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SUMMARY:Pandemic\, Care\, and Healing with Hanae Utamura
DESCRIPTION:Tuesday\, March 31\, 7 pm ET\nFree or suggested donation\nRegister here\nAccess information: This workshop will take place over Zoom. Automated captions will be available for participants to turn on. \nHanae Utamura invites participants to mark the past year of the pandemic to a collective workshop on care and healing through performance with your webcam. The workshop will draw on the artists expansive work incorporating gesture as a way to interact and comment on the environment and its histories. \nHanae Utamura is a Japanese visual artist based in Buffalo\, New York. Utamura’s media include video\, performance\, installation\, and sculpture. Negotiations and conflicts between the human and earth\, and how all the varieties of the wills of life manifest\, have been the central focus of her practice. She has been awarded Shiseido Art Egg Award\, Art Omi residency\, the Pola Art Foundation\, UNESCO-Aschberg Bursary Award\, and Axis/Florence Trust Award. She was a visiting scholar at New York University in 2019-2020\, supported by Japanese Ministry of Culture\, Japanese government as a part of Japan – United States Exchange Friendship Program in the Art. Image of Hanae Utamura by Peter Rosemann. \nThis program is presented as part of Squeaky Wheel’s Workspace Residency. Workspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, and individual members\, businesses\, and supporters.  The Spring session of the Workspace Residency is dedicated in loving memory to former Squeaky Wheel board member Marguerite Doritty (1923-2020). Doritty was an important supporter of Buffalo’s media arts community\, and she is greatly missed. Read about her legacy here. \nImage: Hanae Utamura\, Wiping the Snow\, 2011
URL:https://squeaky.org/event/pandemic-care-and-healing-with-hanae-utamura/
LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share,Virtual
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/03/wiping-the-snow.jpg
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DTSTART;TZID=America/New_York:20210327T110000
DTEND;TZID=America/New_York:20210620T130000
DTSTAMP:20260502T023919
CREATED:20251230T191404Z
LAST-MODIFIED:20251230T191404Z
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SUMMARY:Tech Art for Girls
DESCRIPTION:Virtual Spring Session\nMarch 27–June 19\, 2021\nWednesdays 4:30–5:30 pm and Saturdays 11–1 pm\nTaking place on Microsoft Teams\nInstructor: Kaitlyn Lowe\nFree\nIn this virtual session of Tech Art for Girls (TAG)\, participants will learn to create videos\, animations\, and code through visual storytelling\, collaging\, and more! \nTAG is a space to socialize\, collaborate\, express your creativity and a place where you’ll meet and talk to professionals working in the Tech Arts and Computer Science fields. \nWho can participate?\nTAG is for middle-high school girls\, non-binary people\, and those that feel most comfortable in a female-centric environment. \nWhat do I need to participate?\nA computer or tablet with the ability to download Microsoft Teams.\nAll software used will be free and open-source or provided by Squeaky Wheel. \nHow can I participate?\nSimply by filling out our registration form (see below). If you need assistance filling out the registration form\, please email martina@squeaky.org. \nRegistration is closed\, check back fall 2021
URL:https://squeaky.org/event/join-tech-art-for-girls/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Tech Arts for Girls,Virtual
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DTSTART;TZID=America/New_York:20210320T133000
DTEND;TZID=America/New_York:20210619T153000
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SUMMARY:Saturday Cafe
DESCRIPTION:March 20–June 19\, 2021\nWednesdays 5:30–6:30 pm & Saturdays 1:30–3:30 pm\nTaking place on Zoom\nMentors: Kaitlyn Lowe and Mark Longolucco\nFree\nSupport Offered\n– $250 project stipend\n– Internet access waiver\n– Access to Squeaky Wheel technology and support \nPerformance is part of everyday life. Whether we are aware of it or not\, we are performing. Now that our lives and personas are entangled with virtual spaces\, it’s becoming increasingly important to understand\, through making\, what the creative and technological possibilities of performance could be. Participants of Saturday Cafe will learn to create\, write\, and produce performance art pieces for virtual space in a fun\, supportive and challenging environment. This session will cover artistic and technical areas such as poetry\, spoken word\, video and sound production\, graphics\, and live streaming. \nStudents will meet and learn from artists\, be exposed to contemporary and historical examples in the field of virtual performance\, and have chances to share and discuss examples of their own choosing. Explore the boundaries of what’s real and what’s performed. Discuss issues related to safety and ethical considerations underlying each. Learn to unpack mediated performances by creating your own! \nIndigenous people\, people of color\, women\, 2SLGBQTIA+ individuals\, and young artists who face systemic and structural barriers are highly encouraged to apply. We welcome questions regarding the types of access we can provide to youth with disabilities: please email Martina LaVallo Education Coordinator at martina@squeaky.org \nWho can participate?\nSaturday Cafe is for Western New Yorkers ages 13–19. \nWhat do I need to participate?\nA computer or tablet with the ability to download Zoom\, and run Adobe Creative Cloud.\nAll software used will be free and open-source or provided by Squeaky Wheel.\nWe have a limited number of laptops available for those who may need one\, please email mark@squeaky.org. \nHow can I participate?\nSimply by filling out our registration form (see below). If you need assistance filling out the registration form\, please email martina@squeaky.org. \nWhy should I apply? \n– Do you want to express yourself by making videos\, gifs\, or poetry? \n– Do you love tinkering with programs and pushing the limits of how apps are “supposed to” function?  \n– Are you excited about meeting cool artists to collaborate and who can show you what it’s like to be a working artist? \nThen this program is for you! \nRegistration is closed check back fall 2021
URL:https://squeaky.org/event/saturday-cafe/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Education,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210319T190000
DTEND;TZID=America/New_York:20210319T210000
DTSTAMP:20260502T023919
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SUMMARY:Meet the Residents: Hanae Utamura and Jacob Nelsen-Epstein
DESCRIPTION:Friday\, March 19\, 2021\, 7 pm ET\nFree or suggested donation\nClick here to register\nAccess information: The live-streamed video will feature automated open caption. 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. \nFeaturing two artists taking on the nature of time and transience\, Squeaky Wheel is pleased to present this artist talk with our two Spring 2021 artist residents Hanae Utamura & Jacob Nelsen-Epstein. Both artists will be presenting and speaking to their previous and current projects\, and engaging in a conversation with curator Ekrem Serdar. \nDuring their residency\, Hanae Utamura will be working on the poetic short film The Nuclear / Niagara Falls\, which focuses on the history of Niagara River and Niagara Falls as the site of a toxic waste dumping ground\, rooted in her research in Japan’s fraught relationship with nuclear power. Jacob Nelsen-Epstein will be working on Re-Virtualization\, a book and hardware interface that utilizes the text from the book as a storage medium in lieu of a harddrive to draw attention to the impermanence of digital storage methods. \nSee more more information on their residency here. \nBios of the artists \nHanae Utamura is a Japanese visual artist based in Buffalo\, New York. Utamura’s media include video\, performance\, installation\, and sculpture. Negotiations and conflicts between the human and earth\, and how all the varieties of the wills of life manifest\, have been the central focus of her practice. She has been awarded Shiseido Art Egg Award\, Art Omi residency\, the Pola Art Foundation\, UNESCO-Aschberg Bursary Award\, and Axis/Florence Trust Award. She was a visiting scholar at New York University in 2019-2020\, supported by Japanese Ministry of Culture\, Japanese government as a part of Japan – United States Exchange Friendship Program in the Art. Image of Hanae Utamura by Peter Rosemann. \nJacob Nelsen-Epstein is a Buffalo based performer\, software developer and multi-media artist specializing in works contemplating the intersections of technology\, longevity\, and consumer culture. He is attending SUNY Buffalo’s Library/Information Science graduate program\, and has a background in media studies. Jacob has received awards working with the Institute for Aesthetic Modulation\, for choreographed performances involving monster costumes made from reclaimed e-waste. Jacob has also won awards for musical submissions to Re/Mixed Media Festival\, with media features in Do Androids Dance and Vice Magazine. Other previous works include attempts to physicalize software\, by visualizing compiled code as printed images. \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, and individual members\, businesses\, and supporters.
