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X-WR-CALDESC:Events for Big Car
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TZID:America/Indiana/Indianapolis
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DTSTART:20190310T070000
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DTSTART:20191103T060000
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BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190405T180000
DTEND;TZID=America/Indiana/Indianapolis:20190622T150000
DTSTAMP:20260426T203633
CREATED:20190228T194446Z
LAST-MODIFIED:20190604T212447Z
UID:7741-1554487200-1561215600@www.bigcar.org
SUMMARY:Bauhaus Imaginista - Collected Research
DESCRIPTION:Jeremy Efroymson Gallery\n“Bauhaus Imaginista” is a major international project that marks the German art school’s 100th anniversary. Operational from 1919 to 1933\, Bauhaus is famous for the approach to design that combined high art and industry. This exhibition rethinks the school from a global perspective\, and reads its entanglements against a century of geopolitical change. \nThe exhibition presents the 4 Gegenstande (Objects) in order to communicate the essential elements of bauhaus imaginista.\n“The Bauhaus Manifesto” (1919) is shown through a specially commissioned essay film\, exploring the hybrid and transnational influences that shaped its conception and the school’s origins. Marcel Breuer’s collage ein Bauhaus film (1927) was reproduced in the Bauhaus Journal No. 1\, an edition of the journal will be reprinted and displayed in the gallery as a stacked multiple available for audiences to take away. Paul Klee’s “Carpet” drawing will be shown in reproduction on a study table detailing the artist’s North African journeys. Kurt Schwerdtfeger’s “Reflective Light Game” is shown through a film projection. \nPhoto: Paul Klee Rug (kilim)\, (1927); Hans Snoeck Private Collection\, New York \nProject partners:\nGoethe-Institut\, Bauhaus Kooperation\, Haus der Kulturen der Welt. \nFunded by:\nDie Beauftragte der Bundesregierung für Kultur und Medien\, Auswärtiges Amt\, Kulturstiftung des Bundes. \nOn the occasion of 100 Jahre bauhaus (100 Years of Bauhaus). \nAdmission is free\nVISIT US\nMonday-Friday\, 9 a.m. to 6 p.m.\nSaturday 11 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays
URL:https://www.bigcar.org/event/bauhaus-imaginista/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/02/hans-snoeck.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190503T180000
DTEND;TZID=America/Indiana/Indianapolis:20190804T150000
DTSTAMP:20260426T203633
CREATED:20190311T154109Z
LAST-MODIFIED:20190711T204336Z
UID:7810-1556906400-1564930800@www.bigcar.org
SUMMARY:Yvette Mayorga-High Maintenance
DESCRIPTION:Yvette Mayorga’s multi-media installation High Maintenance is a flamboyantly chilling revelation\, offering unsettling insights into how the forces of violence\, make-believe\, and consumerism infiltrate the contemporary immigrant experience\, and subvert our understanding of identity. \nDrawing inspiration from the politics of America’s southern border with Mexico\, her own life as a first generation Latinx-American\, and her parents’ often dangerous experiences as immigrants in the 1970s\, Mayorga’s work examines how pain and uncertainty are covered with a veneer of celebration. \nHigh Maintenanceconjures up an absurdist\, Rococo Candy Land\, where frivolity intersects with fear\, as soldiers and ICE agents come face to face with quinceanera cakes\, white swans\, and Polly Pocket adventure sets. \nEvery aspect of Mayorga’s built world is adorned with spectacular\, rapacious iconography. Monumental fashion accessories and gendered toys interrogate the true meaning of “status\,” while decadent\, Colonial aesthetics remind us how fragile national identity is\, and how frequently it depends on appearances. \nIs this a place of joy or fear? Does it welcome us in all our diversity\, or demand our assimilation? Like the guileless inhabitants of Mayorga’s thickly impastoed paintings\, the second we enter this uncanny\, celebratory-looking tableau\, we realize we are caught between a nightmare and a dream. \nIn partnership with Nopal Cultural and University of Indianapolis. \nMade possible by The Andy Warhol Foundation for the Visual Arts\, Christ Church Cathedral\, The Arts Council of Indianapolis\, Managed Health Services – MHS\,and Sun King Brewing Company. \nYvette Mayorga lives and works in Chicago. She earned her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 2016. Recent solo exhibitions include the Lubeznik Center for the Arts\, EXPO Chicago 2018\, The Vincent Price Art Museum\, The Chicago Cultural Center\, and The National Museum of Mexican Art. Her work has been featured in Hyperallergic\, The Guardian\, Art News\, and Teen Vogue\, among others.
