BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//UnionDocs - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:UnionDocs
X-ORIGINAL-URL:https://uniondocs.org
X-WR-CALDESC:Events for UnionDocs
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20140309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20141102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20150308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20151101T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141011T193000
DTEND;TZID=America/New_York:20141011T213000
DTSTAMP:20260429T065439
CREATED:20140903T040000Z
LAST-MODIFIED:20190404T213608Z
UID:10002460-1413055800-1413063000@uniondocs.org
SUMMARY:Independent Cinema For The Dying
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nJoin us for the first public reading of Stephen Elliott’s debut play\, Independent Cinema For The Dying\, co-presented with The Rumpus. \nIndependent Cinema For The Dying is a one hour play about Paul\, an author of seven books\, who has recently found out he is dying. In an effort to “live twice as much in the time he has left” he decides to make a movie. Fortunately\, a big star has optioned one of his books and agrees to be in his film. But will the celebrity actually show up? \nDirected by Adrienne Campbell-Holt.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]Stephen Elliot is the author of seven novels\, memoirs\, and story collections. He has written and directed two feature films\, About Cherry which premiered at the Berlin International Film Festival and the soon to be released Happy Baby based on the novel of the same name. Principal production was recently completed on a film adaptation of his memoir\, The Adderall Diaries\, starring James Franco\, Ed Harris\, Cynthia Nixon\, and Christian Slater. He is the founding editor of the popular online literary magazine The Rumpus. \n  \nAdrienne Campbell-Holt is the Founding Artistic Director of Colt Coeur\, a Brooklyn-based theatre ensemble. Upcoming: World Premiere of Dry Land by Ruby Rae Spiegel (workshops at New York Stage & Film and Ojai Playwright’s Conference\, production with Colt Coeur @ HERE\, NYC). She is a recipient of a Jerome Foundation/Tofte Lake Fellowship\, the EST/Sloan grant\, an alum of the Lincoln Center Directors Lab\, and a New Georges Affiliated Artist. BA Barnard College\, Columbia University. \n  \nSarah Mezzanotte made her NYC professional acting debut last month as Amy in Dry Land. She hails from the Pennsylvania countryside\, and recently graduated from NYU Tisch\, having studied at both Stella Adler and Stonestreet Studios.  \n  \n  \n  \n \nJason Kravits is best known for his role as ADA Richard Bay on ABC’s Emmy Award Winning Drama “The Practice\,” He has appeared more recently on TV on shows such as “The Blacklist” “Married\,” “Curb Your Enthusiasm\,” and “Masters of Sex”; in the movies “Chinese Puzzle\,” and “The Adjustment Bureau”; and on Broadway in productions of Relatively Speaking\, The Drowsy Chaperone\, and Sly Fox. He is co-creator of the hit web series “Lords of the Playground\,” and author of “Green Eggs and Hamlet\,” “The Kvetch\,” “Rocky and Bullwinkle’s A Christmoose Story\,” and the upcoming improvised cabaret “I…(A Life).” \n  \nThe Rumpus is perhaps the most popular literary website. Featuring book reviews\, comics\, interviews with authors\, and the Dear Sugar column penned by Cheryl Strayed. Launched January 20\, 2009 and updated up to fifteen times a day\, The Rumpus is a great way to kill time when you should be at work. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-10-11-independent-cinema-for-the-dying/
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/2014/09/Michael-Patrick-Kane.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:20141018T193000
DTEND;TZID=America/New_York:20141018T213000
DTSTAMP:20260429T065439
CREATED:20141009T040000Z
LAST-MODIFIED:20190502T183655Z
UID:10002478-1413660600-1413667800@uniondocs.org
SUMMARY:Before You Know It
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 subjects of Before You Know It are no ordinary senior citizens. They are go-go booted bar-hoppers\, love struck activists\, troublemaking baton twirlers\, late night Internet cruisers\, seasoned renegades and bold adventurers. They are also among the estimated 2.4 million lesbian\, gay and bisexual Americans over the age of 55 in the United States\, many of whom face heightened levels of discrimination\, neglect and exclusion. But Before is not a film about cold statistics and gloomy realities\, it’s a film about generational trailblazers who have surmounted prejudice and defied expectation to form communities of strength\, renewal and camaraderie—whether these communities be affable senior living facilities\, lively activist enclaves or wacky queer bars brimming with glittered trinkets and colorful drag queens. \nDennis is a gentle-hearted widower in his 70s who begins exploring his sexual identity and fondness for dressing in women’s clothing under the name “Dee.” Ty is an impassioned LGBT activist who hears nothing but wedding bells once gay marriage passes in New York. Robert “The Mouth” is a feisty bar owner who presses on when his neighborhood institution comes under threat. Born before the Civil Rights era\, these men have witnessed unbelievable change in their lifetimes\, from the Stonewall Riots and gay liberation\, to the HIV/AIDS pandemic and Queer Nation\, to gay marriage and Lady Gaga\, and have lived to become part of an unprecedented “out” elder generation. Before focuses on the lives of these three gay seniors\, but reminds us that while LGBT elders face a specific set of issues\, aging and its challenges are universal. An affirmation of life and human resilience told with a refreshing humor and candor\, Before confirms that you are never too old to reshape society.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”112 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=”117042″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Named one of Out Magazine’s “Out 100 2010” and Filmmaker Magazine’s “25 new faces of independent film 2006\,” PJ Raval is an award-winning filmmaker whose credits include Trinidad (Winner\, Best Documentary Cleveland International Film Festival 2009\, Showtime\, LOGO)\, The CHRISTEENE video collection (SXSW)\, and his latest film BEFORE YOU KNOW IT a documentary about LGBT seniors and aging (SXSW World Premiere\, San Francisco International Film Festival\, Edinburgh International Film Festival). Raval is also currently developing a feature fiction narrative with acclaimed screenwriter and playwright Prince Gomolvilas and recently directed a segment called “Rantings” as part of the 2011 remake of Richard Linklater’s indie classic Slacker. \nAlso an award-winning cinematographer\, Raval’s work has earned him awards such as the ASC Charles B. Lang Jr. Heritage Award as well as the Haskell Wexler Award for Best Cinematography. Raval’s work includes the 2009 Academy Award-nominated Trouble The Water as well as the Independent Spirit Award-nominated Room. He recently completed the highly anticipated feature The Bounceback directed by Bryan Poyser\, which will premiere at SXSW.In his spare time Raval likes to try and take small naps and pretend he knows ballet.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-10-18-before-you-know-it/
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/2014/10/02-Ty1.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:20141114T193000
DTEND;TZID=America/New_York:20141114T213000
DTSTAMP:20260429T065439
CREATED:20141029T040000Z
LAST-MODIFIED:20190502T183707Z
UID:10001874-1415993400-1416000600@uniondocs.org
SUMMARY:I Always Said Yes: The Many Lives of Wakefield Poole
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]An outspoken and articulate artist in a turbulent\, passionate time\, Wakefield Poole didn’t think of himself as a pornographer. He was a filmmaker who used his dance and theater background to create beautiful\, erotic art films that challenged the mind. Many agreed. To others\, though\, Poole just made dirty movies. \nI Always Said Yes: The Many Lives of Wakefield Poole tells the story of this sometimes overlooked gay liberation and independent film making pioneer. In an era when anyone making\, promoting\, or appearing in what the US government considered “pornography” could be liable for prosecution and jail time\, Wakefield Poole was a remarkably closed and honest gay filmmaker. He also became internationally famous and his movies screened for years as examples of films that could be artistic as well as sexually explicit. \nFilled with gorgeous archival footage\, excerpts from Poole’s lushly photographed films\, and entertaining and illuminating interviews with Poole’s contemporaries and colleagues\, I Always Said Yes is a story of artistic integrity and disappointment\, self-destruction\, love\, sex\, fortitude\, and musical comedy. \nScreening proceeded by a talk by Jeffrey Escoffier\, author of Bigger Than Life: The History of Gay Porn Cinema from Beefcake to Hardcore \nPresented by MIX NYC[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”93 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=”117036″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jeffrey Escoffier is the author of Bigger Than Life: The History of Gay Porn Cinema from Beefcake to Hardcore (Running Press/Perseus Book Group\, 2009) and American Homo: Community and Perversity (University of California Press\, 1998) and he edited Sexual Revolution (Thunder’s Mouth\, 2003)\, a compilation of the most important writing on sex published in the 1960s and 70s. He has taught LGBT studies and sexuality at the University of California in Berkeley\, at Rutgers University\, the New School University and Barnard College. From 2007-2009 he was a Visiting Scholar at the Center for the Study of Gender and Sexuality of New York University\, and served on the board of the Center for Lesbian and Gay Studies\, at The City University of New York from 2009-2014.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-11-14-wakefield-poole/
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/2014/10/image-w1280.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:20141116T193000
DTEND;TZID=America/New_York:20141116T193000
DTSTAMP:20260429T065439
CREATED:20141021T040000Z
LAST-MODIFIED:20190502T183656Z
UID:10001871-1416166200-1416166200@uniondocs.org
SUMMARY:The Toxic Edge: A Screening and Conversation with Sarah Kanouse
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] \nToxicity figures in a range of contemporary political\, economic\, social\, and environmental discourses\, from the toxic waste of the gulf catastrophe or Fukushima and the toxic assets of financial institutions\, to concerns over toxic lifestyles and the biomonitoring of toxic bodies. In Around Crab Orchard Sarah Kanouse investigates the deep flows of toxicity in the natural environment and how these shape their materiality and the politics of their existence. \nCrab Orchard calls itself a unique place to experience nature. As the only wildlife refuge in the United States whose mission includes industry and agriculture alongside conservation and recreation\, Crab Orchard claims a harmonious balance between past and present\, nature and culture. Assembled from documents\, found footage\, and conversations with activists\, writers\, and local residents\, Around Crab Orchard questions the ideal of natural harmony while meditating on the persistence of history\, the creation of knowledge\, the limits of representation\, and the commonplace of environmental hazard. Around Crab Orchard ultimately argues for forms of storytelling\, image-making\, and action that respond to the full complexity of the social and ecological landscape. \nScreening followed by discussion with Elizabeth A. Povinelli and filmmaker Sarah Kanouse. \nSponsored by the Center for Place\, Culture\, and Politics at The Graduate Center\, CUNY \nCurated by Denisse Andrade \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”70 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=”117038″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nSarah Kanouse is an interdisciplinary artist and writer examining the politics of landscape and public space. Her research-based projects trace the production of landscape through ecological\, historical\, military\, and legal forces. Her work has appeared at Documenta 13\, Cooper Union\, The Museum of Contemporary Art Chicago\, The Smart Museum\, The Museum of Contemporary Art Detroit\, among others. Kanouse has written extensively about performative and site-based contemporary art practices in Art Journal\, Acme\, Leonardo\, Parallax and in the forthcoming volume Critical Landscapes. She is Associate Professor of Intermedia at the University of Iowa. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117039″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nElizabeth A. Povinelli is Franz Boas Professor of Anthropology at Columbia University where she also teaches in the Institute for Research on Women\, Gender and Sexuality. She is the author of four books and numerous essays exploring the sources and trajectories of the otherwise in late liberalism. She is also a founding member of the Karrabing Film Collection whose films have shown in venues including the Berlinale\, dOCUMENTA-13\, the Wexner Center\, and e-flux gallery. She is currently finishing Geontologies: A Requiem to Late Liberalism. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117040″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nDenisse Andrade is an activist and independent curator currently pursuing a PhD in Geography at the Graduate Center\, City University of New York. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-11-16-around-crab-orchard/
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/2014/10/Crabs1-590x331-1.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:20150110T193000
DTEND;TZID=America/New_York:20150111T213000
DTSTAMP:20260429T065439
CREATED:20141204T050000Z
LAST-MODIFIED:20190228T170238Z
UID:10001876-1420918200-1421011800@uniondocs.org
SUMMARY:FROM DEEP: An Essay in Three Parts
