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DTSTART;TZID=America/New_York:20260623T120000
DTEND;TZID=America/New_York:20260623T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040589-1782216000-1782234000@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-23/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260623T190000
DTEND;TZID=America/New_York:20260623T210000
DTSTAMP:20260605T200059Z
CREATED:20260605T200059Z
LAST-MODIFIED:20260605T200059Z
UID:10040680-1782241200-1782248400@thebuffalohive.com
SUMMARY:Buffalo Film and Literature: Gerard Malanga Film and Poetry Program at Hallwalls
DESCRIPTION:Gerard Malanga will start off with the showing of his film “In Search of the Miraculous” (29 mins\, 1967). He will then read selected poems from his latest book\, Odie Is Being Called Back & Other Poems (Bottle of Smoke Press\, 2024). A Q&A session with the audience and a book signing will follow. \nGerard Malanga’s creative output has spanned six decades. A life-long poet\, prolific photographer\, filmmaker\, archivist and Andy Warhol’s assistant for seven years in the 1960s. Gerard is active with writing poetry\, public speaking engagements\, and creating special photography projects. \nMalanga has been a published poet since his high school years and has authored or has been featured in 26 books of poetry. \nMalanga’s portrait photography work has produced some of pop culture’s most memorable images. Rock stars\, writers\, film stars\, artists all were captured with Gerard’s lens. He was friends with many of his subjects\, which may be the reason for the comfortable nature of his portraits \nMalanga was Andy Warhol’s assistant and collaborator at The Factory for seven years in the 1960s. In addition to working on some of Warhol’s most prolific paintings\, Malanga filmed over 300 “Screen Tests” inside the fabled Factory art studio. He was a stage performer and creative partner for the legendary art-rock band\, The Velvet Underground. In 1969\, Warhol and Malanga together created Interview Magazine.
URL:https://thebuffalohive.com/event/buffalo-film-and-literature-gerard-malanga-film-and-poetry-program-at-hallwalls/
LOCATION:Hallwalls Contemporary Arts Center\, 341 Delaware Avenue\, Buffalo\, NY\, 14202\, United States
CATEGORIES:Arts + Culture,Film/Cinema,Literature
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/06/Gerard-Malanga-Film-Programme-Poster-SU2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260624T120000
DTEND;TZID=America/New_York:20260624T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040590-1782302400-1782320400@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-24/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260624T133000
DTEND;TZID=America/New_York:20260624T153000
DTSTAMP:20260531T205714Z
CREATED:20260531T205714Z
LAST-MODIFIED:20260531T205714Z
UID:10040030-1782307800-1782315000@thebuffalohive.com
SUMMARY:Buffalo Movies; Exam Week Rockin' Film (rated PG-13*\, 2003) at Gonzalez Soto Library
DESCRIPTION:Join us for an exam week rockin’ feature film (rated PG-13*\, 2003). This movie features extracurricular rock\, irreverent long-term substitute teachers\, and the Battle of the Bands! Snacks and drinks will be available for those watching the movie\, outside food and drink is permitted. \n*Children under 13 years old must be accompanied by an adult!*\nThis is an all ages movie: adults without kids are welcome. \nMovie title on our website: https://buffalolib.libcal.com/calendar/events/rockinfilm
URL:https://thebuffalohive.com/event/buffalo-movies-exam-week-rockin-film-rated-pg-13-2003-at-gonzalez-soto-library/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Family Friendly,Film/Cinema,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/June-Movie-School-of-Rock-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260625T120000
DTEND;TZID=America/New_York:20260625T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040591-1782388800-1782406800@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-25/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260625T133000
DTEND;TZID=America/New_York:20260625T153000
DTSTAMP:20260531T210128Z
CREATED:20260531T210128Z
LAST-MODIFIED:20260531T210128Z
UID:10040031-1782394200-1782401400@thebuffalohive.com
SUMMARY:Buffalo Movies: End of Exams Film (rated TV-G\, 2007) at Gonzalez Soto Library
DESCRIPTION:Celebrate the end of exams with us by watching this summer musical sequel (rated TV-G\, 2007). This movie features live action acting\, a musical sequence on a golf course\, summer drama\, a baseball dance number\, and even a talent show! Snacks and drinks will be available for those watching the movie\, outside food and drink is permitted. \nThis is an all ages movie event; adults without kids are welcome. \nMovie title here: buffalolib.libcal.com/calendar/events/endofexamsmusicalfilm
URL:https://thebuffalohive.com/event/buffalo-movies-end-of-exams-film-rated-tv-g-2007-at-gonzalez-soto-library/
LOCATION:Isaías González-Soto Branch Library\, 280 Porter Ave\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Family Friendly,Film/Cinema,Library
ATTACH;FMTTYPE=image/png:https://thebuffalohive.com/wp-content/uploads/2026/05/June-Movie-HS-Musical-2-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260626T120000
DTEND;TZID=America/New_York:20260626T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040592-1782475200-1782493200@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-26/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260627T120000
DTEND;TZID=America/New_York:20260627T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040593-1782561600-1782579600@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-27/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260628T160000
DTEND;TZID=America/New_York:20260628T173000
DTSTAMP:20260605T200721Z
CREATED:20260605T200721Z
LAST-MODIFIED:20260605T200721Z
UID:10040687-1782662400-1782667800@thebuffalohive.com
SUMMARY:Regional Film: 'Hairspray' (1988)
DESCRIPTION:When Tracy Turnblad (Ricki Lake)\, an overweight teen\, auditions for a spot on a popular teen dance show\, she beats out the spiteful Amber von Tussle (Colleen Fitzpatrick)\, winning over Amber’s boyfriend (Michael St. Gerard) in the process. After meeting some black students at her school\, Tracy begins to push for more racial integration on the dance show. This gets her into trouble on many sides\, especially with Amber’s pushy parents (Sonny Bono\, Deborah Harry). \nMovie Rating: PG\nRuntime: 1 hour\, 30 minute \n\n\n\nThis screening is sponsored by the Rochester Area Community Foundation.
