a wavelike motion


The Nightingale Cinema, 1084 N. Milwaukee
Sunday, April 24, 6:30 pm, Free


In collaboration with TRACERS, and in conjunction with their two-person exhibition tide/tithe (Roots & Culture, April 15thMay 14th), Alexandria Eregbu and Rami George present a visual and auditory mixtape for The Nightingale. Exploring themes of cultural influence and disjointed histories, a wavelike motion brings concerns addressed in the gallery to the screen. Featured artists include Hiba Farhat, Orr Menirom, and Sanaz Sohrabi.


Program Details:
Sanaz Sohrabi – Disposables (2015, 7 min)

Orr Menirom – Limited Speech Holds Endless Misunderstandings
(2013, 10 min)Hiba Farhat – The Phone Rings  (2014, 22 min)

Alexandria Eregbu is a conceptual artist and disciplinary deviant. Her practice often takes shape in the form of maker, performer, curator, educator, and programmer. Eregbu’s concerns frequently address performativity, visibility, ontology, resistance, locality, and mobility. Her work tends to insert itself at the axis of personal experience and myth— usually reliant upon the collection of artifacts, material culture, and an attentiveness to current and historical events. Eregbu has been featured in a range of exhibitions including the Arts Incubator in Washington Park, Hyde Park Art Center, Woman Made Gallery, Nightingale Cinema, Roots + Culture Contemporary Art Center, and The Franklin Outdoor in Chicago, IL; Milwaukee Art Museum in Milwaukee, WI, among others. Most recently Eregbu co-curated, The Annual: An Exhibition of New Chicago Art at Chicago Artists Coalition and was highlighted in Newcity’s Breakout Artists: Chicago’s Next Generation of Image Makers (2015). Eregbu is a current Resident Artist and Curatorial Fellow with ACRE. She received her BFA from the School of the Arts Institute of Chicago.

Hiba Farhat is an artist and filmmaker from Lebanon.

Rami George is an interdisciplinary artist, primarily working in photo, video, and installations. Completing their BFA at the School of the Art Institute of Chicago in 2012, they have exhibited and screened internationally. They continue to be influenced and motivated by political struggles and missing narratives.

Orr Menirom’s videos look into language as a border – geographical, political and psychological. Focusing on the relationship between media, language, politics and identity, Menirom mixes found footage with self-shot imagery while re-editing sentences, dubbing words and generating new messages from existing footage. Consequently, language becomes a method to question the formation of the narrative. Whose voice speaks in the video? Whose message is being heard?

Sanaz Sohrabi is an artist and educator in Chicago. Oscillating between the conditions of what an image can be, and what it means for it to exist in the world, Sohrabi utilizes image making, body movement and re-enactment in order to create a space of observation to explore the physical and intangible distribution and limitation of space, body and image. Sohrabi received her BFA from University of Tehran in 2011 and MFA from School of the Art Institute in 2014 where she was awarded the James Nelson Raymond Fellowship and the New Artist Society Merit Scholarship. She has received fellowships from Est-Nord-Est through Québec Council of the Arts and Vermont Studio Center. Exhibitions and performances include, Art Expo Chicago, 6018 North Gallery, Nightingale Micro Cinema, Eisentrager-Howard Gallery, Delaware Center for the Contemporary Arts among others.

Programmed by Alexandria Eregbu and Rami George

Filed under: Uncategorized


A Complimentary Screening
Co-presented by the Sub-Mission


The Nightingale Cinema, 1084 N. Milwaukee
Saturday, April 23, 5:30 pm, Free


The Nightingale is delighted to mark the Sub-Mission’s current exhibition, How Easy is a Bush a Bear, a site-responsive installation by Jordan Martins, with a screening immediately following the closing reception. Complimenting themes of his exhibition, Martins and Nightingale director, Christy LeMaster, will curate a short screening of work around themes of camouflage, gestalt theory, and other visual codes.

How Easy is a Bush a Bear, on view at the Sub-Mission, until April 23rd, is a two-channel video installation confronting conditions of visual perception, using bold, colorful, and patterned source material. A false wall, punctured with amorphous viewing holes, separates the viewer from the video projected onto the rear wall, while the viewer is inundated by a cacophony of image and sound that repeat and recombine in an endless, yet non-repetitive loop–algorithms determine random combinations of images and sounds, so the installation is constantly fluctuating, changing moment to moment in an exercise of temporality. The videos are composed of planes of fabric suspended close together, cut into in various ways and lit evenly to minimize the depth. Martins relies primarily on boisterous, conflicting fabric patterns to create a kind of visual collapse and disorient the viewer.

Elements of gestalt theory inspire the exhibition to provoke an awareness of the mutability of vision, while also unifying elements of Martins’ practice. Techniques of unit-forming, unit-breaking, disruptive coloration, figure/ground blending, coincident disruption, among others, have been used in both a studio environment and in natural setting installations to produce film that depicts neither objects nor space. While the videos do not illustrate any one principle, each combines various techniques that disrupt both the viewer’s sight and sense of normalcy. Martins’ practice references historical visual perception theory, namely Abbott Thayer’s research in the early 20th century, which developed ideas of modern camouflage based on animal coloration, as well as early Soviet psychotechnics laboratories designed to teach citizens freedom from automatic perception by demonstrating illusions of space, angles, and volume. Martins utilizes 2-D collages and videos nonrepresentationally, yet aims to provide enough visual structure to “hook” a viewer while also leaving the composition unresolved, allowing one’s own perceptual instincts to form it.


