Renée Green: Partially Buried and Mise-en-scène: Commemorative Toile
Posted by | Amy Beste | Posted on | September 23, 2021
Thursday, September 23–Thursday, September 30
See Partially Buried, Partially Buried Continued, and Mise-en-scène: Commemorative Toile by the artist and filmmaker Renée Green. Presented in partnership with Video Data Bank and the Society for Contemporary Art at the Art Institute of Chicago.
Renée Green, Partially Buried Continued, 1997. Courtesy of Video Data Bank and the artist
Theatrical Screening
Thursday, September 23, 6:00 pm CT
Gene Siskel Film Center
Virtual Screenings
September 24–September 30
Gene Siskel Film Center Virtual Cinema
Closed captions available
Since the early 1990s, Renée Green has become known for multidimensional artworks that chart unseen connections between people, places, and ideas around the globe—from the colonial-era Triangular trade to 20th century student movements. This program brings together a selection of Green’s foundational ’90s projects, all potent explorations of history, memory, and violence. In Mise-en-scène: Commemorative Toile (2020), an essayistic companion to her 1992–93 artwork of the same name, Green looks into the history of the French decorative fabric known as toile and its role in the trans-atlantic slave trade. In Partially Buried (1996) and Partially Buried Continued (1997), she threads together the shifting legacies of Robert Smithson’s earthwork Partially Buried Woodshed (1970), her father’s memories of the Korean War, and differing accounts of South Korea’s pivotal Gwangju Uprising of 1980 to ask “who owns history? Who can represent its complexity?”.
1996–2020, Renée Green, USA, ca 62 minutes
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PROGRAM
Mise-en-scène: Commemorative Toile
2020, Renée Green, USA, 6 minutes
Sourced from a text written by the artist in 1994, Commemorative Toile: Mise-en-Scène delves into the circuitous material history of the Trans-Atlantic slave trade, focusing on the production of the French decorative fabric known as toile. Sliding between the matrix of colonial expansion and Green’s personal research-driven pursuits beginning in Clisson, France, the artist demystifies the social production that connects the Triangular trade to the seemingly private sphere of the home, while attempting to decipher the contradictory pleasures which might accompany them. (Bortolami Gallery)
Partially Buried
1996, Renée Green, USA, 20 minutes
Partially Buried asks, “How do we reinterpret the past? What do we choose to remember or discard?” Green looks to the year 1970 and the campus of Kent State University where she spent time as a child. It was here that artist Robert Smithson produced his site-specific work Partially Buried Woodshed. It was also here that four students were shot while demonstrating against the US invasion of Cambodia. Shortly afterward, someone painted “May 4, 1970” on Partially Buried Woodshed, and the artwork took on another meaning. (Video Data Bank)
Partially Buried Continued
1997, Renée Green, USA, 36 minutes
Expanding on Partially Buried, Partially Buried Continued focuses on the mingling of past and present by reflecting on the photographic medium. The video reexamines slide films taken during the Korean War by Green’s father; photographs taken in Korea in Kwangju on May 18, 1980, during the democratic uprising and brutal state-sponsored response; and photographs taken by the artist in Kwangju and Seoul during a residency in 1997. Using the works of Robert Smithson and Theresa Hak Kyung Cha as touchstones, Green reflects on memory, memorials, and remembrance, while exploring the complexities of how we find ourselves entangled in relationships to countries, nationalities, and specific moments in time. (Video Data Bank)
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RELATED EVENT
Renée Green in Conversation with Jordan Carter
Virtual Event
Monday, September 27, 6:00 p.m. CT
Zoom
Real-time closed captions available
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ABOUT
Renée Green is an artist, filmmaker, and writer living and working in New York and Somerville, Massachusetts. Her exhibitions, videos, and films have been seen throughout the world in museums, biennales, and festivals. Solo exhibitions of her work have been mounted at the Carpenter Center for Visual Arts, Harvard University; Yerba Buena Center for the Arts, San Francisco; the Museum of Modern Art, New York; National Maritime Museum, Greenwich; Musée Cantonal des Beaux-Arts, Lausanne; Portikus, Frankfurt; Fundació Antoni Tàpies, Barcelona; Contemporary Arts Center, Cincinnati; Vienna Secession; Stichting de Appel, Amsterdam; Dallas Museum of Art; the Museum of Contemporary Art, Los Angeles; and Jeu de Paume, Paris, among many others. Inevitable Distances, a large-scale retrospective dedicated to Green’s decades-long practice, will be held at the KW Institute of Contemporary Art and daadgalerie in Berlin this fall. Green is also a professor at the Massachusetts Institute of Technology Program of Art, Culture, and Technology at the School of Architecture and Planning.
