BEGIN:VCALENDAR VERSION:2.0 PRODID:-//CalDiscovery//caldiscovery//EN CALSCALE:GREGORIAN METHOD:PUBLISH DESCRIPTION:Discovered and maintained by CalDiscovery (https://caldiscover y.com). Event details belong to their publishers. Contains information fro m CalDiscovery\, which is made available under the ODbL 1.0. SOURCE:https://caldiscovery.com/buffalo-ny/src-8294.ics X-PUBLISHED-TTL:PT1H X-WR-CALDESC:Discovered and maintained by CalDiscovery (https://caldiscove ry.com). Event details belong to their publishers. Contains information fr om CalDiscovery\, which is made available under the ODbL 1.0. X-WR-CALNAME:CalDiscovery - buffalo-ny BEGIN:VEVENT SUMMARY:With us at the center of our world: animals\, domestications\, dre ams DTSTART;VALUE=DATE:20260612 DTEND;VALUE=DATE:20260912 DTSTAMP:20260815T000908Z UID:10001312-1781222400-1789171199@squeaky.org CATEGORIES:arts DESCRIPTION:Opening Friday\, June 12\, 2026\, 6–8 pm\nExhibition hours: Tuesday–Saturday\, 12–5 pm\, extended hours through 8 pm on Wednesdays \, and by appointment\nOn view through September 11\, 2026\nSqueaky Wheel presents an exhibition and public programs thinking through and on non-hum an animals. The artists – working in animation\, essay films\, speculati ve narratives\, installation work\, among other forms – address domestic ation\, colonialism\, extinction\, and conservation\, and the toll humans extract from our co-inhabitants on earth. The exhibition features work by Amy Ching-Yan Lam\, Annika Eriksson\, Cameron A. Granger\, Christina Corfi eld\, Deniz Tortum & Sister Sylvester\, G. Anthony Svatek\, Miranda Javid\ , and Noor Abuarafeh\, with films by Serge Avédikian\, Chris Marker\, and Wiame Haddad in the screening program. \nThe title of the exhibition – with us at the center of our world – is from John Berger’s quintessent ial essay “Why Look at Animals?”\, describing the place and role human s placed animals: how we may have seen and defined ourselves\, our world t hrough and with them. The works take on various perspectives\, looking wit h and at animals\, and how the forces of capitalism\, control\, colonialis m\, and war are now intertwined in our relationships with them. Thinking t hrough these forces\, the collected works in the exhibition ask: what is t he world that humans and animals are at the center of\, and are other worl ds possible? \n\nLeft to right: Annika Eriksson\, The Community (2010)\; M iranda Javid\, Little Winds That Died Immediately (2019)\; Noor Abuarafeh\ , Am I the ageless object at the museum? (2018)\; Deniz Tortum & Sister Sy lvester\, Our Ark (2022).\nThe exhibition features multiple strands for vi sitors to think through our relationship with non-human animals. Miranda J avid’s characteristically spectacular animated work Little Winds That Di ed Immediately features small animals as they try to survive under the for ce of humans using the artist’s signature transformative style\, with it s subtle and evocative soundtrack heard through the gallery. Amy Ching-Yan Lam’s Looty Goes to Heaven is written from the perspective of Looty\, a small Pekingese dog that was stolen by British troops and gifted to Queen Victoria. The speculative fiction work—with Looty’s life told in the book and her restful afterlife in the video work made with Emerson Maxwell —speaks tenderly and often humorously to the obscene legacies left by th e British empire on China during the Second Opium War. Cameron A. Granger ’s stunning Just Below Heaven imagines the dreams and inner life of a pi geon trained for the machinery of American control\; while Christina Corfi eld’s installation Pony Players Review thinks through the connections an d settlements enabled in the U.S. by the Pony Express. Cutting together te chnology advertisements across decades that feature animals and nature in selling televisions\, G. Anthony Svatek’s A Whole New Species harkens to the everpresent narrative of ownership\, spectacle\, and control over our world. Thinking through curated forms of animal collection such as zoos —what Berger called “living monument(s) to their own disappearance” —Noor Abuarafeh’s Am I the ageless object at the museum? considers zoo s\, museums\, and cemeteries through an evocative narrative and footage of zoos in Palestine\, Switzerland\, and Egypt. Paired in the center of the exhibition with Abuarafeh’s work\, Deniz Tortum and Sister