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SUMMARY:Adam Khalil and Bayley Sweitzer's EMPTY METAL
DESCRIPTION:Saturday\, March 21\, 2026\, 7 pm ET\nat Hallwalls Contemporary Art Center\n$8 general\, $6 students/seniors\, $5 members of Squeaky Wheel and Hallwalls\n“Filled with energy\, rage\, and the smallest measure of hope\, Empty Metal is a new kind of political film for these extraordinary times” -Film Society Lincoln Center \nAn unsettling and cutting political thriller\, EMPTY METAL features an apathetic punk band who are ensnared to commit a series of assassinations by an Indigenous family whose mother communicates telepathically with her meditation companions\, a Rastafarian hacker\, and a Buddhist whose son is a member of a secret militia. These disparate actors are united by rage\, boiled in the history of the United States\, and finding itself at a point of no return in our contemporary moment. Inspired by Lizzie Borden’s classic Born in Flames (1983)\, Adam Khalil and Bayley Sweitzer’s film has been widely acclaimed since its debut in 2018. It is an essential portrait of current day American violence and politics\, and posits its inevitable consequences. \nSqueaky Wheel and Hallwalls is excited to screen this modern day classic\, and to welcome co-director Bayley Sweitzer who will be in person for a post screening Q&A. Special thank you to Tammy McGovern and Hallwalls Contemporary Art Center. \n\nAdam Khalil & Bayley Sweitzer\, EMPTY METAL\, 83 minutes\, 2018. \nBiographies of the artists\nBAYLEY SWEITZER (b. 1989) is a filmmaker living and working in Brooklyn. His practice revolves around repurposing narrative film form in order to convey radical political possibilities. His work has been shown at Film Society Lincoln Center (New York City)\, International Film Festival Rotterdam\, Walker Art Center (Minneapolis)\, Museum of Modern Art (New York City)\, Tate Modern (London)\, Berlinale\, Centro de Cultura Digital (Mexico City)\, the Sharjah Biennial\, and numerous other galleries\, museums\, and film festivals. Sweitzer is the recipient of a 2021 Creative Capital Award\, a 2024 NYSCA/NYFA Fellowship\, and has received moving image commissions from the Park Avenue Armory (New York City)\, Gasworks (London)\, and Spike Island (Bristol). \nSweitzer also works professionally as a focuspuller and is a member of the International Cinematographers Guild\, IATSE Local 600. \nADAM KHALIL (Ojibway) is a filmmaker and artist whose practice attempts to subvert traditional forms of image-making through humor\, relation\, and transgression. Khalil is a core contributor to New Red Order and a co-founder of COUSINS Collective as well as a frequent collaborator with Zack Khalil\, Bayley Sweitzer and more. Khalil’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Lincoln Center\, Tate Modern\, HKW\, Museum of Contemporary Art Detroit\, Toronto Biennial 2019 and Whitney Biennial 2019\, among other institutions. Khalil is the recipient of various fellowships and grants\, including but not limited to a Herb Alpert Award in the Arts 2021\, Creative Capital Award\, Sundance Art of Nonfiction\, Jerome Artist Fellowship\, Cinereach and the Gates Millennium Scholarship. Adam Khalil is a core contributor to the public secret society New Red Order. \nThis event is presented with support from Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. \nBanner image: A still from EMPTY METAL. A person with gritted teeth\, singing into a microphone.
URL:https://squeaky.org/event/adam-khalil-and-bayley-sweitzers-empty-metal/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20250510T190000
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SUMMARY:No Other Land
DESCRIPTION:Saturday\, May 10\, 4 pm and 7 pm\nat Hallwalls Contemporary Art Center (map)\nDoors open at 6:45 pm. Registration highly recommended; click here to register.\nBoth screenings are now sold out.\nThis free screening (92 minutes) will be followed by a discussion lead by LOLA and Jewish Voice for Peace Buffalo. \nA collective of Palestinian and Israeli activist/filmmakers chronicle the Israeli military’s incremental expulsion of the West Bank community of Masafer Yatta — home to 20 ancient Palestinian villages — in this tightly focused\, urgent documentary. Over a period of five years (2019–23)\, Masafer Yatta resident and Palestinian journalist Basel Adra shoots video of home\, school\, water well\, and road demolitions (legalized by the area’s conversion to an IDF training zone) and their consequent protests by displaced residents. Israeli journalist Yuval Abraham — free to move about while Adra’s movements are constricted — takes this nonviolent fight to a wider platform. The two form a complicated friendship and hopeful partnership in their efforts to resist a government-sanctioned mass eviction. \nPresented in partnership with Squeaky Wheel Film & Media Art Center\, Hallwalls Contemporary Arts Center\, LOLA\, Jewish Voice for Peace Buffalo\, and Buffalo Int’l Film Festival. \nFurther reading\nBasel Adra\, Our film is going to the Oscars. But here in Masafer Yatta\, we’re still being erased\, +972 Magazine\, February 10\, 2025 \nAnthony Kaufman\, No Other Distribution: How Film Industry Economics and Politics Are Suppressing Docs Sympathetic to Palestine and Critical of Israel\, Documentary Magazine\, January 15 2025 \nMary Turfah\, “No Other Land” for Whom?\, Mubi Notebook\, February 11 2025 \nBanner image: A man laying on a grassy and rocky knoll. A tractor is visible behind him.