URL:https://squeaky.org/event/meet-the-residents-hanae-utamura-and-jacob-nelsen-epstein/
LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Virtual
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DTSTART;TZID=America/New_York:20210226T170000
DTEND;TZID=America/New_York:20210403T180000
DTSTAMP:20260502T023919
CREATED:20251230T191418Z
LAST-MODIFIED:20251230T191418Z
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SUMMARY:Passing Through the Heart: Episode 3
DESCRIPTION:Friday\, February 26\, 6 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: This event will be live-streamed with automated closed captions. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nPassing Through the Heart\, Episode 3 from Squeaky Wheel on Vimeo. \nPoached chicken with ginger and rice is the star of the third episode of Passing Through the Heart. Presented by Public Visualization Studio (PVS)\, and guest starring artist and cook Cheng Yang “Bryan” Lee and food journalist Evelyn Kwong\, this multi-media art and cooking show will be accompanied by a conversation on immigrant and refugee knowledge sharing\, animated with PVS’ motion capture tools. You’re invited to watch\, cook\, and ruminate on how food is intertwined with memory and heritage in this live virtual episode. Episode 3 is co-presented with El Museo. Special thank you to our media sponsor Yelp. \nAudiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to register and view for 24 hours. SW members will have access to the event for 72 hours. \nPassing through the Heart is a multi-media installation and series of virtual events by Public Visualization Studio that utilize non-optical motion capture\, photogrammetry\, videography\, and audio recording come together to create a dialogue about migration\, community\, political conflicts\, mourning\, healing\, and transformation. \nPoached Chicken with rice and ginger sauce by Cheng Yang “Bryan” Lee\nIngredients \n\n1 whole chicken (3 to 4 pounds)\nginger\nscallion\ngarlic\ncucumber\ncilantro\nrice\noil\n\nRecipe \n\nClean the chicken: remove any stray feathers\, rinse both the exterior and the cavity\, and pat dry.\nLightly salt the chicken all over and set aside for at least 15 minutes\, up to 1 hour.\nBring a large pot of water to just a simmer\, and add a few scallions and slices of ginger.\nHolding the chicken either by the neck (if attached) or with tongs (careful not to rip the skin)\, submerge the chicken in the hot water\, swirl it around for a few seconds\, then remove and let water drain back into the pot. Repeat this\ndipping process a few times\, allowing the water to come back up to temperature if needed. The skin of the chicken will start to look tight and smooth and slightly opaque.\nReturn the chicken to the pot\, cover\, and adjust the heat to maintain a water temperature of about 180-185F (82-85C). Do not let the water boil or you will end up with chicken soup.\nPoach for 40 minutes to 1 hour depending on size of chicken.\nIf you’re not sure whether it’s cooked\, you can test with a thermometer (175F in the thickest part of the thigh)\, but ideally you shouldn’t pierce the chicken at this point.\nCarefully transfer chicken to a large bowl of ice water to chill completely. Do not discard the cooking broth.\nWhile the chicken cools\, make the rice.\nRinse and drain jasmine (or other medium-grain) rice\, then use the chicken cooking broth instead of water to cook the rice.\nOptional step: Saute minced garlic in some oil until fragrant\, add the rice and stir to coat\, before adding to rice cooker.\nNow\, make the ginger sauce.\nPeel and roughly chop a lot of ginger.\nUsing a food processor\, blitz the ginger to a fine texture. It will start to give off some liquid\, and there should be no more long fibers remaining. Transfer the ginger to a heatproof bowl.\nPress the ginger to squeeze out most of the juice. It does not have to be totally dry\, but too much ginger juice will make the sauce too spicy.\nUsing same food processor\, finely mince 1 or 2 scallions and add to ginger. Season with some salt.\nHeat up a few tablespoons of peanut or vegetable oil in a small skillet or saucepan until it is extremely hot and begins to smoke.\nPour the oil slowly all over the ginger mixture and stir. It should sizzle vigorously and form a paste.\nAdd some of the chicken cooking broth to adjust the consistency\, and more salt if desired.\nWhen the chicken is fully cooled\, the skin should have a firm\, snappy bite\, and the meat will be succulent with jellied chicken juices.\nCarve and arrange on a platter with sliced cucumbers and chopped cilantro. Serve with rice. The cooking broth also makes a good side soup (add some salt and garnish with cilantro/scallion).\nIn addition to the ginger sauce\, the chicken goes well with soy sauce\, various chili sauces\, or fish sauce.\n\nBios of the artists \nCheng Yang “Bryan” Lee is the curator at El Museo\, a contemporary arts organization that focuses on underserved artists and communities in Buffalo and Western New York. Originally from Malaysia\, he is a graduate of the University at Buffalo. \nEvelyn Kwong is a journalist based in Toronto whose passion is covering inequities\, stories on identity\, and spotlighting voices that are often unheard. Growing up raised by a single-mother (and watching her do three jobs to put food on the table for a family of 3)\, her inspirations to fight for equity came from discovering her own identity as a Chinese-Canadian woman\, overcoming abuse as a survivor\, and being introduced to mental health struggles earlier on in her life. Due to those life experiences\, she decided to go into journalism as a career to provide a platform for those who feel voiceless. Her latest work as an editor of the Star is leading the charge on the opinion column “In Their Own Voices” where she takes stories\, experiences\, opinions on identity with an intersectional lens from humans across Canada. \nImmony Mèn is an artist\, educator\, and community-based researcher. He is an Assistant Professor of Interaction Design in the Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies at OCAD University. \nPatricio Dávila is a designer\, artist\, researcher and educator. He is Associate Professor\, Cinema and Media Arts\, and core member of Vision: Science to Applications (VISTA) at York University. \nPublic Visualization Studio is a design collective whose members are designers\, artists\, creative technologists and researchers. The collective creates projects as a means to pursue inquiries into the political and conceptual aspects of interaction\, space and media. Its members attempt to investigate how specific technologies of vision\, communication and gesture support our experiences in participatory spaces. Members of the collective have exhibited nationally and internationally\, and have worked in a variety of areas including public projection\, media architecture\, locative media\, video installation\, exhibition design\, interaction\, communication design and media scholarship. PVS works in collaboration with the Public Visualization Lab\, a university-based lab in Toronto. PVS founding members are Patricio Dávila\, Dave Colangelo\, and Immony Mèn. PVS is located in Toronto\, Canada. \nEl Museo is a 501(c)3 nonprofit\, professionally directed visual arts organization dedicated to the exhibition of contemporary work by underserved artists\, and cultural programming that engages diverse communities through the arts and humanities. More information about El Museo here. \nSpecial thank you to our media sponsor Yelp.