DESCRIPTION:[vc_row][vc_column][vc_column_text]From Deep is a new feature-length experimental documentary by Pittsburgh filmmaker Brett Kashmere\, which explores the three-decade love affair between basketball and rap. Part sociological treatise\, part audiovisual mixtape\, Kashmere’s ambitious documentary delivers a high-energy history of basketball’s evolution in American culture: from indoor New England novelty to outdoor urban phenomenon. \nUsing basketball as an entry point into larger discussions of collective identity\, race\, and fandom\, From Deep combines elements of the personal essay and the mixtape to illustrate the shifting relationship between social\, cultural\, and political forces and developments in America. Part cultural history\, part reflection on the game as part of everyday life\, From Deep unites two interrelated developments form the mid-1980s which together propelled basketball to its prominent position in the American (and global) consciousness: Michael Jordan’s entry into the NBA (and emergence as the world’s first corporate branded athlete)\, and hip hop’s movement from counter-cultural margins to the mainstream. The parallel ascent of the sport and music genre is traced through a vast array of clips culled from movies\, music videos\, news footage\, highlight reels\, and videos games\, and iconic songs such as Kurtis Blow’s Basketball and Run-DMC’s My Adidas. Providing poetic counterpoint are documentary “moving snapshots” of neighborhood pickup and streetball games around the country: from the small towns of Indiana\, to playgrounds in Hartford and Akron\, indoor gyms in Springfield\, Mass. and Louisville\, improvised makeshift courts on parking and abandoned lots in Pittsburgh and Cleveland\, and famous outdoor blacktops like Baltimore’s Druid Hill Park and The Cage at West 4th Street in downtown New York\, among others. \nThis screening will be followed by a Q&A with filmmaker Brett Kashmere in conversation with Jace Clayton (also known as DJ /rupture)\, who provided music direction for the film. \n[/vc_column_text][vc_empty_space][vc_text_separator title=”Press”][vc_empty_space][vc_column_text] \n\n“From Deep is like sitting next to your smartest friend during the game\, the wonk with all the relevant stats and obscure facts\, broadening the game into an exploration of wider cultural symbols and one’s own involvement with them.” \n– Christy LeMaster\, Cine-File \n“Travel far to see FROM DEEP.” \n– Jonathan Kahana\, UCSC \nA “compendious\, compulsively watchable basketball documentary.” \n– Leo Goldsmith & Rachael Rakes\, The Brooklyn Rail \n“The avant-garde video essay meets Steve James’ HOOP DREAMS.” \n– Blake Williams\, blogTO \n“Gorgeously photographed and edited\, it’s an experimental documentary with a mix-tape sensibility—an essay film in thrall to the And-1 Tour.” \n– Adam Nayman\, The L Magazine \n“While plenty can be said about the current state of American politics\, From Deep suggests at least one place where democracy perseveres in its most idealistic form: on the playground\, and in the streets.” \n– Pasha Malla\, The Globe and Mail \nFrom Deep “celebrates the street game as the sport at its purest: raw\, improvisational\, and untarnished by economic exploitation – perhaps like the structure of the movie itself.” \n– Kyle Harris\, Denver Westword \n“Painstakingly researched and chock full of archival footage from the game’s century-long history\, FROM DEEP is Brett Kashmere’s sophisticated essay on the cultural history of basketball. He skillfully balances a poetic consideration of the game with a semiotic inquiry into the symbols created as the game develops from a rec center pastime into a multi-million dollar industry.”  \n– Christy LeMaster\, Cine-File \n“FROM DEEP is being released and screened in 2014\, but its expiration date is nowhere on the horizon. Stick it in a Smithsonian vault and bring it out twenty\, thirty years from now and it will all make perfect sense. Who knows if basketball and hip-hop will have a close relationship by then – if hip-hop\, the way we know it\, will still exist\, but FROM DEEP will still make sense; it will make sense because it has so totally captured the styles that have happened in and to basketball up to this point. Kashmere has given us a uniquely thoughtful and meticulous view of basketball\, respecting and exploring the imprints the game has made\, and will continue to make\, on the rest of society. Watch what he does next.”  \n– Miles Wray\, Sports Illustrated’s Hardwood Paroxsym \n  \nWork Specifics: \nUSA/Canada\, 2013\, 88 minutes\nConcept / Edit / Production: Brett Kashmere\nCamera: Toby Waggoner\nSound: Jeremy Fleishman\nMusic Direction: DJ /rupture\nLocation Recording: Cody Darling\nNarration: Trent Wolfred and Art Terry\nDistribution: Vtape.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Presenters”][vc_empty_space][vc_column_text]Brett Kashmere is a Canadian-born\, Pittsburgh-based filmmaker\, writer and curator. Combining traditional research methods with materialist aesthetics and hybrid forms\, Kashmere’s experimental documentaries explore the intersection of history and (counter-) memory\, geographies of identity\, popular culture\, and the politics of representation. His films\, videos\, and installations have been exhibited internationally at festivals and museums\, including the BFI London Film Festival\, Milano. Film Festival\, Kassel Dokfest\, Museum of Contemporary Photography (Chicago)\, Images Festival (Toronto)\, Boulder Museum of Contemporary Art\, among others. Kashmere is also the founding editor and publisher of INCITE Journal of Experimental Media. \nACE CLAYTON\, also known as DJ /rupture\, is an artist whose recent projects include Sufi Plug Ins and The Julius Eastman Memorial Dinner.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-10-from-deep/
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/2014/12/BrettKashmere_FromDeep_15.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:20150111T193000
DTEND;TZID=America/New_York:20150111T213000
DTSTAMP:20260429T065439
CREATED:20141204T050000Z
LAST-MODIFIED:20190418T214937Z
UID:10002482-1421004600-1421011800@uniondocs.org
SUMMARY:FROM DEEP: An Essay in Three Parts
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n“From Deep is like sitting next to your smartest friend during the game\, the wonk with all the relevant stats and obscure facts\, broadening the game into an exploration of wider cultural symbols and one’s own involvement with them.” \n– Christy LeMaster\, Cine-File \n“Travel far to see FROM DEEP.” \n– Jonathan Kahana\, UCSC \nA “compendious\, compulsively watchable basketball documentary.” \n– Leo Goldsmith & Rachael Rakes\, The Brooklyn Rail \n“The avant-garde video essay meets Steve James’ HOOP DREAMS.” \n– Blake Williams\, blogTO \nNew York Premiere Weekend\nSunday\, January 11th \nor click here for Saturday\, January 10th. \nFrom Deep is a new feature-length experimental documentary by Pittsburgh filmmaker Brett Kashmere\, which explores the three-decade love affair between basketball and rap. Part sociological treatise\, part audiovisual mixtape\, Kashmere’s ambitious documentary delivers a high-energy history of basketball’s evolution in American culture: from indoor New England novelty to outdoor urban phenomenon. \nUsing basketball as an entry point into larger discussions of collective identity\, race\, and fandom\, From Deep combines elements of the personal essay and the mixtape to illustrate the shifting relationship between social\, cultural\, and political forces and developments in America. Part cultural history\, part reflection on the game as part of everyday life\, From Deep unites two interrelated developments form the mid-1980s which together propelled basketball to its prominent position in the American (and global) consciousness: Michael Jordan’s entry into the NBA (and emergence as the world’s first corporate branded athlete)\, and hip hop’s movement from counter-cultural margins to the mainstream. The parallel ascent of the sport and music genre is traced through a vast array of clips culled from movies\, music videos\, news footage\, highlight reels\, and videos games\, and iconic songs such as Kurtis Blow’s Basketball and Run-DMC’s My Adidas. Providing poetic counterpoint are documentary “moving snapshots” of neighborhood pickup and streetball games around the country: from the small towns of Indiana\, to playgrounds in Hartford and Akron\, indoor gyms in Springfield\, Mass. and Louisville\, improvised makeshift courts on parking and abandoned lots in Pittsburgh and Cleveland\, and famous outdoor blacktops like Baltimore’s Druid Hill Park and The Cage at West 4th Street in downtown New York\, among others. \nThis screening will be followed by a Q&A with filmmaker Brett Kashmere. \nWork Specifics: \nUSA/Canada\, 2013\, 88 minutes \nConcept / Edit / Production: Brett Kashmere \nCamera: Toby Waggoner \nSound: Jeremy Fleishman \nMusic Direction: DJ /rupture \nLocation Recording: Cody Darling \nNarration: Trent Wolfred and Art Terry \nDistribution: Vtape.org \nMore Press: \n“Gorgeously photographed and edited\, it’s an experimental documentary with a mix-tape sensibility—an essay film in thrall to the And-1 Tour.” – Adam Nayman\, The L Magazine \n“While plenty can be said about the current state of American politics\, From Deep suggests at least one place where democracy perseveres in its most idealistic form: on the playground\, and in the streets.” – Pasha Malla\, The Globe and Mail \nFrom Deep “celebrates the street game as the sport at its purest: raw\, improvisational\, and untarnished by economic exploitation – perhaps like the structure of the movie itself.” – Kyle Harris\, Denver Westword \n“Painstakingly researched and chock full of archival footage from the game’s century-long history\, FROM DEEP is Brett Kashmere’s sophisticated essay on the cultural history of basketball. He skillfully balances a poetic consideration of the game with a semiotic inquiry into the symbols created as the game develops from a rec center pastime into a multi-million dollar industry.” – Christy LeMaster\, Cine-File \n“FROM DEEP is being released and screened in 2014\, but its expiration date is nowhere on the horizon. Stick it in a Smithsonian vault and bring it out twenty\, thirty years from now and it will all make perfect sense. Who knows if basketball and hip-hop will have a close relationship by then – if hip-hop\, the way we know it\, will still exist\, but FROM DEEP will still make sense; it will make sense because it has so totally captured the styles that have happened in and to basketball up to this point. Kashmere has given us a uniquely thoughtful and meticulous view of basketball\, respecting and exploring the imprints the game has made\, and will continue to make\, on the rest of society. Watch what he does next.” – Miles Wray\, Sports Illustrated’s Hardwood Paroxsym[/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] \nBrett Kashmere is a Canadian-born\, Pittsburgh-based filmmaker\, writer and curator. Combining traditional research methods with materialist aesthetics and hybrid forms\, Kashmere’s experimental documentaries explore the intersection of history and (counter-) memory\, geographies of identity\, popular culture\, and the politics of representation. His films\, videos\, and installations have been exhibited internationally at festivals and museums\, including the BFI London Film Festival\, Milano Film Festival\, Kassel Dokfest\, Museum of Contemporary Photography (Chicago)\, Images Festival (Toronto)\, Boulder Museum of Contemporary Art\, among others. Kashmere is also the founding editor and publisher of INCITE Journal of Experimental Media. \nJason Concepcion is a staff writer for Grantland and coauthor of We’ll Always Have Linsanity. @netw3rk[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-11-from-deep/
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/2014/12/BrettKashmere_FromDeep_06-1.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:20150117T193000
DTEND;TZID=America/New_York:20150117T213000
DTSTAMP:20260429T065439
CREATED:20150106T050000Z
LAST-MODIFIED:20190404T202644Z
UID:10001879-1421523000-1421530200@uniondocs.org
SUMMARY:Providence & Friends
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nMagic Lantern presents Providence & Friends\, a broad sampling of recent New England film\, video & multimedia performance.\nThis past summer\, Magic Lantern put out a call for its first submission-based program. They were interested in seeing contemporary work by local artists in the vicinity of Providence\, Boston\, and New Haven\, and in bringing this work to the attention of others in a timely celebration of regional filmmaking. All of the artists featured in Providence & Friends are\, or were until very recently\, based in the area. \nProvidence & Friends ranges from small\, unpretentious 8mm love letters to the most advanced digital manipulations\, from beautiful abstractions to politicized travelogues\, and from the finished form of recorded media to the contingencies of live performance. Its scope is as big as Providence is small. \nFeaturing works by Sarah Abu Abdallah\, Alexander Dupuis\, Dave Fischer\, Tara & Gordon Nelson\, Mariya Nikiforova\, Adrian Randall\, Deirde Sargent\, Asha Tamirisa\, Derek Taylor\, Arvid Tomayko-Peters\, Matthew Underwood\, Freddie Wiss.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Mariya Nikiforova\, Rewards\, 16mm\, 2014\, 4.5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Tara & Gordon Nelson\, Sad Mall\, super 8\, 2013\, 4 min.” font_container=”tag:h1|text_align:left”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]A late winter\, long-distance Super 8 love letter between Boston (shot by Gordon) and Ithaca (shot by Tara). All edits are in-camera. Original soundtrack by Shades of Fawn (Gordon and Tara Nelson). Shot on Ektachrome 100D.[/vc_column_text][vc_custom_heading text=”Deirdre Sargent\, Sea Screen\, digital video\, 2014\, 2.5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]A digitized citizen with her aquatic fantasies is only able to digest experience through screen imagery. The “screen” becomes anything with an clear\, flat surface\, such as an aquarium – the aquarium becomes a television and the TV a tank. With an interest in the lo-fi and and situating a cranium in between a screen and camera\, this video explores our imagined experiences through screen relationships.[/vc_column_text][vc_custom_heading text=”Alexander Dupuis\, That Which Pulls\, digital video\, 2013\, 10 min.” font_container=”tag:h1|text_align:left”][vc_column_text]That Which Pulls applies John Whitney’s principles of differential motion to resynthesize sound and image data into new audio visual material. The resulting sounds and video are cut up\, layered\, and recombined to create a piece that explores the dynamic interplay between the emergent auditory and visual gestures\, focusing on the counterpoint between their patterns of chaos and resolution.[/vc_column_text][vc_custom_heading text=”Derek Taylor\, Someone to Ride the River With\, digital video\, 2008\, 5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]A map of recollection\, the film consists of 286 35mm Kodachrome stills of varying landscapes\, which mine the depths of memory. The film also pays homage to a patient photographer\, whose lyrical impressions of the world evoke a feeling of genuine perception.[/vc_column_text][vc_custom_heading text=”Asha Tamirisa\, OX\, digital video\, 2014\, 7 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Sonic and visual pulse.[/vc_column_text][vc_custom_heading text=”Adrian Randall\, The Bourgeois Agony of Travel\, digital video\, 2014\, 12 min.” font_container=”tag:h1|text_align:left”][vc_column_text]The Bourgeois Agony of Travel is an experimental travelogue which reflects on the images\, spaces\, screens\, and pixels of travel. Recorded over four years\, the film explores how we relate to screens as both the virtual reality of cosmopolitanism\, and as a form of deep\, personal connection.[/vc_column_text][vc_custom_heading text=”Dave Fischer\, Aura Display\, digital video\, 2014\, 5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Aura Display is a short bit of abstract dancing geometry\, in tribute to the device in the film Akira that shows people’s psychic powers. It was written in 100% hand-coded Postscript.[/vc_column_text][vc_custom_heading text=”Freddie Wiss\, Black or White\, digital video\, 2007\, 3 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Black or White is a film that explores the ambiguity of identity and perception with psychological vignettes that are fluid\, tense and enigmatic… culminating in a bit of anxiety and despair.[/vc_column_text][vc_custom_heading text=”Arvid Tomayko-Peters\, Spontaneous Pigeon Vortex\, digital video\, 2014\, 7.5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Spontaneous Pigeon Vortex is an exploration of improvisation with realtime audio and video manipulation using custom software. The music was recorded in four takes of trumpet and drums (sometimes simultaneously) and realtime manipulation those recordings. The video manipulation was recorded in realtime using original footage from Arches National Park\, Colorado National Monument\, Narragansett Bay\, Providence and highways in Colorado\, Utah and Ontario\, with only a few small tweaks in post production.[/vc_column_text][vc_custom_heading text=”Sarah Abu Abdallah\, The Salad Zone\, digital video\, 2013\, 21 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Disarrayed glimpses of multiple narratives such as that of familial domestic tensions\, a juvenile dream of going to Japan\, the tendency to smash TVs in moments of anger and eating fish. While using scenes from the artist’s surroundings and life in Saudi Arabia like streets or malls\, it never attempts to provide the whole picture but takes a rhizomatic approach to tell a story of the everyday life.[/vc_column_text][vc_custom_heading text=”Matthew Underwood\, Arley Marks & Allen Riley\, multi-media performance\, 2014\, 15 min.” font_container=”tag:h1|text_align:left”][vc_column_text]An array of analog electronics\, folk noise gear\, and scientific instruments create harsh and strange sounds. Custom computer software will generate visuals in real-time in response to these sounds.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]Magic Lantern Cinema is an experimental film and video series based in Providence\, RI. Since 2004\, its various members and guest curators have focused on eclectic and thematic programming of film\, video\, and new media art\, while also bringing experimental features\, long-form cinema\, and multimedia performance to the Providence area. Magic Lantern is supported by grants from the Malcolm S. Forbes Center for Culture and Media Studies at Brown University and the Robert Rauschenberg Foundation. It is currently organized by Josh Guilford\, Seth Watter\, Beth Capper\, and Faith Holland.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-17-providence-friends/