Tags: France > Korea > Renee Green > The Society for Contemporary Art > Video Data Bank
Announcing Fall 2021
Posted by | Amy Beste | Posted on | September 15, 2021
The Fall 2021 season of Conversations at the Edge starts Thursday, September 23!
Join us for theatrical screenings, virtual artist talks, and virtual screenings! All programs take place at the Gene Siskel Film Center of the School of the Art Institute of Chicago and on the Film Center’s virtual cinema platform. More info at saic.edu/cate.
Renée Green Partially Buried Continued (1997). Courtesy of the artist and the Video Data Bank
Renée Green in conversation with Jordan Carter
Anocha Suwichakornpong, Tulapop Saenjaroen, and Pom Bunsermvicha in Conversation with Melika Bass
10/22, 6:00 pm CT // Virtual Event // Gene Siskel Film Center Virtual Cinema
POM BUNSERMVICHA
Lemongrass Girl
10/21, 6:00 pm CT // Theatrical Screening // Gene Siskel Film Center
10/29 – 11/4 // On Demand // Gene Siskel Film Center Virtual Cinema
Anocha Suwichakornpong, Tulapop Saenjaroen, and Pom Bunsermvicha in Conversation with Melika Bass
10/22, 6:00 pm CT // Virtual Event // Gene Siskel Film Center Virtual Cinema
TULAPOP SAENJAROEN
Tulapop Saenjaroen: Short Films
10/28, 6:00 pm CT // Theatrical Screening // Gene Siskel Film Center
10/29 – 11/4 // On Demand // Gene Siskel Film Center Virtual Cinema
Anocha Suwichakornpong, Tulapop Saenjaroen, and Pom Bunsermvicha in Conversation with Melika Bass
10/22, 6:00 pm CT // Virtual Event // Gene Siskel Film Center Virtual Cinema
Tags: Anocha Suwichakornpong > Chicago > Early Video Art > Experimental > Experimental Documentary > Experimental Film > Feminist > Lynda Benglis > New Media > Pom Bunsermvicha > Renee Green > SAIC Alumni > Tulapop Saenjaroen > video > Video Data Bank
Spring 2021 Season Recap
Posted by | dmwaur | Posted on | May 12, 2021
Thank you for joining us for the Spring 2021 season of Conversations at the Edge!
We are so grateful for the artists and scholars who shared their work with us and for our presenting partners, including the School of the Art Institute of Chicago’s (SAIC) Visiting Artists Program, the Open Practice Committee in the Department of Visual Arts at the University of Chicago, SAIC’s Video Data Bank, and the Gene Siskel Film Center.
Wendy Clarke, One On One: Arnold and Ahneva. Courtesy of the artist and the Video Data Bank.
Carolyn Lazard, A Recipe for Disaster, 2017. Courtesy of the artist
Madeleine Hunt – Ehrlich, Spit on the Broom, 2019. Courtesy of the artist
Ian Cheng, Emissary Forks at Perfection (still), live simulation and story, infinite duration, 2015-2016. Courtesy of the artist, Pilar Corrias, London and Gladstone Gallery, New York
Wong Ping, Jungle of Desire, 2016. Wong Ping. Courtesy the artist and Edouard Malingue Gallery, Hong Kong _ Shanghai; Tanya Bonakdar Gallery, New York /Los Angeles
Tags: 2021 > Animation > Artificial Intelligence > Carolyn Lazard > Documentary > Experimental > Hong Kong > Ian Cheng > Madeleine Hunt - Ehrlich > Monographic Shows > New Media > Non-Fiction > USA > Video Data Bank > Video Games > Wendy Clarke > Wong Ping
Wong Ping Lecture and Conversation
Posted by | Amy Beste | Posted on | April 15, 2021
Thursday, April 15, 7:00 p.m.
