BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Big Car - ECPv6.9.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Big Car
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:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20250307T180000
DTEND;TZID=America/Indiana/Indianapolis:20250420T150000
DTSTAMP:20260409T111708
CREATED:20250115T222606Z
LAST-MODIFIED:20250115T222731Z
UID:12805-1741370400-1745161200@www.bigcar.org
SUMMARY:Steven Yazzie and Nancy Baric: The Nearness of Distance
DESCRIPTION:Jeremy Efroymson Gallery \n“My Child\, I will feed you\, give you good health\, and I will give you strength and courage.” \n“These are the opening words of Steven J. Yazzie’s 2015 video\, Mountain Song\, which appear scrawled across the inky blank screen in white letters. The work evokes that of an epic poem akin to Homer or Virgil\, signifying a journey that lies before the one who watches and listens to it. Vacillating between testimonies from Indigenous community members and archival audio bytes of the Apollo 11 lunar landing in 1969\, the piece creates a tension between power structures\, sacred knowledges\, and the struggle between living in balance with the natural world and the relentless march of colonial progress through the mechanism and machinations of capitalism – pushing humanity to reach new heights at the expense of the natural order and health of the world. \nYazzie focuses in on the devastating impacts that uranium and its mining have had not only on Indigenous communities\,  but on the environment writ large\, linking uranium to Indigenous cosmologies and histories – referring to the chemical element as an invisible monster. The development of uranium extraction and its weaponization forced/es a wedge between traditional ways of living\, replacing a way to live with a colonial sickness that poisons the land\, pollutes the water\, and creates a level of radioactivity within the consciousness. When Yazzie writes “My child\, what I am dressed with is what you are dressed with. I am your home and mother and father\,” in the fourth and final verse of his poem\, he reminds us that what we do to the earth\, to our mother\, our father\, we do unto ourselves. A caution that the monsters we awaken cannot be put back into slumber. \nThe idea of monsters and the monstrous continues in the 2021 film by Nancy Barić\, Electric Water. The film creates a pastiche of memory\, histories\, and connection – looking at her own heritage and ancestral arrival to North America from the Adriatic Sea and the origin stories and cosmologies of the Haudenosaunee and their connection to Niagara Falls. Barić illuminates the power of water\, in natural understandings\, capitalistic understandings\, and spiritual understandings. In tying her connection to place\, Barić speaks of Nikola Tesla\, whose shared country of origin as her families also creates a binding of herself and her genetic memory to the site of Niagara. Tesla’s invention and design of the first hydro-electric power plant at the Falls\, which he envisioned for good and to provide power for free to the people\, was corrupted by the long tentacles of capitalism. Capitalism and its reach exist like a mutant creature – distorting\, corrupting\, and poisoning what it touches. \nIn the film\, Barić interviews Rick Hill\, a member of the Haudenosaunee community – who grew up near the Falls. Hill shares portions of the Nation’s story of origin\, talking about the Creator and his malevolent brother known as Flint. For every good thing the Creator brought into being\, Flint would create a wicked counterpart\, monsters. During a time of duel between the brothers\, they threw and thrashed each other around  cataclysmically shifting and shaping the landscape\, which Hill believes is what molded the Falls in its current form. To counteract the monsters of his brother’s making\, the Creator brought to life Thunder Beings\, that with the clap and shock of their existence\, drove the monsters back into the ground; Beings which left the Falls when tourism took over – heading west to the Rockies – returning to bring rain every season. The film illuminates the severed connection to culture through colonial abuses and extractive methodological approaches to ‘progress.’ Through the commercialization of the natural world\, the spiritual connection is cut – fissured in ways that create barriers to the holy relation to place. Barić and Yazzie show the fissures that occur when the pollution\, extraction\, and forced control over the earth take over\, urging a return to the stories and power of living in balance.” \n–Eric Joyce \nSteven Yazzie — Mountain Song (11 mins) Mountain Song is part of a series of video/film installation work exploring Diné/Navajo sacred mountains. Structured in four verses\, the film explores indigenous knowledge\, mystery\, resource exploitation (uranium)\, and post-colonial reflections on community life. Conversations I recorded with elders\, friends\, and community members are set against the backdrop of a personal journey to a sacred Diné/Navajo