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DTSTART;TZID=America/New_York:20260501T100000
DTEND;TZID=America/New_York:20260503T133000
DTSTAMP:20260501T012418
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UID:10003037-1777629600-1777815000@uniondocs.org
SUMMARY:An Audience Yet to Come:  Projective Documentary  and The Essay Film
DESCRIPTION:[vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_video link=”https://www.youtube.com/watch?v=46T0dWTytwA” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]“You didn’t know\, and couldn’t know\, and didn’t care\, safe in your pram”\n— A Diary for Timothy (1945)\, Humphrey Jennings \nWhen we make a documentary\, we rarely know who will ultimately watch it. Films travel through time\, across contexts and generations. They may be seen years—or decades—after they are made. So how do we speak to or project to an audience we cannot know? \nIn this workshop\, essay filmmaker\, critic and scholar Kevin B. Lee (Transformers: The Premake\, Afterlives) will explore this idea of “projective documentary”\, asking  how filmmakers address audiences that are distant\, unknown\, or yet to come. A pioneer of the desktop documentary and a master of the essay film form\, Kevin will guide participants through ways of thinking about documentary as a conversation across time. \nEssay films often speak directly—to a person\, a community\, a future viewer\, or even to someone who may never respond. This act of address allows filmmakers to reflect on the present while imagining how it might be understood in the future. What does it mean to document our moment with viewers we cannot yet see? And how might the way we speak shape how that future understands us? \nAcross three days of artist talks\, screenings\, and feedback sessions\, participants will examine different ways documentary filmmakers have addressed their audiences—from wartime letter-films to contemporary desktop documentaries. Together we will think about how voice\, form and structure can help create films that endure beyond the moment in which they are made. \nThe workshop will revolve around questions such as: \nWhat does it mean to make a film for someone who cannot respond? \nWho gets to speak—and who is spoken for? \nHow might we represent the present for viewers in the future? \nDo we ever truly know who our films reach? \nWhat forms work best when addressing an unseen or unknown audience? \nHow might emerging technologies\, including generative AI\, change how we imagine the future viewer? \nWhat happens when images are generated rather than captured? \nJoining Kevin for the workshop is a group of invited filmmakers\, thinkers and researchers working across moving-image practice. Film scholar Jane Gaines will bring a historical approach to projective documentary. Filmmaker Gala Hernández López will join remotely to discuss how AI and digital culture shape her approach to documentary and essay filmmaking. And Lynne Sachs will walk participants through her extensive experience with the essay form. Participants will also be encouraged to share their own work in the context of a creative feedback session with Kevin. \nRegister below\, spots are limited. Hope to see you there![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801ebd47-97fc”][vc_column_text css=””]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801ebd47-97fc”][vc_column_text css=””]$295 early bird registration ends on April 21\, 2026. \n$350 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801ebd47-97fc”][vc_column_text css=””]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until April 21.  After April 21\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801ebd47-97fc”][vc_column_text css=””]No animation software is required for participation in this workshop. \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801ebd47-97fc”][vc_column_text css=””]To register for a workshop\, students must pay in full via card\, check\, or cash . After the early bird registration deadline of April 21\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, May 1st” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Welcome & intros  \n10:30am – 12:30pm Intro session with Kevin B. Lee \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Jane Gaines \n4:00pm – 4:30pm Wrap Up Discussion with Kevin additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, May 2nd” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case studies \n10:30am – 12:30pm Session with Lynne Sachs \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Remote Session with Gala Hernández López \n4:00pm – 4:30pm Wrap Up Discussion with Kevin\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, May 3rd” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 12:30pm Creative work-in-progress session with Kevin \n12:30am – 1:30pm Wrap-up discussion and final thoughts[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161747″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kevin B. Lee is the Locarno Film Festival Professor for the Future of Cinema and the Audiovisual Arts at Università della Svizzera italiana (USI). A filmmaker and media researcher\, he has produced nearly 400 video essays exploring film and media. His award-winning film Transformers: The Premake introduced the “desktop documentary” format. His recent work includes the feature film Afterlives (2025)\, which premiered at the BFI London Film Festival and DocLisboa. He co-leads the Swiss National Science Foundation research project “The Video Essay: Memories\, Ecologies\, Bodies”. Lee is a 2018 Sundance Institute Art of Nonfiction Grantee and has screened his work at the Museum of Modern Art\, Berlinale\, and International Film Festival Rotterdam.