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DTSTART;TZID=America/New_York:20150918T193000
DTEND;TZID=America/New_York:20150918T193000
DTSTAMP:20260429T093845
CREATED:20150910T040000Z
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UID:10001948-1442604600-1442604600@uniondocs.org
SUMMARY:Peephole Cinema Presents: Kinetoscopic Records
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUnionDocs invites you to the closeding reception of Kinetoscopic Records\, presented by Peephole Cinema and programmed by Dan Streible (NYU / Orphan Film Symposium) on Friday\, September 18 from 5pm – 7pm. \nPeephole Cinema exhibitions showcase contemporary media artists while also evoking the proto- and early cinema experiences of the peep show. This UnionDocs program\, Kinetoscopic Records\, invites a collision of the old and new\, the earliest movies and born-digital works. The ten pieces replicate qualities of the earliest film shows\, an incongruous variety of kinetic\, flickery\, silent pictures in motion\, each less than a minute long. \nThis program’s inspiration is the recent rebirth of one of the first motion pictures ever made\, Edison Kinetoscopic Record of a Sneeze\, January 7\, 1894 (aka Fred Ott’s Sneeze). Although its copyrighted images appeared in print in 1894\, the Sneeze was not seen in motion until reanimated on 16mm film in 1953. However\, only now has the entire recording been reproduced. The new Library of Congress version reveals The Sneeze to be nearly twice as long as presumed\, with Mr. Ott sneezing twice in one unedited take. This is its premier public run.    \n \nThe ten movies in five minutes are: \n\nW. K.-L. Dickson\, Edison Kinetoscopic Record of a Sneeze  \nEvan Meaney\, Re_Sneeze   \nJodie Mack\, All Stars  \nJoel Schlemowitz\, The Invention of the Gramophone  \nDanielle Ash\, Creature of the Gowanus  \nTom Whiteside & Anna Kipervaser\, Ott Gotcha  \nAndrea Callard\, Something Medical   \nBill Brand\, Ornithology 4   \nMono No Aware\, Sneezes  \nBill Morrison\, Dancing Decay   \n\nThree new pieces derive directly from the Sneeze. Evan Meaney takes the new version and digitally explodes its halftone printing. Tom Whiteside (who actually collects film prints of Fred Ott’s Sneeze) and Anna Kipervaser create a 16mm found footage jest\, while the Mono No Aware collective made a pilgrimage-homage\, traveling to the Edison Historic Site in New Jersey to shoot Sneezes on black-and-white 16mm film inside the Black Maria building.  \nTwo others works\, also born on celluloid\, reference the era of early cinema. Joel Schlemowitz shot black-and-white film for his Mélièsian féerie about the Kinetoscope’s exact contemporary\, the gramophone. Bill Morrison’s uncanny piece of decaying nitrate 35mm film reveals dancers (a frequent Kinetoscope subject) dancing in a pink cobweb of swirling emulsion. (It too came from the Library of Congress\, but from its discard bin.) \nThe remaining pieces deliver a variety of arresting images for the peep show viewing context. Jodie Mack’s cameraless animation stars rapid-fire geometric forms\, while fellow animator Danielle Ash creates an ethereal aerial view of an imagined Brooklyn\, lit up by lengthy exposures of thousands of pinholes. Bill Brand’s dual-layered duel of abstraction and HD realism pushes the kinetic accelerator even further with a traveling matte that flutters over every frame. The medical imaging technology put to use in Andrea Callard’s memento mori piece pulls in yet another direction\, a reminder that early cinema combined optical toys and scientific devices. \nPeephole Cinema Brooklyn is part of a “miniature cinema” collective with satellite projects in three cities: San Francisco\, Brooklyn\, and Los Angeles. In each location\, silent film shorts are screened 24/7 through a dime-sized peephole installed in a public location.  \nHearkening back to the peep show or raree show—a closed box with at least one peephole revealing a hidden “view”—which was a popular form of entertainment throughout the 18th and 19th centuries\, Peephole Cinema plays on age-old tensions between public and private\, authorized viewing and voyeurism\, seeing and being seen. \nPeephole Cinema Brooklyn is located on the façade of UnionDocs\, Center for Documentary Art in Williamsburg.  Films will change about every two months.  \nFor more information please go to http://www.peepholecinema.com \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-18-kinetoscopic-records/