URL:https://squeaky.org/event/passing-through-the-heart-episode-3/
LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/02/PVS3-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210127T190000
DTEND;TZID=America/New_York:20210127T203000
DTSTAMP:20260502T023919
CREATED:20251230T191403Z
LAST-MODIFIED:20251230T191403Z
UID:10001029-1611774000-1611779400@squeaky.org
SUMMARY:On the language of anti-Blackness and the Indian Ocean
DESCRIPTION:Free or suggested donation\nClick here to register\nAccess information:This event will take place over Zoom and feature live closed captions. If you encounter any issues\, please send us a text message at 716-427-4125. \nWhat are the afterlives of the Indian Ocean slave trade\, and what is the role of music through them? What are the politics of the archive in re-imagining the linguistic and historical connections between South Asia\, the Arab world\, and the Swahili coast of East Africa? \nIn this presentation and panel discussion\, Hiba Ali\, Jazmin Graves\, and Beheroze Shroff will explore these questions and share their ongoing research. Hiba Ali will present their in-progress interactive 3D artwork On the language of anti-Blackness and the Indian Ocean\, followed by Jazmin Graves who will present on her scholarship on the African diaspora in western India. Beheroze Shroff will present on her documentary and research practice  on contemporary African descended Sidis of Gujarat\, their culture and spiritual practice. The three panelists will then be in conversation on the history of the Indian Ocean slave trade\, and the terminologies and music for the region of South Asia\, East Africa and the Arab world. \nThis event will take place on Zoom. The event will feature live closed captions that you can enable within the event. Audiences will enter the room with their microphones muted\, and an option to turn on their camera. They will be able to leave questions and responses in the event. We ask all participants to respect Squeaky Wheel’s community guidelines. \nAudiences can view a recording of the event for a period of 24 hours. Squeaky Wheel members will have access to view the event for 72 hours. \nLeft to right: Hiba Ali\, Jazmin Graves\, Beheroze F. Schroff\n\nBios of the artists\nHiba Ali (they/she) is a digital artist\, educator\, scholar\, DJ\, experimental music producer and curator based across Chicago\, IL\, Austin\, TX\, and Toronto\, ON. Their performances and videos concern surveillance\, womxn/ womyn of colour\, and labour. She studies the geographies of Afro-Indo-Arab communities across the Indian Ocean through music\, cloth and ritual. They conduct reading groups addressing digital media and workshops with open-source technology. She is a PhD candidate in Cultural Studies at Queens University\, Kingston\, Canada. They are an Assistant Professor of Art\, New Media Artist/Feminist Art Discourse\, College of Design\, Art & Techology\, University of Oregon\, Eugene\, OR. She has presented their work in Chicago\, Stockholm\, Toronto\, New York\, Istanbul\, São Paulo\, Detroit\, Dubai\, Austin\, Vancouver\, and Portland. They have written for C Magazine\, THE SEEN Magazine\, Newcity Chicago\, Art Dubai\, The State\, VAM Magazine\, ZORA: Medium\, RTV Magazine\, and Topical Cream Magazine. \nJazmin Graves (she/her) is a Thurgood Marshall Fellow in the African and African American Studies Program at Dartmouth College and a PhD candidate in the Department of South Asian Languages and Civilizations at the University of Chicago. Her dissertation\, “Songs to the African Saints of India\,” studies the African diaspora in western India through the lens of Afro-Indian devotional music and rituals. A Junior Research Fellowship from the American Institute of Indian Studies supported her ethnographic and archival research in India from 2018-2019. In 2018\, Jazmin was named one of the MIPAD Global Top 100 Most Influential People of African Descent Under 40. \nBeheroze Shroff is a documentary film maker and long time scholar of Sidis. Shroff teaches in the Department of Asian American Studies at the University of California\, Irvine. Born in Bombay\, Shroff obtained her Master’s in English Literature from the University of Bombay and went on to obtain an MFA–Master of Fine Arts Degree in Film Production at the University of California\, Los Angeles. She has made five documentaries on contemporary African descended Sidis of Gujarat\, their culture and spiritual practice. Shroff was introduced to the spiritual legacy of the Sidis of Gujarat and their ancestral saint Bava Gor\, from the age of seven\, by her parents who became devotees of Sidi saint Bava Gor. Shroff has published widely in several journals and anthologies on different aspects of contemporary Sidi life\, in Gujarat\, India. Most recently\, in 2020\, Shroff has co-edited a three volume publication titled Afro-South Asia in the Global African Diaspora\, which explores the ways in which Africans and people of African descent have shaped and been shaped by the histories\, cultures\, and societies of South Asia. Her documentaries have been shown at the Max Planck Institute in Leipzig\, School of Oriental and African Studies in London\, Commonwealth Institute London\, the Schomburg Library and Museum of Black Culture in New York\, the Pan African Film Festivals in Los Angeles and at the Nairobi and Zanzibar International Arts\, Music and Film Festivals\, among others. \nThis program is made possible thanks to the generous support of the National Endowment for the Arts and Adobe TakingITGlobal. \nBanner image: Hiba Ali\, On the language of anti-Blackness and the Indian Ocean.
