BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Big Car - ECPv6.9.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.bigcar.org
X-WR-CALDESC:Events for Big Car
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Indiana/Indianapolis
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20220313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20221106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20221007T080000
DTEND;TZID=America/Indiana/Indianapolis:20221128T170000
DTSTAMP:20260611T192000
CREATED:20220713T184511Z
LAST-MODIFIED:20220713T185145Z
UID:10104-1665129600-1669654800@www.bigcar.org
SUMMARY:MIGUEL CASCO: Send Nudes
DESCRIPTION:The solo exhibit in partnership with Arte Mexicano en Indiana features a collection of watercolor and gouache portraits as an invitation to be collectively vulnerable\, to create and archive that speaks of intimacy and eroticism.\nFrom an open call to the public in 2018 to date\, Casco has invited people to share their nudes with him. He then transferred them to painting\, “to see through the eyes of the person who sends them and portray the intimacy they share\,” says Casco.\n\nMIGUEL CASCO\n(Puebla\, 1991)\nVisual artist\, cultural manager and museographer. He holds a degree in Plastic Arts and a master’s degree in Informa- tion Design from Universidad de las Américas Puebla. The technological-digital influence and media connectivity\, as entities that promote shared intimacy\, are thematic axes of his current production. His work has been exhibited in Mexico\, United States and Germany. Since 2019 he is deputy director of the Museum of the Foreign Affairs\, in Mexico City; in 2017 he founded Atelier Mesones and\, in 2020\, lagalerí_a\, independent projects focused on the teaching\, reflection and dissemination of visual arts.\n\nMIGUEL CASCO\n(Puebla\, 1991)\nArtista visual\, gestor cultural y museógrafo. Es licenciado en Artes Plásticas y maestro en Diseño de Información por la Universidad de las Américas Puebla. La influencia tecnológica-digital y la conectividad mediática\, como entes que propician una intimidad compartida\, son ejes temáticos de su producción actual. Su obra ha sido expuesta en México\, Estados Unidos y Alemania. Desde 2019 es subdirector del Museo de la Cancillería\, en la Ciudad de México; en 2017 fundó Atelier Mesones y\, en 2020\, lagalerí_a\, proyectos independientes enfocados a la enseñanza\, la reflexión y la difusión de las artes visuales.\n\nMade possible by The Andy Warhol Foundation for the Visual Arts\n\nMaría José González Camarena on MIGUEL CASCO: Send Nudes\n“Love yourself\, care for yourself\, be vulnerable”\n“Every pussy is pretty.”\n—Anonymous\nOne other thing we’ve been allowed to do recently is send nudes. I say «allowed to» because the access to the technology needed is more attainable. Before\, there were sculptures\, paintings\, daguerreotypes and other representations\, but there wasn’t always a way to send them too far or share them. And really there were many purposes for those pieces besides the erotization of the body.\nI don’t know how often you talk about this. Or if you take nudes\, but I think it’s always relevant to talk about the space we inhabit\, how we inhabit it\, what we do there o who we invite into it: like in every other practice or interaction we have\, with someone else or with ourselves\, where we show a part of us that we «save» for a certain conversation.\nFor starters\, it’s an act of recognition: why do we do it? I think it could go way past having a recipient in mind\, there are people who in a burst of narcissism or recognition fill their camera roll with surprises\, because it’s always interesting to find ourselves posing or doing gestures that had gone unnoticed before. Just like I think of masturbation as one of the greatest ways of self-discovery\, nudes can also be a conversation to have with oneself. More «free the nipple»\, and what I heard César Galicia say (in Coger rico y amar bonito\, vaguely translated as Fuck well and love nicely)\, it’s absurd to think that a nipple says more about us than\, for example\, a picture of our thumbprint on social media during the elections.