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:20150123T193000
DTEND;TZID=America/New_York:20150123T213000
DTSTAMP:20260429T065439
CREATED:20141211T050000Z
LAST-MODIFIED:20190404T204757Z
UID:10001877-1422041400-1422048600@uniondocs.org
SUMMARY:What You Get Is What You See: Down and Out in San Francisco and Antarctica
DESCRIPTION:[vc_row][vc_column][vc_column_text]In this presentation\, David Levine will discuss how a 2004 trip to Berlin’s Volksbuehne led him to conspiracy theories about the transformation of performance into spectatorship\, spectatorship into surveillance\, and surveillance into transcendence. \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists 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 viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series curated by Mathilde Walker-Billaud.[/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] \nDavid Levine is an artist living in New York and Berlin. His work incorporates video\, photography\, performance\, and theater\, and has been seen at MoMA\, Mass MOCA\, and KW Institute for Contemporary Art (Berlin).  His work has been featured in Artforum\, Frieze\, and the New York Times\, and his writing has appeared in Parkett\, Mousse\, and Cabinet. He recently directed an opera about the pop group Milli Vanilli. \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-23-down-and-out-in-san-francisco-and-antarctica/
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/2014/12/LA.-Print-by-David-Levine-1974.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:20150131T193000
DTEND;TZID=America/New_York:20150131T213000
DTSTAMP:20260429T065439
CREATED:20150112T050000Z
LAST-MODIFIED:20190502T211158Z
UID:10001881-1422732600-1422739800@uniondocs.org
SUMMARY:Anthromentaries Four
DESCRIPTION:[vc_row][vc_column][vc_column_text]Steve Wetzel will be exhibiting several videos never seen in New York. In fact this group of works has never been seen much outside the Midwest. Each is inspired in its own way by observational documentary\, ethnographic film and video\, and the rich and hugely diverse body of experimental time-based art. In addition Steve will read a few passages from two of his short collections of writings published by the Green Gallery Press (Occasional Performances and Wayward Writings\, 2010\, and [Pause]\, 2014). The forms and subjects addressed in the writings range from essays and lectures on love\, public space and mentorship\, to email correspondences and interviews about teaching and art practice. Both texts will be available for purchase at the screening. \nSteve Wetzel will be joined by filmmaker Pacho Velez for a conversation to follow the screening. \nOn Tuesday\, February 3 at 7pm\, Steve Wetzel will be part of the Flaherty NYC Winter/Spring 2015 program at Anthology Film Archives programmed by Sierra Pettengill & Pacho Velez. Details here.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_custom_heading text=”Men’s Hockey\, Steve Wetzel\, USA\, 2003\, 28 min.”][vc_column_text]Men’s Hockey is a glimpse at a privileged and intimate space where men prepare for competition with each other. The video\, the anthromentary\, is recorded in a direct observational style that reveals the texture\, complexity and everydayness of a single day inside the locker room of a professional hockey team in Rockford\, IL. \nDetroit Film Center\, Detroit\, MI \nWisconsin International Film Festival\, Madison\, WI[/vc_column_text][vc_custom_heading text=”The First Shot is Silent (Kaszube’s Park)\, Steve Wetzel\, 2010\, 14 min.”][vc_column_text]The First Shot is Silent is about the commemoration of a once-thriving migrant fishing village in Milwaukee\, now bulldozed into an industrial corridor. As with all progress\, many experience its opposite: reversal into disappearance. The memorial attempts to preserve the idea and memory of the Kaszubes\, and is a physical marker that conjures the realness of geography and the actual bodies that once animated it. It feels like a weak apology to me. \nPittsburgh Filmmakers\, Pittsburgh\, PA \nThe Nightingale Theater\, Chicago\, IL[/vc_column_text][vc_custom_heading text=”Kid Beat Box: Twenty-two Tapes\, Edit Nine\, Steve Wetzel\, USA\, 2009\, 9 min.”][vc_column_text]In the end all biography is inadequate\, but that doesn’t mean we shouldn’t try. There’s much to learn from these efforts. In saying this I don’t mean to suggest that Kid Beat Box is a biography; I don’t think it is\, or if it is a biography\, then that’s just part of the story\, part of the experience: experiment in biography\, anthromentary\, experimental document\, flimsy structuralist video\, short documentary essay. Whatever the case it’s only nine minutes long\, and we can handle that. \nMilwaukee Museum of Art\, Milwaukee\, WI \nPittsburgh Filmmakers\, Pittsburgh\, PA \nThe Nightingale Theater\, Chicago\, IL \nAnn Arbor Film Festival\, Ann Arbor\, MI[/vc_column_text][vc_custom_heading text=”Of the Iron Range\, Steve Wetzel\, USA\, 2014\, 20 min.”][vc_column_text]Of the Iron Range documents a cultural event in a small Midwestern town (Cuyuna\, Minnesota) that once held the nation’s supply of iron ore. Every year\, people from across the region gather for a dynamic\, convivial social performance where hundreds of wood ticks are gathered and raced. Deeply symbolic and rich in human observation\, Iron Range offers a portrait of one of America’s once-thriving industrial sites. \nThe Great Poor Farm Experiment\, Manawa\, WI[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \nSteve Wetzel is an artist and award-winning video maker from Minnesota\, USA\, and currently teaches in the Film Department at the University of Wisconsin-Milwaukee. Over the past decade Wetzel has produced many works of experimental non-fiction and anthromentary video\, and has shown nationally and internationally. Much of Wetzel’s work focuses on social construction and the everyday inscription of the human symbolic. These themes can also be found in two small volumes of Wetzel’s writings\, Occasional Performances and Wayward Writings (2010)\, and [PAUSE] (2014\, Green Gallery Press)\, described variously by his editor as “an urgent and generous exegesis\,” and “a contemporary mix of aesthetic-\, personal-\, and moral imminence.” \nPacho Velez works at the intersection of ethnography\, contemporary art\, and political documentary. His current project\, The Reagan Years\, explores a prolific actor’s defining role: Leader of the Free World. Told entirely through a largely-unseen trove of archival footage\, the film captures the pageantry\, pathos\, and charisma that followed the 40th President from Hollywood to the nation’s capital. His last film\, Manakamana (co-directed with Stephanie Spray) won a Golden Leopard at the Locarno Film Festival. It played around the world\, including at the Whitney Biennial and the Toronto International Film Festival. \nPacho lives in New York City. He teaches filmmaking at Bard College and MassArt. Along with Sierra Pettengill\, he  is co- programming the Flaherty NYC’s  2015 spring program at Anthology Film Archives.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-31-anthromentaries-four/
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:20150207T193000
DTEND;TZID=America/New_York:20150207T210000
DTSTAMP:20260429T065439
CREATED:20141205T050000Z
LAST-MODIFIED:20190228T171205Z
UID:10002488-1423337400-1423342800@uniondocs.org
SUMMARY:That Which Is Possible
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Michael Gitlin’s film That Which Is Possible is a portrait of a community of painters\, sculptors\, musicians and writers making work at the Living Museum\, an art-space on the grounds of a large state-run psychiatric facility in Queens\, New York. Shot over the course of two years and structured across the arc of a day\, the film observes with an intimate lens and unspools like a musical\, both bracing and tender. That Which Is Possible explores the liberatory and reparative functions that creative action has for a group of artists drawn together by shared struggle. \nThe title\, That Which Is Possible\, points to several things at once: the Living Museum as a place where a variety of ways of being are possible\, where one can paint or sculpt or write or play music\, or simply be left alone for a moment outside the temporal and spatial control of the modern psychiatric institution; the way this moment outside of control allows for the possibility of spontaneous interaction\, closedness\, and even joy; the possibility that the Living Museum might serve as a kind of template for a more humane and holistic approach to mental illness; and the utopian possibility that the Living Museum and places like it might serve as transformational fulcrum points for larger social changes. \nMichael Gitlin will be joined by Issa Ibrahim and Jim Supanick for a discussion to follow the screening.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”83 min” color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”65497″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Michael Gitlin’s work has been screened at numerous venues\, including the Museum of Modern Art in New York\, the New York Film Festival\, the Toronto International Film Festival\, the Full Frame Documentary Festival\, the London Film Festival and the Whitney Biennial Exhibition. His 16mm film\, The Birdpeople (61 minutes\, 2004)\, is in the permanent collection of the Museum of Modern Art. Gitlin was the recipient of a Guggenheim Fellowship in 2006. His work has also been supported by the Jerome Foundation\, the New York State Council on the Arts\, and the New York Foundation for the Arts. Gitlin received an M.F.A. from Bard College. He teaches at Hunter College in New York City.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”96928″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jim Supanick is a videomaker and writer born in Cleveland\, Ohio\, and living in Brooklyn. Forthcoming videos include a long-term project titled “Seed Sold Back to the Farmer”\, a two-part animated essay about the assembly line and its legacy of damage\, as well as a re-edited segment of Caspar Stracke’s “Circle’s Short Circuit” (featuring an interview with Avital Ronell). He has received support from NYSCA\, the Puffin Foundation\, and the Experimental Television Center. His essays on film\, video\, and visual culture have appeared in such publications as Film Comment\, Millennium Film Journal\, The Wire\, Cineaste\, and The Brooklyn Rail\, along with exhibition catalogs and with DVD releases. He is the recipient of a Creative Capital/Warhol Foundation Arts Writers Grant and a NYFA Grant for Nonfiction Literature. He is also a member of Synthhumpers\, a quasi-musical collaboration with Josh Solondz. Jim currently teaches at City College of New York.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-02-07-that-which-is-possible/
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/2018/04/gitlin_still_for_uniondocs_5.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:20150227T193000
DTEND;TZID=America/New_York:20150227T230000
DTSTAMP:20260429T065439
CREATED:20150216T050000Z
LAST-MODIFIED:20190314T215939Z
UID:10002511-1425065400-1425078000@uniondocs.org
SUMMARY:All or Nothing: Final Hours Fundraiser Party
DESCRIPTION:Have we succeeded in our fundraising goal\, or will this be our last chance?\nEither way\, let’s have a drink.\n \nWe’re celebrating our final days raising funds for Living Los Sures and all of the backers who have so generously donated thus far.\n$10 at the door with drink specials and dance-y jams by J. Escobedo Sheperd and Sebastian Diaz. \nFree entry for backers who pledged $25 or more on Kickstarter! \nComplimentary cocktails\, 9pm – 11pm (while supplies last). \nCourtesy of El Buho Mezcal. \nAlso\, cheap beer all night.
URL:https://uniondocs.org/event/2015-02-27-party/
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/2015/02/3442184353_fbff1379ee_z.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:20150301T193000
DTEND;TZID=America/New_York:20150301T213000
DTSTAMP:20260429T065439
CREATED:20150212T050000Z
LAST-MODIFIED:20181113T223911Z
UID:10001887-1425238200-1425245400@uniondocs.org
SUMMARY:The Uprising
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white”][vc_column_text]The Uprising shows us the Arab revolutions from the inside. It is a multi-camera\, first-person account of that fragile\, irreplaceable moment when life ceases to be a prison\, and everything becomes possible again.[/vc_column_text][vc_text_separator title=”Program”][vc_column_text] \nThe Uprising\n2013\, Belgium/Great Britain\, 79 mins. \nThis feature-length documentary is composed entirely of videos made by citizens and long-term residents of Tunisia\, Egypt\, Bahrain\, Libya\, Syria and Yemen. The film uses this footage\, not to recount the actual chronology of events or analyze their causes\, but to create an imaginary pan-Arab uprising that exists (for the moment) only on the screen. It has screened at over twenty international film festivals\, including Turin\, Edinburgh\, Bratislava\, and MoMA’s Doc Fortnight \nPeter will be joined by artist Ganzeer for a discussion to follow the screening. \nDirector’s statement: The Uprising is based\, not on a naive belief in the power of spontaneous rebellion to usher in a perfect and just world\, but on the incontrovertible evidence that video works. That it communicates an energy that can break down walls of isolation and fear\, and transform people’s lives. That it can preserve the individual voice without which the largest crowd is worth nothing. And that this call to refuse the humiliation and ridicule that governments heap upon those they govern\, and to try and live instead with honour and with dignity\, can speak directly not only to the people of these six Arab nations\, but to all of us\, everywhere.[/vc_column_text][vc_text_separator title=”79 min.”][vc_column_text]Peter Snowdon was born and brought up in Northumberland\, England.  He moved to Paris in 1992 to teach English and to write.  In a moment of creative misunderstanding\, he gave up poetry for political activism after reading Ivan Illich.  From 1997 to 2000 he lived in Egypt\, where he was a journalist with Al-Ahram Weekly.  On his return to Europe\, he began making agit-prop documentary films in collaboration with grassroots citizens’ groups.  Over time\, his work has evolved beyond the purely political to engage with the experimental and avant-garde traditions\, and to address wider philosophical issues.  His short films are distributed by the Collectif Jeune Cinema (Paris). The Uprising is his first feature-length film\, and was produced as part of a practice-based Phd at the MAD Faculty (University of Hasselt/PXL)\, Belgium.  Peter is currently based in Glasgow\, where teaches filmmaking at the University of the West of Scotland. \nGanzeer is the pseudonym of an Egyptian artist operating mainly between graphic design and contemporary art since 2007. He is not an author\, comicbook artist\, installation artist\, painter\, speaker\, street artist\, or videographer\, though he has assumed these roles in a number of places around the world. His art has been shown in Bahrain\, Belgium\, Brazil\, Canada\, Finland\, Germany\, Jordan\, the Netherlands\, Switzerland\, United Arab Emirates\, and the United States\, as well as in myriad Cairo galleries.  Art in America Magazine has referred to Ganzeer’s work as “New Realism\,” and the Huffington Post ranked him among “25 Street Artists from Around the World who are Shaking Up Public Art\,” but Ganzeer rejects both labels and regards Bidoun magazine’s description of him as a “contingency artist” as probably the most accurate\, while Ganzeer refers to his own practice as Concept Pop. Al-Monitor.com has placed him on a list of “50 People Shaping the Culture of the Middle East” (2013)\, and he is also one of the protagonists in a critically acclaimed documentary “Art War” (2014) by German director Marco Wilms.  Ganzeer is currently based in Brooklyn\, New York. He can be reached by emailing shout(at)ganzeer.com[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-01-the-uprising/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150306T193000
