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WFIU Anthology presents Leonora Carrington

Earlier this month Cynthia Wolfe’s Books Unbound program moved from Bloomington Community Radio Station WFHB to our local NPR station WFIU.

It has a new name, Anthology, and a new time slot—Sundays at 1:00 p.m. Livestream at http://indianapublicmedia.org or tune in at 103.7 FM.

Cynthia has done a great job with the show, which uses audio editing and cut-and-fold techniques to create aurally creative, live readings of great literary works. This alone would make the show interesting to Burroughs Century audiences. But this coming Sunday, July 24, the show will feature a story by Surrealist writer Leonora Carrington, and so we are especially interested in promoting it as part of our Wounded Galaxies 1916-1968 project.

Carrington (1917-2011) was an English-born artist, Surrealist painter and writer. She became affiliated with the French Surrealists, largely through her relationship with painter Max Ernst. But while she exhibited her paintings in Surrealist shows, she never fully considered herself a part of the movement. Much of her work interrogates the image of the femme-enfant (the woman-child) so central to the male Surrealist worldview. And like Maya Deren and Frida Kahlo, she frequently uses her own portrait as a point of departure, creating multiple versions of herself within a single tableau, as a means of destabilizing a unified subjectivity and of visualizing what Franz Fanon in another context calls “double consciousness” (your awareness of your own subjectivity, on the one hand, and yourself as an object for others).   In her later life, she became an important figure in the Mexican Feminist Movement, and there is a hint of nascent feminism in the work she did while living in France with Ernst.

What she explicitly shares with the French Surrealist group is the use of dream imagery as a means of revolutionary artistic praxis, a means of showing what André Breton once famously called the “bankruptcy” of the rationalist, Enlightenment project. Fascinated from an early age with the bestiary, both her paintings and stories are populated with fantastic creatures—talking horses and hyenas, who sometimes appear as domesticated pets in her paintings. These animals appear in her work as agents of creative transformation. For her, animals –rather than women—become intermediaries between the unconscious and the natural world, between man and what the Surrealists called “the marvelous.” And her use of animal imagery is read by scholars of Surrealism, like Whitney Chadwick, as a way of redefining the image of the child-woman, “from that of innocence, seduction, and dependence on man, to a being who through her intimate relationship with the childhood worlds of fantasy and magic is capable of creative transformation through mental rather than sexual power.” (Whitney Chadwick, Women Artists and the Surrealist Movement (Thames and Hudson, 1985) p 79)

The story that will be featured in the broadcast is The Seventh Horse. It was written in 1941 in New York and was published in the American Surrealist journal VVV, nos 2-3, New York 1943. Like most of her stories, this one is not about plot or character, but excels at creating a mood and at blurring the lines between conscious knowledge and unconscious truths.

Wounded Galaxies: 1968

Wounded Galaxies Marches 1968-2

In 1968, a wave of cultural tumult swept across Europe and the United States. Students, workers, artists, and activists joined forces in a groundswell of protest that verged on revolution.

Wounded Galaxies: 1968 will be a multimedia festival and scholarly symposium celebrating the 50th anniversary of the revolutionary arts and culture movements that occurred in Paris, Prague, and beyond. Festival events are planned for February 2018 in Bloomington, Indiana.

Leading up to Wounded Galaxies: 1968, The Burroughs Century Ltd. will host a series of smaller events as Wounded Galaxies marches toward 1968. These events will include community art-making, films, music, and performance art, all inspired in some way by the avant-garde movements that presaged 1968.

Join us for the first event in the Wounded Galaxies Marches Toward 1968 art series, An Evening of Exquisite Corpses.

The Junky’s Christmas LIVE! Dec 16 – Bloomington Indiana

Every year, the folks at The Burroughs Century celebrate the holidays with a Radio Theatre rendition of William Burroughs’ short story “The Junky’s Christmas.” The performance is in the style of 1930s radio dramas and includes live sound effects by Tony Brewer, Chris Rall on saxophone, and Kyle Quass on trumpet.

This year, the Radio Theatre crew will also perform Ray Bradbury’s “It Burns Me Up!” for a special double-feature.

When: Wed Dec 16, doors at 7p, performance at 8p
Where: The Bishop Bar, 123 S Walnut St, Bloomington IN
Cover: $5

RSVP on Facebook

For those not in the Bloomington, Indiana area, we recommend watching the stop animated adaption of Junky’s Christmas to celebrate the holidays in Burroughs Century style.

Martin Bisi at Wounded Galaxies

Some photos from the Sound & Chaos Q&A with director Ryan Douglass and BC Studio co-founder Martin Bisi and from the music show that night with Invisible Things and Martin Bisi’s band.

Bisi1 Bisi2 Bisi3 Bisi4 Bisi5

Photos from Chris Kraus’ Reading

We had a great conversation with Chris Kraus yesterday and can’t wait to read her book about Kathy Acker.

Kraus1 Kraus2 Kraus3

New Wounded Galaxies Trailer

Created by Andre Perkowski. See Andre’s cut-up film, Nova Express, on Thur Oct 8, 7p, IU Cinema.

$20 Promotional Price – Matmos with special guest Drekka

Matmos Live at Supersonic Festival, Birmingham, UK May 30th 2014

Matmos Live at Supersonic Festival, Birmingham, UK May 30th 2014

We’re now offering a promotional price for Matmos and Drekka’s performance on Friday October 9. Buy your tickets now through the BCT Box Office.

Ex Nihilo


This week we’ve been listening to Martin Bisi’s recent album, Ex Nihilo, and it’s getting us excited for his performance at Wounded Galaxies in October. Right now track 4, “Invite to Heaven and Hell,” is standing out with it’s cool blend of operatic vocals, spoken-word-style narrative, and a sonic layering that verges on hypnotic confusion. We agree with Grayson Currin of Indy Week that “Ex Nihilo is an hour-long crawl through sinister madrigals and malevolent soundscapes.”

We’ve almost got the passes sorted out, so watch this space in the next week for how you can buy your festival pass.

Martin Bisi will be performing in a double-bill with Lydia Lunch at the Back Door on Sat Oct 10, 8p. Check out the full festival schedule.

Want to listen to Martin Bisi’s music to get yourself pumped for the festival? Hop over to Bisi’s website.

Queer Mythologies // Queer Histories

Our evening of contemporary LGBTQ shorts, curated by filmmaker Russell Sheaffer, is looking pretty great. Check out the full line-up below.

October 9 – Friday – 6:30 p.m.
IU Cinema

How does one go about creating mythologies of non-normative experience while exploring history in a markedly queer way? The films in this experimental shorts block work to address this central questions. Whether engaged in an exploration of human bodies, of untold histories, or of a mythological landscape with new potential, these films understand their characters, their subject matter, and their form in original and markedly queer ways. This shorts program is comprised entirely of contemporary work and includes:

All Under (Gunilla Leander, 2003 (U.S. Premiere))
Ink Deep (Constance Levesque, 2012)
Shift (Juan Carlos Zaldivar, 2012)
Wildblood (Jonesy, 2011)
But I’m a Genderqueer (Lauren Soldano, 2011)
In the Open (Albert Sackl, 2011)
Maya Deren’s Sink (Barbara Hammer, 2011).

Preview a clip from Barbara Hammer’s film:

The films in this program contain mature content.
Free, but ticketed.

Announcing Chris Kraus!


We’re happy to announce an addition to our 2015 schedule: feminist writer and filmmaker, Chris Kraus. She will read a selection of her forthcoming book of essays on Kathy Acker on Friday October 9 at 4p at the I-Fell building. Buy tickets in advance at the BCT Box Office.