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DTSTART;TZID=America/New_York:20161002T153000
DTEND;TZID=America/New_York:20161002T183000
DTSTAMP:20260623T022028
CREATED:20161002T112343Z
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SUMMARY:Genuine Fake Films by Gerry Fialka
DESCRIPTION:[vc_row][vc_column][vc_column_text]”As this modern digital Dark Age of technological advances threatens to drive physical film stock itself — the very stuff from which dreams are made — into extinction\, this evening of Genuine Fake Films by Gerry Fialka couldn’t come at a more propitious moment. One of Los Angeles’ great celluloid underworld overlords\, relentless cultural provocateur and filmmaker Fialka has been successfully bedeviling our popular consciousness since the late 20th century. A recognized artistic force since his early 1970s breakout as head shot-caller at the notorious Ann Arbor Film Co-op and renowned as the veteran curator of PXL THIS\, Hollywood’s second oldest film festival\, any presentation of Fialka’s work is guaranteed to rate as a mind-bending affair. Framed as an evening of “short films and interactive discussion\,” featured titles include 2009’s Eye Am Not a Robot; 2008’s All Advertising Advertises Advertising; and Double Duty Interrobang\, Fialka’s 2003 Pixelvision (read: Fischer Price toy video camera) eyebrow raiser. It’s a veritable stampede of visual strangeness\, theoretical acrobatics and sociocultural redefinition\, all delivered through the singular prism of Fialka’s self-defined prime directive: ‘exploration of the hidden psychic effects of human inventions.'” – LA Weekly \nI THINK I’M INTO SOMETHING  (2012\, 8 minutes) Gerry Fialka and Clifford Novey’s Pixelvision short hybridizes beautiful dancers and psychedelic jazz  to the randomness of tube clown movements.\n“Mesmerizing to experience” – Noted film author Beverly Gray.  Special “Live Cinema” version with live music and dancers. \nEYE AM NOT A ROBOT (2009\, 14 minutes) – Mark X Farina & Gerry Fialka’s scintillating film probes the percept of technology “being alive” by evoking early Russian film and Constructivism. Cultural icons from James Joyce to Robby the Robot to Marilyn Monroe are your humanoid guides through new art technologies. Can machines surpass humans in the creative process? How are robotics restructuring patterns of social interdependence in Art\, Science and Nature? Cine-poets Farina & Fialka reframe our collective compliance in anthropomorphizing media as art forms. In the spirit of McLuhan’s mosaic writing\, this collage film propagates mythic thinking\, in the Jungian sense\, where people mime cues from technology used by millions. By flipping the art museum video installation experience into media yoga\, one can download morphic resonance into the nervous system as a Zen experiment. What is the future of art and artificial intelligence? See the likeness & difference in Anticipatory Mindfulness and Android Meme. Summon the impossible by examining what Derrida calls “the absence of presence.” “The future of the future is the present.” – McLuhan. “I wouldn’t be seen dead with a living work of art.” – Museum curator. \nDirector’s Statement\n\nGerry Fialka explores the hidden psyche effects of human inventions. We look to the artists\, the antennae of the race\, to uncover these hidden environments. But why do we ignore them? His director statement encourages folks to use Marshall McLuhan’s Tetrad\, four questions one can apply to media: 1) What does it enhance or intensify? 2) What does it render obsolete or replace? 3) What does it bring back that was previously obsolesced? 4) What does it become when pressed to an extreme\, what does it flip into? McLuhan defined “media” and “technology” as anything humans invent from clothing to computers\, from language to philosophy\, from toothpicks to cell phones. \nHis motives may also include:\n* to find epiphanies in everydayness\,\n* to satirize information overload\,\n*to invent new questions and new metaphors: “Brother\, can you paradigm?”\n* to uncover the hidden psychic effects of our inventions so we can cope with these effects.\n* to reinvent James Joyce’s  “laughtears” and “feelful thinkamalinks.”  (words from Finnegans Wake)\n* to make people freer as Vito Acconci articulated in Financial Times 11-17-12.\n* to struggle with “don’t tell anyone everything you know” – something Bob Dylan learned from the Bible.\n* to elevate viewers’ spirits and give them courage – Marina Abramovic.\n* to re-imagine “ESP is old hat when effects precede causes” – McLuhan – Take Today: The Executive As Dropout 1972.\n* to contradict myself as not to conform to my own ideas – Duchamp.\n* to question questions like John Cage: “that’s a very good question\, I would not like to ruin it with an answer.”\n* to nurture Robert Frost\, who wrote “the object in writing poetry is to make all poems sound as different as possible from each other.” When he was asked to explain one of his poems\, he responded\, “You mean\, you want me to say it worse?”\n* to probe sense-ratio-shifting\, effects-precede-causes (reasoning backwards) and the non-physical.\n* to examine Bucky Fuller’s “I seem to be a verb\,” “less is more” and “there’s no passengers\, we are all crew.”\n* Is the mystery of art\, technology\, and new media to more activate or more pacify? – discussed by poet W. H. Auden\, who said “Poetry makes nothing happen”)\n* to propagate connectedness and commonalities.\n* to rethink polyphonic\, immersive and critical discourse.\n* to play around like Bob Fosse\, as detailed in the book Fosse by Sam Wasson\, who wrote that Fosse’s dancers seemed “as if they were playing at dancing more than actually dancing.”\n*to play at playing\, much like Jimi Hendrix\, who said ” You’ve got to have a purpose in life. But I’m not here to talk\, I’m here to play.”\n*to struggle with the paradox – “the worst things in life are free” – bumper sticker\, and “Freedom means everything free” – Emmett Grogan.\n* to transcend to a higher consciousness and achieve full human potential – George Gurdjieff.\n* to do nothing effectively.\n* to stare at the clouds\, which my parents Dolores and Albert Fialka encourage\, again much like Hendrix said\, “You never know what shape clouds are going to be before you see them.” \n\n\n\nBIO\nGerry Fialka lectures world-wide on experimental film\, avant garde art and subversive social media. Fialka’s  films have screened world-wide at film festivals\, art museums and galleries. Fialka ran the infamous Ann Arbor Film Co-op from 1972 to 1980. He has curated http://www.laughtears.com/  film screenings in LA since 1980 for his many series – Documental\, 7 Dudley Cinema\, Subversive Cinema and PXL THIS (second oldest film festival in LA). \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/genuine-fake-films-by-gerry-fialka/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Screenings & Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161002T193000
DTEND;TZID=America/New_York:20161002T193000
DTSTAMP:20260623T022028
CREATED:20160830T040000Z
LAST-MODIFIED:20190411T214546Z
UID:10002047-1475436600-1475436600@uniondocs.org
SUMMARY:Genuine Fake Films by Gerry Fialka
DESCRIPTION:[vc_row][vc_column][vc_column_text]”As this modern digital Dark Age of technological advances threatens to drive physical film stock itself — the very stuff from which dreams are made — into extinction\, this evening of Genuine Fake Films by Gerry Fialka couldn’t come at a more propitious moment. One of Los Angeles’ great celluloid underworld overlords\, relentless cultural provocateur and filmmaker Fialka has been successfully bedeviling our popular consciousness since the late 20th century. A recognized artistic force since his early 1970s breakout as head shot-caller at the notorious Ann Arbor Film Co-op and renowned as the veteran curator of PXL THIS\, Hollywood’s second oldest film festival\, any presentation of Fialka’s work is guaranteed to rate as a mind-bending affair. Framed as an evening of “short films and interactive discussion\,” featured titles include 2009’s Eye Am Not a Robot; 2008’s All Advertising Advertises Advertising; and Double Duty Interrobang\, Fialka’s 2003 Pixelvision (read: Fischer Price toy video camera) eyebrow raiser. It’s a veritable stampede of visual strangeness\, theoretical acrobatics and sociocultural redefinition\, all delivered through the singular prism of Fialka’s self-defined prime directive: ‘exploration of the hidden psychic effects of human inventions.'” – LA Weekly \n  \nDirector’s Statement\n\nGerry Fialka explores the hidden psyche effects of human inventions. We look to the artists\, the antennae of the race\, to uncover these hidden environments. But why do we ignore them? His director statement encourages folks to use Marshall McLuhan’s Tetrad\, four questions one can apply to media: 1) What does it enhance or intensify? 2) What does it render obsolete or replace? 3) What does it bring back that was previously obsolesced? 4) What does it become when pressed to an extreme\, what does it flip into? McLuhan defined “media” and “technology” as anything humans invent from clothing to computers\, from language to philosophy\, from toothpicks to cell phones. \nHis motives may also include: \n* to find epiphanies in everydayness\, \n* to satirize information overload\, \n*to invent new questions and new metaphors: “Brother\, can you paradigm?” \n* to uncover the hidden psychic effects of our inventions so we can cope with these effects. \n* to reinvent James Joyce’s  “laughtears” and “feelful thinkamalinks.”  (words from Finnegans Wake) \n* to make people freer as Vito Acconci articulated in Financial Times 11-17-12. \n* to struggle with “don’t tell anyone everything you know” – something Bob Dylan learned from the Bible. \n* to elevate viewers’ spirits and give them courage – Marina Abramovic. \n* to re-imagine “ESP is old hat when effects precede causes” – McLuhan – Take Today: The Executive As Dropout 1972. \n* to contradict myself as not to conform to my own ideas – Duchamp. \n* to question questions like John Cage: “that’s a very good question\, I would not like to ruin it with an answer.” \n* to nurture Robert Frost\, who wrote “the object in writing poetry is to make all poems sound as different as possible from each other.” When he was asked to explain one of his poems\, he responded\, “You mean\, you want me to say it worse?” \n* to probe sense-ratio-shifting\, effects-precede-causes (reasoning backwards) and the non-physical. \n* to examine Bucky Fuller’s “I seem to be a verb\,” “less is more” and “there’s no passengers\, we are all crew.” \n* Is the mystery of art\, technology\, and new media to more activate or more pacify? – discussed by poet W. H. Auden\, who said “Poetry makes nothing happen”) \n* to propagate connectedness and commonalities. \n* to rethink polyphonic\, immersive and critical discourse. \n* to play around like Bob Fosse\, as detailed in the book Fosse by Sam Wasson\, who wrote that Fosse’s dancers seemed “as if they were playing at dancing more than actually dancing.” \n*to play at playing\, much like Jimi Hendrix\, who said ” You’ve got to have a purpose in life. But I’m not here to talk\, I’m here to play.” \n*to struggle with the paradox – “the worst things in life are free” – bumper sticker\, and “Freedom means everything free” – Emmett Grogan. \n* to transcend to a higher consciousness and achieve full human potential – George Gurdjieff. \n* to do nothing effectively. \n* to stare at the clouds\, which my parents Dolores and Albert Fialka encourage\, again much like Hendrix said\, “You never know what shape clouds are going to be before you see them.” \n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]I THINK I’M INTO SOMETHING  (2012\, 8 minutes) Gerry Fialka and Clifford Novey’s Pixelvision short hybridizes beautiful dancers and psychedelic jazz  to the randomness of tube clown movements. \n“Mesmerizing to experience” – Noted film author Beverly Gray.  Special “Live Cinema” version with live music and dancers. \nEYE AM NOT A ROBOT (2009\, 14 minutes) – Mark X Farina & Gerry Fialka’s scintillating film probes the percept of technology “being alive” by evoking early Russian film and Constructivism. Cultural icons from James Joyce to Robby the Robot to Marilyn Monroe are your humanoid guides through new art technologies. Can machines surpass humans in the creative process? How are robotics restructuring patterns of social interdependence in Art\, Science and Nature? Cine-poets Farina & Fialka reframe our collective compliance in anthropomorphizing media as art forms. In the spirit of McLuhan’s mosaic writing\, this collage film propagates mythic thinking\, in the Jungian sense\, where people mime cues from technology used by millions. By flipping the art museum video installation experience into media yoga\, one can download morphic resonance into the nervous system as a Zen experiment. What is the future of art and artificial intelligence? See the likeness & difference in Anticipatory Mindfulness and Android Meme. Summon the impossible by examining what Derrida calls “the absence of presence.” “The future of the future is the present.” – McLuhan. “I wouldn’t be seen dead with a living work of art.” – Museum curator.[/vc_column_text][vc_empty_space][vc_text_separator title=”90 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nGerry Fialka lectures world-wide on experimental film\, avant garde art and subversive social media. Fialka’s  films have screened world-wide at film festivals\, art museums and galleries. Fialka ran the infamous Ann Arbor Film Co-op from 1972 to 1980. He has curated http://www.laughtears.com/  film screenings in LA since 1980 for his many series – Documental\, 7 Dudley Cinema\, Subversive Cinema and PXL THIS (second oldest film festival in LA).[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-02-gerry-fialka/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/Gerry-360dpi.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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161007T153000
DTEND;TZID=America/New_York:20161007T170000
DTSTAMP:20260623T022028
CREATED:20160907T082343Z
LAST-MODIFIED:20230831T190936Z
UID:10002642-1475854200-1475859600@uniondocs.org
SUMMARY:Cunt Art Was the First Art
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Cunt Art was the First Art is an evening about the role “cunt” played in early feminist art and consciousness raising\, touching on the role of female genitalia in popular culture today. Between 1968 and 1974\, women artists attempted to reclaim a positive female identity by creating what they termed “cunt art.” The legacy of cunt art was absorbed by feminist sex education and sex-positive third wave feminism. \nThe program includes a historical account of feminist cunt iconography by Sasha Archibald; a short film about labia typology\, Labial Quintet\, by Courtney Stephens; and a rare screening of Near the Big Chakra\, a 1971 experimental film by Alice Anne Parker (née Anne Severson). This event was organized with Veggie Cloud\, an arts space in Los Angeles\, where a version of it was originally presented in May 2015. \n \nNear the Big Chakra (Dir: Alice Anne Parker (née Anne Severson\, 1971\, 14min) \nDescribed by Agnès Varda as “a new approach to our femininity\,” Near the Big Chakra is a 14-minute silent film comprising extreme close-ups of 37 women’s vulvas. Made in 1971 and screened internationally in the early 1970s\, audiences’ reactions to the film—disgust\, mockery\, fist fights with the projectionist—made clear the degree to which Severson radically upends conventional imaging of female genitalia. \n \nLabial Quintet (Dir: Courtney Stephens\, 2015\, 11min) \nCreated specifically for the 2015 Cunt Art event at Veggie Cloud in Los Angeles\, Labial Quintet was prompted by a claim made by a waxing aesthetician that there are five distinct varieties of labia shape. Browsing pornography\, a live waxing session\, surgical footage\, and other visual “evidence\,” the film explores the veracity of this claim\, and what it means to typologize a body part.  \n  \n  \nBIOS \nSasha Archibald is a writer and curator in Los Angeles. Her essays about picture-making\, obsolete spectacles\, and historical byways have appeared in The Believer\, Rhizome\, Modern Painters\, Los Angeles Review of Books\, and other publications\, and in a number of books and exhibition catalogues. She is an editor-at-large at Cabinet magazine\, and works at the non-profit arts space Clockshop. \n  \nAlice Anne Parker’s films from the late 1960s and early 70s have been screened at Cannes\, New York Film Festival\, Whitney Museum\, and other venues\, and were the subject of a retrospective at Pacific Film Archive in Berkeley. Parker has since left the art world\, and is currently a celebrated psychic in Honolulu. She is the producer of a radio show\, a frequent public speaker\, and the author of the best-selling Understand Your Dreams (HJ Kramer/New World Library\, 2001).  \n  \nCourtney Stephens is a filmmaker and writer based in Los Angeles.  Her films\, on subjects ranging from rummage sales to female exile\, have screened internationally.  She attended the American Film Institute\, and was a Fulbright Fellow in India from 2011-2012. She has lectured at The Royal Geographical Society\, The Satyajit Ray Film and Television Institute\, and elsewhere. \n  \nKate Wolf is a writer based in Los Angeles. Her essays\, journalism\, and fiction have appeared in such publications as Art in America\, East of Borneo\, X-TRA\, Black Clock\, The Los Angeles Review of Books\, where she’s an editor at large\, and Night Papers\, a newspaper of art and writing she edits with the Night Gallery. \n  \nVeggie Cloud is a wide-ranging film and lecture series in Los Angeles organized by Courtney Stephens and Kate Wolf. In addition to regular\, free programs at their space\, Veggie Cloud has guest-programmed screenings at the Getty Museum and Human Resources\, and collaborated with institutions throughout Los Angeles\, mostly recently on the citywide Chantal Akerman retrospective “Contre L’Oubli: Against Oblivion.”[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-07-cunt-art-was-the-first-art/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/Cth7UktXEAQ_t5p.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:20161007T193000
