BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Center for Human Rights and the Arts - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://blogs.bard.edu/chra X-WR-CALDESC:Events for Center for Human Rights and the Arts REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York 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 BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20250926T120000 DTEND;TZID=America/New_York:20250926T133000 DTSTAMP:20260427T023646 CREATED:20250827T194028Z LAST-MODIFIED:20250827T194028Z UID:10000151-1758888000-1758893400@blogs.bard.edu SUMMARY:“Sibathontisele” at 15: Zimbabwean Ethnopolitics and the Work of Owen Maseko DESCRIPTION:Art Curator and Scholar Zoè Samudzi offers a reflection on the ethnopolitical and historical implications of “Sibathontisele” (2010-present)\, a series of paintings by Zimbabwean artist and genocide survivor Owen Maseko. The talk traces a throughline between the Gukurahundi genocide (1982-87)\, the subject matter of the series\, and the relationship between Maseko’s repression as a Ndebele artist and the Zimbabwean state’s historical revisionism regarding the genocide. URL:https://blogs.bard.edu/chra/event/sibathontisele-at-15/ LOCATION:Webinar CATEGORIES:Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2025/08/Zoe-Samudzi-Image.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250425T150000 DTEND;TZID=America/New_York:20250504T193000 DTSTAMP:20260427T023646 CREATED:20250210T140711Z LAST-MODIFIED:20250415T163036Z UID:10000149-1745593200-1746387000@blogs.bard.edu SUMMARY:Thesis Exhibition of the MA in Human Rights & the Arts 2025 DESCRIPTION:The MA Program at the Center for Human Rights & the Arts is pleased to announce the thesis exhibition of the MA in Human Rights & the Arts\, Class of 2025. \nThe exhibition is taking place April 25 through May 4\, 3–7:30 pm\, across the Massena Campus at Bard College. The exhibition features installations\, films\, and written works by the graduating cohort. The artistic\, academic\, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis. \nBelow is the program for the thesis exhibition\, including a list of events and showcased works : \nOpening Reception\nFriday\, 25 April 2025 \n4pm–7pm\nExhibition opening and food-for-purchase provided by Samosa Shack.\n\nLecture Performance\nConducting Empire by Elinor Arden \nFriday 25 April\, Sunday 27 April\, Saturday 3 May \n6:30 pm–7pm\n\nPanel Presentation\nFeaturing Miguel Angel Castañeda Barahona\, Pyae Phyo Aung\, and Arina Pshenichnaya\nSaturday\, May 3\n4 pm–5 pm\n  \nWritten Theses\nExcerpts of these works are on display in the exhibition  \n“The Human Right to What?” Hunger\, Food\, and People: A Journey to the South\nMiguel Angel Castañeda Barahona \nSacred War as the Russian National Idea\nArina Pshenichnaya \n“Late pyar lone lar?” In Search of A Clear Conscience in Myanmar’s Spring Revolution \nPyae Phyo Aung  \n A Baghdad Sin: Peregrinations in A Ruptured Geography\nNabil Salih  \n  \nInstallations\nOpen daily\, 3–7:30 pm \n  \nFordDat\nSariyah Abuzant \nLivestreamed Genocide: TikTok LIVE in Gaza \nSarah Al-Yahya  \nCalls from an Unseen Chorus\nAmr Amer  \nConducting Empire\nElinor Arden   \nThe Land\, Not a Film By Youssef Chahine\nLeil Zahra Mortada  \n Prison Rule 113.11 and Fugitive Tools\nMauro Tosarelli  \n  \nThesis Project Abstracts\nFordDat\nSariyah Abuzant \nThis installation features a docufiction video and explores the role of an unofficial taxi vehicle vital to mobility in occupied Palestine\, using the cases of Abu Dis and Al-Eizariya\, two towns located in Area C of the West Bank. Manufactured by Ford Motor Company\, this US vehicle has unintentionally functioned as the connective tissue of a fragmented landscape\, navigating an apartheid system reinforced by the Oslo Accords. Operating illegally for over thirty years\, the Ford Transit has not only sustained movement but also emerged as a tool of cultural sovereignty\, community-structured infrastructure\, and self-governance. A time capsule of Oslo’s failures\, this vehicle offers a lens into the lived realities of Palestinian daily resistance and the unyielding struggle for the right to move. \n  \nLivestreamed Genocide: TikTok LIVE in Gaza \nSarah Al-Yahya \nThis hybrid project\, comprised of an interactive\, web-based installation and research article\, examines how “history’s first livestreamed genocide” in Gaza has been presented on TikTok LIVE. The work explores these streams\, characterized by their low viewership as well as scattered and disorienting nature\, arguing that they reshape our understanding of “livestreamed genocide” as a historical media paradigm. The installation foregrounds the tensions between a gamified platform and the realities of war on the Gaza Strip. In doing so\, it examines the uneasy rise of TikTok’s algorithmically-driven platform as a space where social media visibility and atrocity merge\, clash\, and are reshaped by the logic of public engagement.  \n  \nCalls from an Unseen Chorus\nAmr Amer \nCalls from an Unseen Chorus is a sound installation that resists the passive consumption of Palestine as an image of suffering\, instead demanding engagement through the act of listening. Centering the auditory as a site of resistance\, the work immerses audiences in the sonic realities of occupation and defiance—from the oppressive stasis of colonial checkpoints to the collective force of protest chants\, resistance music\, and the recorded wills of martyrs. These layered soundscapes challenge static representations of Palestinian struggle\, asserting a mobilized\, dissenting presence and an unceasing fight for liberation. By stripping away the visual\, Calls from an Unseen Chorus transforms listening into an entry point for solidarity\, where sound becomes both testimony and a call to resistance. \n  \nConducting Empire\nElinor Arden \nConducting Empire is a research article and an installation-performance investigating the material history of the undersea cable network: the physical ‘backbone’ of the internet. The project explores what lies beneath Google’s marketing strategies for their new transatlantic cables\, tracing the genealogy of this infrastructure to 19th-century Britain and the era of so-called abolition. A live activation of a sound sculpture exposes the metallic substance of the cable network and its transmission of historical records into the present. By linking claims of technological progress to imperial control\, the work reframes the utopian ideal of global connectivity with evidence found in the British National Archives\, from the Birmingham copper industry to a mass of colonial correspondences. Conducting Empire removes the network’s insulation to uncover how telecommunications were produced through a violent historical circuit.  \n  \n“Late pyar lone lar?” In Search of A Clear Conscience in Myanmar’s Spring Revolution \nPyae Phyo Aung \nThis written thesis explores the question of morality and conscience in the anti-authoritarian revolution that took shape in response to the 2021 military coup in Myanmar. The term late pyar lone chin refers to the pride of performing a just action or the shame and guilt of not doing so\, and the question\, late pyar lone lar?\, means roughly “do you have a clear conscience?” It is now widely used to testify to (or question) one’s stance and involvement in the revolution. Examining the digital artifacts and lived experiences of protestors\, resistance fighters\, and activist fundraisers\, the thesis studies the role of calls to conscience in political mobilization and investigates how affect and morality have been activated through aesthetic means to shape the trajectory of the Spring Revolution in Myanmar.  \n  \n“The Human Right to What?” Hunger\, Food\, and People: A Journey to the South.\nMiguel Angel Castañeda Barahona \nThe public policy known as Areas of Protection for Food Production was launched in July of 2024 in the south of La Guajira\, Colombia. It aims to focus land use on agricultural production and prohibit any type of mining exploitation. This transition is based on concepts such as the human right to food and food security. This written thesis explores the origins of these concepts\, their scope\, and their limitations. This is particularly relevant at a time when the La Guajira Corporation is about to grant approval to the mining company Best Coal Company to exploit millions of tons of coal in the Cañaverales Community. This thesis responds to the crisis and the difficulties of the energy transition from an epistemological point of view\, through an analysis of archives and geopoetics.  \n  \nThe Land\, Not a Film By Youssef Chahine\nLeil Zahra Mortada\nThis hybrid project interrogates the role of Arab cultural production—particularly Egyptian songs and films about the Aswan High Dam—in shaping public history and contributing to Nubian dispossession. Building on an ongoing collaboration with Nubian activists\, one component of this project is a research article that critiques nationalism and encourages a reflection on the power of cultural memory to perpetuate erasure or resist it. The second component of this project is an interactive installation titled The Land\, Not a Film By Youssef Chahine\, which examines state propaganda and confronts the failures of Arab liberation movements\, while centering a Nubian narrative and presents a speculative grassroots response. \n  \nSacred War as the Russian National Idea\nArina Pshenichnaya\nDespite the secular image often associated with modern nationalism\, the Russian state’s sacralization of war reveals the enduring power of religious symbols\, rituals\, and narratives in shaping national identity. This written thesis examines how the concept of sacred war has become central to the Russian national idea through a fusion of Orthodox theology\, state power\, and militarized aesthetics. It focuses on two key phenomena: the Main Cathedral of the Russian Armed Forces\, which presents war as a timeless and divine foundation of Russian identity; and front-line baptismal rituals\, which transform soldiers into metaphysical agents of a civilizational mission. I analyze these practices through the writings of Aleksandr Dugin\, whose metaphysical theory of civilizational conflict (noomachy) frames war not as a geopolitical act but as an ontological necessity. Dugin’s thought provides the ideological architecture through which Russia is positioned as a sacred civilization resisting Western nihilism\, where war is not simply justified\, but ritually and cosmologically required. In doing so\, the study challenges secular readings of nationalism and highlights how authoritarian regimes can mobilize religious metaphysics to render war not only legitimate\, but liturgically necessary. \n  \nA Baghdad Sin: Peregrinations in a Ruptured Geography\nNabil Salih \nAftermaths are deceptive. They obscure and conceal. This text\, weaved along a photographic inquiry\, troubles the notion of quietude. Together\, they try to point to what lurks and haunts in the crevices of a wounded urbanscape. Twenty-one years after the invasion and occupation of Iraq\, what litter and refuse remain in Baghdad today? In a time of rapid urban reconfiguration\, what do the residual wartime rubble and the paraphernalia of security regimes tell us of the present\, its politics\, and relationship to the past? Put differently\, what forces and apparatuses obstruct an Iraqi’s walk? Standing by the ruins is an old tradition dating to pre-Islamic poetry and the laments of ancient Mesopotamia. This essay follows suit but goes beyond. Its fragments narrate my auto-ethnographic and ethnographic walks and rides in Baghdad\, where I investigate the constellations of rubble\, the affects they discharge\, and the memories they awaken in a given locale. Much ink and blood were spilled on the streets of Baghdad and world newspapers; this endeavor asks what Iraqis are left with today. The photographs aspire to a private archive for public loss\, each being an obstinate interlocutor tested for what eludes vision and what is thought to be seen. \n  \nPrison Rule 113.11 and Fugitive Tools\nMauro Tosarelli \nPrisons are not just spaces of deprivation and submission but environments where survival gives rise to new forms of expression and interaction. Despite spatial\, social\, and political constraints\, prisoners cultivate communication networks through sound\, imagery\, and handmade tools. This installation reframes prison life by focusing on acquired culture and produced knowledge rather than narratives of marginalization. Prison Rule 113.11 highlights both clandestine tools of disobedience—tattoo guns\, fishing lines\, and makeshift speakers—and the coercion tools manufactured through prison labor. These objects are not merely functional but symbolic of defiance and connection. By amplifying sound rather than retreating into silence\, prisoners reclaim their lives and assert their resistance to isolation. Positioning these tools as ‘fugitive objects’\, this work reveals how incarcerated individuals are not merely passive subjects but a challenge to the very structures designed to contain them. URL:https://blogs.bard.edu/chra/event/thesis-exhibition-of-the-ma-in-human-rights-the-arts-2025/ LOCATION:Massena Campus\, Barrytown\, 30 Seminary Dr\, Barrytown\, NY\, 12507 CATEGORIES:Artist Presentation,Installation & Food Gathering,Panel,Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2025/02/Thesis_web.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250417T150000 DTEND;TZID=America/New_York:20250417T180000 DTSTAMP:20260427T023646 CREATED:20250210T140321Z LAST-MODIFIED:20250407T150000Z UID:10000148-1744902000-1744912800@blogs.bard.edu SUMMARY:Open Studios: Works In-Progress by First-Year MA Students in Human Rights & the Arts DESCRIPTION:First-year MA students at the Center for Human Rights and the Arts present works in progress developed in class\, led by artists Robin Frohardt and Oscar Gardea. These works reflect their exploration of the potential of everyday objects and materials\, with emphasis on repurposing discarded items and utilizing unconventional materials.  \nMaterial Storytelling\, led by Robin Frohardt\, delved into the use of discarded materials repurposed through various techniques to create narrative\, build scenarios\, and characters; Survey on Waste and the Supernatural\, led by Oscar Gardea\, observed the concept of waste as a strategy to reconfigure erased culture in zones of conflict. The showcased works range from puppetry to masks\, object theater\, costumes\, and interactive installations\, as employed to transform seemingly mundane or discarded materials into powerful tools for storytelling. \nParking is available on the Massena campus. The Bard Massena Shuttle offers transportation to Bard students\, staff\, and faculty between Kline Bus Stop (Southbound) and the Massena Campus Roundabout. Please see here for the shuttle schedule. \nMona Benyamin \nMahmoud El Safadi \nJoão Ferreira \nNadia Iracema \nLubnah \nTara Rodríguez Besosa \nOmayma Sbeih \nSelo URL:https://blogs.bard.edu/chra/event/open-studios-works-in-progress-by-first-year-students-in-the-ma-in-human-rights-the-arts/ LOCATION:Massena Campus\, Barrytown\, 30 Seminary Dr\, Barrytown\, NY\, 12507 CATEGORIES:Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2025/02/open-studio-web.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250408T180000 DTEND;TZID=America/New_York:20250408T200000 DTSTAMP:20260427T023646 CREATED:20250210T134114Z LAST-MODIFIED:20250310T181044Z UID:10000146-1744135200-1744142400@blogs.bard.edu SUMMARY:Sean Connelly: Expert Witness Geomancer Mystic DESCRIPTION:An ‘expert witness geomancer mystic’ unites the forensic\, spatial\, and mystical elements of a place\, giving testimony to concealed histories while constructing profound truths. They go beyond interpreting land to co-create spaces that are independent\, sacred\, and ecologically aligned\, protecting and restoring places as active sites of continuity and renewal. In this talk\, Hawai’i artist and building practitioner Sean Connelly of After Oceanic shares critical and projective work around creating “architecture for ‘āina”.  This work reveals a long disregarded history of US urbanism in Hawai’i and the community grassroots networks of collaborative care and native resurgence working to recover indigenous systems of sustenance for the future. \n  URL:https://blogs.bard.edu/chra/event/sean-connelly-expert-witness/ LOCATION:Weis Cinema\, Bard College\, 30 Campus Rd\, Annandale-on-Hudson\, NY CATEGORIES:Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2025/02/Sean01_2025-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250326T180000 DTEND;TZID=America/New_York:20250326T193000 DTSTAMP:20260427T023646 CREATED:20250210T135738Z LAST-MODIFIED:20250307T143910Z UID:10000147-1743012000-1743017400@blogs.bard.edu SUMMARY:Morgan Bassichis - Comedy for Organizers: Cliff Notes from an Anti-Zionist Jew DESCRIPTION:How do artists\, comedians\, and performers respond to crises? What tools and opportunities do comedy and laughter offer political and social movements in their confrontations with fascism and supremacy? Comedian and performance artist Morgan Bassichis\, a longtime member of Jewish Voice for Peace\, shares their experience at the intersection of comedy and political organizing. \n  \nPhoto by Maria Baranova URL:https://blogs.bard.edu/chra/event/morgan-bassichis-comedy-for-organizers/ LOCATION:Studio North\, Fisher Center\, 30 Campus Rd\, Annandale-On-Hudson\, NY\, 12504\, United States CATEGORIES:Artist Presentation,Talk ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2025/02/Photo-by-Maria-Baranova-1-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250310T180000 DTEND;TZID=America/New_York:20250310T193000 DTSTAMP:20260427T023646 CREATED:20250210T133623Z LAST-MODIFIED:20250305T193529Z UID:10000145-1741629600-1741635000@blogs.bard.edu SUMMARY:Book Launch: Juliana Steiner - Ecotone DESCRIPTION:Ecotono: revoluciones silenciosas (Ecotone: Silent Revolutions) is an editorial and research project that compiles the reflections of the curatorial project Ecotone: Chagras\, Payaos\, Camellones\, as part of Common Ground\, the 2022–23 edition of the Fisher Center LAB at Bard College. Through diverse voices and territories\, different food technologies in Colombia and their uses as alternative means of cultural and environmental conservation are explored. It is a compendium of interdisciplinary and participatory projects and actions that bring together different forms of knowledge\, ranging from the visual arts\, archaeology\, history\, architecture\, activism\, pedagogy\, heritage management\, and agriculture\, all the way to conservation. \n \n  URL:https://blogs.bard.edu/chra/event/book-launch-juliana-steiner-ecotone/ LOCATION:Barringer House\, 1442 Annandale Rd\,\, Annandale-On-Hudson\, NY\, 12504\, United States CATEGORIES:Launch Event ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2025/02/KANASTO-KOSMICO_IMAGE-1-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250307T120000 DTEND;TZID=America/New_York:20250307T133000 DTSTAMP:20260427T023646 CREATED:20250210T125542Z LAST-MODIFIED:20250227T151132Z UID:10000144-1741348800-1741354200@blogs.bard.edu SUMMARY:Amar Kanwar: The Scene of Crime DESCRIPTION:Amar Kanwar’s films and multi-media works explore the politics of power\, violence\, and justice. His multi-layered installations originate in narratives often drawn from zones of conflict and are characterized by a unique poetic approach to the personal\, social\, and political. In this talk\, Kanwar will present his learnings\, doubts\, and inadequacies in dealing with evidence of violence through artistic practice. He will demonstrate how\, as he navigates through various scenes of crime\, both in the context of India and internationally\, he responds to and comprehends traces of violence using images\, sound\, and text. \nImagine the morning newspaper\, headlines in couplets\, black and white but in verse. Imagine that constellation of words. Truth as told by the stars and birds. Translated by bread and transcribed by daughters. \n\nImagine the clash of silences\, the sting and honey of the bee\, and the lamenting obituary.  \nImagine night as day and day as night\, the moon as witness\, and the sun as a doctor. Nurses as editors\, poets as reporters\, and the village balladeer the week’s ombudsman. Imagine traitors as lovers\, outlaws as fathers\, and renegades as poets.\nImagine talking curtains and storyteller tiffin boxes. Imagine columns becoming cups and rows becoming dogs. Mountain dogs\, river dogs\, factory dogs\, gutter dogs\, tree dogs\, and kitchen sink dogs.  \nImagine the color of that grey.\nImagine the formal presentation of poetry as news of the day.\nImagine the formal presentation of poetry as evidence in a future war crimes tribunal. URL:https://blogs.bard.edu/chra/event/amar-kanwar-the-scene-of-crime/ CATEGORIES:Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2025/02/amar-kanwar-photo-3-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241210T174500 DTEND;TZID=America/New_York:20241211T130000 DTSTAMP:20260427T023646 CREATED:20241202T163203Z LAST-MODIFIED:20241202T192409Z UID:10000143-1733852700-1733922000@blogs.bard.edu SUMMARY:Elegies: First-Year MA Student Microfestival DESCRIPTION:CHRA presents Elegies\, a microfestival of artwork created by the first-year M.A. students in Human Rights & the Arts\, as part of The Politics of Interactive Art course taught by Tania El Khoury. The two-day microfestival on December 10th and 11th takes place throughout the campus and includes interactive installations\, performances\, and sound work. \nSchedule Below. \nTuesday\, December 10\, 2024 \nLearning Isabel or “everything I cannot tell you” by João Felipe R. Ferreira \nBard Chapel \n5:45pm \n  \nNegative Exposure by Mahmoud El Safadi \nMassena Campus \n6:30pm \n  \nLILA by Nádia Yracema \nMassena Campus \n7:30pm \n  \nOpus 1: because we are afraid by Mona Benyamin \nStudio North\, Fisher Center \n8:30pm  \n  \nWednesday\, December 11\, 2024 \nTick Drag by Lubnah Ansari \nBlithewood Lawn \n10:00am \n  \nEcosystem Plot Twists by Tara Rodríguez Besosa  \nBlithewood Lawn \n10:30am \n  \nThrough My Window by Omayma Sbeih \nGilson Place \n11:30am \n  \nInterwoven by Selo \nExperimental Humanities \n1:00pm \n  URL:https://blogs.bard.edu/chra/event/elegies-microfestival/ LOCATION:Multiple Venues Across Bard Campus\, 30 Campus Rd\, Annandale-On-Hudson\, NY\, 12504\, United States CATEGORIES:Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/12/Elegies_1@2x.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241203T193000 DTEND;TZID=America/New_York:20241203T213000 DTSTAMP:20260427T023646 CREATED:20241126T171032Z LAST-MODIFIED:20241128T152357Z UID:10000142-1733254200-1733261400@blogs.bard.edu SUMMARY:It Will Be Chaos (2018): A screening and discussion with the filmmakers DESCRIPTION:Film by Lorena Luciano and Filippo Piscopo. \nSet against the backdrop of the worst European migrant crisis since WWII\, It Will Be Chaos unfolds between Italy and the Balkan corridor. Five years in the making\, the film features two refugee stories of human strength while capturing in real time the escalating tension between newcomers and locals. The cinema vérité documentary intertwines the harrowing journey of Aregai\, an Eritrean shipwreck survivor fleeing his country’s dictatorship\, with the story of Wael\, embarking on a life-threatening trip to bring his Syrian wife and four kids to safety in Germany. \nFollowed by a Q&A with the filmmakers and Franco Baldasso (Italian) and Ziad Dalal (MES).  \nThe event is co-sponsored by The Office of Development and Alumni/ae Affairs\, the Italian Program\, the Middle Eastern Studies Program\, and the Human Rights Program. URL:https://blogs.bard.edu/chra/event/it-will-be-chaos/ LOCATION:Olin 102 CATEGORIES:Panel,Screening ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/11/Online.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241119T180000 DTEND;TZID=America/New_York:20241119T193000 DTSTAMP:20260427T023646 CREATED:20241106T191321Z LAST-MODIFIED:20241106T191321Z UID:10000141-1732039200-1732044600@blogs.bard.edu SUMMARY:Book Launch: Alarm Phone DESCRIPTION:CHRA’s collaboration with Alarm Phone (AP) through the Activism in Process program has culminated in a book by AP activists\, marking ten years of the network’s life-saving work. The publication offers intimate reflections on AP’s activism across diverse geographical contexts. Ranging in visual and written expressions from collages to illustrations and photographs\, the multilingual publication offers insight into how AP navigates the political realities of migration in the Mediterranean Sea. Through affect\, personal narratives\, and experiential knowledge as essential elements of their praxis\, the publication is designed to simultaneously offer glimpses about AP’s mission and exist as a time capsule for past\, present\, and future members of the activist network. \nThe book launch will include a discussion with Elian Weber\, Lara Dade\, and Leil Zahra Mortada. \nCo-Sponsored by The Human Rights Project URL:https://blogs.bard.edu/chra/event/book-launch-alarm-phone/ LOCATION:Barringer House\, 1442 Annandale Rd\,\, Annandale-On-Hudson\, NY\, 12504\, United States CATEGORIES:Launch Event,Panel ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/11/ALARM-PHONE-BOOK-LAUNCH.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241108T123000 DTEND;TZID=America/New_York:20241108T140000 DTSTAMP:20260427T023646 CREATED:20240902T174041Z LAST-MODIFIED:20241106T190717Z UID:10000136-1731069000-1731074400@blogs.bard.edu SUMMARY:Brenna Bhandar - The Racial Politics of Pre-Emption: Property\, Power and Deputization DESCRIPTION:Land dispossession in settler colonies was rooted in the assertion of colonial sovereignty\, which empowered settlers to re-territorialize Indigenous lands and create a regime of private ownership. This talk explores the land law doctrine of pre-emption\, which was a key modality of Indigenous land dispossession in British Columbia and throughout North America. It examines the nature of power that the state bestowed upon individual settlers to perform property even before they were bona fide owners. This particular land law doctrine elucidates the relationships between legality and illegality\, and law and violence\, in the making of racial regimes of ownership. Moderated by Adam HajYahia. \nThe event is co-sponsored by Bard Architecture and the Center for Indigenous Studies. URL:https://blogs.bard.edu/chra/event/brenna-bhandar-pre-emption/ LOCATION:Webinar CATEGORIES:Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/09/Brenna-7-3-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241031T103000 DTEND;TZID=America/New_York:20241031T120000 DTSTAMP:20260427T023646 CREATED:20240912T202730Z LAST-MODIFIED:20240927T140101Z UID:10000140-1730370600-1730376000@blogs.bard.edu SUMMARY:One Year On: War\, Genocide\, and the Transformation of Palestinian\, Israeli\, and Regional Politics DESCRIPTION:Online Panel by Tareq Baconi\, Aslı Ü. Bâli\, and Shay Hazkani \nModerated by Ziad Abu-Rish \nThis panel explores how the Hamas-led attack on October 7 and the Israeli war on Gaza have changed and intensified specific dynamics shaping Palestinian\, Israeli\, and regional/international politics. Taking seriously that history did not begin on October 7\, and that the level of death\, displacement\, and destruction in Gaza caused by the Israeli military has raised the specter of genocide\, this panel moves beyond adjudicating the nature of the war to interrogate its reverberations\, reflections\, and consequences for Palestinian\, Israeli\, and regional politics. Where does Hamas stand strategically vis-a-vis its objectives\, other Palestinian factions\, and the Palestinian people? What social\, demographic\, and institutional transformations are taking place within the Israeli state and society? In what ways is the regional and international order fundamentally different or affected by the past year? Examining strategic\, institutional\, and discursive elements\, this panel features some of the leading scholars and critical analysts on these and many other questions. \n  \n  \nTareq Baconi is the author of Hamas Contained: A History of Palestinian Resistance. He is president of the board of Al-Shabaka: The Palestinian Policy Network and is currently a research fellow at the Centre for Humanities Research\, University of the Western Cape. \nAslı Ü. Bâli is a Professor of Law at Yale Law School. Her research interests include public international law — particularly human rights law and the law of the international security order — and comparative constitutional law\, with a focus on the Middle East. She has written on the nuclear non-proliferation regime\, humanitarian intervention\, the roles of race and empire in the interpretation and enforcement of international law\, the role of judicial independence in constitutional transitions\, federalism and decentralization in the Middle East\, and constitutional design in religiously divided societies. Bâli received her doctorate in Politics from Princeton University in 2010 and her law degree from Yale. Before joining Yale she was Professor of Law at UCLA\, Director of the UCLA Center for Near Eastern Studies\, and Founding Faculty Director of the Promise Institute for Human Rights. She currently serves as President of the Middle East Studies Association of North America.  \nShay Hazkani is an Associate Professor of History and Jewish Studies at the University of Maryland\, College Park. He specializes in the social and cultural history of Palestine/Israel. His first book\, Dear Palestine: A Social History of the 1948 War (Stanford University Press\, 2021)\, received the Korenblat and Azrieli-Concordia book awards and was longlisted for the Cundill History Prize. The book was also published in Hebrew and is forthcoming in Arabic in 2025. Shay is the co-creator of The Soldier’s Opinion\, a documentary based on his research\, which won the 2023 American Historical Association John E. O’Connor Film Award. He earned his PhD in History and Judaic Studies from New York University and holds a Master’s in Arab Studies from Georgetown University. Before his academic career\, Shay worked as a journalist in Israel\, covering the occupied Palestinian territories and the Israeli military. \nZiad Abu-Rish (Moderator) is Associate Professor of Human Rights and Middle East Studies at Bard College\, where he also directs the MA Program at the Center for Human Rights and the Arts. A historian by training\, Ziad also serves as co-editor of the online platform Jadaliyya and the peer-reviewed Arab Studies Journal. URL:https://blogs.bard.edu/chra/event/one-year-on-war-genocide-2/ LOCATION:Webinar CATEGORIES:Panel,Talk ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/09/AAA_web.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241008T180000 DTEND;TZID=America/New_York:20241008T193000 DTSTAMP:20260427T023646 CREATED:20240902T172508Z LAST-MODIFIED:20241007T015535Z UID:10000135-1728410400-1728415800@blogs.bard.edu SUMMARY:Ariella Aïsha Azoulay: Unlearning at the Threshold of the Museum DESCRIPTION:Ariella Aïsha Azoulay invites the audience to stay at the threshold of the museum in order to recognize the impossibility of decolonizing museums without decolonizing the world. Refusing to study what was plundered as mere objects as museums command us to do\, but rather as evidence of a destroyed world\, Azoulay decenters the category of ‘restitution\,’ and proposes to understand plunder as communal remains. Azoulay weaves the plunder of objects stolen from Jews in Europe – and their partial restitution within the broader picture of European plunder from other places\, among them from the world of her ancestors in the Maghreb\, from Palestine\, and West Africa\, in an attempt to undo the exceptionalization of “the Jews” which continues to serve Euro-American’ imperial interests on a global scale. \nModerated by Lara Fresko Madra. URL:https://blogs.bard.edu/chra/event/ariella-aisha-azoulay-unlearning-at-the-threshold-of-the-museum/ LOCATION:RKC 103\, Bard College\, Campus Road\, Annandale-on-Hudson\, NY\, 12504\, United States CATEGORIES:Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/09/Ariella-Portrait.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241001T070000 DTEND;TZID=America/New_York:20241001T210000 DTSTAMP:20260427T023646 CREATED:20240912T161243Z LAST-MODIFIED:20240912T161307Z UID:10000139-1727766000-1727816400@blogs.bard.edu SUMMARY:Film Screening: Unlearning Imperial Plunder (I & II) Ariella Aïsha Azoulay DESCRIPTION:Unlearning Imperial Plunder I \nUn-Documented is a film essay on the strong connection between the plundered objects in European museums and the calls of asylum seekers trying to enter the countries of their former European colonizers. The film treats these two subjects as ones of twinned migrations. The rights of the “undocumented” are inscribed in the plundered objects themselves: colonizers stole not just statues\, but rights inscribed in objects. Yet\, the statues still live—and can be reclaimed with the rights inscribed in them renewed. \nUnlearning Imperial Plunder II \nThe world like a jewel in the hand travels over open books\, looted objects\, and postcards to look for the imperial foundations of the world in which we live. Instead of accepting the verdict and treating these documents as sealed or objects as pieces of art and relics of “history\,” the film presents them as invitations to resistance\, reinterpretation\, and reclamation of a world deemed “lost.” Narrated in the first person\, the film refuses to succumb to imperial histories while focusing on the destruction of the Jewish Muslim world that existed in North Africa. URL:https://blogs.bard.edu/chra/event/film-screening-unlearning-imperial-plunder/ LOCATION:Preston Theater CATEGORIES:Screening ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/09/HRP_AAA_01.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240429T180000 DTEND;TZID=America/New_York:20240429T190000 DTSTAMP:20260427T023646 CREATED:20240417T144251Z LAST-MODIFIED:20240424T185119Z UID:10000134-1714413600-1714417200@blogs.bard.edu SUMMARY:Practicing Recovery: An Introduction to the Lifesaving Work of Alarm Phone DESCRIPTION:Alarm Phone (AF) is an activist network operating in Europe and Northern Africa\, running a self-organized hotline for refugees and migrants in distress in the Mediterranean Sea since 2014. AF’s primary goal is to give people on the move who are in distress an additional SOS option. AF alerts government authorities to SOS calls and to their rescue obligations\, works to mobilize additional rescue support in real-time\, and pressures responsible entities to prevent push-backs and human rights violations against people on the move. AF is an all-volunteer network that aims to create a Mediterranean space of mutual solidarity by responding to ongoing border violence and human rights violations and advocating for a world without deadly borders. Alarm Phone is also one of the two collaborators in CHRA’s Activism in Process program for this year. \nThis presentation will allow us all to: \n\nLearn about the history and mission of Alarm Phone.\nUnderstand some of the challenges faced by people on the move.\nGain insight into the harsh realities of border violence.\nHear firsthand accounts from Alarm Phone members.\nExplore ways in which you can contribute to and support the crucial work of Alarm Phone.\n\n  \n\nMore information: alarmphone.org URL:https://blogs.bard.edu/chra/event/practicing-recovery-an-introduction-to-the-lifesaving-work-of-alarm-phone/ LOCATION:Olin 202\, Campus Rd.\, Annandale-On-Hudson\, New York\, United States CATEGORIES:Artist Presentation ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/04/alarm-phone-social-media1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240419T150000 DTEND;TZID=America/New_York:20240428T190000 DTSTAMP:20260427T023646 CREATED:20240408T201016Z LAST-MODIFIED:20240424T145731Z UID:10000133-1713538800-1714330800@blogs.bard.edu SUMMARY:Material As Witness: Thesis Exhibition of the MA in Human Rights & the Arts 2024 DESCRIPTION:The MA Program at the Center for Human Rights & the Arts is pleased to announce Material As Witness\, the thesis exhibition of the MA in Human Rights & the Arts\, Class of 2024. \nMaterial As Witness is taking place April 19–28 at Massena Campus\, with one installation performance at Blithewood Lawn. The exhibition features installations\, live performances\, and written works by the graduating cohort. The artistic\, academic\, and hybrid theses are all based on original research by students. They make interventions at both the analytic and methodological levels of analysis.  \nAccessing Massena Campus\nMassena Campus is located at 30 Seminary Dr\, Barrytown\, NY 12507\, and has available parking. In addition\, shuttle service from and back to South Kline Shuttle Stop will depart Annandale at 3 pm\, 4 pm\, 5 pm\, and 6 pm (with the last return from Massena at 7:15 pm). \n  \nInstallations & Reading Room Schedule\nMassena Campus & Blithewood Lawn\, Bard College\, April 19-28\, 3:00 pm – 7:00 pm \n  \nPerformance Schedule\nFriday April 19\, Saturday April 20\, Saturday April 27\, and Sunday April 28. \n  \nThe Sanguinary Cradle: Cutha\nBy Ciko Sidzumo\n5 pm – 7 pm (durational\, no need for reservations.) \nThe Narratives of The Moths\nBy Laila Sharif\n3 pm – 7 pm (durational\, no need for reservations.)\nWhere Do We Meet The Sun?\nBy Raneem Ayyad\n3:45 pm\, 5:00 pm\, 5:45 pm (20 minutes) Booking: bit.ly/meet-sun\n\nWho Needs AI\, We Need Potatoes\nBy Aya Rebai\n3:30 pm\, 5:30 pm (25 minutes) Booking: bit.ly/AI-potatoes\nვითომ-ვითომ [Vitom-Vitom]\nBy Luka Gotsiridze\n6 pm (35 minutes) Booking: bit.ly/vitom-vitom\n\nShroud[ed]: MH17\nBy Nestor Rotsen\nSaturday 27 only\, 8:30 pm\, (35 minutes\, no need for reservations.)\n  \nThesis Project Abstracts \nCamera as Kalashnikov: The Ideology and Visual Aesthetics of Palestinian Armed Resistance (1968–1982)\nMayss Al Alami\nCamera as Kalashnikov is a written thesis that explores the films of the Palestinian revolution between 1968 and 1982\, with a particular focus on films by the Palestine Film Unit (PFU). The thesis investigates what the visual aesthetics of armed resistance in the films tell us about the political ideology of the revolution. It approaches the films within two primary contexts: the regional and global efforts to displace\, disarm\, and pacify the Palestinian resistance after the 1967 Naksa\, and its exilic condition in Jordan and Lebanon. Through close readings of selected scenes\, Camera as Kalashnikov is inspired by the films’ visual materiality to explore the recurrent figure of the Kalashnikov as a complex device that links the filmic struggle for self-representation with the militant struggle for liberation in exile. \nDesigned by Our Hands\nAnas Al-Khatib\nDesigned by Our Hands is an architectural design manual and research article investigating the space-making agency in the Dheisheh Refugee Camp in Bethlehem\, Palestine. Through tracing the spatial transformations of four generations of toilets\, the booklet documents the histories of construction practices\, tools\, and technologies in the camp. This work also offers a design toolkit by refugees for other refugees. \nThe “Banality” of Photographs: Critical Analysis of Photographic Practices in Russian Turkestan\nGuzal Alimova\nThis written thesis explores the images of women from the Turkestan Album (1871–1872) and Hugues Krafft’s A Travers le Turkestan Russe (1902). In doing so\, it challenges the hegemonic knowledge production on the presentation of images produced in unequal power relations. By looking at photographs of Turkestani women produced during the reign of the Russian Empire\, it addresses the question of agency\, marginal resistance\, exploitation of body and mind\, and the exotification of culture and religion. The research responds to the lack of adequate attention in existing Central Asian postcolonial studies to engage with the nuances and complexities embedded within photographs\, calling for a more critical and subject-oriented analysis of visual representations in the region’s historical and contemporary contexts.