DTEND;TZID=America/New_York:20150306T213000
DTSTAMP:20260429T065439
CREATED:20150207T050000Z
LAST-MODIFIED:20181017T202227Z
UID:10001884-1425670200-1425677400@uniondocs.org
SUMMARY:The Klansmen\, the Journalist\, and the Artist
DESCRIPTION:[vc_row][vc_column][vc_column_text]On the occasion of the exhibition Traces in the Dark presented at the Institute of Contemporary Art\, the University of Pennsylvania\, UnionDocs presents an artist presentation\, screening and conversation with the Toronto-based artist Deanna Bowen. She presents the findings from her meticulous research on Canadian and American Ku Klux Klan activities in performance\, prints\, bookwork\, and collage at ICA in a group exhibition about the things that lie in the margins of recorded history. Through this body of work\, Bowen advances her argument that iconic images of civil rights protest ironically occlude the Klan’s activities\, and\, in response\, she shines light on the invisible perpetrators. At UnionDocs\, she discusses her research and screens her 2012 short film Paul Good at Notasulga\, based on an original audio recording from 1964 of the late civil rights journalist Paul Good’s coverage of a violent incident. Liz Park\, Whitney-Lauder Curatorial Fellow at ICA and the curator of the exhibition\, will moderate a conversation about the burden and privileges of being the keeper of an archive and of being the storyteller with Bowen and the late journalist’s daughter Regan Good. \nTraces in the Dark is on view at ICA through March 22\, with performances by Deanna Bowen presented on select Wednesdays and Sundays. Please check the website for details: icaphila.org. \nThe price of admission to this UnionDocs event includes a complimentary copy of the Traces in the Dark exhibition catalogue\, normally on sale for $12. \n \nConceptualized and produced as an analogue of the exhibition of the same title\, Traces in the Dark is a collection of essays and artist folios that nest inside each other. The artist folios are: Imaginary Archive by Gregory Sholette and Olga Kclosedkina; “Hunting the Nigs” in Philadelphia: or an alternative chronology of events leading up to and one year beyond the Columbia Avenue Uprisings\, August 28-30\, 1964. by Deanna Bowen; and We were the mist\, the smoke curtain\, that hid everything by Harold Mendez. A curatorial essay by Liz Park and a new text by Sholette\, “Heart of Darkness: 1956\, 2015\, 2065\,” contextualize the artist folios. \nPaul Good at Notasulga\, Canada/US\, 2012\, 20 mins. \n \n– Paul Good in Nashville\, interviewing John Lewis and Lester McKinnie (Photo: Archie E. Allen) \n \n– Monson Motor Lodge\, St. Augustine\, FL\, 1964. \nInstallation photos by Aaron Igler/Greenhouse Media[/vc_column_text][vc_separator color=”white”][vc_column_text] \nDeanna Bowen is a descendant of the Alabama- and Kentucky-born Black Prairie pioneers of Amber Valley and Campsie\, Alberta.  Winner of the 2014 William H. Johnson Prize\, she is an interdisciplinary artist whose work has been exhibited internationally in numerous film festivals and museums\, including the Images Festival\, Toronto; the Kassel Documentary Film and Video Festival; Oberhausen Film Festival; Nasher Museum of Art at Duke University\, Durham\, North Carolina; and the Canadian Museum of Immigration at Pier 21\, Halifax.  Bowen teaches video art and ethnographic documentary production in the Department of Arts\, Culture and Media at the University of Toronto Scarborough. \nLiz Park is a curator and writer from Vancouver\, Canada\, currently based in Philadelphia as Whitney-Lauder Curatorial Fellow at the Institute of Contemporary Art. After receiving an MA in Art History/Curatorial Studies at the University of British Columbia\, she held various curatorial positions including Curator-in-Residence at Western Front\, Co-Director/Curator of Access Gallery\, and Public Programmer at the Vancouver Art Gallery. She curated a number of exhibitions internationally including at the Glenbow Museum in Calgary\, the Kitchen in New York\, and Seoul Art Space_Geumcheon in Seoul\, and her writing has been published by Afterall Online\, Performa Magazine\, Fillip\, Yishu: A Journal of Contemporary Chinese Art\, Pluto Press\, and Ryerson University Press\, among other places. The topics of her curatorial research and writing include the politics of visibility\, the representation of violence\, artist-run institutions\, and non-Western art in the global context of contemporary art. In 2011–2012\, Park was Helena Rubinstein Fellow in the Curatorial Program at the Whitney Independent Study Program. \nRegan Good is a poet and writer living in Brooklyn.  She currently teaches creative writing at the Fashion Institute.  She is writing a memoir (tentatively called The Good Family) about growing up in Westport\, CT in the sixties and seventies when the town had a soul and money didn’t matter as much.  Her father’s work during the Civil Rights Movement is at the heart of the memoir.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-06-the-klansmen-the-journalist-and-the-artist/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/11/unnamed-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150314T193000
DTEND;TZID=America/New_York:20150314T213000
DTSTAMP:20260429T065439
CREATED:20150216T050000Z
LAST-MODIFIED:20181107T220831Z
UID:10001891-1426361400-1426368600@uniondocs.org
SUMMARY:Field Niggas and Antonyms of Beauty
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_empty_space][vc_column_text] \nField Niggas\n2014 USA\, HD\, 60min \n“Set entirely at night\, Field Niggas takes us to the corner of 125th Street and Lexington Avenue in Harlem and introduces us to its faces. Not just avoiding but repudiating condescension\, Khalik Allah’s camera\, a longtime\, welcome presence in the neighborhood\, spotlights his subjects in stunningly composed\, dignified portraits that are hypnotically woven with street images. The non-synch audio track consists of conversations with and among those faces: dreams\, regrets\, arguments\, affection\, observations\, opinions. Field Niggas is a mesmerizing viewing experience\, that finds its rhythm using field hollers. The title draws from Malcolm X’s “Message to the Grass Roots” speech\, in which he targets the power balance that creates a dangerous wedge between the “house slaves” and the “field slaves.” Khalik Allah’s singular\, trenchant film serves as an ardent call to rise above social constructs.” As told by Chris Boeckmann of True/False Films. \nAntonyms of Beauty\n2013\, USA\, 8/35 mm\, 27min  \nPointing to my head : You got no idea how deep this goes\, and coherent all the way through. I read thousands of books that had me vacillating between insanity and sanity. Now I walk the precipice of death until there’s nothing left. \n“I’ve been staring into the sun since I was a child. Some people told me not to do that. I did it anyway. I made Antonyms of Beauty for the same reason. I have to stare at what nobody wants to look at.” From Fotogragia Magazine. \nArtist Statement: \nI don’t see other photographers where I shoot\, only surveillance cameras. When asked if fear was the main theme of my work I said it’s not fear\, but the removal of fear leading to the awareness of Love that interest me. We don’t react to anything directly in the world\, only to our interpretation of things. And our interpretations are mostly wrong. Photography is a therapeutic tool I use to confront my own perception\, and challenge my ego. It strengthens my spirit when I see passed appearances and approach people who I would’ve otherwise avoided.[/vc_column_text][vc_empty_space][vc_text_separator title=”87 min” color=”white” border_width=”2″][vc_empty_space][vc_column_text]Khalik Allah\, b. 1985\, is a self taught filmmaker and photographer. His work has been described as visceral\, hauntingly beautiful\, penetrative and profoundly personal. In August of 2010 Khalik asked his father to loan him a camera to take some casual photographs of his emcee friend\, The Genius of The Wu- Tang Clan. But when Khalik was given a fully manual\, analogue film camera\, his casual interest quickly became serious. Up until that point he was focused mainly on film-making. Photography became and extension of that film-making\, allowing Khalik to create more quickly by telling stories in a single frame. Photography and film-making are two overlapping circles that form a venn diagram in Khalik Allah’s mind; the area where they overlap is the space he inhabits as an artist. \n Omar Mullick is a film director and cinematographer known for his work on the 2013 feature film THESE BIRDS WALK. In 2012\, Filmmaker Magazine named Omar one of the 25 New Faces of Independent Film. Premiering at SXSW in 2013 and distributed theatrically by Oscilloscope Laboratories\, THESE BIRDS WALK went on to be named as one of the best films of the year by the New Yorker Magazine\, Indiewire\, and Sight + Sound Magazine. It currently ranks as one of the best ever rated documentaries on Rotten Tomatoes. \nTrained as a photographer\, Omar’s work was published in The New York Times\, Foreign Policy Magazine\, National Geographic and TIME\, receiving awards from the Doris Duke Foundation\, the Western Knight Center for Journalism\, Annenberg and Kodak. In 2009 he was granted a solo show of his photographs titled ‘Can’t Take It With You’ at the Gallery FCB in Chelsea\, New York. His current work as a cinematographer and director includes as clients HBO\, CNN\, PBS\, Discovery\, Al Jazeera America and The Gates Foundation.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-14-field-niggas-and-antonyms-of-beauty/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150321T193000
DTEND;TZID=America/New_York:20150321T213000
DTSTAMP:20260429T065439
CREATED:20150216T050000Z
LAST-MODIFIED:20190314T211549Z
UID:10001888-1426966200-1426973400@uniondocs.org
SUMMARY:A Cocktail of Mistakes\, or a Mistake of Cocktails: The (Notorious) Legend of Robert Beck Memorial Cinema in 2 or 3 Easy Lessons
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nEvery Tuesday night for more than a hex of years\, the RBMC illuminated the snowy-white screen of the Collective Unconscious on Manhattan’s Lower East Side. Initiated by Brian Frye & immediately joined by Bradley Eros\, both shared the core curating frenzy of this no-budget operation\, managing to produce over 300 programs and exhibiting more than a thousand artists. When Frye left\, it relocated & regrouped\, mutating into Roberta Beck Mercurial Cinema at Participant Inc’s gallery just around the corner\, for a year\, with a team of at least six\, but primarily & irrepressibly Eros & Joel Schlemowitz. It later became a restless\, nomadic cinema\, mushrooming & mutating in myriad incarnations\, most notoriously at Issue Project Room on the Gowanus Canal in Brooklyn\, both indoors and out.  Lastly\, it explored more artworld and musical contexts\, transforming the field of experimental film\, as both quixotic and quicksilver.\n\n\n\n\n\n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”90 min”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n \n  \nThe Legend of Robert Beck / Sanitarium Cinema\, Brian Frye & Bradley Eros / Bradley Eros & Maria Losier\, 1999\, DVD\, 3 min/7 min. \nThe history told & enacted. \nRobert Beck is Alive & Well & Living in NYC\, Brian Frye with Stuart Sherman\, 2000\, 16mm\, 4 min. \nThe myth performed. \n \nburn (or\, The 2nd Law of Thermodynamics)\, Bradley Eros\, 2004\, DVD\, 5 min. \nAn accident of modulated destruction; an offshoot of the original “Mistakes” show. \nPunch n’ Judy Santa (double projection)\, found films – Eros/Frye intervention\, 2000\, 16mm\, 10 min. \nAn RBMC fave. \n \nX times X\, Bradley Eros\, 1998\, R-8mm/16mm\, 4 min. \nThe X-Rated x-ray film\, a subterranean science experiment. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \nBradley Eros: An artist working in myriad media: experimental film & video\, collage\, photography\, performance\, sound\, text\, contracted and expanded cinema and installation. Also a maverick curator\, composer\, designer & investigator.  Concepts include: ephemeral cinema\, mediamystics\, subterranean science\, erotic psyche\, cinema povera\, poetic accidents\, and musique plastique. Work has been exhibited at Whitney Biennial & The American Century MoMA\, Performa09\, The New York\, London\, and Rotterdam Film Festivals\, The Kitchen\, and Microscope Gallery.  Worked for many years with the New York Filmmakers’ Cooperative\, Anthology Film Archives & co-directed the Robert Beck Memorial/Roberta Beck Mercurial Cinema. \n  \nBrian L. Frye is a filmmaker\, writer and law professor. His films explore relationships between history\, society\, and cinema through archival and amateur images. His films have appeared in places like The Whitney Biennial\, New York Film Festival’s “Views from the Avant-Garde”\, New York Underground Film Festival\, San Francisco Museum of Modern Art\, The Warhol Museum\, Pleasure Dome\, Media City and Images Festival. His short films are in the permanent collection of the Whitney Museum and distributed by the Filmmaker’s Coop. He’s been awarded grants from the Jerome Foundation and ETC. His writing on film and art has appeared in October\, The New Republic\, Film Comment\, Cineaste\, Millennium Film Journal and the Village Voice. He is currently a visiting assistant professor at Hofstra Law School and is developing a beer-brewing hobby. \n  \nJon Dieringer is a programmer\, writer\, filmmaker\, and media conservator. As the editor and publisher of Screen Slate\, Dieringer provides a daily resource for listings and commentary on New York City moving image culture. He is also one of the principle programmers\, administrators\, and trailer editors at Brooklyn’s Spectacle and has additionally organized screenings at 92YTribeca\, Anthology Film Archives\, The International House\, The Museum of Arts and Design\, and UnionDocs. His collaborative videos\, often brain-burning takes on the shape and construction of meaning through popular reappropriation\, have screened at Anthology\, Flux Factory\, MAD\, MoMA PS1\, The Nightingale (Chicago)\, and Spectacle. Dieringer has also written for TIME.com\, TIME Magazine’s LightBox\, and INCITE Journal of Experimental Media. Professionally\, he is the Technical Director at Electronic Arts Intermix—following in the lineage of unintended RMBC namesake\, video artist Robert Beck.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-21-a-cocktail-of-mistakes-or-a-mistake-of-cocktails-the-notorious-legend-of-robert-beck-memorial-cinema-in-2-or-3-easy-lessons/
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/2014/04/unnamed-1.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:20150322T193000
DTEND;TZID=America/New_York:20150322T213000
DTSTAMP:20260429T065439
CREATED:20150218T050000Z
LAST-MODIFIED:20181127T221805Z
UID:10002516-1427052600-1427059800@uniondocs.org
SUMMARY:Terrible Resonance: A Live Podcast about Subversive Sound\, Earthquakes\, Ghosts\, Outer Space\, Sonic Weaponry\, and Whales
DESCRIPTION:[vc_row][vc_column][vc_column_text]There is a murky and uncertain world of sound below the bassiest bass we can hear.  Despite the physical limitations of our ears\, these rumbles\, called “infrasounds” affect us\, in wildly different ways–sometimes beautiful\, sometimes terrifying. \nTerrible Resonance is a journey from 0-20hz\, telling stories from the well-studied rumbles of Earth’s crust\, songs of whales and elephants\, and resonant points in the human body to the areas of the unknown that lead to wild speculation: hauntings\, the “brown” note\, spontaneous orgasm and not-so-secret weapons programs from the Pentagon. \nThe show runs roughly 90 minutes and includes a live infrasound demonstration from Brooklyn-based musician Joe Morgan.  Earplugs will be provided.  Children and service animals should use extra precaution during this portion of the show. \n[/vc_column_text][vc_text_separator title=”90 min”][vc_column_text]Jeff Emtman is a Seattle-based artist. He is the creator of Here Be Monsters\, a philosophy/science/storytelling podcast about fear and the unknown.  He also manages The Dream Tapes Project\, which mails tape recorders around the world to capture semi-consious stories from drowsy people. \n\n\n\n\n \n\nJoe Morgan is a Brooklyn-based sound designer\, video artist\, and electronic music composer. He has created original music videos for artists such as Kyle Bobby Dunn and Iyez and is one half the ambient music duo Phantom Fauna.\n\n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-22-terrible-resonance-a-live-podcast-about-subversive-sound-earthquakes-ghosts-outer-space-sonic-weaponry-and-whales/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/06/unnamed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150322T193000
