Nov
18
to Jan 5

Call for Art: BROADCAST II

Killjoy Collective is currently seeking single-channel video art and experimental films for our BROADCAST II screening. Please include artist name, title of works, durations, and dates of completion. Artists may submit up to three video files with less than fifteen minutes of run-time each for consideration. Screening will take place at Killjoy Collective in Portland, OR on January 27, 2018 at 7:00 PM.  E-mail submissions by January 4, 2018 to killjoycollectivepdx@gmail.com.

Our collective goal is to increase the visibility of women, women-identifying, and gender non-conforming artists in Portland and beyond by curating public visual art exhibitions and events representing a community-minded and interdisciplinary approach. We seek to provide a platform for artists exploring urgent, contemporary issues via our artist-run gallery space in SE Portland. We view Killjoy as a site of resistance and a space for collaborating voices. 

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Dec
9
7:00 PM19:00

can you handle me?

can_you_handle_me_poster_redux.jpg

can you handle me?

works celebrating women’s bodies that don’t apologize for being human -

works that are humorous, sarcastic, happily tactile, assuredly confrontational, or content to be grotesque.

… can you?

Killjoy Collective is pleased to announce the public opening of can you handle me? An exhibition of new works by Panteha Abareshi, Hailee G. Evans, Tyler Mackie, Katie Piatt, and Caitlin Rooney. Please join us for an opening reception 7-9pm Saturday, December 9. can you handle me? consists of sculpture, performance, and illustrations on fabric and paper. Exhibition on view through January 9 by appointment only. Curated by Maggie-Rose Condit.

 

Panteha Abareshi | panteha.com

My name is Panteha Abareshi. I am an artist and illustrator currently based in Los Angeles. I work primarily in India ink, acrylic ink, and watercolor depicting women of color as the physical embodiments of the struggles I face; specifically my severe depression.

I have Sickle Cell Zero Beta Thalassemia and have suffered from chronic pain. The debilitating effects of my diseases drastically increased in the past few years. Its impact on me was significant. Living with both sickle cell and mental illness, I can (and frequently do) say that the depression hurts more.

I get asked so often, "what does the pain feel like?". When I explain how the chronic pain from sickle cell is caused, the same sympathy and kind curiosity is not extended when I speak about the suffering and turmoil I experience from my mental illness. Physical pain is easily conceivable for the human mind, and the validity of physical pain is accepted without question by society. The abstract and widely ranged nature of mental pain makes it difficult for individuals to understand and want to open dialogue about the reality of the experience.

I do not know if the English language has the capability of properly expressing the experiences, frustrations, anguish and turmoil that come with mental illness. But I have found that I am able to take distinct emotions, sensations, and struggles and say through my work “this abstract feeling is the equivalent to this tangible display of physical pain”. Cuts, bruises, bleeding. Pulling one's own tooth out, cutting out one's own tongue. These are undeniably painful acts, to put into perspective how painful my depression really is.

The women I draw represent struggle, and confusion but they also epitomize strength. There is strength in vulnerability, there is power is admitting that you are broken down. It is very easy for me to separate the human form from sexualization, even in situations of intimacy. The (hyper)sexualization of women often creates a barrier between human closeness in my experience, as it has become so ingrained in us that close+bodies=sexual. I portray women who are open and who are vulnerable, and who's appearance and emotion doesn't allow for objectification because it is so intensely human, and raw.

I strongly identify with the spectrum of aromantisicm and asexuality. I Have very strong aversions to the modern notions of romance,  and my artwork is a direct expression of my beliefs that the way young people, especially girls, are taught to value, prioritize and derive happiness from “love” is damaging and wrong. I struggle with the societal standards for romance, love and sex constantly, and express that in my work because I want to normalize the notion of women/people not craving intimacy.

 

Hailee G. Evans | @slimesistren

Hailee G. Evans a.k.a. “SlimeSistren” B. 1992, Scorpio

Hailee G. Evans is a working artist and lifelong Oregonian. She has lived and worked in Portland since 2012. Her name was conceived in an unfortunate misspelling by her parents, who intended to commemorate Halley’s Comet, the famous rock from outer space.

