installation\, The Garment Worker was featured at Tribeca Film Institute’s Interactive. She worked with housing activists and artists to co-create People’s Monument to Anti-Displacement Organizing that was featured in the Agitprop! show at Brooklyn Museum. Betty was a 2012 Public Artist-in-Resident and received the 2016 SOAPBOX Artist Award from Laundromat Project. In 2017\, Ms. Yu has been awarded several artist residencies from institutions such as the International Studio & Curatorial Program\, Skidmore College’s Documentary Studies Collaborative and SPACE at Ryder Farm. In 2015\, Betty co-founded Chinatown Art Brigade\, a cultural collective using art to advance anti-gentrification organizing. Betty won the 2017 Aronson Journalism for Social Justice Award for her film Three Tours about U.S. veterans returning home from war in Iraq and their journey to overcome their PTSD. Ms. Yu is a 2017-18 fellow of the Intercultural Leadership Institute. Betty recently had her first solo exhibition\, “(DIs)Placed in Sunset Park” at Open Source Gallery in September 2018 in New York City. This work was also included in 2019 BRIC’s Biennial where her project received an honorable mention in the New York Times. \nThis event 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/threading-roots-with-augmented-reality/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Education
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200110T180000
DTEND;TZID=America/New_York:20200207T170000
DTSTAMP:20260421T082939
CREATED:20251230T191331Z
LAST-MODIFIED:20251230T191331Z
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SUMMARY:Punctures | Betty Yu & Sabrina Gschwandtner
DESCRIPTION:Opening: Friday\, January 10\, 6–9pm\nConversation with Betty Yu and Jasmina Tumbas at 7:30pm\nFree and open to the public\nOn view January 10–February 7\, 2020\n \nThe final exhibition of Punctures brings together two artists in collective considerations of gendered and immigrant work. Betty Yu’s The Garment Worker (2014) is an interactive installation that focuses on the daily life of a garment worker and the hardships they encounter working in a sweatshop\, through the integration of a sewing machine\, video\, audio\, and ephemera. Sabrina Gschwandtner’s Hands at Work (for Pat Ferrero) and Hands at Work (for Pat Ferrero) II consist of two of her acclaimed film quilts–gorgeous 16mm film strips sewn\, installed on lightboxes\, and depicting hands at work. \nBetty Yu\, The Garment Worker (2014) \n \nSabrina Gschwandtner\, Hands at Work (for Pat Ferrero)\, 2017. Documentation by Joshua White. \n  \n\nBetty Yu is a multimedia artist\, filmmaker\, educator and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu is a socially engaged multimedia artist integrating documentary film\, new media platforms and community-infused approaches into her practice. Her community-based arts projects have fused together video\, photography\, interactive mapping\, new media\, installation\, augmented reality\, 3-D elements and live projections. Ms. Yu’s documentary Resilience about her garment worker mother fighting sweatshop conditions screened at national and international film festivals including the Margaret Mead Film and Video Festival. Yu’s multi-media installation\, The Garment Worker was featured at Tribeca Film Institute’s Interactive. She worked with housing activists and artists to co-create People’s Monument to Anti-Displacement Organizing that was featured in the Agitprop! show at Brooklyn Museum. Betty was a 2012 Public Artist-in-Resident and received the 2016 SOAPBOX Artist Award from Laundromat Project. In 2017\, Ms. Yu has been awarded several artist residencies from institutions such as the International Studio & Curatorial Program\, Skidmore College’s Documentary Studies Collaborative and SPACE at Ryder Farm. In 2015\, Betty co-founded Chinatown Art Brigade\, a cultural collective using art to advance anti-gentrification organizing. Betty won the 2017 Aronson Journalism for Social Justice Award for her film Three Tours about U.S. veterans returning home from war in Iraq and their journey to overcome their PTSD. Ms. Yu is a 2017-18 fellow of the Intercultural Leadership Institute. Betty recently had her first solo exhibition\, “(DIs)Placed in Sunset Park” at Open Source Gallery in September 2018 in New York City. This work was also included in 2019 BRIC’s Biennial where her project received an honorable mention in the New York Times. \nSabrina Gschwandtner’s artwork has been exhibited in the United States as well as internationally at institutions including the Smithsonian American Art Museum in Washington DC; the Museum of Arts and Design in New York; and the Victoria and Albert Museum in London. Her work has been featured and reviewed in the New York Times\, Artforum\, Modern Painters\, Frieze\, Photograph\, Cabinet\, the Los Angeles Times\, the Washington Post\, Der Standard\, INCITE Journal of Experimental Media\, and on NPR\, among other media outlets and scholarly publications. She has been awarded residencies at Wave Hill (2012)\, the International Artists Studio