Gene Siskel Film Center Virtual Cinema
Join artist and animator Wong Ping and Orianna Cacchione, curator of global contemporary art at the Smart Museum of Art for a wide-ranging look at the ideas and approaches behind Wong’s singular digital-pop works. Presented in partnership with the Open Practice Committee in the Department of Visual Arts at the University of Chicago.
Wong Ping, Dear, Can I Give You A Hand, 2018. Courtesy of the artist and Tanya Bonakdar Gallery.
Self-described as “low-tech, stand-up comedies,” Wong Ping’s animations and installations combine dark humor with nuanced social commentary.
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ABOUT
Wong Ping was born in Hong Kong and received his BA from Curtin University in Perth, Australia in 2005. In 2018, he was the recipient of the inaugural Camden Art Centre’s Emerging Artist Prize, and in 2019, he was one of the winners of the Ammodo Tiger Short Competition at the 48th International Film Festival Rotterdam. Wong has completed a residency at the Centre for Chinese Contemporary Art (2015). Solo exhibitions include Heart Digger, Camden Arts Centre, London (2019); Golden Shower, Kunsthalle Basel, Switzerland (2019); Who’s the Daddy, CAPRI, Germany; and Jungle of Desire, Things That Can Happen, Hong Kong. His work has been featured in important group exhibitions such as One Hand Clapping, Solomon R. Guggenheim Museum, New York (2018); 2018 Triennial: Songs for Sabotage, New Museum, New York (2018); XO State Dark: Aristophanes, Arts Centre Melbourne (2017); RareKind China, Centre for Chinese Contemporary Art, Manchester (2016); Mobile M+: Moving Images, M+, Hong Kong (2015); and Essential Matters, Borusan Contemporary, Istanbul (2015). Wong’s animation films have been presented at numerous international festivals in Belgium, the United Kingdom, Mexico, and Australia. Wong’s work is held in several permanent collections including the Solomon R. Guggenheim Museum, New York; M+, Hong Kong; KADIST, Paris/San Francisco; and Fosun Foundation, Shanghai, among others.
Orianna Cacchione is the curator of global contemporary art at the Smart Museum of Art. Her curatorial practice is committed to expanding the canon of contemporary art to respond to the global circulations of art and ideas. At the Smart Museum of Art, Cacchione has curated the exhibitions The Allure of Matter: Material Art from China (with Wu Hung), Samson Young: Silver moon or golden star, which will buy of me?, and Tang Chang: The Painting that Is Painted with Poetry Is Profoundly Beautiful, the first solo presentation of the pioneering abstract artist’s work outside of Thailand.
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RELATED SCREENING
Wong Ping: Digital Fables
April 12–18
Gene Siskel Film Center Virtual Cinema
Wong Ping: Digital Fables
Posted by | Amy Beste | Posted on | April 12, 2021
Monday, April 12–Sunday, April 18
Gene Siskel Film Center Virtual Cinema
Six films by the Hong Kong based artist and animator Wong Ping. Presented in partnership with the Open Practice Committee in the Department of Visual Arts at the University of Chicago.
Wong Ping, Jungle of Desire, 2016. Wong Ping. Courtesy the artist and Edouard Malingue Gallery, Hong Kong – Shanghai; Tanya Bonakdar Gallery, New York /Los Angeles
Self-described as “low-tech, stand-up comedies,” Wong Ping’s animations and installations combine ribald humor with nuanced social commentary. Wong’s singular digital-pop imagery, scintillating sexual themes, and lucid depictions of contemporary social relations have garnered both international acclaim and honors like the Ammodo Tiger Short Award at the 2019 International Film Festival Rotterdam. When once asked about the explicit nature of his work, Wong replied, “most of my works are in fact not about sexual desires; they are more like parables exploring the suppressed emotions of people living in Hong Kong, a city facing serious population and land issues.”
In these six films, Wong Ping holds an acid-hued mirror to contemporary life in Hong Kong and the world beyond. His assorted characters, including a player who cares for the offspring of a hookup gone awry; a sex worker who entertains a corrupt cop; and a tree with an insect phobia, face trials and tribulations ranging from the erotic to the existential. Program includes International Film Festival Rotterdam Ammado Tiger winner Wong Ping’s Fables 1 (2018) as well as Wong Ping’s Fables 2 (2019), The Modern Way to Shower (2020), Who’s the Daddy (2017), Jungle of Desire (2016), and An Emo Nose (2014).