URL:https://squeaky.org/event/no-other-land/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20231206T190000
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SUMMARY:Sharlene Bamboat's If From Every Tongue It Drips
DESCRIPTION:Wednesday\, December 8\, 7 pm @ Hallwalls Contemporary Art Center and online\nPre-screening reception with catering at 6 pm\nFree and open to the public\nGet tickets for the online screening below\nSqueaky Wheel is excited to be a co-presenter of the screening of Sharlene Bamboat’s feature length hybrid-documentary\, If From Every Tongue it Drips. The film that follows a queer Urdu poet as she traces the connections between quantum physics and political movements in South Asia. The filmmaker will be present for a Q&A with Squeaky Wheel curator Ekrem Serdar. This event is presented by the Humanities Institute/Distinguished Visiting Scholars Program Film Series at the University at Buffalo\, and is screened as part of Squeaky Wheel’s event series [Speaking in Foreign Language]. \nIn-person attendees: The event will take place at 341 Delaware Ave\, Buffalo\, NY 14202. A catered pre-screening reception will begin at 6 pm. \nOnline attendees: Upon check-out\, you will receive an email titled “Your Squeaky Wheel Film & Media Art Center order has been received!”. A private link will be included in that email; the event will be available at the link at the start date and time. You will have access to the event for 24 hours; Squeaky Wheel members receive 72 hour access. Not a member yet? Sign up here. \nConversation between Ekrem Serdar and Sharlene Bamboat\, introduced by Donte McFaddon. Special thank you to Tammy McGovern and Hallwalls Contemporary Art Center. \n  \nSharlene Bamboat\, If From Every Tongue it Drips\, 68 min\, Canada\, Sri Lanka\, Scotland\, 2021\nIf From Every Tongue it Drips is a hybrid documentary film that uses the framework of quantum physics to explore the ways that personal relationships and political movements at once transcend and challenge time\, space\, identity and location. \nThe film follows the lives of a couple living in Batticaloa\, Sri Lanka; Ponni writes Rekhti\, a form of 19th century\, Urdu\, queer poetry; the other\, Sarala\, the camera operator. As their personal lives unfold on camera\, the lines between rehearsal and reality\, location and distance\, self and other dissipate and reinforce one another. \nSimultaneously\, through poet and camera operator’s daily lives\, interconnections between British colonialism\, Indian nationalism and the impact of both on contemporary poetry\, dance and music in South Asia is revealed. \nThe film explores both literal and figural translation as multiple ways of looking\, embedded within the filmmaking process\, which was all conducted long distance. The scenes were constructed in Montreal\, where Sharlene sent informal instructions to Sarala\, who then filmed Ponni\, who would then send the footage back to Montreal\, from which the next scene was written. This process continued for 6 months on a weekly basis\, after which most of the film was constructed. The sound was constructed between Montreal\, Batticaloa and the Isle of Skye\, where the sound designer Richy Carey resides. The film incorporates the sonic sphere of all three locations\, enhancing notions of quantum entanglement which are employed throughout the filmic process\, to showcase the interconnections between location\, geography\, self and other which continue to be intertwined. \nThis film nods to Sharlene’s ongoing interest in both the many ways that popular culture can be politicised\, as well as the sensuous possibilities of its reclamation. \nBiography of the filmmaker\nSharlene Bamboat is a moving image and installation artist based in Tiohtià:ke/Montreal. Her practice engages with translation\, history\, and sound to uncover sensory and fractured ways of understanding the relationship between the self and the social in transnational contexts. \nHer works examine the role of colonialism\, globalization\, culture\, and desire through poetics\, abstraction\, and collaboration by working with artists\, musicians and writers to animate historical\, political\, legal\, and pop-culture materials. Her most frequent collaborator\, since 2009\, is Alexis Mitchell. In addition to her art practice\, Sharlene works in the arts-sector\, including artist-run organizations and collectives in Canada\, and with artists both locally and internationally. \nBanner image description: A still from If From Every Tongue It Drips by Sharlene Bamboat. A person sits on a wooden rocking chair in a bright orange room sunshine spilling in. The person in the chair is half out of frame arms holding a piece of paper. Yellow caption on screen reads: “hence\, matter is an infolding\, an in-volution. hmmmmmmmmmmm”. Image and description courtesy of the artist.