URL:https://www.bigcar.org/event/yvette-mayorga-high-maintenance/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/03/Mayorga-TubeGallery-6inx6in-Front-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190604T190000
DTEND;TZID=America/Indiana/Indianapolis:20190604T200000
DTSTAMP:20260426T203633
CREATED:20190329T212609Z
LAST-MODIFIED:20190604T212422Z
UID:7926-1559674800-1559678400@www.bigcar.org
SUMMARY:Zvi Efrat- The Most Beautiful Campus in Africa
DESCRIPTION:A short film that critically illuminates the design by the Israeli architect and former Bauhaus student Arieh Sharon for the University of Ife campus\, Ile–Ife\, Nigeria\, built in 1962 as part of an Israeli assistance program in West-Africa. Zvi Efrat\, architect and architectural historian\, is a partner in Efrat-Kowalsky Architects (EKA) and was head of the Department of Architecture at the Bezalel Academy of Arts and Design\, Jerusalem\, from 2002 until 2010. He studied at Pratt Institute\, at NYU\, and at Princeton University. He has taught at several universities\, lectured worldwide\, published extensively\, and curated numerous exhibitions\, among them Borderline Disorder at the Israeli Pavilion of the 8th Architectural Biennale\, Venice\, in 2002\, and The Object of Zionism at the Swiss Architecture Museum in Basel in 2011. His book\, The Israeli Project: Building and Architecture 1948–1973\, was published in Hebrew in 2004. \nThis screening is part of the Bauhaus Imaginista: Collected Research exhibition. \nProject partners:\nGoethe-Institut\, Bauhaus Kooperation\, Haus der Kulturen der Welt. \nFunded by:\nDie Beauftragte der Bundesregierung für Kultur und Medien\, Auswärtiges Amt\, Kulturstiftung des Bundes. \nOn the occasion of 100 Jahre bauhaus (100 Years of Bauhaus). \nPhoto: Keren Kuenberg
URL:https://www.bigcar.org/event/zvi-efrat-the-most-beautiful-campus-in-africa/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/03/IFE1-c-Keren-Kuenberg_5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190607T180000
DTEND;TZID=America/Indiana/Indianapolis:20190607T220000
DTSTAMP:20260426T203633
CREATED:20190529T165019Z
LAST-MODIFIED:20190529T165019Z
UID:8050-1559930400-1559944800@www.bigcar.org
SUMMARY:Lugao Kasberg: Balay Means Home
DESCRIPTION:Curated by Danicia Monét \nLugao Kasberg is a Mangyan-American artist based in New York City. His earliest memories were with family and community speaking his native Hanunó’o-Mangyan tongue in the Philippines. Balay means home in his traditional Hanuó’o language. Growing up in Indianapolis\, IN as an indigenous person he experienced the hardships of poverty\, depression\, and abuse when his parents separated. Through the strength of family\, education\, entrepreneurship\, and the arts he learned the importance of hard work and dedication as he was determined to attain a better life while also helping others. \n\nDuring high school and college Lugao orchestrated community outreach initiatives which helped hundreds of youth explore\, share\, and celebrate art. This effort also ignited his love for film\, photography\, and documentation. As a successful commercial artist in New York City he was involved in creating works for some of the top brands in the world. After feeling creatively drained and unfulfilled in 2018 Lugao decided to reunite with his Mangyan family in the Philippines and live in the village. \n\nHe documented his journey through film\, photography\, and audio recording. Lugao is the first of his eight Mangyan-siblings and mother to return to their ancestral land after leaving for the United States in 1992. He shares the importance of family\, community\, and the connection to the land. Mangyans are the indigenous people of Mindoro Island in the Philippines. They have inhabited the land for thousands of years by practicing sustainable farming and developed tightly knit communities with their own language\, writing systems\, and government. \n\nLike many other indigenous people\, Mangyans also face issues of discrimination\, land rights\, and access to resources. As a solution\, Lugao is using his platform to create visibility while also helping to grow the culture by developing initiatives for the youth and community through education and the arts. One such initiative is “Rice 4 Kidz”. This endeavor has had an impact by serving over 55\,000 hot meals to one thousand Mangyan schoolchildren with the help of rice sponsors\, faculty\, and international community during the hunger months of August through October. Service being at the core of his work\, Lugao aspires to bring positive change to this present generation for future generations. \n\nTo learn more about the artist visit \nhttp://www.lugao.co \nInstagram: @Lugao.co and @lugaokasberg
