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DTSTART;TZID=America/New_York:20191020T193000
DTEND;TZID=America/New_York:20191020T223000
DTSTAMP:20260727T232619
CREATED:20190906T183053Z
LAST-MODIFIED:20190924T194017Z
UID:10002435-1571599800-1571610600@uniondocs.org
SUMMARY:Fine Lines: Truth\, Desire\, & Displacement
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Through works such as Fine Lines\, Red Sourcebook\, and What Truths Are Worth Telling?\, Ilana Harris-Babou and Alex Strada investigate the ways labor (particularly female labor) is both masked and romanticized in a shifting urban landscape. As the architecture of the city transforms\, certain modes of creation are hidden to make way for aesthetic cohesion and increasing property values. Sharing both complete and in process work\, the artists explore the nature of truth\, and the role of fantasy in asserting agency over gentrification.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”What Truths Are Worth Telling?” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”22 min.\, 2019\, Alex Strada” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]What Truths Are Worth Telling? poses questions to a range of women whose professional practices intersect with the idea of truth\, such as postcolonial theorist Gayatri Spivak\, philosopher Vanessa Wills\, and writer Sarah Schulman. These conversations are paired with footage of the hidden labor taking place within the Whitney Museum’s conservation lab and at the London Meat Company\, one of the last meatpacking facilities that neighbors the museum.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Red Sourcebook” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”4 min.\, 2019\, Ilana Harris-Babou” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Red Sourcebook combines imagery and text from high-end furniture catalogues with 20th century Federal Housing Authority lending guidelines. The quasi-eugenicist language present in both sources blends with vague niceties about good design and aesthetic value.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Fine Lines” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”20 min.\, 2019\, Ilana Harris-Babou” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Ilana Harris-Babou will share research for an upcoming project\, Fine Lines\, viewing her mother’s home in Brooklyn through the lens of larger trends in both real-estate and cosmetics. She traces a line from 20th-century housing discrimination and villainization of black women\, to the current desirability of Crown Heights property. Her mother presents an absurdist beauty ritual in preparation for a meeting with a real-estate developer. The work confronts the crisis of deed-theft and the exploitation of elderly homeowners of color.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”50 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”123568″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Ilana Harris-Babou’s work is interdisciplinary; spanning sculpture and installation\, and grounded in video. She speaks the aspirational language of consumer culture; using humor as a means to digest painful realities. Her work confronts the contradictions of the American Dream: the ever unreliable notion that hard work will lead to upward mobility and economic freedom\, concepts exemplified by works such as Fine Lines\, Reparation Hardware\, and Harris & Daughter Homegoods. She has exhibited works throughout the US and Europe\, with solo exhibitions at The Museum of Arts & Design and Larrie in New York. Other venues include Abrons Art Center\, the De Young Museum\, the Jewish Museum\, SculptureCenter\, and the Whitney Museum of American Art. \nShe has been reviewed in the New Yorker\, Artforum\, and Art in America\, among others. She holds an MFA in Visual Art from Columbia University\, and a BA in Art from Yale University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”123973″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Alex Strada is an artist and educator based in New York City. Her work has been shown at the Anthology Film Archives\, Socrates Sculpture Park\, Goethe-Institut\, Museum of Moving Image\, Jewish Museum\, National Museum of Iceland in Reykjavik\, MuseumsQuartier in Vienna\, Kaunas Biennial in Lithuania\, and on the screens of Times Square with Time Square Arts’ Midnight Moment. Her work has been written about in Artsy\, Vice\, and The New Yorker. Strada received a B.A. from Bates College in 2010\, an M.F.A. in Visual Art from Columbia University in 2016\, and she was a 2018-2019 studio participant in the Whitney Independent Study Program. She is adjunct faculty at Fordham University and Columbia University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”109438″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Mathilde Walker-Billaud is an independent curator and cultural producer based in New York\, City. She trained and worked as an art editor in Paris. As a Program Director at the cultural services of the French Embassy in New York City\, she organized multidisciplinary programs related to fiction and non fiction writings translated from French. She also co-programmed and produced five editions of the international festival of performances and ideas “Walls and Bridges” for Villa Gillet in New York City. For UnionDocs\, Walker-Billaud programs workshops and hosts a series of mixed media talks about spectatorship “What You Get Is What You see” which featured Nora Chipaumire\, Luc Sante\, David Levine\, DJ /rupture\, Melanie Bonajo\, Martha Rosler\, Lawrence Abu Hamdan and more.