Evans's work explores gender & sex, as well as other things. She works in visual mediums including pen & ink & paint & sculpture.

Ever since she was a child, Evans has been fascinated with the disharmonious metaphysics that bind one's brain to one’s body. Her work is an attempt to examine the phenomenon of Snoopy as a metaphorical interpretation of the Female God. She delights in the sucking & the fucking of/in/around the erogenous zones. What began as a personal journey has since blossomed into inspired renderings of buttocks and genitals.

Initially contemplative and innocent, her practice eventually transgressed into what it is at present, a corroded carnival of greed. Viewers of her work have described a feeling of complete barren identity, which persists until death. According to exit polling of gallery visitors, apathy is the most commonly reported emotion following the viewing of her work; however, many report that this aftertaste of indifference eventually gives way to darker suppressed emotions, which have been described as "loathsome sensations of abhorrent decadence." This trend has been consistently demonstrated through exhaustive research.

Evans draws inspiration from a diverse spectrum of influences, including Caravaggio and Jon Voight. Many of her artistic choices, including those related to style and subject matter, have been attributed to her grandiose delusions. She maintains an earnest belief that she is a princess from another planet, and the rightful heir of the solar system.

Evans has exhibited in group shows at Tecos (42nd & Powell, Portland) and the Louvre (Paris). She has been described by hundreds of credible un-credited experts as "the Greatest Artist In All of the United States of America (Excluding Alaska).” She is a recipient of a grant from Federal Correctional Institution (FCI Sheridan) where she served time following charges of serial petty theft from the gift shop of the Portland Art Museum.

Evans spends her time living between art capitals of the world and her tub, where she bathes fully clothed. Evans is of a minority of women suffering from early onset male pattern baldness; While she does not admit to it publicly, she wears a poorly constructed, low-grade wig made of nutria, to cover the uncanny shimmer of her crown and forehead. Due to the wig’s extreme fragility, she is known to leave a trail of foul dust and hair behind her as she marches about whatever space she occupies.

Her work is in the private collection of Snoopy who has been quoted as saying, "Do me! Yeah, yeah, do me! Now, [Evans's work] that's what I call Art! Arf! Arf

 

Tyler Mackie | postmedium.com/tyler_mackie | @tyler.mackie

The home is a sphere of warmth that I treasure and upon which I fixate. Through the deployment of domestic objects and traditional handicraft, I explore tropes of comfort. These objects facilitate intimate moments of comfort that restore familiarity to the viewer.

Tyler Mackie holds a B.F.A in Studio Arts from Oregon State University (2005), and an M.F.A. in Studio Arts from Louisiana State University (2009). Her work explores relationships between performance, visual, and craft-based communities, with an emphasis on the female experience. Recent projects include Bridge for Blankets, an installation on the Broadway Bridge (2013), and ongoing creative contributions as a member of the international collaborative collective Expanded Draught (2009-present).

 

Katie Piatt | Katiepiatt.com

Katie’s performances, such as her Male Fragility Show, are abrasive, visceral, and thoughtful.

Katie Piatt is an artist living, playing dress-up, and telling jokes in Portland, Oregon. She explores the ideas of gender, body, sizeism, and queer identity with her extensive background in soft sculpture, sewing, and knitting as well as in her participatory performance and storytelling/comedy practice. Using devastatingly honest humor and the art of spoken word, improvisation, and the awkward silence, she tells her stories of surviving religion, abuse, misogyny, and challenges the effects of growing up a fat queer girl in the conservative Ozark hills of southern Missouri. Katie has an MFA in Visual Studies and has performed at the Banff Centre, Portland's Artist Repertory Theatre as part of the 2015 Risk/Reward Festival, PNCA, PSU, the street, the Siren Theater with her queer comedy troupe That's What She Said, and most recently at the 2017 NW New Works Festival in Seattle, Washington.