LOCATION:NY
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20150925T193000
DTEND;TZID=America/New_York:20150925T223000
DTSTAMP:20260429T093845
CREATED:20150819T040000Z
LAST-MODIFIED:20180302T214010Z
UID:10001943-1443209400-1443220200@uniondocs.org
SUMMARY:Cowbird Presents: Unheard Voices
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n \nCowbird: Unheard Voices \nEven in this age of social media\, we still learn most of what we know through predominantly white male filters and pundits\, experts and academics\, politicians and editorialists. We don’t often hear directly from people like a bread baker from La Unión Xaltepec community in Nochistlán\, Mexico\, the only one of her family to stay behind and not leave for work in the United States. \nNor do we hear stories from a father who started his own hair salon in Harlem\, recounting the day his son became old enough to take over the business. \nThose are just two of the people you’ll hear from in Cowbird’s new Unheard Voices digital storytelling collection. Cowbird’s Unheard Voices recently funded two storytellers to amplify the voices and experiences of those excluded from traditional media outlets. Inspired by the acclaimed Cowbird/National Geographic collaboration that gave a platform to residents of the Pine Ridge Reservation\, Unheard Voices launched this spring and will premiere its first two collections of stories at UnionDocs on September 25th. \nWriter and storyteller Dawn Fraser will share the experiences of the stylists\, patrons and community members who congregate in barbershops and natural hair salons in New York City. Photographer Rodrigo Jardón will share the voices and images of the Mixteca Alta\, an indigenous region in the mountains of Oaxaca\, Mexico\, which has been profoundly changed by immigration. Afterward\, they’ll be joined by Cowbird Founder Jonathan Harris and panelists\, Kayla Epstein\, Nadia Reiman and Sarah Kate Kramer\, for a discussion and Q&A about their projects and the future of community storytelling. \n\n[su_spacer size=”30″] \n \n[su_spacer size=”30″] \nCowbird launched on December 8\, 2011 with hundreds of stories about the Occupy Wall Street movement\, and a global community of storytellers soon sprung up around it. Cowbird received widespread media attention from places like The New York Times\, The Washington Post\, The Wall Street Journal\, and TIME Magazine\, which named Cowbird “Twitter in Slow Motion\,” and one of the “50 Best Websites of 2012.” \n  \n  \n  \nFeatured Guests \nJonathan Harris is a digital artist\, known for his work with data visualization and storytelling. He is the creator of seminal interactive projects like We Feel Fine\, The Whale Hunt\, 10×10\, and I Love Your Work\, and the founder of Cowbird. \nDawn J. Fraser is a humorist\, storyteller\, and national speaker from San Jose\, California. She is the Host and Producer of Barbershop Stories\, which features some of New York’s bravest storytellers\, comedians\, and memoirists\, as they tell live stories… while chopping of their hair. Dawn was featured as a speaker amongst some of the nation’s top innovators and change makers at TED@NYC\, and currently teaches storytelling to students through The Moth’s Community Program. Dawn is a nationally acclaimed speaker\, and delivers speeches and workshops to students\, entrepreneurs\, and business owners to develop stories that engage and inspire. Her own stories about growing up as a twin and a first generation Trinidadian have been featured on storytelling shows including The Moth\, Story Collider\,The Soundtrack Series and RISK! \nRodrigo Jardon is a freelance documentary and concert photographer. He received his Bachelor of Journalism at Mexico’s National Autonomous University and has studied workshops at the Narco News’ School of Authentic Journalism\, the International Center of Photography and Aperture Foundation. His work has been published online in The