mountain\, Dibé Nitsaa\, in southern Colorado\, eventually ending at a mountain outside my backyard where I once lived in Phoenix\, Arizona. Concurrently throughout the film\, the radio chatter of the first humans landing on the Moon in 1969 (Apollo Mission) can be heard. The intersection of moon landing audio\, indigenous stories\, and aerial views of tribal territories echo memories of our shared histories while complicating the experience of the perpetual outsider with subjective indigeneity. \nNancy Baric — Electric Water (25 mins)\, an experimental documentary and a meditation on the poetics and politics of water\, moving between my heritage from the Adriatic Sea and the Haudenosaunee perspective on Niagara Falls. While our connection to water is disrupted by pollution\, dams\, and the tourist’s gaze\, there are stories and insights that lead back to water’s power and teachings. \nSteven and I met and quickly realized there was a shared world view especially regarding our relationship to land and water. I feel that the two films speak to each and offer a great opportunity to provide a dialogue due to commonality from an Indigenous and non-Indigenous perspective and one of which also extends to the audience. The two films explore issues of representation\, ecology and stewardship\, and are examples of connection/disconnection due to colonialism. The films together also offer hope for a better future through mutual care. \nSteven Yazzie — is a multidisciplinary artist working in painting\, installation\, video/film\, and community collaborations. His work explores the complexities of post-colonial indigenous identity and an ever-evolving community relationship\, with a fundamental view that land is the source of life\, story\, conflict\, and healing. \nNancy Baric is Montreal-based artist and filmmaker working at the intersection of cinema and installation. Her practice explores the relationship between ecology\, human perception\, and intuitive procedures.
URL:https://www.bigcar.org/event/steven-yazzie-and-nancy-baric-the-nearness-of-distance/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Downtown Indy,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2025/01/Nearness-of-Distance-Promo-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20250307T180000
DTEND;TZID=America/Indiana/Indianapolis:20250825T193000
DTSTAMP:20260409T111708
CREATED:20250206T200652Z
LAST-MODIFIED:20250724T174830Z
UID:12882-1741370400-1756150200@www.bigcar.org
SUMMARY:Jason Wesaw: Sovereign Spirits
DESCRIPTION:Potawatomi (Turtle Clan) artist Jason Wesaw’s exhibit consisting of sculpture\, drawings\, prints\, and installation is linked to the beliefs of his culture related to land\, specifically the ground where Tube Factory now sits. This land has been part of Potawatomi lands at different times in history before the United States existed. For this reason\, Wesaw used earth and materials from Terri Sisson Park on the Tube Factory campus to create some of the works in this fully commissioned show. \nTube Factory’s chief curator\, Shauta Marsh\, looked to Wesaw because she felt his work offers a form of time travel — connecting us to a time before and to the present and ways to envision a future with shared connections and value tied to the land. And\, in doing so\, Wesaw brings people together today and across generations. “An overarching tenant of my practice is a commitment to examining relationships\,” he said. “Relationships act as a guidepost for me\, whether it’s connecting to family and community\, to spirit and my observations in the natural world\, or to materials: those which are considered modern art mediums\, or found and harvested materials.” \nTwo pieces anchoring Wesaw’s Sovereign Spirits exhibit to the place where the Tube Factory sits are the tall flowing installations of shimmering satin and taffeta ribbon.  \n“They address the way that I interact with the underside of life\, the places beneath the surface where spirit moves in subtle and powerful ways that only focused reflection and observation can reveal\,” Wesaw said.  \nWabshkya Sen or White Stone\, is a piece about the help we receive through ceremonies that bring us healing and good health\, both physically\, emotionally\, mentally\, and spiritually. Bean Creek draws attention to the urban stream just outside the walls of the gallery\, where we can be reminded that the cleansing\, moving spirit of the water can often be found sharing its life force if we simply pause long enough to let our senses guide us to her flowing banks for a quiet moment. \nWesaw will also create an installation composed of black ash baskets or Gokpenagenek. A quintessential and ancient art form amongst the Potawatomi\, black ash baskets are not merely functional or decorative objects\, they weave together ancient cultural knowledge about the importance of maintaining relationships to the land and each other with a value system based upon reciprocity.   \n“These baskets are a reflection of our community’s ongoing presence on this Land and they remain a treasured art form practiced by the Potawatomi and many other Tribal Nations. Many of the baskets on view in this collection were made by ancestors of the Pokagon Potawatomi people of northern Indiana and southwest Michigan\, with others having been made by their descendants who now carry on this beautiful\, customary art form\,” Wesaw said.   \nThe intimate\, small-scale oil pastel drawings that line the wall illustrate Wesaw’s process of observation and structure\, ideas that often are fleshed out even further in his larger works.  The textile pieces from his ongoing Blanket Series explore ideas around the transfer of knowledge that occurs between spirit\, nature\, and human beings\, what he sees as a subtle\, gentle ceremony of offerings and giveaways.   \nIn the textile and ceramic works\, lies an interest in the power of ornamentation\, with materials like dyed deer tail and shiny\, small objects drawing your gaze closer into the work. Collectively\, the work in Sovereign Spirits shows a wide breadth of materials being used\, but there is a united spiritual aesthetic of the pieces\, regardless of the time\, space and dimension in which they are constructed.   \n“In a quest for connection and common ground\,” Wesaw said. “Where is it you look to find the source which helps you move with meaningful purpose\, fulfillment\, and Love?  With Sovereign Spirits\, I hope to take you on a journey where you can explore the power of Self\, including the connections we have to the communities around us\, the longing we feel to belong\, and our desires to understand our place amongst all of creation. As we so casually ask for help or guidance from a higher power in difficult times throughout our lives – we must also understand that when spirit comes looking for something from us – that we need to be ready to give back without hesitation or fear; in essence\, to have faith. The work in this exhibition recognizes the role of land\, water\, and skies as we seek a deeper\, clearer understanding of Spirit and Self.” \nThe exhibition’s title\, Sovereign Spirits\, resonates with meaning across history. “Sovereign is a word most-often used to describe the undisputed authority of political entities\, or to imply supreme power and autonomy.  Indeed\, this is a word that the Potawatomi — and all Tribal Nations — have become eerily familiar with in our centuries-long fights to maintain our traditional culture and inherent human rights\, in a country founded on freedoms for all\,” Wesaw said. “By stripping away themes centered around history or distinguishing labels like ‘Indian’ and ‘Native American’\, what we may find as those layers are peeled back is a deep awareness of the natural world around and within us\, and the connection we have to beings other than humans. In an increasingly fast-changing world where the land and people are being eaten up as a resource\, there is a humble acknowledgement we can make in understanding the power of reciprocity and the place Spirit holds in the physical world we are living.” \n About the Artist: Jason Wesaw works in an array of media including ceramics\, textiles\, works on paper\, and traditional cultural pieces. His projects relate stories about the Potawatomi people’s ancient and evolving connection to the Land\, the Sky\, the Water\, and Beyond. He balances being an artist with working in his Tribal community as a Peacemaker and participating in traditional cultural ceremonies across the Great Lakes. Wesaw is Potawatomi (Turtle Clan) and lives near the historic Pokagon Potawatomi settlement of Rush Lake in southwestern Michigan. His work is in the permanent collections of the Eiteljorg Museum\, Grand Valley State University in Michigan\, the University of Notre Dame\, the Field Museum in Chicago\, the Indiana State Museum\, and many other regional institutions. He was recently a Mellon Artist-in-Residence at the Newberry Library for the ‘Indigenous Chicago’ exhibition and is a core artist in the current “Woven Being” group exhibition at The Block Museum of Art at Northwestern University.  \nLearn more about Wesaw by visiting his Instagram account @jasonwesaw. \nThe exhibition is made possible by the National Endowment for the Arts\, The Andy Warhol Foundation for the Visual Arts\, Efroymson Family Fund\, the Institute of Museum and Library Services. \nThe show is part of a long term project\, Social Alchemy\, conceived by Big Car co-founders Shauta Marsh and Jim Walker and artist and philanthropist Jeremy Efroymson\, explores historical and contemporary examples of utopian experiments\, fictional utopias and dystopias\, and social and cooperative-living design projects. \nAbout Tube Factory artspace: Tube Factory is a contemporary art campus and community center. There are four galleries on the campus\, two are commissioning galleries. Admission is free. It is also the home base for Big Car Collaborative’s work across Indianapolis and beyond. Tube Factory features rotating exhibits\, interactive projects\, community space\, a reference library\, an outdoor gathering space\, and much more to find through exploring. Tube Factory is an independent\, noncommercial\, nonprofit public place.  \nTube Factory is run by the 501(c)(3) arts nonprofit\, Big Car Collaborative. As an artist-run nonprofit organization\, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists. \nMuch of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe\, studios\, and community space. At our campus of adaptive reuse buildings and public greenspace\, we host community and cultural programs to promote social connectivity\, cooperation\, and creativity. \nWe also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental\, community-focused radio station\, WQRT 99.1 FM — also streaming at wqrt.org. Learn more at BigCar.org and TubeFactory.org. \nAbout Indiana and Tribal Land (from the Indiana State website): \nThere are two tribes that have land in Indiana. \nThe Pokagon Band of Potawatomi received a small portion of their land back from their removal in Indiana. The Pokagon Band of Potawatomi is a federally recognized tribe. It is one of 573 federally recognized tribes in the United States. The Bureau of Indian Affairs contacted Chairman John Warren to state that their tribe\, Pokagon Band of Potawatomi\, had been approved on November 18\, 2016 to receive 166 acres of land in trust in South Bend\, Indiana. The tribe successfully put a few housing units and tribal government buildings to assist their tribal members living in Indiana. It also built a 175\,000 square foot and 1\,800 Class II gaming devices\, four restaurants\, a player’s lounge\, a coffee shop\, two bars\, a retail outlet and approximately 4\,500 parking spaces including an enclosed parking structure. \nThe second tribe that has land in Indiana is the Miami Tribe of Oklahoma. The tribe was given land to put a Cultural Extension Office for their tribal members living in Indiana to attend specific gatherings\, ceremonies and education events at this office located in Fort Wayne\, Indiana.  \nThere are approximately 25\,000 other tribal members who live in Indiana\, from the Apache\, Cherokee\, Navajo\, Comanche\, Lakota Sioux\, and other federally recognized tribes. \nInformation via: faqs.in.gov/hc/en-us/articles/360033547051-Are-there-any-Native-American-tribes-in-Indiana
URL:https://www.bigcar.org/event/jason-wesaw-sovereign-spirits/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Outdoor Activities,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2025/02/Directions-of-the-Sun.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20250307T180000
DTEND;TZID=America/Indiana/Indianapolis:20250825T193000
DTSTAMP:20260409T111708
CREATED:20250225T183023Z
LAST-MODIFIED:20250724T174853Z
UID:12944-1741370400-1756150200@www.bigcar.org
SUMMARY:Davis Henderson: BODEWADMI NDAW
DESCRIPTION:Video Room Gallery\n\nBODEWADMI NDAW is a documentary about the efforts of the Potawatomi people to revitalize their language\, Bodwéwadmimwen. The title is a declaration. It means I am Potawatomi.\n“My people have spent centuries unable to be ourselves lest we face malice\, persecution\, and death. It has only been 25 years that the federal government has recognized us as our own people and it is through our distinct language and culture. Our language\, however\, has been rapidly disappearing\,” says Henderson. “To my knowledge\, there is no other film in the world that covers this subject. This story needs to be told. Our language is beautiful. My people are beautiful. We do not deserve to disappear.”\n\nAbout the artist\nDavis Henderson is a filmmaker\, voice actor\, and storyteller. As a citizen of the Match-E-Be-Nash-She-Wish Band of Potawatomi Indians (also known by the community as the Gun Lake Tribe). Kalamazoo born and based\, they wish to share stories about the land that we gather on that are not written in history books.
URL:https://www.bigcar.org/event/davis-henderson-bodewadmi-ndaw/
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/2025/02/davishenderson-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20250404T180000
DTEND;TZID=America/Indiana/Indianapolis:20250509T180000
DTSTAMP:20260409T111708
CREATED:20250320T162544Z
LAST-MODIFIED:20250514T150600Z
UID:13021-1743789600-1746813600@www.bigcar.org
SUMMARY:Illuminate
DESCRIPTION:Art shifts how we see and understand the world around us. \nMany art shows by artists who are or have been incarcerated aim to capture their experience being impacted by the legal system. While this awareness is important\, the lived experience overshadows the expression of artists to show their craft\, practice\, and work. Illuminate brings to light the achievements and artistic talents of some of Indiana’s finest visual artists\, storytellers\, and sculptors. \nThe opening reception will be on Friday\, April 4 from 6-10pm at Guichelaar Gallery on the Tube Factory campus. The last day to see Illuminate is Friday\, May 30.
URL:https://www.bigcar.org/event/illuminate/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
ATTACH;FMTTYPE=image/png:https://www.bigcar.org/wp-content/uploads/2025/03/ILLUMINATE-FLYER.png
END:VEVENT
END:VCALENDAR