DTEND;TZID=America/New_York:20150322T230000
DTSTAMP:20260429T065439
CREATED:20150305T050000Z
LAST-MODIFIED:20190314T203335Z
UID:10001894-1427052600-1427065200@uniondocs.org
SUMMARY:Terrible Resonance: A Live Podcast about Subversive Sound\, Earthquakes\, Ghosts\, Outer Space\, Sonic Weaponry\, and Whales (Late Show)
DESCRIPTION:[vc_row][vc_column][vc_column_text]Terrible Resonance is a journey from 0-20hz\, telling stories from the well-studied rumbles of Earth’s crust\, songs of whales and elephants\, and resonant points in the human body to the areas of the unknown that lead to wild speculation: hauntings\, the “brown” note\, spontaneous orgasm and not-so-secret weapons programs from the Pentagon. \nThe show includes a live infrasound demonstration from Brooklyn-based musician Joe Morgan.  Earplugs will be provided. \n[/vc_column_text][vc_text_separator title=”90 min”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Jeff Emtman is a Seattle-based artist. He is the creator of Here Be Monsters\, a philosophy/science/storytelling podcast about fear and the unknown.  He also manages The Dream Tapes Project\, which mails tape recorders around the world to capture semi-consious stories from drowsy people. \n  \n\n \n\nJoe Morgan is a Brooklyn-based sound designer\, video artist\, and electronic music composer. He has created original music videos for artists such as Kyle Bobby Dunn and Iyez and is one half the ambient music duo Phantom Fauna. \n\n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-22-930-terrible-resonance-live-podcast-subversive-sound-earthquakes-ghosts-outer-space-sonic-weaponry-whales-late-show/
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:20150410T193000
DTEND;TZID=America/New_York:20150410T213000
DTSTAMP:20260429T065439
CREATED:20150226T050000Z
LAST-MODIFIED:20180515T213231Z
UID:10001893-1428694200-1428701400@uniondocs.org
SUMMARY:The Story of Telling
DESCRIPTION:[vc_row][vc_column][vc_column_text]Tirtza Even’s presentation\, “The Story of Telling\,” will review her efforts to communicate social and political realities in visual media. Even’s linear and interactive video work have consistently been engaged with representing the encounter with a variety of groups and individuals\, typically ones whose lives embody complex or decentralized social/political settings (in Palestine\, Turkey\, the U.S and Germany\, among other locations).  At the same time (and perhaps especially) the work could also be described as an exploration of the inevitable\, yet nuanced\, failure of this very act of representation. \nEven’s most recent projects include Land Mine (A feature length documentary\, 2014\, work-in progress); Natural Life (a feature length documentary on incarcerated youth\, 2014)\, and Once a Wall\, or Ripple Remains (a multi-channel video / 3-D animation reflecting on personal encounters in Palestine\, 2009. \nLand Mine (Tirtza Even\, Palestine/Israel\, 2014\, feature length work-in progress) — segment \nNatural Life (Tirtza Even\, USA\, 2014\, 77 minutes) — segment \nOnce a Wall\, or Ripple Remains (Tirtza Even\, Palestine/Israel\, 2009\, 59 minutes/ multi channel installation) — segment \nVideo artist Tirtza Even takes a documentary approach to sociopolitical issues and uses interactive installations to communicate her ideas; her latest work\, designed as a dual projection for museum exhibition\, employs split-screen imagery to look at the crimes of six adult prisoners\, each sentenced as youths to life without parole\, or “natural life.” The paradox that someone might lead a natural life behind bars is central to the film; the director couples interviews with archival footage and staged scenarios to create a sense of confusion and injustice; she never pardons her subjects’ actions\, but she convincingly condemns the more archaic aspects of our penal and judiciary systems as they process lower-class minority teens. Unlike other recent documentaries on prison issues\, this has a riveting performance element that transcends stodgy journalism. \n-Drew Hunt\, The Chicago Reader \nA practicing documentary maker and video artist for over fifteen years\, Tirtza Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine\, Turkey\, Spain\, the U.S. and Germany\, among others).  Even’s work has appeared at the Museum of Modern Art\, NY\, at the Whitney Biennial\, the Johannesburg Biennial\, as well as in many other galleries\, museums and festivals in the United States\, Israel and Europe\, including Rotterdam Film Festival\, San Francisco Film Festival and The New York Video Festival\, Lincoln Center. It has won numerous grants and awards\, including Fledgling Fund; Artadia Awards\, Chicago (winner of top award); Golden Gate Awards Certificate of Merit\, San Francisco International Film Festival; Best Experimental Film\, Syracuse Film Festival; Media Arts Award\, The Jerome Foundation; First Prize\, L’immagine Leggera Festival\, Italy; Individual Artists Program Awards\, NYSCA\, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY)\, the Jewish Museum (NY)\, the Israel Museum (Jerusalem)\, among others. She has been an invited guest and featured speaker at many conferences and university programs\, including the Whitney Museum Seminar series\, the Digital Flaherty Seminar\, Art Pace annual panel\, ACM Multimedia\, the Performance Studies International conference (PSI)\, the Society for Literature\, Science\, and the Arts conference (SLSA) and others. Even’s work is distributed by Heure Exquise\, France\, Video Data Bank (VDB)\, USA\, and Groupe Intervention Video (GIV)\, Canada. She is an Associate Professor in SAIC’s Film\, Video\, New Media\, and Animation department \n\n\nIva Radivojevic is an award winning filmmaker based in Brooklyn. She spent her early years in Yugoslavia and Cyprus before settling in NYC over a decade ago. Her work explores the theme of identity\, migration and belonging. Iva’s films have screened at various film festivals including SXSW\, IFF Rotterdam\, HotDocs\, The Museum Of Modern Art\, were broadcast on PBS and published by the New York Times Op-Docs. Iva was named one of 25 New Faces of Independent Film of 2013 by Filmmaker Magazine. Her feature length documentary “Evaporating Borders” has won several awards internationally and was recently nominated for an International Documentary Association (IDA) Award as well as a Cinema Eye Honors Spotlight Award and is currently touring the world. Follow what she’s up to at www.ivaasks.com \n\n\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/89713384″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-10-the-story-of-telling/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/unnamed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150417T193000
DTEND;TZID=America/New_York:20150417T213000
DTSTAMP:20260429T065439
CREATED:20150316T040000Z
LAST-MODIFIED:20180515T182026Z
UID:10001898-1429299000-1429306200@uniondocs.org
SUMMARY:What You Get is What You See: Two Turntables\, An Image Macro\, and a Bear Named Mr. Truffles
DESCRIPTION:[vc_row][vc_column][vc_column_text]A spectator of spectators\, Kenyatta Cheese will show how Internet meme and pop culture communities actively defy the traditional narrative of spectator passivity and reveal an experience that is communal\, participatory\, and emotional. \nKenyatta will argue that the audience has always desired participation and that this desire was only rendered passive in order to fit the needs of large scale\, industrialized commerce. He then suggests that we change the discourse around the creative process towards a model of networked participation that embraces varying levels of effort and expertise. \nFollowed by a complimentary cocktail reception. \n \nsponsored by El Buho Mezcal \nKenyatta Cheese is a professional internet enthusiast best known for co-creating the web series and internet meme database Know Your Meme. He built interesting things at Rocketboom\, Unmediated\, the Eyebeam Center for Art and Technology\, Screensaversgroup\, and Manhattan Neighborhood Network. Nowadays he is Creative Director at Everybody at Once\, a consultancy dedicated to audience development for media\, entertainment\, and sports. \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists 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 viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series presented by Mathilde Walker-Billaud.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-17-two-turntables/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150418T193000
DTEND;TZID=America/New_York:20150418T213000
DTSTAMP:20260429T065439
CREATED:20150324T040000Z
LAST-MODIFIED:20180515T175817Z
UID:10002523-1429385400-1429392600@uniondocs.org
SUMMARY:Life: Before\, During and After
DESCRIPTION:[vc_row][vc_column][vc_column_text]Niagara’s Fury\, Benjamin R. Taylor\, 2013\, HD\, 27:00 \nNiagara’s Fury is the study of the transformation that the prying eyes of the tourist inflict upon the world. Something like ethnography or anthropology\, the film moves through the seemingly abandoned city that surrounds one of the world’s natural wonders. We watch it\, listen to it. Monuments to entertainment\, absurd idols and apparatuses sit in the stillness of the day as the waters flow by unabated. The film looks at how we reign the natural world into absurd conceptual frameworks and ponders the reflections of the waters and what they may see in us when gazing back. \nI See a Light\, Aaron Zhegers\, 2011\, 16MM and digital found footage\, 1:30 \nA brief glimpse into the final moments of a lifetime. Created from found 16mm\, video and audio footage. \n11 Parking Lots and One Gradual Sunset\, Aaron Zhegers\, 2014\, 8:28 \nBoth beauty and destruction. Both homage and critique. Sincere insincerity amidst the concrete jungle. \n“Nature here is vile and base… I see fornication and asphyxiation and choking and fighting for survival and growing and just rotting away… it’s a land that God\, if he exists\, has created in anger. It’s the only land where creation is unfinished yet. Taking a close look at what’s around us here\, there is some sort of a harmony…” \nTerroir\, Shannon Harris\, 2012\, 6:45 \nRoughly translated terroir can mean a sense of place and coming from a place. This piece is an image/sound portrait of a personal geography as well as formal investigation of digital media. Captured entirely on a cell phone\, the camera records a landscape in constant motion and disintegration. This fluctuating image is married to a sound-scape that grasps for connection that reaches over distance. It is generated from the messages left by friends and loved ones on my cellphone over the course of several years. The raw material of both image and sound come from the same place\, the cell phone\, which I use to record the environment around me as I move across the Canadian landscape. Rarely does one stay where one is born\, we move\, modern life almost necessitates it. This piece explores notions of communication and distance\, technology and intimacy. \nLacuna\, Shannon Harris\, 2008\, 9:40 \nLacuna: 1. an empty space or a missing part; a gap; an absence. 2. a discontinuity in an anatomical structure. \nDifferent textures of grief and acceptance emerge and the camera eye becomes a lens into the interior. Space is inhabited by memory; memory becomes a gesture that seeks the past. Lacuna is a poetic meditation that navigates a landscape of absence\, memory and transformation though image and sound. \nThe process of shooting and editing this film was an intuitive one that was very attached to the process of working through a loss. In the summer of 2007 my mother died suddenly and unexpectedly from cancer. My connection to her is strong; it is one between mother and daughter and between place and home. This film is an image/sound poem as well as a document of the experience and grief of the loss of my mother. \nFracas\, Eduardo Menz\, 2007\, Digital8\, 4:30 \nThe juxtaposition of children’s school portraits with the anxious voices of an elementary spelling bee reveals a haunting reality of innocence that has vanished.  In this experimental documentary\, Eduardo Menz repurposes found images with great effect to create an emotionally compelling montage that lingers long after the film ends. \nLas Mujeres de Pinochet (Les Femmes de Pinochet / Pinochet’s Women)\, Eduardo Menz\, 2005\, Hi8\, 12:00 \nIn this experimental short\, the viewer is forced to role-play through the repeated employment and alteration of the text\, sound and image until his or her expectations have been truthfully realized. The video examines class structure\, the meaning of beauty and forgotten history through two very different but significant women during Pinochet’s brutal regime of the late 1980’s. \nShannon Lynn Harris is an artist whose film and digital work reflect a creative practice rooted in personal experience. She is interested in the intersection of documentary\, avant-garde film and video practices as well as the potential of expanded notions of documentary. She is currently based in Montreal\, Canada and originates from Vancouver\, British Columbia. \nBenjamin R. Taylor is a filmmaker working in experimental and documentary forms. His work focusses on geography\, architecture\, nature and spirituality.He is the curator of the monthly experimental documentary screening series Visions in Montréal. His works have been presented in festivals and galleries in Canada\, Europe\, Asia and Australia. \nEduardo Menz was born in 1977 in Edmonton\, Alberta\, Canada from Chilean descent and has called Montreal home for the past nine years. Eduardo completed his BFA in film production at Concordia University in 2006. He is a member of the Double Negative Collective who showcase international experimental filmmaker’s works as well as exhibit their own films and videos at numerous festivals locally and worldwide. Eduardo’s film work has always attempted to transgress and interweave the boundaries of what defines fiction\, documentary and experimental film genres. Eduardo has also been the fortunate recipient of several federal and provincial media grants for his writing and film work. His films & videos have won awards at Big Muddy in Illinois\, NextFrame Touring Film Festival in the U.S.\, Les Rendez-Vous du Cinema Quebecois in Montreal\, Hot Docs and Images Festival in Toronto and have been shown at several distinguished festivals worldwide. \n \nAaron Zeghers is a Winnipeg-based artist working in film and video. He often works with analogue mediums (super 8 & 16mm)\, found footage and experimental processes. He is a founder of the closed City Cinema collective and the Winnipeg Underground Film Festival. Zeghers’ films have played in marginalized venues the world around. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-18-life-before-during-and-after/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/03/4428094_orig.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150419T193000
DTEND;TZID=America/New_York:20150419T193000
DTSTAMP:20260429T065439
CREATED:20150326T040000Z
LAST-MODIFIED:20180515T174911Z
UID:10001897-1429471800-1429471800@uniondocs.org
SUMMARY:Bloody Marys with Scott Carrier
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nPeabody Award-winning journalist Scott Carrier 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\, the world of podcasts.  With Home of the Brave\, Scott provides a weekly story “from the archives\, the road\, and the end of the world.”  Join UnionDocs for a discussion\, and a Bloody Mary\, with Scott. \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. \nJonathan Goldstein is a frequent contributor to This American Life. He is author of ‘Lenny Bruce is Dead’ and ‘Ladies and Gentlemen\, The Bible!’. His latest book\, ‘I’ll Seize the Day Tomorrow’\, is available for purchase online. He hosts and produces PRI’s Wiretap\, now in its 11th season.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/120756514″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-19-bloody-marys-with-scott-carrier/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/jonathan-goldstein.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150419T193000