Guardian\, TIME\, Vice\, Berliner Morgenpost and printed on The Scotsman\, Filter Mexico\, The Red Bulletin\, JPG Magazine and more. Since 2009 Rodrigo’s ongoing project “Homelands” has been focused in the effects of the world’s political economy in the life of individuals of Mexico\, the United States\, the West Bank\, Kurdistan and the Western Sahara. \nPanelists \n \nKayla Epstein is the Engagement Editor for The Guardian\, where she utilizes traditional reporting methods as well as social media and closed journalism to tell stories and engage readers. Her work at The Guardian includes The Counted\, a project to document people killed by police in the US in 2015. She worked alongside the Pulitzer-Prize winning team that broke the Edward Snowden NSA stories. Before joining the Guardian\, Kayla worked in worked in NYC politics and government. \nNadia Reiman has been a radio producer since 2005. She has worked for StoryCorps for almost 8 years\, and her work there on the team that produced 9/11 stories earned them a Peabody Award. Nadia has also worked on Afropop Worldwide and NPR’s Latino USA\, where she still curates the show’s music. Nadia also writes for music blogs like Remezcla and Sounds and Colours and worked on a short­lived Spanish language public radio politics program called Epicentro when she worked in Washington DC. \nSarah Kate Kramer is a producer at Radio Diaries\, where she works with Joe Richman to produce audio diaries and documentaries. Her adventures in radio began a decade ago\, when she got hooked on collecting stories as a StoryCorps facilitator. She then traveled to Morocco on Fulbright Fellowship (taking her microphone along) before settling down in her hometown of NYC. Before joining Radio Diaries in 2012\, she was editor of Feet in 2 Worlds and a freelancer for WNYC Radio. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-25-unheard-voices/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/08/SEDA-workshop-SKramer.jpg
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DTSTART;TZID=America/New_York:20150926T193000
DTEND;TZID=America/New_York:20150926T213000
DTSTAMP:20260429T093845
CREATED:20150911T040000Z
LAST-MODIFIED:20180302T210339Z
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SUMMARY:ANN ARBOR FILM FESTIVAL PRESENTS
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nANN ARBOR FILM FESTIVAL PRESENTS \nOn Saturday\, September 26th\, AAFF will curate a film program at UnionDocs consisting of nine new non-fiction films. All works presented\, that were screened at the 53rd edition of the Ann Arbor Film Festival\, originate from Mexico\, Brazil\, Sweden\, Germany\, Canada and the US. The filmmakers behind the works are Kevin Jerome Everson\, Mike Hoolboom\, Brett Story\, Bruno Varela\, John Skoog\, Pablo Lobato\, Katarzyna Plazinska\, Richard Wiebe and Helmut Völter. \nCorda \nPablo Lobato \nBrazil | 2014 | 7 min | digital \nCírio de Nazaré\, held in Belém (Brazil) since 1793\, is one of the biggest Catholic processions in the world. Each year millions of pilgrims accompany the saint’s statue competing for the privilege of holding the long sisal rope that leads the carriage throughout the city streets. In disarray with the rules of the celebration\, and in order to assure their relics\, some promisors cut the rope in the middle of the ritual. The video brings two different fluxes closer: one linear\, guided by the entirety of the rope\, the other chaotic\, responding to the cut. \n  \nWar Prayer \nRichard Wiebe \nUSA\, Cyprus | 2015 | 17 min | digital \nThere are icons in Cyprus that are centuries old. They bloom like flowers in houses\, churches\, monasteries\, and markets. Last summer marked the 40th anniversary of Cyprus’s invasion and partition. Today the island remains divided with abandoned spaces on both sides of the Green Line. For decades every US administration has exploited this partition\, using military bases on the island to conduct surveillance in the Middle East. An icon is a prayer\, a window to heaven\, to a listening ear. \n  \nMasanao Abe- Cloudgraphy \nHelmut Völter \nGermany | 2015 | 5 min | 35mm on digital \nIn 1927\, the Japanese physicist Masanao Abe built an observatory with a view of Mount