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161748″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gala Hernández López is an artist\, filmmaker and researcher. Her interdisciplinary practice combines filmmaking with the creation of video installations\, performances\, and publications. More specifically\, her work critically analyzes new modes of subjectivation produced by computational capitalism. She examines the imaginaries circulating in virtual communities\, the desires conveyed by disruptive technologies\, and new reactionary techno-utopias as shared fictions that populate our collective unconscious. Her works are based on research\, combining materialist analysis with poetry\, intimacy\, and dreams with the aim of dissecting fantasies of unlimited techno-scientific control over reality. Her work has been presented at international festivals and institutions such as Cannes\, Berlinale\, Rotterdam\, IDFA\, DOK Leipzig\, Cinéma du Réel\, Curtas Vila do Conde\, IndieLisboa\, Berlinische Galerie\, Palais de Tokyo\, Sarajevo Film Festival\, Vancouver Film Festival\, Festival du Nouveau Cinéma\, Camden Film Festival\, Courtisane\, transmediale\, Kurzfilmtage Winterthur\, FRAC Île-de-France\, among others. Her film La Mécanique des fluides won the César for Best Documentary Short Film in 2024. She regularly gives workshops\, lectures\, and talks at venues such as Beaux-Arts de Marseille\, Freïe Universität\, Kunsthochschule Kassel\, Filmuniversität Babelsberg Konrad Wolf\, Beaux-Arts de Paris\, The Photographers Gallery\, Locarno Film Festival\, Harvard University\, Goldsmiths University of London\, University of British Columbia and University of Michigan.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161929″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jane M. Gaines is Professor Emerita of Literature and English\, Duke University and currently Professor of Film\, Columbia University. She is the author of three books\, Pink-Slipped: What Happened to Women in the Silent Film Industry? (University of Illinois\, 2018)\, Contested Culture: The Image\, the Voice\, and the Law (North Carolina\, 1991)\, and Fire and Desire: Mixed Race Movies in the Silent Era (Chicago\, 2001). In 2018\, Prof. Gaines received the Society for Cinema and Media Studies Distinguished Career Award and in 2023\, an Honorary doctorate from University of Stockholm. A founder of the Visible Evidence conference on documentary\, she continues to publish on documentary activism\, intellectual property in the internet age\, the history of piracy\, and has critiqued the “historical turn” in film and media studies as “What Happened to the Philosophy of Film History?” and “Eisenstein’s Absolutely Wonderful\, Totally Impossible Project\,” in Sergei M. Eisenstein: Notes for a General History of Cinema. Forthcoming is What Happened?: Documentary Media and the Dilemmas of Historical Time. The online resource\, Women Film Pioneers Project\, published by the Columbia University Libraries\, launched as a pilot project in the future of publishing in 2013.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161935″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Lynne Sachs is a filmmaker and poet living in Brooklyn\, New York. She has produced over 50 short and feature-length films. Sachs creates cinematic works that defy genre through the use of hybrid forms and cross-disciplinary collaboration\, incorporating elements of the essay film\, collage\, performance\, documentary and poetry. Her films explore the intricate relationship between personal observations and broader historical experiences. With each project\, Lynne investigates the implicit connection between the body\, the camera\, and the materiality of film itself. Lynne discovered her love of filmmaking while living and studying in San Francisco. During this time\, she produced her early\, experimental works on celluloid which took a feminist approach to the creation of images and writing— a commitment which has grounded her body of work ever since. Lynne’s films have screened at MoMA\, Wexner Center for the Arts\, New York Film Festival\, Sundance\, Punto de Vista\, and DocLisboa. Retrospectives of her work have been presented at Museum of the Moving Image\, Ambulante\, Buenos Aires International Festival of Independent Cinema\, Cámara Lúcida\, China Women’s Film Festival\, Cork Int’l Film Festival\, Costa Rica Int’l Film Fest\, and Oberhausen. In 2021\, Edison and Prismatic Ground Film Festivals honored her body of work in the experimental and documentary fields.  Tender Buttons Press published Lynne’s Year by Year Poems in 2019\, and Punctum Books published Hand Book: A Manual on Performance\, Process and the Labor of Laundry written by Lynne and playwright Lizzie Olesker in 2025.  In 2026\, the San Francisco International Film Festival and the Berkeley Art Museum/ Pacific Film Archive gave Lynne their annual Persistence of Vision Award which honors “filmmakers whose achievements go beyond the boundaries of the traditional film form.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/an-audience-yet-to-come-projective-documentary-and-the-essay-film-2026-05-01/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/03/gif.gif
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DTSTART;TZID=America/New_York:20260501T193000
DTEND;TZID=America/New_York:20260501T193000
DTSTAMP:20260501T012418
CREATED:20260401T185424Z
LAST-MODIFIED:20260413T184453Z
UID:10003046-1777663800-1777663800@uniondocs.org
SUMMARY:Portals In Between
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:30p\nProgram 8:00p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to join with Airtime and Speciwomen to present PORTALS IN BETWEEN\, a pair of short films that dance with hybridity to experiment with time\, memory and the concept of home. \nWe invite Aslı Baykal’s Darkroom (2023) and Kim Torres’ Solo la Luna Comprenderá (2023) into a lyrical conversation that reimagines the transportive potentials of our everyday surroundings: nature\, water\, corn fields\, windows\, children’s games\, red lights\, stars and the moon. \nThese works invite the audience to the makers’ open archives that unfold alongside their making\, bringing viewers into process as it develops. \nAs part of this responsive approach\, we are inviting a third film into the program\, shifting from a singularly selected viewing experience toward a community gathering where the boundaries between maker and audience are more porous\, and the night is positioned more as an evolving encounter. \nIn the collective spirit in which both films were made\, the team behind this night decided to put forth an open call to find an additional short film that may continue and expand their dialogue. Please find the prompt below and submit a film to join the lineup if you are inspired and feel like your work is a part of this conversation. \nWe invite you to join us for this expansive program that offers how imagination builds resilience and to join the conversation that these films begin. \nSpecial thanks to program partners for tonight. Airtime\, and Speciwomen. This program is organized in conjunction with the Magnet Residency\, a funded artist-in-residence program hosted by Speciwomen welcoming artists from outside of New York to spend time and make work in the city.