DTEND;TZID=America/New_York:20161007T210000
DTSTAMP:20260623T022028
CREATED:20160831T040000Z
LAST-MODIFIED:20250124T225452Z
UID:10002052-1475868600-1475874000@uniondocs.org
SUMMARY:CUNT ART WAS THE FIRST ART
DESCRIPTION:[vc_row][vc_column][vc_column_text css=””]Cunt Art was the First Art is an evening about the role “cunt” played in early feminist art and consciousness raising\, touching on the role of female genitalia in popular culture today. Between 1968 and 1974\, women artists attempted to reclaim a positive female identity by creating what they termed “cunt art.” The legacy of cunt art was absorbed by feminist sex education and sex-positive third wave feminism. \nThe program includes a historical account of feminist cunt iconography by Sasha Archibald; a short film about labia typology\, Labial Quintet\, by Courtney Stephens; and a rare screening of Near the Big Chakra\, a 1971 experimental film by Alice Anne Parker (née Anne Severson). This event was organized with Veggie Cloud\, an arts space in Los Angeles\, where it was originally presented in May 2015.[/vc_column_text][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Program”][vc_empty_space][vc_column_text]Near the Big Chakra (Dir: Alice Anne Parker (née Anne Severson\, 1971\, 14min) \nDescribed by Agnès Varda as “a new approach to our femininity\,” Near the Big Chakra is a 14-minute silent film comprising extreme close-ups of 37 women’s vulvas. Made in 1971 and screened internationally in the early 1970s\, audiences’ reactions to the film—disgust\, mockery\, fist fights with the projectionist—made clear the degree to which Severson radically upends conventional imaging of female genitalia. \nLabial Quintet (Dir: Courtney Stephens\, 2015\, 11min) \nCreated specifically for the 2015 Cunt Art event at Veggie Cloud in Los Angeles\, Labial Quintet was prompted by a claim made by a waxing aesthetician that there are five distinct varieties of labia shape. Browsing pornography\, a live waxing session\, surgical footage\, and other visual “evidence\,” the film explores the veracity of this claim\, and what it means to typologize a body part. [/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nSasha Archibald is a writer and curator in Los Angeles. Her essays about picture-making\, obsolete spectacles\, and historical byways have appeared in The Believer\, Rhizome\, Modern Painters\, Los Angeles Review of Books\, and other publications\, and in a number of books and exhibition catalogues. She is an editor-at-large at Cabinet magazine\, and works at the non-profit arts space Clockshop. \n  \n  \nAlice Anne Parker’s films from the late 1960s and early 70s have been screened at Cannes\, New York Film Festival\, Whitney Museum\, and other venues\, and were the subject of a retrospective at Pacific Film Archive in Berkeley. Parker has since left the art world\, and is currently a celebrated psychic in Honolulu. She is the producer of a radio show\, a frequent public speaker\, and the author of the best-selling Understand Your Dreams (HJ Kramer/New World Library\, 2001).  \n  \n  \nCourtney Stephens is a filmmaker and writer based in Los Angeles.  Her films\, on subjects ranging from rummage sales to female exile\, have screened internationally.  She attended the American Film Institute\, and was a Fulbright Fellow in India from 2011-2012. She has lectured at The Royal Geographical Society\, The Satyajit Ray Film and Television Institute\, and elsewhere. \n  \n  \nKate Wolf is a writer based in Los Angeles. Her essays\, journalism\, and fiction have appeared in such publications as Art in America\, East of Borneo\, X-TRA\, Black Clock\, The Los Angeles Review of Books\, where she’s an editor at large\, and Night Papers\, a newspaper of art and writing she edits with the Night Gallery. \n  \n  \n\n  \nVeggie Cloud is a wide-ranging film and lecture series in Los Angeles organized by Courtney Stephens and Kate Wolf. In addition to regular\, free programs at their space\, Veggie Cloud has guest-programmed screenings at the Getty Museum and Human Resources\, and collaborated with institutions throughout Los Angeles\, mostly recently on the citywide Chantal Akerman retrospective “Contre L’Oubli: Against Oblivion.”[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-07-cunt-art/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/06/unnamed-1.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:20161009T153000
DTEND;TZID=America/New_York:20161009T173000
DTSTAMP:20260623T022028
CREATED:20161212T092343Z
LAST-MODIFIED:20180430T211048Z
UID:10002091-1476027000-1476034200@uniondocs.org
SUMMARY:DEEP RUN with PINK BOY
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/158829795″][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]DEEP RUN is a powerful verité portrait of trans life in rural North Carolina. Exiled by his family and rejected by an ex\, 17-year-old Spazz has no one to lean on for support. But when Spazz falls in love again and summons up the courage to become Cole\, a strong-willed trans man\, his candid humor and steadfast\, all-inclusive Christian beliefs counter the bigotry he experiences daily. This intimate documentary reveals rebirth and courage within America’s deeply conservative Bible Belt. \n  \nPreceded by PINK BOY by Eric Rockey \nPINK BOY an award-winning\, intimate 15-minute portrait of a gender-creative boy growing up in conservative rural Florida. Butch lesbian BJ successfully avoided dresses her entire life until she and her partner Sherrie adopted Jeffrey\, who to their shock\, starts to dance in gowns and perform for his parents. As six-year-old Jeffrey increasingly wishes to dress up in public\, BJ must navigate where it is safe for him\, from school to a rodeo in Georgia to the ultimate holiday for a pink boy\, Halloween. It is a story of love between a butch mother and her feminine son\, in one sense opposites\, but united by a determination to be who they truly are. Pink Boy had its World Premiere at the Sheffield Doc/Fest in the UK on June 7th\, and its North American Premiere at Palm Springs ShortFest on June 18th where it won Best Documentary.  Pink Boy has won five awards in total\, including Grand Jury Prize for Best Short at DOC NYC. \nWe are lucky to have Alexandra Juhasz (Professor and Department Chairperson of Film at Brooklyn College) who has a history of working with documentary\, social change\, and gender politics in the film world and beyond joining Director of DEEP RUN\, Hillevi Loven\, after the program for discussion. \n  \n*SPECIAL LIVESTREAM AFTER THE PROGRAM: PRESIDENTIAL DEBATE* \nWe are adding a special livestream after the program of the presidential debate. \nAfter the screening we know we all were going to try to rush home or to the nearest bar streaming the debates\, so we figured we’d project it here for convenience and to share in watching as a community. \nIf it’s nice out we’ll move to watch in the backyard\, so feel free to stick around to live-tweet with us while it all goes down! \nTell your friends![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Program”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”DEEP RUN” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”75 min.\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”PINK BOY” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”15 min.\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”90 min”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52357″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text] \nHillevi Loven is a filmmaker\, producer and still photographer based in Brooklyn. She is making her feature-film-directing debut with Deep Run. As a Sundance Documentary Fellow\, she took part in the Sundance lab while completing Deep Run. In collaboration with MIT anthropologist Natasha Schull\, she co-directed the documentary\, Buffet: All You Can Eat Las Vegas\, which won Best Short from the Society of Visual Anthropology. As an artist\, she has received funding and support from the New York State Council on the Arts\, the Sundance Institute\, New York Foundation for the Arts and Robert Wood Johnson Foundation. Her commercial work includes projects for Condé Nast\, American Express and Time Inc. She has produced collaborative work with the Brooklyn art collectives UnionDocs\, OVO\, and the Brooklyn Filmmakers’ Collective. Hillevi is an alumna of Barnard College\, and the Hunter College IMA MFA program. \nDeep Run is the culmination of years of Hillevi’s own social justice work\, which began with teaching media arts to LGBT youth at the Hetrick Martin Institute in NYC. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_empty_space height=”10px”][vc_single_image image=”52360″][/vc_column][vc_column width=”2/3″][vc_empty_space height=”10px”][vc_column_text] \nDr. Alexandra Juhasz teaches\, makes and studies committed media practices that contribute to political change and individual and community growth. She has a Ph.D. in Cinema Studies from NYU and is the author of AIDS TV (Duke\, 1995)\, Women of Vision: Histories in Feminist Media (Minnesota\, 2001)\, F is for Phony: Fake Documentary and Truth?s Undoing with Jesse Lerner (Minnesota\, 2005)\, Learning from YouTube (MIT Press\, 2011)\, The Blackwell Companion on Contemporary Documentary with Alisa Lebow (2016)\, and with Yvonne Welbon\, Sisters in the Life: 25 Years of African-American Lesbian Filmmaking (forthcoming Duke). She is the producer of educational videotapes on feminist issues from AIDS to teen pregnancy and the feature films The Watermelon Woman (Cheryl Dunye\, 1997) and The Owls (Dunye\, 2010). Her current work is on and about the feminist Internet including YouTube\, pedagogy\, affect and community. Her personal website is: http://pzacad.pitzer.edu/ \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_empty_space height=”10px”][vc_single_image image=”52361″][/vc_column][vc_column width=”2/3″][vc_empty_space height=”10px”][vc_column_text] \nEric Rockey’s work straddles the worlds of technology and film. A Microsoft veteran\, now at tech startup FiftyThree\, he graduated from the New School’s Documentary Certificate and Media Studies MA programs. His first short\, “Vulture Culture”\, premiered at DOC NYC in 2011. He was also the designer and developer for interactive doc and Webby Award Honoree\, “What Killed Kevin?” directed by Beverly Peterson in 2014. “Pink Boy” is his second short. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-09-deep-run-with-pink-boy/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/deep-run.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161009T193000
DTEND;TZID=America/New_York:20161009T210000
DTSTAMP:20260623T022028
CREATED:20160908T040000Z
LAST-MODIFIED:20190411T213109Z
UID:10002644-1476041400-1476046800@uniondocs.org
SUMMARY:DEEP RUN with PINK BOY
DESCRIPTION:[vc_row][vc_column][vc_column_text]DEEP RUN is a powerful verité portrait of trans life in rural North Carolina. Exiled by his family and rejected by an ex\, 17-year-old Spazz has no one to lean on for support. But when Spazz falls in love again and summons up the courage to become Cole\, a strong-willed trans man\, his candid humor and steadfast\, all-inclusive Christian beliefs counter the bigotry he experiences daily. This intimate documentary reveals rebirth and courage within America’s deeply conservative Bible Belt. \n \nPreceded by PINK BOY by Eric Rockey \nPINK BOY an award-winning\, intimate 15-minute portrait of a gender-creative boy growing up in conservative rural Florida. Butch lesbian BJ successfully avoided dresses her entire life until she and her partner Sherrie adopted Jeffrey\, who to their shock\, starts to dance in gowns and perform for his parents. As six-year-old Jeffrey increasingly wishes to dress up in public\, BJ must navigate where it is safe for him\, from school to a rodeo in Georgia to the ultimate holiday for a pink boy\, Halloween. It is a story of love between a butch mother and her feminine son\, in one sense opposites\, but united by a determination to be who they truly are. Pink Boy had its World Premiere at the Sheffield Doc/Fest in the UK on June 7th\, and its North American Premiere at Palm Springs ShortFest on June 18th where it won Best Documentary.  Pink Boy has won five awards in total\, including Grand Jury Prize for Best Short at DOC NYC. \nWe are lucky to have Alexandra Juhasz (Professor and Department Chairperson of Film at Brooklyn College) who has a history of working with documentary\, social change\, and gender politics in the film world and beyond joining Director of DEEP RUN\, Hillevi Loven\, after the program for discussion. \n*SPECIAL LIVESTREAM AFTER THE PROGRAM: PRESIDENTIAL DEBATE* \nWe are adding a special livestream after the program of the presidential debate. \nAfter the screening we know we all were going to try to rush home or to the nearest bar streaming the debates\, so we figured we’d project it here for convenience and to share in watching as a community. \nIf it’s nice out we’ll move to watch in the backyard\, so feel free to stick around to live-tweet with us while it all goes down! \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nHILLEVI LOVEN is a filmmaker\, producer and still photographer based in Brooklyn. She is making her feature-film-directing debut with Deep Run. As a Sundance Documentary Fellow\, she took part in the Sundance lab while completing Deep Run. In collaboration with MIT anthropologist Natasha Schull\, she co-directed the documentary\, Buffet: All You Can Eat Las Vegas\, which won Best Short from the Society of Visual Anthropology. As an artist\, she has received funding and support from the New York State Council on the Arts\, the Sundance Institute\, New York Foundation for the Arts and Robert Wood Johnson Foundation. Her commercial work includes projects for Condé Nast\, American Express and Time Inc. She has produced collaborative work with the Brooklyn art collectives UnionDocs\, OVO\, and the Brooklyn Filmmakers’ Collective. Hillevi is an alumna of Barnard College\, and the Hunter College IMA MFA program. \nDeep Run is the culmination of years of Hillevi’s own social justice work\, which began with teaching media arts to LGBT youth at the Hetrick Martin Institute in NYC. \nDr. Alexandra Juhasz teaches\, makes and studies committed media practices that contribute to political change and individual and community growth. She has a Ph.D. in Cinema Studies from NYU and is the author of AIDS TV (Duke\, 1995)\, Women of Vision: Histories in Feminist Media (Minnesota\, 2001)\, F is for Phony: Fake Documentary and Truth?s Undoing with Jesse Lerner (Minnesota\, 2005)\, Learning from YouTube (MIT Press\, 2011)\, The Blackwell Companion on Contemporary Documentary with Alisa Lebow (2016)\, and with Yvonne Welbon\, Sisters in the Life: 25 Years of African-American Lesbian Filmmaking (forthcoming Duke). She is the producer of educational videotapes on feminist issues from AIDS to teen pregnancy and the feature films The Watermelon Woman (Cheryl Dunye\, 1997) and The Owls (Dunye\, 2010). Her current work is on and about the feminist Internet including YouTube\, pedagogy\, affect and community. Her personal website is: http://pzacad.pitzer.edu/ \nERIC ROCKEY \nEric Rockey’s work straddles the worlds of technology and film. A Microsoft veteran\, now at tech startup FiftyThree\, he graduated from the New School’s Documentary Certificate and Media Studies MA programs. His first short\, “Vulture Culture”\, premiered at DOC NYC in 2011. He was also the designer and developer for interactive doc and Webby Award Honoree\, “What Killed Kevin?” directed by Beverly Peterson in 2014. “Pink Boy” is his second short.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-09-deep-run/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/DRun-Cole-wood-bckgrnd-smile-4_sized.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:20161013T153000
DTEND;TZID=America/New_York:20161013T170000
DTSTAMP:20260623T022028
CREATED:20161010T192602Z
LAST-MODIFIED:20180228T041348Z
UID:10002071-1476372600-1476378000@uniondocs.org
SUMMARY:Jackie Robinson
DESCRIPTION:Jack Roosevelt Robinson rose from humble origins to cross baseball’s color line and become one of the most beloved men in America. A fierce integrationist\, Robinson used his immense fame to speak out against the discrimination he saw on and off the field\, angering fans\, the press\, and even teammates who had once celebrated him for “turning the other cheek.” After baseball\, he was a widely-read newspaper columnist\, divisive political activist and tireless advocate for civil rights\, who later struggled to remain relevant as diabetes crippled his body and a new generation of leaders set a more militant course for the civil rights movement. \nJackie Robinson\, a two-part\, four-hour film directed by Ken Burns\, Sarah Burns and David McMahon tells the story of an American icon whose life-long battle for first class citizenship for all African Americans transcends even his remarkable athletic achievements. “Jackie Robinson\,” Martin Luther King Jr. once said\, “was a sit-inner before sit-ins\, a freedom rider before freedom rides.” We’ll be screening a special 90-minute cut of the film along with filmmakers in attendance for discussion moderated by Sridhar Pappu.