Fuji. From it\, over the course of over fifteen years\, he recorded the clouds that surrounded the mountain. Abe was interested in the scientific question of how the air currents around Fuji could be visualized by means of film and photography. \nMasanao Abe- Cloudgraphy is a selection of film sequences by Abe from 1929 to 1938. They show his attempts to scientifically grasp the ephemeral forms and movements of the clouds\, but they are at the same time beautiful documents in a long iconographic tradition: the mountain and the clouds. \n  \n  \nChapri    \nKatarzyna Plazinska \nUSA | 2015 | 6 min | digital \nLight\, shadow\, and sound imprint themselves onto ephemeral making. \nScrapbook \nMike Hoolboom \nCanada | 2015 | 19 min | 16mm on digital \nLensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull\, Scrapbook tells the story of audacious autistic Donna Washington in her own words\, as she encounters pictures of one of her former selves fifty years later. \nThree Quarters \nKevin Jerome Everson \nCharlottesville\, VA | 2014 | 3 min | digital \nNorth American Premiere \nTwo magicians in Philadelphia practice their sleight of hand tricks. \nVolatilidad \nBruno Varela \nMexico | 2015 | 2 min | digital \nVolatility: image\, memory\, disappearance. Indirect audiovisual action. Phantoms\, gaps of light\, indexes\, shadows. Wiping of the image through chlorine applied directly on film surface until the last traces are unrecognizable and stop harboring any presence. Sudden interruption on the everyday flow\, of life. Enforced disappearances constitute a systematic practice of terrorism by the State\, it is an operation of induced invisibility. The attorney general\, from the theater of operations\, embodies the script of a tragic act of prestidigitation. Dark magic\, evil dream. Notebook 2015. \nClear and No Screws \nBrett Story \nCanada | 2014 | 6 min | digital \nClear and No Screws profiles SendAPackage\, a wholesale warehouse founded by ex-prisoner Chris Barrett where all of the items sold meet the 36-page list of rules regulating packages allowed into the New York prison system. From pattern-less boxer shorts to hip hop cassette tapes specially produced for New York State’s 54\,000 prisoners\, Clear and No Screws offers a tender glimpse into life in prison through the circulation of regulated goods. \nReduit \nJohn Skoog \nSkåne\, Sweden | 2014 | 14 min | digital \nIn the early 1940’s the farm-worker Karl-Göran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house’s new exterior walls. Karl-Göran lived alone in the house and continued his re-construction until his death in 1975. \n  \n  \n  \n  \n  \nAAFF Program Director David Dinnell will be in attendance with filmmakers Katarzyna Plazinska and Brett Story. \nKatarzyna Plazinska is a filmmaker born in Poland\, currently based in New York City. She makes both fiction and non-fiction films. Her work is characterized by a subtle sensuality and rigorous attention to detail in both image and sound. A fellow of the MacDowell Colony and a recipient of Iowa Arts Fellowship\, her works have screened at numerous film festivals and venues. Katarzyna is a recipient of the Black Maria Director’s Choice Award\, Ann Arbor Festival Jury Award\, and Grand Prix at Montreal Underground Film Festival. \nBrett Story is a writer and independent non-fiction filmmaker based out of Toronto\, currently resideing in New York City. Her first feature-length film\, Land of Destiny (2010)\, was the winner of the Canadian Environmental Media Award in 2011 for Best Documentary. Her journalism and film criticism have appeared in such outlets as CBC Radio\, the Nation Magazine\, and the Toronto Review of Books. She was the recipient of the Documentary Organization of Canada Institute’s 2014 New Visions Award. Brett recently received her PhD in geography from the University of Toronto and is working on a new feature-length film\, titled The Prison in Twelve Landscapes. \nThe Ann Arbor Film Festival is the longest-running independent and experimental film festival in North America\, founded by George Manupelli in 1963. Internationally recognized as a premiere forum for independent filmmakers and artists\, each year’s festival