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DTSTART;TZID=America/New_York:20230225T160000
DTEND;TZID=America/New_York:20230225T190000
DTSTAMP:20230417T160746Z
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UID:10001642-1677340800-1677351600@www.mediasanctuary.org
SUMMARY:Troy Black History Celebration 2023
DESCRIPTION:Join us for an in-person celebration of Black History Month with an exhibition\, music\, spoken word\, and community. Troy NAACP\, Team HERO\, Coalition for Black Trade Union\, and The Sanctuary for Independent Media have partnered together in Troy to honor our Black history and its living legacy. The exhibition is curated by Malik Muhammad\, music by King Malachi\, spoken word by Diamond Owens\, and Shania Jackson\, and beats by DJ Hollyw8d. \n\n\n\nMasks are encouraged and will be available at this event. If you are feeling unwell or have any symptoms of illness please stay home and rest. \n\n\n\n\n\n\n\nFeaturing:\n\n\n\n\n\n\n\n\n\nBrother Malik Muhammad is the curator of The Sankofa Project\, a traveling visual museum which showcases photos and text of the history of Black people.  \n\n\n\n\n\n\n\n\n\nMusic performance by King Malachi. Website.  \n\n\n\n\n\n\n\n\n\nBeats by DJ Hollyw8d. Website.  \n\n\n\n\n\n\n\n\n\n\n\nSpoken word by Shania Jackson. \n\n\n\n \n\n\n\n\n\n\n\n\n\nSpoken word by Diamond Owens. \n\n\n\n\n\n\n\n\n\nSpoken word by Justin Irby. \n\n\n\n\n\nCo-Organizers:\n\n\n\nNAACP Troy Branch #2182-B: The National Association for the Advancement of Colored People’s (NAACP) mission in the 21st century is “to ensure the political\, educational\, social\, and economic equality of rights of all persons and to eliminate race-based discrimination.” Contact: TroyNYNAACP@gmail.com or  on facebook. \n\n\n\nTeam HERO: H.E.R.O. standing for Helping Everyone Recognize Opportunities which focuses on youth mentoring\, character and leadership development and linking families to resources. https://www.facebook.com/TeamHero101  \n\n\n\nCoalition for Black Trade Union: CBTU is not a black separatist or civil rights organization. It is the fiercely independent voice of black workers within the trade union movement\, challenging organized labor to be more relevant to the needs and aspirations of Black and poor workers. https://cbtu.org/about.html \n\n\n\n\nhttps://www.youtube.com/watch?v=fwwG-h1EF1A
URL:https://www.mediasanctuary.org/event/troy-black-history-celebration-2023/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Community Event,Gallery Show,Performance
ATTACH;FMTTYPE=image/png:https://www.mediasanctuary.org/wp-content/uploads/2023/02/Troy-Black-History-Month-Celebration1.png
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DTSTART;TZID=America/New_York:20080912T180000
DTEND;TZID=America/New_York:20080912T210000
DTSTAMP:20220415T180730Z
CREATED:20080912T154500Z
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UID:10001010-1221242400-1221253200@www.mediasanctuary.org
SUMMARY:Opening for the Underground Gallery: "Don't Forget Us- Iraqi Children 2001- 2008 (Sanctions\, War\, Occupation and Exile)"\, 9/12/08-12/14/08
DESCRIPTION:The Underground Gallery at the Sanctuary for Independent Media features an exhibition organized by curator Claudia Lefko and the Iraqi Children’s Art Exchange called Don’t Forget Us: Iraqi Children 2001-2008 (Sanctions\, War\, Occupation and Exile) on view from September 12 through December 14. The show is open to the public free of charge an hour before\, during\, and an hour after events and workshops at the Sanctuary for Independent Media. There will be an art opening and potluck at 6pm on Friday\, September 12 with Claudia Lefko\, director of the Iraqi Children’s Art Exchange. The Iraqi Children’s Art Exchange invites Iraqi and American youth to participate in art-inspired projects. Transcending the barriers of language\, culture\, and politics\, these projects create important learning opportunities\, help foster communication between countries at war\, and promote peace and non-violence. The Iraqi Children’s Art Exchange is based in Northampton\, Massachusetts. Opening includes a community potluck. \n\n\n\nCo-sponsored by Women Against War\, Bethlehem Neighbors for Peace and the United States Committee for Refugees and Immigrants Albany Field Office.