URL:https://squeaky.org/event/sharlene-bamboats-if-from-every-tongue-it-drips/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20181116T190000
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SUMMARY:Symposium | Punctures: Textiles in Digital and Material Time
DESCRIPTION:Friday\, November 16\, 7–9pm | Screening & Performance\nSaturday\, November 17\, 11am–7pm | Artist Presentations + Discussions\n@ Hallwalls Contemporary Art Center (341 Delaware Ave)\nFree and open to the public.\nClick here to RSVP (limited seating available. RSVP by 11:59pm on Thursday\, November 15.) \nSqueaky Wheel presents a convening of artists and scholars from several nations from North America for a convening exploring the interwoven histories of textile arts and media arts from early cinema to the current digital age. Topics include: a participatory media arts project focusing on the lives of Chinese immigrant garment workers; how Lakota hair weaving practices point towards alternative interfaces; and a “biomythography” of Black life through an epic project about a seamstress. \nTaking place in the theatre of Hallwalls Contemporary Art Center\, Punctures functions as a public platform that will inform Squeaky Wheel’s large-scale\, multi-site exhibition of the same name\, opening in late 2019. Using the concept of needlework—sewing\, stitching\, weaving and other textile practices—as a material and metaphorical underpinning\, the symposium and eventual exhibition of Punctures will explore questions regarding gendered labor in domestic\, industrial\, and artistic fields\, along with the material and immaterial threads of 20th and 21st century art and industry. \nThe symposium opens on the evening of November 16th with a screening of films by Jodie Mack\, Laura Huertas Millán\, Abraham Ravett\, and a multi-media performance by Kite followed by presentations and panel discussions on November 17th. Contributors include: Terri Francis\, Kyla Gordon\, Kite\, Beryl Korot\, Chris Lee\, Jodi Lynn Maracle\, Tiona Nekkia McClodden\, Stephen Monteiro\, Tina Rivers Ryan\, Ekrem Serdar\, Jasmina Tumbas\, Kelly Walters\, the WASH Project\, and Betty Yu. \nSeating is limited and RSVP is required. Click here to RSVP and confirm your attendance. \n\nSchedule\nFriday\, November 16\, 2018 \n7pm | Digital and Material Time\nFilms and performance\, including Point de Gaze (2012) by Jodie Mack\, La Libertad (2018) by Laura Huertas Millán\, Tziporah (2007) by Abraham Ravett\, and a multi-media performance titled Listener by Kite.\nThe opening of the symposium features a screening of works meant to ground us in the histories and images around the connections between textiles and media art\, while also looking at how textile practices have formed political\, material\, and epistemological points of departure for media artists. \nPoint de Gaze\nJodie Mack\n5min\, 16mm film\, silent\, 2012\nNamed after a type of Belgian lace\, this spectral study investigates intricate illusion and optical arrest. – Jodie Mack \nTziporah\nAbraham Ravett\n7min\, 16mm film\, silent\, 2008\nTziporah is the Hebrew word for “bird.” This is another cinematic response to grief and loss. – Abraham Ravett \nLa Libertad\nLaura Huertas Millán\n29 mins\, HD video\, Spanish with English subtitles\, 2017\nProduced out of Harvard´s Sensory Ethnography Lab\, Laura Huertas Millán´s masterful La Libertad follows a group of matriarchal weavers in Mexico\, whose backstrap loom – a pre-Hispanic technique preserved for centuries by Indigenous women in Mesoamerica – provides the formal structure for the film´s exploration of handicrafts and their ties to freedom. With echoes of the influential ethnographic work of Chick Strand\, La Libertad combines astute observation\, testimony\, subtle transfers in scale\, space and texture\, as it weaves its own singular study of labour\, creativity\, and the mysterious traces that circulate between them. – Andréa Picard \nListener\nKite\nLakota-Sys (L-Sys)\, 2018\nListener is a science fiction story told through a performance artwork. The story is about a woman wandering alone in the future\, receiving transmissions from the Far Place on her Listening devices. During the live performance\, Kite uses a hair-braid with sensors to control sound and video. The hair-braid changes a synthesizer\, which sends sound to machine learning software\, which manipulates the video. This image is a still from the ‘Lakota-System (L-Sys)’ visual interface. The artist asks\, “How can Lakota understandings of hair effect the design of technology? What does a Lakota data-visualizing interface look like?” – Kite \nSaturday\, November 17\, 2018 \n11am | Registration\nCoffee and light refreshments. \n11:30am | Underpinnings\nEkrem Serdar & Kelly Walters. Moderated by Chris Lee.