Sylvester’s Our Ark documents the possibilities and consequences of efforts to backup virtual replicas of the world. Finally\, Annika Erikkson’s video The Co mmunity features a carpet with several street cats in Turkey\, opening a s pace for us to consider the roles and responsibilities of domestication\, and the possibility of creating new spaces for human animals and non-human animals to gather. \n\nLeft to right: Cameron A. Granger\, Just Below Hea ven (2025)\; Christina Corfield\, Pony Players Review (2020-Present)\; G. Anthony Svatek\, A Whole New Species (1956–2026)\; Amy Ching-Yan Lam wit h Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perch és (The Case of the Grinning Cat) accompanied by the short films Serge Av édikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sa ng Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thous ands of dogs were rounded up and sent to a nearby Island to die in an atte mpt to modernize the empire in its final years\; the film quite clearly as ks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features m ysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic docume ntary of the 2000s\, Chats Perchés (The Case of the Grinning Cat)\, where the filmmaker reflects on French and international protest movements and culture at the start of the Iraq War through the sudden appearance of allu ring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excite d to feature the work of former Workspace Residents Deniz Tortum\, G. Anth ony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar . This exhibition is supported by Teiger Foundation and the Andy Warhol Fo undation for the Visual Arts. Special thank you to Andreas Bertman at Film form – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegü l Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, B ob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuaraf eh\, Rachael Rakes\, Salome Kokoladze and Aurora Picture Show\, Sue Ding\, and Toleen Touq. \nVisitor and accessibility information:\nThe exhibition can be visited free of charge between 12–5 pm on Tuesdays\, Thursdays\, Fridays\, and Saturdays\, extended hours on Wednesdays from 12–8 pm. Ap pointments are also available\; please email office@squeaky.org with the s ubject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work des criptions for captioning and subtitle information. Works without captions have sound descriptions on wall labels.  \nClick here for Squeaky Wheel ’s parking\, transportation\, and overall accessibility information. \nP ublic programs and extended hours\nFriday\, June 12\, 6–8 pm\nExhibition opening\, with brief remarks by Curator Ekrem Serdar at 7 pm. \nWednesday \, June 24\, 7 pm\nArtist talk: Cameron A. Granger and Christina Corfield (click here for more information) \nWednesday\, August 5\, 7 pm\nScreening : Chris Marker’s The Case of the Grinning Cat\, with short films by Serg e Avédikian and Wiame Haddad (click here for more information) \n About the artworks (click to expand) \nAmy Chi ng-Yan Lam\, Looty Goes to Heaven\nBook and video. Video made with Emerson Maxwell\, 4:30 min\, sound\, 2022 \n“Back at the gate to heaven\, Looty watched a hedgehog waddle its way through the hole in the thicket. Before she could go in\, she had to give the green-faced person a true account o f her life. The green-faced person said\, in their gravelly voice\, ‘It can be as short or as long as you like. The only condition is that it must be absolutely true.'” \nA small Pekingese dog was taken from China at t he end of the Second Opium War by British troops\, brought to England\, an d gifted to Queen Victoria. This dog was renamed Looty\, in reference to h ow she was found during the looting of the Summer Palace (Yuanmingyuan) ou tside of Beijing. Looty lived for twelve years at the British royal palace s and died in 1872. It is not known where she was buried. \nThe Opium Wars were driven\, in part\, by the British demand for tea from China. In the 1800s\, the tea-drinking market\, including newly industrialized labour\, grew so big that British merchants cultivated a new\, exploitative opium i ndustry to counter this trade deficit. Opium was grown by indentured labou rers on plantations in South Asia\, then imported on a massive scale into China. Silver received from the sale of opium was then used to purchase te a. The objections of the Chinese state to this influx of cheap opium led t o the Opium Wars. \nLooty was one of the first Pekingese dogs in England\, and her arrival informed new trends in chinoiserie\, dog breeding\, and e ugenics. For close to fifty years\, Pekingese dogs were the most popular b reed of toy dog in England.