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DTSTART:20230312T070000
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DTSTART:20231105T060000
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DTSTART;TZID=America/Indiana/Indianapolis:20230102T190000
DTEND;TZID=America/Indiana/Indianapolis:20230102T223000
DTSTAMP:20260421T074051
CREATED:20221222T164524Z
LAST-MODIFIED:20221222T164524Z
UID:10558-1672686000-1672698600@www.bigcar.org
SUMMARY:JEANNE DIELMAN\, 23 QUAI DU COMMERCE\, 1080 BRUXELLES
DESCRIPTION:Recently declared the new greatest film of all time\, Chantal Akerman’s Jeanne Dielman\, 23\, quai du Commerce\, 1080 Bruxelles is a singular work in film history.\nThe film meticulously details\, with a sense of impending doom\, the daily routine of a middle-aged widow\, whose chores include making the beds\, cooking dinner for her son\, and turning the occasional trick.\nIn its enormous spareness\, Akerman’s film seems simple\, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time\, Jeanne Dielman is an astonishing\, compelling movie experiment\, one that has been analyzed and argued over for decades.\nCast: Delphine Seyrig\, Jan Decorte\, Henri Storck\nDirector: Chantal Akerman\nWriter: Chantal Akerman\nLength: 202 minutes\nNot Rated\n(1975)\n\nAbout Akerman\nChantal Akerman was born in 1950 in Brussels\, and died in Paris in 2015. Akerman was a pioneer in feminist and experimental filmmaking. Born to Holocaust survivors from Poland\, the generational trauma of this experience was a continuing theme in her work and in recent decades she explored her own Jewish identity. She made over 40 films during her life time\, and is considerd to be one of the most important European directors of her generation.\nRecent solo exhibitions have been shown at EyefilmMusem\, Amsterdam\, The Netherlands (2020); MOCA\, Toronto\, Canada (2019); Oi Futuro\, Rio de Janeiro\, Brazil (2018)\, a retrospective at La Cinemateque Francaise\, Paris\, France (2018); Institute of Contemporary Arts\, London (2015); The Kitchen\, New York (2013); Palais des Beaux-Arts\, Brussels\, Belgium (2013); Museum for Contemporary Art Antwerp\, Belgium (2012); a film retrospective at the Vienna Film Festival\, Austria (2011); the Contemporary Art Museum\, St. Louis\, Missouri (2009); List Visual Arts Center\, M.I.T. Cambridge\, Massachusetts (2008); Camden Arts Centre\, London\, England (2008); Tel Aviv Musem of Art\, Tel Aviv\, Israel (2006); Centre Georges Pompidou\, Paris (2004); Walker Art Center\, Minneapolis\, Minnesota (1995).
URL:https://www.bigcar.org/event/jeanne-dielman-23-quai-du-commerce-1080-bruxelles/
LOCATION:Kan-Kan Cinema\, 1258 Windsor St.\, Indianapolis\, IN\, 46201\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,The Show Room,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2022/12/jeandielman-1600x900-c-default.jpg
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DTSTART;TZID=America/Indiana/Indianapolis:20230106T180000
DTEND;TZID=America/Indiana/Indianapolis:20230319T180000
DTSTAMP:20260421T074051
CREATED:20221125T192752Z
LAST-MODIFIED:20221216T181308Z
UID:10521-1673028000-1679248800@www.bigcar.org
SUMMARY:Betsy Stirratt: Unearthing   
DESCRIPTION:In Unearthing\, Stirratt explores how natural and cultural objects are presented in collections and museum settings\, and how we preserve\, classify\, and display them.  \nFrom Stirratt: “I have visited many natural history\, herbaria and medical museums in Europe and the US with the aim of understanding their objectives\, collecting impulses\, and labelling practices. With similar intent\, I visited several regional historical sites and collections\, including the Workingmen’s Institute in New Harmony\, the Indiana University Paleontology Collection\, and Angel Mounds. The resulting photographs and objects demonstrate the sometimes underestimated importance of local and regional history within the broader museum sphere. \nThe items within a museum or private collection are accumulated with a view to imposing order\, classifying nature\, preserving memory\, or in some instances to signaling status. Items may be preserved for their cultural and historical importance\, or for their aesthetic qualities. For some\, collecting serves as a means of accumulating knowledge\, or as inspiration for their imagination and memories. For me\, it’s the embedded history of objects and places\, and how history and folklore can inform our relationship with the world. \nMore specifically\, I’m interested in the idea of both documenting collected items and using this documenting collected items and using the documentation process to create new artifacts: a coupling of curation and creation\, as it were. Influenced by my many years as a gallery director and curator\, I think about the way that art and objects are selected and placed in juxtaposition with each other and how they are subsequently perceived by viewers. It is important to acknowledge that the viewer’s experience is changed by the inclusion or exclusion of objects and the information that accompanies them. \nThe videos in the exhibit were made using three artists books that contain words and pictures about collections I have visited: specifically botany\, anatomy and zoological collections. Each of the videos features the turning pages of the books in the Collected Series\, interspersed with video and audio clips that I gathered from museum visits\, educational films and from life. \nAdditionally\, alongside the pieces inspired by museum collections and artifacts in this installation\, I am including materials I have collected (e.g.