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”About What You Get Is What You See”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]What You Get Is What You See is a forum about the way we spectate.\nFilmmakers\, artists and writers share their personal observations as viewers\, readers\, watchers\, listeners and audience members. It is a critical space where reception is scrutinized and disentangled\, where viewership is exposed as an everyday political act. \nThis series gives us the opportunity to review the traditional binaries attached to spectatorship: individual/collective\, author/spectator\, active/passive\, life/art\, real/fake and discuss the relevance of these terminologies today. This feels critically important as we increasingly rely on digital data and mediated experiences\, as we navigate a society that has totally integrated and embraced the spectacular. \nFocusing more on the process than the result\, the program also highlights the role of spectatorship in creative practice.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2019-10-06-fine-lines-truth-desire-displacement/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190411T193000
DTEND;TZID=America/New_York:20190411T223000
DTSTAMP:20260727T232619
CREATED:20190312T205705Z
LAST-MODIFIED:20190411T142654Z
UID:10002540-1555011000-1555021800@uniondocs.org
SUMMARY:Potato Gardens Band: Decolonizing The Archive
DESCRIPTION:[vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]In her practice\, Krista Belle Stewart underlines the missing gaps and disjunctures between the lived experiences of Indigenous peoples and their representations in media (photography\, film\, audio). For this screening and presentation\, Stewart looks back at her experimentations with documentation materials depicting her family. Here she presents her Indigenous politics of representation through and against colonial archives\, and proposes an artistic method for reclaiming the knowledge of her community. \nThe screening and presentation will be followed by a conversation with Mathilde Walker-Billaud\, focusing on Krista Belle Stewart’s concept of “Deliberate Enactment\,” and the responsibility of the spectator as a witness.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_column_text] \nSeraphine\, Seraphine (2015\, film)\n[/vc_column_text][vc_custom_heading text=”Screening\, 40 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Krista Belle Stewart in Seraphine\, Seraphine juxtaposes two images: a docu-drama shown on CBC in 1967 portraying Krista Belle Stewart’s mother\, Seraphine Stewart\, as the first Aboriginal public health nurse in British Columbia\, with excerpts from a personal testimony for the Truth and Reconciliation Commission gathering held in Vancouver in 2013. This two-part video installation weaves between past and present but the subject is the same. The confrontation of the two narrative forms (voice over or personal account) sheds light on the complexities of interpretation\, mediation and storytelling.[/vc_column_text][vc_empty_space height=”40px”][vc_column_text] \nPotato Gardens Band (2014-ongoing\, sound-based media work)\n[/vc_column_text][vc_custom_heading text=”Presentation\, 20 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Potato Gardens Band is a body of work paying homage to the the voice of Stewart’ great-grandmother: Terese Kaimetko\, singing in Syilx (Okanagan). Her songs were recorded on wax cylinder during the early 1900s by ethnographer James Alexander Teit. Since 2014\, artist Krista Belle Stewart has used this recording to investigate anthropological uses of audio technologies\, and underlines their role in archiving and transmitting Indigenous knowledge.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”60 min.”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115381″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Krista Belle Stewart is an artist and member of the Syilx Nation currently based on unceded Tsleil-Waututh\, Musqueam and Sḵwx̱wú7mesh territories (Vancouver\, BC). Stewart works with video\, land\, performance\, photography\, textiles and sound\, drawing out personal and political narratives inherent in archival materials while questioning their articulation in institutional histories. Within the last year her work has been exhibited at the SFU Teck Gallery\, Vancouver; YYZ Artist Outlet\, Toronto; Leonard and Bina Ellen Art Gallery\, Montreal; Musee d’Art Contemporain\, Montreal; Independent Studio and Curatorial Program\, New York; Plug In ICA\, Winnipeg\, and the Haus der Kulturen der Welt\, Berlin. Stewart holds an MFA from the Milton Avery School of the Arts at Bard College\, New York.