\nThis work was commissioned for the 2022 Commo nwealth Games & Eastside Projects\, curated by Zoe Sawyer\, Tim Mills\, an d Gavin Wade\, and supported by Canada Council for the Arts. Video: music by Hannah Guinan\; sound mix by Michelle Irving\; animation by Emerson Max well. \nNoor Abuarafeh\, Am I the ageless object at the museum?\nVideo Ins tallation\, 15 mins\, Arabic with English subtitles\, 2018 \nThis video i s based on a narrative developed through visits to various zoos and zoolog ical institutions in Palestine\, Switzerland\, and Egypt. It is part of a larger body of work encompassing video\, video installations\, a novel\, a nd performances\, each exploring the concept of the museum from different angles. The projected video examines the construction of zoos and their hi storical relationship with museums\, as well as the connections between mu seums and cemeteries. These three entities share a common link to the disc ipline of history\, utilizing similar aesthetics in the representation and display of historical narratives. \nDeniz Tortum & Sister Sylvester\, Our Ark\nVideo\, 12:33 min\, English with open captions\, 2021 \nOur Ark is a n essay film on our efforts to create a virtual replica of the real world. We are backing up the planet\, creating 3D models of animals\, rainforest s\, cities and people. We are archiving as if ecological collapse could be staved off through some digital Noah’s Ark of beasts and objects. Write r/Directors: Deniz Tortum\, Sister Sylvester. Producer: Fırat Sezgin. Edi ting: Sercan Sezgin. Original Music: Alican Çamcı. Associate Producer: E cegül Bayram \nChristina Corfield\, Pony Players Review\nVideo installati on with sound\, corrugated cardboard\, acrylic paint\, ink\, construction paper\, hot glue\, string\, Amazon boxes\, packing tape\, 2020–Present \ nPony Players’ Review is a video installation project featuring re-enact ments and reimaginings of film scenes\, and a series of cardboard installa tion sets that focus on the popular representation of the 19th century mes senger\, the Pony Express. \nIn 1860\, the Pony Express was the fastest co ast-to-coast messaging system in the US. It was in service for only 18 mon ths after which the transcontinental telegraph replaced the pony with its almost instantaneous information relay. Looking back at the Express can gi ve the process of information relay a form through which to imagine what i t means to send messages and be connected. At the same time\, it also help s us think about how the systems and devices we use to send messages add s omething to how we feel about those messages. Sometimes\, the stories we a ttach to those messengers and messaging systems become more memorable or v aluable than the messages themselves. \nThe installations that make up Pon y Players’ Review look at stories and myths that surround the Pony Expre ss — stories that communicate a specific (white\, masculinist) “offici al” national history of the United States and the role of western expans ion to national growth. This project ties romantic images of the Old West to myths of progress\, efficiency\, and information circulation (otherwise known as message delivery) — these are potent myths that remain alive i n tech industries and digital culture today. But myths are fictions none t he less that can be re-written or over-written\, and most certainly challe nged or torn down. \nCameron A. Granger\, Just Below Heaven\nFound wood\, pigeon feet\, rusted nails\, video\, 8:54 minutes\, English with open capt ions\, edition of 2 plus II AP\, 18 ½ × 55 ½ inches\, 2025 \nUsing beha vioral theorist BF Skinner’s series of studies on the rock dove\, also k nown as the common pigeon\, Just Below Heaven recasts Skinner’s theory o f behavior and control as a stage where the cultural scripts and modes tha t fuel the machinery of American life are brought under scrutiny. A pigeon has a dream\, and finds each one of us in it. \nAnnika Eriksson\, The Com munity\nDigital video\, 4:30 min\, 2010. Courtesy of Filmform – The Art Film & Video Archive \nIn Annika Eriksson’s