\nI don’t think there’s a formula or a technique for sending nudes\, but there are some things we should be aware of when we do it:\n1. If you don’t block your phone\, I don’t know what fantasyland you’re living in\, but I suggest you always do it. Nowadays\, even beyond nudes\, we might have a lot of information we wouldn’t want someone else to have access to.\n2. When talking about nudes it’s generally recommended to not show your face\, but more than that\, I suggest you use encrypted apps that don’t allow screenshots. A simple Google search should give you plenty of options. Edward Snowden recommends Signal.\n3. Consent: this is essential. No one wants to receive unsolicited content. Related to that\, it’s also important that you learn to read between the lines and be pertinent. Just like with humor\, a big part of the message depends on good timing. And if there’s consent\, you decide how much you want to show and how much you want to pull the rubberband.\n4. Every part of the body can be eroticized: don’t limit yourselves to the parts that have been canonically considered so\, and going back to self-discovery\, discover yourself. The age of hellenic figures is over–or we ended it–and maybe a knee\, a chin or a mole can have more connotations than a close-up of genitalia.\n5. Just like no one likes to receive unsolicited content\, it’s also important that you stay alert or be careful when it comes to nudes. One day we can be head over heels for a person and a few hours or weeks later we want nothing to do with them. It’s important to (always always always) remember that the problem is not that you shared a nude\, but that the other person might have an erratic\, non-empathic or even cruel reaction or behavior. We are human and there’s nothing better than being vulnerable together\, and sadly\, not everyone understands that code.\n6. I don’t think anyone wants to end up in court for sharing a nude\, but remember that 29 out of the 32 states in the country (Mexico) have recognized the Olimpia Law. Also\, nothing would be more just than lighting a candle for everyone who’s fought against harassment and extortion through the release of content and the punishment for the inappropriate use of the material. Thank you\, infinite thank yous.\nSend nudes it’s an invitation to be collectively vulnerable\, that is to say\, let’s get naked together to create an archive that talks about intimacy and erotism. To start that conversation which\, even though it should have been open and on everyone’s mouth for years now\, can’t always be approached. Refusing to talk about our erotic sides and desire\, because of prejudice or taboos\, seems to me as absurd as thinking that talking about money is in «bad taste». The most valuable thing they can have is our silence\, so let’s normalize the body and nudity from a place of emotional responsibility.\n—María José González Camarena\nTexto de sala por María José González Camarena\nQuiérete\, cuídate\, vulnérate\nTodas las puchitas son bonitas.\n—Anónime\nOtra cosa que se nos permite de un tiempo a acá\, es enviar nudes. Digo que «se nos permite» porque ahora el acceso a esa tecnología está más a la mano. Antes había esculturas\, pinturas\, daguerrotipos y otras representaciones\, pero no siempre había forma de enviarlas muy lejos ni de compartirlas. Y en realidad los propósitos de esas piezas eran muchos\, además de la erotización del cuerpo.\nNo sé qué tanto hables de esto. O si te tomas nudes\, pero creo que siempre es relevante hablar del lugar que habitamos\, cómo lo habitamos\, qué hacemos ahí o a quién invitamos: como en cualquier otra práctica o interacción que tenemos\, con alguien más o con une misme\, donde dejamos ver alguna parte de nosotres que se «reserva» para cierta conversación.\nPara empezar\, es un acto de reconocimiento: ¿para qué lo hacemos? Puedo pensar que más allá de tener en mente a un destinatario\, hay personas que en un derroche de narcisismo o reconocimiento llenan el carrete de sorpresas\, porque siempre es interesante descubrirse haciendo posturas o gestos que hasta antes habían pasado inadvertidos. Así como creo que la masturbación es una de las formas más grandes de autoconocimiento\, las nudes también se pueden convertir en otro tipo de conversación que tener con une misme. Más «free the nipple»\, y como escuché decir a César Galicia (en Coger rico y amar bonito)\, es absurdo pensar que un pezón revela más de nosotres que\, por ejemplo\, una foto en redes sociales de nuestra huella dactilar con motivo de las elecciones.