URL:https://uniondocs.org/event/jackie-robinson/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/Jackie-Robinson.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161013T193000
DTEND;TZID=America/New_York:20161013T213000
DTSTAMP:20260623T022028
CREATED:20160909T040000Z
LAST-MODIFIED:20190516T162842Z
UID:10002646-1476387000-1476394200@uniondocs.org
SUMMARY:Jackie Robinson
DESCRIPTION:[vc_row][vc_column][vc_column_text]Jack Roosevelt Robinson rose from humble origins to cross baseball’s color line and become one of the most beloved men in America. A fierce integrationist\, Robinson used his immense fame to speak out against the discrimination he saw on and off the field\, angering fans\, the press\, and even teammates who had once celebrated him for “turning the other cheek.” After baseball\, he was a widely-read newspaper columnist\, divisive political activist and tireless advocate for civil rights\, who later struggled to remain relevant as diabetes crippled his body and a new generation of leaders set a more militant course for the civil rights movement. \nJackie Robinson\, a two-part\, four-hour film directed by Ken Burns\, Sarah Burns and David McMahon tells the story of an American icon whose life-long battle for first class citizenship for all African Americans transcends even his remarkable athletic achievements. “Jackie Robinson\,” Martin Luther King Jr. once said\, “was a sit-inner before sit-ins\, a freedom rider before freedom rides.” We’ll be screening a special 90-minute cut of the film along with filmmakers in attendance for discussion moderated by Sridhar Pappu.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \nDavid McMahon has been making award-winning documentary films for more than a decade. In 2010\, he wrote and produced with Ken Burns and Lynn Novick The Tenth Inning\, a two-part\, four-hour update to their Emmy Award-winning series\, Baseball. With Ken Burns and Sarah Burns\, he wrote\, produced and directed The Central Park Five\, a two-hour film about the five teenagers who were wrongly convicted in the Central Park Jogger case of 1989\, which won a Peabody Award and best non-fiction film of 2012 from The New York Film Critics Circle. Most recently\, he teamed with Ken Burns and Sarah Burns again to produce and direct Jackie Robinson\, a two-part\, four-hour biography of the baseball and civil rights icon\, for which he and Sarah Burns received an Emmy nomination for Outstanding Writing For A Nonfiction Program. He is currently producing a documentary about public housing. \nSarah Burns is the author of The Central Park Five: A Chronicle of a City Wilding (Knopf\, 2011) and\, along with David McMahon and Ken Burns\, the producer\, writer and director of the documentary The Central Park Five\, about the five Black and Latino teenagers who were wrongly convicted in the infamous Central Park Jogger rape of 1989. The film premiered at the Cannes Film Festival in 2012\, was named the Best Non-Fiction film of 2012 by the New York Film Critics Circle and won a 2013 Peabody Award. Most recently\, she produced and directed\, along with David McMahon and Ken Burns\, the two-part\, four hour Jackie Robinson\, a biography of the celebrated baseball player and civil rights icon\, for which she and McMahon received an Emmy nomination for Outstanding Writing For A Nonfiction Program. She is currently working on a documentary about public housing in Atlanta. \n \nSridhar Pappu is the author of a forthcoming book centered on the 1968 World Series for Houghton Mifflin Harcourt. Sridhar is interested in and writes about all kinds of things\, including national politics\, media\, and sports. He began his career as a feature writer for theChicago Reader and has served as a columnist at The New York Observer and as a correspondent for The Atlantic Monthly. In addition he worked as a staff writer at Sports Illustrated and The Washington Post. His work has appeared in numerous publications including The New York Times\, New York Magazine\, Fast Company\, Mother Jones and Men’s Journal. A native of Oxford\, Ohio\, and graduate of Northwestern University\, he currently lives in Brooklyn.      \n\nA monthly Brooklyn-based screening series highlighting documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we debate the conventional framework for human rights and challenge the definition of what constitutes human rights media. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-13-jackie-robinson/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/MV5BNTVhOWVjNzEtOGYzNi00OTI1LTgzZjUtYjQ4MGQzOWQ4NDJiXkEyXkFqcGdeQXVyMjk3NTUyOTc@._V1_.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:20161016T153000
DTEND;TZID=America/New_York:20161016T180000
DTSTAMP:20260623T022028
CREATED:20161022T082343Z
LAST-MODIFIED:20180228T041348Z
UID:10002058-1476631800-1476640800@uniondocs.org
SUMMARY:Arraianos
DESCRIPTION:[vc_row][vc_column][vc_column_text]The inhabitants of a small village lost in the woodlands between Galicia and Portugal live and work in a quiet routine. From time to time\, brief conversations arise amongst them. Surrounded by an endless forest\, incapable of finding a way out\, the Arraianos ask themselves about the reasons for their confinement\, wondering if such things as sunlight\, free will or a horizon really exist. One day\, a stranger arrives; the possibility of change\, a way out\, a means of purification… What is left after the end\, when all has been consumed? \nSomewhere between reality and fable\, the Arraianos play out their lives to make a portrait of the rural world and its obstinate resistance to disappear\, a picture of life as it is. \n“I wanted to make a film based on the images printed in my memory when I was a child…Rather than the factual influences\, I wanted to portray the emotional connections that arise between the individual and the environs…I wanted to work on the musical plasticity of Galician language\, trying to touch upon it with images… \nThe film deals with our grandparent’s generation\, a generation I feel is a kind of hinge between two different eras. I was interested in the way we relate with what we used to be and particularly with what we do not fully understand…The experience of shooting in a “true” frontier showed us that the culmination of something is always the beginning of something else. Like the interminable and unreachable dream told by the woman in the film\, an end is just a matter of perspective.” – Director Eloy Enciso \n\nBIO \nEloy Enciso Cachafeiro completed a degree in documentary filmmaking at San Antonio de los Baños film school in Cuba. His experimental and documentary short-films (“La clase”\, “Funk the wheel” and “Isa003”) participated in several international film festivals. He shot his first documentary feature Pic-nic in 2007\, which was showed in several international festivals. He has been working for the last four years on Arraianos\, his last feature film. He lives and works in between Galicia\, Portugal and Madrid. \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-16-arraianos/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/arraianos.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161016T193000
DTEND;TZID=America/New_York:20161016T210000
DTSTAMP:20260623T022028
CREATED:20160914T040000Z
LAST-MODIFIED:20190411T212820Z
UID:10002185-1476646200-1476651600@uniondocs.org
SUMMARY:Arraianos
DESCRIPTION:[vc_row][vc_column][vc_column_text]The inhabitants of a small village lost in the woodlands between Galicia and Portugal live and work in a quiet routine. From time to time\, brief conversations arise amongst them. Surrounded by an endless forest\, incapable of finding a way out\, the Arraianos ask themselves about the reasons for their confinement\, wondering if such things as sunlight\, free will or a horizon really exist. One day\, a stranger arrives; the possibility of change\, a way out\, a means of purification… What is left after the end\, when all has been consumed? \nSomewhere between reality and fable\, the Arraianos play out their lives to make a portrait of the rural world and its obstinate resistance to disappear\, a picture of life as it is. \n“I wanted to make a film based on the images printed in my memory when I was a child…Rather than the factual influences\, I wanted to portray the emotional connections that arise between the individual and the environs…I wanted to work on the musical plasticity of Galician language\, trying to touch upon it with images… \nThe film deals with our grandparent’s generation\, a generation I feel is a kind of hinge between two different eras. I was interested in the way we relate with what we used to be and particularly with what we do not fully understand…The experience of shooting in a “true” frontier showed us that the culmination of something is always the beginning of something else. Like the interminable and unreachable dream told by the woman in the film\, an end is just a matter of perspective.” – Director Eloy Enciso \n[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Eloy Enciso Cachafeiro completed a degree in documentary filmmaking at San Antonio de los Baños film school in Cuba. His experimental and documentary short-films (“La clase”\, “Funk the wheel” and “Isa003”) participated in several international film festivals. He shot his first documentary feature Pic-nic in 2007\, which was showed in several international festivals. He has been working for the last four years on Arraianos\, his last feature film. He lives and works in between Galicia\, Portugal and Madrid.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-16-arraianos-2/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/ARRAIANOS_STILL_6-e1473872538887.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:20161021T153000
DTEND;TZID=America/New_York:20161021T173000
DTSTAMP:20260623T022028
CREATED:20160914T082343Z
LAST-MODIFIED:20180430T210133Z
UID:10002189-1477063800-1477071000@uniondocs.org
SUMMARY:Machine Gun or Typewriter?
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/187068404″][/vc_column][/vc_row][vc_row row_type=”row_full_center_content”][vc_column][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_column_text]Winner top prize at DockuFest Travis Wilkerson’s Machine Gun or Typewriter? is “a love story\, told as if retracing footsteps\, the city mapped on psychogeographic lines.” The film has been screened in various festivals such as Locarno\, Mar de Plata\, Jihlava\, RIDM\, Fronteira\, Underdox\, TransCinema\, FicValdvidia\, Filmmaker\, Revelation\, Essential Independents. \n“Machine Gun or Typewriter? is at once a landscape essay film\, a fractious collage piece and an abstract confessional\, restlessly serving the film noir narrative trope of a missing woman. Wilkerson plays the radio man\, seen only behind a pop screen and a Sennheiser mic\, who tells stories about falling in and out of love with his partner\, another would-be political reactionary. Each anecdote is tethered to a place\, both physically — mapped out with pins and string on the man’s wall — and figuratively: the man’s fury at the injustices perpetrated at these landmarks wrests attention away from the woman who has gone missing. There’s a perverse solace he finds in re-visiting narratives of systemic racism\, class divide and police brutality.” Conor Bateman\, 4:3 \n\n“Confidently straddling forms as diverse as the essay film\, agitprop\, and noir\, and themes as broadly different as Los Angeles\, anarchism\, and unrequited love\, Wilkerson’s film is a wry\, controlled\, and witty engagement with how the historical and social both inform one man’s political maturation.” Michael Pattison\, Slant Magazine \n\n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program”][vc_custom_heading text=”Machine Gun or Typewriter?” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”71 min.\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_text_separator title=”71 min”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52292″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nTravis Wilkerson  \nA chance meeting in Havana with legendary Cuban film propagandist Santiago Alvarez changed the course of Travis Wilkerson’s life. He now makes films in the tradition of the “third cinema\,” wedding politics to form in an indivisible manner. His films have screened at scores of venues and festivals worldwide\, including Sundance\, Toronto\, Locarno\, Rotterdam\, Vienna\, Yamagata\, the FID Marseille and the Musée du Louvre. His best-known work is an agit-prop essay on the lynching of Wobbly Frank Little called “An Injury to One\,” named one of the best avant-garde films of the decade by Film Comment. His other films include “Accelerated Underdevelopment” (on the filmmaker Santiago Alvarez)\, the narrative feature “Who Killed Cock Robin?” and the National Archive series. In 2007\, he presented the first ever performance art at the Sundance Film Festival with Proving Ground\, a live multi-media rumination on the history of bombing described as “one of the most daring experiments in the history of Sundance.” His documentary “Distinguished Flying Cross\,” was honored with prestigious jury prizes both at Cinema du reel and Yamagata. He also contributed short segments to two omnibus projects: “Far From Afghanistan\,” and Orbit (films). His writings on film have appeared in Cineaste\, Kino!\, and Senses of Cinema. He has taught filmmaking at the University of Colorado and Film Directing at CalArts. Presently\, he is the inaugural Visiting Fellow of Media Praxis in the Pomona College Media Guild. He is also the founding Editor of Now: A Journal of Urgent Praxis. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-21-machine-gun-or-typewriter/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/machine-gun-typewriter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161021T193000
DTEND;TZID=America/New_York:20161021T203000
DTSTAMP:20260623T022028
CREATED:20160906T040000Z
LAST-MODIFIED:20190411T213357Z
UID:10002640-1477078200-1477081800@uniondocs.org
SUMMARY:Machine Gun or Typewriter?
DESCRIPTION:[vc_row][vc_column][vc_column_text]Winner top prize at DockuFest Travis Wilkerson’s Machine Gun or Typewriter? is “a love story\, told as if retracing footsteps\, the city mapped on psychogeographic lines.” The film has been screened in various festivals such as Locarno\, Mar de Plata\, Jihlava\, RIDM\, Fronteira\, Underdox\, TransCinema\, FicValdvidia\, Filmmaker\, Revelation\, Essential Independents. \n“Machine Gun or Typewriter? is at once a landscape essay film\, a fractious collage piece and an abstract confessional\, restlessly serving the film noir narrative trope of a missing woman. Wilkerson plays the radio man\, seen only behind a pop screen and a Sennheiser mic\, who tells stories about falling in and out of love with his partner\, another would-be political reactionary. Each anecdote is tethered to a place\, both physically — mapped out with pins and string on the man’s wall — and figuratively: the man’s fury at the injustices perpetrated at these landmarks wrests attention away from the woman who has gone missing. There’s a perverse solace he finds in re-visiting narratives of systemic racism\, class divide and police brutality.” Conor Bateman\, 4:3 \n\n“Confidently straddling forms as diverse as the essay film\, agitprop\, and noir\, and themes as broadly different as Los Angeles\, anarchism\, and unrequited love\, Wilkerson’s film is a wry\, controlled\, and witty engagement with how the historical and social both inform one man’s political maturation.” Michael Pattison\, Slant Magazine. \n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”60 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]A chance meeting in Havana with legendary Cuban film propagandist Santiago Alvarez changed the course of Travis Wilkerson’s life. He now makes films in the tradition of the “third cinema\,” wedding politics to form in an indivisible manner. His films have screened at scores of venues and festivals worldwide\, including Sundance\, Toronto\, Locarno\, Rotterdam\, Vienna\, Yamagata\, the FID Marseille and the Musée du Louvre. His best-known work is an agit-prop essay on the lynching of Wobbly Frank Little called “An Injury to One\,” named one of the best avant-garde films of the decade by Film Comment. His other films include “Accelerated Underdevelopment” (on the filmmaker Santiago Alvarez)\, the narrative feature “Who Killed Cock Robin?” and the National Archive series. In 2007\, he presented the first ever performance art at the Sundance Film Festival with Proving Ground\, a live multi-media rumination on the history of bombing described as “one of the most daring experiments in the history of Sundance.” His documentary “Distinguished Flying Cross\,” was honored with prestigious jury prizes both at Cinema du reel and Yamagata. He also contributed short segments to two omnibus projects: “Far From Afghanistan\,” and Orbit (films). His writings on film have appeared in Cineaste\, Kino!\, and Senses of Cinema. He has taught filmmaking at the University of Colorado and Film Directing at CalArts. Presently\, he is the inaugural Visiting Fellow of Media Praxis in the Pomona College Media Guild. He is also the founding Editor of Now: A Journal of Urgent Praxis.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-21machine-gun-typewriter/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/Map-w_-Lily-and-Vlad.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:20161022T093000
DTEND;TZID=America/New_York:20161022T173000
DTSTAMP:20260623T022028
CREATED:20170123T222704Z
LAST-MODIFIED:20180228T041347Z
UID:10002100-1477128600-1477157400@uniondocs.org
SUMMARY:Images\, Sound and Rhythm in Documentary
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nMasterclass with a team of seasoned documentary directors\, editors\, & composers!  \nIn this day-long intensive\, some of documentaries most respected directors\, editors and composers will discuss the films they’ve worked on from the standpoint of understanding the importance of rhythm and composition to a film’s success. Films that will be used as case studies include instructors’ past projects: Life\, Animated\, E-TEAM\, Tocando la Luz\, Rich Hill\, and\, Marina Abramovic: The Artist is Present to help break down for participants how to shape the narrative rhythm of their films by looking at individual scenes and discussing their evolution. Our guest instructors will cover different strategies for working creatively with an original score and discuss the benefits of seeking out this option for your next project. They will also share tips and tricks for how to get the most out of the collaborative effort of sound\, image\, and rhythm for developing your story and highlighting how characters and themes can be developed musically in film. They will discuss the balance and breakdown of work among a team and help to develop and share strategies for how to make this work for you.[/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-ae9078e9-6a54″][vc_column_text]Who is eligible? \nOpen to everyone\, though the workshop setting is best suited for editors\, sound artists\, composers\, filmmakers. \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 in filmmaking\, 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-e84378e9-6a54″][vc_column_text]Cost:\n$170 early bird registration by October 10th\, 2016 at 5PM \n$190 regular \nPlease note that the service charge is waived if payment is made via check. \nChecks can be made out to UnionDocs and mailed to 322 Union Ave\, Brooklyn\, NY 11211. \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf78e9-6a54″][vc_column_text][/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501678e9-6a54″][vc_column_text]In 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-d1c778e9-6a54″][vc_column_text]Registration & Cancellation To register for a workshop\, students must pay in full via PayPal. After the registration deadline of October 5th\, 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=”Saturday\, Oct 22\, – 9:30 – 5:30p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]AM: David Teague and T. Griffin discuss their working method \nPM: Nathan Halpern discuss his working method with editors and film directors \n[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_separator color=”white”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]9:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Introduction[/vc_column_text][/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]Presentation by guests including Q&A[/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[/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 guests including Q&A and work-in-progress presentations/feedback session with participants[/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]End[/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=”52842″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]David Teague is a documentary film editor. Recent films include the Sundance award-winner Life\, Animated\, the Oscar-nominated Cutie and the Boxer\, and the Sundance award-winner E-TEAM. Other credits include the Oscar-winning Freeheld\, the Emmy-winning Sesame Street primetime special “Growing Hope Against Hunger”\, the Oscar-nominated films Mondays at Racine and Sun Come Up\, the Full Frame award-winner Tocando la Luz\, and The Iran Job. David directed and edited the documentaries Intifada NYC (Rooftop Films 2009) and Our House (Hot Docs 2010\, co-directed with Greg King). He has served as an editing mentor with the IFP Documentary Labs and the Karen Schmeer Film Editing Fellowship and is the author of two best-selling guides to film editing with Final Cut Pro.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52843″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]T. Griffin is a songwriter\, composer and producer based in Brooklyn New York. He has composed music for over 30 feature length films\, and dozens of live and multidisciplinary projects. Directors include Jesse Moss\, Ross Kaufman\, Katy Chevigny\, Roger Ross-Williams\, Liza Johnson\, Michael Almereyda\, Heidi Ewing and Rachel Grady\, Tze Chun\, Jem Cohen\, and Sam Green among many others. He was one of six composers selected as a fellow at the Sundance Composer’s lab in 2008 and has been nominated twice for CinemaEye Honors for original music score. As a player and producer he has worked with independent musical luminaries including Vic Chesnutt\, Patti Smith\, Tom Verlaine\, Tim Hecker\, DJ/Rupture\, Mary Margaret O’Hara and members of godspeed you! black emperor\, Fugazi\, The Dirty Three and The Ex.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52844″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Nathan Halpern is a Brooklyn-based composer\, recently named one of Indiewire’s “Composers to Watch.” His score for RICH HILL\, winner of the Sundance Film Festival Grand Jury Prize for Best Documentary\, was praised as “one of the best non-fiction scores we’ve heard in years” (Indiewire). He is also known for his score for The Emmy and Peabody Award-winning MARINA ABRAMOVIC: THE ARTIST ISPRESENT (HBO Films). In 2015 he re-teamed with RICH HILL co-director Andrew Droz Palermo for the Kiernan Shipka-starring supernatural thriller ONE AND TWO (IFC Films)\, which Variety called “hauntingly scored.” In 2016 he re-teamed with RICH HILL co-director Tracy Droz Tragos for  ABORTION: STORIES WOMEN TELL (HBO DOCUMENTARY FILMS)\, which premiered at the 2016 Tribeca Film Festival. June 2016 saw Edinburgh Film Festival premiere of Amanda Sharp’s STICKY NOTES starring Rose Leslie (Game of Thrones) and Ray Liotta. Summer 2016 sees the theatrical release of three films he scored: HOOLIGAN SPARROW (Sundance 2016)\, INDIAN POINT (Tribeca 2015 / First Run Features)\, and THE WITNESS (New York Film Festival 2015 / FilmRise). On September 23rd 2016\, Mangolia Pictures will release THE LOVERS AND THE DESPOT (Sundance 2016)\, praised by Indiewire for Halpern’s “excellent score.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/images-sound-rhythm-documentary-2/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/01/Images-Sounds-and-Rhythm-Promo.00_03_59_12.Still001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161023T193000
DTEND;TZID=America/New_York:20161023T223000
DTSTAMP:20260623T022028
CREATED:20161010T040000Z
LAST-MODIFIED:20190411T163740Z
UID:10002065-1477251000-1477261800@uniondocs.org
SUMMARY:What You Get Is What You See: The Body at Work
DESCRIPTION:[vc_row][vc_column][vc_column_text]The Body at Work. Laborious Gestures\, Awkwardness and Hostage Spectatorship \nUsing her own body and presence as a research tool\, Artist Pilvi Takala places herself in awkward\, uncomfortable but constructive places to investigate social situations and human behavior. \n \nIn this screening-presentation\, she will look at the creative process behind her narrative videos that emerge from her experiments with others. From a community of poker players in Thailand\, a corporation office in the Finland to a boarding school and a text message service in the US\, we will follow her infiltration and disguised activities in work settings\, witnessing how small but subtle infractions can disrupt people’s sense of purpose and seriously threat social order. \nFollowing the screening and presentation\, Pilvi Takala  will be in conversation with Mathilde Walker-Billaud. \nThis event is co-presented with the Vera List Center for Art and Politics at The New School\, in connection with the panel-discussion on Monday October 24th: The Right of Refusal. \n\nWhat You Get Is What You See: A Series On Spectatorship \n\nIn What You Get Is What You See\, Mathilde Walker-Billaud invites artists\, filmmakers and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as audience members\, viewers\, readers\, watchers\, listeners of visual and performance arts\, radio\, TV\, graphic design\, cinema and Internet. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”90 minutes”][vc_empty_space][vc_column_text] \n\n\nPilvi Takala (born 1981 in Helsinki\, Finland) lives and works in Berlin. Her recent solo exhibitions include CCA Glasgow\, Kunsthal Aarhus and Tartu Art Museum. Her work has been shown in Manifesta 11\, MoMA PS1 and New Museum\, New York; Yerba Buena Centre for the Arts\, San Fransisco; Palais de Tokyo\, Paris; S.M.A.K.\, Ghent; Kunsthalle Basel; De Hallen Haarlem; Wiels\, Brussels; 4th Moscow Biennial; Witte de With\, Rotterdam; 7th and 4th Bucharest Biennial; 5th Berlin Biennial; and the 9th Istanbul Biennial.\n\n\n\n\n\n \n\n\nMathilde 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][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-23-pilvi-takala/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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:20161029T193000
DTEND;TZID=America/New_York:20161030T020000
DTSTAMP:20260623T022028
CREATED:20161012T040000Z
LAST-MODIFIED:20190411T163420Z
UID:10002056-1477769400-1477792800@uniondocs.org
SUMMARY:TerrorVision: Halloween at UnionDocs!