The Community\, we encounter a story about Istanbul’s homeless cat community. For many years\, the c ats were cared for by local cat lovers\, but today\, the cats have disappe ared\, the result of a clean-up initiative that altered the cityscape. In Ray Oldenburg’s pamphlet The Great Good Place\, he refers to ‘the thir d place’\, where people gather and move between work and family affairs. It is as a place of good company and discussions\, the root of democracy\ , and the vitality of society. The Community invites us to think about the implications of public space and third places for a city’s inhabitants\ , both human and not. \nMiranda Javid\, Little Winds That Died Immediately \nGraphite animation on paper\, 6:20 min\, sound\, 2019 \nSmall animals st ruggle to survive under the force of disembodied\, human features. Some of these creatures are crushed\, smushed\, melted\, and sizzled\, while a re silient few withstand their encounter and amble on. Thousands of rendered and shaded graphite drawings on paper. \nG. Anthony Svatek\, A Whole New S pecies\nDigital video\, 1950–2026 \nA Whole New Species is a found-foota ge video installation that critically examines a trope in advertising: usi ng spectacular nature imagery to sell television sets. In these commercial s spanning several decades\, beautiful landscapes\, adorable butterflies\, and giant blue whales adorn glowing screens – imitating wildlife to be experienced indoors\, as biodiversity declines outside. A Whole New Specie s shifts the focus away from the device’s novelty and onto the nature us ed in the ad. \n \n Biographies of the artists (clic k to expand) \nAmy Ching-Yan Lam is an artist and w riter. Her practice looks to recover shared experience and feeling from th e ruling structures of violence. She uses quotidian materials (like instit utional debris) and processes (like jokes). Books and memories are often a t the centre of her projects. Exhibitions\, performances\, and screenings have been presented at The Goldfarb Gallery\, York University (2025)\, Ric hmond Art Gallery (2023)\, Eastside Projects (2022)\, Seoul MediaCity Bien nale (2021)\, SFU Galleries (2021)\, Centre Clark (2019)\, Truck Gallery ( 2018)\, aka artist-run (2018)\, the Western Front (2015)\, Art Gallery of Ontario (2013)\, and others. She is the author of Baby Book (2023)\, a fin alist for the Governor General’s Literary Awards in Poetry\; Property Jo urnal (2024)\; and 83% Perfect (2025). Amy teaches creative writing in the English department of New York University. She was born in Hong Kong and lives in Lenapehoking / Brooklyn. Click here to visit her website. \nAnnik a Eriksson is originally from Malmö and lives in Berlin since 2002. At th e center of her artistic practice is an interest in social interaction: ho w do we live together\, what kind of societies do we create\, and what hap pens in the margins or in the transition from one social order to another? In her work\, the social has always involved a key emphasis on the slippa ges between the one ME into others – with a return to questions of inter action and exchange\, circular forms of communication\, self-abnegation an d empathy. Her project also engages with the relations between humans and animals\; of our interdependence\, slippages and connection\, but also reg isters of violation\, and the animal as a distinctively human projection s urface. She has been exhibiting since the early 90s in various biennales a nd institutions\, for example the biennales in Istanbul\, Venice\, Sao Pao lo\, Shanghai and Vienna\; in institutions such as Bonner Kunstverein\, Ta te Liverpool\, Hamburger Bahnhof\, Berlin\, Hayward Gallery\, London and M oderna Museet\, Malmö and Stockholm. \nCameron A. Granger is Sandra’s s on & came up in in the Euclid\, Ohio. He likes pigeons\, video games\, & m emes. Lately he’s been thinking about how myth making and narrative have been used as a means to police the imagination\, and making movies with h is friends. He’s a lifetime member of MINT Collective\, long may it live \, and an alumni of Euclid Public Schools. Granger is an alumni of the Stu dio Museum in Harlem AIR program (21-22) and Skowhegan School for Painting & Sculpture (2017). His film\, Before I Let Go\, was awarded Best Experim ental Film and the Audience Award at the 2023 BlackStar Film Festival. Gra nger lives and works between