\nNo creo que haya una fórmula o técnica para enviar nudes\, pero hay algunas cosas de las que es bueno estar consciente al hacerlo:\n1. Si no usas algún método de bloqueo para tu celular\, no sé en qué mundo fantástico vives\, pero te sugiero que siempre tengas uno. Hoy en día\, más allá de nudes\, podemos tener bastante información a la que no quisiéramos que cualquier persona tuviera acceso.\n2. Al hablar de nudes por lo general se recomienda que no salga tu rostro\, pero más que eso\, te sugiero que utilices aplicaciones cifradas y que no permitan el uso de capturas de pantalla. Una simple búsqueda en Google te dará muchas opciones. Edward Snowned recomienda Signal.\n3. El consentimiento: esto es imprescindible. Nadie quiere recibir contenido no solicitado. En relación\, también es importante que sepas leer entre líneas y ser oportune. Al igual que con el humor\, gran parte del éxito del mensaje reside en tener buen tiempo. Y mientras haya consentimiento\, tú decides qué tanto quieres revelar o qué tanto quieres estirar la liga.\n4. Toda la cuerpa puede ser erotizada: no te limites a las partes que canónicamente se han considerado así\, y volviendo al autoconocimiento\, descúbrete. Ya terminó esa época de figuras helénicas —o la terminamos— y quizá una rodilla\, un mentón o un lunar pueden tener más connotaciones que genitales en primer plano.\n5. Así como a nadie nos gusta recibir contenido no solicitado\, también es importante que «pares las antenas» o que seas cautelose cuando se trate de nudes. Un día podemos estar de cabeza por una persona y a las pocas horas o semanas no querer volver a saber de ella. Aquí es importante (siempre siempre siempre) recordar que el problema no es que hayas compartido una nude\, sino que la otra persona puede tener una reacción o comportamiento errático\, poco empático y hasta cruel. Somos humanos y no hay nada mejor que vulnerarse con reciprocidad\, y tristemente\, no todo mundo entiende ese código.\n6. Creo que nadie quisiera terminar en un juicio por haber compartido una nude\, pero recuerda que en 29 de los 32 estados del país la Ley Olimpia ya entró en rigor. También\, no habría nada más justo que hacerles veladoras a todas esas personas que han luchado en contra del acoso o la extorsión mediante la divulgación de contenido y por la sanción del uso inapropiado de este material. Gracias\, infinitas gracias.\nSend nudes nos invita a vulnerarnos colectivamente\, o sea\, a encuerarnos juntes para crear un archivo que hable de intimidad y erotismo. Para provocar esa conversación que\, aunque debería estar abierta y en boca de todes desde hace años\, no siempre se puede abordar. Negarnos a hablar de nuestro yo erótico y del deseo\, por prejuicios o tabúes\, me parece igual de absurdo que pensar que hablar de dinero es de «mal gusto». Lo más valioso que pueden tener es nuestro silencio\, así que normalicemos la cuerpa y la denudez desde la responsabilidad afectiva.\nMaría José González Camarena\nSan Antonio\, 2020
URL:https://www.bigcar.org/event/miguel-casco-send-nudes/
LOCATION:IN
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/07/C.-G.-2022_Acuarelaspapel_60x35cm-CG22-SN-MACA0351.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20221104T080000
DTEND;TZID=America/Indiana/Indianapolis:20230105T180000
DTSTAMP:20260611T192000
CREATED:20221102T162847Z
LAST-MODIFIED:20221102T163020Z
UID:10468-1667548800-1672941600@www.bigcar.org
SUMMARY:Selina Trepp: Selected Shorts
DESCRIPTION:Trepp’s works research economy and improvisation. Finding a balance between the intuitive and conceptual is a goal\, living a life of adventure is a way\, embarrassment is often a result.\nShe works across media\, combining performance\, installation\, painting\, and sculpture to create intricate setups that result in photos\, drawings and animations. In addition to the studio-based work\, Selina is active in the experimental music scene. In this context she sings and plays the videolah\, her midi controlled video synthesizer\, to create projected animations in real-time as visual music. She performs with a varying cast of collaborators and as one half of Spectralina\, her long running audiovisual collaboration with Dan Bitney. \nTube Factory artspace will host three of her short\, stop motion animations.