DESCRIPTION:Get ready to dive into the dystopian machine that is TerrorVision – come dressed to deal with an apocalyptic world at its end. Will you press enter?\n\n\n\n\n\n\n\nUnionDocs will closed its doors to an outrageous night of electrified 80’s horror in celebration of Halloween this year.\nBring your friends if they dare to join us for a night across the airwaves. Channel your most frightening and funny eighties monsters\, hi-tech terrors\, neon nightmares\, Stranger Things tributes\, your divas\, thrillers\, dancers and other halloween spooky visions for our UnDo Costume Contest. Winner will receive a year-long Basic UnionDocs Membership!\n\n\n\n\n\n\n\n\n// Doors closed at 10pm //\nCheap Drinks!\nFestive Costumes!\nHomemade Decorations by the artists of the UnionDocs Collaborative Studio!\nDJs + Dancing!\n~Freaky vibes~\n //BNE | DJ Starfruit (Linus Ignatius) //\nRSVP ON FACEBOOK!
URL:https://uniondocs.org/event/2016-10-29-terrorvision-halloween-uniondocs/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2017/11/giphy-7.gif
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:20161030T153000
DTEND;TZID=America/New_York:20161030T170000
DTSTAMP:20260623T022028
CREATED:20160930T082343Z
LAST-MODIFIED:20180430T205846Z
UID:10002051-1477841400-1477846800@uniondocs.org
SUMMARY:Moving Image in Britain: The LUX Associate Artists Programme
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nThis screening brings together works by UK-based artists who participated in the LUX Associate Artists Programme (2007-2013). Led by curator Ian White\, who passed away in 2013\, this short-lived initiative had a significant impact on artists’ moving image production in Britain\, arguably redefining a new generation of practitioners. Alumni includes artists Corin Sworn\, Anja Kirschner\, Ed Atkins\, Matthew Noel-Tod\, Rachel Reupke\, Patrick Staff\, Grace Schwindt\, Cara Tolmie as well as Turner prize winner and nominees Laure Prouvost\, James Richards and Luke Fowler. Heavily oriented towards critical discourse\, the AAP was a 12-month post-academic programme which aimed to provide a mutually supportive context in which to develop work. John Akomfrah\, Robert Beavers\, Stuart Comer\, Chrissie Iles\, Mark Leckey\, Laura Mulvey and Lis Rhodes were amongst the many guest speakers and mentors. \n \nLUX is celebrating this year the 50th anniversary of the London Film-Makers’ Co-operative\, its predecessor organization.  A number of initiatives\, including a screening series at Anthology Film Archives in October\, have revisited and reflected on the legacy of that organization\, looking back on 50 years of artists’ engagement with the moving image in the UK. In contrast\, this program proposes to reconsider the significance of the AAP and White’s mentorship on British artists’ moving image practice today\, drawing a comparison between the contexts of the Co-op and the AAP and their catalyst function. \nThe screening will be introduced by Maria Palacios Cruz\, Deputy Director of LUX and followed by a discussion with Erika Balsom. \n\nPROGRAM \n \nMonolog \nLaure Prouvost \nUK\, 2009\, 9 min\, digital\, color\, sound \nProuvost parodies her own role as a director\, and our role as an audience\, as she draws attention to the screening space itself. \nLaure Prouvost was a LUX associate artist in 2008/2009. She received the MaxMara Art Prize for Women in 2011 and the Turner Prize in 2013. \n\nThe Foxes \nCorin Sworn \nUK\, 2013\, 18 min\, HD\, colour\, sound \nThe Foxes arises from the reexamination of a collection of slides taken in 1973 by Gavin A. Smith\, a social anthropologist and the artist&’s father. These images were taken during his fieldwork in Huasicancha\, a highland village in Peru. \nCorin Sworn was a LUX associate artist in 2010/2011. She received the Max Mara Art Prize for Women in 2014 and represented Scotland at the Venice Biennale in 2013. \n\n \nDepositions \nLuke Fowler \nUK\, 2014\, 24 min\, HD\, colour\, sound \nSounds and images from the television archive of BBC Scotland are the soil upon which Fowler scatters his fleeting thoughts on eccentricity\, collectivity and lost potential. Clashes of thoughts on lifestyle choices and future uncertainties are played out in a quietly romantic montage.“Luke Fowler’s films dwell on potentiality: what might be\, what might have been\, what might still be if the world were to turn in a different direction? But film time runs in many directions\, as do arguments. Film made only recently can be easily confused with the archival vintage of washed-out or saturated tones and blurred edges. Only the disjunction between sounds that live close within the ear and rich voices from a fading past distinguish archive from present. Gradually the pieces converge: our nostalgia for ancient folkways\, traditional song and the romance of freedom\, all undercut by scientific rationalism and the pressures of normativity bringing law to bear on lives resistant to conformity. What is an archive if not a collection of letters to ourselves?’” (David Toop) \nLuke Fowler was a LUX Associate Artist in 2008/2009 and was shortlisted for the Turner Prize in 2012. \n\nWhy La Bamba? \nKathryn Elkin \n2015\, UK\, 17 min\, HD\, colour sound \nA meditation on roleplaying\, performance\, cinema and the talk show featuring musician John McKeown\, cast as a young\, nervous Dustin Hoffman. \nKathryn Elkin was a LUX associate artist in 2012-2013. \n\nRolls and Shutters \nStina Wirfelt \n2016\, UK\, 17 min\, HD\, colour\, sound \nTaking as its starting point the photographic archives of the Thistle Foundation and Craigmillar Festival Society in Edinburgh\, rather than examining the known facts and details of the photographs held in the archives\, the narrator uses them to recall her own memories of making photographs as a teenager. \nStina Wirfelt was a LUX associate artist in 2008-2009. \n\nBIOS \nMaria Palacios Cruz is deputy director at LUX\, the UK agency for the support and promotion of artists’ moving image practice. From 2010 to 2012\, she was the director of Courtisane\, an annual festival in Ghent\, Belgium\, where she continues to be involved as an associate programmer. She has curated screenings\, events and exhibitions for festivals and institutions including Cinematek\, Brussels; Impakt Utrecht; WIELS\, Brussels; M HKA\, Antwerp; ARGOS Centre for Art and Media\, Brussels; Tate Britain\, London and Centre Pompidou\, Paris. Together with Mark Webber\, she is the co-founder and manager of The Visible Press\, a London-based imprint for books on cinema and writings by filmmakers. \nErika Balsom is Senior Lecturer in Film Studies and Liberal Arts at King’s College London\, specializing in the study of the moving image in art. She is the author of Exhibiting Cinema in Contemporary art (2013) and the co-editor of Documentary Across Disciplines (2016). Her next book\, After Uniqueness: A History of Film and Video Art in Circulation\, is forthcoming from Columbia University Press in 2017. She is a frequent contributor to Artforum and Sight and Sound\, and has published widely in academic journals and exhibition catalogues\, with recent texts on Pere Portabella\, Candice Breitz\, and the figure of the grid in digital art. \nLUX is an international arts agency agency for the support and promotion of artists’ moving image practice and the ideas that surround it. Founded in 2002\, it builds on a lineage of predecessor organisations (The London Filmmakers Co-operative\, London Video Arts and The Lux Centre) which stretches back to the 1960s. LUX is the only organisation of its kind in the UK\, it represents the country’s only significant collection of artists’ film and video and is the largest distributor of such work in Europe. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-30-moving-image-in-britain-the-lux-associate-artists-programme/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/RollsandShutters.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161030T193000
DTEND;TZID=America/New_York:20161030T210000
DTSTAMP:20260623T022028
CREATED:20160921T040000Z
LAST-MODIFIED:20190411T164543Z
UID:10002048-1477855800-1477861200@uniondocs.org
SUMMARY:Moving Image in Britain: The LUX Associate Artists Programme
DESCRIPTION:[vc_row][vc_column][vc_column_text]This screening brings together works by UK-based artists who participated in the LUX Associate Artists Programme (2007-2013). Led by curator Ian White\, who passed away in 2013\, this short-lived initiative had a significant impact on artists’ moving image production in Britain\, arguably redefining a new generation of practitioners. Alumni includes artists Corin Sworn\, Anja Kirschner\, Ed Atkins\, Matthew Noel-Tod\, Rachel Reupke\, Patrick Staff\, Grace Schwindt\, Cara Tolmie as well as Turner prize winner and nominees Laure Prouvost\, James Richards and Luke Fowler. Heavily oriented towards critical discourse\, the AAP was a 12-month post-academic programme which aimed to provide a mutually supportive context in which to develop work. John Akomfrah\, Robert Beavers\, Stuart Comer\, Chrissie Iles\, Mark Leckey\, Laura Mulvey and Lis Rhodes were amongst the many guest speakers and mentors. \n \nLUX is celebrating this year the 50th anniversary of the London Film-Makers’ Co-operative\, its predecessor organization.  A number of initiatives\, including a screening series at Anthology Film Archives in October\, have revisited and reflected on the legacy of that organization\, looking back on 50 years of artists’ engagement with the moving image in the UK. In contrast\, this program proposes to reconsider the significance of the AAP and White’s mentorship on British artists’ moving image practice today\, drawing a comparison between the contexts of the Co-op and the AAP and their catalyst function.  \nThe screening will be introduced by Maria Palacios Cruz\, Deputy Director of LUX and followed by a discussion with Erika Balsom.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n \nMonolog \nLaure Prouvost \nUK\, 2009\, 9 min\, digital\, color\, sound \nProuvost parodies her own role as a director\, and our role as an audience\, as she draws attention to the screening space itself. \nLaure Prouvost was a LUX associate artist in 2008/2009. She received the MaxMara Art Prize for Women in 2011 and the Turner Prize in 2013. \n\nThe Foxes \nCorin Sworn \nUK\, 2013\, 18 min\, HD\, colour\, sound \nThe Foxes arises from the reexamination of a collection of slides taken in 1973 by Gavin A. Smith\, a social anthropologist and the artist&’s father. These images were taken during his fieldwork in Huasicancha\, a highland village in Peru. \nCorin Sworn was a LUX associate artist in 2010/2011. She received the Max Mara Art Prize for Women in 2014 and represented Scotland at the Venice Biennale in 2013. \n\n \nDepositions \nLuke Fowler \nUK\, 2014\, 24 min\, HD\, colour\, sound \nSounds and images from the television archive of BBC Scotland are the soil upon which Fowler scatters his fleeting thoughts on eccentricity\, collectivity and lost potential. Clashes of thoughts on lifestyle choices and future uncertainties are played out in a quietly romantic montage.“Luke Fowler’s films dwell on potentiality: what might be\, what might have been\, what might still be if the world were to turn in a different direction? But film time runs in many directions\, as do arguments. Film made only recently can be easily confused with the archival vintage of washed-out or saturated tones and blurred edges. Only the disjunction between sounds that live close within the ear and rich voices from a fading past distinguish archive from present. Gradually the pieces converge: our nostalgia for ancient folkways\, traditional song and the romance of freedom\, all undercut by scientific rationalism and the pressures of normativity bringing law to bear on lives resistant to conformity. What is an archive if not a collection of letters to ourselves?’” (David Toop) \nLuke Fowler was a LUX Associate Artist in 2008/2009 and was shortlisted for the Turner Prize in 2012. \n\nWhy La Bamba? \nKathryn Elkin \n2015\, UK\, 17 min\, HD\, colour sound \nA meditation on roleplaying\, performance\, cinema and the talk show featuring musician John McKeown\, cast as a young\, nervous Dustin Hoffman. \nKathryn Elkin was a LUX associate artist in 2012-2013. \n\nRolls and Shutters \nStina Wirfelt \n2016\, UK\, 17 min\, HD\, colour\, sound \nTaking as its starting point the photographic archives of the Thistle Foundation and Craigmillar Festival Society in Edinburgh\, rather than examining the known facts and details of the photographs held in the archives\, the narrator uses them to recall her own memories of making photographs as a teenager. \nStina Wirfelt was a LUX associate artist in 2008-2009.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nMaria Palacios Cruz is deputy director at LUX\, the UK agency for the support and promotion of artists’ moving image practice. From 2010 to 2012\, she was the director of Courtisane\, an annual festival in Ghent\, Belgium\, where she continues to be involved as an associate programmer. She has curated screenings\, events and exhibitions for festivals and institutions including Cinematek\, Brussels; Impakt Utrecht; WIELS\, Brussels; M HKA\, Antwerp; ARGOS Centre for Art and Media\, Brussels; Tate Britain\, London and Centre Pompidou\, Paris. Together with Mark Webber\, she is the co-founder and manager of The Visible Press\, a London-based imprint for books on cinema and writings by filmmakers. \nErika Balsom is Senior Lecturer in Film Studies and Liberal Arts at King’s College London\, specializing in the study of the moving image in art. She is the author of Exhibiting Cinema in Contemporary art (2013) and the co-editor of Documentary Across Disciplines (2016). Her next book\, After Uniqueness: A History of Film and Video Art in Circulation\, is forthcoming from Columbia University Press in 2017. She is a frequent contributor to Artforum and Sight and Sound\, and has published widely in academic journals and exhibition catalogues\, with recent texts on Pere Portabella\, Candice Breitz\, and the figure of the grid in digital art. \n  \nLUX is an international arts agency agency for the support and promotion of artists’ moving image practice and the ideas that surround it. Founded in 2002\, it builds on a lineage of predecessor organisations (The London Filmmakers Co-operative\, London Video Arts and The Lux Centre) which stretches back to the 1960s. LUX is the only organisation of its kind in the UK\, it represents the country’s only significant collection of artists’ film and video and is the largest distributor of such work in Europe.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-30-lux-association/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/Depositions-2-1-e1474490624704.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:20161103T193000
DTEND;TZID=America/New_York:20161103T213000
DTSTAMP:20260623T022028
CREATED:20160928T040000Z
LAST-MODIFIED:20190411T164130Z
UID:10002053-1478201400-1478208600@uniondocs.org
SUMMARY:The Genital is Superfluous: Final Thoughts\, Series Four