Columbus\, OH and Queens\, NY. Granger has ex hibited his work in solo exhibitions at Kate Werble Gallery in New York\, NY\, No Place Gallery\, Columbus\, OH (2022)\; and Vox Populi\, Philadelph ia\, PA (2018)\, among others. He has shown in group exhibitions at MoMA P S1\, Long Island City\, NY (2022)\, The Museum of Contemporary Art Detroit in Detroit\, MI\, Jack Shainman The School\, Kinderhook\, NY (2022)\, and The Bemis Center for the Arts\, Omaha\, NE (2021). \nChristina Corfield i s a British-born interdisciplinary artist and media scholar. She has publi shed her research in academic journals such as The Journal of Early Popula r Visual Culture\, and the Journal of Cinema and Media Studies. Christina has exhibited her artwork in Europe and across the US\, most recently with a solo show at the Western New York Book Arts Center\, as well as Telemat ic Gallery\, San Francisco\, and Johansson Projects in Oakland\, CA. Her s cholarly and artistic work focuses on media history\, media materiality an d logistical media\, exploring how the perceived value of media and techno logy is negotiated through the stories we tell about them. \nDeniz Tortum (İstanbul\, 1989) works in film and immersive media. Among his recent wor k\, his feature documentary Phases of Matter (2020\, IFFR) explores a stat e-run teaching hospital in Istanbul\; his essay video Our Ark (2021\, IDFA \, co-dir Sister Sylvester) reflects on our efforts to create a virtual re plica of the real world\, a digital Noah’s Ark\; and his virtual reality work Shadowtime (2023\, Venice Film Festival\, co-dir Sister Sylvester) e xplores the history of virtual reality and its relation to the climate cri sis. Between 2014 and 2020\, he worked as a researcher at the MIT Open Doc umentary Lab and MIT Transmedia Storytelling Initiative. In 2019\, he was featured as one of the 25 New Faces of Independent Film by Filmmaker Magaz ine. His work has screened internationally\, including at the Venice Film Festival\, IFFR\, IDFA\, SXSW\, the Museum of the Moving Image among other s. He is the co-founder of the interdisciplinary studio Institute of Time and the Istanbul-based film collective Görültü. He is currently leading a research project with Salt Istanbul about the 60s independent Turkish f ilm scene\; and developing Intrusions\, a film around spiritism and climat e anxiety. \nHaving grown up at the foot of the Austrian Alps\, G. Anthony Svatek is awed by the living world and how it is increasingly impacted by our techno-urban lives. Anthony’s work screened at NYFF\, Intl FF Rotte rdam\, Visions du Réel\, Ann Arbor\, Big Sky\, Prismatic Ground\, DOCNYC\ , amongst others. Supporters include Ford Foundation JustFilms\, NYSCA\, S imons Foundation\, Austrian Cultural Forum NY. He is the recipient of the New Visions Golden Gate Award at SFFILM. Commissioned work includes projec ts for New York Magazine\, New York State Parks\, and Pioneer Works. He ha s staffed seasonally at the Flaherty Film Seminar\, The Climate Museum\, a nd the American Museum of Natural History. \nMiranda Javid is an animator\ , curator\, and art educator living in the Hudson Valley of New York State . On her work\, collaborator Brendan Sullivan once said\, “Miranda’s w ork captures the pulsing network of the living\, the heft of bodies\, and the density of human experience. Her work is playful and also somberly sci entific\, as it tracks time and decay with special attention to the body w ading through it. There is a whole world in there\, traces of the big unkn owables\, both the mystic and the muddled mess of human stuff. Within that unknowable mess\, ritual is the mark left in time.” Her films have show n nationally and internationally at festivals like the Ann Arbor Film Fest ival\, Slamdance\, Flatpack\, Images\, Eyeworks Film Festival\, The Maryla nd Film Festival\, and Animation Block Party. She is a former Kenan Fellow \, Denniston Hill and Squeaky Wheel resident\, a Sherman Fairchild grantee \, and a recipient of the Nancy Harrigan Prize\, given through the Baker A rtist Fund. Her drawings have shown at The Baltimore Museum of Art\, and T he Mint Museum of Art in North Carolina. \nNoor Abuarafeh is a Palestinian artist based between Jerusalem and Rotterdam. Her practice spans video\, performance\, publications\, and video installations\, with a focus on the themes of memory\, history and archives and the complexities of tracking absence. Noor’s videos and performances are based on texts and call the complexity of history into question: how it is formed\, constructed\, made \, perceived\, visualized and understood. She asks how all these elements are related and investigates the possibility of representing the past when the past is still present. Her videos and socially-engaged works are base d on interviews\, workshops and other participatory encounters.