you. can. just. do. shit.
Collective Misnomer's 9th year BARFDAY celebration!!!
One massive video installation celebrating DIY and autonomous art-making practices
Nov. 14th 2025
6pm - 10pm
$15 or pay what you can. No one turned away for lack of funds.
@Rainbow Dome
1660 N Federal
Denver, CO 80204
HOW TO PARK AT RAINBOW DOME (IMPORTANT)
We will also have new collective misnomer merch!
This program is supported by Denver Arts & Venues through the DAV Arts & Culture Grant.
Performances by
EM.BAL.M @8pm
&
SLZY MYLFS @9pm
Video works by…
Artist: Adán De La Garza
Title: Tree Line
Statement: When I moved to Denver from Tucson, Arizona, I thought every neighborhood was upper-middle-class because so many yards had grass and trees. This was a luxury reserved for the wealthy and golf courses of the desert.
Redlining was introduced by the federal government in the 1930s through the Home Owners' Loan Corporation. The process involved government officials creating maps to help mortgage lenders assess which areas were considered too risky for investment. Neighborhoods with high populations of African Americans and immigrants were marked as 'hazardous' and colored red on these maps. This explicit labeling, along with other housing laws at the time, led to reduced homeownership for affected groups. Colorado has the 11th-lowest homeownership rate in the US, coming in at 64.9% homeownership. The disparity in property ownership is closely linked to the unequal distribution of tree cover, as privately owned land grants individuals the authority and means to plant more trees.
Almost every city, neighborhood with a history of redlining were hotter than those without redlining histories. In some cases, the difference reached nearly 13°F between these areas. The formerly redlined and the highest-rated neighborhoods in Denver have a difference of 12.2°F.
Denver experiences between 12 to 17 days a year at or above 90°F. By 2050, Denver will have a range of about 22 to 41 days a year at or above 90°F. As climate change continues, extreme heat will increasingly claim more American lives each year than any other weather-related disaster.
Cities are not natural jungles that evolve through natural selection. They are consciously designed by people, and often planned with specific individuals in mind, excluding the needs of everyone else in the process. So I guess Denver isn't all upper-middle class. But it does seem to cater to them.
Artist: Andy DiLallo
Title: Plebtown
Statement: Plebtown is a part of a larger project that I have proposed but haven't started working on. For this show, I'm planning to make a non-interactive prototype of of what Plebtown might look/feel like. Here is the full statement about the larger project:
The Body Politic is a public-facing installation and videogame about the collapse of coherence online. Viewers assemble an avatar from modular narrative fragments—Head (belief engine), Heart (obsession), Gut (fear), Hands (methods), Feet (allegiance)—forming an incoherent worldview. Entering the Plebtown, players feed their constructed narrative to keep it alive. When relevance fades and reactions cease, the avatar calcifies, leaving behind an artifact that other players can encounter.
Artist: Bearwarp
Title: Hyperlinked
Statement: Hyperlinked is an interactive installation that encourages viewers to reflect on our contemporary media environment. The project uses a webcam to map the viewer’s movements onto a dizzying field of found mass media imagery distorted through multiple layers of analog and digital processing.
Artist: Brian Fouhy
Title: I GOT IT!
Statement: 'I GOT IT!" will be a montage of brilliant catches made by fans set to ballpark organ music. To set the scene, the video will be displayed on a CRT TV positioned on a stadium chair surrounded by artifacts like peanuts, cracker jacks, and beer cans. Tapping into the nostalgia of America's Pastime that many experience at the ol' ballgame.
Artist: Eileen Roscina
Title: Orcas
Statement: This is a new batch of 16mm, hand processed, alt process.
Artists: Sarah Biagini and Eric Coombs Esmail
Title: Unswallowed
Statement: Photogrammed owl pellet bones and a 1955 encyclopedia illustration scavenged from a dumpster create a composite of predator-prey relationships in the Sonoran desert.
Artist: Jenna Maurice
Title: Subtle Appearances
Statement: These performances are based on my musings of how Humans as a species could exist within the natural landscape. They subtly appear without changing anything. The only addition they make is their presence. They co-exist without dominating. They appear, with subtlety.
Artist: Joel Swanson
Title: Hang in There! (vertical roll)
Statement: This work animates the iconic 1980s "Hang in there!" cat poster using a slide carousel projection system. Sequential slides are positioned with slight vertical offsets, creating a continuous upward scrolling loop as the carousel advances. The mechanical process references Joan Jonas's 1972 video "Vertical Roll," but employs analog slide technology contemporary to the source image. The cat, frozen mid-grasp in the original photograph, perpetually moves upward while remaining stationary—the motivational text's imperative to "hang in there" contrasted against the image's relentless vertical movement. The analog mechanism transforms a static symbol of perseverance into a meditation on repetition and the inevitability of technology.
Artist: Juan Fuentes
Title: No Contaban Con Mi Astucia (They Didn’t Count On My Cunning)
Statement: Picardía y propaganda.
Artist: Kiah Butcher
Title: Don't Touch Your Face
Statement: A video portrait exploring the subtle choreography of human behavior by visually showcasing the amount of we touch our faces. What is normally an unnoticed act becomes a measure of habit, anxiety, and self-soothing.
Artist: Kim Shively
Title: hell is a rectangle
Statement: hell is a rectangle explores the history and rise to power of the data analytics company palantir
Artist: Nima Bahrehmand
Title: Everything on one Circuit
Statement: Everything on One Circuit traces a rumination on a present shaped by automation, repetition, and the persistence of the machine’s gaze. The work lingers in the feedback loop between what is remembered and what is rendered. Here, artifacts of conflict and creation, once locked inside memory, cloud storage, and unfinished digital files, surface from the binary dark.
Artist: Rafael Fajardo
Title: Every Voxel
Statement: Every Voxel is a performance documentation of the creation of the potential for every voxel, which is conceptual sculptural piece aggregating 16,000 pixel blocks. This is a love letter to John F. Simon Jr.'s work Every Icon.
Artist: Sharifa Lafon
Title: Unstable Ground
Statement: The ground slides against itself. Certainty gives way to drift. Only instability holds.
Artist: Tom Nelsen
Title: MySpace HTML
Statement: Internet tools have allowed democratization of art and music, and what was once considered silly and adolescent inevitably finds its way back into the nostalgia of pop culture retro-worship through the manipulation of a contemporary lens. Reminiscent of Angelfire, Myspace, and dial-up limitations, this follows the ideas of repurposing old ideas into new meanings.
with works from….
John Golter
Phillip David Stearns
and
Tobias Fike