URL:https://www.bigcar.org/event/lugao-kasberg-balay-means-home/
LOCATION:Guichelaar Gallery\, 1125 Cruft Street\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/05/image1.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190611T190000
DTEND;TZID=America/Indiana/Indianapolis:20190611T203000
DTSTAMP:20260426T203633
CREATED:20190329T213402Z
LAST-MODIFIED:20190405T171939Z
UID:7929-1560279600-1560285000@www.bigcar.org
SUMMARY:Otolith Group- O Horizon
DESCRIPTION:The title refers to the surface layer of soil\, changed in the area around Santiniketan as the result of Tagore’s introduction of new flora in development of the campus. In studying this trajectory\, the film extends The Otolith Group’s ongoing consideration of the Anthropocene\, a premise that denotes that the current geological age is one wherein human activity spurs the primary changes on climate and the environment. With O Horizon\, The Otolith Group also proposes that Tagore’s project maps onto the notion of terraforming—a term originating in science fiction and now more widely used—whereby a party (typically but not always an interloper) reshapes the atmosphere of a place for their own needs. \nO Horizon reflects upon modernist theories of dance and song developed by Tagore and the experimental practices of mural\, sculpture\, painting\, and drawing developed by India’s great modernist artists affiliated with Santiniketan: K.G. Subramanyan\, Benode Behari Mukherjee\, Nandalal Bose and Ramkinkar Baij. O Horizon draws together visual arts\, dance\, song\, music\, and recital to assemble a structure of feeling of the Tagorean imagination in the 21st Century. \nThis screening is part of the Bauhaus Imaginista: Collected Research exhibition. \nProject partners:\nGoethe-Institut\, Bauhaus Kooperation\, Haus der Kulturen der Welt. \nFunded by:\nDie Beauftragte der Bundesregierung für Kultur und Medien\, Auswärtiges Amt\, Kulturstiftung des Bundes. \nOn the occasion of 100 Jahre bauhaus (100 Years of Bauhaus).
URL:https://www.bigcar.org/event/otolith-group-o-horizon/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/03/2018112216551Waves-Tree-and-Sky-Recovered.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20190626T184500
DTEND;TZID=America/Indiana/Indianapolis:20190626T213000
DTSTAMP:20260426T203633
CREATED:20190305T202902Z
LAST-MODIFIED:20190305T213518Z
UID:7772-1561574700-1561584600@www.bigcar.org
SUMMARY:99.1 WQRT Rhinestone Country Film Series-Urban Cowboy
DESCRIPTION:“You a real cowboy?” John Travolta traded disco for a mechanical bull in this adaptation by James Bridges and Aaron Latham of Latham’s article on Western nightlife. Texas country boy Bud (Travolta) moves to Houston to work on an oil rig with his Uncle Bob (Barry Corbin)\, and he swiftly becomes indoctrinated in the nighttime rituals of drinking\, dancing\, and showing off cowboy duds at Gilley’s\, the enormous local honkytonk. There he meets and marries the sassy Sissy (Debra Winger)\, but the honeymoon quickly ends when Sissy starts spending too much time learning the men-only skill of mechanical bull-riding from ex-con Wes (Scott Glenn); Bud throws her out and hooks up with slumming Pam (Madolyn Smith). Under the paternal tutelage of Uncle Bob\, Bud then learns not only how to master the bull but also what it takes to be a real man rather than just an ersatz cowboy. With a story\, cast\, and setting that were essentially Saturday Night Fever country-style\, Urban Cowboy was poised to be a summer 1980 hit. Although its box office did not live up to Fever’s legacy\, Urban Cowboy did spawn a soundtrack album of country-and-western hits and helped spur a Western fashion vogue; people from all regions began sporting cowboy boots\, and mechanical bulls started replacing passé disco floors. The first of Travolta’s many comebacks\, Urban Cowboy provided the star with a more “manly” image after his Moment by Moment (1978) fiasco\, but it was neophyte co-star Winger who got even better notices. With its Western milieu and retro view of relationships\, Urban Cowboy stands as a sign of the nascent Reagan era\, as ’70s icon Travolta learned bull-riding himself and replaced his white polyester with a black Stetson.” ~ Lucia Bozzola\, Rovi \nPresented by Upland Brewing Company
URL:https://www.bigcar.org/event/99-1-wqrt-rhinestone-country-film-series-urban-cowboy/
LOCATION:Duke’s Indy\, 2352 S West St.\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Film,Garfield Park,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2019/03/UrbanCowboy.jpg
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