\nIn the pa st Abuarafeh has shown in solo and group exhibitions at De Appel (2024)\, Art Jameel (2024)\, Jakarta Biennale (2024)\, Frieze Museum (2023)\, Venic e Biennale (2022)\, Berlin Biennale (2020)\, and Sharjah Biennale 13 (2017 ). She also participated in the Off-Biennale Gaudipolis in Budapest (2017) and the Qalandia International in Jerusalem (2018)\, among others. In 201 9\, she held her first solo exhibition\, The Moon is a Sun Returning as a Ghost\, curated by Lara Khaldi in Jerusalem.\n \nFeatured imag e: Still of Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022). A digitally animated photorealistic depiction of a small Pekingese dog. The dog is upside down with his paws in the air in a relaxed state. One of its eyes is open and looking at you. LAST-MODIFIED:20260815T000908Z LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 142 14\, United States URL:https://squeaky.org/event/with-us-at-the-center-of-our-world/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT BEGIN:VEVENT SUMMARY:Creative Sustainability Summit DTSTART:20260914T193000Z DTEND:20260915T000000Z DTSTAMP:20260814T180923Z UID:10001331-1789399800-1789416000@squeaky.org CATEGORIES:education DESCRIPTION:Join us on Monday\, September 14th at Villa Maria College’s Recital Hall for the Western New York Creative Sustainability Summit! Host ed by Emily Best\, filmmaker and CEO of Seed&Spark\, the leading crowdfund ing and creator education platform. This event is FREE for all. Light refr eshments will be provided. Brought to you by Film Neighbor Network\, Get F okus’d Productions\, Squeaky Wheel Film & Media Art Center\, and VonSchm als Productions. \nReserve your spot here! \n​3:30pm-4:00pm: Registratio n & Networking \n​4:10pm-5:25pm: Workshop 1: Crowdfunding to Build Indep endence \n​This class lays out the steps toward a successful crowdfundin g campaign for any creative endeavor\, as well as a career-long action pla n most likely to create a lasting\, flourishing\, direct relationship with an audience. Attendees learn how to find their audience\, structure their crowdfunding campaign\, pick the right goal and incentives\, and much mor e. \n​Class taught by filmmaker and CEO of Seed&Spark\, Emily Best. \n ​5:45pm-7:15pm: Workshop 2: Six Steps to Build Your Own Film Distributio n Playbook \n​Now more than ever\, distribution is in the hands of the m akers\, which brings both tremendous opportunities and challenges. This se ssion breaks down six clear steps to developing a distribution playbook fo r filmmakers for your project to have the greatest chance of accomplishing your goals\, and offer distribution tips\, tactics\, and\, most important ly\, the economics for every window from theatrical through VOD and beyond . \n​Class taught by filmmaker and CEO of Seed&Spark\, Emily Best. \n​ 7:30pm-7:50pm: Local Creative Resource Discussion \n​We want to hear fro m the Western New York creative community regarding resources they could s ee helping them in their respective fields. There will be surveys present throughout the event that can be completed during breaks between workshops to provide us with this information. LAST-MODIFIED:20260814T180923Z LOCATION:Villa Maria College\, 240 Pine Ridge Rd\, Bufalo\, 14225\, United States URL:https://squeaky.org/event/creative-sustainability-summit/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT BEGIN:VEVENT SUMMARY:Digital Art and Technology Access DTSTART:20261003T140000Z DTEND:20261003T170000Z DTSTAMP:20260821T000952Z UID:10001332-1791021600-1797080400@squeaky.org CATEGORIES:arts,education DESCRIPTION:DATA is a media arts and technology program designed for neu rodivergent individuals ages 13-19. A series of year-round workshops build s creative and social skills. Students learn a range of media-based practi ces like illustration\, animation\, and game design to support individual and collaborative projects. We value long term relationships with students \, families\, and teachers.