https://snakehousevt.com Snake House VT Tue, 28 Jul 2026 16:52:04 +0000 https://snakehousevt.com en https://snakehousevt.com/Untitled-Page-1 Tue, 28 Jul 2026 16:52:04 +0000 Snake House VT https://snakehousevt.com/Untitled-Page-1 We cover the waterfront -&nbsp;a series of conversations with art practitioners who are creating alternative spaces and programming, who think about the power of small while meaningfully exploring ideas with a sense of scholarship and humour. https://snakehousevt.com/Untitled-Page Tue, 28 Jul 2026 16:34:23 +0000 Snake House VT https://snakehousevt.com/Untitled-Page https://snakehousevt.com/Clare-Dolan-The-Museum-of-Every-Day-LifeUntitled-Page Tue, 28 Jul 2026 16:24:34 +0000 Snake House VT https://snakehousevt.com/Clare-Dolan-The-Museum-of-Every-Day-LifeUntitled-Page https://snakehousevt.com/ask Fri, 07 Feb 2025 12:28:05 +0000 Snake House VT https://snakehousevt.com/ask Ask a question. Any question. Ask and we’ll reply perhaps with solidarity, or humor, or solace, or function but always with an offering of contemplation be it an artwork, a song, a recipe, etc. Questions intentionally hateful or that exist in a space of stupid/cruel cruel/stupid will not be considered. We are not experts, nor want to wear those clothes. We are not AI. We are not the mighty and powerful. But we are curious mammals who would love to hear from you. We may put the question and the answer on this page, without your name or identifying details (if you’ve provided any at all). We will send you a reply within 30 days. Ask your questions here “What are your theories about the show Severance?” &nbsp; &nbsp; &nbsp; Dear M, Thank you for your question. Part 1: A relative stranger to the series, some time ago I watched a few minutes of an episode where two or three people were gathered talking in a large, fluorescent lit room, sparsely furnished with a few pieces of office furniture - when an elevator door opened. I recognized one of the actors as Adam Scott, from the 2009 series Party Down. Scott played Henry Pollard, a one time actor, who along with an assortment of struggling actors and writers, worked for a Los Angeles catering company. Everyone but Henry imagined something more for themselves. In another time and space, life in the totalitarian state of the Czech government during the 1960’s provided ample material for the filmmakers of the Czech New Wave, including Miloš Forman, who was relentless in exposing the “contradictions and distortions”* of any given system, large or small. Although much has been made of Forman’s use of the outsider as protagonist, it’s clear from his early work in Czechoslovakia, and later in the US, that the focus of his films is less a singular heroic figure, but rather a group of people within a social or political system. Most famously here in the US, the main characters of One Flew Over the Cuckoo’s Nest (Forman’s 1975 adaptation of the Ken Kesey novel), are a mental hospital and the inmates that occupy the world of the hospital. According to Forman, here was an opportunity to make a “real Czech movie…about a society I lived twenty years of my life in…it is about everything I know, everything I feel. Cuckoo’s Nest ending is my life in Czechoslovakia - throwing something through the window to escape.” The story is decidedly about something Forman had intimate knowledge of - living life in an environment that subverts reality - replacing it with something incomprehensible and beyond reason. A knowledge at once familiar and foreign to many of us. *Hames, Peter (1985). The Czechoslovak New Wave. Wallflower Press. A very good overview of the influential filmmakers and writers of the 1960’s including Věra Chytilová, Jan Svankmajer, Jiri Menzel, and Jan Nemec, among