Program in Sweden (IASPIS\, 2009)\, the Museum of Arts and Design (2009)\, and the MacDowell Colony (2004\, 2007\, and 2016). She recently received a 2019 City of Los Angeles (COLA) Individual Artist Fellowship. Her work is held in the permanent collections of the Smithsonian American Art Museum; the Museum of Fine Arts\, Boston; the Mint Museum; Philbrook Museum of Art; Boise Art Museum; Alfond Collection of Contemporary Art at Rollins College; Carl and Marilynn Thoma Foundation\, and the RISD Museum\, where a series of 12 film quilts is currently on permanent display. In 2015 she was awarded a NY Public Art Project commission for her first public art project\, a large scale photographic collage printed on glass\, which was installed permanently at an elementary school in the Bronx in 2017. She was born in Washington D.C. in 1977 to an Austrian father and American mother. She received a BA with honors in art/semiotics from Brown University. She studied video with VALIE EXPORT in Salzburg\, Austria\, and received her MFA from Bard College. She lived in New York City from 2000 – 2015\, and currently live in Los Angeles\, CA\, where she is represented by Shoshana Wayne Gallery. \nJasmina Tumbas (PhD\, Art History\, Duke University) is an Assistant Professor of Contemporary Art History & Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her teaching and research fields focus on modern and contemporary art history and theory\, histories and theories of performance\, body and conceptual art\, art and activism\, feminist art\, critical theory\, and contemporary East European art history. She is currently finishing her first book\, “I Am Jugoslovenka!” Feminist Performance Politics During & After Yugoslav Socialism\, and is also working on a second manuscript\, On Gender Violence and Nationalism In Europe: Feminist Art and Resistance Beyond Citizenship. Her research has appeared inArtMargins\, Camera Obscura: Feminism\, Culture\, and Media Studies\, Art Monthly\, Art in America\, ASAP Journal\, and Art and Documentation\, and in the anthologies Shifting Corporealities in Contemporary Performance\, Performance Art in the Second Public Sphere\, Making Another World Possible – 10 Creative Time Summits\, and Aktionskunst jenseits des Eisernen Vorhangs. Künstlerische Kritik in Zeiten politischer Repression. \nThis exhibition is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-betty-yu-sabrina-gschwandtner/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191214T150000
DTEND;TZID=America/New_York:20191214T170000
DTSTAMP:20260421T082939
CREATED:20251230T191331Z
LAST-MODIFIED:20251230T191331Z
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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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191207T190000
DTEND;TZID=America/New_York:20191207T210000
DTSTAMP:20260421T082939
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
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SUMMARY:Punctures | Kite’s Everything I Say Is True
DESCRIPTION:Saturday\, December 7\, 2019\, 7pm\n$7 General\, $5 Members\, free for ArtsAccess pass holders \nPerformance artist\, visual artist\, and composer Kite will perform a piece integrating dress\, sound\, video\, and emerging technologies with her family’s ephemera and historical documents. Join us for this special performance of Everything I Say Is True\, tied to Kite’s installation in the gallery\, followed by a Q&A with the artist and Jolene Rickard. \nKite aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University and Research Assistant for the Initiative for Indigenous Futures. Her research is concerned with contemporary Lakota epistemologies through research-creation\, computational media\, and performance practice. Recently\, Kite has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nJolene Rickard is an Associate Professor in the departments of History of Art and Art\, and the Director of the American Indian and Indigenous Studies Program (AIISP) at Cornell University\, Ithaca. Her research and artistic practice focus on contemporary Indigenous art\, materiality\, and ecocriticism with an emphasis on Haudenosaunee aesthetics. A selection of publications include: “Arts of Dispossession\,” in From Tierra del Fuego to the Artic: Landscape Painting in the Americas\, Art Gallery of Ontario (2015)\, The Emergence of Global Indigenous Art\, Sakahán\, National Gallery of Canada (2013)\, Visualizing Sovereignty in the Time of Biometric Sensors\, The South Atlantic Quarterly: Sovereignty\, Indigeneity\, and the Law\, 110:2 (2011) and Haudenosaunee Art: “In the Shadow of the Eagle”\, Three Centuries of Woodlands Indian Art: A Collection of Essays (ERNAS Monographs 3) (2007). Jolene is on the editorial board of American Art\, the Otsego Institute and is part of the Initiative for Indigenous Futures (IIF). She co-curated two of the four inaugural exhibitions of the National Museum of the American Indian (2004-2014). Jolene is from the Tuscarora Nation\, turtle clan. \nThis performance is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters.