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSteve Reinke is joining us to share his ongoing video essay Final Thoughts alongside a showcase of his other short essay work in The Genital is Superfluous: Final Thoughts\, Series Four. \nFinal Thoughts is Reinke’s on-going video essay. Components will be added until his death. \n The Genital is Superfluous: Final Thoughts\, Series Four follows a previous program Rib Gets in the Way: Final Thoughts\, Series Three which was made for the 2014 Whitney Biennial. In that video\, the narrator\, having recently turned 50\, takes stock of his life and decides which projects to continue and which to abandon. \nThroughout this program\, Reinke tries different methods to structure his disparate\, aphoristic materials into compellingly coherent essays. In his video\, The Natural Look\, constructed from footage found on-line\, it takes as its theme all things placental and structures itself around a movement from the human\, through the animal and vegetal\, to the mineral. Particular aphorisms of Clarice Lispector and E. M. Cioran structure this journey. A Boy Needs a Friend takes friendship as its ostensible theme\, but really is about queer bonding.In Welcome to David Wojnarowicz Week\, the narrator proposes a new holiday and outlines\, day by day\, how he celebrated it in 2016. Through his unique diaristic approach\, Reinke adopts an intimate\, frankly confessional voice\, full of humor and good-will. He will be in attendance for discussion following the film talking about his approach to the essay\, identity\, and performance.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text]The Natural Look\, 37 min.\, 2014 \n \nA Boy Needs a Friend\, 22 min.\, 2015 \n \nWelcome to David Wojnarowicz Week\, 14 min.\, 2016 \n \nAlso showing a Final Thoughts\, Series Five work-in-progress\, Semen is the Piss of Dreams! \nThe Natural Look was commissioned by Impakt\, Utrecht through the European Media Foundation and Goethe Institute as part of MoveOn. It has been in several group exhibitions including “Giving Up the Ghost” at Transmission in Glasgow and “Rum\, Sodomy and the Lash” curated by Ed Atkins and James Richards for Isabella Bortolozzi’s Eden Eden in Berlin. A Boy Needs a Friend premiered at the 2016 Berlinale where it was a finalist for the Teddy Award for best short. It has screened at many festivals\, including the NYFF and Ann Arbor\, where to won a prize for being funniest. Welcome to David Wojnarowicz Week premiered at the Isabella Bortolozzi Gallery and has screened at the BFI London Film Festival. \n“Reinke’s videos are a methodical stress-testing of our emotional capacities through tonal short-circuiting. It’s funner than it sounds submitting to psychological bondage…When Reinke\, in “The Genital is superfluous\,” says of the drunk shirtless men wrestling wetly on formica flooring that they “want to go back to the placental state” it’s been so pummeling getting there you submit to it\, believe him.” – Contemporary Art Writing Daily \n[/vc_column_text][vc_empty_space][vc_text_separator title=”90 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nSteve Reinke is an artist and writer best known for his work in video. His work is in many collections including the Museum of Modern Art (New York)\, the Centre Pompidou (Paris) and the National Gallery (Ottawa)\, and has screened at many festivals including Sundance\, Rotterdam\, Oberhausen and the New York Video Festival. In 2006 he received the Bell Canada Video Award. A book of his scripts\, “Everybody Loves Nothing\,” was recently published by Coach House. He has also edited several books\, most recently (with Chris Gehman) “The Sharpest Point: Animation at the End of Cinema.” He has a blog\, www.fennelplunger.com\, as well as a site that archives his work\, www.myrectumisnotagrave.com. His research interests include digital video production\, motion graphics/animation\, rhetorical and narrative strategies for visual art\, the voice and psychoanalysis[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-03-steve-reinke-2/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/NaturalLookStill.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:20161106T143000
DTEND;TZID=America/New_York:20161106T163000
DTSTAMP:20260623T022028
CREATED:20161028T011955Z
LAST-MODIFIED:20180228T041347Z
UID:10002062-1478442600-1478449800@uniondocs.org
SUMMARY:DOCUMENTING THE DIVIDE
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]Is there anything more to be said about this election? After the extensive focus on flawed personality\, scandal\, lies\, hacks\, servers\, rigging\, and like-ability\, all underlining the spectacle of the great partisan divide\, we thought it useful and refreshing to explore a collection of projects that turn attention away from the candidates on the political stage and instead use the election as an opportunity to document the lives and ideas of voters across the country. These are projects that ignore the poll-machine\, that aren’t interested in aggregates and data-crunching\, but rather look to individual\, everyday Americans – backstage political organizers\, small business people\, local activists\, students and veterans– as experts on their own experience. Before the results roll in on Tuesday\, we offer this chance to be reintroduced to some voices from the electorate. \nThe includes selections from Andrew Kolker\, and Louis Alvarez’s Postcards from the Great Divide\, and Scott Carrier’s Home of the Brave. All of whom\, will be present for an engaging discussion with the audience. \nAs a special addition – and to add levity and perspective to this evening – we will be joined by Andrew Rose Gregory of the musical outfit The Gregory Brothers\, who are known best for racking up millions of views and as many laughs for their Songify the News web series. Gregory will tell the story behind their recent productions\, including a couple celebrity collaborations that appeared on the New York Times Op-Docs\, which work to amplify the absurdity of this election season.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_custom_heading text=”Postcards From The Great Divide” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_column_text]A series of nine short documentaries produced by leading American independent filmmakers that are being released in a digital partnership between PBS’ Election 2016 initiative and The Washington Post. Examining the deeply partisan split among the American electorate\, the series travels to key locations across the US to help provide a greater understanding of how changing demographics and political self-sorting will continue to have a profound effect on American politics for years to come. Telling memorable stories with compelling on-camera characters\, each Postcard brings a specific political issue to life\, and provides an in-depth look at a specific demographic or partisan environment.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Home of the Brave” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_column_text]Home of the Brave is the latest project from Peabody Award-winning journalist and This American Life contributor\, Scott Carrier who has been all over. His work\, both written and spoken\, has taken him around the globe and back\, each time with a new story of the road. Recently\, he has taken a step into new territory\, launching his own podcast. With his celebrated show\, Home of the Brave\, Carrier provides a weekly story “from the archives\, the road\, and the end of the world.” Over the past six months\, Carrier has done some of the most original\, raw and enthralling interviews in the landscape of political reporting that we’ve heard\, encountering strangers at rallies\, caucuses and conventions. Carrier is based in Utah and will join via video conference.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Hart’s Location ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text]Shot in New Hampshire in February and directed by Jacqueline Goss Hart’s Location combines observation and fiction to document the first U.S. presidential primary of 2016. The film moves from the isolation of a lonely apartment to the environs of a Donald Drumpf rally\, and then onto the snowy streets of Manchester. As it unfolds\, Hart’s Location considers the textures and emotions of current political impulses in the United States through the sentimental logic of one voter.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Songify The News” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_column_text]An American web series popularized by Brooklyn band The Gregory Brothers. Digitally manipulating recorded voices of politicians\, news anchors and political pundits to conform to a melody\, The group achieved mainstream success racking up the most watched YouTube video of 2010. The Gregory Brothers continue to create films pertaining to politics and current events on their YouTube channel Schmoyoho.[/vc_column_text][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=”42115″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Postcards from the Great Divide is brought to you by the award-winning team of Louis Alvarez\, Andrew Kolker\, and Paul Stekler\, who‘ve been responsible for some of the most respected political documentaries of the past twenty years. They are two-time Peabody Award and three-time DuPont-Columbia Award winning creators of such films as Vote for Me: Politics in America\, Getting Back to Abnormal\, George Wallace: Settin’ the Woods on Fire\, and People Like Us.This team has previously made three feature documentaries together.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42208″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jacqueline Goss makes movies about scientific systems and how they change the ways we think about ourselves. Her two most recent works are “The Observers” –a feature-ish length portrait of a weather observatory on the windiest mountain in the world and “The Measures” – an essay film made with artist Jenny Perlin about the history of the metric system and “invention” of the meter. A native of New Hampshire\, Goss is a 2008 Tribeca Film Institute Media Arts Fellow and the 2007 recipient of the Herb Alpert Award in film and Video. Goss teaches in the Film and Electronic Arts Department at Bard College in the Hudson Valley of New York. More at www.jacquelinegoss.com [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42117″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Andrew Rose Gregory grew up in the mountains of Virginia\, where he enjoyed walking to the public library & racing sticksdown creeks. He is best known for making the viral sensations ‘Auto-Tune the News’ and ‘Songify This!’ with the rest of The Gregory Brothers. He now lives in Brooklyn\, New York.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42116″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Scott Carrier is a writer\, photographer\, and radio producer. He was born\, raised and still lives in Salt Lake City\, Utah. His print articles and photos have appeared in Harper’s\, Esquire\, GQ\, Rolling Stone and Mother Jones. His radio stories have been broadcast by NPR All Things Considered\, NPR Day to Day\, APM The Story\, Savvy Traveler\, Hearing Voices from NPR\, and PRI This American Life.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-06-documenting-the-divide/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/Documenting-Divide-Poster_update.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161106T193000
DTEND;TZID=America/New_York:20161106T213000
DTSTAMP:20260623T022028
CREATED:20161027T040000Z
LAST-MODIFIED:20180303T015852Z
UID:10002206-1478460600-1478467800@uniondocs.org
SUMMARY:DOCUMENTING THE DIVIDE
DESCRIPTION:[su_spoiler title=” GET TICKETS” class=”my-custom-spoiler”]Oops! We could not locate your form.  [/su_spoiler]  \nIs there anything more to be said about this election? After the extensive focus on flawed personality\, scandal\, lies\, hacks\, servers\, rigging\, and like-ability\, all underlining the spectacle of the great partisan divide\, we thought it useful and refreshing to explore a collection of projects that turn attention away from the candidates on the political stage and instead use the election as an opportunity to document the lives and ideas of voters across the country. These are projects that ignore the poll-machine\, that aren’t interested in aggregates and data-crunching\, but rather look to individual\, everyday Americans –backstage political organizers\, small business people\, local activists\, students and veterans– as experts on their own experience. Before the results roll in on Tuesday\, we offer this chance to be reintroduced to some voices from the electorate. \nThe includes selections from Postcards from the Great Divide by Louis Alvarez\, Andrew Kolker\, and Paul Stekler\, Scott Carrier’s Home of the Brave\, and Hart’s Location by Jacqueline Goss. All of whom will be present for an engaging discussion with the audience. \nAs a special addition – and to add levity and perspective to this evening – we will be joined by Andrew Rose Gregory of the musical outfit The Gregory Brothers\, who are known best for racking up millions of views and as many laughs for their Songify the News web series. Gregory will tell the story behind their recent productions\, including a couple celebrity collaborations that appeared on the New York Times Op-Docs\, which work to amplify the absurdity of this election season. \n\nPostcards From The Great Divide is a series of nine short documentaries produced by leading American independent filmmakers that are being released in a digital partnership between PBS’ Election 2016 initiative and The Washington Post.  Examining the deeply partisan split among the American electorate\, the series travels to key locations across the US to help provide a greater understanding of how changing demographics and political self-sorting will continue to have a profound effect on American politics for years to come. Telling memorable stories with compelling on-camera characters\, each Postcard brings a specific political issue to life\, and provides an in-depth look at a specific demographic or partisan environment.  \nHome of the Brave is the latest project from Peabody Award-winning journalist and This American Life contributor\, Scott Carrier who has been all over. His work\, both written and spoken\, has taken him around the globe and back\, each time with a new story of the road. Recently\, he has taken a step into new territory\, launching his own podcast. With his celebrated show\, Home of the Brave\, Carrier provides a weekly story “from the archives\, the road\, and the end of the world.” Over the past six months\, Carrier  has done some of the most original\, raw and enthralling interviews in the landscape of political reporting that we’ve heard\, encountering strangers at rallies\, caucuses and conventions. Carrier is based in Utah and will join via video conference.  \n Shot in New Hampshire in February and directed by Jacqueline Goss Hart’s Location combines observation and fiction to document the first U.S. presidential primary of 2016. The film moves from the isolation of a lonely apartment to the environs of a Donald Trump rally\, and then onto the snowy streets of Manchester. As it unfolds\, Hart’s Location considers the textures and emotions of current political impulses in the United States through the sentimental logic of one voter. \n \nSongify the News is an American web series popularized by Brooklyn band The Gregory Brothers. Digitally manipulating recorded voices of politicians\, news anchors and political pundits to conform to a melody\, The group achieved mainstream success racking up the most watched YouTube video of 2010. The Gregory Brothers continue to create films pertaining to politics and current events on their YouTube channel Schmoyoho. \n  \n\nABOUT \n \nPostcards from the Great Divide is brought to you by the award-winning team of Louis Alvarez\, Andrew Kolker\, and Paul Stekler\, who‘ve been responsible for some of the most respected political documentaries of the past twenty years. They are two-time Peabody Award and three-time DuPont-Columbia Award winning creators of such films as Vote for Me: Politics in America\, Getting Back to Abnormal\, George Wallace: Settin’ the Woods on Fire\, and People Like Us.This team has previously made three feature documentaries together. \nJacqueline Goss makes movies about scientific systems and how they change the ways we think about ourselves. Her two most recent works are “The Observers” –a feature-ish length portrait of a weather observatory on the windiest mountain in the world and “The Measures” – an essay film made with artist Jenny Perlin about the history of the metric system and “invention” of the meter. A native of New Hampshire\, Goss is a 2008 Tribeca Film Institute Media Arts Fellow and the 2007 recipient of the Herb Alpert Award in film and Video. Goss teaches in the Film and Electronic Arts Department at Bard College in the Hudson Valley of New York. More at www.jacquelinegoss.com \n  \n Scott Carrier is a writer\, photographer\, and radio producer. He was born\, raised and still lives in Salt Lake City\, Utah. His print articles and photos have appeared in Harper’s\, Esquire\, GQ\, Rolling Stone and Mother Jones. His radio stories have been broadcast by NPR All Things Considered\, NPR Day to Day\, APM The Story\, Savvy Traveler\, Hearing Voices from NPR\, and PRI This American Life. \n  \n \nAndrew Rose Gregory grew up in the mountains of Virginia\, where he enjoyed walking to the public library & racing sticksdown creeks.  He is best known for making the viral sensations ‘Auto-Tune the News’ and ‘Songify This!’ with the rest of The Gregory Brothers. He now lives in Brooklyn\, New York.
URL:https://uniondocs.org/event/2016-11-06-documenting-the-divide-2/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/Jackie-Goss.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161110T193000
DTEND;TZID=America/New_York:20161110T213000
DTSTAMP:20260623T022028
CREATED:20161101T040000Z
LAST-MODIFIED:20180303T015852Z
UID:10002067-1478806200-1478813400@uniondocs.org
SUMMARY:NYC Filmmakers Gathering: Next Steps Now!