others. Part 2: A response from the Ists: (a Strategist, Herbalist, Artist, Sociologist, and Cardiologist). - Snake House "How much coffee is TOO much coffee? How do you suggest I eat my stress?" Dear C,Thank you for your question(s). Some might say that there is no such thing as too much coffee. Or that the too-muchness of too much may even give way to transcendence. Have you seen that episode of Futurama&nbsp;where Fry drinks 100 cups of coffee and overcomes the laws of space/time? There’s also the adage (veiled warning) that one can have too much of a good thing. But these days? In these times? Leave it to the austere ones, the ones with vices hidden, or those peons of puritanical respectability. I say, have as much as your pleasure allows. Importantly though, for fuck’s sake keep corporate coffee from passing your lips. There is no pleasure in tyranny. Stress Preparation time: depends Serves: every last one of us CHOP the onions until you cry TOSS them in oil (pick out the fly) DREDGE the hot peppers in breadcrumbs and spice SIZZLE in fat twice rendered from lice SQUEEZE a whole lemon as hard as you can into your mouth, not into the pan CRUSH the herbs, stems and all SMASH em into a giant tea ball STEEP them deep in your own boiled tears The ones we’ve been saving for hundreds of years CHILL BITE one small piece at a time MASTICATE slowly, embody the mime SWALLOW or spit, it’s all up to you DIGEST on your back, admire the view RECONSTITUTE - Snake House “How does the integration of personal family archival footage in a fictional short film affect the audience’s understanding of memory, identity, and authenticity, and what are the implications of blending personal history with narrative invention?” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Dear S, Thank you for your question.In discussing her 1990 film Sink or Swim, Su Friedrich describes herself as “an unreliable narrator”. The film appears at first to function as an intentionally incomplete portrait of Friedrich’s father, however, it slowly reveals itself to be a compelling meditation on autobiography, childhood, and the conflicted relationships between parents and their children. Shot in black and white, Sink or Swim is 48 minutes long and often mistaken as a film constructed from found footage. Friedrich notes that, with the exception of one scene from a family movie, all of the footage was shot (created) by the filmmaker herself.Walid Ra’ad says of his 1998 video, Dead Weight of a Quarrel Hangs, “…the events depicted are not attached to memories of actual events but to fantasies (mine and others’) erected on the basis of memories.” The video is a twenty-five minute three part project that includes Missing Lebanese Wars (in three parts), Secrets in the Open Sea, and Miraculous Beginnings (in two parts).&nbsp; As a visual montage of action and still shots with multiple narrations said to be inspired by the diaries of the fictitious wife of an equally fictitious historian of the Lebanese War, Dr. Fadl Fakhouri, it is hard to make sense of the images and sounds we hear and see, any more than we can make sense of our own memories - what is true, what is imagined? Describing the “facts” of displacement in part two of Missing Lebanese Wars, the narration states that Zainab Fakhouri left her husband, taking with her seventeen objects from her household. These migrations from place to place are remembered and recorded in the objects she has chosen to take; they are the effects of her history. The objects are what remain as evidence, or the “fact” of the departures. However, these “facts” only speak when we decide what they will say.Perhaps the implication of what is true or not may reflect the shifting relationship between