URL:https://www.mediasanctuary.org/event/opening-for-the-underground-gallery-dont-forget-us-iraqi-children-2001-2008-sanctions-war-occupation-and-exile-9-12-08-12-14-08/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Community Event,Gallery Show
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DTSTART;TZID=America/New_York:20080310T180000
DTEND;TZID=America/New_York:20080310T200000
DTSTAMP:20220512T181313Z
CREATED:20080310T165200Z
LAST-MODIFIED:20220512T181313Z
UID:10000893-1205172000-1205179200@www.mediasanctuary.org
SUMMARY:Wafaa Bilal's "Virtual Jihadi"
DESCRIPTION:Wafaa Bilal was on hand for a reception at 6 PM followed at 7 PM by a presentation about his installation Virtual Jihadi which was to have been displayed at The Sanctuary for Independent Media. The installation was scheduled to be open to the public through Friday\, March 15 from noon to 2 PM as well as before and after regularly scheduled events through April 4\, 2008. The exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday\, March 11\, just minutes before the show was to open to the public.  The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. Another version of this installation had opened on March 5\, 2008\, at Rensselaer Polytechnic Institute but as reported by a Times Union story it was abruptly closed the following day.  Coverage of the controversy has spread around the country.  \n\n\n\n\n\n\nhttps://www.youtube.com/watch?v=v42OLzCDr98\n\n\n\n\nAbout the Controversy:\n\n\n\nThe exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday\, March 11\, just minutes before the show was to open to the public. The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. \n\n\n\nAnother version of this installation had opened on March 5\, 2008 at Rensselaer Polytechnic Institute but as reported by the Times Union it was abruptly closed the following day. Coverage of the controversy has spread around the country\, with stories appearing in the Washington Post\, Chicago Tribune and NY Newsday. Writing from Paris\, France cultural critic Brian Holmes offered his analysis of the art panic at RPI and Inside Higher Ed wrote about the episode in the broader context of campus censorship\, followed by another story when the show opened at the Sanctuary. \n\n\n\nA local Republican operative on the payroll of the City of Troy\, Rensselaer County and NY State called for protests at the Monday\, March 10 show opening at the Sanctuary in an article in the Troy Record. \n\n\n\nIn the widely marketed video game “Quest for Saddam\,” players fight stereotypical Iraqi foes and try to kill Saddam. Al Qaeda did its own take\, creating an online video game using the structure of “Quest for Saddam” but adding a new “skin” to turn the game into a hunt for Bush: “The Night of Bush Capturing.” Now artist Wafaa Bilal has hacked the Al Qaeda version of the game to put his own more nuanced spin on this epic conflict. \n\n\n\nIn The Night of Bush Capturing: A Virtual Jihadi\, Bilal casts himself as a suicide-bomber in the game. After learning of the real-life death of his brother in the war\, he is recruited by Al Qaeda to join the hunt for Bush. This work is meant to bring attention to the vulnerability of Iraqi civilians to the travesties of the current war and racist generalizations and stereotypes as exhibited in games such as Quest for Saddam\, along with vulnerability to recruitment by violent groups like Al Qaeda because of the U.S.’s failed strategy in securing Iraq. The work also aims to shed light on groups that traffic in crass and hateful stereotypes of Arab culture with games like Quest for Saddam and other media. \n\n\n\nWafaa Bilal was named 2007 Chicagoan of the Year by the Chicago Tribune\, which wrote\, “No artwork created in Chicago in 2007 received as much attention as Wafaa Bilal’s ‘Domestic Tension\,’ an interactive performance piece that subjected the Iraqi-born artist to a month of bombardment by paintballs from Internet viewers.” \n\n\n\nAccording to Wafaa Bilal:\n\n\n\n“My art is most influenced by the pain and suffering of growing up under Sadaam Hussein’s repressive rule from 1968 to the recent “Iraqi Freedom War”. I experienced violence on a daily basis\, and visions of death and terror together with the anguish to the Iraqi people are irrevocably etched in my memory. My generation in Iraq is defined by decades of war. Since coming to the United States I have also seen great injustice and suffering in the forms of poverty\, racism\, and many other forms of discrimination