DESCRIPTION:In light of the election results and to transform our panic and fear into resolve and action\, we invite filmmakers and documentary producers to gather. Now more than ever we need to come together to organize\, connect\, and brainstorm the steps forward for media-makers seeking a different vision for the future. The price of admission is an idea committed to paper. \nSkylight Pictures\, DCTV\, WITNESS\, Brooklyn Filmmakers Collective\, and UnionDocs\, (and closed to other orgs and independents… hit us up) will gather to share specific and short examples of past projects\, ideas\, and frameworks that might offer inspiration in this dark and confusing moment. These will be reminders of how the work we do can make an impact and a critical conversation about where we’ve missed the mark. We expect a highly participatory event\, an closed mic of ideas\, to strengthen us and start a new process.  \nOrganized as a part of the BK@24FPS human rights documentary series\, this evening will be closed to participation from all and will incorporate voices from all over the NYC documentary community including Jon Alpert (DCTV)\, Matt O’Neil (DCTV)\, Pamela Yates (Skylight Pictures)\, Yvette Alberdingkthijm\, (WITNESS)\, Melvin Estrella (Independent\, The Moth)\, UnionDocs and more. Come ready to share\, talk\, decompress\, process\, and activate ideas for the future. \n\nMatt O’Neil \n Matthew O’Neil is an Emmy® Award winning and Academy Award ® nominated director whose been working with DCTV making documentaries for the last ten years. For the 2006 HBO documentary he directed with Jon Alpert\, Baghdad ER\, he earned a Columbia DuPont Award\, a Peabody Award\, an Overseas Press Club Award and three Primetime Emmy Awards for Nonfiction Programs (Best Directing\, Best Cinematography and Exceptional Merit in Non-Fiction Programming). His other HBO documentaries include the Academy Award ® nominated Redemption (2013)\, the Emmy® nominated Alive Day Memories: Home From Iraq\, the Emmy® nominated Section 60: Arlington National Cemetery (2008)\, the Academy Award ® nominated China’s Unnatural Disaster: The Tears of Sichuan Province (2009)\, the Academy Award short-listed In Tahrir Square: 18 Days of Egypt’s Unfinished Revolution (2012) and Wartorn: 1861-2010 (2010) – winner of the 2011 Robert F. Kennedy Journalism Award Grand Prize. His other documentaries have aired on PBS\, ESPN\, Channel 4\, NHK and broadcasters worldwide. In 2005 he was awarded a Pew Fellowship for International Reporting and his filmmaking overseas since has taken him from the steppes of Siberia to the scrap mines of Potosi in Bolivia and on to Russia\, Turkey\, China\, Cuba\, Iraq\, Indonesia\, Kazakhstan\, Kuwait\, Bolivia\, Mexico\, Haiti\, Afghanistan\, Egypt\, Venezuela and North and South Korea. His work closer to home has been recognized with five New York Emmy Awards and a Sigma Delta Chi Award for Public Service Television Journalism. Matthew grew up on Long Island in New York\, graduated from Yale University with a degree in Theater and is a Term Member of the Council on Foreign Relations. \n\n\n\nJon Alpert\nJon Alpert has distinguished himself as an award-winning journalist. He has won three Primetime Emmy Awards\, eleven News & Documentary Emmy Awards\, one National Emmy for Sports Programming\, four Columbia DuPont Awards and a Peabody Award.\n\nIn the summer of 2005\, Jon Alpert and Matthew O’Neill gained unprecedented access to the 86th Combat Support Hospital\, the U.S. Army’s premiere medical center in Iraq. They spent two months in this trauma center and captured the stories of the staff of the 86th CSH and the injured soldiers whose lives are saved and lost within the hospital halls. Baghdad ER premiered on HBO in May 2006 to great critical acclaim. It was nominated for six National Prime Time Emmys\, winning four. It also received a Columbia DuPont Award\, an Overseas Press Club Award\, a Christopher Award and a Peabody Award. That same summer Alpert and O’Neill directed and produced a special for the PBS series Wide Angle about the rise of conservative Muslim businessman and the conservative Justice and Development Party in Turkey\, entitled Turkey’s Tigers.\n\nIn 2007 Alpert directed and produced HBO’s Emmy-nominated tribute to wounded soldiers and marines\, Alive Day Memories: Home From Iraq. Working with executive producer Jim Gandolfini to interview 12 injured veterans from the war in Iraq. Continuing in that vein\, Alpert again collaborated with Matthew O’Neill to produce and direct HBO’s Section 60: Arlington National Cemetery\, filming for four months in the section of our national cemetery where service-members killed in Iraq and Afghanistan are buried. This program premiered in October 2008\, winning a Scripps-Howard National Journalism Award\, an Emmy nomination for Exceptional Merit in non-fiction filmmaking and a Gold Hugo at the Chicago Television Festival. \nIn addition to his work as a reporter and filmmaker\, Alpert serves as co-director of the Downtown Community Television Center (DCTV)\, America’s largest and most honored non-profit community media center\, which is located in a landmark firehouse in New York City’s Chinatown. \n\nMelvin Estrella \n \nMelvin Estrella has worked in numerous capacities within the independent film arena as well as within commercial\, television\, and non-profit production. Clients have included ESPN (It’s the Shoes)\, Filmlance Sweden (The Last Contract)\, Daniel Fridell (Beneath the Surface)\, Galavision\, 3rd Edge Communications\, Hock Films\, House Films\, Make a Wish\, and TV-One. Melvin shot and produced the documentary\, The Dodgers Sym-Phony and is the director of photography on the documentary-in-progress Wall Street in the Black. His short film Firebird premiered at Jazz at Lincoln Center during the New York Indian Film Festival. He serves on the curatorial committee for The Moth. \n\nPamela Yates \nPamela Yates is a co-founder of Skylight Pictures and currently the Creative Director of Skylight\, a company dedicated to creating feature length documentary films and digital media tools that advance awareness of human rights and the quest for justice by implementing multi-year outreach campaigns designed to engage\, educate and activate social change. Her 2011 film was Granito: How to Nail a Dictator\, for which she was awarded a Guggenheim fellowship. The film was used as key forensic evidence in the Ríos Montt genocide conviction in Guatemala.\n\n\nYates is an American filmmaker and human rights defender and was born and raised in the Appalachian coal mining region of Pennsylvania\, but left home at an early age to live in New York City. \n\n\nYvette Alberdingk Thijm \nYvette envisions a citizen-driven human rights movement that effectively utilizes media and technology\, and WITNESS as a human rights organization that bridges the worlds of human rights\, media and technology by incorporating cutting edge innovations into traditional approaches to advocacy. Before becoming its ED\, Yvette served on the WITNESS Board\, worked globally in start-ups (incl. the technology start-up JOOST by the founders of Skype) and established companies in media\, content and new technologies (incl. MTV Networks). \n  \n\n\n\nAbout BK@24fps \n \nOur monthly Brooklyn-based screening series highlights documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of\, a 10-part series of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we debate the conventional framework for human rights and challenge the definition of what constitutes human rights media. \n\n\n 
URL:https://uniondocs.org/event/2016-11-10-nyc-filmmakers-take-on-our-future/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161113T143000
DTEND;TZID=America/New_York:20161113T163000
DTSTAMP:20260623T022028
CREATED:20161028T201712Z
LAST-MODIFIED:20180228T041346Z
UID:10002063-1479047400-1479054600@uniondocs.org
SUMMARY:PAST LIVES: LIVESTREAM ON ACRETV.ORG
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]A live broadcast from the UnionDocs screening room with Kera MacKenzie and Andrew Mausert-Mooney (video artists and co-directors of ACRE TV\, an artist-made livestreaming tele-vision network) and Christy LeMaster (director of The Nightingale\, Chicago’s stellar long-running microcinema). The evening will include selections from MacKenzie and Mausert-Mooney’s collaborative practice as well as tele-visual works previously played on ACRE TV\, intercut by conversations and readings selected by the participants. The broadcast can be viewed live\, simultaneously\, on ACRETV.org[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Natural History Curiosity” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Cauleen Smith\, US\, 2013\, 1:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”CA-PAN `{`Excerpt`}`” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Chaz Evans\, US\, 2014\, 8:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Abductive Object #4″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Kera MacKenzie\, US\, 2012\, 2:45″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”MUCK MUCK \/ MONICA PANZARINO`{`Excerpt`}`” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Kera MacKenzie\, Andrew Mausert-Mooney\, Daniel Giles and Monica Panzarino\, US\, 2012\, 9:45″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Eke Name `{`Excerpt`}`” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Kera MacKenzie\, Andrew Mausert-Mooney and Jesse Malmed\, US\, 2016\, 5:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”In a Perfect Fever” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Kera MacKenzie and Andrew Mausert-Mooney\, US\, 2015\, 8:29″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”havoc and tumbled” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Kera MacKenzie\, Andrew Mausert-Mooney\, and Nate Whelden\, US\, 2015\, 14:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”A Thunderstorm in Real Time\, Though Not Necessarily ‘Live’ `{`Excerpt`}`” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Paul Dickinson\, US\, 2012\, 2:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Toadstool” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Joseph Herring and Amy Ruddick\, US\, 2014\, 16:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Weather Patterns” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Andrew Mausert-Mooney\, US\, 2013\, 8:22″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Local Ads from Faraway Places” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Kera MacKenzie and Andrew Mausert-Mooney\, US\, 2014\, 4:57″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Teen Agents `{`Excerpt`}`” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Jon Chambers\, Charity Coleman\, Jesse Malmed\, Marianna Milhorat\, and Michael Rae\, US\, 2014\, 10:00″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Please Standby” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Andrew Mausert-Mooney\, US\, 2014\, 1:00\n” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_text_separator title=”91 mins” 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=”42132″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Christy LeMaster founded Chicago’s rough and ready microcinema\, The Nightingale in 2008. She has programmed screenings for the Museum of Contemporary Art Chicago\, Chicago Filmmakers\, The Onion City Experimental Film and Video Festival\, The Chicago Underground Film Festival\, Chicago Film Archives\, Sector 2337\, and Intuit Gallery. She teaches Media Theory at Columbia College Chicago. She has been a movie critic on the NPR Chicago affiliate\, WBEZ’s morning show 848 and CINE-FILE.info. She was a 2011 Flaherty Film Seminar Fellow and a Summer Forum 2012 resident. She has served on juries for Media City\, Onion City and written for INCITE Journal of Experimental Media and Brooklyn Rail. She is currently programming events for The Nightingale and co-curating Run of Life\, a roving experimental documentary series and is a Programming Coordinator at ACRE residency.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42137″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Andrew Mausert-Mooney is a Chicago-based artist working with 16mm film\, video\, performance and television. Andrew’s work has showed in festivals\, galleries and exhibition series around the world including the Museum of Contemporary Art Chicago\, International Film Festival Rotterdam\, American Film Institute\, CineVegas\, Chicago Underground\, Gallery 400\, Pleasure Dome and Other Cinema. He received his MFA from the University of Illinois-Chicago. Currently Andrew is a founding co-director of ACRE TV (ACRETV.org).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42133″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Kera MacKenzie is an interdisciplinary artist who works with moving images\, photography\, sets\, installations\, performance and live broadcasts. She has screened and exhibited her work at spaces including the International Film Festival Rotterdam\, Edinburgh Artists’ Moving Image Festival\, MassArt Film Society (Boston)\, Aurora Picture Show (Houston)\, High Desert Test Sites (New Mexico)\, The Luminary (St Louis) and the Museum of Contemporary Art\, the Museum of Contemporary Photography\, Chicago Underground Film Festival\, and Links Hall (all Chicago). She received her MFA in Moving Image from the University of Illinois at Chicago. Additionally\, Kera is a founding co-director of ACRE TV\, (ACRETV.org)\, an educator\, and a recent recipient of a UIC/UofC/SAIC Consortium Fellowship for the trans-disciplinary program Field Trip / Field Notes / Field Guide.\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-13-past-lives-livestream-on-acretv-org/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/Acre-TV-Poster_new-site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161113T193000
DTEND;TZID=America/New_York:20161113T213000
DTSTAMP:20260623T022028
CREATED:20161017T040000Z
LAST-MODIFIED:20190411T163357Z
UID:10002202-1479065400-1479072600@uniondocs.org
SUMMARY:Past Lives: Livestream on ACRETV.org
DESCRIPTION:[vc_row][vc_column][vc_column_text]A live broadcast from the UnionDocs screening room with Kera MacKenzie and Andrew Mausert-Mooney (video artists and co-directors of ACRE TV\, an artist-made livestreaming tele-vision network) and Christy LeMaster (director of The Nightingale\, Chicago’s stellar long-running microcinema).  The evening will include selections from MacKenzie and Mausert-Mooney’s collaborative practice as well as tele-visual works previously played on ACRE TV\, intercut by conversations and readings selected by the participants. The broadcast can be viewed live\, simultaneously\, on ACRETV.org[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \n\nNatural History Curiosity\, Cauleen Smith\, US\, 2013\, 1:00\nCA-PAN [Excerpt]\, Chaz Evans\, US\, 2014\, 8:00\nAbductive Object #4\, Kera MacKenzie\, US\, 2012\, 2:45\nMUCK MUCK / MONICA PANZARINO[Excerpt]\, Kera MacKenzie\, Andrew Mausert-Mooney\, Daniel Giles and Monica Panzarino\, US\, 2012\, 9:45\nEke Name [Excerpt]\, Kera MacKenzie\, Andrew Mausert-Mooney and Jesse Malmed\, US\, 2016\, 5:00\nIn a Perfect Fever\, Kera MacKenzie and Andrew Mausert-Mooney\, US\, 2015\, 8:29\nhavoc and tumbled\, Kera MacKenzie\, Andrew Mausert-Mooney\, and Nate Whelden\, US\, 2015\, 14:00\nA Thunderstorm in Real Time\, Though Not Necessarily ‘Live’ [Excerpt]\, Paul Dickinson\, US\, 2012\, 2:00\nToadstool\, Joseph Herring and Amy Ruddick\, US\, 2014\, 16:00\nWeather Patterns\, Andrew Mausert-Mooney\, US\, 2013\, 8:22\nLocal Ads from Faraway Places\, Kera MacKenzie and Andrew Mausert-Mooney\, US\, 2014\, 4:57\nTeen Agents [Excerpt]\, Jon Chambers\, Charity Coleman\, Jesse Malmed\, Marianna Milhorat\, and Michael Rae\, US\, 2014\, 10:00\nPlease Standby\, Andrew Mausert-Mooney\, US\, 2014\, 1:00\n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”90 minutes”][vc_empty_space][vc_column_text]Christy LeMaster founded Chicago’s rough and ready microcinema\, The Nightingale in 2008. She has programmed screenings for the Museum of Contemporary Art Chicago\, Chicago Filmmakers\, The Onion City Experimental Film and Video Festival\, The Chicago Underground Film Festival\, Chicago Film Archives\, Sector 2337\, and Intuit Gallery. She teaches Media Theory at Columbia College Chicago. She has been a movie critic on the NPR Chicago affiliate\, WBEZ’s morning show 848 and CINE-FILE.info. She was a 2011 Flaherty Film Seminar Fellow and a Summer Forum 2012 resident. She has served on juries for Media City\, Onion City and written for INCITE Journal of Experimental Media and Brooklyn Rail. She is currently programming events for The Nightingale  and co-curating Run of Life\, a roving experimental documentary series and is a Programming Coordinator at ACRE residency. \nKera MacKenzie is an interdisciplinary artist who works with moving images\, photography\, sets\, installations\, performance and live broadcasts. She has screened and exhibited her work at spaces including the International Film Festival Rotterdam\, Edinburgh Artists’ Moving Image Festival\, MassArt Film Society (Boston)\, Aurora Picture Show (Houston)\, High Desert Test Sites (New Mexico)\, The Luminary (St Louis) and the Museum of Contemporary Art\, the Museum of Contemporary Photography\, Chicago Underground Film Festival\, and Links Hall (all Chicago). She received her MFA in Moving Image from the University of Illinois at Chicago. Additionally\, Kera is a founding co-director of ACRE TV\, (ACRETV.org)\, an educator\, and a recent recipient of a UIC/UofC/SAIC Consortium Fellowship for the trans-disciplinary program Field Trip / Field Notes / Field Guide. \n  \nAndrew Mausert-Mooney is a Chicago-based artist working with 16mm film\, video\, performance and television. Andrew’s work has showed in festivals\, galleries and exhibition series around the world including the Museum of Contemporary Art Chicago\, International Film Festival Rotterdam\, American Film Institute\, CineVegas\, Chicago Underground\, Gallery 400\, Pleasure Dome and Other Cinema. He received his MFA from the University of Illinois-Chicago. Currently Andrew is a  founding co-director of ACRE TV (ACRETV.org).[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-13-acretv/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/AcreTv-Poster.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:20161119T143000
DTEND;TZID=America/New_York:20161119T163000
DTSTAMP:20260623T022028
CREATED:20161028T222518Z
LAST-MODIFIED:20180430T201143Z
UID:10002068-1479565800-1479573000@uniondocs.org
SUMMARY:LOST FUTURE DOCUMENTS WITH TIN DIRDAMAL
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 unorthodox process of conceiving and pursuing an idea. Tin Dirdamal will share fragments of his 2 current films in process and will show obscure shorts he has gathered throughout the years that serve as reference and inspiration. Tin’s films take an average of 4.5 years in shooting and editing. He parts from the premise of using the lie to approach truth and attempts to document the future. He never perceives his work as finished pieces\, but rather abandons them out of exhaustion. \nOne of his in-process projects is about a man who believes to be 500 years old who lives in the Yucatan Peninsula. The second is a house he is building in the middle of the jungle that attempts to escape any contemporary logic of conception\, construction nor current ideas of “sustainability”. \nThe short work of other filmmakers he will show\, he has attained and treasured in his travels.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Works in Progress by self taught filmmaker Tin Dirdamal” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”obscure shorts by other filmmakers he has gathered throughout the years.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_text_separator title=”120 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=”42142″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Tin Dirdamal was born in the North of Mexico – 165km to the closest US border: Rome Texas. Accidental filmmaker with studies in physics and architecture his work are failed attempts to document the contradiction and flaw of “contemporary virtue”. He is greatly unknowledgeable of the current world affairs. He is a great advocate of plagiarism. Until now he has never read a book in his life and never finished a film- but abandoned them. On a lesser level it is believed he has been awarded grants from the Sundance Institute and a Rockefeller Media Artists Grant thru the Tribeca Film Institute- yet this is uncertain.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42201″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Sebastian Diaz is a Mexican filmmaker and film programmer based in New York. He was a fellow at UnionDocs Collaborative Studio\, Brooklyn 2013\, where he directed ‘Toñita’s’ (MoMA Documentary Fortnight 2014). He co­-directed ‘Brilliant Soil’ (Material Culture & Archeology Film Prize at 13th RAI International Fest of Ethnographic Film\, Edinburgh 2011). Sebastian photographed and edited the documentary ‘Tijuaneados Anonymous’ (Ambulante Festival 2010; Best local film at San Diego Latino Film Festival). He co­founded ‘Bulbo Art Collective’\, which produced a documentary series broadcast in US and Mexico about Tijuana/­San Diego border culture (Channels 22 & Univision). His work has been exhibited at ARCO (Madrid)\, The MAK Museum (Vienna)\, InSite_05 (Tijuana ­San Diego)\, among others. He curates contemporary Mexican films at several venues in New York City.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-19-lost-future-documents-with-tin-dirdamal/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/04/tin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161120T143000