\n \nWhere Do We Meet The Sun?\nRaneem Ayyad\nWhere Do We Meet The Sun? is an interactive installation and research article investigating the interconnectedness of vitamin D deficiency and urban planning in the city of Al-Zarqa in Jordan where the artist grew up. The audience is invited to explore the everyday life of three women living in residential apartments by following the voice in mundane domestic objects. The project is based on one-to-one collaborations with three housewives through a participant observation method called “follow the mop\,” in which the artist joins everyday cleaning chores while recording brief encounters with sunlight. Where Do We Meet The Sun examines natural light as a medium of regulation\, gender discrimination\, and illness enforced by the neoliberal mass-produced housing.\n \nვითომ-ვითომ [Vitom-Vitom] \nLuka Gotsiridze\nვითომ-ვითომ [Vitom-Vitom] is an interactive performance exploring personal accounts of resistance to the normative gender roles that are ingrained in and performed as part of the Georgian national identity. The audience is invited to a traditional Supra table\, disrupted by imaginative childhood play. Through paper-cut characters\, food\, and polyphonic singing\, the artist reclaims his childhood position at the table while examining the notions of cultural belonging and queer spacemaking.\n \nIn Search of Adonis_XXX\nImmanuel J.\nIn Search of Adonis_XXX is a multichannel video installation depicting imagery from Immanuel J.’s inquiry of Black gay male sexuality in the digital age. J. took on a hypermasculine queer digital persona on the social media platform X. The installation reconstructs visual and sonic motifs of their time spent in erotic chat rooms and on social media to ponder the relationship between Black Gay men’s sexual fantasies and power. During an epidemic of increasing isolation and loneliness\, these queer erotic spaces and subversive sexual bonding rituals provide reprieve to the throes of racial capitalism and the toll it takes on the Black body. By leaning into the cannibalistic consumption of Black flesh\, these men dawn personas informed by the pain of state-sanctioned violence. Adonis_XXX tells the story of the pleasure found within Black (dis)empowerment. \nNo One Has Stayed And No One Has Left\nK.\nThis multimedia installation delves into domestic and international reverberations from Russia’s ongoing invasion of Ukraine. It follows the war-induced migration from Russia and explores an insurgent border between Saint Petersburg\, Russia\, and Tbilisi\, Georgia. Through engaging with text\, images\, and film\, the audience is invited to reflect on the dialectical relationship between mobility and immobility\, voice and silence\, complicity and dissent in the context of war\, imperialism\, and state violence. \nCultural Politics and National Imaginaries in Soviet and Post-Soviet Kyrgyzstan\nMariia Pankova\nThis written thesis examines how the formation of Kyrgyz national identity has been shaped by the intersection of cultural institutions\, visual culture\, and grassroots artistic initiatives. The research focuses on transformations of national discourse since Kyrgyzstan’s independence from the Soviet Union in 1991. It explores Soviet legacies in mediating the national imaginary through structures of knowledge and cultural production. By examining visual symbols appropriated in the project of national storytelling\, the research draws connections between the creation of national myths and their physical manifestation in material culture. This project documents recent artistic and activist interventions in public institutions that aim to question the dominant discourses shaping national identity. \nWho Needs AI\, We Need Potatoes\nAya Rebai\nWho Needs AI\, We Need Potatoes is an interactive performance installation set in a mobile farmstand with homegrown sentient plants. This multi-sensory experience is based on research on biohacking\, object-oriented ontology and speculative design. The audience is invited to encounter different smart beings and to reflect on the role of new technology in disrupting the Anthropocene. This live art project comments on human exceptionalism and its overlook on the more-than-human world.  \nBehind the Tanks: The Politics and Aesthetics of Water Tanks in Palestine\nJina Rishmawi\nThis written thesis investigates the cultural and political meanings behind water tanks in the occupied West Bank and Gaza. It explores the centrality of a discourse around water—”making the desert bloom”—to the Zionist project\, and the importance of struggles over access to water supplies in the period after 1948. The water tanks that are a ubiquitous feature of the built environment in Palestine emerge as both a symbol of occupation and as a physical key to deciphering its logic and tactics. Water tanks have become slow\, violent tools that generate and expose deep problems in the urban landscape of the occupied territories. At the same time\, they symbolize the possibilities of resistance in the most basic elements of everyday life in Palestine. \nThe Narratives of The Moths\nLaila Sharif\nThe Narratives of The Moths is an interactive installation inspired by the ongoing struggle of the Grandmothers of Plaza De Mayo activist group from Argentina\, who are searching for their “lost” grandchildren and the truth about the fate of their forcibly “disappeared” children. The work uses the centuries-old mindful practice of folding origami paper sculptures\, to create space for collective memory and grief for victims of state-terror. The artist invites the audience to join her at a work table\, folding origami from archival documents from Argentina and daily news of violence from around the globe. The archive is based on research linked to the use of DNA as a tool to identify the victims of forced disappearance.\n \nThe Sanguinary Cradle: Cutha\nCiko Sidzumo\nThe Sanguinary Cradle: Cutha is an audio installation and movement-based performance exploring menstrual pain and intergenerational somatic relief techniques. The piece is informed by activism on period poverty in the Global South as well as findings from clinical trials and dance research on the mitigation of menstrual pain. During the performance\, the audience is invited to engage in exercises of collective somatic care based on the artist’s own exploration of her body in pain through the use of breath-work\, vocal dexterity\, Trauma Release Exercise\, and undulation. Beyond the performance\, the installation space is open to the public as a space for reflection\, grounding\, and introspective movement. \n\nShroud[ed]: MH17\nNestor Rotsen\nShroud[ed]: MH17 is a multimedia project centered on the terrorist attack on Malaysian Airlines MH17\, shot down by Russian-backed separatists in Eastern Ukraine in 2014. Beginning with 30 photographs taken during field research in Southeast Asia\, the work unfolds into an investigative installation\, to be concluded with a fashion performance showcasing 30 garments based on the victims’ stories. The project explores the repercussions of the Russian regime’s imperialist desires\, the profound impact of the loss of 298 victims from 10 different countries\, and the important recognition that the Russian war crimes in Ukraine started way before the 2022 invasion.  URL:https://blogs.bard.edu/chra/event/material-as-witness/ LOCATION:Massena Campus\, Barrytown\, 30 Seminary Dr\, Barrytown\, NY\, 12507 ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/04/thesis-final-post-socials-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240405T110000 DTEND;TZID=America/New_York:20240405T133000 DTSTAMP:20260427T023646 CREATED:20240325T150620Z LAST-MODIFIED:20240325T153211Z UID:10000132-1712314800-1712323800@blogs.bard.edu SUMMARY:Open Studios: Works in progress by first-year students in the MA in Human Rights & the Arts DESCRIPTION:First-year MA students at the Center for Human Rights and the Arts present works in progress developed in their core requirement in art making\, co-taught by artist Robin Frohardt and artist and CHRA alum Oscar Gardea. These works engage with the expressive potential of everyday objects\, transforming found materials such as waste into artworks. Using puppetry\, masks\, shadows\, and cardboard\, the students demonstrate how simplicity and precarity in materials can offer powerful tools and forms of storytelling. \n  \nTransportation: Parking is available on the Massena campus for the duration of this event. For those without access to a car\, the CHRA-Massena Shuttle will offer transportation to Bard students\, staff\, and faculty between Kline Bus Stop (Southbound) and the Massena Campus Roundabout. The shuttle departs the Annandale campus at 9:40 a.m. and 10:00 a.m. and departs the Massena campus at 1:30 p.m. and 1:50 p.m. Any and all persons riding Bard Shuttles must be Bard students\, faculty\, or staff members with a valid and legible Bard ID.  \n  \n  URL:https://blogs.bard.edu/chra/event/17073/ LOCATION:Massena Campus\, Barrytown\, 30 Seminary Dr\, Barrytown\, NY\, 12507 CATEGORIES:Student Projects ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/03/phone-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240326T180000 DTEND;TZID=America/New_York:20240326T200000 DTSTAMP:20260427T023646 CREATED:20240123T194046Z LAST-MODIFIED:20240325T152616Z UID:10000128-1711476000-1711483200@blogs.bard.edu SUMMARY:Argyro Nicolaou: Unsettled DESCRIPTION:Unsettled is a lecture performance by scholar and filmmaker Argyro Nicolaou that explores the fast-changing landscapes of an island under occupation and her attempts to reconstruct her mother’s past. \nThe town of Varosha on the eastern coast of Cyprus\, where Nicolaou’s mother is from\, was fenced off by the occupying Turkish military for 46 years. Since the Greek-backed coup d’etat and Turkish invasion of 1974 that divided the island and displaced a third of its population\, Varosha was neither settled nor demolished. It turned into a “ghost town”. \nIn 2006\, a family friend entered the town undetected\, snuck into the family’s ancestral home\, and recovered a childhood diary that belonged to Nicolaou’s mother. This was the closest Nicolaou came to witnessing her mother’s life before she was displaced\, until October 2020\, when the Turkish military opened Varosha to the public\, and the two women were able to visit the town together for the first time. \nPhoto by Nour Annan URL:https://blogs.bard.edu/chra/event/nicolaou-unsettled/ LOCATION:Weis Cinema\, Bard College\, 30 Campus Rd\, Annandale-on-Hudson\, NY ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/01/Mood-Image-Excavators-BTalents.