 

Caitlin Rooney | @oldoriginal

The semiotics of popular culture are as just as they are fraudulent.

This body of work examines this notion through appropriation and rebranding of imagery found within popular culture iconographies and banal consumerism, and how this is translated and transformed via desire, satire and varying narratives.

i.e, conscientious slang ghost riding poignant critique.

Caitlin Rooney (Milwaukee, WI) is an interdisciplinary artist currently living and working in Philadelphia, PA.

Rooney primarily works in sculpture, appropriation, drawing, installation and photography. She received her MFA in Visual Studies from Pacific Northwest College of Art and a BFA in Interdisciplinary Studio Arts and Writing from Milwaukee Institute of Art and Design. Her work examines and exploits the idiosyncratic nature of popular culture consumerism and its banal iconographies.

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Oct
14
7:00 PM19:00

Safety in Numbers

Killjoy Collective — in a special collaboration with curator Julia Greenway and Disjecta Contemporary Art Center — are proud to present Safety in Numbers, a performance and installation by Jono Vaughan. Performance will take place during the opening reception on Saturday, October 14 from 7:00 - 9:00.

Currently seeking participants to receive a free professional haircut during artist performance.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

SAFETY IN NUMBERS

In Safety in Numbers, Jono Vaughan recreates a hair salon at Killjoy Collective, using elements of live performance and sculptural installation. Referring to her process as “exploring the power of transgender anonymity through the creation of clones that can offer a sense of security and normalcy previously unattainable,” Vaughan invites professional stylists to replicate the artist’s exact haircut on volunteering patrons. 

With artist designed silk screened patterns covering the walls, stylists and participating patrons Safety in Numbers resembles an otherworldly salon within the gallery environment. Vaughan facilitates her own anonymity as participants begin to resemble the artist in an act of solidarity toward the transgender community. 

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

JONO VAUGHAN

http://www.fineartvaughan.com/


Jono Vaughan was born in London, U.K. in 1977 and moved to the U.S.A. in 1985.

From 1995-1998 the artist attended the now closed Savannah branch of The School of Visual Arts and completed a Bachelors in Fine Arts from The School of Visual Arts in New York City in 1999. In 2009, Vaughan received a Masters of Fine Arts at The University of South Florida in Tampa. From 2006-2011 the artist worked as a production assistant at Graphic studio. 

Vaughan has taught drawing, painting, and printmaking at a number of Tampa Bay Area universities and colleges and currently serves as Assistant Professor of Drawing & Painting at Bellevue College. Since 2009 Vaughan has been producing works focusing on hair and its role in gender and social identity. These works have been featured in New American Paintings and have been exhibited in a number of solo and group exhibitions. Vaughan is the 2017 recipient of the Seattle Art Museum Betty Bowen award.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.


 

This exhibition is presented in partnership with the Disjecta Contemporary Art Center as supportive programming to A Situation of Meat; the first of four exhibitions of the Season 7 Curator in Residence Program curated by Julia Greenway.

More information about A Situation of Meat and additional programming.


Curator in Residence Program | Disjecta Contemporary Art Center

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Sep
16
7:00 PM19:00

PERCEIVE

Perceive_02_C-01.png

Killjoy Collective is pleased to announce the public opening of PERCEIVE, new works by Candace Jahn and Jill Falk. Please join us Saturday, September 16th from 7-9 pm for an opening reception. PERCEIVE will be on view until Saturday, October 7th. Curated by Tessa Heck.  

 

CANDACE JAHN

www.candacejahn.com

Candace Jahn is an artist working in photography currently living in Portland, Oregon. Her work explores a constructed concept of “seeing without looking” through a means of photographic non-traditional lens based equipment such as scanners. She has exhibited her work on both coasts including Duplex Gallery (Portland, Oregon), Disjecta Contemporary Arts Center (Portland, Oregon), Photographic Resource Center (Boston, Massachusetts) and The Gallery 13 (Asbury Park, New Jersey) amongst others. Jahn received her BA in Art and Education with a concentration in Photography from Monmouth University in West Long Branch, New Jersey and her MFA in Visual Studies from Pacific Northwest College of Art in Portland, Oregon.  She attended the Caldera Arts residency in Fall 2014 and was the recipient of the Society of Photographic Education Mid-Atlantic Scholarship in 2011.  