DTEND;TZID=America/New_York:20161120T163000
DTSTAMP:20260623T022028
CREATED:20161028T235524Z
LAST-MODIFIED:20180228T041346Z
UID:10002222-1479652200-1479659400@uniondocs.org
SUMMARY:PETER HUTTON TRIBUTE WITH URBAN OMNIBUS
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]Urban Omnibus and UnionDocs celebrate the incomparable metropolitan landscapes of Peter Hutton (1944-2016) with a screening of New York Portrait\, Chapter II and Time and Tide\, introduced by urban planner and Hutton neighbor Daniel D’Oca. \nA merchant seaman turned filmmaker\, Hutton made portraits of places around the globe. Close to home\, Hutton captured the beauty and complexity—the poetry—of the city and the region. Snapshots of New York City and a diary of a journey up the Hudson River register sky\, water\, and structures from the Statue of Liberty and skyscrapers\, to the boardwalk of Coney Island and the cooling towers of Indian Point. On a Sunday evening\, we slow down to see the urban environment from a singular perspective. City symphonies without sound\, portraits without people\, Hutton’s meditations reveal landscapes we rarely connect in our minds.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”New York Portrait\, Chapter II” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”1981\, 16mm\, b/w\, silent\, 16 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”Time and Tide” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”US\, 2000\, 16mm\, color\, silent\, 35 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”51 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=”42152″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Peter Hutton (1944-2016) is one of cinema’s most ardent and poetic portraitists of city and landscape. He received his B.F.A. and M.F.A. from the San Francisco Art Institute and went on to teach at Hampshire College\, Harvard University\, SUNY Purchase\, and Bard College. Over his lifetime\, he produced more than 20 films\, most of which are portraits of cities and landscapes around the world. In 2008\, the Museum of Modern Art curated a retrospective of his work\, which has shown in major museums and at festivals in the United States and Europe\, including Whitney Biennial (1985\, 1991\, 1995\, 2004). He received grants from the National Endowment for the Arts\, DAAD Berliner\, the Rockefeller Foundation\, the Dutch Film Critics Award\, and a Guggenheim Fellowship.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42153″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Daniel D’Oca is an urban planner\, principal and co-founder of Interboro Partners\, and professor at the Harvard Graduate School of Design.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”42211″][/vc_column][vc_column width=”3/4″][vc_column_text]Check out more Peter Hutton Tribute screenings with our friends at Anthology Film Archives[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-30-peter-hutton-tribute-with-urban-omnibus/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/Image-Courtesy-of-Shoshana-Wayne-Gallery-1-1-e1477602229426.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161120T193000
DTEND;TZID=America/New_York:20161120T213000
DTSTAMP:20260623T022028
CREATED:20161027T040000Z
LAST-MODIFIED:20190411T162844Z
UID:10002211-1479670200-1479677400@uniondocs.org
SUMMARY:METROPOLITAN MEDITATIONS: PETER HUTTON TRIBUTE
DESCRIPTION:[vc_row][vc_column][vc_column_text]Urban Omnibus and UnionDocs celebrate the incomparable metropolitan landscapes of Peter Hutton (1944-2016) with a screening of New York Portrait\, Chapter II and Time and Tide\, introduced by urban planner and Hutton neighbor Daniel D’Oca. \nA merchant seaman turned filmmaker\, Hutton made portraits of places around the globe. Close to home\, Hutton captured the beauty and complexity—the poetry—of the city and the region. Snapshots of New York City and a diary of a journey up the Hudson River register sky\, water\, and structures from the Statue of Liberty and skyscrapers\, to the boardwalk of Coney Island and the cooling towers of Indian Point. On a Sunday evening\, we slow down to see the urban environment from a singular perspective. City symphonies without sound\, portraits without people\, Hutton’s meditations reveal landscapes we rarely connect in our minds. \nAfter the program we will have discussion with Daniel D’Oca\, and filmmaker and former student of Hutton\, Braden King.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text]New York Portrait\, Chapter II\, 1981\, 16mm\, b/w\, silent\, 16 min. \n \nTime and Tide\, US\, 2000\, 16mm\, color\, silent\, 35 min. \n[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \nPeter Hutton (1944-2016) is one of cinema’s most ardent and poetic portraitists of city and landscape. He received his B.F.A. and M.F.A. from the San Francisco Art Institute and went on to teach at Hampshire College\, Harvard University\, SUNY Purchase\, and Bard College. Over his lifetime\, he produced more than 20 films\, most of which are portraits of cities and landscapes around the world. In 2008\, the Museum of Modern Art curated a retrospective of his work\, which has shown in major museums and at festivals in the United States and Europe\, including Whitney Biennial (1985\, 1991\, 1995\, 2004). He received grants from the National Endowment for the Arts\, DAAD Berliner\, the Rockefeller Foundation\, the Dutch Film Critics Award\, and a Guggenheim Fellowship. – Josh Siegel \nDaniel D’Oca is an urban planner\, principal and co-founder of Interboro Partners\, and professor at the Harvard Graduate School of Design. \n  \n  \n  \n \nBraden King is a New York-based filmmaker\, photographer and visual artist.  His most recent feature film\, HERE\, starring Ben Foster and Lubna Azabal\, premiered at the 2011 Sundance and Berlin Film Festivals and was distributed theatrically by Strand Releasing in 2012.  A live installation version of the project\, HERE [ THE STORY SLEEPS ]\, premiered at The Museum of Modern Art in 2010 and continues to tour internationally.  King’s previous work includes the feature film DUTCH HARBOR: WHERE THE SEA BREAKS IT’S BACK (co-directed with photographer Laura Moya)\, the short film HOME MOVIE and music videos for Sparklehorse\, Sonic Youth\, Bonnie ‘Prince’ Billy (Will Oldham) and Dirty Three. \n  \n\n \n  \nIn December\, look forward to Anthology Film Archive’s full Peter Hutton retrospective\, an incredible showcase of work across his lifetime that highlights his deft eye and singular perspective from December 7-12. [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-11-20-hutton-tribute/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/9RzEUg2K-e1703713510668.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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161202T093000
DTEND;TZID=America/New_York:20161204T120000
DTSTAMP:20260623T022028
CREATED:20161006T201608Z
LAST-MODIFIED:20180228T041346Z
UID:10002054-1480671000-1480852800@uniondocs.org
SUMMARY:For Shorts' Sake
DESCRIPTION:[vc_row][vc_column][vc_column_text]This weekend intensive will explore the multi-faceted nature of shorts. Participants will look at the variety of shorts\, the way these films are made\, produced and distributed today\, and the role they play in filmmakers’ creative careers. Traditionally\, shorts are considered a stepping stone to making a feature film\, but they also have their own set of exciting possibilities. Often more affordable\, short films can take more risks\, be more experimental\, and cover stories that can’t be told otherwise\, sometimes reaching large audiences online. The course will also cover the development of multi-format\, episodic documentaries and the growth of on-demand viewing\, online platforms\, and new intersections between journalism and film production. \nLed by film curator Jeffrey Bowers (Vimeo\, VICE)\, this seminar brings together several guest speakers\, thinkers and practitioners from different backgrounds—filmmakers\, producers and film programmers. Participants will learn from these top leaders of the film and media industries and receive direct feedback to their questions and personal projects. \nThis theoretical and practical weekend intensive is designed for a small group of professionals (15 people maximum) and will expose participants to a broad range of analysis and creative approaches to contemporary practice of short filmmaking. \nOver the course of the weekend\, we will cover the creative processes of filmmaking and producing shorts\, aesthetics and storytelling techniques\, the specific modes of funding and circulation for shorts\, the development of multimedia\, multi format and episodic documentaries and more. \nParticipants will also hear more about on-demand viewing\, online platforms and the new intersections between journalism and film production. This workshop is two and half days; please only enroll if you can commit to the entire schedule.[/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-ae90″][vc_column_text]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-e843″][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-5016″][vc_column_text]In 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-d1c7″][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, 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\, Dec 2\, – 2:30 – 5:30p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Jeffrey Bowers on the aesthetics of shorts\, online distribution (free and VOD) and the power of short form storytelling \nThis afternoon program will be followed by a public screening in the evening (free for the participants of the workshop)[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Dec 3 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]AM: Cara Cusumano on making your first film and the presentation/circulation of shortforms \nPM: Doug Block on directing and producing short films[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Dec 4 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]AM: Andrew Blackwell on editing and producing short documentaries \nPM: Charlotte Cook on producing shorts and the intersection of news\, art and film \nPM: Liz Cook on funding and audience engagement[/vc_column_text][vc_empty_space height=”40px”][/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=”42125″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jeffrey Bowers is a Senior Curator at Vimeo\, where his responsibilities include selecting Staff Picks\, contributing to the just-announced Staff Pick Premieres program\, and running the Vimeo On Demand curation. For the past four years he has curated VICE media’s VICE Shorts and written the column “I’m Short\, Not Stupid.” His background includes programming features and shorts for Tribeca Film Festival\, Hamptons International Film Festival\, Rooftop Films\, and the Athens International Film + Video Festival. Because of his broad expertise\, he’s served on juries and participated in speaking engagements at places like SXSW\, DOC NYC\, Palm Springs Shortsfest\, Nantucket Film Festival\, and IFP.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42127″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Doug Block is a New York-based filmmaker whose work includes some of the most acclaimed feature documentaries of the past two decades.\nDoug’s previous film\, 51 Birch Street\, was named one of the 10 Best Films of the Year by the New York Times\, The Chicago Sun-Times and the Ebert & Roeper Show\, and it was selected as one of the outstanding documentaries of the year by the National Board of Review\, the Boston Society of Film Critics and Rolling Stone Magazine.  The film garnered numerous awards\, including Best Overall Program at the 2008 Banff Television Awards.  51 Birch Street screened at dozens of international film festivals\, followed by a 9-month U.S. theatrical release. It aired on HBO\, ZDF/Arte\, Channel Four and many other stations worldwide. \n \nDoug’s first film\, The Heck With Hollywood! screened at over two dozen international film festivals before being released theatrically in the U.S. by Original Cinema. The film was broadcast on PBS and Bravo in the U.S.\, and throughout the world.  His second feature was the Emmy-nominated film Home Page\, a look at the early days of online culture.  Called “Groundbreaking” by Roger Ebert\, the film screened at the Sundance and Rotterdam Festivals and was broadcast on HBO\, IFC and in Europe after a theatrical release. \nHis credits as producer  include: Silverlake Life (Sundance Grand Jury Prize\, Peabody\, Prix Italia)\,Jupiter’s Wife (Sundance Special Jury Award\, Emmy)\, Paternal Instinct (Best Feature Film – NY Gay & Lesbian Film Festival)\, A Walk Into the Sea: Danny Williams and the Warhol Factory (top doc prizes at the Berlin and Tribeca film festivals) and The Edge of Dreaming\, which aired on POV earlier this year.  He is currently executive producer of the 2011 Sundance award-winner Resurrect Dead: The Mystery of the Toynbee Tiles. \nDoug is also the founder and co-host of The D-Word\, a popular international online discussion forum for documentary professionals.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42128″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Cara Cusumano is a filmmaker and the Director of Programming for the Tribeca Film Festival\, where she has programmed feature narrative and documentary films since 2008.  Prior to Tribeca\, she programmed for the Hamptons International Film Festival\, including curating HIFF’s signature Conflict & Resolution competition and Oscar-qualifying shorts program\, and has also worked with film organizations including the Abu Dhabi Film Festival\, the Brooklyn International Film Festival\, IFP\, POV\, and Chicken & Egg.  She frequently serves on festival juries and panels\, among them CPH:DOX\, SANFIC\, Silverdocs\, Docville\, Nordisk Panorama\, and the Nantucket Film Festival\, and is a member of the nominating committees for the Cinema Eye Honors\, the International Documentary Association Awards\, and the Gotham Awards.  She holds degrees from Barnard College and New York University’s Tisch School of the Arts. \nThe Bloop is her first film. \nTHE BLOOP (2016 | 7 min.) \nIn August of 1997\, an unusual ultra-low frequency sound was detected emanating from a point 1\,500 miles west of the southern coast of Chile. It was recorded by hydrophones located 5\,000 miles apart\, making it the loudest unidentified underwater sound ever recorded. It lasted for one minute and was never heard again.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42129″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Charlotte Cook is a film curator\, writer and producer. Prior to Field of Vision\, she was the Director of Programming at Hot Docs\, North America’s largest documentary festival. In London\, Charlotte was the Head of Film Programming and Training at The Frontline Club\, an organization dedicated to championing independent journalism and freedom of expression. She has also worked with BBC Storyville\, the Channel 4 BritDoc Foundation’s Puma Creative Catalyst Fund and the Edinburgh International Film Festival\, where she curated the strand Conflict | Reportage. Charlotte holds a degree in Technology for the Media and has a Masters Degree in Documentary Filmmaking. She has written extensively for a number of different outlets and was the main photographic researcher for the launch of The Times Online (UK) archive project. Charlotte continues to program at a number of festivals and venues\, mentor filmmakers and advise organizations on media literacy\, audience development and festival strategy.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42126″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Liz Cook is the director of documentary film at Kickstarter. Previously she has worked in France with the U.S. State Department\, in India with A.R. Rahman\, composer and musician\, and in NYC as the acquisitions manager for the digital distributer\, SnagFilms. She has spoken at a variety of film festivals including IDFA\, TIFF\, Cannes\, Sheffield Doc Fest\, Hot Docs\, CPH DOX and Sundance.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42124″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Andrew Blackwell is the Supervising Editor of Op-Docs\, the New York Times’ acclaimed series of short documentaries by independent filmmakers. An Emmy-winning documentary editor and producer\, he is also a nonfiction journalist and author of the book Visit Sunny Chernobyl — about exploring the world’s most polluted places.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/for-shorts-sake/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/unnamed-file.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161202T143000
DTEND;TZID=America/New_York:20161202T170000
DTSTAMP:20260623T022028
CREATED:20161130T234558Z
LAST-MODIFIED:20180228T041346Z
UID:10002094-1480689000-1480698000@uniondocs.org
SUMMARY:SHIFTING PERSPECTIVES IN SHORT FORMS: THE INTERSECTIONS OF NEWS\, ART AND FILM