and hatred. From this point of departure\, through art I strive to uncover an overarching human condition while creating a space for provocation\, dialogue\, and contemplation. As my friend and colleague Gregg Bordowitz has written\, when we are exposed to violence on a daily basis\, how can we\, as political artists\, convey this experience clearly to the viewer and leave a lasting impression that is fresh and solid in its conclusions\, not cliché? \n\n\n\nA constant negotiation must take place in order to embrace the aesthetic pleasure of the image’s surface\, which is so necessary to capture the imagination\, and to convey the aesthetic pain of the content. The failure of this negotiation can easily result in the alienation of the viewer\, while a successful negotiation may result in active engagement and an opening of the viewer’s perspective. While I do not wish to impose narrow interpretations of my work but struggle to create complex and muli-dimensional images\, I also do not feel we currently have the privilege to enjoy art purely as aesthetic pleasure. It is a misconception that art has ever been pure; historically it has been a means of expressing personal and societal realities and interpretations. We must actively employ the tension and incongruence produced by the coexistence of aesthetic pleasure and aesthetic pain to attract and jolt the viewer in a thought-provoking manner. As an active player in society and as both educator and agitator\, the artist must keep pushing these boundaries. \n\n\n\nThe photographs I create are highly symbolic\, “hyper-real” landscapes\, landscapes of possibilities existing just beyond reality\, expressing emotions and conditions that permeate reality. They equally could be called “interior landscapes\,” representative of the psychology of human suffering in a society ruled by oppression\, domination\, and fear. Figures exist in equal balance with the landscapes\, the images drawing their complexity from this dramatic polar tension. Within the frame\, time and place loses specificity to become transcendent and expressive of a broader human condition. \n\n\n\nVideo installations provide another level of impact besides the content of the image: we observe movement\, a physical language the body understands. I play with the viewer’s presence and engagement or lack thereof\, allowing this to directly impact the action and outcome of the piece. As the viewer may be far removed from the conflict addressed within the work\, it is important to communicate to the viewer through a recognizable visual language\, and so I filter the subject through historical and psychological contexts of the subject’s specific locale. The frame acts as a historical window to the past\, while the moving image exemplifies a persistent-present\, a current condition influenced by internal or external circumstances that inhibit change. The moment something is done to change a situation\, the persistent-present becomes a progressive present where change can occur. \n\n\n\nMy memories of Iraq and my disenchantment with politics have not left me cynical\, nor drained of hope for humanity. On the contrary\, I am filled with belief in the power of the people to control their own destinies\, and I continue to believe in social justice. I hope to foster a sense of self-empowerment in my audience and to counter the sense of powerlessness people feel in the face of inhumanity.” \n\n\n\nAbout Wafaa Bilal:\n\n\n\nWafaa Bilal was born in Iraq on June 10\, 1966. Because a member of his family had been accused of disloyalty to his country\, Wafaa was denied the opportunity to pursue his dream of being an artist. Instead\, he was to attend college to major in geography. While in college\, he continued to pursue his art and was arrested and tortured for his political art work against Sadaam Hussein. \n\n\n\nShortly after the Gulf War\, Wafaa was inspired by President Bush’s message to the Iraqi citizens that if they attempted to overthrow Sadaam\, the US would stand behind them. He became involved in organizing opposition to the government and was scheduled for arrest and execution when he escaped into Kuwait. There he was accused of being a spy and was close to being shot when his student ID convinced them he told the truth. \n\n\n\nWafaa was sent to a refugee camp on the Kuwaiti border. In the camp\, people laughed when rather than accept life in a tent he began forming brick that he dried in the sun and fashioned into a home. The adobe served