URL:https://squeaky.org/event/on-the-language-of-anti-blackness-and-the-indian-ocean-hiba-ali-and-jazmin-graves/
LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Symposia & Panels,Virtual
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2021/01/HibaAliIndianOcean.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201211T180000
DTEND;TZID=America/New_York:20210403T200000
DTSTAMP:20260502T023919
CREATED:20251230T191403Z
LAST-MODIFIED:20251230T191403Z
UID:10001027-1607709600-1617480000@squeaky.org
SUMMARY:Passing Through the Heart: Episode 2
DESCRIPTION:Friday\, December 11\, 6 pm ET\nFree or suggested donation\nRegistration required. Click here to register.\nAccess information: Video conversations will feature automated open captions. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nPublic Visualization Lab\, Passing Through the Heart: Episode 2\, 35 min\, 2020 \nJoin us for the second episode of Public Visualization Studio’s (PVS) Passing Through the Heart\, with guest Kalpana Subramanian! PVS’ Immony Mèn and Patricio Dávila host Subramanian for a special session to cook Green Chutney with Idli in a conversation on immigrant and refugee family and knowledge-sharing through cooking. Members of PVS cook recipes from their heritage that are recorded through traditional and emergent technologies. \nSubramanian will join Mèn and Dávila after the episode for a post-screening Q&A. Audiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to register and view for 24 hours. SW members will have access to the event for 72 hours. \nPassing through the Heart is a multi-media installation and series of virtual events by Public Visualization Studio that utilize non-optical motion capture\, photogrammetry\, videography\, and audio recording come together to create a dialogue about migration\, community\, political conflicts\, mourning\, healing\, and transformation. \nKalpana Subramanian is an artist-filmmaker\, educator and Ph.D. candidate in Media Study at the University at Buffalo. Her research investigates the poetics of light and breath in experimental film using a trans-cultural\, interdisciplinary and practice-based framework of inquiry. She was a Fulbright Nehru Academic and Professional Excellence Fellow at University of Colorado Boulder in 2015-16 and a UK Environmental Film Fellow in 2006. Her films have been screened at several international film festivals including the Yamagata International Documentary Film Festival\, Interfilm Berlin\, Toronto International Film Festival\, Antimatter Media Arts (Canada)\, Olhar de Cinema (Brazil)\, Digital Anthropologies (France) and Wildscreen (UK) among others. She has received various honors including a Jury’s Special Mention at the CMS Vatavaran International Film Festival (2007)\, Audience Award at the Documentary Festival of History and Archeology in Italy (2015)\, awards for Creative Approach\, Cinematography (2003) and Merit Award for Conservation Message (2005) at the Montana CINE International Film Festival. Her recent films include the five-part series Light Mediated: Eyes on Brakhage (2016)\, Tattva (2018) and Choreography for Disembodiment (2019). Subramanian is also a vocalist\, and author of four children’s books. \nImmony Mèn is an artist\, educator\, and community-based researcher. He is an Assistant Professor of Interaction Design in the Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies at OCAD University. \nPatricio Dávila is a designer\, artist\, researcher and educator. He is Associate Professor\, Cinema and Media Arts\, and core member of Vision: Science to Applications (VISTA) at York University. \nPublic Visualization Studio is a design collective whose members are designers\, artists\, creative technologists and researchers. The collective creates projects as a means to pursue inquiries into the political and conceptual aspects of interaction\, space and media. Its members attempt to investigate how specific technologies of vision\, communication and gesture support our experiences in participatory spaces. Members of the collective have exhibited nationally and internationally\, and have worked in a variety of areas including public projection\, media architecture\, locative media\, video installation\, exhibition design\, interaction\, communication design and media scholarship. PVS works in collaboration with the Public Visualization Lab\, a university-based lab in Toronto. PVS founding members are Patricio Dávila\, Dave Colangelo\, and Immony Mèn. PVS is located in Toronto\, Canada. \n 
URL:https://squeaky.org/event/passing-through-the-heart-episode-2/
LOCATION:2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
ATTACH;FMTTYPE=image/jpeg:https://squeaky.org/wp-content/uploads/2020/12/PVSep2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201113T180000
DTEND;TZID=America/New_York:20210403T200000
DTSTAMP:20260502T023919
CREATED:20251230T191404Z
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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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DTEND;VALUE=DATE:20210404
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SUMMARY:Public Visualization Studio: Passing Through the Heart
DESCRIPTION:Opening Friday\, November 13\, 2020 @ Squeaky Wheel’s window gallery. On view through April 2\, 2021.\nOpening event: virtual cooking show with Immony Mèn and Patricio Dávila at on November 13\, 6:00 pm ET.\n\nPassing through the Heart is a multi-media installation and series of virtual events by Public Visualization Studio that focus on immigrant and refugee family and knowledge-sharing through cooking. Members of Public Visualization Studio (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. \nInstalled as a synchronized multi-screen work in Squeaky Wheel’s window gallery\, Passing Through the Heart features four interactive\, virtual\, multi-media cooking shows\, with members of PVS cooking traditional recipes provided by local and international guests\, who will be in dialogue through the event. Playing on traditional cooking show tropes\, the events are documented through a seven-screen set-up in PVS’ studios. The conversations in the cooking show prompt how we can acknowledge the formation of transnational identities within North America while asking critical questions on data visualization. What are the recipes that preserve our stories through generations and migration? What does it mean for these gestures to be so precisely captured through data visualization? How do our stories live where we are? \nAudiences are invited to view the installation in Squeaky Wheel’s window gallery in downtown Buffalo through February 27 and join the monthly cooking shows hosted by the artists (and are encouraged to cook together.) Recipes and shopping lists will be provided in advance. The cooking shows will be made available on our website for those who miss the live events. \nVirtual events as part of this exhibition\nClick on the links to find out more and view the individual episodes. Information about upcoming episodes TBA. \nNovember 13\, 2020\, 6 pm ET\nEpisode 1 with Immony Mén and Patricio Dávila\n \nDecember 11\, 2020\, 6 pm ET\nEpisode 2 with Kalpana Subramanian \nFebruary 26\, 2021\, 5 pm ET\nEpisode 3 with Bryan Lee \nMarch 10\, 2021\, 6 pm ET\nEpisode 4 with Alexandra Gelis & Jorge Lozano (Postponed: We will share a new date soon.) \n \n\n\n \nBio \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 members are Patricio Dávila\, Dave Colangelo\, Immony Mèn\, Jay Irizawa\, Maggie Chan\, Preethi Jagadeesh\, David Schnitman\, Robert Tu\, Symon Oliver\, Bohdan Anderson\, David Czarnowski\, Alexis Mavrogiannis\, Tim Macleod\, Tati Petkovic\, and Jeff McArthur. PVS is located in Toronto\, Canada. \nImages provided by the artists.
URL:https://squeaky.org/event/public-visualization-studio-passing-through-the-heart/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20201106T190000
DTEND;TZID=America/New_York:20201106T210000
DTSTAMP:20260502T023919
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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
DTEND;TZID=America/New_York:20201028T210000
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SUMMARY:Hala Lotfy's Coming Forth by Day
DESCRIPTION:Wednesday\, October 28\, 2020\, 7–9:30 pm ET\nFree or suggested donation\nConversation with Hala Lotfy and Ekrem Serdar at 8:50 pm ET.\nRegistration required. Click here to register.\nAccess information: The film is presented in Arabic\, with English subtitles. Video introductions and conversations will feature ASL interpretation and open captions. The Google Doc Q&A features screen reader and screen magnification support. If you encounter any issues\, please send us a text message at 716-427-4125. \nHala Lotfy’s 2012 intimately observed narrative feature film Al-khoroug lel-nahar (Coming Forth by Day) follows a day and night in the life of a young woman named Suad living in Cairo on the days before the Egyptian Revolution. Living with her sick and disabled father\, whom she takes care of with her nurse mother\, Lotfy’s quiet and powerful film depicts the vigilance\, routines\, exhaustion and isolation that can accompany care work. When Suad decides to leave the house for a few hours\, a tide of change is set into motion. Set against the backdrop of a country at a moment of change\, and titled after the Egyptian Book of the Dead\, Lofty’s award-winning film heralded a new Egyptian cinema as it stretches time to imagine what comes tomorrow. \nI had this feeling that we were suffocating. Anyone who visited Egypt before the revolution just caught this feeling in the air. It was a huge despair and everyone had the feeling we could not proceed this way. So the film was not intended to be like this but it was something I could not avoid. Losing hope\, I could not avoid that. – Hala Lotfy\, The National \nFollowing the screening\, the filmmaker will be present for a conversation and Q&A with Ekrem Serdar. Audiences will be able to leave reactions\, comments\, and questions through a shared Google Doc. Instructions for how to view and participate in the event will be communicated via email. The event will be available to view for 24 hours after the event and SW members will have access for 72 hours. \nHala Lotfy\, Al-khoroug lel-nahar (Coming Forth by Day)\, 100 min\, 2012\nThis event is part of Timeline(s) of Care. Comprised of five single-night screenings\, artist talks\, and interactive events taking place throughout Fall 2020. The series focuses on illness\, disability\, and care work across generations\, crisscrossing timelines\, and the minutiae of personal\, social\, political\, and institutional life. These works acknowledge the lives and work of those who came before us to create different tomorrows. \nBio \n\nHala Lotfy is an Egyptian director\, producer and the founder of Hassala Films collective. Ann Al Sho’our Bel Berouda (“Feeling Cold”\, 2005) is one of her notable documentary works\, which received numerous awards including the Special Jury Prize at the National Film Festival in Egypt. Lotfy also created seven documentaries for the TV series Arabs of Latin America for Al Jazeera. In 2011\, she was chosen by Charlotte Rampling to receive the Katrin Cartlidge Foundation Award. Lotfy’s feature fiction debut “Al-khoroug lel-nahar (Coming Forth by Day\, 2012) had its European premiere at the Berlinale Forum in 2013 and won many awards including the Prize of the FIPRESCI jury and Best Director from the Arab World at Abu Dhabi Film Festival. EXT./Night (2018) is the latest feature fiction she produced\, which premiered at the Toronto International Film Festival in 2018. \nEkrem Serdar is the curator at Squeaky Wheel.