URL:https://www.bigcar.org/event/selina-trepp-selected-shorts/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/11/image0.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20221104T180000
DTEND;TZID=America/Indiana/Indianapolis:20221211T180000
DTSTAMP:20260611T192000
CREATED:20221025T161122Z
LAST-MODIFIED:20221026T154351Z
UID:10455-1667584800-1670781600@www.bigcar.org
SUMMARY:Docey Lewis-Living Threads
DESCRIPTION:Docey Lewis’s Living Threads takes the viewer on a journey of contradiction. Our technologically enhanced culture facilitates our ability to see and create both real and virtual connection while relentlessly making us more aware of the threats humanity faces. Seeking balance\, we alternatively seesaw between retreating to our cocoons and interconnecting.\n\nAmong the many threats we face is species loss. The exhibit highlights several extinct or threatened species in Posey County. The pre-human ecosystem in our area was abundantly populated and in natural balance. After man settled along the Wabash and elsewhere\, this utopian equilibrium eroded to the point of dystopia. The world now faces environmental\, social and economic catastrophe\, while our perverted material culture still spreads an unrealistic ethos of fossil fuel powered unlimited growth\, fast fashion\, junk food and surveillance capitalism.\n\nThe materials used in creating artworks for Living Threads have as much meaning as the pieces themselves. “I have been entangled for many years in the cultures\, natural materials and co-creations of faraway communities who have had to pivot from utilitarian and ritual use of their materials and techniques to making salable products for a global market\,’ says Lewis. “Along the way\, a large body of samples and materials have piled up in my studio. During the pandemic\, I began to untangle the accumulation and recycle it into artwork. Many hands have touched the raw materials\, and I celebrate the living farmers and artisans whose participation has made this work possible. Connections with communities and all living things are represented in this collaborative body of work.”\n\nAbout Docey Lewis\n Lewis had her first solo exhibition in the late 1960s—not in a gallery or museum\, but in a library 30 miles south of San Francisco. She showed a selection of hand woven\, abstract textiles she had made on a hand-built loom. The show sold out.\n\nYet\, rather than pursuing an art practice\, Lewis made a series of unexpected choices that led her on a serpentine\, half-century journey around the globe. While mastering the innumerable methods humans have concocted to make textiles\, and empowering hundreds of other women artisans in the weaving workshops she set up in the Philippines\, Nepal\, Morocco\, Indonesia\, and Bangladesh\, Lewis dined with royalty\, collaborated with legends\, and built an entrepreneurial empire.\n\nNow in her 70s\, Lewis has returned to the art studio—not in San Francisco\, New York\, or one of the other exotic locales she has variously called home. Instead\, she now works in a modest\, light-filled studio above a locally celebrated wine bar and coffee shop\, in a historic building in New Harmony\, Indiana. Amid wafts of fresh soups and sounds of evening cheer\, Lewis tries to make peace with her past\, weaving intricate\, layered abstractions that literally pull at the threads of her personal history.\n\nAmong the many ironies of Lewis’s story is that her ancestors\, namely Robert Owen\, embarked on a mission to establish a Utopia in New Harmony—based on the moral principles of education and total equality. This concept of fostering the best qualities of humanity has been passed down from generation to generation ever since and is embedded in Lewis’s life. With her exhibition\, Living Threads\, Lewis is drawing our attention to the natural world\, our relationship to the environment as caretakers and our ability to alter it.\n \nOpen through December 11\, this exhibit is part of our Social Alchemy project. With this multifaceted\, multiyear project\, Indianapolis-based arts organization Big Car Collaborative — with our partners\, the University of Southern Indiana\, Indiana State Museum\, Historic New Harmony\, the New Harmony Gallery of Contemporary Art and others ––  have created a series of radio shows\, exhibits\, and conversations exploring\, learning\, and sharing how utopia has informed places and pursuits over time.\n \nSocial Alchemy explores historical and contemporary examples of utopian experiments\, fictional utopias and dystopias\, and social and cooperative-living design projects (linking back to our affordable artist housing program on our block in Indianapolis). Through a variety of public programs — made possible with support from Indiana Humanities and Efroymson Family Fund — it offers a deeper understanding of the relationship between the built environment and social good.\n\n\nImage:Warbler Quilt\nThe Bombyx mori cocoons used to make each of shibori dyed rectangles are cultivated in the Highlands of Madagascar and delivered to the SEPALIM workshop(a non-governmental organization focused on conservation-based livelihood development.) in Maroantsetra\, twice a year. Before making the long trip by boat and motorcycle to deliver giant sacks of cocoons\, farmers slice open each cocoon and use the dried caterpillar as feed for their chickens. Nothing goes to waste. Each cocoon is trimmed\, ironed flat and sewn one by one to create a textile.
URL:https://www.bigcar.org/event/docey-lewis-living-threads/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/10/shiboriquiltsm.jpg
END:VEVENT
END:VCALENDAR