Happy Cherries, 2017, 20” x 28”, Archival Digital Print

Happy Cherries, 2017, 20” x 28”, Archival Digital Print

It’s incredible what bodies can do: they heal themselves, they store energy and memories in places and pockets you didn’t know exist; that is, until they come flooding back into your consciousness.  Bodies can also fail you, and as you become in awe of what they are capable of, you become very aware of their capacity to turn on you.  This body of work explores moments of these juxtapositions.  We eat to survive until we become over indulgent.  We make ourselves vulnerable to people closest to us, allowing them to be a source of our happiness, until that dependence becomes our collapse.     

These co-existing feelings of pleasure/grief and bliss/regret are what encouraged this work to continue examining how transitory these feelings can be. Although these images are created out of the frustrations stemming from my relationship to my body, its approaches and the space it inhabits—it is just as well celebrating moments of acceptance and comfort in the flawed.  

 

JILL FALK

www.jillfalkart.com

Jill Falk’s multilayered paintings explore the interconnectivity of seemingly unconnected subject matter. Using fragments, such as old family photos or individual still shots from Television shows or films, she re-interprets and reshapes them into something unexpectedly new. Her work has been exhibited throughout the Pacific Northwest, Kentucky, Missouri, Chicago and New York as well as Hong Kong. She is the recipient of several awards and scholarships including PNCA’s Bridgetown Scholarship, 2013 and the Gamblin Painting award, 2014.

Rotary, 2017, 50” x 68”, Oil on Canvas

Rotary, 2017, 50” x 68”, Oil on Canvas

“Paint and canvas become my laboratory and temple as I step into the Unknown as scientist, source^er^ress, and seer. I must always look for what I do not know. Awareness is fleeting, and without a container it slips away. The materiality of painting allows me to store and compress layers upon layers of information into a concrete vessel. Over time, fragments become focused, revealing patterns and tendencies of perception that exist both within and beyond the present moment. This method of perception storage, allows for the simultaneous viewing of past, present, and possible future timelines within a single frame.”

Currently, Falk lives in Portland OR, where she maintains a studio practice as well as pursuing her other interests such as lucid dreaming, fiddling and surfing.

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Jul
15
7:00 PM19:00

Willy Nilly

 

Killjoy Collective is pleased to announce the public opening of Willy Nilly, new works by Kellen Chasuk and Emma Parry. Please join us this Saturday July 15 from 7-9 pm for an opening reception. Willy Nilly is a series of paintings, clothing, music, and sculptures made collaboratively and independently. Exhibition on view through August 13 and by appointment only. Curated by Anastasia V. Greer.

 

Kellen Chasuk

Kellen Chasuk

Kellen Chasuk

kellenchasuk.com

Kellen Chasuk (Napa, California) is currently based in Portland, OR while pursuing a BFA at Pacific Northwest College of Art. Her work explores identity and artifice through the manipulation of conventional and experimental practices. Chasuk has exhibited work locally at various DIY venues, PNCA as part of the school’s participation in NCECA 2017, Bay Space, and Stephanie Chefas Projects.

 

Emma Parry, Fear of Butterflies

Emma Parry, Fear of Butterflies

Emma Parry

@osoflower

Emma Parry (Austin, Texas) is a multidisciplinary artist based in Portland, OR currently attending PNCA’s BFA program. Through the use of visual poetry and humor, Emma’s work pays homage to friendship while contemplating the absurdity of the everyday. Her work has been displayed at gallery B10 as well as multiple DIY locations.