URL:https://squeaky.org/event/hala-lotfys-coming-forth-by-day/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20201016T190000
DTEND;TZID=America/New_York:20201016T213000
DTSTAMP:20260502T023919
CREATED:20251230T191403Z
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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
DTEND;TZID=America/New_York:20200926T190000
DTSTAMP:20260502T023919
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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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200904T190000
DTEND;TZID=America/New_York:20200904T203000
DTSTAMP:20260502T023919
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SUMMARY:Johann Diedrick's Prelude to Wake
DESCRIPTION:Friday\, September 4\, 2020\, 7 pm ET\nFree and suggested donation\nUpon registration\, you will receive an email with information on how to view the event. If you encounter any issues\, please send us a text message at 716-427-4125.\nClick here to register \nJohann Diedrick’s Prelude to Wake is a ~20 minute\, urgent\, mournful\, and world-building sonic performance that centers the loss of ourselves and environments due to climate change. The work is performed by a fictional character named “The Sound Collector” who collects buried vibrations and releases them from material through an ancient technological device. Combining field recordings\, original music composition\, and generative audio techniques\, Prelude to Wake stages an encounter between the audience\, a past that we are losing due to catastrophe\, and what may exist in the future. \nThis digital\, online performance is transmitted digitally from Tortoise Town in Brooklyn\, NY. The artist’s original proposal – titled Wake – was a site-specific\, in-person performance at Silo City’s Marina A\, set as an encounter between the Sound Collector and the histories and ecology of the Buffalo River. Due to the pandemic\, his in-person performance in Buffalo is tentatively rescheduled for late Spring 2021. \nAudiences will be able to participate in a Q&A with the artist through Google Docs at 7:30 pm ET. \nJohann Diedrick is a Caribbean-American artist who makes installations\, performances\, and sculptures that allow you to explore the world through your ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space\, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. He was a Spring 2020 technology artist-in-residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council. Along with receiving an Asian Cultural Council grant\, his work has been featured in Wire Magazine\, Musicworks Magazine\, and presented at MoMA PS1 (in collaboration with Jonathan González)\, Somerset House (London\, UK)\, Social Kitchen (Kyoto\, Japan)\, Common Ground (Berlin\, Germany)\, Recess (Brooklyn\, NY)\, Knockdown Center (Queens\, NY)\, and Pioneer Works (Brooklyn\, NY). \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. Special thanks to Scribe Video Center. See more information about the Workspace Residency here. \nBanner image by Johann Diedrick: “A view of the sunrise as seen from the summit of Panther Mountain\, a mountain in the Catskills which sits atop a meteorite impact crater from around 375 million years ago.”
URL:https://squeaky.org/event/johann-diedricks-prelude-to-wake/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Performance,Residencies,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200828T190000
DTEND;TZID=America/New_York:20200828T210000
DTSTAMP:20260502T023919
CREATED:20251230T191346Z
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SUMMARY:Race Jam: A panel on memes and online imagined blackness
DESCRIPTION:Friday\, August 28\, 2020\, 7 pm ET\nFree and suggested donation\nUpon registration\, you will receive an email with information on how to view the event. If you encounter any issues accessing the event\, please send us a text message at 716-427-4125.\nRegister here \nIn this intimate public knowledge-sharing event led by Jenson Leonard ( @coryintheabyss )\, and featuring Ashley Khirea Wahba ( @th0t_catalog )\, Nicolas Vargas ( @blackpowerbottomtext )\, and Pastiche Lumumba ( @pastichelumumba )\, Leonard and the participants will lead a discussion on the origins of the internet meme\, its mobilization as political ejecta in the 2016 election\, its shared resonances with graffiti and conceptual art practices\, and the structural and ethical pitfalls of the medium in the context of mass surveillance\, data extraction\, and digital blackface. \nAudiences will be able to ask questions to the panelist in the live chat\, which will be sent to the panelists upon moderation by SW. \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. Special thanks to Scribe Video Center. See more information about the Workspace Residency here. \nBanner image by Jenson Leonard.
URL:https://squeaky.org/event/race-jam-a-panel-on-memes-and-online-imagined-blackness/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200826T190000
DTEND;TZID=America/New_York:20200826T210000
DTSTAMP:20260502T023919
CREATED:20251230T191346Z
LAST-MODIFIED:20251230T191346Z
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SUMMARY:Distributed Technology for Digital Cooperation
DESCRIPTION:Wednesday\, August 26\, 2020\, 7 pm ET\nFree or suggested donation.\nThis is an online event. Upon registration\, you will receive an email with information on how to participate in the workshop. Attendance is limited. If the event reaches capacity\, you can sign up for the waitlist and be notified if there are any openings.\nRegister here. \nHow do distributed technologies\, peer-to-peer\, and blockchain-based currencies provide corrective measures to ailing economic and political systems? To what extent do these new technologies re-inforce the same power dynamics and abuses as our current systems? \nIn this skill-share\, Eric Barry Drasin will introduce projects that use decentralized technologies to affect progressive social change. Drasin will discuss projects such as Bailbloc\, which mines cryptocurrency to pay for bail funds; CirclesUBI\, which attempts to create a mutual credit solidarity economy; and discuss how blockchain technology has exacerbated the economic and political conditions it was supposed to disrupt. \nAfter his introduction\, audiences will be randomly set in two Zoom breakout rooms to discuss the potential of such technology. Upon the end of the discussion\, Drasin will lead a participatory demonstration of quadratic voting through Google Sheets. Audiences are welcome to participate or simply attend. \nThis skill-share is open to all interested in blockchain as a collaborative tool. Want to learn more about blockchain before the skill-share? Click here for an introductory lecture by the artist. \nThe workshop will be held over Zoom and utilize Google Sheets\, which requires a Google account. If you are encountering any issues accessing the event\, please send us a text message at 716-427-4125. \nEric Barry Drasin is a research-based artist exploring the relationship between art and systems of value. Through emerging blockchain technologies\, his current research explores “distributed” processes\, objects\, and organizations that problematize and reprogram fundamental assumptions about how value is constructed and disseminated. Using contracts and legal frameworks as a platform for enacting collectivity\, his work injects cooperation and utopian absurdity into systems designed to consolidate power. The notion of the art object is rematerialized in digital space and expanded to engage notions of cultural production and collective agency. Value is thus performed as a form of disruption\, and capitalism itself is the terrain for the refiguration of the economic landscape. \nSqueaky Wheel’s Workspace Residency is a bi-yearly residency open to artists and researchers working in art and technology. The program is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. For more information about the program\, click here.