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”109438″][/vc_column][vc_column width=”2/3″][vc_column_text]Mathilde Walker-Billaud is an independent curator and cultural producer based in New York\, City. She trained and worked as an art editor in Paris. As a Program Director at the cultural services of the French Embassy in New York City\, she organized multidisciplinary programs related to fiction and non fiction writings translated from French. She also co-programmed and produced five editions of the international festival of performances and ideas “Walls and Bridges” for Villa Gillet in New York City. For UnionDocs\, Walker-Billaud programs workshops and hosts a series of mixed media talks about spectatorship “What You Get Is What You see” which featured Nora Chipaumire\, Luc Sante\, David Levine\, DJ /rupture\, Melanie Bonajo\, Martha Rosler\, Lawrence Abu Hamdan and more.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”About the Series – What You Get Is What You See”][vc_column_text]Filmmakers\, artists and writers share their personal observations as viewers\, readers\, watchers\, listeners and audience members. It is a critical space where reception is scrutinized and disentangled\, where viewership is exposed as an everyday political act.\nThis series gives us the opportunity to review the traditional binaries attached to spectatorship: individual/collective\, author/spectator\, active/passive\, life/art\, real/fake and discuss the relevance of these terminologies today. This feels critically important as we increasingly rely on digital data and mediated experiences\, as we navigate a society that has totally integrated and embraced the spectacular. \nFocusing more on the process than the result\, the program also highlights the role of spectatorship in creative practice.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2019-04-11-decolonize-the-archive/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190331T193000
DTEND;TZID=America/New_York:20190331T223000
DTSTAMP:20260727T232619
CREATED:20190107T211459Z
LAST-MODIFIED:20190326T163247Z
UID:10002517-1554060600-1554071400@uniondocs.org
SUMMARY:There is a Gaze Thrust Upon Me
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]What You Get Is What You See is back for 2019 featuring artist and performer Joiri Minaya. In this installment of the series\, Minaya will present her research on tropical pattern design and its roots in exploration\, exploitation and labor\, and how this history continues through rampant capitalist tourism in the tropics. In this multidisciplinary event\, the artist shifts the gaze from a historic colonial one to a contemporary perspective of a woman of color. Minaya will be joined for conversation following the presentation by Curator Mathilde Walker-Billaud \n[/vc_column_text][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/311750560″][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Performative Reading” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”15 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Labadee” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”7 min.\, 2017″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Labadee is a short video documenting parts of a Royal Caribbean cruise trip in Labadee\, Haiti\, and the dynamics that unfold in this privately-managed space (the space is fenced o and leased to Royal Caribbean until 2050). The subtitles in the video begin with text from the diary of Christopher Columbus when they first saw land\, moving into a contemporary recount of the trip we’re seeing. \nIt meditates on the exploitation\, self-exploitation\, performance and access control created by the system of tourism in the Caribbean\, and\, in linking it to Columbus’ Invasion through the first sentences in the subtitles\, it traces the lineage of these contemporary spaces to colonization.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Tropical Gaze: Looking Back” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”30 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]In this mixed media presentation\, the artist will pair images of tropical exoticism with comments and reflections based on her research and artistic practice. She will discuss her awareness of being seen as well as strategies to unlearn and exorcise the colonial gaze.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”52 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”111803″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Joiri Minaya is a Dominican-American multi-disciplinary artist whose work deals with identity\, otherness\, self-consciousness and displacement\, investigating the female body within constructions of identity\, social space and hierarchies. Born in New York\, U.S\, she grew up in the Dominican Republic. Minaya graduated from the Escuela Nacional de Artes Visuales in Santo Domingo in 2009\, the Altos de Chavón School of Design in 2011 and Parsons the New School for Design in 2013. She has been a resident artist at Skowhegan School of Painting and Sculpture\, Guttenberg Arts\, Smack Mellon and Bronx- ArtSpace\, and has participated in the Bronx Museum’s AIM Program and the NYFA Mentoring Program for Immigrant Artists. Minaya has exhibited across the Dominican Republic and the Caribbean\, as well as NYC\, NJ\, Miami\, LA\, Philadelphia and various other cities around the U.S. Her work is in the collection of the Museo de Arte Moderno in Santo Domingo and the Centro León Jiménes in Santiago\, Dominican Republic.