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Jun
2
6:00 PM18:00

IN/EX TERIORS

Killjoy Collective is pleased to announce the public opening of IN/EX TERIORS, new works by Nikki Vene and Subin Yang. Please join us this Friday, June 2nd from 6-9 pm for an opening reception. IN/EX TERIORS will be on view until Saturday, June 24th. Curated by Rachel Brown Smith.

 

Nikki Vene

www.nikkivene.com

Nikki Vene's most recent series of paintings, Night-Walk, explores architectural spaces in and around the city of Portland. These paintings reference her personal perspective as solitary spectator, a city-goer who traverses by foot, and due to her nocturnal tendencies, mainly at night. Within Vene's artistic practice, she engages in acts of flâneurie, a removed, somewhat voyeuristic form of observing the urban landscape. This curious yet distanced way of looking is first documented by photographs taken on the street, so that details of the momentary observation may be referenced later on in the painting process.

When translating the image onto canvas, the ordinary, quiet spaces found in Vene’s photographic work begin to transform from strict representation into spaces of abstraction, or other worlds of reality all together. These painted architectural spaces call upon the viewer's imagination to fill in the blanks, to complete the image, to discern areas of ambiguity or to fully immerse themselves in its illusion. The viewer has full autonomy to witness painted worlds as their own, taking on a sense of empowerment and the position of the realized dreamer.

 

Subin Yang

www.subinyang.com

Subin Yang is an illustrator and graduate of PNCA (Pacific Northwest College of Art) in Portland, Oregon. Inspired by themes of home, culture, nostalgia, and daily life, Subin creates scenes full of vibrant colors and details.

Yang’s work ranges from collaging various traditional media to digital illustration, reflecting her love for experimentation. She is from Seoul, South Korea, where she escapes to every now and then for some comfort food like oily rolls of tuna kimbab and sweet and spicy tteokkbokki.

Yang writes of her most recent body of work, “Home is traditionally connected to an idea of a permanent, solid, and physical house but even structures like a house start feeling disposable when moving frequently — almost like shedding a layer of one’s life. Through making abstract digital collages out of the most vibrant memories or immediate connections to each places I’ve lived, such as specific colors, sound, and nostalgic details, the disposed places of the past that I used to call home form fluidly as flexible structures.”

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May
5
6:00 PM18:00

Laugh Your Panties Off

 

Performances By

Brooks

Stephanie Buckner

Shannon Sales

Maggie Condit

Katie Piatt

 

Please join us on Friday May 5 from 6:00 - 9:00 pm for Laugh Your Panties Off, a donation drive event benefitting the Salvation Army Female Emergency Shelter! We will be collecting donations of new underwear, bras, and feminine hygiene products. Panty drive!

Comic and artist Katie Piatt will be hosting the event with other special guests making us laugh all night with screenings of RuPaul's Drag Race in between. Donate your new underpants!


Katie Piatt

http://wwww.katiepiatt.com

Katie Piatt is an artist living, playing dress-up, and telling jokes in Portland, Oregon. She explores the ideas of gender, body, sizeism, and queer identity with her extensive background in soft sculpture, sewing, and knitting as well as in her participatory performance and storytelling/comedy practice. Using devastatingly honest humor and the art of spoken word, improvisation, and awkward silence, she tells her stories of surviving religion, misogyny, and challenges the effects of growing up a fat girl in the conservative Ozark hills of southern Missouri. 

She also dresses up and goes around as a character she calls “Old Annie”, a grown-up but still child-like persona of Little Orphan Annie. A project putting narrative on females in show business, getting older, loneliness, and an effigy of failing gracefully - Old Annie has crashed the Whitney Biennial, taken pictures with tourists on Times Square, put out an “Awkward Sexy Calendar", done standup in Canada, and chaperoned -- or was the Mrs. Garrett to -- the minor performers at TBA15's Critical Mascara.

Katie has an MFA in Visual Studies and has performed at the Banff Centre, Portland's Artist Repertory Theatre as part of the 2015 Risk/Reward Festival, PNCA, PSU, the street, the Siren Theater, and most recently at the Portland Institute of Contemporary Art's new addition in NE Portland.