URL:https://squeaky.org/event/distributed-technology-for-digital-cooperation/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200822T190000
DTEND;TZID=America/New_York:20200822T190000
DTSTAMP:20260502T023919
CREATED:20251230T191346Z
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SUMMARY:Meet our Residents: Emily Watlington\, Eric Drasin\, Jenson Leonard\, Johann Diedrick
DESCRIPTION:Saturday\, August 22\, 2020\, 7 pm ET\nFree or suggested donation. Registration required.\nThis is an online event. Upon registration\, you will receive an email with information on how to view the event. Automatic captioning will be provided. \nRegister here \nJoin Squeaky Wheel for a chance to meet our Summer 2020 Workspace Residents and learn more about their past and ongoing projects in this evening of artist talks. \nDuring their residency\, Emily Watlington will be working on a chapter for a book on accessibility as an artistic medium\, focusing on artistic uses of closed captioning. Eric Barry Drasin will be researching digital art cooperatives vis a vis distributed technologies\, online communities spaces\, experimental finance\, and alternative forms of governance. Jenson Leonard will be filming and editing Workflow\, an installation centered around the velocity and momentum of blackness (historically and as imagined online) as it relates to the philosophical concept of acceleration-the idea that the only way out of capitalism is through its intensification. Johann Diedrick will be composing music for Wake\, an hour-long sonic performance relating to the local ecology in and around Silo City and its connection to the Buffalo River\, and that offers a moment to mourn over the loss of our environment\, our world\, and ourselves. The Summer 2020 residency was juried by Ekrem Serdar\, Martina LaVallo\, and Liz Park. Biographies of the residents and juries can be found below. \nA brief presentation before the artist talk will update you on how you can take part in the Workspace Residency with the upcoming application period in September. \nThis event will be streamed live on Youtube with automated captioning. Audiences will be able to ask questions through Youtube’s live-chat function. \nEmily Watlington is assistant editor at Art in America. She writes about contemporary art—primarily video—often through the lenses of feminism and disability justice. A Fulbright scholar with a master’s degree from MIT in the history\, theory\, and criticism of architecture and art\, she has held curatorial positions at the MIT List Visual Arts Center and MassArt’s Bakalar and Paine Galleries (now the MassArt Art Museum). Her writing has appeared in publications such as Artforum\, Mousse\, and Frieze\, and she has contributed to numerous books and exhibition catalogues\, including Before Projection: Video Sculpture 1974–1995 (2018)\, An Inventory of Shimmers: Objects of Intimacy in Contemporary Art (2017)\, and Independent Female Filmmakers (Routledge\, 2018). \nEric Barry Drasin is a research-based artist exploring the relationship between art and systems of value. Through emerging blockchain technologies\, his current research explores “distributed” processes\, objects\, and organizations that problematize and reprogram fundamental assumptions about how value is constructed and disseminated. Using contracts and legal frameworks as a platform for enacting collectivity\, his work injects cooperation and utopian absurdity into systems designed to consolidate power. The notion of the art object is rematerialized in digital space and expanded to engage notions of cultural production and collective agency. Value is thus performed as a form of disruption\, and capitalism itself is the terrain for the refiguration of the economic landscape. \nJenson Leonard\nMy practice involves the intersection of poetry\, conceptual art\, and internet memes. Not unlike the earliest forms of oral poetry\, memes transmit our cultural memory. I scour the web for these preserves…the copies and reproductions of our collective digital id\, dragging and dropping(sculpting) my findings into the Adobe Suite to create a bricolage of text and image that call into question notions of identity and empire. I chart an internet psychogeography that questions the sensorial exhaustiveness of audiovisual capitalism–An art that\, in the framework of predictive algorithms and data extractions attempts intervention within the infrastructure of social media. \nJohann Diedrick is a Caribbean-American artist who makes installations\, performances\, and sculptures that allow you to explore the world through your ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space\, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. He is currently a Spring 2020 technology artist-in-residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council. Along with receiving an Asian Cultural Council grant\, his work has been featured in Wire Magazine\, Musicworks Magazine\, and presented at MoMA PS1 (in collaboration with Jonathan González)\, Somerset House (London\, UK)\, Social Kitchen (Kyoto\, Japan)\, Common Ground (Berlin\, Germany)\, Recess (Brooklyn\, NY)\, Knockdown Center (Queens\, NY)\, and Pioneer Works (Brooklyn\, NY). \nWorkspace Residency is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. Special thanks to Scribe Video Center. See more information about the Workspace Residency here. \nImage\, left to right: Emily Watlington\, Eric Barry Drasin\, Jenson Leonard\, Johann Diedrick. Images courtesy of the residents.
URL:https://squeaky.org/event/meet-our-residents-emily-watlington-eric-drasin-jenson-leonard-johann-diedrick/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Virtual
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200821T190000
DTEND;TZID=America/New_York:20200821T210000
DTSTAMP:20260502T023919
CREATED:20251230T191346Z
LAST-MODIFIED:20251230T191346Z
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SUMMARY:Frameworks for Accessibility in Art
DESCRIPTION:Friday\, August 21\, 2020\, 7 pm ET\nFree or suggested donation. This workshop will take place with real-time captioning.\nThis is an online event. Upon registration\, you will receive an email with information on how to participate in the workshop. Attendance is limited. If the event reaches capacity\, you can sign up for the waitlist and be notified if there are any openings.\nRegister here. \nHow can we make artworks accessible? What do we presume about an audience’s body and mind when we make art and exhibitions? In this skill-share\, Emily Watlington will provide a framework on accessibility and art\, with examples of accessible artworks\, including both works that were created with accessibility from the start\, and “retrofits”\, which include curatorial approaches to making artwork accessible after it has been made. \nUpon the end of her lecture\, participants will have the opportunity to workshop specific artworks or exhibitions with the group. \nThe workshop will be held over Zoom. If you are encountering any issues accessing the event\, please send us a text message at 716-427-4125. \nEmily Watlington is assistant editor at Art in America. She writes about contemporary art—primarily video—often through the lenses of feminism and disability justice. A Fulbright scholar with a master’s degree from MIT in the history\, theory\, and criticism of architecture and art\, she has held curatorial positions at the MIT List Visual Arts Center and MassArt’s Bakalar and Paine Galleries (now the MassArt Art Museum). Her writing has appeared in publications such as Artforum\, Mousse\, and Frieze\, and she has contributed to numerous books and exhibition catalogues\, including Before Projection: Video Sculpture 1974–1995 (2018)\, An Inventory of Shimmers: Objects of Intimacy in Contemporary Art (2017)\, and Independent Female Filmmakers (Routledge\, 2018). \nSqueaky Wheel’s Workspace Residency is a bi-yearly residency open to artists and researchers working in art and technology. The program is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. For more information about the program\, click here. \nBanner image: Shannon Finnegan’s Do you want us here or not\, 2018\, at the Dedalus Foundation\, New York. Image description: A blue bench with hand-painted white text reads: This exhibition has asked me to stand for too long. Sit if you agree.