\nIn DATA we provide a minimum 4:1 student-to-i nstructor ratio\, noise-canceling headphones\, snacks\, and a separate sen sory-friendly space outside the classroom for breaks. Most participants ha ve Autism Spectrum Disorder and related diagnoses\, but a formal diagnosis isn’t required for participation. If you aren’t sure if your teen is a fit for DATA\, please reach out and we can help. Our patient and passion ate instructors have extensive experience working with neurodivergent teen s\, and all have relevant combined training and/or degrees in fields like fine art\, special education and social work. \nDATA is tuition free and s pace is limited. Fall session application is open now.\n\nOctober 3-Decemb er 12\n(10 classes\, no class Nov 28)\nSaturdays\n10am-1pm\nat Squeaky Whe el\n  \nThis fall we are thrilled to welcome back Teaching Artist Jake Re ber. We will use a range of digital tools for drawing\, animation\, and ga me design. Students will have the option of incorporating projects they ar e already working on\, or starting with fresh ideas.  \nScroll down to “tickets” to complete the simple application form.  Please note that this is an application that must be reviewed\, not a first-come first-serv e registration. \nIf this is your first time applying to DATA\, you’ll h ear from Caroline\, our Education Director\, to schedule a phone call or m eeting to discuss the program in greater detail\, and to ensure that we ar e a good fit for each other. From there\, the Education team will review a ll approved applicants and fill any open spots. Preference is given to ret urning students\, those already on the waitlist\, and new applicants with the strongest interest. Anyone we aren’t able to invite to the fall sess ion will be automatically added to the waitlist for future sessions. \nWhi le we welcome all skill levels\, DATA is usually the best fit for students who can confidently work independently and who already know they have a s trong interest in computer-based digital arts. We unfortunately aren’t a ble to support individuals with high one-on-one needs. \nQuestions? Please email caroline@squeaky.org\, or call 716-884-7172. \n\n  \nDATA is gener ously supported by The Children’s Guild Foundation\, The Peter and Eliza beth C. Tower Foundation and the Golisano Foundation\, with nutrition supp ort from Wegmans. Thank you!! LAST-MODIFIED:20260821T000952Z LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 142 14\, United States URL:https://squeaky.org/event/digital-art-and-technology-access-2/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT BEGIN:VEVENT SUMMARY:Video Production: DIY Effects DTSTART:20261003T140000Z DTEND:20261024T170000Z DTSTAMP:20260905T001042Z UID:10001335-1791021600-1792846800@squeaky.org CATEGORIES:education,film,tech DESCRIPTION:Tech Arts for Girls\nFall 2026\nSaturdays\, October 3-24 (4 we eks)\n10am – 1pm\nSliding scale fee: $0-$120 (No one turned away for lac k of funds)\n  \nTAG is for girls+ (including nonbinary and trans student s) in grades 6-9. \nJoin us to learn video production\, and how to make yo ur own DIY props and effects from ordinary materials like cardboard. From lighting to camera to sound\, you’ll gain hands on experience with profe ssional equipment. Then you’ll edit your work into an experimental short film! \n  \nWe have developed a sliding scale fee system to ensure that the class is still affordable for everyone\, so please choose the ticket t hat fits your budget (including $0). Let us know if you have any questions ! \nTicket options for each four-week session are:\n$0\n$30 ($7.50 per wee k)\n$60 ($15 per week) \n$90 ($22.50 per week) \n$120 ($30 per week) \n  \nScroll down to “get tickets” to register. \nTech Arts for Girls has received generous support from the New York State Council on the Arts\, Ch ildren’s Foundation of Erie County\, and Cameron and Jane Baird Foundati on. LAST-MODIFIED:20260905T001042Z URL:https://squeaky.org/event/video-production-diy-effects/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT BEGIN:VEVENT SUMMARY:Squeaky's 40th! DTSTART:20261003T230000Z DTEND:20261004T020000Z DTSTAMP:20260901T181220Z UID:10001330-1791054000-1791064800@squeaky.org CATEGORIES:arts DESCRIPTION:Join us for a party celebrating the 40th anniversary of Squeak y Wheel’s very first space and all of the people who’ve made our work possible! We’ll be showcasing four decades of media art\, sharing storie s\, and living it up\, and it won’t be the same without you! \nGet your tickets here!