Jordan Martins is a Chicago-based visual artist, curator, educator, and musician. He received his MFA in Visual Arts from the Universidade Federal da Bahia in Salvador, Brazil in 2007 and has been an instructor at North Park University since 2008. He co-founded the Comfort Music series in 2011, and is currently co-director of the Comfort Station, where he oversees general programming, gestates new projects, and coordinates partnerships with outside organizations and artists. As a musician Martins collaborates with Angela James and Quarter Mile Thunder, in addition to improvised performances with musicians from varied backgrounds. He directed the Relax Attack Jazz Series from 2011-2013, serves on the programming committee for the Chicago Jazz Festival, and curates visual art at Elastic Arts.

Programmed by Jordan Martins and Christy LeMaster

Filed under: Uncategorized


Queer Surreal Horror Feature
Director, Dylan Greenberg, in person!


The Nightingale Cinema, 1084 N. Milwaukee
Friday, April 22, 7 pm, $7-10


Eighteen year-old director, Dylan Greenberg, describes her movie like this: “DARK PRISM is about three unique and strange women, each battling their own demons, in both a literal and metaphorical sense. Although they exist in different times and perhaps different worlds, their lives will soon collide due to the mysterious appearance of a massive prism. Slowly, the world as one knows it disassembles, and the nonsensical becomes the sensical… Dark Prism features special appearances by Mac DeMarco, Matt and Lauren Katz-Bohen, and Lloyd Kaufman and stars Sofe Cote, Sara Kaiser, Chandani Smith, Stephanie Domini, Max Husten and Wayne Garrett Bal ‘The Jurgen Munster.'”

After the release of a mind-splitting trailer and a spate of high profile press, Greenburg’s strange and wonderfully amateur feature DARK PRISM is now starting to make its way to screens propelled by enthusiastic fans.  Unhinged and sometimes hilarious, DARK PRISM is a movie worth rooting for in its genuine weirdness and visibly collaborative ethos.  Crafted in the infectious tradition of “hey let’s all make a movie,” PRISM is a youthful, queer, self-conscious fever-dream best experienced in a room full of the converted.

Programmed by Christy Castro and Christy LeMaster

Filed under: artist in attendance, experimental, feminism, music, narrative, opening, queer, Uncategorized, video


Recent Work by Claire Arctander
& The Nightingale’s 8th Birthday Party

the right to piss2

The Nightingale Cinema, 1084 N. Milwaukee
Friday, April 1, 8 pm, $7-10

Join us as we celebrate the Nightingale’s 8th year in existence with the video work of one of Chicago’s best party-makers, Claire Arctander. Along with the screening, our birthday will also include an introduction  to the new class of Nightingale programmers, cake, free beers, Nightingale-themed raffle gifts, and a dance party with our friends and loved ones. 

Working across multiple mediums, Arctander joyfully articulates conflicted feminist notions of desire and desirability. Via an investment in and respectful treatment of abject materials and low-brow media outlets- like pop music, home decor, porn, internet phenomena, edibles and consumer ephemera- she posits debasement as a viable position from which to critically operate.  In this screening, we are delighted to premiere  a new work by Arctander entitled Why Have There Been No Great Women Magicians?

One strain of Arctander’s moving image work can be housed squarely in performative video. Completing endurance tasks with exuberance and in colorful environments Arctander supplants performance art’s often dark tone with her own blithe and lavish presence. Using a sustained eye contact with the camera, she creates a dynamic awareness of looking and being looked at. Her femme beauty and generous gaze often suffuse the frame, creating an affective illusion of the work happening in the present moment.  The usual relationship to watching women onscreen is at once indulged and changed – the audience’s innate desire to be seen  answered with confidence and playfulness. -CA & CL


Program Details
Please Please Don’t (2012, digital file, 8:25)

Feeding Time (2014, digital file, 2:30)

The Right to Piss in Different Colors, Part 2: Tributes
(2014, digital file, 9:20)

Bloom Where You Are Planted (2013,digital file, 1:43)

Everything She Wants (2011, digital file, 9:31)

Three Scenes from Last Summer (2014, digital file, 3:43)
by Claire Arctander, Rami George & Latham Zearfoss

Why Have There Been No Great Women Magicians?
(2016, digital file, 10:00)


Claire Arctander earned a BA in Art Theory and Practice and Gender Studies from Northwestern University and an MFA in Studio Art from the University of Illinois at Chicago. She currently works in the Education Department at the Museum of Contrmporary Art Chicago. She has taught art classes for UIC and the City Colleges of Chicago. In the past she has been a resident at The Cooper Union, Summer Forum, ACRE and Ox-Bow Upcoming Shows include a one-person show at The Nightingale in Chicago, a group show at Weinberg Newton Gallery in Chicago and a group screening at the Mini in Cincinnati. Her practice also encompasses a social-political impulse to bring together and celebrate feminist makers. Arctander often curates and hosts events that showcase others’ work, most often through Crimson Glow, a feminist dance party and performance showcase project created with her often-collaborator Latham Zearfoss.

Programmed by Christy LeMaster

Filed under: BIRTHDAY PARTY, experimental, feminism, performance, queer, Uncategorized, video

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