Wong Ping, 2014-2018, Hong Kong, ca 63 minutes, Cantonese with English subtitles
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RELATED EVENT
Wong Ping Lecture and Conversation
Thursday, April 15, 7:00 p.m. CT
Gene Siskel Film Center Virtual Cinema
Live captions available.
Join Hong Kong artist and animator Wong Ping and Orianna Cacchione, curator of global contemporary art at the Smart Museum of Art, for a wide-ranging look at the ideas and approaches that inform Wong’s practice.
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ABOUT
Wong Ping was born in Hong Kong and received his BA from Curtin University in Perth, Australia in 2005. In 2018, he was the recipient of the inaugural Camden Art Centre’s Emerging Artist Prize, and in 2019, he was one of the winners of the Ammodo Tiger Short Competition at the 48th International Film Festival Rotterdam. Wong has completed a residency at the Centre for Chinese Contemporary Art (2015). Solo exhibitions include Heart Digger, Camden Arts Centre, London (2019); Golden Shower, Kunsthalle Basel, Switzerland (2019); Who’s the Daddy, CAPRI, Germany; and Jungle of Desire, Things That Can Happen, Hong Kong. His work has been featured in important group exhibitions such as One Hand Clapping, Solomon R. Guggenheim Museum, New York (2018); 2018 Triennial: Songs for Sabotage, New Museum, New York (2018); XO State Dark: Aristophanes, Arts Centre Melbourne (2017); RareKind China, Centre for Chinese Contemporary Art, Manchester (2016); Mobile M+: Moving Images, M+, Hong Kong (2015); and Essential Matters, Borusan Contemporary, Istanbul (2015). Wong’s animation films have been presented at numerous international festivals in Belgium, the United Kingdom, Mexico, and Australia. Wong’s work is held in several permanent collections including the Solomon R. Guggenheim Museum, New York; M+, Hong Kong; KADIST, Paris/San Francisco; and Fosun Foundation, Shanghai, among others.
Ian Cheng
Posted by | Amy Beste | Posted on | April 6, 2021
Join us live for a virtual lecture by artist Ian Cheng followed by an audience Q&A. Presented in partnership with SAIC’s Visiting Artists Program.
Ian Cheng, Emissary Forks at Perfection (still), live simulation and story, infinite duration, 2015-2016. Courtesy of the artist, Pilar Corrias, London and Gladstone Gallery, New York
Drawing on principles of video game design, improvisation, and cognitive science, Ian Cheng’s practice explores the nature of mutation and the capacity of humans to relate to change. He produces computer-generated simulations whose complex ecosystems are programmed to evolve without end. These projects culminated in the Emissaries trilogy (2014–17), a set of works in which the motivation of a narrative agent—the emissary—is set into conflict with the open-ended chaos of the simulation. In 2019, he debuted BOB (Bag of Beliefs), an AI creature whose personality, body, and life story evolve across exhibitions, what Cheng calls “art with a nervous system.”
Recent solo exhibitions include: Life After Bob, The Shed, New York (2021); Ian Cheng: BOB, Gladstone Gallery, New York (2019); Ian Cheng Emissaries, Julia Stoschek Collection, Berlin (2018); Ian Cheng: BOB, Serpentine Gallery, London (2018); Ian Cheng: Emissaries, MoMA PS1, New York (2017); Ian Cheng: Forking at Perfection, Migros Museum, Zurich (2016); and Ian Cheng: Emissary in the Squat of Gods, Fondazione Sandretto Re Rebaudengo, Italy (2015). Recent group exhibitions include: Mud Muses, Moderna Museet, Stockhom (2019); If the Snake, Okayama Art Summit, Japan (2019); May You Live in Interesting Times, Venice Biennale (2019); New Order: Art and Technology in the Twenty-First Century, Museum of Modern Art, New York (2019); Leaving the Echo Chamber, Sharjah Biennial, United Arab Emirates (2019); Low Form. Imaginaries and Visions in the Age of Artificial Intelligence, MAXXI, Rome (2018); and I Was Raised on the Internet, Museum of Contemporary Art Chicago (2018).
This program is partially supported by a grant from the Illinois Arts Council Agency.
Madeleine Hunt-Ehrlich Lecture and Conversation
Posted by | Amy Beste | Posted on | March 25, 2021
Gene Siskel Film Center Virtual Cinema
Live captions available.