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”111806″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Mathilde Walker-Billaud is an independent curator and cultural producer based in New York\, City. She trained and worked as an art editor in Paris. As a Program Director at the cultural services of the French Embassy in New York City\, she organized multidisciplinary programs related to fiction and non fiction writings translated from French. She also co-programmed and produced five editions of the international festival of performances and ideas “Walls and Bridges” for Villa Gillet in New York City. For UnionDocs\, Walker-Billaud programs workshops and hosts a series of mixed media talks about spectatorship “What You Get Is What You see” which featured Nora Chipaumire\, Luc Sante\, David Levine\, DJ /rupture\, Melanie Bonajo\, Martha Rosler\, Lawrence Abu Hamdan and more.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”About the Series – What You Get is What You See”][vc_column_text]Filmmakers\, artists and writers share their personal observations as viewers\, readers\, watchers\, listeners and audience members. It is a critical space where reception is scrutinized and disentangled\, where viewership is exposed as an everyday political act.\nThis series gives us the opportunity to review the traditional binaries attached to spectatorship: individual/collective\, author/spectator\, active/passive\, life/art\, real/fake and discuss the relevance of these terminologies today. This feels critically important as we increasingly rely on digital data and mediated experiences\, as we navigate a society that has totally integrated and embraced the spectacular. \nFocusing more on the process than the result\, the program also highlights the role of spectatorship in creative practice.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2019-03-31-there-is-a-gaze-thrust-upon-me/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181104T193000
DTEND;TZID=America/New_York:20181104T223000
DTSTAMP:20260727T232619
CREATED:20181018T032232Z
LAST-MODIFIED:20181029T172425Z
UID:10002350-1541359800-1541370600@uniondocs.org
SUMMARY:The landscape is an event
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]”\nThe event is a narrative\n(or is it) \nThe event is a landscape\n(or is it) \nThe landscape is an event\n”\nCaitlin Berrigan \nCaitlin Berrigan and Courtney Stephens take us into the deep time of physics and geology. Both artists investigate how human events and emotions reverberate through the environment and landscapes. They transpose observational codes and instruments in the realm of lived experience to reflect on power\, memory and trauma. As they infiltrate the“objective” gaze\, they propose alternative epistemologies of seeing and sensing. Their films operate as a disorienting and feminist techno-scientific fiction\, an embodied and materialist meditation on patriarchal violence and history. \nAs part of the series “What You Get Is What You See\,” this program will reflect on the tight relation between the physics and the politics of spectatorship. Examining how the time\, scope and scale of materiality can be used to structure a narrative\, the participants will wonder (again): can personal/political/global catastrophe be spectated?[/vc_column_text][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/296752704″][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Imaginary Explosions” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Performative Reading\, Caitlin Berrigan\, 10 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Imaginary Explosions is an artist book\, a book of poetry and topological delineation. Its pages explore geological ruptures\, the immense scale and deep time of sexual violence\, and the ways traumas reverberate through bodies across multiple generations of relationships and families.\nhttps://www.brokendimanche.eu/shop-1/imaginary-explosions-caitlin-berrigan[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Screening” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Video\, Courtney Stephens\, 9 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]In her work\, Stephens explores codified language systems to convey lived experience. She represents disturbances that surfaces only in the gaps between statements.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Screening and Presentation” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Imaginary Explosions\, Caitlin Berrigan\, 20 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]In Caitlin Berrigan’s pseudo-science fiction Imaginary Explosions\, a group of transfeminist geologists investigate volcanoes\, remote-sensing laboratories\, and geological survey sites across the world\, conspiring to erupt all of Earth’s volcanoes simultaneously. These scientists operate with the desires of mineral earth for radical\, planetary transformation. Made with real life collaborators\, Imaginary Explosions is an exercise in feminist affiliation\, climate reparation and cosmology creation. It is a sensory ethnographic observational method that inhabits technoscientific imaginations and epistemologies.