\nThe history of media arts\, of film and electronic arts\, is interwoven with influences\, material\, sociological\, and metaphorical with textile arts. Mirroring the gendered reception of craft in art contexts through the 20th century\, the debt of media arts to textiles remains under-acknowledged. How can a focus on textile arts help us think differently about how we practice media arts? In the opening panel\, curator Ekrem Serdar will chart the research that’s leading to Squeaky Wheel’s exhibition opening in 2019\, while Kelly Walters\, the designer of Punctures\, will speak of her design and textile practice. \n12:30pm | Quilted Americana\nTerri Francis & Tiona Nekkia McClodden. Moderated by Kyla Gordon.\nTextiles are embodied knowledge: their fabrics and patterns\, represent an accumulation of practices through history\, and mark their moment. The way we engage with them are not dissimilar to how we engage with home movies: we watch the flickering images of our families\, studying the bonds between our generations. The following panel features an artist project that aims to mythologize biography\, and a research project that finds the myths in daily life. Dr. Terri Francis will present on her upcoming book Quilted Films: African American Home Movies and Historical Memory\, 1924–1975\, which reframes personal family films as both art and historical artifact. Tiona Nekkia McClodden will speak about her upcoming work The Seamstress\, which forms the second part of her project Be Alarmed: The Black Americana Epic. \n1:30pm | Break \n3pm | Weaving an Interface\nKite & Stephen Monteiro. Moderated by Jodi Lynn Maracle.\nThe influence of textile practices expands into the current day\, from how Jacquard looms influenced early computing to the very way our fingers interact with our smartphones. What is often forgotten in how these practices are implemented are the histories embedded within them. Bringing together two guests both based in Montreal\, scholar Stephen Monteiro will speak of how textile practices have influenced modern interface designs\, while artist Kite will be talking about Listener\, performed as part of the symposium the night before. \n4pm | Garment Workers\nBetty Yu & the WASH Project. Moderated by Jasmina Tumbas.\nAny discussion on art has the potential for a romanticization of women’s labor\, ignoring the sweatshops and gross exploitation of workers\, displacement\, and other factors inherent in global capitalism. Artist and activist Betty Yu will present on her interactive installation work The Garment Worker (2014) that focuses on the daily life of a garment worker and the hardships they encounter working in a sweatshop\, providing a rare look into garment working conditions that Chinese immigrants face in New York City through the personal story of the artist. Yu is joined by representatives from Buffalo’s The WASH Project\, who will present on how their organization establishes an outlet for simple\, open & free practice of creativity\, play\, and human engagement\, while serving as a human services hub for the immediate Burmese community & beyond. \n5pm | Binding History \nBeryl Korot in conversation with Tina Rivers Ryan.\nMade thirty years after the Holocaust\, Beryl Korot’s haunting Dachau\, 1974 owes its rigorous formalism to the visual structure of woven cloth. Documenting tourists visiting Nazi Germany’s first concentration camp\, the work aims to grapple with both what is there\, and what was. Korot’s life and pioneering practice has been dedicated to finding the material and immaterial threads binding the practice of textiles and media art practice\, elucidating how this relationship can bind histories. The artist is joined in this panel by Dr. Tina Rivers Ryan for a conversation on her life and work. \n\nBiographies of the presenters\, moderators\, and filmmakers\n \nTerri Francis directs the Black Film Center/Archive at Indiana University\, Bloomington.  She guest edited a close-up on Afrosurrealism in film and video for the 2013 fall issue of Black Camera: A International Film Journal. She published her path breaking study of Jamaican non-theatrical films in “Sounding the Nation: Martin Rennalls and the Jamaica Film Unit\, 1951-1961” in Film History in 2011. Her book Josephine Baker’s Cinematic Prism\, a study of how the entertainer used humor to master her conundrums\, is forthcoming from Indiana University Press. \nKyla Gordon is a scholar and curator. She is the Curatorial Research Assistant at Squeaky Wheel Film & Media Arts Centre. She received her MA in Visual Culture from New York University\, has studied Modern Art at Université Paris 1 Panthéon Sorbonne\, and has BAs in Art History and English from the University at Buffalo\, SUNY. She has a background in curatorial work\, archives\, and arts administration. She has worked in galleries and cultural institutions around the world\, including Metropolitan Museum of Art\, Interview Magazine\, Hallwalls\, 80WSE\, Shakespeare and Company\, and Re:Voir Film Gallery. Her scholarly interests include textiles\, costume