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]Shorts are traditionally considered as a stepping stone to making a feature film\, but they also have their own set of exciting possibilities. Often more affordable\, risky and experimental\, they can cover stories that can’t be told otherwise. \nCurated by Jeffrey Bowers In connection with UnionDocs workshop For Shorts’ Sake\, this screening explores the power of short form storytelling. Presenting a variety of forms\, subjects and aesthetics\, this program is about making connections in the face of difficulty and coming to terms with reality. \nThe screening will be followed by a conversation between the filmmaker Megan Mylan and Film Curator Jeffrey Bowers. They will discuss the impact of online viewing/distribution on the production and creation of short forms.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”The Children Next Door ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Doug Block\, 2012″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]An award-winning documentary The Children Next Door is the first film to look at domestic violence from the perspective of childhood. It takes us on a young family’s journey to uncover the truth that lies beneath a recurring cycle of violence and the solutions to end it.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Taller than the Trees” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” Megan Mylan\, 2016\, New York Times Op-Docs\,” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” link=”url:http%3A%2F%2Fwww.nytimes.com%2Fcolumn%2Fop-docs|title:New%20York%20Times%20Op-Docs|target:%20_blank|”][vc_column_text]Masami Hayata is a Tokyo man delicately balancing his roles as advertising executive\, father\, husband and devoted son to his ailing mother.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Best of Luck with the Wall” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Josh Begley\, 2016\, 7 min.” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A voyage across the US-Mexico border\, stitched together from 200\,000 satellite images.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Project X” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Laura Poitras & Henrik Moltke\, 10 min.\, 2016″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A top-secret handbook takes viewers on an undercover journey to Titanpointe\, the site of a hidden partnership. Narrated by Rami Malek and Michelle Williams\, and based on classified NSA documents\, Project X reveals the inner workings of a windowless skyscraper in downtown Manhattan. \nThis film is the product of a joint reporting project between Field of Vision and The Intercept.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Speaking Is Difficult ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”AJ Schnack\, 16 min\, 2016″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A scene of tragedy unfolds\, accompanied by fear\, chaos and disbelief. As Speaking is Difficult rewinds into the past\, retracing our memories\, it tells a story about a cumulative history that is both unbearable and inevitable.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”86 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row row_type=”row_full_center_content” bg_color=”#81d742″ class=”full”][vc_column width=”1/3″][vc_single_image image=”42516″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text el_class=”“full“”]Megan Mylan is a New York-based documentary filmmaker who creates intimate cinema vérité films.  She has been recognized with an Academy Award®\, an Independent Spirit Award\, Emmy-nominations and a Guggenheim Fellowship. Her films include: “Lost Boys of Sudan”\, “Smile Pinki” and “Raça” as well as short documentaries: “After My Garden Grows”\, “My Little Friends” and “Taller Than the Trees”. Megan’s work screens theatrically and on television throughout the world.  Broadcasts include: HBO\, PBS\, ARTE\, BBC\, NHK\, NDTV\, Doordarshan and TV Brasil. Through extensive social action campaigns\, her films have raised millions of dollars for charitable causes\, motivated thousands of volunteers and informed public policy.  Megan serves on the Academy of Motion Picture Arts and Sciences’ Executive Committee for Documentary and was recently guest director of the Documentary program at Berkeley’s Graduate School of Journalism.  Before beginning in documentary\, Megan worked with Ashoka\, an international development non-profit\, in the U.S. and Brazil. She has a Bachelor’s from Georgetown University’s School of Foreign Service and Masters’ degrees in Journalism and Latin American Studies from the University of California at Berkeley.\nprincipeproductions.com[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”42125″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jeffrey Bowers is a Senior Curator at Vimeo\, where his responsibilities include selecting Staff Picks\, contributing to the just-announced Staff Pick Premieres program\, and running the Vimeo On Demand curation. For the past four years he has curated VICE media’s VICE Shorts and written the column “I’m Short\, Not Stupid.” His background includes programming features and shorts for Tribeca Film Festival\, Hamptons International Film Festival\, Rooftop Films\, and the Athens International Film + Video Festival. Because of his broad expertise\, he’s served on juries and participated in speaking engagements at places like SXSW\, DOC NYC\,[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-12-02-shifting-perspectives-in-short-forms-the-intersections-of-news-art-and-film/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/11/unnamed-file-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161202T193000
DTEND;TZID=America/New_York:20161202T193000
DTSTAMP:20260623T022028
CREATED:20161128T050000Z
LAST-MODIFIED:20180303T015812Z
UID:10002084-1480707000-1480707000@uniondocs.org
SUMMARY:Shifting Perspectives in Short Forms: The Intersections of News\, Art and Film
DESCRIPTION:[su_spoiler title=” GET TICKETS” class=”my-custom-spoiler”] Oops! We could not locate your form. [/su_spoiler] \nShorts are traditionally considered as a stepping stone to making a feature film\, but they also have their own set of exciting possibilities. Often more affordable\, risky and experimental\, they can cover stories that can’t be told otherwise. \nCurated by Jeffrey Bowers In connection with UnionDocs workshop For Shorts’ Sake\, this screening explores the power of short form storytelling. Presenting a variety of forms\, subjects and aesthetics\, this program is about making connections in the face of difficulty and coming to terms with reality. \nThe screening will be followed by a conversation between the filmmaker Megan Mylan and Film Curator Jeffrey Bowers. They will discuss the impact of online viewing/distribution on the production and creation of short forms. \n\nFull Program \nThe Children Next Door by Doug Block (2012) \nAn award-winning documentary The Children Next Door is the first film to look at domestic violence from the perspective of childhood. It takes us on a young family’s journey to uncover the truth that lies beneath a recurring cycle of violence and the solutions to end it. \nNew York Times Op-Docs Taller than the Trees by Megan Mylan (2016) \nMasami Hayata is a Tokyo man delicately balancing his roles as advertising executive\, father\, husband and devoted son to his ailing mother. \nField of Vision Speaking Is Difficult by A.J. Schnack (2016) \nFive years of an American crisis: Speaking is Difficult tells a cumulative history that is both unbearable and inevitable. \nField of Vision Good Luck with the Wall by Josh Begley (2016) \nA voyage across the US-Mexico border\, stitched together from 200\,000 satellite images. \nField of Vision Project X by Laura Poitras and Henrik Moltke (2016) \n \nA top-secret handbook takes viewers on an undercover journey to Titanpointe\, the site of a hidden partnership. Narrated by Rami Malek and Michelle Williams\, and based on classified NSA documents\, Project X reveals the inner workings of a windowless skyscraper in downtown Manhattan. \nTotal screening duration: about 85 min. \n \n\nBIOS \nMegan Mylan is a New York-based documentary filmmaker who creates intimate cinema vérité films.  She has been recognized with an Academy Award®\, an Independent Spirit Award\, Emmy-nominations and a Guggenheim Fellowship. Her films include: “Lost Boys of Sudan”\, “Smile Pinki” and “Raça” as well as short documentaries: “After My Garden Grows”\, “My Little Friends” and “Taller Than the Trees”. Megan’s work screens theatrically and on television throughout the world.  Broadcasts include: HBO\, PBS\, ARTE\, BBC\, NHK\, NDTV\, Doordarshan and TV Brasil. Through extensive social action campaigns\, her films have raised millions of dollars for charitable causes\, motivated thousands of volunteers and informed public policy.  Megan serves on the Academy of Motion Picture Arts and Sciences’ Executive Committee for Documentary and was recently guest director of the Documentary program at Berkeley’s Graduate School of Journalism.  Before beginning in documentary\, Megan worked with Ashoka\, an international development non-profit\, in the U.S. and Brazil. She has a Bachelor’s from Georgetown University’s School of Foreign Service and Masters’ degrees in Journalism and Latin American Studies from the University of California at Berkeley. \nprincipeproductions.com \nJeffrey Bowers is a Senior Curator at Vimeo\, where his responsibilities include selecting Staff Picks\, contributing to the just-announced Staff Pick Premieres program\, and running the Vimeo On Demand curation. For the past four years he has curated VICE media’s VICE Shorts and written the column “I’m Short\, Not Stupid.” His background includes programming features and shorts for Tribeca Film Festival\, Hamptons International Film Festival\, Rooftop Films\, and the Athens International Film + Video Festival. Because of his broad expertise\, he’s served on juries and participated in speaking engagements at places like SXSW\, DOC NYC\, Palm Springs Shortsfest\, Nantucket Film Festival\, and IFP. \n 
URL:https://uniondocs.org/event/2016-12-02-shifting-perspectives-short-form/
LOCATION:NY
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161204T143000
DTEND;TZID=America/New_York:20161204T170000
DTSTAMP:20260623T022028
CREATED:20161130T231005Z
LAST-MODIFIED:20180228T041346Z
UID:10002089-1480861800-1480870800@uniondocs.org
SUMMARY:DIVA STATION On Tour
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]The program will include a showcase of films from DIVA Station – an archive of Slovene video art produced by SCCA-Ljubljana and a screening of curated program DIVA Station Presents No 3 which consists of 17 video works and is divided into three sections. Featured artist Emil Memon will be in discussion with curator Barbara Borcic after the program. \n1) FROM ANALOGUE TO DIGITAL presents various ways the artists involve in the topic of television\, either as institution and mass media or its space\, frequencies and aesthetics. Performative video using the method of measuring the edges of the screen was often used by video artists questioning television that captures reality. \n2) FROM MEMORY TO FICTION presents various modes the artists cope and play with memory\, personal or collective\, and make narratives that are in-between reality and fiction. \n3) FROM IMPRESSION TO DIGRESSION presents video works based on impressions that quite easily turn to digression\, from cityscapes and highway walls to body and urban noise\, control and photon noise.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Miha Vipotnik\, Space 2″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”1’53”\,1986″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The author encounters the disapproving attitude of TV stations towards video and video makers by defying gravity as he moves around the four edges of the screen\, pointing out the possibilities inside the limits of the medium.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Ana Čigon\, One More Kick” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” 4’35’’\, 2009″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The technique of measuring the edges enables the author to redefine limited space and subsequently establish new perception of reality.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Sašo Sedlaček\, The Big Switch Off” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”1’48’’\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]With an aspiration of founding an autonomous medium\, which could have been carried out during the transition to digital television signal\, the artist decides to organize a happening in which the residents of a Ljubljana block of flats throw out their analogue televisions.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Luka Dekleva\, Singing Bridges” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”4’14’’\, 2008″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The author creates new contents and techniques by manipulating video and audio recordings of a bridge.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Vesna Bukovec\, Important News” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”54’’\, 2003″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Humorous and inventive montage of TV news gives a unique commentary on mass media manipulation.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Nika Špan\, How to Socialise the Blues” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”1’58’’\, 2007″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]From online found footage\, the artist excludes the narration\, placing the visual support part into the foreground and gives it new meaning.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Marko A. Kovačič\, Forth Into the Past” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”9’30’’\, 1995″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Video\, a part of a larger art project\, questions the present through a civilization[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Valerie Wolf Gang\, Distant Memory” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”2’43’’\, 2014″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]In between reality and fiction this video poetry tells the story of Yugoslav President T ship Galeb.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Miha Vipotnik\, Path of Crazy Wisdom” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”9’58”\, 1993″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A research about the life of a sculpture Eric Orr reaches to the point of absurd and com fiction in a strange manner of police interrogation.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Emil Memon\, Blue Movie/Schizophrenia” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”5’37’’\, 1983/95″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The intimate visual and sound recording about New York\, filmed from a small room in the middle of the city landscape\, searches for its references in the field of non-narrative art cinema.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Nataša Prosenc Stearns\, The Noise Factor” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”3’15’’\, 2012 ” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The author translates visuality and sonority of noise to a meditation about personal space and time surrounded by constant urban sounds.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Urška Djukić\, Persistence 2″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” 1’22’’\, 2014″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Designed as a video painting in one sequence shot the work initiates the question of persistence of man and nature in everlastingly exchange of power.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Jasna Hribernik\, Tense Present: Photon Noise” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” 1’18’’\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]With the usage of photon noise video effect the author gradually erases a group of migrants moving through Slovene landscape from a recording\, making a comment on the austerity measures against refugees at Slovenian border.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Ana Čigon\, Finger in U.S” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” 2’15’’\, 2010″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The video is a humorous\, simple and bold commentary on the austere customs control in U.S.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Neven Korda\, An Autumnal Still Life” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” 4’05’’\, 2002″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A reflection on the author’s early video works from the 1980’s\, marked with poetic and contemplative atmosphere and accompanied with melodic music\, shows melancholic autumn impressions.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Andrej Lupinc\, In Eight Minutes Around the World\,” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=” 9’35’’\, 1990-2000″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The work is an original documentary video patchwork with shots from various places in the world that Andrej Lupinc visited in the span of ten years.[/vc_column_text][vc_empty_space height=”20px”][vc_custom_heading text=”Zvonka T Simčič\, Broken h-h-h…egg” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”1’\, 2000″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A vibrant video talks about the traps of mother’s love and problems with insemination through a gently erotic scene in a sensitive and painterly manner.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”66 min” color=”white” el_class=”h1″][/vc_column][/vc_row][vc_row row_type=”row_full_center_content” bg_color=”#0000cd” row_color_overlay=”#0000cd” class=”full”][vc_column width=”1/3″][vc_empty_space height=”40px”][vc_single_image image=”42491″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_empty_space height=”40px”][vc_column_text]Pawel Wojtasik creates poetic reflections on cultures and ecosystems in the form of short films and large-scale installations. His investigations into the overlooked corners of the environment have led him to pig farms\, sewage treatment plants\, wrecking yards and autopsy rooms. Wojtasik received an MFA from Yale University. From 1998 until 2000 he was a resident at Dai Bosatsu Zendo Buddhist monastery. \nHis work has been shown at festivals such as Berlinale\, New York Film Festival\, and Hong Kong International Film Festival where his film Pigs won the grand Prize in the short film category in 2011. Wojtasik was a featured filmmaker in the 2009 Flaherty Film Seminar. His installation work includes the immersive 360° Below Sea level\, about post-Katrina New Orleans\, exhibited at MASS MoCA and included in Prospect.2 Biennial; as well as Single Stream\, shown at the Museum of the Moving Image in New York. The cinema version of Single Stream was presented at the 2014 Whitney Biennial and at Ann Arbor Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row row_type=”row_full_center_content” bg_color=”#000000″ row_color_overlay=”#000000″ class=”full”][vc_column width=”1/3″][vc_single_image image=”42488″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Barbara Borcic is an Art historian and media theorist\, advisor at SCCA-Ljubljana\, Center for Contemporary Arts and head of video programs and video archive DIVA Station.  She is active as a curator\, lecturer and publicist. She has regularly lectured and published texts\, e.g. Video Art from Conceptualism to Postmodernism\, Impossible Histories: Historical Avant-Gardes\, Neo-Avant-Gardes\, and Post-Avant-Gardes in Yugoslavia\, 1918-1991(Massachusetts: MIT Press 2003); What Television Can Be\, And What Artists Can Use It For\, Amuse Me (Ljubljana: Mestna galerija\, 2013); The ŠKUC Gallery\, Alternative Culture\, and Neue Slowenische Kunst in the 1980s\, NSK from Kapital to Capital. Neue Slowenische Kunst – The Event of the Final Decade of Yugoslavia (Ljubljana: Moderna galerija & Massachusetts: MIT Press\, 2015). She is the author of the book Celostna umetnina Laibach. Fragmentarni pogled [Gesamtkunst Laibach. Fragmentary View]\, (Ljubljana: Založba/*cf\, 2013).[/vc_column_text][/vc_column][/vc_row][vc_row row_type=”row_full_center_content” bg_color=”#a8a8a8″ bg_repeat=”repeat” class=”full”][vc_column width=”1/3″][vc_single_image image=”42489″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Emil Memon is a Conceptual Artist in a sense that he works with ideas as a building elements for his work and uses diverse appropriate mediums to properly materialize them. He works with Video and Video Installations\, Music (as diverse as Noise electronica\, Rock\, Dance and POP)\,Digital New Media\, Painting and Drawing\,in Spirit of Social Sculpture with Art Curatorial\, Hybrids between Art and Design\, Art Criticism and currently he is working on a Film. His work can be confusing in this sense but it has through all of these different mediums a center in dealing with Act of Creativity and Art as a tool of Social consciousness and Criticism. The element of aesthetics is used as delivery tool. \nThrough years he showed extensively in NYC\, Berlin\, Miami\, Bogota\, Munich\, Ljubljana\, Washington DC\, Zagreb\, Belgrade\, Duke University\, LA\, Ottawa\, Manchester Community College CT\, Museum School in Boston\, Lugano\, etc. In 1990 as a part of Art group ATW he participated in a show at PS.1  and in project INBETWEEN at 1994 Venice Biennale. His work is in few American based Art Collections \, Slovenian Embassy in Washington DC\, ICC (International Criminal Court) in Hague\, NL. collection DIVA( Archive of Slovene Video and Digital Art)\,Ljubljana\, Slovenia. Memon attended Graduate school/ Installation Art & Printmaking ALU\, Academy of Fine Arts\, Ljubljana\, Slovenia\, is a Fulbright Scholar and holds an MFA/ New Forms from Pratt Institute\, Brooklyn\, NYC. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-12-04-diva-station-on-tour/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/11/01_Vipotnik.jpg
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