engages audiences with remarkable cinematic experiences. The six-day festival presents 40 programs with more than 180 films from over 20 countries of all lengths and genres\, including experimental\, animation\, documentary\, fiction\, and performance-based works. \nFor its first four decades\, the festival solely exhibited works finished on 16mm. The AAFF remains committed to the exhibition of this medium among other formats including expanded cinematic forms. \nThousands of influential filmmakers and artists have exhibited early work at the AAFF\, including Kenneth Anger\, Agnes Varda\, Andy Warhol\, Gus Van Sant\, Barbara Hammer\, George Lucas\, Les Blank\, Matthew Buckingham\, and James Benning. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-26-aaff-presents/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/09/AAFF-Three-Quarters_220300.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151011T193000
DTEND;TZID=America/New_York:20151011T213000
DTSTAMP:20260429T093845
CREATED:20151009T040000Z
LAST-MODIFIED:20190516T165307Z
UID:10001956-1444591800-1444599000@uniondocs.org
SUMMARY:STAND BY FOR TAPE BACK-UP
DESCRIPTION:[vc_row][vc_column][vc_column_text]”Two years ago\, I found a videotape in my loft. On it: one and a half films\, one quiz show and two sit-coms. Somehow\, it became the story of my life. \nAfter a hard-drive crash and a near-death experience\, Ross Sutherland found himself house-bound with only one thing for company: an old videotape that once belonged to his granddad. \nOver the months that followed\, Ross memorized every second of the tape. Slowly\, he learned how to manipulate the images into telling the story of his life. The videotape allowed Ross to closed a dialogue with his late grandfather\, and eventually helped him confront the illness that had nearly ended his life. \nThe true story of one man’s journey into synchronicity and madness.[/vc_column_text][vc_empty_space][vc_text_separator title=”About”][vc_empty_space][vc_column_text]Performance poet\, Scot\, media-remixer\, Ross Sutherland will take over UnionDocs for a weekend run of his VHS “odyssey” STAND BY FOR TAPE BACK-UP. The production was one of the critical hits of the Edinburgh Festival Fringe 2014 – enjoying a sell-out run at Summerhall\, featuring on The Culture Show’s Fringe highlights program (BBC2)\, and following a sold-out run in spring 2015 at Shoreditch Town Hall\, before it moved onto a successful run at the Soho Theater in London. A film version of the performance premiered at HOT DOCS 2015. \nFollowing the live performance\, visual artist and filmmaker Brent Green will join in conversation with Ross Sutherland. \n“The videotape has a lot of sentimental significance to me – it’s my main way of maintaining a connection to him\, posthumously. The tape has also helped me combat depression (I’ve come to use the tape as a form of meditation). I try to demonstrate this in the show: how repetition helps locate hidden meaning inside the video\, transforming innocuous pieces of TV into buried pieces of my psyche.” \n[/vc_column_text][vc_empty_space][vc_text_separator title=”Press”][vc_empty_space][vc_column_text] \n“Consuming\, compelling\, hypnotic.”\n– Stage \n“Extraordinary”\n– Fest Magazine \n“Touching\, funny\, linguistically thrilling”\n– Exeunt Magazine \n“Simply note down the booking number\, because this is a must see show… extraordinary”- The Observer \n“A profound meditation on death and the afterlife – which sounds utterly absurd\, but is in fact audaciously\, brilliantly pulled off.”\n– Independent \n“Ross Sutherland’s entry at Hot Docs is one of the festival’s most unusual and potentially mind-altering selections”\n– POV Magazine \n“It all builds to a remarkable release of emotion\, as the best live theatre does. But it works damn well as a recording\, too.”\n– NOW Magazine \n“Stand by for Tape Back-up uses the screen as a scrapbook and a reflective surface to compellingly show how magnetic tape has shaped Sutherland’s sense of self and the world around him. A mind-blowing meditation on media’s influence and inheritance.”