URL:https://squeaky.org/event/frameworks-for-accessibility-in-art/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies,Skill Share,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200821T180000
DTEND;TZID=America/New_York:20200821T210000
DTSTAMP:20260502T023919
CREATED:20251230T191346Z
LAST-MODIFIED:20251230T191346Z
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SUMMARY:Virtual Screening: From the Out Here
DESCRIPTION:Virtual Screening and Filmmaker Q&A: From the Out Here\nFriday\, August 21\, 2020\, 6–7 pm\nLive Q&A at 6:20 pm\nFree or suggested donation. Click here to register.\nUpon registration\, we will email you a link to view the event.\nAsk questions before the event! \nFrom the Out Here is an experimental documentary film created by the Buffalo Youth Media Institute. Utilizing free and open-source applications\, Kyle Everette\, Patricia O’Sullivan\, Timiyah Curry\, Tyler Everette\, and Zahara Morrell weave together five meditations on topics such as mental health\, federal discretionary spending\, ignorance\, and healthcare. The film was developed during a four-week virtual intensive\, making it both a reflection on and a product of our current world. Pointing to an uncertain future\, the filmmakers ask themselves\, “are we the answer?” \nLead Teaching Artist\, Jesse Deganis Librera\nSupport Teaching Artist\, Kaitlyn Lowe\nTeaching Assistant\, Breanna Roberts \nAbout \nEstablished by Squeaky Wheel in 2005\, Buffalo Youth Media Institute works in partnership with the Buffalo Center for Arts & Technology to build social capital through the cultivation of critical thinking and 21st-century skills\, such as innovation\, digital literacy\, and collaboration. Through videos\, lectures\, critiques\, and hands-on demonstrations\, youth producers work with Squeaky Wheel’s lead teaching instructors to learn digital production skills and create self-directed projects. Learn more. \nBuffalo Youth Media Institute summer intensive is funded by National Endowment for the Arts and Simple Gifts Fund. \n  \n  \n  \n  \n  \n  \n 
URL:https://squeaky.org/event/virtual-screening-from-the-out-here/
CATEGORIES:Screenings,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200819T190000
DTEND;TZID=America/New_York:20200819T203000
DTSTAMP:20260502T023919
CREATED:20251230T191347Z
LAST-MODIFIED:20251230T191347Z
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SUMMARY:The Great Indoors: An Online Soundscapes Workshop
DESCRIPTION:Wednesday\, August 19\, 2020\, 7 pm ET\nFree or suggested donation.\nThis is an online event. Upon registration\, you will receive an email with information on how to participate in the workshop. Attendance is limited. If the event reaches capacity\, you can sign up for the waitlist and be notified if there are any openings.\nRegister here. \nHow can we encounter the soundscapes in our own indoor environments? How can these encounters lead us to find resonances in each other’s experiences? Led by Johann Diedrick\, this collaborative\, participatory workshop will feature a brief presentation on sonic encounter\, upon which participants will be invited to move around their homes/apartments to records sounds with their phones / recording devices. Afterwards\, participants will come back and learn how to compose these sounds with Audacity\, have an opportunity to create a soundscape with everyone’s recordings\, and share them with the group. \nThis workshop requires participants to have a computer with internet access\, an audio recording device like a phone or a field recorder. The workshop will be held over Zoom and use Audacity\, a free audio editing tool. Click the links to download and install ahead of the workshop. \nJohann Diedrick is a Caribbean-American artist who makes installations\, performances\, and sculptures that allow you to explore the world through your ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space\, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours\, workshops\, and open-source hardware/software. He is currently a Spring 2020 technology artist-in-residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council. Along with receiving an Asian Cultural Council grant\, his work has been featured in Wire Magazine\, Musicworks Magazine\, and presented at MoMA PS1 (in collaboration with Jonathan González)\, Somerset House (London\, UK)\, Social Kitchen (Kyoto\, Japan)\, Common Ground (Berlin\, Germany)\, Recess (Brooklyn\, NY)\, Knockdown Center (Queens\, NY)\, and Pioneer Works (Brooklyn\, NY). \nSqueaky Wheel’s Workspace Residency is a bi-yearly residency open to artists and researchers working in art and technology. The program is supported by generous support by the County of Erie and County Executive Mark Poloncarz\, the National Endowment for the Arts\, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature\, the Andy Warhol Foundation for Visual Arts\, and individual members\, businesses\, and supporters. For more information about the program\, click here.
URL:https://squeaky.org/event/the-great-indoors-an-online-soundscapes-workshop/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Residencies,Skill Share,Virtual
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DTSTART;TZID=America/New_York:20200424T190000
DTEND;TZID=America/New_York:20200501T210000
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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:20260502T023919
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Tiara Roxanne's I cannot decolonize my body
DESCRIPTION:Online Screening & Artist Talk | Wednesday\, April 15\, 8 pm\nFree or suggested donation\nClick here to get your tickets\nTo help keep our communities safe and healthy and reduce the spread of COVID-19 this event has moved online. Live Introduction and presentations by the artist begin at 7:10 pm. You will receive an email with information on how to view the event live. Roxanne’s film will be available to view through April 22\, 2020\, 6:59 pm. \nA short film that serves to highlight the disvowal and silencing Indigenous peoples encounter historically\, presently and futuristically in social\, political and technological paradigms\, I cannot decolonize my body\, was made as an incantation for recovery and transformation. The short film is accompanied by a new text by the Berlin-based cyberfeminist\, scholar and artist titled Data Colonialism: Decolonial Gestures of Storytelling. Following the short film\, the artist will be in conversation with writer and curator Nora Khan on her work with the audience invited to participate in the Q&A. \nBiographies\nDr. Tiara Roxanne is an Indigenous cyberfeminist\, scholar and artist based in Berlin. Her research and artistic practice investigates the encounter between the Indigenous Body and AI. More particularly\, she explores the colonial structure embedded within artificial intelligence learning systems in her writing and her performance art through textile. Currently her work is mediated through the color red. She received the Zora Neale Hurston Award from Naropa University in 2013 where she graduated from with her MFA. Under the supervision of Catherine Malabou\, Tiara completed her dissertation\, “Recovering Indigeneity: Territorial Dehiscence and Digital Immanence” in June 2019. Tiara has presented her work at SOAS (London)\, SLU (Madrid)\, Transmediale (Berlin)\, Duke University (NC)\, re:publica (Berlin)\, Tech Open Air (Berlin)\, AMOQA (Athens)\, among others. She is currently a Researcher at DeZIM-Institut in Berlin\, Germany. \nNora N. Khan is a writer of criticism. Her research practice extends to a large range of artistic collaborations\, from librettos to a tiny house. She is a critic on the faculty at Rhode Island School of Design\, in Digital + Media\, teaching critical theory\, artistic research\, writing for artists and designers\, and technological criticism. She has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real through Art Metropole. She is a longtime editor at Rhizome and publishes in Art in America\, Flash Art\, Mousse\, and California Sunday. She has written commissioned essays for exhibitions at Serpentine Galleries\, Chisenhale\, the Venice Biennale\, Centre Pompidou\, Swiss Institute\, and Kunstverein in Hamburg. This year\, as The Shed’s first guest curator\, she organized the exhibition Manual Override\, featuring Sondra Perry\, Simon Fujiwara\, Morehshin Allahyari\, Lynn Hershman Leeson\, Martine Syms. Her writing has been supported by a Critical Writing Grant given through the Visual Arts Foundation and the Crossed Purposes Foundation (2018)\, an Eyebeam Research Residency (2017)\, and a Thoma Foundation 2016 Arts Writing Award in Digital Art. \nThis event is co-presented with Trinity Square Video\, Images Festival\, and PLASMA at the Department of Media Study\, SUNY University at Buffalo. \nImage courtesy of Tiara Roxanne\, by Charlotte de Bekker.