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240308T120000 DTEND;TZID=America/New_York:20240308T140000 DTSTAMP:20260427T023646 CREATED:20240131T210337Z LAST-MODIFIED:20240216T202742Z UID:10000131-1709899200-1709906400@blogs.bard.edu SUMMARY:Molemo Moiloa: Becoming Ungovernable DESCRIPTION:Molemo Moiloa discusses the notion of becoming ungovernable in an effort to tap into our capacities to form new worlds in times of collapse. She shares her interdisciplinary contemporary practice\, which centers on land justice and heritage restitution\, anchored in South Africa’s histories of resistance and world-building. The talk discusses developing strategies for collective and collaborative processes and forms of knowledge. Building from localized and indigenous understandings\, Moiloa draws on the deep connection with and guidance from other parts of the African continent. Moderated by José Luis Falconi (University of Connecticut).  \nHeadshot Courtesy of Shamase Studios; Illustration Courtesy of Common Life publication 2022\, From Kër Thiossane\, Dakar\, Senegal\, by the ungovernable. URL:https://blogs.bard.edu/chra/event/becoming-ungovernable/ LOCATION:Webinar CATEGORIES:Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/01/profileMMoiloa.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240226T180000 DTEND;TZID=America/New_York:20240226T193000 DTSTAMP:20260427T023646 CREATED:20240124T203705Z LAST-MODIFIED:20240124T205501Z UID:10000129-1708970400-1708975800@blogs.bard.edu SUMMARY:Robin Frohardt: Magic of the Mundane DESCRIPTION:In Magic of the Mundane\, artist Robin Frohardt traces the development of her multidisciplinary practices. From puppet shows to short films and immersive theater\, Frohardt discusses how she uses mundane concepts and discarded materials to formulate complex ideas\, imbuing the trappings of late-capitalism with playfulness and magic. She also shares the role of humor in her work and her attempts to balance hope and despair in a world where the environmental apocalypse is omnipresent. \nCo-hosted by OSUN Center for Human Rights & the Arts at Bard College (CHRA) & the Theater and Performance Program at Bard\, and moderated by Gideon Lester. \nArtist Headshot by Maria Baranova; Work image courtesy of the artist. URL:https://blogs.bard.edu/chra/event/robin-frohardt-magic-of-the-mundane/ LOCATION:Fisher Center\, Resnick Studio CATEGORIES:Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2024/01/Plastic_Bag_Store_TS_Baranova-6348-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240213T173000 DTEND;TZID=America/New_York:20240213T193000 DTSTAMP:20260427T023646 CREATED:20240131T155420Z LAST-MODIFIED:20240131T213514Z UID:10000130-1707845400-1707852600@blogs.bard.edu SUMMARY:In Our Thousands\, In Our Millions: Cultural Censorship and Anti-Colonial Solidarity with Palestine DESCRIPTION:While streets around the world remain sites of mobilization and solidarity for Palestine\, many cultural institutions have chosen to reproduce colonial politics of repression. They employ intimidation\, using the cancellation or disruption of large and small exhibitions\, film festivals\, and biennials that showcase Palestinian and pro-Palestinian artists to suppress critical dialogue. In response to this silencing\, many artists have pulled their work\, protesting the complicity of art institutions and the attempted erasure of anti-colonial solidarity. \n“In Our Thousands\, In Our Millions: Cultural Censorship and Anti-Colonial Solidarity with Palestine” is a panel discussion with artist and educator Samia Halaby (on recorded video)\, Anishinaabe-kwe curator\, writer\, and organizer Wanda Nanibush\, artist and filmmaker John Halaka\, and moderated by Sarah Biscarra Dilley\, Director of Indigenous Programs and Relationality at Forge Project.  \nThe event is co-hosted by the OSUN Center for Human Rights & The Arts at Bard College and Forge Project in response to the current climate in the global art world from Indigenous and Palestinian perspectives. The conversation leans into notions of collective responsibility\, creative kinship\, narrative sovereignty\, and the necessity of new alliances in an art world that increasingly bends to the politics of their governments and the market.  \n* This conversation will be recorded but not live-streamed. URL:https://blogs.bard.edu/chra/event/in-our-thousands/ LOCATION:RKC 103\, Bard College\, Campus Road\, Annandale-on-Hudson\, NY\, 12504\, United States CATEGORIES:Panel ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2024/01/CHRA_social_clean-7.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231212T103000 DTEND;TZID=America/New_York:20231212T170000 DTSTAMP:20260427T023646 CREATED:20231212T135245Z LAST-MODIFIED:20231222T100541Z UID:10000127-1702377000-1702400400@blogs.bard.edu SUMMARY:Un/Besieged: First-Year MA Student Microfestival DESCRIPTION:CHRA presents Un/Besieged\, a microfestival of artwork created by the first-year M.A. students in Human Rights & the Arts\, as part of The Politics of Interactive Art course taught by Tania El Khoury. The two-day microfestival on December 11th and 12th takes place throughout the campus\, and includes interactive  installations\, performances\, and sound work. \nSchedule below. \nMonday\, December 11th\nReturn to Sender by Sarah Al-Yahya\nCampus Center 6:00pm  \nLaundering “Hpone” by Pyae Phyo Aung\nBard Chapel 6:30pm \nFood Grab by Sariyah Abuzant\nResnick Studio\, Fisher Center 7:00pm  \n  \nTuesday\, December 12th:\nThis Is How the Besieged Play by Nabil Salih\nBard Athletic Field\, 10:30am \nUndesirable Bingo by Arina Pshenichnaya\nBarringer House 11:00am \nLast seen on 23 June 1611 by Leil Zahra Mortada\nBlithewood Lawn 1:30pm  \nSunken Ground by Elie Arden\nBlithewood Lawn 2:00pm  \nOut of Tune\, Out of Time\, Out of Here by Mauro Tosarelli\nBard Chapel 3:00pm \nSpirality by Miguel Angel Castañeda Barahona\nBard Farm 4:00pm URL:https://blogs.bard.edu/chra/event/unbesieged-microfestival-2023-3/2023-12-12/ LOCATION:Bard College\, 30 Campus Road\, Annandale-On-Hudson\, NY CATEGORIES:Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2023/09/instagram-post.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231211T180000 DTEND;TZID=America/New_York:20231211T200000 DTSTAMP:20260427T023646 CREATED:20231212T135245Z LAST-MODIFIED:20231222T100541Z UID:10000124-1702317600-1702324800@blogs.bard.edu SUMMARY:Un/Besieged: First-Year MA Student Microfestival DESCRIPTION:CHRA presents Un/Besieged\, a microfestival of artwork created by the first-year M.A. students in Human Rights & the Arts\, as part of The Politics of Interactive Art course taught by Tania El Khoury. The two-day microfestival on December 11th and 12th takes place throughout the campus\, and includes interactive  installations\, performances\, and sound work. \nSchedule below. \nMonday\, December 11th\nReturn to Sender by Sarah Al-Yahya\nCampus Center 6:00pm  \nLaundering “Hpone” by Pyae Phyo Aung\nBard Chapel 6:30pm \nFood Grab by Sariyah Abuzant\nResnick Studio\, Fisher Center 7:00pm  \n  \nTuesday\, December 12th:\nThis Is How the Besieged Play by Nabil Salih\nBard Athletic Field\, 10:30am \nUndesirable Bingo by Arina Pshenichnaya\nBarringer House 11:00am \nLast seen on 23 June 1611 by Leil Zahra Mortada\nBlithewood Lawn 1:30pm  \nSunken Ground by Elie Arden\nBlithewood Lawn 2:00pm  \nOut of Tune\, Out of Time\, Out of Here by Mauro Tosarelli\nBard Chapel 3:00pm \nSpirality by Miguel Angel Castañeda Barahona\nBard Farm 4:00pm URL:https://blogs.bard.edu/chra/event/unbesieged-microfestival-2023-3/2023-12-11/ LOCATION:Bard College\, 30 Campus Road\, Annandale-On-Hudson\, NY CATEGORIES:Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2023/09/instagram-post.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231128T170000 DTEND;TZID=America/New_York:20231128T190000 DTSTAMP:20260427T023646 CREATED:20230918T215110Z LAST-MODIFIED:20231205T184520Z UID:10000116-1701190800-1701198000@blogs.bard.edu SUMMARY:Juliana Steiner: Writing as Sowing\, Reading as Eating DESCRIPTION:Juliana Steiner is an independent curator and researcher from Bogotá interested in interdisciplinary practices in contemporary art that incorporate social sciences\, pedagogy\, architecture and long-term projects with communities. Her research focuses on more-than-human species\, environmental justice and the transformations of landscapes. She is the co-founder and artistic director of La Reserva Guatoc\, a multidisciplinary residency in Barichara that seeks to create critical thinking through experimental forms in a cross-territorial dialogue between Latin America and the Caribbean. She also co-founded Espacio Odeón\, a contemporary arts center housed in an abandoned landmark movie theater in Bogotá’s city center. Juliana has taught at the Universidad de Los Andes and is currently a Fellow at the Center for Human Rights and the Arts at Bard College.   \n \nCHRA Fellow Juliana Steiner presents an immersive sound installation at the Bard Farm\, followed by a dinner and conversation.  \nThe sound installation Entre la danza y el Mambeo was created with members of the Ruak+ Jafaik+ and Kanasto de Abundancia collectives\, based in the north-east Amazon of Colombia\, in collaboration with Tomsatyba-Reserve Richard Decaillet. The sounds are offerings to the land and function as natural fertilizers.  \nJuliana will share findings from a forthcoming book that grew out of Ecotone\, her curatorial project created in Colombia as part of Common Ground\, a festival on the politics of land and food\, initiated by the Fisher Center at Bard\, and supported by CHRA. \nThe meal\, Envolviendo la Memoria\, prepared by chef Stephanie Bonnin\, is based on recipes from the book\, re-interpreted in the context of the Hudson Valley landscape.  \nThe event is co-presented by the Bard Farm. Please meet at the Farm at 5pm. URL:https://blogs.bard.edu/chra/event/juliana-steiner-writing-sowing/ LOCATION:Bard Farm CATEGORIES:Installation & Food Gathering ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2023/07/Juliana_Steiner_Retratos_©JosefinaSantos-17-Cropped-e1739194550132.jpg GEO:42.03044446;-73.9066802 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231113T120000 DTEND;TZID=America/New_York:20231113T133000 DTSTAMP:20260427T023646 CREATED:20230918T213348Z LAST-MODIFIED:20231113T173024Z UID:10000115-1699876800-1699882200@blogs.bard.edu SUMMARY:Fehras Publishing Practices: “Hader Halal” (With Regard to Presence) DESCRIPTION:Co-presented with the Vera List Center for Art and Politics at the New School\, Fehras Publishing Practices will present an online lecture performance\, performed by Sami Rustom and Nancy Nasr Al Deen\, in collaboration with Sina Ahmadi. Fehras Publishing Practices will share their research into the history and presence of publishing and its entanglement in the sociopolitical and cultural sphere in the Eastern Mediterranean\, North Africa\, and the Arab diaspora. Engaging different methods and ways of production\, the collective focuses on the relationship between publishing and knowledge production. Their practice is concerned with the role of translation as a tool facing cultural domination in its traditional and modern forms\, as well as a tool for creating solidarity and deconstructing colonial power. The collective’s investigations and queer interventions into narratives take place at public libraries\, book markets\, and in private and institutional collections. \nCurrently\, Fehras is developing a Palestinian library composed of written and audio materials primarily from Lotus: Afro-Asian Writings\, first published in 1968 by the Permanent Bureau of the Afro-Asian Writers Association in Cairo\, an entity of the Afro-Asian Peoples Solidarity Organization. The talk will be held in Arabic and English. \nFehras Publishing Practices investigates a wide range of cultural and geographical landscapes in order to explore historical representations\, the notion of the past in the present\, and using archives for producing knowledge. Fehras initiates installations\, films\, publications and lectures aiming to extend the notion of publishing\, with an emphasis on collaborating with other cultural workers in their communities. Recent exhibitions include Documenta 15\, The Mosaic Rooms\, Haus der Statistik\, Ural Industrial Biennial\, Crac Occitanie\, MMAG\, Neuer Berliner Kunstverein\, Haus der Kulturen der Welt\, Sharjah Biennial\, and Kunsthal Aarhus. \nRegistration is via the Vera List Center for Art and Politics at the New School. URL:https://blogs.bard.edu/chra/event/fehras-publishing/ LOCATION:Webinar CATEGORIES:Talks Series ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2023/09/VeraListCenter_OSUN_FPP_04-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231030T180000 DTEND;TZID=America/New_York:20231030T200000 DTSTAMP:20260427T023646 CREATED:20230918T220839Z LAST-MODIFIED:20240131T211807Z UID:10000114-1698688800-1698696000@blogs.bard.edu SUMMARY:Brian Lobel: Sex\, Cancer\, and Other Things My Mother Wishes I Never Had DESCRIPTION:Sex\, Cancer & Other Things My Mother Wishes I Never Had is a talk\, performance\, analysis and meditation on 20+ years living in a body which had cancer\, healed from cancer\, remained scarred from cancer\, kept being questioned about cancer\, worked with cancer\, lost colleagues to cancer\, a body which made cancer friends\, lost cancer friends\, taught on cancer\, and ran away from teaching\, living and breathing cancer. Content warning: there will be talk about cancer. But not just cancer\, promise. URL:https://blogs.bard.edu/chra/event/brian-lobel/ LOCATION:Fisher Center\, Resnick Studio CATEGORIES:Artist Presentation,Talk,Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2021/10/Brian-Lobel-image-e1695071409544.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20231017T180000 DTEND;TZID=America/New_York:20231017T200000 DTSTAMP:20260427T023646 CREATED:20230918T222815Z LAST-MODIFIED:20231010T185741Z UID:10000113-1697565600-1697572800@blogs.bard.edu SUMMARY:New Red Order: How to Commit Crimes Against Reality DESCRIPTION:New Red Order (NRO) is a public secret society facilitated by core contributors\, artists and filmmakers Jackson Polys\, Adam Khalil ‘11\, and Zack Khalil ‘14. Their work has appeared at Artists Space\, Haus der Kulturen der Welt Berlin\, Kunstverein in Hamburg\, Lincoln Center\, Museum of Modern Art\, Museum of Contemporary Art Detroit\, New York Film Festival\, Sundance Film Festival\, Toronto Biennial\, Walker Arts Center\, and Whitney Biennial\, among other institutions. \n\nJackson Polys (Tlingit) is a multi-disciplinary artist who examines negotiations toward the limits and viability of desires for Indigenous growth. He holds an MFA in Visual Arts from Columbia University and was the recipient of a Native Arts and Cultures Foundation Mentor Artist Fellowship. Adam Khalil (Sault Tribe of Chippewa Indians) is a filmmaker and artist whose practice attempts to subvert traditional forms of image making through humor\, relation\, and transgression. He received his B.A. from Bard College and is co-founder of COUSINS Collective. Zack Khalil (Sault Tribe of Chippewa Indians) is a filmmaker and artist whose work explores an Indigenous worldview and undermines traditional forms of historical authority through the excavation of alternative histories and the use of innovative documentary forms. He received his B.A. at Bard College in the Film and Electronic Arts Department\, and is a UnionDocs Collaborative Fellow and Gates Millennium Scholar.\n\n\n\n“Do you want to realize your fullest potential? Be your truest self? Act with confidence? Attract abundance? Alleviate anxiety? Experience clarity? Know your purpose? Be the change you want to see? Be truly present? Experience real freedom? Change the world? Be a part of the solution?\nOn some level\, we all want to feel this way\, but sometimes in our globalized\, capitalist\, settler-colonial society it feels impossible. Which is why the New Red Order is developing a dynamic system to help our accomplices achieve all of this and more. This sneak peek of our free introductory video\, Never Settle\, will tell you what you need to know to take control of your life today!” URL:https://blogs.bard.edu/chra/event/new-red-order/ LOCATION:Weis Cinema\, Bard College\, 30 Campus Rd\, Annandale-on-Hudson\, NY CATEGORIES:Talks Series ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2023/09/NRO-Headshot.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230922T120000 DTEND;TZID=America/New_York:20230922T133000 DTSTAMP:20260427T023646 CREATED:20230907T153131Z LAST-MODIFIED:20230921T195214Z UID:10000112-1695384000-1695389400@blogs.bard.edu SUMMARY:Guadalupe Maravilla: Health and Border Politics DESCRIPTION:Guadalupe Maravilla is a transdisciplinary visual artist\, choreographer\, and healer. At the age of eight\, Maravilla was part of the first wave of unaccompanied\, undocumented children to arrive at the United States border in the 1980s as a result of the Salvadoran Civil War. Maravilla grounds his practice in the historical and contemporary contexts belonging to undocumented and cancer communities. Maravilla has exhibited in major museums such as the Whitney Museum of American Art\, and the Museum of Modern Art\, and is a 2019 recipient of the Guggenheim Foundation Fellowship.  \nGuadalupe Maravilla will share his sculpture and sound healing practice and its connection to his personal history\, including a journey as an unaccompanied migrant and healing from cancer. In this talk\, Guadalupe will discuss his Disease Thrower series\, which are large sculptural works incorporating gongs used for sound ceremonies for cancer and immigrant communities. He will also explore his Retablo\, Tripa Chuca series and the more recent sculpture Mariposa Relampago\, a bus that was used to trace his migration journey from El Salvador to the US and was transformed into a large-scale vibrational healing instrument. URL:https://blogs.bard.edu/chra/event/guadalupe-maravilla/ LOCATION:Webinar CATEGORIES:Talks Series ATTACH;FMTTYPE=image/jpeg:https://blogs.bard.edu/chra/files/2023/09/FormalArtistPortrait_photocreditZoeSalaun-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230512T120000 DTEND;TZID=America/New_York:20230512T200000 DTSTAMP:20260427T023646 CREATED:20230510T104206Z LAST-MODIFIED:20230822T074754Z UID:10000109-1683892800-1683921600@blogs.bard.edu SUMMARY:Alluvial: First-Year MA Student Spring Microfestival DESCRIPTION:Alluvial is a microfestival of artwork created by the first year M.A. students in the Human Rights & the Arts program at Bard College. The microfestival takes place at various times and locations on campus and in Tivoli on Tuesday\, May 9 and Friday\, May 12\, and includes multidisciplinary works\, installations\, performances\, live art\, interactive work\, and film. These works in progress are part of the final submission for the Collaborations and Community-based Art course taught by Sabine El Chamaa. \nFull schedule and map below. \nFriday\, May 12 \nBody Politics by Mariia Pankova \nMay 12\, 12:00 pm – 12:30 pm @ Red Room\, Campus Center \nBody Politics invites the audience to a lecture performance situated in a fictitious museum where borders between concepts become blurred. What does it mean to have a body in an intermingled net of political effects? How do our immediate bodily experiences\, such as pain and pleasure\, get enmeshed in power relations and exploited in different practices. This project explores the