\n– HotDocs \n\nYO! Ross Sutherland’s incredible #StandByForTapeBackup is gonna be LIVE @UnionDocs this weekend. Change your plans. Go. Laugh. Cry. Rewind. \n— Tom Roston (@DocSoupMan) October 7\, 2015 \n \nOi @RossGSutherland you jammy git! #StandByForTapeBackUp came 1st runners up for @fantasticfest viewers choice award!!! Gwan son! So proud! — M3NSA (@mensamusic) October 2\, 2015 \n \n\n#standbyfortapebackup was great. The more I think about it\, and the more it plays in my memory\, the better it gets. How fitting. \n— Colin (@Colicub) June 26\, 2015 \n\nCongratulations to @RossGSutherland on his beautifully crafted & emotionally powerful show @ShoreditchTH #StandbyForTapeBackUp — Tom Chivers (@thisisyogic) April 29\, 2015 \n[/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]Ross Sutherland is a poet and filmmaker from Edinburgh\, Scotland. He has four collections of poetry\, including Things To Do Before You Leave Town and Emergency Window. He writes regularly for BBC Radio 4 and is the host of the podcast\, Imaginary Advice. He was runner-up for the 2015 National Art Foundation Award for poetry. His play\, Stand-By For Tape Back-Up toured theatres in 2014\, before being adapted for film in 2015 (developed in collaboration with filmmaker Charlie Lyne). Besides “touring” with his STAND BY FOR TAPE BACK-UP show\, he is currently working on a piece of interactive theatre about a comedy club\, trapped inside a five minute timeloop. To read more\, go here.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-11-tape-backup/
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:20151017T193000
DTEND;TZID=America/New_York:20151017T230000
DTSTAMP:20260429T093845
CREATED:20151005T040000Z
LAST-MODIFIED:20190516T170420Z
UID:10001953-1445110200-1445122800@uniondocs.org
SUMMARY:American Pictures by Jacob Holdt
DESCRIPTION:[vc_row][vc_column][vc_column_text]A true eccentric\, Mr. Holdt has created a body of work that is both brutally honest yet remarkably sympathetic both to the oppressors and the oppressed. \n \nAn experiment in oppression\n“The show reveals the psychological costs of racism on both the black and the white mind. Yet it is not only a “show” about the victims of racism\, but also an experiment in oppression. \nThe technique of the show is to incessantly bombard the audience with a one-sided view from the position of the black underclass\, a view in sharp contrast to the Horato Alger myth. \nThere is no opportunity for rationalization or justification. A form of oppression ensues which gradually breaks down the defenses of the audience. It effectively creates a momentary role reversal letting the astonished students actually experience the emotions black people often suffer in everyday white society. This closeds the way for whites to begin to identify with and understand black reactions.” – Jacob Holdt \n  \n \nWhat makes American Pictures so disturbingly powerful is the cumulative effects of Holdt’s photographs combined with his outsider’s analysis of the dynamics of poverty and oppression in the U.S.[/su_quote] \nThe welfare state….. Or the lack of it\nAn important thrust both in the show and discussion groups concerns institutionalized poverty\, fear and insecurity. As an outsider having grown up in a European welfare state Jacob Holdt challenges what he understands as established American thought patterns by demonstrating the enormous financial and human costs of life without cradle-to-grave security. \n[su_quote cite=”Lisa Anne Auerbach\, The Art Book Review”]American Pictures is a wild book that’s all shock and awe and freakshow. Self-published by photographer and “vagabond” Jacob Holdt\, the book is a fucked-up wacky look at America by a guy who makes a habit of jumping into bed with his subjects and hanging out at cross burnings with the Ku Klux Klan. The dude has love and respect for all people\, in a Jesus kind of way\, and he wears a beard braided down to his belly button in order to let everyone know that he’s a weirdo too. \n \n  \nIt is his selfless love for humanity which allows him to move back and forth between the worlds of the fabulously wealthy and the destitute with surprising ease\, thus enabling him to live with the Southern “aristocracy”\, get drunk with millionaires\, and befriend street people\, drug addicts\, gays\, lesbians\, transsexuals\, pimps and prostitutes. Before leaving the country he even attempts to bring about reform in the American prison system. The reader soon realizes that Holdt is better qualified than are most Americans to treat such complex issues as alcoholism\, malnutrition\, unionization\, American religion\, the K.K.K.