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”50 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”109433″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Caitlin Berrigan works across performance\, video\, sculpture\, text and public choreographies to engage with the intimate and embodied dimensions of power\, politics\, and capitalism. She has created special commissions for the Whitney Museum of American Art\, Harvard Carpenter Center\, and the deCordova Museum. Her work has shown at Storefront for Art & Architecture\, Hammer Museum\, Anthology Film Archives\, LACMA\, Goldsmith’s London\, Homeworks Beirut\, and the Vancouver Olympics\, among others. She has received grants & residencies from the Alexander von Humboldt Foundation\, Skowhegan School of Painting & Sculpture\, Graham Foundation\, PROGRAM for Art & Architecture Berlin\, Wassaic Project\, and Akademie Schloss Solitude. She holds a Master’s in visual art from MIT and a B.A. from Hampshire College. She is a professor of emerging media at NYU Tisch Photography & Imaging.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”107727″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Courtney Stephens is a filmmaker and programmer based in Los Angeles. She has combined her interest in geography and archives into live essay-documentary\, curated programs\, alongside her work in experimental documentary. Her films have screened at SXSW\, The Wexner Center for the Arts\, UnionDocs\, Anthology Film Archives\, Mumbai International Film Festival\, Dhaka International Film Festival\, and elsewhere. She co-programs the film and lecture series Veggie Cloud\, and has presented events at The Getty Museum\, REDCAT\, AM-London\, Art Contemporary Los Angeles\, Human Resources\, the Velaslavasay Panorama\, and ongoingly at Veggie Cloud’s space in Los Angeles. Stephens attended the American Film Institute\, is the recipient of a Fulbright Scholarship and a Sloan Scholarship\, and periodically lectures on subjects relating to film and geography at the Royal Geographical Society\, London.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”109438″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Mathilde Walker-Billaud is an independent curator and cultural producer based in New York\, City. She trained and worked as an art editor in Paris. As a Program Director at the cultural services of the French Embassy in New York City\, she organized multidisciplinary programs related to fiction and non fiction writings translated from French. She also co-programmed and produced five editions of the international festival of performances and ideas “Walls and Bridges” for Villa Gillet in New York City. For UnionDocs\, Walker-Billaud programs workshops and hosts a series of mixed media talks about spectatorship “What You Get Is What You see” which featured Nora Chipaumire\, Luc Sante\, David Levine\, DJ /rupture\, Melanie Bonajo\, Martha Rosler\, Lawrence Abu Hamdan and more.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”About the Series – What You Get is What You See” color=”white” el_class=”h1″][vc_column_text]Filmmakers\, artists and writers share their personal observations as viewers\, readers\, watchers\, listeners and audience members. It is a critical space where reception is scrutinized and disentangled\, where viewership is exposed as an everyday political act.\nThis series gives us the opportunity to review the traditional binaries attached to spectatorship: individual/collective\, author/spectator\, active/passive\, life/art\, real/fake and discuss the relevance of these terminologies today. This feels critically important as we increasingly rely on digital data and mediated experiences\, as we navigate a society that has totally integrated and embraced the spectacular. \nFocusing more on the process than the result\, the program also highlights the role of spectatorship in creative practice.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-11-03-the-landscape-is-an-event/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/10/Berrigan-Caitlin-10.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171119T193000
DTEND;TZID=America/New_York:20171119T223000
DTSTAMP:20260727T232619
CREATED:20171101T180842Z
LAST-MODIFIED:20180228T002859Z
UID:10002221-1511119800-1511130600@uniondocs.org
SUMMARY:The Following Scenes will be Deleted
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]The Following Scenes will be Deleted: Censorship and Content Moderation in Cinema and Social Media will showcase a performance and talk by Radha May and Elisa Giardina Papa on censorship and spectatorship in cinema and on the internet . This program is organized by Mathilde Walker-Billaud and is a part of her ongoing series on spectatorship What You Get Is What You See. \nRadha May presents\, for the first time in New York\, When The Towel Drops – a performance on the cinema censorship of female pleasure and sexuality. The artists unveil scenes that were removed from publicly viewed cinema in Italy during the 1950’s and 1960’s\, and that have been\, until now\, kept hidden from sight in the Italian National Cinema Archive. With scenes from films such as Brink of