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text css=””] \nOpen Call Prompt \n[/vc_column_text][vc_separator][vc_column_text css=””]We invite you to submit a film to be screened for this evening! \nWe’re requesting submissions for a hybrid film that offers a portrait of home that constructs an alternate reality to reimagine time and memory. \nPlease fill the form here to share your work for consideration: SUBMIT FILM \nMax runtime 30 min. | Deadline April: 18th | Selected films will receive a $50 honorarium for their inclusion in the program.\n[/vc_column_text][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nSolo la Luna comprenderá / The Moon Will Contain Us by Kim Torres\n[/vc_column_text][vc_column_text css=””]18 min\, 2023\, Costa Rica\, U.S\, 16mm[/vc_column_text][vc_column_text css=””]In the small coastal town of Manzanillo\, Costa Rica\, filmmaker Kim Torres enlists the local teens and adolescents to share their stories\, lies\, and fantasies on the cusp of a cataclysmic event. Playing amid ruins and wreckages\, and voicing their boredom at the lack of change\, Manzanillo’s children engage in a collective fabulation\, finding strategies for building a new world from the old. \n— NYFF Programming team.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nDarkroom by Aslı Baykal\n[/vc_column_text][vc_column_text css=””] 14 min\, 2023\, Turkey\, U.S\, 16mm[/vc_column_text][vc_column_text css=””]At the modern-day crossroads of Turkey and Syria\, the ancient city of Istasyon is taken over by children with cameras. Through their gaze\, they transform cinder block villages into portals and roam freely across abandoned train tracks to Sirkhane Darkroom\, an oasis of red light and pomegranate trees\, where their images are born. Darkroom is an experimental and celebratory portrait of Istasyon’s youth and their capacity to forge an alternate reality within a conflict zone. Embedded in 16mm film\, a co-creation between the film crew and these photography students is a reverence for the mysterious power and intimacy of analog image-making.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 74 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162321″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kim Torres is a Costa Rican filmmaker. Through light\, gesture\, and atmosphere\, her work investigates questions of transformation and becoming. Working across fiction and non-fiction\, her films shift in form\, drawing poetry from the natural world while forming deep connections with diverse communities and landscapes. Her films have screened at Festival de Cannes\, Locarno Film Festival\, New York Film Festival\, San Sebastian International Film Festival\, New Directors/New Films at MoMA and Lincoln Center\, and the Eye Filmmuseum. She was a Guest Artist at CalArts University (2022)\, a Berlinale Talents participant (2023)\, and an alumna of the Locarno Filmmakers Academy (2024).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162329″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Aslı Baykal is a Turkish filmmaker and visual artist based in New York\, working between documentary and experimental forms\, often blending personal narratives with collective memory. She holds a BFA in Film & TV from NYU’s Tisch School of the Arts. Her short film Darkroom (2023)\, co-created with children from the Sirkhane Darkroom photography workshop along the Turkish-Syrian border\, premiered at MoMA Doc Fortnight and screened internationally at festivals including Visions du Réel (Doc Alliance nominee for Best Short Documentary)\, Camden IFF\, Ji.hlava\, and Dokufest. She has collaborated with musical artists such as Sampha\, Nick Hakim\, Nourished by Time\, and Karen O. Her work has been featured in MIT Press\, Taschen\, and Harvard Design Magazine. In 2018\, she founded the Airtime Screening Series\, later expanding into Airtime Online\, a global hybrid platform focusing on curated screenings and artist collaborations.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1774984485090-35c4d0de-5a15-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text css=””] \nAbout \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]About Speciwomen & Magnet Residency\nSpeciwomen is a 501(c)(3) non-profit arts organization committed to giving space to women and LGBTQIA+ artists for retreat\, research\, and making.  \nMagnet is a funded artist-in-residence program hosted by Speciwomen welcoming artists from outside of New York to spend time and make work in the city. Our commitment is to provide a supportive environment where artists can delve into their work with unencumbered time\, developing their practice and fostering relationships.  \nAbout Airtime\nAIRTIME is an artist-run film initiative dedicated to reimagining how we experience the moving image. Founded in 2018 as a pop-up screening series and expanded in 2023 with an experimental online global platform\, it presents artists whose work pushes form and opens new ways of seeing and feeling. The initiative works closely with artists\, valuing collaboration and dialogue throughout the process.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2026-05-01-portals-in-between/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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GEO:40.7099952;-73.9507576
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