URL:https://squeaky.org/event/punctures-kites-everything-i-say-is-true/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Performance
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2019/08/Kite-Performance.jpg
GEO:42.8906261;-78.8721258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Squeaky Wheel 2495 Main Street Suite 310 Buffalo NY 14214 United States;X-APPLE-RADIUS=500;X-TITLE=2495 Main Street\, Suite 310:geo:-78.8721258,42.8906261
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191203T180000
DTEND;TZID=America/New_York:20191212T200000
DTSTAMP:20260421T082939
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
UID:10000998-1575396000-1576180800@squeaky.org
SUMMARY:Cinematography
DESCRIPTION:Dec. 3rd–12th  \nTuesdays and Thursdays 6–8 pm \nCost: $175 | Members $135  \nThe art of cinema rests in the beauty of its image. Cinematography gives life and personality to your work. This workshop will give you a foundation of the ins and outs to creating beautiful frames and understanding how they help tell your story.  \nThis is an intermediate workshop for those with previous experience. However\, prior experience is not required.  \n \n  \nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/cinematography/
LOCATION:NY
CATEGORIES:Media Art Workshop
ATTACH;FMTTYPE=image/png:https://squeaky.org/wp-content/uploads/2019/09/C_FEAT-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191123T130000
DTEND;TZID=America/New_York:20191214T160000
DTSTAMP:20260421T082939
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
UID:10000989-1574514000-1576339200@squeaky.org
SUMMARY:Gifalage
DESCRIPTION:Nov. 23–Dec. 14 \nSaturdays 1–4 pm \nCost: $60 | Members $40 \nPronounced GIF-AHH-LODGE\, This wacky DIY workshop we will be using existing .gifs and creating our own to make collages exploring Internet culture. Using a combination of online tools and video editing software students will create unique montages.  \n 
URL:https://squeaky.org/event/gifalage/
LOCATION:NY
CATEGORIES:Education,Tech Arts for Girls
ATTACH;FMTTYPE=image/png:https://squeaky.org/wp-content/uploads/2019/08/AG-FEAT2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191122T180000
DTEND;TZID=America/New_York:20191221T210000
DTSTAMP:20260421T082939
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
UID:10000994-1574445600-1576962000@squeaky.org
SUMMARY:Punctures | Eniola Dawodu and Kite
DESCRIPTION:Opening\, November 22\, 2019\, 6–9pm\nArtist Talk and Q&A with Eniola Dawodu and Amy Sall at 7:30pm\nOn view through December 22\, 2019\nFree and open to the public \nThe second exhibition of Punctures features two works placed in conversation: Kite’s multi-media installation and performance Everything I Say Is True (2017)\, which considers concepts of truth in relation to Oglala Lakota knowledge systems. Eniola Dawodu’s IRAN SI IRAN (2019)\, funded by the Creative Arts Initiative\, is a newly commissioned textile work which reassembles a fragmented chorus of ancestral African women’s strategic radical overtures toward autonomy and cultural sovereignty. \nJoin us for the opening of the exhibition on November 22nd with artist Eniola Dawodu in conversation with Amy Sall (Founder and Editor-in-Chief\, SUNU: Journal of African Affairs\, Critical Thought + Aesthetics). Artist Kite will be present for a performance of Everything I Say Is True on Saturday\, December 7\, with a conversation between her and Dr. Jolene Rickard. \n \nImage: Eniola Dawodu\, Iran Si Iran (2019). Image by Kaitlyn Lowe. \nEniola Dawodu is a British-born Nigerian based between Dakar\, Senegal and Brooklyn\, NY. She is engaged in the cultural archiving of memories\, methods\, and magic concerning West African textiles and aesthetics of style + self-presentation. Her research and creative practice privilege traditional dress practice\, its motif and methodology\, as potent conduits for cross-generational communication\, situated in the liminal and powerfully charged with legacy and history. With reverence to foremothers\, Dawodu reimagines garments of power as masques within which space is held for the latent narratives of ancestral African experiences. In alliance with master artisans via ancient techniques\, past and present-day collapse into cross-dimensional expression. Woven memoirs unite; a foundation upon which truths are embroidered. \nKite aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University and Research Assistant for the Initiative for Indigenous Futures. Her research is concerned with contemporary Lakota epistemologies through research-creation\, computational media\, and performance practice. Recently\, Kite has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nA graduate from Columbia University’s Graduate School of Arts & Sciences\, Amy Sall holds a master’s degree in Human Rights Studies\, concentrating on the right to development and youth empowerment in Sub-Saharan Africa. She received her BA in 2012 from The New School University in Culture and Media Studies\, with a concentration in Cultural Studies and a minor in Journalism.  