ourselves, our memories, and our past. Is it a desire for satisfaction that propels us towards facts? I don’t know about you, but I want to be led down the garden path in unknown directions with little regard for the truth of what I encounter along the way, or the promise of certainty, as I interact with a work of art. Art can navigate a void - or place of nothing, and reflect something in that nothing. There will always be gaps - it is within and through these spaces that we can begin to imagine something more. - Snake House “I recently heard someone mention the Pitman Models. What are the Pitman Models and where can I see them?” Dear Q,Thank you for your question. The Pitman Models are three dioramas depicting miniaturized scenes of Harvard College and environs from 1677, 1775, and 1936. At a scale of one inch per fifty feet, they were designed and created by Theodore B. Pitman with the help of a team of landscape architects and designers. Begun in the early 1940’s, the dioramas were displayed at Harvard College’s Widener Library from 1947 until 2004 when they were moved for cleaning and restoration. Two are currently still in storage, unavailable to the public, while the 1936 model is displayed in the offices of the Harvard Management Company. If you are referring to the Pittman Models, you are still out of luck, as those are in the private collection of Sandra Lunt, née Oppenheimer, from Croton-on-Hudson, New York. Named after Josiah Pittman, philanthropist and explorer, the Pittman Models are replicas of a rare collection of ceremonial and utilitarian salt cellars and uric acid parchment burial portraits dating from the Early Bronze age. In 1995, Ms. Oppenheimer inherited an apartment on the Southern Coast of Turkey from a distant German relative, Georg Bremen. During the extensive cleaning and renovation of the property the workers discovered a box hidden behind a false wall in the maid’s room. It contained the Pittman Models. Bremen’s wife Gertrude Bell, (not to be confused with the archeologist), is believed to have acquired the Pittman Models under mysterious circumstances during a 1932 photography expedition to Antakya, Turkey. The whereabouts of the originals, unearthed during the 1930’s from a large archaeological mound located in the Amuq Valley, Turkey, are unknown, as are the identities of those who made the models. - Snake House https://snakehousevt.com/TEXTS Wed, 19 Jun 2024 12:02:50 +0000 Snake House VT https://snakehousevt.com/TEXTS &nbsp; &nbsp;Exhibition Catalog with Curatorial Text* - SAME AS NEVER (anything to get out of here,right?) &nbsp; &nbsp; &nbsp;&nbsp; *after downloading, please select “two page view” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;&nbsp; DO NOT DISTURB writings on insomnia - collected poems &nbsp; Summer Reading : &nbsp; &nbsp;&nbsp; 2026&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; 2025&nbsp; 2024&nbsp; 2023Curatorial Text -&nbsp;Resistance: Single Channel Video Festival 2025 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Curatorial Text - can you see me now?: Single Channel Video Festival 2026 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://snakehousevt.com/HOME-SAME-AS-NEVER Tue, 16 Sep 2025 17:46:16 +0000 Snake House VT https://snakehousevt.com/HOME-SAME-AS-NEVER &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;SAME AS NEVER (anything to get out of here, right?) AN EXHIBITION CURATED BY SNAKE HOUSE FEATURING: &nbsp; &nbsp; PIPER HILL&nbsp; &nbsp; ZEREK KEMPF&nbsp; &nbsp; SHORI SIMS October 16 - December 15, 2025 &nbsp; The DeVos Art Museum Northern Michigan University https://snakehousevt.com/HOME-Summer-Reading-2026 Fri, 19 Jun 2026 18:22:02 +0000 Snake House VT https://snakehousevt.com/HOME-Summer-Reading-2026 &nbsp; &nbsp; our 2026 summer reading list is HERE &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; https://snakehousevt.com/Past-Event-SAME-AS-NEVER Thu, 04 Dec 2025 15:08:48 +0000 Snake House VT https://snakehousevt.com/Past-Event-SAME-AS-NEVER &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; SAME AS NEVER (anything to get out of here, right?) &nbsp; AN EXHIBITION CURATED BY SNAKE HOUSE &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; FEATURING: &nbsp; &nbsp; PIPER HILL&nbsp; &nbsp; ZEREK KEMPF &nbsp;&nbsp;&nbsp; &nbsp; SHORI SIMS &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; See Exhibition Catalog here after downloading, please select “two page view” October 16 - December 15, 2025 &nbsp; The DeVos Art Museum Northern Michigan University https://snakehousevt.com/Past-Event-can-you-see-me-now Sun, 28 Jun 2026 17:38:06 +0000 Snake House VT https://snakehousevt.com/Past-Event-can-you-see-me-now can you see me now?Single Channel Video Festival March 27 &amp; April 21, 2026 <img width="3242" height="2161" width_o="3242" height_o="2161" data-src="https://freight.cargo.site/t/original/i/1ac985d87bd16dfce14dc13e34a605aa7fbad6f1326c6058552357cb42a2e502/Matt-Freiburghaus.jpeg" data-mid="249874820" border="0" src="https://freight.cargo.site/w/1000/i/1ac985d87bd16dfce14dc13e34a605aa7fbad6f1326c6058552357cb42a2e502/Matt-Freiburghaus.jpeg" /> <img width="2849" height="1899" width_o="2849" height_o="1899" data-src="https://freight.cargo.site/t/original/i/6652a1f05a25ef990360fef229ed34084cd34fe21a60a02ec797885964b62424/can-you-see-me-now_-1.jpeg" data-mid="249874720" border="0" src="https://freight.cargo.site/w/1000/i/6652a1f05a25ef990360fef229ed34084cd34fe21a60a02ec797885964b62424/can-you-see-me-now_-1.jpeg" /> <img width="3202" height="2135" width_o="3202" height_o="2135" data-src="https://freight.cargo.site/t/original/i/6386213d5f2c8ef74dec04cbaeb1cf28b53368ffa4bb57ebe5230e1b0293305c/Carolyn-Lambert.jpeg" data-mid="249874767" border="0" src="https://freight.cargo.site/w/1000/i/6386213d5f2c8ef74dec04cbaeb1cf28b53368ffa4bb57ebe5230e1b0293305c/Carolyn-Lambert.jpeg" /> <img width="3201" height="2134" width_o="3201" height_o="2134" data-src="https://freight.cargo.site/t/original/i/5c4679a7a91de128d7c76fd7e85cc3528ad27f83b820e8882484740455501bb4/M-Freeman.jpeg" data-mid="249874791" border="0" src="https://freight.cargo.site/w/1000/i/5c4679a7a91de128d7c76fd7e85cc3528ad27f83b820e8882484740455501bb4/M-Freeman.jpeg" /> <img width="3300" height="2200" width_o="3300" height_o="2200" data-src="https://freight.cargo.site/t/original/i/a44c61f31481391ac39f8495c1885c8fdf2ba8fecb65ab2971c6b053e7440869/Cecilia-Kim.jpeg" data-mid="249874792" border="0" src="https://freight.cargo.site/w/1000/i/a44c61f31481391ac39f8495c1885c8fdf2ba8fecb65ab2971c6b053e7440869/Cecilia-Kim.jpeg" /> <img width="3142" height="2095" width_o="3142" height_o="2095" data-src="https://freight.cargo.site/t/original/i/b0183ed284b75c81d3689a87eb07c841a1237575a9c895c961bbb2b00b0dbe94/Chloe-Abidi.jpeg" data-mid="249874797" border="0" src="https://freight.cargo.site/w/1000/i/b0183ed284b75c81d3689a87eb07c841a1237575a9c895c961bbb2b00b0dbe94/Chloe-Abidi.jpeg" /> <img width="3177" height="2118" width_o="3177" height_o="2118" data-src="https://freight.cargo.site/t/original/i/89509d2c83dbd34639252025e37903e2fe1d3c074e10eaf82aca4c750c350669/Lin-Yen-Ju.jpeg" data-mid="249874830" border="0" src="https://freight.cargo.site/w/1000/i/89509d2c83dbd34639252025e37903e2fe1d3c074e10eaf82aca4c750c350669/Lin-Yen-Ju.jpeg" /> <img width="3262" height="2175" width_o="3262" height_o="2175" data-src="https://freight.cargo.site/t/original/i/92af40150810bc365bb7d293a4c4eb2d4fdc00f503353149c179969f1157d68e/Melissa-Huang.jpeg" data-mid="249874806" border="0" src="https://freight.cargo.site/w/1000/i/92af40150810bc365bb7d293a4c4eb2d4fdc00f503353149c179969f1157d68e/Melissa-Huang.jpeg" /> <img