URL:https://thebuffalohive.com/event/regional-film-hairspray-1988/
LOCATION:The Smith Opera House\, 82 Seneca Street\, Geneva\, NY 14456\, USA\, Geneva\, NY\, 14456\, United States
CATEGORIES:Film/Cinema
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/06/MartyMolly.jpg
ORGANIZER;CN="The Smith Center for the Arts":MAILTO:boxoffice@thesmith.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260630T120000
DTEND;TZID=America/New_York:20260630T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040594-1782820800-1782838800@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-06-30/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260630T140000
DTEND;TZID=America/New_York:20260630T153000
DTSTAMP:20260622T022508Z
CREATED:20260622T022508Z
LAST-MODIFIED:20260622T022508Z
UID:10040744-1782828000-1782833400@thebuffalohive.com
SUMMARY:Regional Film: The Fantastic Mr Fox (2009) Matinee
DESCRIPTION:After 12 years of bucolic bliss\, Mr. Fox breaks a promise to his wife and raids the farms of their human neighbors\, Boggis\, Bunce\, and Bean. Giving in to his animal instincts endangers not only his marriage but also the lives of his family and their animal friends. When the farmers force Mr. Fox and company deep underground\, he has to resort to his natural craftiness to rise above the opposition. \nMovie Rating: Rated PG\nRunning Time: 1 hour\, 28 minutes
URL:https://thebuffalohive.com/event/regional-film-the-fantastic-mr-fox-2009-matinee/
LOCATION:The Smith Opera House\, 82 Seneca Street\, Geneva\, NY 14456\, USA\, Geneva\, NY\, 14456\, United States
CATEGORIES:Film/Cinema
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/06/Screenshot_5-6-2026_16115_thesmith.org_.jpeg
ORGANIZER;CN="The Smith Center for the Arts":MAILTO:boxoffice@thesmith.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260630T190000
DTEND;TZID=America/New_York:20260630T203000
DTSTAMP:20260622T022526Z
CREATED:20260622T022526Z
LAST-MODIFIED:20260622T022526Z
UID:10040745-1782846000-1782851400@thebuffalohive.com
SUMMARY:Regional Film: The Fantastic Mr Fox (2009) Evening Show
DESCRIPTION:After 12 years of bucolic bliss\, Mr. Fox breaks a promise to his wife and raids the farms of their human neighbors\, Boggis\, Bunce\, and Bean. Giving in to his animal instincts endangers not only his marriage but also the lives of his family and their animal friends. When the farmers force Mr. Fox and company deep underground\, he has to resort to his natural craftiness to rise above the opposition. \nMovie Rating: Rated PG\nRunning Time: 1 hour\, 28 minutes
URL:https://thebuffalohive.com/event/regional-film-the-fantastic-mr-fox-2009-evening-show/
LOCATION:The Smith Opera House\, 82 Seneca Street\, Geneva\, NY 14456\, USA\, Geneva\, NY\, 14456\, United States
CATEGORIES:Film/Cinema
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/06/Screenshot_5-6-2026_16115_thesmith.org_-1.jpeg
ORGANIZER;CN="The Smith Center for the Arts":MAILTO:boxoffice@thesmith.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260701T120000
DTEND;TZID=America/New_York:20260701T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040595-1782907200-1782925200@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-01/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260702T120000
DTEND;TZID=America/New_York:20260702T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040596-1782993600-1783011600@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-02/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260703T120000
DTEND;TZID=America/New_York:20260703T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040597-1783080000-1783098000@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-03/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260704T120000
DTEND;TZID=America/New_York:20260704T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040598-1783166400-1783184400@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-04/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260707T120000
DTEND;TZID=America/New_York:20260707T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040599-1783425600-1783443600@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-07/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260708T120000
DTEND;TZID=America/New_York:20260708T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040600-1783512000-1783530000@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-08/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260709T120000
DTEND;TZID=America/New_York:20260709T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040601-1783598400-1783616400@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-09/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260710T120000
DTEND;TZID=America/New_York:20260710T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040602-1783684800-1783702800@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-10/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260711T120000
DTEND;TZID=America/New_York:20260711T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040603-1783771200-1783789200@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-11/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260714T120000
DTEND;TZID=America/New_York:20260714T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040604-1784030400-1784048400@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-14/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260715T120000
DTEND;TZID=America/New_York:20260715T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040605-1784116800-1784134800@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-15/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260716T120000
DTEND;TZID=America/New_York:20260716T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040606-1784203200-1784221200@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-16/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260717T120000