Look for her at the 2017 NW New Works Festival June 9th, 10th, 11th! 

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Mar
18
6:00 PM18:00

TRANSFERENCE

Killjoy Collective is pleased to announce the public opening of TRANSFERENCE works by Aruni Dharmakirthi and Rebecca Tennenbaum. Please join us Saturday, March 18th from 6-9PM for an opening reception. TRANSFERENCE will be on view until Saturday, April 29th. Curated by E.M. Fuller.

 

Aruni Dharmakirthi

http://www.arunidharmakirthi.com/

Aruni Dharmakirthi is a Sri Lankan born artist based in Portland, OR. They received a BA in Studio Art and Art History from Florida State University and is currently completing an MFA in Visual Studies at the Pacific Northwest College of Art. They are also a cofounder and curator at SoftSpacepdx, a video+new media project space that creates a platform for emerging artists.

Dharmakirthi's work uses digital animation and fibers to create installations that move back and forth in time, to explore known and untold histories. The political and the personal come together to recall the journey of migration; connecting it to the tragedies of colonization and the continued violence of imperialism. These histories are reimagined into digital culture; blurring the lines between contemporary and traditional, eastern and western.

 

 

Rebecca Tennenbaum

http://www.rebeccatennenbaum.com/

Rebecca Tennenbaum is a graduating MFA candidate at the University of Pennsylvania, living and working in Philadelphia. Prior to coming to Penn, she received her MAT and BFA from the University of the Arts. She grew up in New York, Pennsylvania and California, relocating to Philadelphia in 2008.  Recent exhibitions include Traversals, a group show in 2016 at New Boon(e) Gallery in Philadelphia, and a solo exhibition in 2015 at La Porte Peinte Centre Pour Les Arts in Noyers-Sur-Surein, France. Tennenbaum recently received a fellowship to the Vermont Studio Center in 2016.

“My work explores relationships between the body and its encounters with external forces. Working primarily with wood and latex, I construct power relationships which demonstrate affect through forms taken from everyday life. I consider the pieces to be appliances with implied functions, authenticating the invisible connections made between the body and its daily encounters with other bodies, appliances, objects and landscapes. I aim to communicate a sense of transference or containment of energy through the relationships of the parts, implying action, void, and balance. An example of this transference would be eating a sandwich that tastes like a banana, simply from being next to it.”

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Feb
13
6:00 PM18:00

Nasty Women Portland - Opening

Opening Reception February 13, 2017 6:00 PM - 9:00 PM
222 SE 10th Ave #102B Portland, OR 97214

Killjoy Collective is proud to host Nasty Women Portland. All proceeds from art sales benefit the Safe Harbor Art Program, a division of SAFES (Salvation Army Female Emergency Shelter).

This is a group exhibition that serves to demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women’s rights.

 

------------------------------------------------------------------------------------------

About Nasty Women
(http://nastywomenexhibition.org/)

Started by Roxanne Jackson and Jessamyn Fiore with a facebook post that read: Hello female artists/curators! Lets organize a NASTY WOMEN group show!!! Who's interested??? 

The massive response has taken this call to arms into building an ever-expanding network of Nasty Women Artists & Art Organizers that will culminate in multiple exhibitions. Please visit Other Nasty Venues for more details on organizing an exhibition in your city


About SAFES
(http://safeshelterpdx.org/)

Empowering women to move from homelessness to housing, 
SAFES is in the Old Town district of downtown Portland and provides services to people who identify and present as female.