studies\, film\, kitsch\, and British history. \nKite aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University and Research Assistant for the Initiative for Indigenous Futures. Her research is concerned with contemporary Lakota epistemologies through research-creation\, computational media\, and performance practice. Recently\, Kite has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nBeryl Korot is a pioneer of video art. By applying specific structures inherent to loom programming to the programming of multiple channels of video she brought the ancient and modern worlds of technology into conversation. This extended to a body of work on handwoven canvas in an original language based on the grid structure of woven cloth\, as well as to works on paper that combine ink\, pencil and digitized threads. Two early multiple channel works\, Dachau 1974 and Text and Commentary works have been seen at the Whitney Museum (1980\,1993\, 2000\, 2002); the Kitchen\, New York\, NY (1975); Leo Castelli Gallery\, New York\, NY (1977); Documenta 6\, Kassel\, Germany (1977); The Köln and Düsseldorf Kunstvereins (1989 and 1994); the Carnegie Museum\, Pittsburgh\, PA (1990); the Aldrich Contemporary Art Museum\, Ridgefield\, CT (2010); bitforms gallery\, New York\, NY (2012/2018); the Whitworth Gallery\, Manchester\, England (2013); Museum Abteiberg\, Mönchengladbach\, Germany (2013); Art Basel\, Basel\, Switzerland (2014)\, The Institute of Contemporary Art\, Boston\, MA (2014); Tate Modern\, London\, England (2014); Center for Media Art (ZKM)\, Karlruhe Germany (2008/2017); The San Francisco MOMA (2016)\, and The Museum of Modern Art\, NYC (2017/18) amongst others. Two video/music collaborations with Steve Reich\, The Cave (1993) and Three Tales (2002) brought video installation art into a theatrical context\, and have been performed worldwide since 1993. Korot’s work is in both private and public collections including MoMA\, NYC\, the Kramlich collection’s New Art  Trust shared with the Tate Modern\, MoMA NYC and SF MoMA\, the Sol LeWitt Collection\, and the Thoma Art Foundation. \nChris Lee is a graphic designer and educator based Buffalo\, NY\, and Toronto\, ON. He is a graduate of OCADU (Toronto) and the Sandberg Instituut (Amsterdam)\, and has worked for The Walrus Magazine\, Metahaven and Bruce Mau Design. He was also the designer and an editorial board member of the journal Scapegoat: Architecture/Landscape/Political Economy. Clients\, primarily in the cultural sector\, have included cmagazine\, Art Museum\, grunt gallery\, the Aga Khan Museum\, and Casco Art Institute: Working for the Commons\, among others. Chris collaborates with designer/developer Seungyong Moon\, under the banner of MuyongJiyong 무용지용 (無用之用). Chris’ research explores graphic design’s entanglement with power\, standards\, and legitimacy. He has contributed projects and writing to the Decolonising Design\, Journal of Aesthetics & Protest\, The Copyist\, Graphic\, Volume\, and Counter Signals. Chris is the guest-co-editor of the “Graphic Design” issue of cmagazine along with Ali Shamas Qadeer. He has facilitated workshops in the US\, Canada\, Scotland\, the Netherlands and Croatia\, and has been invited to lecture at the Gerrit Rietveld Academie\, ArtEZ\, The Sandberg Instituut\, The Design Academy Eindhoven\, CalArts and OCADU. Chris is an Assistant Professor at the University at Buffalo SUNY\, and a member of the programming committee of Gendai Gallery and Squeaky Wheel. He is a graphic design research fellow of Het Nieuwe Instituut in Rotterdam (2017/18)\, participant of the fifth edition of the Summer University of the Bibliothèque Kandinsky at the Centre Georges Pompidou in Paris. Cairolexicon.com \nJodie Mack is an experimental animator who received her MFA in film\, video\, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres\, her handmade films use collage to explore the relationship between graphic cinema and storytelling\, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life. Mack’s 16mm films have screened at a variety of venues including the Ann Arbor Film Festival\, Edinburgh International Film Festival\, Images Festival\, Projections at the New York Film Festival\, and the Viennale. She has presented solo programs at the 25FPS Festival\, Anthology Film Archives\, BFI London Film Festival\, Harvard Film Archive\, National Gallery of Art\, REDCAT\, International Film Festival Rotterdam\, Shenzhen Independent Animation Biennale\, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum\, Cinema Scope\, The New York Times\, and Senses of Cinema. She is an Associate Professor of Animation at Dartmouth College and a 2018/19 Film Study Center Fellow at Harvard University. \nBorn and raised in Buffalo\, NY\, Jodi Lynn Maracle is a Kanien’keha:ka mother\, artist\, scholar and activist currently pursuing her dreams of building her Kanien’keha language proficiency. She received her MA from