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All special events for the month of July:

Laurie Vaughn & Three-Way Mirror July 10, 2015
8:00PM - - -

MuhfuckaNeva(Luvd)Uhs: Real Live Girl July 11, 2015
11:00PM - - -
Price:  proceeds for Ladyfest Atlanta
MuhfuckaNeva(Luvd)Uhs: Real Live Girl is a multimedia street exhibition seeking to make the private public via exploring the sexual performance of the black woman’s body (film, live, music, dance). Among Atlanta’s popular monikers is “Strip Club Capital of the South”, particularly within hiphop culture. Black strip clubs in Atlanta, like its black women dancers, are located in the city’s margins, literally- tucked into dark, industrial corners with colorful, neon lit signs as proverbial brick roads to the dancers.

Danielle Deadwyler (actor/artist) is an Atlanta native raised off of the old Stewart Avenue, where the infamous Club Nikki, and before that the Purple Onion, reigned as the most popular adult entertainment spot for years. As an ongoing strip club enthusiast/researcher, Deadwyler is interested in deconstructing the dark, private nature of adult dancers’ sexual performances and the humanity of black women in these roles. By eliminating the structural boundary of the club, six live and projected (video) performances by the artist as an exotic dancer (live) and as domestic (filmed) in selected Atlanta street corners parallels and blurs the lines of the sexual and personhood of the black woman and the work of her body.

Justice Yeldham, If There’s Something July 15, 2015
9:00PM - - -
Price:  10

If There’s Something Strange In Your Neighbourhood…



If There’s Something Strange In Your Neighbourhood… is a film exploring the gentrification of a squatter settlement built in the 70s on a graveyard alongside Yogyakarta’s main river, Kali Code. In 2013 the local mayor announced he wanted to develop this area and local residents have already started being pushed out. Due to the history of this place, tombstones are still visible in the walls of the kampung (neighbourhood) and ghost activity is abundant. For years people in the area have relied heavily on the local ghost mover to relocate the ghosts out of their houses, but these paranormal evictions are now becoming an uncanny parallel for their own evictions in the living world.

This is an Asialink Arts Residency Project supported by Arts NSW
through KUNCI Cultural Studies Centre.

Justice Yeldham



"First up, I got to see this guy perform live – and I seriously was not expecting that.

There’s no blood but the intensity of the emotion reminds me of early Neubauten or Nina Simone or someone: he has a trunk full of effects and delay and distortion pedals, and he’s not scared to use them. He blows crazy shit across a shaped plate of glass for 20 or 30 minutes or so, and it’s crazy shit good – so good, that when he started I figured Nicola had slipped on an extraordinarily loud noise tape and I could not quite understand why everyone was crowding around the ‘stage’.

The noise is incredible – and when I type ‘noise’, I mean layers of sound, texture, understanding, dissonant harmony. Really incredible. I never was much one for guitar shredding or extended drum fills or virtuoso vocal acrobatics, but it seems the one thing that will really get my pulse racing is some glass shredding. Seriously. This is body-expanding. Sometimes I’m laughing out loud at the nerve and brilliance of it. Sometimes, I just want to fuck shit up (plus ça change). Halfway across it bothers me that few people are dancing amid the ruins but then I figure they too are too stupefied.

Justice tells me afterwards that he can’t get booked no more: this is only his second performance this year. Man, this man should be headlining the fucking Sydney Opera House. He’s a fucking MASTER or MISTRESS, or have it what you will, of his chosen instrument. I feel the same empathy towards his music that others doubtless feel for fucking Kevin Shields. (Not literally fucking Kevin Shields, you understand – though maybe some feel that too.) He can’t get booked cos he’s an experimental artist – frequently gets called a ‘performance artist’, much to his disgust – and so he’s meant to be always switching around, trying out new ideas and forms, not concentrate for several years on becoming the world’s leading glass shredder."

- Everett True on Brisbane 210614

eyedrum
 July 2015
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