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Jan
21
6:00 PM18:00

B R O A D C A S T

Killjoy Collective is proud to present B R O A D C A S T works from women video artists in Portland, OR and beyond. Video screening begins at 6:30 PM with a brief intermission. B R O A D C A S T highlights the creativity, insight, and expertise of makers working within the medium of video. Works selected by Jodie Cavalier and BriAnna Rosen. Killjoy Collective promotes the National Women's March on Washington, D.C. and our local Women's March on Washington: Portland. "We stand together in solidarity with our partners and children for the protection of our rights, our safety, our health, and our families recognizing that our vibrant and diverse communities are the strength of our country," National Organizers Women’s March on Washington. For more information regarding Portland's march, please visit: http://bit.ly/faqwmwpdx ------------------------------------------------------------------------------------------------- Women's March Mission https://www.womensmarch.com/mission/ The rhetoric of the past election cycle has insulted, demonized, and threatened many of us - immigrants of all statuses, Muslims and those of diverse religious faiths, people who identify as LGBTQIA, Native people, Black and Brown people, people with disabilities, survivors of sexual assault - and our communities are hurting and scared. We are confronted with the question of how to move forward in the face of national and international concern and fear. In the spirit of democracy and honoring the champions of human rights, dignity, and justice who have come before us, we join in diversity to show our presence in numbers too great to ignore. The Women’s March on Washington will send a bold message to our new government on their first day in office, and to the world that women's rights are human rights. We stand together, recognizing that defending the most marginalized among us is defending all of us. We support the advocacy and resistance movements that reflect our multiple and intersecting identities. We call on all defenders of human rights to join us. This march is the first step towards unifying our communities, grounded in new relationships, to create change from the grassroots level up. We will not rest until women have parity and equity at all levels of leadership in society. We work peacefully while recognizing there is no true peace without justice and equity for all. HEAR OUR VOICE.

Killjoy Collective is proud to present B R O A D C A S T works from women video artists in Portland, OR and beyond. Video screening begins at 6:30 PM with a brief intermission. B R O A D C A S T highlights the creativity, insight, and expertise of makers working within the medium of video. Works selected by Jodie Cavalier and BriAnna Rosen.

Killjoy Collective promotes the National Women's March on Washington, D.C. and our local Women's March on Washington: Portland. "We stand together in solidarity with our partners and children for the protection of our rights, our safety, our health, and our families recognizing that our vibrant and diverse communities are the strength of our country," National Organizers Women’s March on Washington.

For more information regarding Portland's march, please visit: http://bit.ly/faqwmwpdx

-------------------------------------------------------------------------------------------------

Women's March Mission
https://www.womensmarch.com/mission/

The rhetoric of the past election cycle has insulted, demonized, and threatened many of us - immigrants of all statuses, Muslims and those of diverse religious faiths, people who identify as LGBTQIA, Native people, Black and Brown people, people with disabilities, survivors of sexual assault - and our communities are hurting and scared. We are confronted with the question of how to move forward in the face of national and international concern and fear.

In the spirit of democracy and honoring the champions of human rights, dignity, and justice who have come before us, we join in diversity to show our presence in numbers too great to ignore. The Women’s March on Washington will send a bold message to our new government on their first day in office, and to the world that women's rights are human rights. We stand together, recognizing that defending the most marginalized among us is defending all of us.

We support the advocacy and resistance movements that reflect our multiple and intersecting identities. We call on all defenders of human rights to join us. This march is the first step towards unifying our communities, grounded in new relationships, to create change from the grassroots level up. We will not rest until women have parity and equity at all levels of leadership in society. We work peacefully while recognizing there is no true peace without justice and equity for all.

HEAR OUR VOICE.

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Nov
18
6:00 PM18:00

Official Opening

Killjoy Collective is pleased to present Post, a collection of recent works by founding members, Rachel Brown Smith, Maggie-Rose Condit, E.M. Fuller, Anastasia Greer, Tessa Heck, and BriAnna Rosen.

Feel the wind at our backs, like a fan on the set of your favorite girl band video. Post is a dream realized, a view inside a shaken-up snow globe brain. Our collective vision is a space occupied by works in all mediums, subliminally tethered under a female-centric gaze, unfixed and curious. 

Please join us for drinks and refreshments November 18 from 6-9pm to celebrate the debut opening of our gallery space at 222 SE 10th Ave Unit 102b Portland, OR 92714.

 

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