Join artist Madeleine Hunt-Ehrlich and art historian Romi Crawford, professor in visual and critical studies and liberal arts at the School of the Art Institute of Chicago, for this look at Hunt-Ehrlich’s practice, including her ongoing work with the United Order of Tents; her research into representation, abstraction, and the archive; and her feature-in-progress on the French surrealist writer Suzanne Césaire.
Madeleine Hunt-Ehrlich
Madeleine Hunt-Ehrlich’s rich and often surreal works blend narrative and documentary to explore the private worlds of Black women. Rooted in archival and field research, Hunt-Ehrlich’s practice uses abstraction as a mode of resistance in depicting subjects deprived of self-autonomy under the exploitative gaze of the colonial camera.
Hunt-Ehrlich’s work has screened all over the world, including at the Solomon R. Guggenheim Museum and the Whitney Museum of Art in New York and in film festivals such as the New Orleans Film Festival, Doclisboa, and BlackStar Film Festival. She has been featured in Essence magazine, Studio Museum’s Studio magazine, ARC Magazine, BOMBLOG, Guernica, and Small Axe, among others. She was named as one of Filmmaker‘s “25 New Faces of Independent Film 2020” and is the recipient of a San Francisco International Film Festival 2020 Rainin Grant, a Rema Hort Mann Foundation 2019 Emerging Artist grant, a 2019 UNDO Fellowship and grant, a 2015 TFI/ESPN Future Filmmaker Award, and a 2014 Princess Grace Award. Her work has been recognized by the Time Inc. Black Girl Magic Emerging Director’s series and the National Magazine Awards, and she has received grants from the National Black Programming Consortium and Glassbreaker Films. Hunt Ehrlich has a degree in film and photography from Hampshire College and an MFA in film and media arts from Temple University. She is currently an assistant professor in film and television production at Queens College, City University of New York.
Romi Crawford (PhD) is professor in the Visual and Critical Studies and Liberal Arts departments at the School of the Art Institute of Chicago. Her research focuses on formations of racial and gendered identity in relation to American visual arts, film, and popular culture. She is co-author of The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017). She makes regular contributions to publications on contemporary art and American culture, including “Elements of the Gatesian Method: Contract Aesthetics, Black Bricks, and Extreme Collaboration,” in Land Art and Nothingness (Place Lab, 2018); “Reading Between the Photographs: Serious Sociality in the Kamoinge Photographic Workshop,” in Working Together: Louis Draper and the Kamoinge Workshop (Virginia Museum of Fine Arts, 2020); and the forthcoming Fleeting Monuments for the Wall of Respect (Green Lantern Press, 2021).
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RELATED EVENT
Madeleine Hunt-Ehrlich: Speculative Histories
March 22–28
Gene Siskel Film Center Virtual Cinema
Closed captions available
Tags: Archival > Experimental Documentary > Experimental Narrative > Madeleine Hunt - Ehrlich > Romi Crawford
Madeleine Hunt-Ehrlich: Speculative Archives
Posted by | Amy Beste | Posted on | March 22, 2021
Gene Siskel Film Center Virtual Cinema
Closed captions available. See four recent films by the artist and filmmaker Madeleine Hunt-Ehrlich, Spit on the Broom (2019), A Quality of Light (2019), Footnote to the West (2020), and Outfox the Grave (2020).
Madeleine Hunt-Ehrlich, Spit on the Broom, 2019. Courtesy of the artist.
Madeleine Hunt-Ehrlich’s rich and often surreal works blend narrative and documentary to explore the private worlds of Black women. Rooted in archival and field research, Hunt-Ehrlich’s practice uses abstraction as a mode of resistance in depicting subjects deprived of self-autonomy under the exploitative gaze of the colonial camera. In these four films—Spit on the Broom (2019), A Quality of Light (2019), Footnote to the West (2020), and Outfox the Grave (2020)—she relays a fragmentary history of the United Order of Tents, the oldest African American women’s group in the United States, established by freed slaves in 1867; looks at her grandmother’s life and musical compositions; interrupts the white gaze of the Western canon; and meditates on a series of anonymous photographs of Black life, speculating on the inner lives of photographers and subjects.
Madeleine Hunt-Ehrlich, 2019-2020, USA, ca 30 minutes, closed captions available
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RELATED EVENT
Madeleine Hunt-Ehrlich Lecture and Conversation
March 25, 7:00 p.m. CT
Gene Siskel Film Center Virtual Cinema
Live captions available.