Life by Ingmar Bergman and La Notte by Michelangelo Antonioni\, Radha May enacts a collective reading of the official justifications that motivated the acts of censorship. \nThe performance will be followed by a presentation on the legal shifts and peculiarities that distinguish cinema censorship from current new media content moderation. The artists will look at shared conventions of in/visibility that determine what is seen and what is not. They will explore the transition of censorship from a state enforced ideological agenda to a set of corporate social media policies. \nThis mixed-media presentation will be followed by a conversation between Elisa Giardina Papa and curator Mathilde Walker-Billaud\, who will open up a dialogue around the question of censorship\, interrogating contemporary practices on social media\, content moderation\, trolling and users’ self-regulation. This second part of the evening will include the screening Elisa Giardina Papa’s short video work Need ideas!?!PLZ!!.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”When The Towel Drops Vol 1 | Italy – Performance” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”30 min” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]When The Towel Drops is an ongoing art project by Radha May that investigates the censored representation of women\, femininity\, and sexuality in international cinema and on the Internet. The performance When The Towel Drops Vol.1 I Italy specifically explores gender and cinema censorship in second postwar Italy.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Need ideas!?!PLZ!!” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”5:29 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Need ideas!?!PLZ!  is a collage of YouTube films in which American teenagers and students ask YouTube for ideas for a video—a paradoxical response to the need to live online imposed by systems based on user-generated content.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”60 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”96742″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Elisa Giardina Papa is an Italian artist whose work investigates labor\, gender and sexuality in relation to media cultures and economies. Her work has been exhibited and screened at the MoMA (New York)\, XVI Quadriennale di Roma\, rhizome.org [Download commission]\, Whitney Museum [Sunrise/Sunset commission]\, Haus für elektronische Künste (Basel)\, 319 Scholes (New York)\, among others. She taught at Brown University\, and at the Rhode Island School of Design\, and is currently pursuing a PhD in media and film studies at University of California Berkeley. Giardina Papa received an MFA from RISD\, and a BA from Politecnico of Milan. She lives and works in Berkeley and Sicily.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”96743″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nRadha May is an artist whose work explores forgotten and hidden histories\, peripheral sites\, and feminine myths. Her projects begin with an investigation of things she does not understand but wants to bring closer to her. She uses tools borrowed from anthropologists\, historians and journalists to conduct her research. She works in the field\, meticulously sifting through historical and digital archives making what she finds available to anybody; she also distills the material into fictional and surreal scenarios that complicate assumptions about history\, borders and cultural and social formations. \nRadha May is Elisa Giardina Papa\, Nupur Mathur and Bathsheba Okwenje. She comes from Sicily\, New Delhi and Kampala. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nWhat You Get Is What You See is a forum about the way we spectate.\nIn a world saturated with information\, images and noises\, where the frontiers between fact and fiction are blurring\, we hope to offer a critical space where we can discuss the exhibition and hyper-dramatization of reality. \nFocusing more on the process than the product\, the program investigates the role of spectatorship in creative practice. UnionDocs invites filmmakers\, artists and writers to share their personal observations as viewers\, readers\, watchers\, listeners and audience members. Using their trained gaze and acute sensitivity\, the guests will expose reception as an everyday dynamic act.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_zigzag color=”white”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]This presentation is made possible in part with public funds from the New York State Council on the Arts’ 2017 Electronic Media and Film Presentation Funds Grant program\, administered by The ARTS Council of the Southern Finger Lakes.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2017-11-19-following-scenes-will-deleted-censorship-content-moderation-cinema-social-media/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/01/Elisa-Giardina-Papa.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170323T193000
DTEND;TZID=America/New_York:20170323T220000
DTSTAMP:20260727T232619
CREATED:20161215T145221Z
LAST-MODIFIED:20180228T143905Z
UID:10002270-1490297400-1490306400@uniondocs.org
SUMMARY:South Africa: crossing the river without a bridge