the University of Buffalo while completing the first year of a Mohawk immersion program in Buffalo\, NY. As an artist\, Jodi has shown work throughout Dish with One Spoon territory working primarily in textile and earth based installations invoking Haudenosaunee material forms and language combined with modern forms of making to interrogate multiple experiential realities of specific locations and landscapes. She works as a consultant and presenter with many arts organizations and academic institutions to foster greater understanding of Haudenosaunee philosophies\, languages\, material culture and contemporary realities. She is currently a PhD student at the University of Buffalo. Of her many accomplishments\, she is most proud of hearing her son excitedly speak his Mohawk language each day. \nLaura Huertas Millán is a French-Colombian artist and filmmaker. Entwining ethnography\, ecology\, fiction and historical enquiries\, her moving image work engages with strategies of survival\, resistance and resilience against violence. Building complex visual and sonic worlds infused by the real\, her cinematographic practice circulates between contemporary art venues and international film festivals. Part of the official selections of the Viennale (Vienna)\, the Toronto International Film Festival\, the New York Film Festival\, La Habana or Cinéma du Réel (Paris)\, her films have earned prizes in Locarno\, FIDMarseille\, Doclisboa and Videobrasil\, among others. She has participated in screenings and exhibitions in institutions such as the Solomon R. Guggenheim Museum (New York)\, the Centre Pompidou (Paris)\, Galerie Nationale du Jeu de Paume (Paris)\, Museo de Arte Moderno de Medellín\, Les Laboratories d ́Aubervilliers\, Western Front (Vancouver) and Instituto de Visión (Bogotá). Retrospectives of her films have been held at the ICA (London)\, Mar del Plata Film festival\, Toronto ́s Cinematheque (TIFF Lightbox) and the Flaherty Seminar. Her works are part of public and private collections as the Kadist Foundation (Paris-San Francisco)\, the Centre National des Arts Plastiques (CNAP) and the Cisneros Fontanals Art Foundation (Miami). She is currently preparing her first feature film\, after completing in 2017 a PhD between PSL University (SACRe program) and the Sensory Ethnography Lab (Harvard University). \nStephen Monteiro is the author of The Fabric of Interface: Mobile Media\, Design\, and Gender (MIT Press\, 2017) and editor of The Screen Media Reader (Bloomsbury\, 2017). He is an affiliate assistant professor of communication studies at Concordia University\, Montreal. \nTiona Nekkia McClodden\, an artist and curator\, has looked critically at intersections of race\, gender\, sexuality and social commentary through an interdisciplinary practice that includes documentary film\, experimental video\, sculpture\, and sound installation. McClodden is the recipient of numerous awards and honors\, among them the 2017 Louis Comfort Tiffany Foundation Award and the 2016 Pew Fellowship in the Arts in Philadelphia. She has exhibited her work at many venues internationally\, including the Institute of Contemporary Art in Philadelphia\, the Whitney Museum of American Art\, Museum of Modern Art\, MOCA LA\, MCA Chicago\, MOMA PS1\, the Kansai Queer Film Festival in Osaka and Kyoto\, Japan\, and the London Lesbian and Gay Film Festival. \nAbraham Ravett holds a B.F.A and M.F.A in filmmaking and photography and has been an independent filmmaker for the past thirty-five years. He was born in Polandand raised in Israel and the U.S.A. Mr. Ravett received grants for his work from the Massachusetts Cultural Council; National Foundation for Jewish Culture: Fund for Documentary Filmmaking; National Endowment for the Arts; The Massachusetts Council on the Arts and Humanities; The Japan Foundation; The LEF Foundation; The Marion and Jasper Whiting Foundation; and a 1994 filmmaking fellowship from the John Simon Guggenheim Memorial Foundation. His films have been screened internationally\, including at several one-person shows at New York’s Museum of Modern Art. His work has won “Top Prize” at the Viennale 2000\, Ann Arbor Film Festival\, and Onion City Film/Video Festival. In 1999\, he collaborated with dancer/choreographer Bill T. Jones on his solo performance “The Breathing Show.” A retrospective of Ravett’s films was shown at the 2014 Festival Film Dokumenter Yogyakarta\, Indonesia. \nDr. Tina Rivers Ryan is Assistant Curator at the Albright-Knox Art Gallery in Buffalo\, New York. As a curator\, scholar\, and critic\, her work focuses on the histories of art and technology from the 1960s to the present. Her writing has been commissioned by museums including The Metropolitan Museum of Art\, the Walker Art Center\, and the Albright-Knox\, and regularly appears in Artforum. \nEkrem Serdar is the curator at Squeaky Wheel Film & Media Art Center\, where he is responsible for the