Join Madeleine Hunt-Ehrlich and art historian Romi Crawford, professor in visual and critical studies and liberal arts at the School of the Art Institute of Chicago, for this look at Hunt-Ehrlich’s practice, including her ongoing work with the United Order of Tents; her research into representation, abstraction, and the archive; and her feature-in-progress on the French surrealist writer Suzanne Césaire.
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ABOUT
Madeleine Hunt-Ehrlich’s work has screened all over the world, including at the Solomon R. Guggenheim Museum and the Whitney Museum of Art in New York and in film festivals such as the New Orleans Film Festival, Doclisboa, and BlackStar Film Festival. She has been featured in Essence magazine, the Studio Museum in Harlem’s Studio magazine, ARC Magazine, BOMBLOG, Guernica, and Small Axe, among others. She was named as one of Filmmaker magazine’s “25 New Faces of Independent Film 2020” and is the recipient of a San Francisco International Film Festival 2020 Rainin Grant, a Rema Hort Mann Foundation 2019 Emerging Artist grant, a 2019 UNDO Fellowship, a 2015 TFI/ESPN Future Filmmaker Award, and a 2014 Princess Grace Award. Her work has been recognized by the Time Inc. Black Girl Magic Emerging Director’s series and the National Magazine Awards, and she has received grants from the National Black Programming Consortium and Glassbreaker Films. Hunt-Ehrlich has a degree in film and photography from Hampshire College and an MFA in film and media arts from Temple University. She is currently an assistant professor in film and television production at Queens College, City University of New York.
Tags: Archival > Experimental Documentary > Experimental Narrative > Madeleine Hunt - Ehrlich
Discussion with Dustin Gibson, Robert McRuer, and Liza Sylvestre
Posted by | Amy Beste | Posted on | February 25, 2021
Thursday, February 25, 7:00 p.m.
Gene Siskel Film Center Virtual Cinema
Live captions and ASL interpretation available.
Join us for a cross-disciplinary discussion with disability activist and educator Dustin Gibson, scholar and Crip Theory (NYU Press, 2006) author Robert McRuer, and This Set of Actions is a Mirror curators Liza Sylvestre and Minh Nguyen.
Cheryl Marie Wade in Sharon Snyder and David Mitchell, Vital Signs: Crip Culture Talks Back, 1995. Courtesy of the artists.
Dustin Gibson, Robert McRuer, Liza Sylvestre will discuss the works in This Set of Actions is a Mirror’s screening programs, art’s relationship to broader disability discourse, and the development of a disability justice framework that addresses the nexuses of race, class, gender, and sexuality. The conversation will be moderated by Minh Nguyen.
This program is part of This Set of Actions is a Mirror, a multipart program exploring expressions of disability culture and politics in artists’ moving images.
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ABOUT THE PARTICIPANTS
Robert McRuer is professor of English at George Washington University, where he teaches disability studies, queer theory, and critical theory. He is the author, most recently, of Crip Times: Disability, Globalization, and Resistance (NYU Press, 2018), which focuses on disability art and activism in the UK and elsewhere, examining the ways in which disability is an undertheorized component of a global austerity politics. He is also the author of Crip Theory: Cultural Signs of Queerness and Disability (NYU Press, 2006), as well as numerous other books and articles. With Anna Mollow, he is co-editor of Sex and Disability (Duke University Press, 2012), and with David Bolt, the general co-editor of the six-volume series A Cultural History of Disability (Bloomsbury, 2020), which includes volumes from antiquity to the modern age.
Dustin Gibson is guided by the aspiration, legacies, and pursuit of liberation. He develops he[art]work that embodies a practice of disability justice that can live, build, support, and be implemented by marginalized communities to address the nexus between race, class, and disability. Gibson brings lived experience, scholarship, histories, art, and resources into classrooms, neighborhoods, and carceral institutions to support people in collectively imagining and building a world free from institutionalization and incarceration. He has taught various courses at middle schools, high schools, prisons, and law schools. Gibson has worked with all three Centers for Independent Living in the Pittsburgh region and has held positions with both of the national Independent Living organizations. He co-founded Disability Advocates for Rights and Transition, an organization led by disabled people that works to end the institutionalization of disabled people and support them in navigating systems to live in their communities. He is the access, disability, and language justice coordinator at PeoplesHub, a peer support trainer with Disability Link in Atlanta, and a founding member of the Harriet Tubman Collective.