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]South Africa: crossing the river without a bridge is a work-in-progress based on the tapes from Rosler’s time in South Africa a few months after Nelson Mandela’s release in 1990\, in which she taught at the University and worked with community groups. She has been working with the resulting footage periodically\, about once a decade\, ever since. In its relentless movement through spaces and conversations\, it presents a multi-dimensional portrait of housing injustice in action.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_empty_space height=”20px”][vc_custom_heading text=”South Africa: crossing the river without a bridge” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”68 min.\, 2016 ” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_text_separator title=”68 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”51458″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Martha Rosler’s work focuses on the public sphere and landscapes of everyday life\, especially as they affect women. Her early feminist videos Semiotics of the Kitchen (1975) and Vital Statistics of a Citizen\, Simpy Obtained (1977) are now considered classics. Her works addressing housing\, homelessness\, and urban processes\, including the role of artists in gentrification\, have been staged in many cities and countries since 1989\, most recently in Manhattan in 2015. Rosler lives and works in Brooklyn.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”51484″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Mathilde trained and worked as an editor and a cultural producer in Paris. She was a Program Officer for the Book Office at the French Embassy (www.frenchculture.org) and at Villa Gillet in the USA (www.wallsandbridges.net). She now works freelance in New York City.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nWhat You Get Is What You See is an ongoing forum about the way we spectate.\nIn a world saturated with information\, images and noises\, where the frontiers between fact and fiction are blurring\, we hope to offer a critical space where we can discuss the exhibition and hyper-dramatization of reality. \nFocusing more on the process than the product\, the program curated by Mathilde Walker-Billaud investigates the role of spectatorship in creative practice. UnionDocs invites filmmakers\, artists and writers to share their personal observations as viewers\, readers\, watchers\, listeners and audience members. Using their trained gaze and acute sensitivity\, the guests will expose reception as an everyday dynamic act.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nThis presentation is made possible in part with public funds from the New York State Council on the Arts’ 2017 Electronic Media and Film Presentation Funds Grant program\, administered by The ARTS Council of the Southern Finger Lakes. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/204080636″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2017-03-23-south-africa-crossing-the-river-without-a-bridge-with-martha-rosler/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2016/12/Screen-Shot-2016-12-15-at-9.45.22-AM.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170223T193000
DTEND;TZID=America/New_York:20170223T220000
DTSTAMP:20260727T232619
CREATED:20170123T211700Z
LAST-MODIFIED:20180228T143906Z
UID:10002099-1487878200-1487887200@uniondocs.org
SUMMARY:Terra Femme: Early Travelogues by Women
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Filmmaker Courtney Stephens presents a selection of 16mm “home travelogues”: amateur films shot by Americans abroad in the 1920s-40s\, with a focus on footage by women. These films\, intended to be screened for the friends and family of their makers\, occupy a space between home movie and accidental ethnography\, and reveal the Western gaze at a time of transition. They present a new type of traveler\, no longer a (generally male) seeker of conquests or literary renown. The new traveler might be a divorcee on a tour of biblical gardens or a widow on a chartered cruise to the North Pole. \nThrough these early female filmmaker’s eyes\, we get a glimpse of a newly mobile type of woman\, conveying her point of view by how and where she looks; and by looking through others back at herself. These optical autobiographies are as gorgeous as they are challenging\, raising questions not only about the travelers’ gaze and the politics of images at a distance; as they represent some of the earliest images of foreign lands to enter the American living room. \nThis program will feature selected footage from the Harvard Film Archive\, University of Pennsylvania’s Film Archive\, and The Academy Film Archive\, along with commentary and short readings. The presentation will be followed by discussion with Courtney Stephens and Curator Mathilde Walker-Billaud.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”A collection of amateur films shot by American women abroad in the 1920s-40s” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_text_separator title=”60 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52876″ img_size=”200 x 200″][/vc_column][vc_column width=”2/3″][vc_column_text]Courtney Stephens is a filmmaker and writer based in Los Angeles.  