corporeality of being and reflects on the historical developments around both the protection and violation of bodies. \nCranes and Ships: A Poetry-Film for the Friends in Russia by K. \nMay 12\, 12:30 pm – 1:30 pm @ Bard Chapel\, basement \nCranes and Ships is a poetry film that takes its name after a children’s poem by Daniil Kharms\, a repressed Soviet writer. The film ponders the silences and small acts of resistance by anti-war Russians at a time when mass protest fails\, when the state introduces military censorship\, and the full-scale war is not experienced directly. The film seeks to approach the variety of ways in which the war uproots people – even when they are not displaced physically. \n من على كرسي سيدي اثور – From My Grandfather’s Chair I Rage by Mayss Al Alami \nMay 12\, 2:00 pm – 2:45 pm @ Resnick Studio\, Fisher Center \nFrom My Grandfather’s Chair I Rage is a live performance about the violence of watching an occupied home from afar\, from the outside. The performance takes off from the artist’s childhood home in Amman\, Jordan\, where she grew up watching her grandfather relentlessly monitor news broadcasts to keep up with updates on his home in Palestine. The artist takes the audience on a journey of pilgrimage and puts in motion the inherited rage and helpless monitoring of an intergenerational\, exiled Palestinian woman. \nHome Is A Fever by Guzal Alimova \nMay 12\,  3:00 pm – 4:00 pm @ Resnick Studio\, Fisher Center  \nHome Is A Fever is a live and immersive artwork that invites its audience to reflect on the notion of home. It explores the acts of memory and concept of time. Home being an associative and intimate concept\, Home Is A Fever engages with associative notions of home and the house of its viewers while reconstructing the conventional meaning of home through storytelling\, language\, text\, and architectural outline of the artist’s home in Khujand\, Tajikistan. Based on a personal story of a home of abuse and absence\, the project reflects on the intimate experience of private spaces\, being exiled either by choice or necessity\, and the inability of a physical return.  \nPlease note: The audience is requested to bring in their phone and headphones. The audio piece to the artwork is accessible only through QR code.   \nDispatch from Exile by Anastasia Dzutstsati \nMay 12\,  4:30 pm – 5:00 pm @ The Suminski Innski\, 8 Friendship Street\, Tivoli \nDispatch from Exile is an immersive video installation that blends  drawing\, creative writing\, and filmmaking. After being exiled from Russia in the summer of 2021\, I turned to extensive diary writing to cope with my new reality. I found myself mourning my pre-war self and revisiting my past through my diaries. Grief is a universal experience\, extending beyond losing a loved one to the loss of a homeland\, freedom\, or ideal. Freud argued that it’s not a pathological condition but a natural process that passes with time. Interrupting grief can lead to unhealthy melancholia. Dispatch from Exile invites the audience into my journey of coming to terms with exile and rediscovering a part of myself that I had started to forget.  \nTracing The (In)visible by Laila Sharif \nMay 12\,  5:30 pm – 6:30 pm @ The Suminski Innski\, 8 Friendship Street\, Tivoli \nMozart said\, “The music is not in the notes\, it is the space between the notes.” So what exactly goes on in between the notes? It’s not always a literal silence\, is it? Each note is usually still ringing out before the next one is played\, right? But yes\, something is happening that relates to silence. We are listening to the sound of Silence. The space between notes allows them to resonate\, reverberate\, and reach their full measure of expression. The invisible yet visible silence of the symphony of melting ice. The urgency of the slow violence of the sounds of the cracking ice can be another way of communicating knowledge to the audience\, a different way to experience nature through music and visuals.  \nBaby Luka Has Finally Realized by Luka Gotsiridze \nMay 12\, 6:45 pm – 7:45 pm @ The Suminski Innski\, 8 Friendship Street\, Tivoli \nExperience the taste of Georgia and immerse yourself in a cultural feast with Baby Luka Has Finally Realized. This interactive performance is a journey through traditional Georgian cuisine and customs\, where you’ll be seated at a Supra [სუფრა] table as a guest of honor. Our Tamada [თამადა]\, or toastmaster\, will guide you through an evening of storytelling\, infused with humor\, wit\, and SUPRAnatural magic. As you enjoy an abundance of food and drink\, you will become part of the Supra’s forging of a social bond that resists the influence of external powers on Georgia and its people. \n  URL:https://blogs.bard.edu/chra/event/alluvial-first-year-ma-student-spring-microfestival/ CATEGORIES:Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2023/05/Alluvial_web.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230509T100000 DTEND;TZID=America/New_York:20230509T170000 DTSTAMP:20260427T023646 CREATED:20230503T032145Z LAST-MODIFIED:20230918T215316Z UID:10000106-1683626400-1683651600@blogs.bard.edu SUMMARY:Alluvial: First-Year MA Student Spring Microfestival DESCRIPTION:Alluvial is a microfestival of artwork created by the first year M.A. students in the Human Rights & the Arts program at Bard College. The microfestival takes place at various times and locations on campus and in Tivoli on Tuesday\, May 9 and Friday\, May 12\, and includes multidisciplinary works\, installations\, performances\, live art\, interactive work\, and film. These works in progress are part of the final submission for the Collaborations and Community-based Art course taught by Sabine El Chamaa. \nTuesday\, May 9 \nBleeding into My Dreams by Ciko Sidzumo \nMay 9\, 10:00 am – 10:45 am @ Skating Garage\, behind the Stevenson Athletic Center \nBleeding into My Dreams is a multi-medium short story that follows Onaye\, whose menstrual cramps awaken in her the embodiment and inhabitation of uMakhulu (Grandmother). uMakhulu fills her spirit\, her breath\, her voice\, and her body. I invite the audience to help me trace Onaye’s idiosyncratic inheritance that welcomed her to remember. Remember amaphupho kaMakhulu.  \nOf Rust and Starch by Aya Rebai \nMay 9\, 10:45 am – 11:30 am @ Bard Recycling Field \nOf Rust and Starch is an immersive video installation that portrays the relationship between Fridge and Batata\, a speculative fiction depicting a non-human bond between two non-sentient beings. This project is an attempt to question the notions of aging and expiration time in the age of mass consumption while speculating about possible links that can take place between objects that are overlooked by humans. \nTen More Minutes by Jina Rishmawi  \nMay 9  3:30 pm – 4:20 pm @ Resnick Studio\, Fisher Center \nTen More Minutes sheds light on the immense struggles that Palestinians face when it comes to accessing healthcare due to the Israeli occupation. The story takes us back to May 1st\, 2019\, when Salma\, a 13-year-old girl\, and her father were on their way to Hadassah Hospital in Jerusalem. To get there\, they had to pass through the 300 Checkpoint that separates Bethlehem from Jerusalem\, which serves as a crucial component of Israel’s colonial security infrastructure. This checkpoint acts as a barrier erected by Israeli Security\, further complicating the already challenging journey for Palestinians seeking medical assistance. As Salma describes the incidents that occurred on their trip\, we get a glimpse into the harsh reality of life under occupation. IDs ARE REQUIRED TO ENTER THE PERFORMANCE SPACE.  \nCheap. Suit by Anas Alkhatib \nMay 9\, 4:30 pm – 5:20 pm @ Resnick Studio\, Fisher Center \nCheap. Suit s an interactive lecture performance that explores the role of the suits and the human body in narrating the city\, spatial environments\, and lifestyles. Precisely\, it will use the suit as a lens to trace corporate class temporalities and their intertwinement with contemporary capitalist lived experiences. \nWaste of Land by Raneem Ayyad \nMay 9\, 5:30 pm – 6:20 pm @ Resnick Studio\, Fisher Center \nWaste of Land is a live performance that tracks the artist’s attempt to visit a family member’s grave in a cemetery located on the Saudi-Jordanian border. The audience is invited to join the artist in an attempt to locate the lost grave in the desert. The performance examines the relationship between political borders and transnational grave infrastructures. It also addresses the tensions between the dead body and the state. \nRiSE. TOP. DOMiNATE. by Immanuel J. \nMay 9\,  6:30 pm – 7:00 pm @ RKC 200 \nWorld Light Heavyweight Champion takes on the battle of the year against an old foe! They’ve prepared for this moment all year long. We’ve been patiently waiting. It is all about to explode in a fight that surely will go down in history. Get your tickets! Tune in! Show up to finally see two massive beasts completely obliterate one another. RiSE. TOP. DOMiNATE. is an immersive live performance. \nZhyve Zhyve by Nestor Rotsen \nInstallation open May 9\, 7:10 pm – May 10\, 5:00pm @ Outside main entrance to Bertelsmann Campus Center \nIn 2020\, millions of Belarusians took to the streets to protest the electoral fraud that granted dictator Alexander Lukashenko president a sixth term. Since then\, thousands of Belarusians have been arrested and tortured\, with the Viasna Human Rights Center recognizing almost 1\,500 people as political prisoners.It is crucial to understand how circumstances would have been different if in 2020 the war criminal Vladimir Putin did not support the dictator Lukashenko\, and missiles could not fly from the territory of Belarus into Ukraine. The installation Zhyve Zhyve reflects on the 2020 events\, through textile\, and a collection of clothes that conveys to the  audience the expressed will of the Belarusian people. URL:https://blogs.bard.edu/chra/event/alluvial-microfestival/ CATEGORIES:Student Projects ATTACH;FMTTYPE=image/png:https://blogs.bard.edu/chra/files/2023/05/Alluvial_web.png END:VEVENT END:VCALENDAR