DTEND;TZID=America/New_York:20150419T213000
DTSTAMP:20260429T065439
CREATED:20150330T040000Z
LAST-MODIFIED:20180515T174636Z
UID:10001901-1429471800-1429479000@uniondocs.org
SUMMARY:Still Matters: A Screening of Archival and Found Footage Re-Appropriation
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nIn 2009\, the Beijing-based archivist and artist Thomas Sauvin salvaged over half a million discarded negatives from a recycling plant on the outskirts of the city. Sauvin processed\, archived\, and curated selections of these photographs in a project called Beijing Silvermine. The images were taken between 1985 and 2005\, a period of tremendous social and economic change in mainland China\, as well as the height of consumer film photography in the region. \nFrom 2011 to 2012\, a collaboration between Sauvin and the Chinese animator Lei Lei led to the creation of Recycled\, an experimental video work that animates over 3000 of the Beijing Silvermine photos\, reconstructing anonymous memories of place and personal history in China over a 20 year timespan. \nTaking Recycled as a point of departure\, this screening will include a selection of works from experimental filmmakers and artists who explore innovative formal approaches in their reconstructions of place and memory on moving image. \nThe concept behind this program was partially inspired by RECYCLED CINEMA\, an earlier screening program held in Boston that was developed and curated by the new Boston-based film initiative Crows & Sparrows in collaboration with the Balagan Film Series. \n  \nSummer of 1969\, Cao Kai\, China\, 2002\, 8 mins \nOne of the earliest found footage attempts from China\, veteran curator and experimental filmmaker Cao Kai juxtaposes television footage of Mao’s cultural revolution with Bryan Adams’ summer concert\, both in 1969. \n  \nOff-White Tulips\, Aykan Safoglu\, Germany/Turkey\, 2013\, 24 mins. \n“Concentrating on James Baldwin’s extended stays in Istanbul in 60’s and 70’s\, the film explores the limits of an autobiography mostly relying on found materials such as Sedat Pakay’s photography. Racism\, transnational discourses\, queer politics and appropriation art are also being investigated throughout the video-essay.” – Ann Arbor Film Festival \n  \n200\,000 Phantoms\, Jean-Gabriel Périot\, 2007\, France\, 10 mins. \n“In 1914\, the Genbaku Dome in Hiroshima was a dazzling center of elegant urban life in Japan. On August 6\, 1945\, the atomic bomb called Little Boy detonated 500 feet away from the building\, killing 78\,000 people and leveling the city within a single second. But the dome miraculously survived\, and in 2006 it stands as a silent reminder of the horrors of nuclear power. In this experimental short film\, the history of the 20th century flies past\, illustrated by 600 photographs of the Genbaku Dome.In 1914\, the Genbaku Dome in Hiroshima was a dazzling center of elegant urban life in Japan. On August 6\, 1945\, the atomic bomb called Little Boy detonated 500 feet away from the building\, killing 78\,000 people and leveling the city within a single second. But the dome miraculously survived\, and in 2006 it stands as a silent reminder of the horrors of nuclear power. In this experimental short film\, the history of the 20th century flies past\, illustrated by 600 photographs of the Genbaku Dome.” – Tribeca Film Festival \n  \nErinnerungen (Memories)\, Sylvia Schedelbauer\, Germany\, 2004\, 19 mins. \n“A woman grows up during the bubble economy in Japan. Why did her parents never speak about the past? Using a box full of photos found in her family archive\, Schedelbauer tries toconstruct one version of a family history.” – Anthology Film Archives \n  \nRecycled\, Lei Lei and Thomas Sauvin\, China\, 2013\, 6 mins. \nFilmmaker in attendance. “In 2009\, the Beijing-based archivist and artist Thomas Sauvin salvaged over half a million discarded negatives from a recycling plant on the outskirts of the city. Sauvin processed\, archived\, and curated selections of these photographs in a project called Beijing Silvermine. The images were taken between 1985 and 2005\, a period of tremendous social and economic change in mainland China\, as well as the height of consumer film photography in the region. From 2011 to 2012\, a collaboration between Sauvin and the Chinese animator Lei Lei led to the creation of Recycled\, an experimental video work that animates over 3000 of the Beijing Silvermine photos\, reconstructing anonymous memories of place and personal history in China over a 20 year timespan.” – Genevieve Carmel / Crows & Sparrows \n  \nFollowed by a 15-min lecture by Daniel Traub on Little North Road / Xiaobeilu Project. \n“Its nicknames are “Chocolate City” and “Little Africa.” Located in Guangzhou\, China’s third-largest city and a major industrial hub attracting workers from across China and the world\, the Xiaobeilu neighborhood reflects China’s recent invsestment in the African continent – It is now home to thousands of African tradesmen and salesmen. For centuries people and trade have flowed from one region to another\, but Daniel Traub’s Xiaobeilu project captures an entirely twenty-first century phenomenon.” – Aperture Magazine \n  \n  \nLei Lei is a Chinese artist and independent animator based in Beijing. His animation and short video works have been shown in a variety of international film and animation festivals\, such as IFF Rotterdam\, Annecy Festival\, and elsewhere. From 2011 – 2012\, he collaborated with Beijing-based French collector Thomas Sauvin’s Beijing Silvermine Project for Recycled\, a short video of 3\,000 photographs selected from half a million discarded amateur photo negatives of a recycling plant on the outskirts of city. He is the recipient of a 2015 Asian Cultural Council grant and is currently visiting until the end of April. \nDaniel Traub is a Brooklyn-based photographer and filmmaker. Since 1999\, he has been engaged with a long term photographic projects in China including Simplified Characters which explore the transformation of China’s cities\, and Peripheries which looks at the border region where urban and rural China meet. Traub’s photographs have been exhibited internationally\, including solo exhibitions at the Catherine Edelman Gallery in Chicago and the Print Center in Philadelphia\, and are in public and private collections\, such as the Margulies Collection at the Warehouse and the San Francisco Museum of Modern Art. His work has appeared in publications including Aperture\, European Photography and The New York Times Magazine. His first monograph\, North Philadelphia\, was published in 2014 by Kehrer Verlag. \nXin Zhou is a curator and writer based in Brooklyn\, NY. He has curated public programs and film series at Anthology Film Archives (NYC)\, UnionDocs (Brooklyn)\, OCT Loft (Shenzhen)\, The Wooster Group (NYC)\, and elsewhere. His writing has appeared in Artforum (China)\, The Brooklyn Rail\, Film Comment\, Indiewire\, and Modern Weekly.  Zhou also has worked with several film festivals and arts institutions in a variety of capacities\, including the China Independent Film Festival (Nanjing)\, the Robert Flaherty Film Seminar (New York) and Wu Wenguang Studio (Beijing). He holds a MA in Cinema Studies from New York University.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-19-still-matters-a-screening-of-archival-and-found-footage-re-appropriation/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/unnamed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150424T193000
DTEND;TZID=America/New_York:20150424T213000
DTSTAMP:20260429T065439
CREATED:20150331T040000Z
LAST-MODIFIED:20180515T165849Z
UID:10002529-1429903800-1429911000@uniondocs.org
SUMMARY:Eclipses
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nEclipses\, Daniel Hui\, Singapore\, 2011\, 103 minutes \nA woman begins to come to terms with society after having withdrawn into her own world to mourn her late husband. The film splinters away to document the characters surrounding her – people from different classes\, including the director’s own family. An investigation of the landscapes in which we live\, work\, and play\, this is Singapore seen through the prisms of family\, class and race. \n\nDocLisboa International Film Festival\, Portugal 2013 \nawarded Pixel Bunker Award for International New Talent \n\nWorld Film Festival Bangkok\, Thailand 2013 \nReggio Emilia Asian Film Festival\, Italy 2012 \nSingapore International Film Festival\, Singapore 2011 \n  \n“Never before has cinema spoken to me in ways as such\, and the experience from having two characters speak straight to you is both liberating and intimate.” – Ivan Tan\, Sindie \n“Eclipses [is] extraordinary\, because what [it presents] is not only the information\, but the souls of the persons.” – Jit Prokeaw \nDaniel Hui will be present at the Eleanor Bunin Film Center for the U.S. Premiere of his film Snakeskin on April 18th at 6:30 PM.  This screening is part of the Film Society of Lincoln Center’s ‘Art of the Real’ Series. \nDaniel Hui is a filmmaker and writer. A graduate of the film program in California Institute of the Arts\, his films have been screened at film festivals in Rotterdam\, Hawaii\, Manila\, Seoul\, Bangkok\, and Vladivostok. His writings have been published in prominent cinema journals\, including the Cinematheque Quarterly of the National Museum Singapore. He is the contributing editor to the Network for the Promotion of Asian Cinema (NETPAC) online journal\, Cinemas of Asia.  He is also one of the founding members of 13 Little Pictures\, an independent film collective whose films have garnered critical acclaim all around the world. He recently won the Special Jury Award at the TFFDoc section of the Torino Film Festival for his second feature film Snakeskin. \nJames N. Kienitz Wilkins is an artist and filmmaker based in Brooklyn\, NY. Working mostly in film and video\, his projects have screened internationally. He’s received grants and support from Jerome Foundation\, NYSCA\, Lower Manhattan Cultural Council\, Foundation for Contemporary Arts\, Experimental Television Center\, and elsewhere. Residencies include the Volunteer Lawyers for the Arts’ Art & Law Program\, Jihlava Inspiration Forum\, Berlin Talents\, and the MacDowell Colony. He produces and distributes his work through The Automatic Moving Co.\, an artist group and production company based in New York. He is a graduate of the Cooper Union School of Art.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://www.youtube.com/watch?v=MPVtPvC9Uh4″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-24-eclipses/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150426T193000
DTEND;TZID=America/New_York:20150426T213000
DTSTAMP:20260429T065439
CREATED:20150331T040000Z
LAST-MODIFIED:20180515T162847Z
UID:10002533-1430076600-1430083800@uniondocs.org
SUMMARY:Theater of War with In Country
DESCRIPTION:[vc_row][vc_column][vc_column_text]Americans have been bombarded by photographs and videos from battlefields far removed from the safety of our cities and towns. War stories come home through veterans’ very personal experiences and images which influence popular video games and are rehearsed through the growing phenomenon of live-action military simulation and recreation. On Sunday evening\, borrowing the focus of documentary photographer Meredith Davenport’s new book\, we ask questions about the Theater of War. How do images of war enter into and influence our personal narratives\, our cultural psyche? Do iconic images of conflict perpetuate trauma? Can games or play using these representations help metabolize the violence? Have war photographs lost their meaning? Is there a new visual vocabulary that could be used to discuss war? Seeking answers and discussion\, Meredith Davenport will present her photography alongside presentations from Jessica Catherine Lieberman and Fred Ritchin\, both experts on the topic who have written essays for the book. Clips will be shown of the recently released feature\, In Country\, which documents a community of men who gather each year to dutifully recreate battles from the Vietnam War. The directors of this fascinating film\, Mike Attie and Meghan O’Hara will join in the conversation remotely. \n  \n \nTheater of War\nEdited by Meredith Davenport with essays by Alfredo Cramerotti\, Fred Ritchen\,Jessica Catherine Lieberman and Esther MacCallum-Stewart\, Intellect Press\, 2014. \nFor five years\, Meredith Davenport has photographed and interviewed men who play live-action games based on contemporary conflicts\, such as a recreation of the hunt for Osama Bin Laden that took place thousands of miles from the conflict zone on a campground in Northern Virginia. Her images speak about the way that trauma and conflict penetrate a culture sheltered from the horrors of war. Bringing together a series of two dozen photographs with essays discussing and analyzing the influence of the media\, particularly photographs and video\, on the culture at large and how conflict is “discussed” in the visual realm\, Theater of War is a unique look at the influence of contemporary conflict\, and their omni-presence in the media on popular culture. Written by an experienced photojournalist who has covered a variety of human rights issues worldwide\, this book is an essential addition to the library of anyone interested in the confluence of war and media. \n  \n“Davenport’s images begin to question some of what war is about by dwelling in the realm of make-believe. Given media’s repetitive fantasies\, in some ways her approach may be\, paradoxically\, more real.” – Fred Ritchen \n  \n \n  \nIn Country\nDirected by Mike Attie and Meghan O’Hara \nTo many of us\, the idea of Civil War re-enactment is a familiar concept. But the men of Delta 2/5(R) recreate the battles of a far more charged conflict: The Vietnam War. For one weekend a year\, the woods of Oregon transform as a mix of combat enthusiasts\, Iraq veterans\, and even a former South Vietnamese Army officer\, revive — by choice — a war that a whole generation would much rather forget. Disquieting and provocative\, In Country blurs fantasy with trauma\, deftly tugging at the imposing question: what compels these men to don the vintage uniforms and meticulously bring this controversial war back to life? \nAvailable on iTunes and VOD April 24th. \n  \n“This movie delicately shares a fascinating aspect of our culture that few people are aware of. But more than the oddity of the reenactments\, Mike and Meghan’s film gets to the root of why these men would bring a painful war back to life and its healing process for their PTSD.” – Marc Schiller\, BOND/360 \n  \n  \nMeredith Davenport has a distinguished career in documentary photography. Her photographs have appeared in National Geographic\, The New York Times\, and on the cover of Newsweek magazine as well as in the highly acclaimed HBO documentary “Child Soldiers.” She is the recipient of a Pew Fellowship in International Journalism. She currently teaches at the Rochester Institute of Technology. \nJessica Catherine Lieberman is Assistant Professor of Visual Culture at Rochester Institute of Technology in New York\, where she teaches in the College of Liberal Arts and for the Graduate Photography program in the College of Imaging Arts and Sciences. She has authored three books and is currently working on a manuscript\, Terror\, Images and Traumatic Augmentation\, a study of the circulation and reception of images from the advent of photography through the digital era. Lieberman s teaching focuses on issues of gender\, ethnicity and identity in contemporary American visual culture with particular emphases on the role of visual technologies and the ideation of illness and death. \nFred Ritchin is Dean of the School at ICP (International Center of Photography) Ritchin was the founding director of the Documentary Photography and Photojournalism Program at the School of ICP and was appointed Dean in 2014. Prior to joining ICP\, Fred Ritchin was professor of Photography and Imaging at New York University’s Tisch School of the Arts\, and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program. Previously the picture