Her films have screened internationally\, most recently in the 2016 Flaherty NYC series. She attended the American Film Institute\, and is the recipient of a Fulbright scholarship to India.  She has lectured on subjects related to film and geography at the Royal Geographical Society\, the Satyajit Ray Film and Television Institute\, Princeton University and elsewhere\, and is completing a feature length film essay on the subject of female travel.  She co-programs Veggie Cloud\, an ongoing film and lecture series in Los Angeles.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/204075263″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2017-02-23-terra-femme-early-travelogues-by-women/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/01/Screen-Shot-2017-01-12-at-2.02.18-PM.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160922T153000
DTEND;TZID=America/New_York:20160922T180000
DTSTAMP:20260727T232619
CREATED:20160818T191847Z
LAST-MODIFIED:20180228T041349Z
UID:10002034-1474558200-1474567200@uniondocs.org
SUMMARY:What You Get Is What You See: Empathy in the Archives
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/62820819″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_column_text]What does it mean to listen or look deeply and critically across time? How can empathy help us move towards a collaborative model for placing ourselves in conversation with history–different from the stance of a passive spectator or even of an analytical historian? Filmmaker and archival researcher Irene Lusztig leads this personal tour through fifteen years of looking at\, reflecting on\, and making film work out of archival materials. She will share the viewing pleasures\, poetics\, ethics\, responsibilities and the freedoms of being an artist in the archives. From Romanian propaganda films to 80s television and from medical training films to 70s feminist documentaries and material archives\, Lusztig will explore what it means to be an empathetic witness to historical images and other ephemera\, ultimately proposing a feminist politics of archival spectatorship.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Bios”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”21540″ img_size=”full”][vc_empty_space height=”44px”][/vc_column][vc_column width=”3/4″][vc_column_text]Irene Lusztig is a filmmaker\, visual artist\, archival researcher\, and amateur seamstress. Her film and video work mines old images and technologies for new meanings in order to reframe\, recuperate\, and reanimate forgotten and neglected histories. Often beginning with rigorous research in archives\, her work brings historical materials into conversation with the present day\, inviting the viewer to explore historical spaces as a way of contemplating larger questions of politics\, ideology\, and the production of personal\, collective\, and national memories.  Born in England to Romanian parents\, Irene grew up in Boston and has lived in France\, Italy\, Romania\, China\, and Russia. She received her BA in filmmaking and Chinese studies from Harvard and completed her MFA in film and video at Bard College. Her debut feature film\, Reconstruction (2001) was recognized with a Boston Society of Film Critics Discovery award and won best documentary at the New England Film Festival. Her most recent feature-length film is The Motherhood Archives (2013)\, a feature length archival essay charting the history of the maternal education film from 1919 to the present. She is now working on Yours in Sisterhood\, a performative\, participatory documentary project based on archived letters sent to the editor of Ms. Magazine\, 1972-1980. \nHer work has been screened around the world\, including at MoMA\, Museum of Fine Arts Boston\, Anthology Film Archives\, Pacific Film Archive\, Flaherty NYC\, IDFA Amsterdam\, and on television in the US\, Europe\, and Taiwan. She has received grants from the Massachusetts Foundation for the Humanities\, Massachusetts Cultural Council\, LEF Foundation\, New York State Council for the Arts\, and Sustainable Arts Foundation and has been awarded fellowships at the MacDowell Colony\, the Flaherty Film Seminar\, the Radcliffe Institute for Advanced Study\, and Harvard’s Film Study Center. She is the 2016-17 recipient of a Rydell Visual Arts Fellowship and a Fulbright Fellowship. She teaches filmmaking at UC Santa Cruz where she is Associate Professor of Film and Digital Media; she lives in the Santa Cruz Mountains.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_empty_space height=”10px”][vc_single_image image=”21538″ img_size=”full”][/vc_column][vc_column width=”3/4″][vc_empty_space height=”10px”][vc_column_text]Mathilde Walker-Billaud trained and worked as an art editor in Paris. She was a Program Officer for the Book Office at the French Embassy and for Villa Gillet in the USA. She is now an independent curator and cultural producer based in New York City.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-22-what-you-get-is-what-you-see-empathy-in-the-archives/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/empathy-in-the-archive.jpeg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
END:VCALENDAR