a practical purpose\, for it provided relative safety from abduction by Kuwaiti soldiers who sneaked into tents in the middle of the night to kidnap young people for sale to Iraqi soldiers who tortured\, raped and executed them or the Turkish soldiers themselves would rape and kill them. \n\n\n\nFor two years\, Wafaa lived in limbo not knowing if each day would be his last. Still Wafaa worked to improve his art\, cleaning toilets in the camp to earn the money for art supplies\, buying supplies for children for art therapy to help them to work through the horrors witnessed. His experiences developed within him an abhorrence of violence and oppression and strengthened his inner resolve. \n\n\n\nIn 1992\, Wafaa came to the United States and took classes to learn English. Then\, he began art studies at the University of New Mexico where he excelled. His art is of a political nature that speaks to oppression of the human spirit\, including that of women who are bound by the rules of culture. He has won many awards for his art as well as a scholarship to the Chicago Institute of Art for post graduate study. He is now teaching at that institution. \n\n\n\nIn addition\, Wafaa travels to give lectures on the oppressive nature of Sadaam’s regime in the hope of informing people of the complexities of the situation as well as the atrocities committed and the importance of nonviolent means of ending conflict. It has been 14 years since he was last able to see his mother and younger siblings. He speaks to them on the phone to hear how they flee from one war torn city to another in an effort to find safety. His 21 year-old brother who was staunchly apolitical lost his life to stray American gunfire. His father died when his health deteriorated after the death of his youngest son.
URL:https://www.mediasanctuary.org/event/wafaa-bilals-virtual-jihadi/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Gallery Show,Speaker
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DTSTART;TZID=America/New_York:20071115T180000
DTEND;TZID=America/New_York:20071115T210000
DTSTAMP:20220330T160729Z
CREATED:20071115T152800Z
LAST-MODIFIED:20220330T160729Z
UID:10000980-1195149600-1195160400@www.mediasanctuary.org
SUMMARY:Eye Music Portraits\, 11/15 - 12/15/07
DESCRIPTION:Photographers Andrzej Pilarczyk and Don McKever have specialized in photographing musicians across a broad spectrum of musical styles for several decades. By combining the visual principles of portraiture with a fine-arts aesthetic they have been independently documenting the ongoing evolution of jazz\, blues\, folk\, African and Latin music- genres which are often overlooked and neglected by the mainstream music industry and press. The exhibition will be on view from November 15th through December 15th\, 2007. \n\n\n\nDon McKever has photographed almost every major jazz and blues musician who played over a period of 40 years.  \n\n\n\nAndrzej Pilarczyk has concentrated on photographing live musical events within the Capital Region for more than 20 years.
URL:https://www.mediasanctuary.org/event/eye-music-portraits-11-15-12-15-07/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Gallery Show
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071015T190000
DTEND;TZID=America/New_York:20071015T210000
DTSTAMP:20220330T160440Z
CREATED:20071015T150700Z
LAST-MODIFIED:20220330T160440Z
UID:10000874-1192474800-1192482000@www.mediasanctuary.org
SUMMARY:"Mission Accomplished"\, 10/15 - 11/14/07
DESCRIPTION:A response to President Bush’s statement made early in the Iraq War\, Christine Heller’s installation\, Mission Accomplished is layered with the grey Muslim figures tangled in wire and fencing. Limp and skeletal\, the figures are shells\, souls\, and shrouds. Their life is gone. They have faded from existence\, faded from our consciousness\, a reminder of lost identity and lost life. These figures represent American soldiers. Iraqi citizens\, prisoners at Guantanamo\, or those tortured at Abu Ghraib.  \n\n\n\nSince 2005\, Christine Heller’s installations have focused on the devastating physical and emotional turmoil of the Iraq War including America Comes Home\, about the ravaged lives of American Soldiers\, In Our Name\, about Iraqi children in the war\, and Mission Accomplished\, about the continuing struggle in Iraq.
URL:https://www.mediasanctuary.org/event/mission-accomplished-10-15-11-14-07/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Gallery Show
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