editor of the New York Times Magazine (1978–82)\, executive editor of Camera Arts magazine (1982–83)\, and founding director of the Photojournalism and Documentary Photography Program at the International Center of Photography (1983–86)\, Ritchin has written and lectured internationally about the challenges and possibilities implicit in the digital revolution. Ritchin is a prolific author and curator\, focusing on digital media and the rapid changes occurring in photography. He wrote the first book on the impact of digital imaging on photography\, In Our Own Image: The Coming Revolution in Photography (Aperture\, 1990\, 1999\, 2010)\, which was followed by two more books on the future of imaging in the digital era\, After Photography (W.W. Norton\, 2008)\, and Bending the Frame: Photojournalism\, Documentary\, and the Citizen (Aperture\, 2013) Ritchin co-founded PixelPress in 1999\, serving as director of an organization that has created multimedia documentary and photojournalism projects online\, and collaborated with humanitarian organizations such as UNICEF\, WHO\, UNFPA\, Crimes of War\, and the Rwanda Project. \nMike Attie’s award-winning short documentaries have shown at major documentary festivals including San Francisco International\, SilverDocs\, and Cinequest. Prior to receiving his MFA from Stanford University’s Documentary Film program\, Attie worked as a production assistant and assistant editor for Academy Award-winning filmmakers Alan and Susan Raymond on films for HBO and PBS. Attie’s film\, FAMOUS 4A was nominated for the International Documentary Association’s David Wolper Award and won 1st Jury Prize for short films at the Kos International Film Festival and CILECT’s Documentary Film Prize. Attie received a BA in American History from Vassar College. Attie is a lecturer in the Department of Radio/Television/Film at Northwestern University\, and the associate director of the department’s new MFA Program in Documentary Media. He is a 2014 Sundance Documentary Film Program Fellow and was named one of The Independent’s “10 Filmmakers to Watch in 2014.” \nMeghan O’Hara is a San Francisco-based filmmaker whose short films have received recognition from major film festivals in the United States and abroad\, including the Edinburgh International Film Festival\, the Mill Valley Film Festival\, Big Sky Documentary Film Festival\, and Slamdance. She is a 2014 Sundance Documentary Film Program Fellow\, recipient of an Eastman/Kodak award for Excellence in Cinematography\, and was named one of The Independent’s “10 Filmmakers to Watch in 2014.” O’Hara holds a MFA in Documentary Production from Stanford University and a BA in experimental film and video from Hampshire College. She is an Adjunct Professor of Film and Design at California College of the Arts.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-26-theater-of-war-with-in-country/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/10/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150502T193000
DTEND;TZID=America/New_York:20150502T213000
DTSTAMP:20260429T065439
CREATED:20150416T040000Z
LAST-MODIFIED:20180424T175742Z
UID:10002046-1430595000-1430602200@uniondocs.org
SUMMARY:Capital: A City Symphony with Cast in India
DESCRIPTION:[vc_row][vc_column][vc_column_text]CAPITAL: A CITY SYMPHONY\, 2010\, 72 min. \nA film by Maxim Pozdorovkin and Joe Bender. \nNew York City Premiere \nWhat does it mean for a nation to start anew? For Kazakhstan\, the answer is to build Astana\, the world’s youngest capital\, a utopian city of the future where skyscrapers and cranes stretch as far as the eye can see. Construction workers\, TV reporters\, and official tour guides spend their lives in the service of this city-in-progress. Capital tells the story of Kazakhstan’s new capital as it celebrates its tenth anniversary. Military parades\, monumental architecture\, song competitions\, and human pyramids are only one side of the story; the other tells of thousands of migrants arriving to take part in their nation’s new experiment. They come to Astana to build its golden monuments\, to keep its markets closed long after dark\, and to push the city’s frontiers deeper into the empty plains. Longtime residents watch as a glistening new city rises up across the river and their dusty Soviet village turns into a “pearl of the steppe.” As fear over the global financial climate spreads\, leaving construction sites empty and the future of Kazakhstan’s dream city uncertain\, the residents find themselves caught between the official vision of Astana and the realities of life on utopia’s outskirts. \n \nCapital\, a film by Maxim Pozdorovkin and Joe Bender — Trailer from Third Party Fllms on Vimeo. \n  \nCast in India\, 2014\, 26 min. \nDirected\, Produced\, Shot\, and Edited by Natasha Raheja \nIconic and ubiquitous\, thousands of manhole covers dot the streets of New York City. Enlivening the everyday objects around us\, this short film is a glimpse of the working lives of the men behind the manhole covers in New York City. \nScreenings and Awards: \nMargaret Mead Film Festival\, Codes and Modes: The Character of Documentary Culture\, DOC NYC Film Festival\, Montclair Film Festival \nInternational Documentary Association Best Student Documentary Nominee\, Social Impact Media Awards Short Documentary Special Mention \n \nCast in India Trailer from Natasha Raheja on Vimeo. \nMaxim Pozdorovkin is an award-winning filmmaker\, writer and media curator based in New York City. His documentary PUSSY RIOT: A PUNK PRAYER premiered at the 2013 Sundance Film Festival where it won a Special Jury Award. Released theatrically around the world\, the film was shortlisted for an Academy Award. Maxim holds a PhD from Harvard University for a dissertation on Soviet newsreel and is currently an artist fellow at Harvard’s Society of Fellows. Maxim’s most recent film\, THE NOTORIOUS MR. BOUT\, about the Russian arms dealer Viktor Bout\, premiered at the 2014 Sundance Film Festival and has been shown at festivals around the world and will released in August 2015. Maxim’s first feature film\, CAPITAL\, is a modern-day city symphony about the construction of Astana\, a utopian city in the center of Kazakhstan. Recent curatorial work includes designer Julia Ramsey’s knitwear installation PELT as well as Flicker Alley’s Landmarks of Early Soviet Film box-set. \nMaxim is an executive producer on HBO’s upcoming Bolshoi Babylon. \nJoe Bender is a filmmaker\, cinematographer and media artist whose work spans documentary and transmedia\, from the contemporary city symphony CAPITAL to the multimedia platform THE GUN SHOW and music videos for Pussy Riot and The Budos Band. Joe holds a Ph.D. from Harvard University\, where he is a postdoctoral fellow. His current projects include FORWARD TO BETTER DAYS\, the story of the militant film collective Audiopradif\, and DIFFERENCE ENGINE\, a meditation on randomness and prediction at the frontiers of science and technology. \n  \n Natasha Raheja is a Brooklyn-based filmmaker. She is currently pursuing a PhD in Sociocultural Anthropology at New York University with a Certificate in Culture and Media. Her research interests are in the areas of migration\, material flows\, and belonging. In Cast in India\, she raises questions around the disparate conditions that shape the geographies of production of everyday urban objects. How does the built infrastructure of New York City conceal the labor infrastructure on which it stands? \n  \nBradley Samuels is a founding partner of SITU Studio and Director of SITU Research. The practice\, founded in 2005 and based in Brooklyn\, remains committed to material investigation as well as research and writing. SITU was selected as one of six interdisciplinary teams to participate in the current MoMA exhibition UnevenGrowth: Tactical Urbanisms for Expanding Megacities and recently presented L+ as part of a design study\, Re-envisioning Branch Libraries co-sponsored by the Center for an Urban Future and The Architectural League of New York. SITU has received numerous awards including Interior Design Best of Year in 2014 and 2011 as well as an award for Excellence in Design by the Art Commission of the City of New York. The firm was a recipient of the 2014 Emerging Voices Award from The Architectural League of New York and their work has been featured in the Architectural Record\, Domus\, Dwell\, Interior Design\, The New York Times\, Surface magazine and the Wall Street Journal. Bradley teaches in the undergraduate architecture program at Barnard/Columbia College. He holds a Bachelor of Arts degree in art history from Vassar College and a Bachelor of Architecture from The Cooper Union. \n  \n Urban Omnibus is the Architectural League’s online publication dedicated to defining and enriching the culture of citymaking. Through weekly long-form features and periodic short-form posts\, we explore projects and perspectives in architecture\, planning\, art\, policy\, and activism – tried and tested in New York City – that offer new ways of understanding\, representing\, and improving urban life and landscape worldwide.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-05-02-capital-a-city-symphony/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/CAPITAL_still-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150508T193000
DTEND;TZID=America/New_York:20150508T213000
DTSTAMP:20260429T065439
CREATED:20150324T040000Z
LAST-MODIFIED:20180417T204706Z
UID:10001908-1431113400-1431120600@uniondocs.org
SUMMARY:What You Get is What You See: The City Has Eyes
DESCRIPTION:[vc_row][vc_column][vc_column_text]The first part of this talk will attempt to look at security professionals\, at those who look for a living—to watch the watchers—and to understand urban security as a different kind of spectatorship\, with its own narrative expectations and interpretive cinematography. Whether this involves staring for hours at a time at multiple video feeds or simply reorienting CCTV cameras to watch—and thus protect—their own cars parked outside the office\, guards are the very definition of urban spectatorship\, literally looking at how the metropolis is used or inhabited. \nThe second part of this talk will look the other way\, so to speak\, at those who seek not to be looked at\, who wish to remain invisible and anonymous: how burglars\, vandals\, and everyday criminals see the city\, as an arena of crimes both real and imagined. \nThe point is to reveal the city as a stadium of looking: on the lookout for criminals hiding in the shadows\, and looking out for police waiting around the next corner. \nFollowed by a complimentary cocktail reception. \n \nsponsored by El Buho Mezcal \nGeoff Manaugh is a freelance writer and curator based in New York. His work has appeared in The New York Times\, New Scientist\, Popular Science\, Domus\, newyorker.com\, and many other publications\, including multiple books\, exhibition catalogs\, and artist monographs. He is most widely known as the author of BLDGBLOG (http://bldgblog.blogspot.com)\, a long-running online catalog of architectural and spatial ideas\, across various scales and genres. His newest book\, investigating the relationship between burglary and architecture\, is forthcoming from Farrar\, Straus and Giroux in October 2015. \n  \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists 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 viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series curated by Mathilde Walker-Billaud.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-05-08-the-city-has-eyes/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/08/Manaugh_SpectatingShot.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150510T193000
DTEND;TZID=America/New_York:20150510T213000
DTSTAMP:20260429T065439
CREATED:20150423T040000Z
LAST-MODIFIED:20180508T164248Z
UID:10001916-1431286200-1431293400@uniondocs.org
SUMMARY:Refracting Lumiere: Avant Garde Revisions of the Lumiere Brothers
DESCRIPTION:[vc_row][vc_column][vc_column_text]Cinema’s origins have held an enduring appeal for the avant-garde. In the act of returning to cinema’s earliest productions\, experimental filmmakers from different eras and regions have discovered a highly flexible and productive artistic gesture. Such returns facilitate interrogations of film history as well as efforts to renew film form or criticize modern media cultures; at their most fruitful\, they question the terms of avant-garde film practice itself. The films of the Lumière brothers have lent themselves especially well to such endeavors. As a series of recent screenings produced at film venues such as Cornell Cinema\, Mad Stork Cinema\, and MoMA PS1 have demonstrated\, remakes and revisions of works by the Lumières constitute a veritable sub-genre of avant-garde film: a common form through which highly disparate practitioners have repeatedly reframed our understanding of the cinematic\, positioning our filmic present in relation to films past. \n“Refracting Lumière” presents a highly distinctive subset of experimental films that re-stage\, re-situate\, or re-purpose filmic scenarios initiated by the Lumières. The program is drawn from the collection of the avant-garde film distributor\, the Film-Makers’ Cooperative\, and focuses on works produced in the 1970s\, a decade of experimental film practice characterized by sustained inquiries into cinematic specificity\, as well as innovative contributions to narrative\, found footage\, and diaristic film forms. Works exemplifying these tendencies by Malcolm Le Grice\, Chick Strand\, Hollis Frampton\, and Bill Brand will be presented alongside a short compilation reel that reproduces the Lumière brothers’ first public exhibition program in 1895\, provided by the New York Public Library’s Reserve Film and Video Collection. The screening will be followed by a Q&A with the artist Bill Brand. \n  \nLumiere Premiere Program: 1895\, Auguste and Louis Lumière\, 1895\, 16mm\, b&w\, silent\, 5 min \n“A compilation of the earliest films of the brothers Auguste and Louis Lumière\, French pioneers in cinema. Includes their first film\, shown March 22\, 1895\, Workers leaving the Lumière factory; Congress of Photographers\, Lyons\, June 1895 (the first news film). Others from the first public exhibition of projected films in France on December 28\, 1895 at the Grand Cafe\, Paris: Watering the gardener\, Baby’s breakfast\, Demolition of a wall\, Arrival of a train at station\, and A game of cards.” – New York Public Library \n  \nAfter Lumiere – L’Arroseur Arrose\, Malcolm Le Grice\, 1974\, 16mm\, color\, sound\, 13.5 min \n“Like all the works I have done which refer directly to another artist\, AFTER LUMIERE is not directly ‘about’ the Lumiere original. It is the starting point for an investigation. In this case it is an investigation into consequentiality\, or at least the significance of sequentiality in the construction of meaning and concept. As such\, the film encroaches on ‘narrative’ cinema\, but in a way which treats narrativization as problematic\, not transparent.” – Malcolm Le Grice \n“The LUMIERE film is especially interesting… It is not simply a series of optical re-combinations\, like cinematic anagrams\, but an investigation into narration itself\, which by counterpointing different narrative tones\, so to speak\, neither dissolves nor repeats Lumiere’s simple story… but foregrounds the process of narration itself.” – Peter Wollen \n  \nLoose Ends\, Chick Strand\, 1979\, 16mm\, b&w\, sound\, 25 min \n“LOOSE ENDS is a collage film about the process of internalizing the information that bombards us through a combination of personal experience and media in all forms. Speeding through our senses in ever-­increasing numbers and complicated mixtures of fantasy\, dream and reality from both outside and in\, these fragmented images of life\, sometimes shared by all\, sometimes isolated and obscure\, but with common threads\, lead us to a state of psychological entropy tending toward a uniform inertness … an insensitive uninvolvement in the human condition and our own humanity.” – Chick Strand \n“[LOOSE ENDS] is a tour de force of polyvalent montage: virtually every shot develops the context established by its neighbors… Strand’s editing is so startling because it conceptually and graphically matches images that shift so radically in mood.” – James Peterson \n  \nStraits of Magellan: Drafts and Fragments\, Hollis Frampton\, 1974\, 16mm\, color\, 20 