URL:https://squeaky.org/event/tiara-roxannes-red-contd/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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DTSTART;TZID=America/New_York:20200408T190000
DTEND;TZID=America/New_York:20200408T210000
DTSTAMP:20260502T023919
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Meet the Residents: Caleb Abrams & Saif Alsaegh
DESCRIPTION:Online artist talk & screening | *NEW DATE* Wednesday\, April 8\, 7 pm\nFree or suggested donation\nClick here to get your ticket\nYou will receive an email with information and a link on how to view the live event. The artists films will be available to view through April 15\, 2020\, 6:59 pm.\n \nClick here to view the video presentations by the artists with an introduction by the curator \nClick here to view the post-event Google Docs Q&A with the artists \nIn response to COVID-19\, our Spring artists in residence\, Caleb Abrams and Saif Alsaegh\, have continued their residencies from home and will engage with the public virtually. We invite you to convene online to learn about their past and ongoing projects at this artist talk and screening. Caleb Abrams will speak about his current film\, The Burning of My Coldspring Home\, an adaptation of a short story by Seneca Elder Stephen Gordon regarding the forced dislocation of the Seneca people following the building of the Kinzua dam by the Allegheny River. Saif Alsaegh will speak of his film Departure\, titled after a poem by Arthur Rimbaud\, which examines the idea of foreignness as it relates to the filmmaker’s past as a Baghdad born filmmaker living in California. Preceding the event will be a brief presentation by Squeaky Wheel curator\, Ekrem Serdar on how you can be part of the Workspace Residency program in the future. \nCaleb G. Abrams is an Onöndowa’ga:’ (Seneca) filmmaker and multimedia artist based out of what is currently considered Buffalo\, New York. Raised on the Seneca’s Allegany Territory\, much of his work emerges from the social\, historical\, and cultural background of the Seneca. Abrams has written and produced multiple independent short films and videos for the Seneca Nation\, Seneca-Iroquois National Museum/Onöhsagwë:dé Cultural Center\, and Odawi Law PLLC. He has also produced work in collaboration with PBS-WNED-TV\, Vision Maker Media\, Skipping Stone Pictures\, and Toward Castle Films. Lake of Betrayal (2017)\, the award-winning national public television documentary on which Abrams served as the associate producer\, examines the impact of the Kinzua Dam on the Seneca Nation – a topic much of his work has explored. Abrams’ films have been presented at universities\, historical societies\, libraries\, museums\, high schools\, and community and cultural resource organizations throughout Haudenosaunee Territory and the Northeast. \nSaif Alsaegh is a United States-based filmmaker from Baghdad. Much of Saif’s work deals with the contrast between the landscape of his youth in Baghdad growing up as part of the Chaldean minority in the nineties and early 2000s\, and the U.S. landscape where he currently lives. His films have screened in many festivals including Cinema du Reel\, Kruzfilm Festival Hamburg\, Kasseler Dokfest\, Onion City Film Festival and in galleries and museums including the Wisconsin Triennial at MMoCA. He earned his MFA in filmmaking at the University of Wisconsin-Milwaukee. \nThe residency is made possible with the support of the National Endowment for the Arts and presented in collaboration with Just Buffalo Literary Art Center and the sponsorship of Hostel Buffalo-Niagara.
URL:https://squeaky.org/event/meet-the-residents-caleb-abrams-saif-alsaegh/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Artist Talk,Residencies
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200325T190000
DTEND;TZID=America/New_York:20200325T210000
DTSTAMP:20260502T023919
CREATED:20251230T191332Z
LAST-MODIFIED:20251230T191332Z
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SUMMARY:Miko Revereza’s No Data Plan
DESCRIPTION:Online Screening | Wednesday\, March 25\, 7 pm\nLive Q&A at 8:30 pm.\nFree or suggested donation. Click here to get tickets.\nA private link will be sent to your email account upon registration.\n \nClick here to view the introduction to the film by curator Ekrem Serdar and Justice for Migrant Families’ Anna Porter \nClick here to view the post-screening Google Docs Q&A with Miko Revereza \nMiko Revereza’s acclaimed feature documentary No Data Plan features a narrator rehashing details about his mother’s affair as he crosses America by train. “Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.” Taking place entirely within a three day trip upon a train—including a tense stop near Buffalo—Revereza’s film evokes images and thoughts from far away\, illustrating an undocumented subjectivity\, a site of precarious movement\, migration\, and fugitivism in the United States. \nThis screening is co-presented with Justice for Migrant Families. JFMF is a 501(c)(3) nonprofit agency that promotes justice for migrant families by providing support to individuals in the federal detention facility in Batavia\, information and resources to families in the community\, and advocacy both within and beyond the local community.\nJFMF is currently seeking donations to allow detainees in the Batavia Detention Center to make phone calls to their loved ones as all visitations have been cancelled due to COVID-19. Find out about JFMF current activities on their Facebook page and donate to them here. \nBiography of the filmmaker\nMiko Revereza (b.1988 Manila\, Philippines) is an experimental filmmaker and undocumented immigrant. Since relocating from Manila as a child\, he has lived illegally in the United States for over 25 years. This life long struggle with documentation\, assimilation and statelessness informs his films\, DROGA! (2014)\, DISINTEGRATION 93-96 (2017) and his debut feature\, No data plan (2018). Miko’s films have been widely screened and exhibited internationally at festivals such as\, International Film Festival Rotterdam\, Yamagata International Documentary Film Festival\, International Short Film Festival Oberhausen\, True/False Film Festival\, Images Festival\, and Berwick Film & Media Arts Festival. DISINTEGRATION 93-96 was featured and streamed on MUBI.com. He is listed as Filmmaker Magazine’s 2018 25 New Faces of Independent Cinema. \n\nImage: Miko Revereza\, No Data Plan\, 70 minutes\, digital video\, 2019. Courtesy of Sentient Art Film.
URL:https://squeaky.org/event/miko-reverezas-no-data-plan/
LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Screenings,Virtual
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200317T163000
DTEND;TZID=America/New_York:20200319T173000
DTSTAMP:20260502T023919
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:20200311T190000
DTEND;TZID=America/New_York:20200311T210000
DTSTAMP:20260502T023919
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:20200219T190000
DTEND;TZID=America/New_York:20200219T210000
DTSTAMP:20260502T023919
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200214T190000
DTEND;TZID=America/New_York:20200214T220000
DTSTAMP:20260502T023919
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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DTSTART;TZID=America/New_York:20200207T190000
DTEND;TZID=America/New_York:20200207T210000
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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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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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