DTEND;TZID=America/New_York:20260717T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040607-1784289600-1784307600@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-17/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260718T120000
DTEND;TZID=America/New_York:20260718T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040608-1784376000-1784394000@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-18/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260721T120000
DTEND;TZID=America/New_York:20260721T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040609-1784635200-1784653200@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-21/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260722T120000
DTEND;TZID=America/New_York:20260722T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040610-1784721600-1784739600@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-22/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260723T120000
DTEND;TZID=America/New_York:20260723T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040611-1784808000-1784826000@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-23/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260724T120000
DTEND;TZID=America/New_York:20260724T170000
DTSTAMP:20260531T194651Z
CREATED:20260531T194651Z
LAST-MODIFIED:20260531T194651Z
UID:10040612-1784894400-1784912400@thebuffalohive.com
SUMMARY:Buffalo Art & Film: 'With us at the center of our world: animals\, domestications\, dreams'
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-human animals. The artists – working in animation\, essay films\, speculative narratives\, installation work\, among other forms – address domestication\, 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 Corfield\, 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 quintessential essay “Why Look at Animals?”\, describing the place and role humans placed animals: how we may have seen and defined ourselves\, our world through and with them. The works take on various perspectives\, looking with and at animals\, and how the forces of capitalism\, control\, colonialism\, and war are now intertwined in our relationships with them. Thinking through these forces\, the collected works in the exhibition ask: what is the world that humans and animals are at the center of\, and are other worlds possible? \n\n\n\n\n\n\n\n\nLeft to right: Annika Eriksson\, The Community (2010); Miranda Javid\, Little Winds That Died Immediately (2019); Noor Abuarafeh\, Am I the ageless object at the museum? (2018); Deniz Tortum & Sister Sylvester\, Our Ark (2022).\nThe exhibition features multiple strands for visitors to think through our relationship with non-human animals. Miranda Javid’s characteristically spectacular animated work Little Winds That Died Immediately features small animals as they try to survive under the force of humans using the artist’s signature transformative style\, with its 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 the 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 pigeon trained for the machinery of American control; while Christina Corfield’s installation Pony Players Review thinks through the connections and settlements enabled in the U.S. by the Pony Express. Cutting together technology 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 zoos\, 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 Community features a carpet with several street cats in Turkey\, opening a space 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\n\n\n\n\n\n\n\nLeft to right: Cameron A. Granger\, Just Below Heaven (2025); Christina Corfield\, Pony Players Review (2020-Present); G. Anthony Svatek\, A Whole New Species (1956–2026); Amy Ching-Yan Lam with Emerson Maxwell\, Looty Goes to Heaven (2022).\nAdditional work will be shared with a screening of films\, including Chris Marker’s Chats Perchés (The Case of the Grinning Cat) accompanied by the short films Serge Avédikian’s Chienne D’histoire (Barking Island) and Wiame Haddad’s Sang Titre. Avédikian’s animated film\, Chienne D’histoire\, tells the story of the 1910 dog exile and massacre in Ottoman Istanbul\, where thousands of dogs were rounded up and sent to a nearby Island to die in an attempt to modernize the empire in its final years; the film quite clearly asks us to make the connection between the event and the Armenian Genocide. Meanwhile\, Wiame Haddad’s brief and subtle film\, Sang Titre features mysterious Super 8 footage of a donkey that mourns the ongoing genocide in Gaza. The short films will be screened with Chris Marker’s iconic documentary 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 alluring portraits of grinning yellow cats through Paris. Click here to learn more about the screening on its respective page. \nSqueaky Wheel is excited to feature the work of former Workspace Residents Deniz Tortum\, G. Anthony Svatek\, and Miranda Javid in this exhibition. Curated by Ekrem Serdar. This exhibition is supported by Teiger Foundation and the Andy Warhol Foundation for the Visual Arts. Special thank you to Andreas Bertman at Filmform – The Art Film & Video Archive in Sweden\, Fırat Sezgin and Ecegül Bayram at the Institute of Time\, Luigi Loy at Sacrebleu Productions\, Bob Hunter at Icarus Films\, Carra Stratton\, Jenson Leonard\, Noor Abuarafeh\, 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. Appointments are also available; please email office@squeaky.org with the subject “Exhibition appointment”. \nSeating is provided for most work\, and additional seating is available upon request. See individual work descriptions 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.
URL:https://thebuffalohive.com/event/buffalo-art-film-with-us-at-the-center-of-our-world-animals-domestications-dreams/2026-07-24/
LOCATION:Squeaky Wheel Film and Media Arts Center\, 2495 Main Street\, Suite 310\, Buffalo\, NY\, 14214\, United States
CATEGORIES:Art,Film/Cinema,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://thebuffalohive.com/wp-content/uploads/2026/05/Looty-Goes-to-Heaven.jpg
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END:VCALENDAR