width="3116" height="2077" width_o="3116" height_o="2077" data-src="https://freight.cargo.site/t/original/i/023d09e3f0f9fe028dedfbf791e178b508cd1029eb130f09d94acb510cdf9180/Johanna-Evans.jpeg" data-mid="249874810" border="0" src="https://freight.cargo.site/w/1000/i/023d09e3f0f9fe028dedfbf791e178b508cd1029eb130f09d94acb510cdf9180/Johanna-Evans.jpeg" /> <img width="3300" height="2200" width_o="3300" height_o="2200" data-src="https://freight.cargo.site/t/original/i/6369d28f9c8163e06386271316875fb63c6116017f8566b8b28f3b319db5fd4a/Anika-Todd.jpeg" data-mid="249874814" border="0" src="https://freight.cargo.site/w/1000/i/6369d28f9c8163e06386271316875fb63c6116017f8566b8b28f3b319db5fd4a/Anika-Todd.jpeg" /> <img width="3300" height="2200" width_o="3300" height_o="2200" data-src="https://freight.cargo.site/t/original/i/acc0f978717ef9f3e5bda6ca7056d5aa43fe9174880590e6118901032079c843/Ryan-Aasen.jpeg" data-mid="249874815" border="0" src="https://freight.cargo.site/w/1000/i/acc0f978717ef9f3e5bda6ca7056d5aa43fe9174880590e6118901032079c843/Ryan-Aasen.jpeg" /> <img width="2535" height="1690" width_o="2535" height_o="1690" data-src="https://freight.cargo.site/t/original/i/8b1ffae7d1c0c5de1ce0730226d516020baba881a7bfee48ea39c00b3a06d92b/Selina-Lee.jpeg" data-mid="249874816" border="0" src="https://freight.cargo.site/w/1000/i/8b1ffae7d1c0c5de1ce0730226d516020baba881a7bfee48ea39c00b3a06d92b/Selina-Lee.jpeg" /> Just one look, that's all it took* can you see me now? centers perception and the “the gaze”, with works that consider seeing from points poetic to political and their intersections. In Walid Ra’ad’s Miraculous Beginnings part two, (one part of his three part video, Dead Weight of a Quarrel Hangs), the operator of a government surveillance camera (#18) is assigned to monitor human activities on the seaside promenade in Beirut; every day he turns his camera away from the designated targets towards the setting sun. With the introduction in the 18th century of the panoramic picture to the West, a totalizing image of the natural and built world became a reality. Although “an all encompassing view” remains a physical impossibility for the human eye, the possibility of being all seeing and all knowing is at our fingertips with drones and a smartphone - surveillance as entertainment. What are the destructive / captivating powers of looking? Ask Lot’s wife, Eurydice, or James Stewart in Alfred Hitchcock’s Rear Window. Is the power of looking and being looked at equal? Behold! It’s in the word isn’t it? To hold is to cradle, secure, possess, overtake - claim and control. Power is unequal. And yet, is there pleasure in looking and being looked at - difficulty and pleasure at once? One look.&nbsp; “There are times in life when the question of knowing if one can think differently than one thinks, and perceive differently than one sees, is absolutely necessary if one is to go on looking and reflecting at all.” - Michel Foucault, The Use of Pleasure. Translated from the French by Robert Hurley. &nbsp; *Just one look, music and lyrics by Doris Troy and Gregory Carroll - recorded by Doris Troy in 1963. See Curatorial Essay here Participating Artists: Carolyn Lambert, M Freeman, Cecilia Kim, Chloe Abidi,&nbsp;Melissa Huang, Johanna Evans, Anika Todd, Ryan Aasen, Selina Lee, Matt Frieburghaus,&nbsp;Lin Yen-Ju Images courtesy of the artist: Carolyn Lambert - still from No Matter What,&nbsp;M Freeman - still from A Vernacular of the Numinous,&nbsp;Cecilia Kim - still from Tidal Calling (Flow&amp; Ebb), Chloe Abidi - still from Dream Ballet, Melissa Huang - still from Did You Take It Yet?, Johanna Evans - still from Split Screen (Gowanus), Anika Todd - still from Tether, Ryan Aasen - still from Vigilant (What I Know), Selina Lee - still from Archive of Omission, Matt Frieburghaus - still from Current, Lin Yen-Ju - still from&nbsp;0 https://snakehousevt.com/Past-Event-Resistance Thu, 06 Feb 2025 18:22:19 +0000 Snake House VT https://snakehousevt.com/Past-Event-Resistance ResistanceSingle Channel Video Festival February 28 - March 1, 2025 <img width="1680" height="1120" width_o="1680" height_o="1120" data-src="https://freight.cargo.site/t/original/i/69287ffb68d9dc49d379fc17995bfdb0335e478919baf4f1921ab23906624479/Single-Channel-Vid-Fest--25_Resistance-graphic-with-text-1.jpeg" data-mid="226122144" border="0" src="https://freight.cargo.site/w/1000/i/69287ffb68d9dc49d379fc17995bfdb0335e478919baf4f1921ab23906624479/Single-Channel-Vid-Fest--25_Resistance-graphic-with-text-1.jpeg" /> <img width="2016" height="1344" width_o="2016" height_o="1344" data-src="https://freight.cargo.site/t/original/i/b408f1ed671b484d72b0eeb54432cfb525369f368d68adeec7efbec2728ccf4a/shores_elizabeth_placingACubeInACanyon_2013_STILL300dpi.jpeg" data-mid="227626521" border="0" src="https://freight.cargo.site/w/1000/i/b408f1ed671b484d72b0eeb54432cfb525369f368d68adeec7efbec2728ccf4a/shores_elizabeth_placingACubeInACanyon_2013_STILL300dpi.jpeg" /> <img width="1188" height="792" width_o="1188" height_o="792" data-src="https://freight.cargo.site/t/original/i/98300ed208c9c4dc23d5273aab5584ea9bd55206731d7aaa245f13069c897b72/Laura-Iancu.jpeg" data-mid="226122141" border="0" src="https://freight.cargo.site/w/1000/i/98300ed208c9c4dc23d5273aab5584ea9bd55206731d7aaa245f13069c897b72/Laura-Iancu.jpeg" /> <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/77a6c8c6dabe4da33d8a194d353fce1e108020cc8a81eca4f24470306251aa8a/Jena-Seiler2.jpeg" data-mid="226122140" border="0" src="https://freight.cargo.site/w/1000/i/77a6c8c6dabe4da33d8a194d353fce1e108020cc8a81eca4f24470306251aa8a/Jena-Seiler2.jpeg" /> <img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/669e998833cbecc879c8956ec8643b4a6f967d5ff04b5491da597f0e30ec0445/Elizabeth-Schneider_Michael-Covello1.jpeg" data-mid="226122135" border="0" src="https://freight.cargo.site/w/1000/i/669e998833cbecc879c8956ec8643b4a6f967d5ff04b5491da597f0e30ec0445/Elizabeth-Schneider_Michael-Covello1.jpeg" /> <img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/55c3f0bb4de68dcbfcad31b0b76ab57b30f4014a6eb70d7649909988445aa386/Tommy-Hartung1.jpeg" data-mid="226122145" border="0" src="https://freight.cargo.site/w/1000/i/55c3f0bb4de68dcbfcad31b0b76ab57b30f4014a6eb70d7649909988445aa386/Tommy-Hartung1.jpeg" /> <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/187a94c8517664e06cec6f0da002f5b54733e0f119ab856d6bd9923221ee6d1e/Video-Still_Jennings.jpeg" data-mid="226215638" border="0" src="https://freight.cargo.site/w/1000/i/187a94c8517664e06cec6f0da002f5b54733e0f119ab856d6bd9923221ee6d1e/Video-Still_Jennings.jpeg" /> <img width="1539" height="1026" width_o="1539" height_o="1026" data-src="https://freight.cargo.site/t/original/i/79cd333728c2cd875358a480fe659db7f056184614b80a5433b96888f11db762/Logan-Dandridge.jpeg" data-mid="226122142" border="0" src="https://freight.cargo.site/w/1000/i/79cd333728c2cd875358a480fe659db7f056184614b80a5433b96888f11db762/Logan-Dandridge.jpeg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/ad4d4e155bc72ee466e271cd6781f7210c185137c138c74716d33d5b9b44f0fc/Grau-Del-Grau.jpeg" data-mid="226122136" border="0" src="https://freight.cargo.site/w/1000/i/ad4d4e155bc72ee466e271cd6781f7210c185137c138c74716d33d5b9b44f0fc/Grau-Del-Grau.jpeg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/254765c5c2837ce60c71bcfc4084b6e567de7a2ed684936ed8c764b04b1618a7/Adam-Farcus.jpeg" data-mid="226122133" border="0" src="https://freight.cargo.site/w/1000/i/254765c5c2837ce60c71bcfc4084b6e567de7a2ed684936ed8c764b04b1618a7/Adam-Farcus.jpeg" /> <img