Liza Sylvestre is a multimedia artist and curator of academic programs at the Krannert Art Museum. Sylvestre’s work has been shown nationally at venues including the Plains Art Museum, Weisman Art Museum, Roots & Culture, Soap Factory, Soo Visual Arts Center, and John Hansard Gallery. Sylvestre has been the recipient of numerous grants and awards including both an Artists Initiative and Arts Learning grant from the Minnesota State Arts Board, a VSA Jerome Emerging Artists Grant, a fellowship through Art(ists) on the Verge, an Art Works grant from the National Endowment for the Arts (in conjunction with Soo Visual Arts Center), and a fellowship from the Kate Neal Kinley Foundation. She has been the artist in residence of the Weisman Art Museum and the Center for Applied and Translational Sensory Science (CATSS) and in 2019 she received a Citizens Advocate Award from the Minnesota Commission of the Deaf, DeafBlind, and Hard of Hearing (MNCDHH). Sylvestre’s work has been written about in Art in America, Mousse Magazine, SciArt Magazine, and the Weisman Art Museum’s Collaboration Incubator Program site
Minh Nguyen writes about art and organizes exhibitions and programs. Her writing has appeared in ArtAsiaPacific, Art in America, and AQNB, among others. She has organized exhibitions, screenings, and programs at the Wing Luke Museum, King Street Station, Northwest Film Forum, SOIL Gallery, and Gene Siskel Film Center, and is currently working on an exhibition at the Chicago Cultural Center.
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RELATED SCREENINGS
New Channels of Access
February 22–28
Gene Siskel Film Center Virtual Cinema
Open Captions
Compensation
February 25–March 3
Gene Siskel Film Center Virtual Cinema
Open Captions, ASL
Tags: Disability Activism > Disability Culture > Dustin Gibson > Liza Sylvestre > Minh Nguyen > Robert McRuer
Compensation
Posted by | Amy Beste | Posted on | February 25, 2021
February 25–March 3
Gene Siskel Film Center Virtual Cinema
Open captions and ASL
Zeinabu irene Davis’s celebrated and formally adventurous 1999 film depicts Black Deaf lives at the start and end of the 20th century.
Zeinabu irene Davis, Compensation, 1999. Courtesy of the artist and Women Make Movies
Renowned for its depiction of Black Deaf lives and expansive reimagining of the cinematic form, Zeinabu irene Davis’s exquisite 1999 film stars Michelle Banks, founder of Onyx Theatre Company in New York City, the first Deaf theatre company for actors of color. The film tells the stories of two Black couples—each, a deaf woman and a hearing man—falling in love at the start and end of the 20th century. As both couples draw closer, they must also navigate the intertwined—and enduring—forces of racism, ableism, and economic disparity. Using title cards, photographic montages, and reenactments of early Black silent films, Davis charts a new path for the future of narrative film, one that embodies an ethos of accessibility by embracing the endless aesthetic possibilities of cinema itself.
Zeinabu irene Davis, 1999, USA, 95 minutes, ASL, open captions
This program is part of This Set of Actions is a Mirror, a multipart program exploring expressions of disability culture and politics in artists’ moving images curated by Liza Sylvestre and Minh Nguyen.
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RELATED EVENT
Panel discussion with Dustin Gibson, Robert McRuer, and Liza Sylvestre, moderated by Minh Nguyen
Thursday, February 25, 7:00 pm CT
Gene Siskel Film Center Virtual Cinema
Live captions and ASL interpretation available.
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RELATED SCREENINGS
New Channels of Access
February 22–28
Gene Siskel Film Center Virtual Cinema
Open Captions
Tags: Disability Culture > Michelle Banks > Onyx Theatre Company > Zeinabu irene Davis
About
Conversations at the Edge is a weekly series of screenings, performances, and talks by groundbreaking media artists.
CATE is organized by SAIC's Department of Film, Video, New Media, and Animation in collaboration with the Gene Siskel Film Center and SAIC's Video Data Bank.
Programs take place at the Gene Siskel Film Center (164 N. State / Chicago, IL / 312.846.2600), unless otherwise noted.