\n  \nCall for participation: \nCelebrating an organization like this is to celebrate every person who has been a part of its work ov er these four decades\, because none of it would have been possible withou t the artists\, arts workers\, curators\, programmers\, educators\, learne rs\, collaborators\, supporters\, and audiences who have showed up for eac h other and for Squeaky Wheel. We are the sum of you all! \nWe’d love to add your voice and your memories to the archive\, and as we look to the f uture\, we’d also love to hear what’s exciting or intriguing you now. \nSubmit here! LAST-MODIFIED:20260901T181220Z LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 142 14\, United States URL:https://squeaky.org/event/squeakys-40th/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT BEGIN:VEVENT SUMMARY:Youth Film Lab DTSTART:20261006T200000Z DTEND:20261006T220000Z DTSTAMP:20260901T181220Z UID:10001333-1791302400-1795543200@squeaky.org CATEGORIES:family,film DESCRIPTION:Youth Film Lab\nOctober 6-November 24\nTuesdays & Thursdays\n4 -6pm\n8 weeks\ngrades 8-12\n  \nSqueaky Wheel’s Youth Film Lab is an in tensive and fun filmmaking program for teens in grades 8-12. Located at Sq ueaky Wheel\, in the TriMain Center\, 2495 Main St. Suite 310\, in Buffalo . Join us to collaborate on every aspect of the filmmaking process – scr iptwriting\, storyboarding\, acting\, camera\, lighting\, sound\, editing\ , and special effects. You’ll work with professional equipment and softw are\, highly experienced instructors\, and amazing guest artists. You’ll take field trips to local film sets and production studios. You’ll have the opportunity to submit your films to film festivals\, and you’ll bui ld skills that will prepare you prepare for college and for jobs in the fi lm and television industry. \nQuestions? email caroline@squeaky.org or cal l 716-884-7172 \n  \nSliding scale fee:  $0 – $240 \nIn order to keep this program accessible to everyone\, we have implemented a sliding scale fee. \n \nPlease choose the ticket price that fits your budget\, including $0. \nIf you would like to contribute an amount that isn’t listed\, ple ase register for the $0 ticket and email caroline@squeaky.org for instruct ions. \nNo one will be turned away for lack of funds. \n  \nYFL is suppor ted in part by the Josephine Goodyear Foundation and the Community Foundat ion of Greater Buffalo. LAST-MODIFIED:20260901T181220Z LOCATION:Squeaky Wheel\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 142 14\, United States URL:https://squeaky.org/event/youth-film-lab-3/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT BEGIN:VEVENT SUMMARY:Comics & Illustration DTSTART:20261031T140000Z DTEND:20261121T180000Z DTSTAMP:20260905T001042Z UID:10001336-1793440800-1795266000@squeaky.org CATEGORIES:arts,education DESCRIPTION:Tech Arts for Girls\nFall 2026\nSaturdays\, October 31-Novembe r 21(4 weeks)\n10am – 1pm\nSliding scale fee: $0-$120 (No one turned awa y for lack of funds)\n  \nTAG is for girls+ (including nonbinary and tran s students) in grades 6-9. \nJoin the incredible Mikayla Kempski once agai n to draw comics and zines and more! You’ll learn to use Krita\, an amaz ing free\, open source digital drawing and painting program. You’ll also learn to draw with a pressure sensitive pen and drawing tablet for amazin g detail and control – just like the pros! \n  \nWe have developed a sl iding scale fee system to ensure that the class is still affordable for ev eryone\, so please choose the ticket that fits your budget (including $0). Let us know if you have any questions! \nTicket options for each four-wee k session are:\n$0\n$30 ($7.50 per week)\n$60 ($15 per week) \n$90 ($22.50 per week) \n$120 ($30 per week) \n  \nScroll down to “get tickets” t o register. \nTech Arts for Girls has received generous support from the N ew York State Council on the Arts\, Children’s Foundation of Erie County \, and Cameron and Jane Baird Foundation. LAST-MODIFIED:20260905T001042Z URL:https://squeaky.org/event/comics-illustration-2/ X-SOURCE-NAME:Squeaky Wheel Film & Media Art Center X-SOURCE-URL:https://squeaky.org/workspace-residency END:VEVENT END:VCALENDAR