min excerpt of total 52 min \n“A sampling of forty-­nine fragments from Frampton’s catalogue of ‘actualities’\, the films from STRAITS OF MAGELLAN; DRAFTS AND FRAGMENTS\, are all silent and unedited. Several invoke\, directly\, the work of the Lumieres…” – Bruce Jenkins \n“I have already made 12 or 14 of these one-minute anti-extravaganzas\, and they have been very instructive […] an closed imitation of the Lumiere brothers. […] The reason I put these things at the Straits\, at the most perilous passage of Magellan’s voyage\, is that I have come to feel that the qualities of the image itself\, of the illusionistic image […] that’s what the magic comes out of. […] the bedrock is still the illusion… the frame… and the poignancy and the resonance of what the frame can contain\, so that Magellan on his voyage has got to pass through that\, that’s the tough one. If you can do that […] that may expatiate upon or underline some particular quality of that vast metaphor for consciousness that film is slowly becoming.” – Hollis Frampton \nDemolition of a Wall\, Bill Brand\, 1973\, 16mm\, b&w\, sound\, 27 min \n“After showing 1896 Lumiere film\, DEMOLITION OF A WALL in its entirety\, this film takes six frames of the falling wall and shows them in all their permutations. Meanwhile\, a piano track follows a similar pattern and plays with sound/image relationships. In the original version\, we see Lumiere himself directing the demolition of a wall by workers while a mysterious man in the background watches. In the first commercial film show\, of which this was a part. Lumiere reversed the projection causing the wall appear to reconstitute itself and thus created an additional spectacle. Here\, we celebrate that spectacle by watching 718 additional variations on the theme of deconstruction/reconstruction.” – Bill Brand \n“DEMOLITION OF A WALL is perhaps a final didactic work involving variations within a limited system. The film serves as a ritual of excoriation while standing as a challenge to the possibility of transcending systems… [It] is a plea for escape from the diminishing vantage point of rational systems.” – Bill Brand \nJosh Guilford is a film scholar and curator currently living in New York City. He manages print traffic at the Film-Makers’ Cooperative\, and is a part-time faculty member at the New School. Between 2010-14\, he co-organized the Providence-based experimental film series Magic Lantern Cinema. He holds a Ph.D. in Modern Culture and Media from Brown University. \n  \nBill Brand‘s films\, videos and art installations have been exhibited extensively in the US and abroad in museums\, film festivals and microcinemas. His 1980 Masstransiscope\, an animated mural installed in the New York City subway\, is in the MTA Arts for Transit permanent collection. Bill Brand lives in New York City and is Professor of Film and Photography at Hampshire College in Amherst\, Massachusetts as well as Adjunct Professor of Film Preservation at New York University’s Moving Image Archiving and Preservation graduate program.  His company BB Optics specializes in archival film preservation of small gauge films and films by artists.  In 2006 he was named an Anthology Film Archives Film Preservation Honoree and given a month long retrospective to celebrate BB Optics’ 30th anniversary. \nBrand’s films and videos have been featured at museums including Museum of Modern Art\, Whitney Museum\, National Gallery of Art\, and Shanghai Duolun Museum of Modern Art as well as at major film festivals including the Berlin Film Festival\, New Directors/ New Films Festival\, Tribeca Film Festival and Rotterdam Film Festival.  The work is discussed in histories of cinema including the books Documentary\, A History of the Non-Fiction Film\,  (1992) by Erik Barnouw; Allegories of  Cinema\,  (1990) by David James and in a chapter by Robin Blaetz titled “Avant-Garde Cinema of the Seventies” in Lost Illusions\, American Cinema in the Shadow of Watergate and Vietnam 1970-1979  by David Cook.   Brand’s work has also been written about in news and journal articles by Janet Maslin\, Paul Arthur\, J. Hoberman\, B. Ruby Rich\, Ian Christie\, Noel Carroll\, Brian Frye and Randy Kennedy among others. \nBill Brand founded the showcase and workshop Chicago Filmmakers in 1973\, and served on the Board of Directors of the Collective for Living Cinema until 1991 in New York City.  He co-founded Parabola Arts in 1981 and is currently an artistic director.  He has served as a member of the board of trustees for The Flaherty and is an advisor to the Orphan Film Symposium. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-05-10-refracting-lumiere-avant-garde-revisions-of-the-lumiere-brothers/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/billbrandheadshot.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150606T193000
DTEND;TZID=America/New_York:20150606T220000
DTSTAMP:20260429T065439
CREATED:20150529T040000Z
LAST-MODIFIED:20180320T145439Z
UID:10001925-1433619000-1433628000@uniondocs.org
SUMMARY:LIVING LOS SURES: PREVIEW IN THE PARK & PARTY
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nLiving Los Sures is a collaborative documentary about the Southside of Williamsburg\, Brooklyn.\nTo celebrate the creation of the new documentary projects made this year as part of the UnionDocs Collaborative Production Living Los Sures\, a special public preview will be held in Sternberg (aka Lindsay) Park on Saturday June 6th starting at 8:00pm. Activities start at 6pm – come early to hang out and grab a seat before 8! \nThis event is part of A Brooklyn Barrio: Living Los Sures\, a day of art\, story\, and local experience. \n3pm – Get Legit: A pop-up school of local experience. \n6pm – Park Hangout: Food\, music\, dominoes\, and more. \n8pm – Outdoor Screening: New short films about Los Sures. \n10pm – After party: Live music\, backyard drinks\, and DJs. \nA Brooklyn Barrio: Living Los Sures was produced as part of Van Alen Institute’s June 4 – 13 program series HANGOUTS! \nABOUT THE UNIONDOCS COLLABORATIVE STUDIO\nThe UnionDocs Collaborative Studio is a fellowship program for nonfiction media research and group production. It seeks to bring together individual talents\, voices\, and stories to create multidimensional documentaries. For the past 10 months\, fellows have been immersed in research\, idea generation\, planning\, recording\, edits\, critique\, and re-edits. Teams were formed around a set of select proposals\, which all moved through the stages of production in tandem. Through this effort\, eight new projects were created that explore stories about local neighborhood\, its community\, history and rich culture. \n2015 Projects include: \n149 S. 4th Street (Zack Khalil\, Mitra Azar\, Chelsi Bullard) \n149 S. 4th St. re-enacts the 1968 tenant takeover of a building in Los Sures which sparked a grassroots community housing movement in NYC. \n300 Nassau (Marina Lameiro\, Michela Monte\, Mariangela Ciccarello\, Adam Golub\, 9min) \nGentrification in New York City\, as elsewhere\, frequently conceals criminal practices that have been widely tolerated for years. The story of 300 Nassau is one example.  \nI Was Here First (Adam Golub\, Katherin Machalek\, Chelsi Bullard\, Michela Monte\, 23min) \nA story about DIY art spaces migrating from neighborhood to neighborhood within New York City\, in the face of the rising cost of living. \nMy Little Napoli (Mariangela Ciccarello\, Irene Bartolomé and Sophie Hamacher\, 16min) \nAn unlikely encounter in New York City with a family of Southern Italian immigrants returns the filmmaker to her origins\, to unresolved questions about her identity. \nNight Bus (Sophie Hamacher\, Sarah Stein Kerr and Tessa Rex\, 13min) \nA film about the movements and mindscapes of workers in America’s 24 hour economy as they travel through the night by bus. \nOverall Strategy (Marina Lameiro\, Michela Monte\, Mariangela Ciccarello\, Adam Golub\, 20min) \nBrooklyn is one of the least affordable places to live in the country. You either get out or you fight. For older residents of Los Sures\, staying in their own houses has become an act of resistance.   \nThe Quick Brown Fox Jumps Over The Lazy Dog (Sarah Stein Kerr\, Marina Lameiro\, Katherin Machalek\, 6min) \nAn alphabetical portrait of the south side of Williamsburg through its non-human residents. \nThe Williamsburg Houses (Tessa Rex and Irene Bartelomé\, 13min) \nIn this film we discover the life of The Williamsburg Houses\, the most expensive model of public housing ever constructed in the United States and home to 3000 low-income tenants at a time since 1935. The architecture of The Williamsburg Houses comes to life through the voices of its occupants and its hidden history. In this timeless mise-en-scène we become immersed in a community often dismissed. \n  \nJoin us after the screening for an afterparty at UnionDocs\, 322 Union Ave\, Brooklyn NY. Complimentary beer (while supplies last!) provided by Brooklyn Brewery \nABOUT LIVING LOS SURES \nIn the late seventies and early eighties\, the Southside of Williamsburg was one of the poorest neighborhoods in New York City. Los Sures\, a documentary from 1984 by Diego Echeverria\, skillfully represents the challenges of this time; drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single parent homes\, and inadequate local resources. Echeverria’s portrait also celebrates the vitality of the largely Puerto Rican community\, showing the strength of their culture\, their creativity and determination to overcome a desperate situation. Living Los Sures is a multi-year production that partners with Echeverria to revisit his powerful film\, make it accessible online for the first time\, create a collection of companion documentary projects that update\, annotate\, challenge\, and spiral off from the original\, and activate the community to share stories around remarkable local histories and important civic issues.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-06-living-los-sures-preview-in-the-park/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150606T193000
DTEND;TZID=America/New_York:20150606T230000
DTSTAMP:20260429T065439
CREATED:20150420T040000Z
LAST-MODIFIED:20180320T144837Z
UID:10001912-1433619000-1433631600@uniondocs.org
SUMMARY:A Brooklyn Barrio: Living Los Sures
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]How can the physical spaces of a neighborhood help build local relationships among neighbors? How do you gain a deeper understanding of a place? \nYou hang out! That’s what documentary filmmaker Diego Echeverria did when he made Los Sures. Diego spent a lot of time on the streets of the Southside of Williamsburg\, a neighborhood that had been called one of the worst ghettos in America; meeting people\, being seen\, building trust\, hanging out. UnionDocs\, a Center for Documentary Art has been hanging out on the Southside for many years. By obsessively exploring every aspect of Los Sures and documenting the longstanding Latino community as they fight displacement and survive the growth machine\, they’ve produced a multi-faceted production of their own called Living Los Sures. \nUsing the original film and this impressive body of new work as points of departure\, we have organized a pop-up school of local experiences including talks\, tours\, installations\, interviews\, artist interventions\, music and play across the barrio of Los Sures. Come for a roaming celebration of street life and neighborhood space and expand your view of how the past pervades the present. \n \n3:00 PM – 6:00 PM\nGet Legit: A pop-up school of local experience. \nStop by UnionDocs or nearby subway stations (Marcy J/M\, Bedford L\, Metropolitan G) to grab a map. Class is in session\, but you have permission to wander. Visit community gardens and social clubs\, meet housing activists and artists\, and learn the social history of the neighborhood. Fill your report card and be rewarded at Sternberg Park for your exploration. \n \nSITES:\nA) A new public artwork & comic book trilogy launch by local artist José Luis Medina. Meet the author in person. (Ongoing; Reception 5:30p; UnionDocs\, 322 Union Ave) \nB) Play the interactive web-doc 89 Steps\, installed on the site of production. Climb a 6 story walk-up with Marta Avilés. (Ongoing; 330 S. 3rd St) \nC) What is a barrio? Johana Londoño presents her research in dialogue with local activist & poet David Lopez. (Ongoing; Talks 3/4/5pm\, 153 S. 4th St) \nD) The BQE split the Southside. Envision a green space built over the highway. (Ongoing; Talk w/ deputy Borough Pres. Diana Reyna – 4:30pm\, Rodney St. & S. 3rd St) \nE) El Timbiriche is a mobile kiosk that collects & shares traditional healing practices. Meet El Puente’s team in the Earth Spirit Garden. (Ongoing\, 203 S. 2nd St) \nF) See how tenants fought for affordable housing through the photography of community organizer & artist Fernan Luna. (Ongoing; Talks 3:30/5pm\, 149 S. 4th St) \nG) Relax at Spectacle\, a collectively-run screening space. A program of award-winning short docs from Living Los Sures plays on loop. (Ongoing\, 124 S. 3rd St) \nH) Contextualize at El Museo de Los Sures. View (Dis)Placed Histories exhibit & UnionDocs innovative Los Sures: Shot By Shot. (Ongoing\, 120 S. 1st St) \nI) Retired Domino Sugar worker\, Johnny Mendez won battles for the Berry St. community garden. Hear his story & help him plant. (Ongoing\, 301 Berry St.) \nJ) Have a bite on us at The Caribbean\, the last Puerto Rican social club in Los Sures. Look out for owner Maria Toñita. (Ongoing\, 244 Grand St) \nK) Put on your headphones and take a 15 block audio walk. Hear voices and stories of the long-term residents on location. (Ongoing\, Start at 182 Bedford Ave) \nExtra credit: Find Tamara Gayer’s site-specific LED signs at UnionDocs\, Sternberg Park\, and coded into shops across the ‘hood to unravel a pattern in the messages. \n  \n6:00 PM – 8:00 PM\n  \nLeading up to the screening\, enjoy local food\, music\, and a round of dominoes on tables custom designed by Bien Conectao. Display report cards for rewards. Live Talk Show hosted by La Respuesta magazine authors Gabriel José Maldonado and Andre Lee Muñiz. (Sternberg Park\, Lorimer St. & Montrose Ave.) \n  \n8:00 PM\n \nFind chair on the handball court for preview of new films about the Southside by the fellows from the UnionDocs Collaborative Studio. Hosted by David “D-stroy” Melendez. Learn more about the film program here. (Sternberg Park\, Lorimer St & Montrose Ave) \n  \n10:00 PM-LATE\n \nWrap up the day with live music\, backyard drinks\, and DJ Beto (iBomba). Curated by Fresthetic. Co-presented by Remezcla and the Northside Festival. (UnionDocs\, 322 Union Ave) \nWith Support from:\n \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-06-a-brooklyn-barrio-living-los-sures/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/LLS_lvdocs.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150608T193000
DTEND;TZID=America/New_York:20150608T193000
DTSTAMP:20260429T065439
CREATED:20150521T040000Z
LAST-MODIFIED:20180320T144315Z
UID:10001920-1433791800-1433791800@uniondocs.org
SUMMARY:Documentary Block Part I
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nProgram:\nBob Spells Backwards\, Josh Polon and Ryan Maxey\, 2 minutes \nBob demonstrates his strange compulsion to spell every word he hears backwards. \nStella Walsh\, Rob Lucas\, 15 minutes \nThe tragic story of Stella Walsh\, the greatest female athlete in the world\, her murder\, and the gender controversy that followed. \nTime\, Theodore Collatos\, 7 minutes \nConversations oscillate between family\, politics and sexuality in an voyeuristic contemplation of prison. \nTerms of Intimacy\, Melissa Langer\, 9 minutes \nA glimpse into the emerging industry of professional cuddling and the lives of the clients that use this \nservice. \nThis is Not the End (New York Premiere)\, Hilary Campbell\, 7 minutes \nThe Campbell Family as they are now. \nComic Book Heaven\, E.J. McLeavey-Fisher\, 12 minutes \nComic Book Heaven is a short documentary follows 81-year-old Joe Leisner\, owner of Comic Book Heaven in Sunnyside\, Queens\, NY\, as he cantankerously assesses the status of his business\, the comic book industry\, and his future. \n  \n \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/northside-film-festival-documentary-shorts-part-1/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/05/BobSpellsBackwards1-copy-e1432835589746.jpg
END:VEVENT
END:VCALENDAR