\, a 19th c. herbarium\, Victorian bird taxidermy\, amateur butterfly collections) relating to my interest in history\, natural history and the ways objects are preserved and presented within a curated setting. These items were gathered because almost all were created by an amateur who had some specific interest in the subject that he/she was preserving. \nCollections and museums inform us about the world we live in\, record the past and provide material memory across generations. Unearthing is an attempt to impose order on an unordered world\, drawing upon hazy memory\, inexact connections\, and interpreted histories.  The process of unearthing objects\, both physically and metaphorically\, can broaden our experience of the world\, stimulating imagination and wonder about what we have around us.”                                                                        \nAbout the artist                                                                               \nBetsy Stirratt’s creative practice focuses on themes about nature\, collections and the environment.  She is the Founding Director of the Grunwald Gallery of Art at Indiana University Bloomington where she has curated exhibitions and published catalogs since 1987. Exhibiting her own work widely since 1983\, solo exhibitions include La Maladie at The Mütter Museum in Philadelphia and the International Museum of Surgical Science in Chicago and Veiled Taxonomies at the Center for Book Arts in New York. Her work has been included in group exhibits at the National Museum of Women in the Arts\, Indianapolis Museum of Art\, and White Columns and Art in General in New York among others. She is the recipient of a Visual Artist Fellowship from the National Endowment for the Arts. \nVISIT US\nWednesday -Friday 9 a.m. to 6 p.m.\nSaturday & Sunday 9 a.m. to 3 p.m.\nTube is also open until 10 p.m. each First Friday.\nClosed Holidays \nMade possible by The Arts Council of Indianapolis\, The City of Indianapolis and the Christel DeHaan Family Foundation.
URL:https://www.bigcar.org/event/betsy-stirratt-unearthing/
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/2022/11/stirrat.AngelMound.jpeg
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DTSTART;TZID=America/Indiana/Indianapolis:20230128T120000
DTEND;TZID=America/Indiana/Indianapolis:20230128T200000
DTSTAMP:20260421T074051
CREATED:20221221T162559Z
LAST-MODIFIED:20221229T171318Z
UID:10541-1674907200-1674936000@www.bigcar.org
SUMMARY:Mvhayv Radio Marathon
DESCRIPTION:Mvhayv Radio is a language and cultural preservation project by multi-disciplinary artist\, Elisa Harkins (Cherokee/Muscogee) based in Tulsa\, Oklahoma. \nAll day we will air episodes 1-10 to celebrate kicking off a new season starting Feb 4 with episode 11. \nEpisode 1 – Can you dance to this? \nEpisode 2 – Songs to find your radical lover to \nEpisode 3 – TikTok \nEpisode 4 – All Indigenous \nEpisode 5 – Africa \nEpisode 6 – Muscogee (Creek) & Seminole Hymns \nEpisode 7 – All Indigenous spoken word\, noise\, and moccasin gaze. \nEpisode 8 – Music to bake cookies to. \nEpisode 9 – All Indigenous poems and music. \nEpisode 10 – All Indigenous poems and music. \nHarkins work is concerned with translation\, language preservation\, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke languages\, electronic music\, sculpture\, and the body as her tools. Harkins received a BA from Columbia College\, Chicago and an MFA from CALARTS. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges\, documenta 14\, The Hammer Museum\, The Heard Museum\, and Vancouver Art Gallery. She created an online Indigenous concert series called 6 Moons\, and published a CD of Creek/Seminole Hymns. She will open an exhibit at Tube Factory artspace July 5-October 19\, 2024. \nShe is also part of Radio III / ᎦᏬᏂᏍᎩ a performance group that features music and choreography by Harkins. With support from PICA and Western Front\, songs from the performance have been collected into a limited edition double-LP which can be found on Harkins’ Bandcamp. Harkins resides on the Muscogee (Creek) Reservation and is an enrolled member of the Muscogee (Creek) Nation. \nThis program is made possible by National Endowment for the Arts and The Andy Warhol Foundation for the Visual Arts.
URL:https://www.bigcar.org/event/mvhayv-radio-marathon/
LOCATION:99.1 WQRT\, United States
CATEGORIES:Garfield Park,Shelby St. Corridor,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://www.bigcar.org/wp-content/uploads/2020/04/Radio_III.jpg
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