organization’s exhibitions\, public programming\, and artist residencies. He is the recipient of a Curatorial Fellowship from the Andy Warhol Foundation for the Visual Arts (2017). His writing has appeared in The Brooklyn Rail\, Millennium Film Journal\, 5harfliler\, among other publications. \nJasmina Tumbas (PhD\, Art History\, Duke University) is an Assistant Professor of Contemporary Art History & Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her teaching and research fields focus on modern and contemporary art history and theory\, histories and theories of performance\, body and conceptual art\, art and activism\, feminist art\, critical theory\, and contemporary East European art history. She is currently finishing her first book\, The Erotics of Dictatorship: A Visual Exegesis of Gender & Sexuality under Yugoslav Socialism\, and her second\, Media Violence\, Ethnic Roma\, and Gender: Feminist Resistance Beyond Citizenship\, and serves as co-editor for the anthology Radical Art in Transition: Counter-Culture\, Protest\, Resistance and Contemporary Art in the Balkans since 1968. Her research has appeared in ArtMargins\, Camera Obscura: Feminism\, Culture\, and Media Studies\, ASAP Journal\, and Art and Documentation/Sztuka i Dokumentacja\, and in the anthologies Shifting Corporealities in Contemporary Performance and Performing Arts in the Second Public Sphere. \nKelly Walters is a designer and educator whose work investigates the intersection of black cultural vernacular in mainstream media. She feels her role as a designer is to understand how socio-political frameworks and shifting technology influence the sounds\, symbols and style of black people. She has worked as a designer for SFMOMA\, the RISD Museum\, Alexander Isley\, and Blue State Digital. She has produced websites\, digital social campaigns\, books and other printed matter for clients such as: Google Fiber\, Google for Entrepreneurs\, FairTrade USA\, Hillel International\, and PayPal. From 2015–2016\, she was awarded an Association of Independent Colleges of Art & Design (AICAD) Post-Graduate Teaching Fellowship in the Graphic Design program at California College of the Arts in San Francisco. Kelly received dual degrees at the University of Connecticut\, earning a BFA in Communication Design and a BA in Communication Sciences. She completed her MFA in Graphic Design from the Rhode Island School of Design. Kelly was most recently an assistant professor of graphic design at the University of Connecticut. \nUsing the arts as a common denominator\, the WASH Project establishes an outlet for the simple\, open & free practice of creativity\, play\, and human engagement. WASH also serves as a human services hub for the immediate Burmese community & beyond: a neighborhood access point for information regarding a wide range of community services & cultural opportunities. From this effort\, we continue to cultivate the development of a small\, yet dynamic center of local community life\, a place that people of all ages & walks of life come to; a place\, that by the way it is designed & the way it is operated\, strengthens its neighborhood\, collaboratively\, via a model of creativity & open engagement. \nBetty Yu is a multimedia artist\, filmmaker\, educator and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu’s documentary “Resilience” about her garment worker mother fighting sweatshop conditions\, screened at national and international film festivals including the Margaret Mead Film and Video Festival.  Yu’s multi-media installation\, The Garment Worker was featured at Tribeca Film Institute’s Interactive. She worked with housing activists and artists to co-create Monument to Anti-Displacement Organizing that was featured in the Agitprop! show at Brooklyn Museum. Betty was a 2012 Public Artist-in-Resident and received the 2016 SOAPBOX Artist Award from Laundromat Project.  In 2017\, Ms. Yu has been awarded several artist residences from institutions such as the International Studio & Curatorial Program\, Skidmore College’s Documentary Studies Collaborative and SPACE at Ryder Farm. In 2015\, Betty co-founded Chinatown Art Brigade\, a cultural collective using art to advance anti-gentrification organizing. Betty won the 2017 Aronson Journalism for Social Justice Documentary Award for her film\, Three Tours. Ms. Yu is currently 2017-18 fellow of the Intercultural Leadership Institute.  Betty is also an adjunct assistant professor teaching new media\, film theory\, art and video production at various colleges in NYC which include The New School\, John Jay College\, Marymount Manhattan College and Hunter College. In addition Betty Yu sits on the boards of Third World Newsreel and Working Films\, two progressive documentary film organizations. Ms. Yu holds a BFA from NYU’s Tisch School of the Arts and a MFA in Integrated Media Arts from Hunter College. \n  \n\nPunctures logo design by Kelly Walters.