width="3150" height="2100" width_o="3150" height_o="2100" data-src="https://freight.cargo.site/t/original/i/ffbe1803984ede4d8b46c0e8366163b14cb65ecbaf3021f835c21e7dfe3a50b0/Piper-Hill.jpeg" data-mid="226122143" border="0" src="https://freight.cargo.site/w/1000/i/ffbe1803984ede4d8b46c0e8366163b14cb65ecbaf3021f835c21e7dfe3a50b0/Piper-Hill.jpeg" /> <img width="3261" height="2174" width_o="3261" height_o="2174" data-src="https://freight.cargo.site/t/original/i/78ec4a5457156ae6edbaf1302845d313c717d621e6fcd2afce176a88f405f5d8/Carolyn-Lambert.jpeg" data-mid="226122134" border="0" src="https://freight.cargo.site/w/1000/i/78ec4a5457156ae6edbaf1302845d313c717d621e6fcd2afce176a88f405f5d8/Carolyn-Lambert.jpeg" /> We can become part of a widening when we refuse to be narrowed. - Sara Ahmed, Living a Feminist Life Resistance is a relationship. Are you keeper or are you kept? Resistance is geologic. What does resistance look like when the algorithm knows your shames, your loves, your kinks, knows what you want before you want it? When the protest gets a police escort? When you buy a Starbucks afterward, because god can we just live for a minute? At every turn you foil me. And yet through some luck/grace/will/inverse inertia we get on with it - with the spongy matter of loving. The pitfalls are many! The vertical task of somehow having connection when the name of the game is to go untouched. A saddling of SLOW deliberate motion that must sustain a strobe light of assaults. We doom-scroll to chill out. Can I resist and still have fun? We cannot speak of resistance without her sister temptation. And get to a salient point that yes sometimes to resist is to forgo desire, to deny pleasure - a wet with wanting and mouth full of lightning that_goes_nowhere_.&nbsp; Although_ must every lost hard-on become a little baby angel in heaven? Might we question the narrative that everything you’ve ever wanted is a half breath away; dreams that become landfill, become bombs, and then too become billable at $300 per hour so you can cry in front of someone who’s sworn to secrecy. Might we question the myth that accountability isn’t sexy, was never sexy. Might we crawl toward an ethic that holds frustration and elation. Toward a field of heterogeneity, plurality, exchanges, toward dildonics (thank you, Paul). Is resistance an insistence on collectivity, on saliva vs. bleach? We have been able to resist because we expanded our subjectivity, refusing to accept the idea that we’re all the same. - Ailton Krenak, Ideas to Postpone the End of the World We are looking for work that takes up the project of resistance, in the un/knowable breadth of what that may mean. See Curatorial Essay here Participating Artists: Elizabeth Shores, Laura Iancu, Jena Seiler &amp; Nicole L. Martin, Elizabeth Schneider &amp; Michael Covello,Tommy Hartung, Angie Jennings, Logan Dandridge, Grau Del Grau, Adam Farcus, Piper Hill, Carolyn Lambert Images courtesy of the artist: Elizabeth Shores - still from Placing a Cube in a Canyon,&nbsp;Laura Iancu - still from Half Life,&nbsp;Jena Seiler &amp; Nicole L. Martin - still from The Keeping Space, Elizabeth Schneider &amp; Michael Covello - still from Becoming an Oyster, Tommy Hartung - still from Individuality, Angie Jennings - still from THE STIGMA FOG SAINT Wards Off Extinction, Logan Dandridge - still from Something Like a Sonnet,&nbsp;Grau Del Grau - still from Purple Cloud, Adam Farcus - still from Five Minutes to Presence, Piper Hill - still from A Deal, Carolyn Lambert - still from&nbsp;Clear-Cut