Sall is Founder and Editor-in-Chief of SUNU: Journal of African Affairs\, Critical Thought + Aesthetics (SUNU Journal)\, a forthcoming publication seeking to amplify emerging voices and perspectives on matters and ideas concerning Africa and the Diaspora. From 2016 to 2017\, she was a Part-time Lecturer in the Culture and Media Studies department of The New School University’s Eugene Lang College\, where she developed and taught two courses: Third Cinema & The Counter Narratives\, and The African Gaze: Postcolonial Visual Culture of Africa & The Social Imagination. She is a 2016 Independent Curators International (ICI) + RAW Material Company Fellow.\nWith a keen interest in cultural studies\, African affairs and artistic expression\, Amy Sall is interested in the ways in which visual culture\, literature\, postcolonial and critical theory inform\, shape and encourage contemporary discourses surrounding the socioeconomic\, political and cultural. She consults for entities engaged in projects\, programming\, exhibitions\, and/or research relating to contemporary African and Afro-diasporic visual culture (specifically photography and cinema). Her consulting also extends to projects and research centered on African/Afro-diasporic theory\, literature and social science. Amy Sall is also a collector of vintage vernacular photography and printed matter coming from Africa and the diaspora (ca. 1950s – 1970s). These Pan-African artifacts are housed in her small\, but growing private collection\, The Sall Collection. The Sall Collection was established with the ideas of cultural preservation and cultural sovereignty in mind. Its existence serves as a means to maintain agency by pushing back against the neocolonial ways of archiving\, collecting\, and disseminating African/Black artifacts. \nThis exhibition is part of Punctures: Textiles in Digital and Material Time. Consisting of three exhibitions and public programs that weave into each other\, Punctures features artists who are invested in the intersections and history of textile practices\, media art\, and critical and liberatory politics\, including trans fashion and domesticity; gendered and immigrant labor under global racial capitalism; Gelede women’s commemoration\, protest and power as represented in textile work; speculative future-casting through Oglala Lakota knowledge systems\, and more. The exhibition features installations by Betty Yu\, Cecilia Vicuña\, Charlie Best\, Eniola Dawodu\, Kite\, and Sabrina Gschwandtner\, performances by Charlie Best\, Jodi Lynn Maracle\, and Kite\, and screenings of work by Jodie Mack\, Pat Ferrero\, Sabrina Gschwandtner\, and Wang Bing. Punctures design by Kelly Walters. \nEniola Dawodu’s exhibition is supported through a residency from the Creative Arts Initiative at the University at Buffalo. Creative Arts Initiative is a university-wide initiative\, dedicated to the creation and production of new work upholding the highest artistic standards of excellence and fostering a complementary atmosphere of creative investigation and engagement among students\, faculty\, visiting artists\, and the community. \nBanner Image: Kite\, Everything I Say Is True (2017). Courtesy of the artist.
URL:https://squeaky.org/event/punctures-eniola-dawodu-and-kite/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191112T180000
DTEND;TZID=America/New_York:20191121T200000
DTSTAMP:20260421T082939
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
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SUMMARY:Video Production
DESCRIPTION:Nov. 12th–21st  \nTuesdays and Thursdays 6–8 pm \nCost: $175 | Members $135  \nLearn the practice of planning\, recording\, and editing sound for use in short films\, documentaries\, or promotional videos. This workshop will cover the core components of sound design\, from basic capturing techniques to the nuanced nature of foley. The class will be project-based. Participants will collaborate to create short-form works with all the production bells and whistles! \n \n  \nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/video-production-14/
LOCATION:NY
CATEGORIES:Media Art Workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191029T180000
DTEND;TZID=America/New_York:20191107T200000
DTSTAMP:20260421T082939
CREATED:20251230T191316Z
LAST-MODIFIED:20251230T191316Z
UID:10001001-1572372000-1573156800@squeaky.org
SUMMARY:Graphic Animation
DESCRIPTION:Oct. 29th–Nov. 7th  \nTuesdays and Thursdays 6–8 pm \nCost: $175 | Members $135  \nThis workshop will teach you how to get started working in the powerful motion graphic software Adobe After Effects. Motion graphics help you add a slick and professional element to all of your video and animation projects.  \n \nRegistration must occur at least three days prior to the start date of the workshop. There is a fee of $25 for any cancellations and cancellations with less than 48 hours notice of the start of the workshop will not receive a refund. No walk-ins accepted.
URL:https://squeaky.org/event/graphic-animation/
LOCATION:NY
CATEGORIES:Media Art Workshop
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END:VEVENT
END:VCALENDAR