URL:https://squeaky.org/event/symposium-punctures-textiles-in-digital-and-material-time/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Symposia & Panels
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DTSTART;TZID=America/New_York:20150409T190000
DTEND;TZID=America/New_York:20150409T230000
DTSTAMP:20260502T152719
CREATED:20251230T190935Z
LAST-MODIFIED:20251230T190935Z
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SUMMARY:Call Me Kuchu
DESCRIPTION:This event takes place at Hallwalls Contemporary Arts Center. Launched in 2013\, REEL Queer is more than just film showings–it’s a community! Now in its second season\, REEL Queer has broadened its community partnerships to include Squeaky Wheel and the Pride Center of WNY\, in addition to maintaining its preexisting relationship with founding partner Hallwalls Contemporary Arts Center. \n\nIn Uganda\, a new bill threatens to make homosexuality punishable by death. David Kato\, Uganda’s first openly gay man\, and retired Anglican Bishop Christopher Senyonjo work against the clock to defeat state-sanctioned homophobia while combatting vicious persecution in their daily lives. But no one is prepared for the brutal murder that shakes their movement to its core and sends shock waves around the world. There is a post-screening Skype Q&A featuring filmmakers Malika Zouhali-Worrall & Katherine Fairfax Wright. \n“Feels like PARIS IS BURNING by way of THE BATTLE OF ALGIERS.” \n– The Village Voice \n\nCall Me Kuchu – Trailer from Call Me Kuchu on Vimeo. \n \n\n$8 – General Admission \n$6 – Students and Seniors \n$5 – Members of Squeaky Wheel and Hallwalls Contemporary Art Center \nThis event takes place at Hallwalls Contemporary Arts Center (341 Delaware Ave\, Buffalo NY 14202)
URL:https://squeaky.org/event/call-me-kuchu/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Screenings
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150326T190000
DTEND;TZID=America/New_York:20150326T230000
DTSTAMP:20260502T152719
CREATED:20251230T190935Z
LAST-MODIFIED:20251230T190935Z
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SUMMARY:Club King
DESCRIPTION:This film takes place at Hallwalls Contemporary Art Center. Launched in 2013\, REEL Queer is more than just film showings–it’s a community! Now in its second season\, REEL Queer has broadened its community partnerships to include Squeaky Wheel and the Pride Center of WNY\, in addition to maintaining its preexisting relationship with founding partner Hallwalls Contemporary Arts Center. \n\nFor the past 20 years\, Mario Diaz has crafted his own iconic image as the premier LGBT nightlife king\, throwing some of the sexiest and wildest parties from New York to LA\, including the insanely appealing Hot Dog\, BFD and Full Frontal Disco. Filmmaker Jon Bush combines Diaz’s personal reflections with candid interviews and archival footage from the East and West Coast’s hottest queens (including Jackie Beat)\, go-go boys\, and singers like Justin Vivian Bond\, resulting in a dizzyingly wild ride. Directed by Jon Bush. (2014\, Runtime 70 minutes)
URL:https://squeaky.org/event/club-king/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Screenings
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DTSTART;TZID=America/New_York:20150212T190000
DTEND;TZID=America/New_York:20150212T220000
DTSTAMP:20260502T152719
CREATED:20251230T190935Z
LAST-MODIFIED:20251230T190935Z
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SUMMARY:Pride
DESCRIPTION:This film takes place at Hallwalls Contemporary Art Center. Launched in 2013\, REEL Queer is more than just film showings–it’s a community! Now in its second season\, REEL Queer has broadened its community partnerships to include Squeaky Wheel and the Pride Center of WNY\, in addition to maintaining its preexisting relationship with founding partner Hallwalls Contemporary Arts Center. \n\nPride\, based on a true story\, depicts a group of lesbian and gay activists in Maggie Thathcher’s UK who raised money to help families affected by the British miners’ strike in 1984\, at the outset of what would become the Lesbians and Gays Support the Miners campaign. The National Union of Mineworkers was reluctant to accept the group’s support due to the union’s public relations worries about being openly associated with a gay group\, so the activists instead decided to take their donations directly to Onllwyn\, a small mining village in Wales\, resulting in an alliance between the two communities. Directed by Matthew Warchus. (2014\, runtime 120 minutes) \nThe conversation continues after the screening with a panel discussion facilitated by long-time LGBTQ activist and founding member of REEL Queer Paul Morgan. \nPost-screening Panelists include:\nColin Dabkowski\, Arts Critic\, The Buffalo News\nDr. Ruth Meyerowitz\, Professor of American Studies/Feminist Labor Historian\, SUNY at Buffalo\nMark Higgins\, Board Member\, New York State Workers Compensation Board \nThis licensed nontheatrical public screening is sponsored by both the Pride Center of Western New York and the WNY Area Labor Federation.
URL:https://squeaky.org/event/pride/
LOCATION:Hallwalls Contemporary Art Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Screenings
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