\, black pride and integration. \nRead more about Jacob Holdt’s project and the full review from ASX.[/vc_column_text][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]ABOUT \nBorn in Denmark 1947\, Danish photographer Jacob Holdt has gained international success for his mammoth ‘travel book’ American Pictures. Since the early 1970s\, Holdt traveled around the US to explore the lower classes of the American society\, inviting himself into the lives and homes of citizens in lower social classes of America. He did not consider himself a photographer until his mother sent him a pocket-sized Canon Dial for his birthday\, asking him to send home some pictures from his travels in North America. Holdt considers his photography work as “a result of non-violent communication with the victims of a violent racism (…) I had never photographed before and saw it first as my visual diary helping me to remember all the people who gave me hospitality and food in more than 400 homes over 5 years as a ‘vagabond’.” \nRead more about Jacob Holdt and his non-violent approach to photography.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-17-american-pictures/
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/2015/10/Jacob-Holdt-default.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:20151024T193000
DTEND;TZID=America/New_York:20151024T193000
DTSTAMP:20260429T093845
CREATED:20151019T040000Z
LAST-MODIFIED:20190404T190758Z
UID:10001959-1445715000-1445715000@uniondocs.org
SUMMARY:Elephant's Dream
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] \nAfter a lengthy and devastating civil war in the Democratic Republic of Congo (DRC)\, the capital city of Kinshasa is rebuilding. Through the eyes of three civil workers struggling to reconstruct the foundation of the city’s public services\, we witness a tale of national transformation— at a snail’s pace. Driven by desperate ambition\, postal worker Henriette faces a system defined by stagnation\, even as she rises through its ranks.  With ramshackle equipment\, a firefighter is forced to watch as everything he helped build burns to the ground. Meanwhile\, optimistic railway worker Simon stands guard over an unused rail-station—unsure of what he is protecting. Their stories allow director Kristof Bilsen to offer a rare look at the DRC\, filled with poetry and absurdity that is brimming with compassionate insight. – Eli Horwatt (HotDocs) \nFestivals & Awards \nTRT Documentary Awards – WINNER 2nd Best International Documentary \nDocs Against Gravity – WINNER Magic Hour Award \nDocPoint Helsinki – WINNER From You to YLE Audience vote \nMargaret Mead Film Festival (NY Premiere) \nCongo in Harlem (NY) \nEthnoFilmFest Muenchen (DE) \nFestival International Ânûû-rû Âboro (New Caledonia) – in competition \nInconvenient Films Human Rights Fest Vilnius – in competition \nZIFF (Zimbabwe – Harare) – in competition \nAfrica International Film Festival AFRIFF (Nigeria)- in competition \nCamden International Film Festival (in competition) – US Premiere \nMilano Film Festival – State of (T)Error \nDOKUFest Prizren (Kosovo) (International Documentary Competition) \nEast End Film Festival London – UK Premiere \nFrontline Club London – Preview Screening 9/2/15 \nAddis International Film Festival (Ethiopia) \nHOTDOCS Toronto North-American premiere in World \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Elephant’s Dream” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”37 min.\, 2014 << this is where you put the format\, timing\, year\, and other details provided for an element of the program” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nElephant’s Dream takes us beyond the usual reports of the Congo\, to provide poetic and compassionate insight into a country in transition\, as seen through the microcosm of three state-owned institutions and its public sector workers in the third largest city in Africa\, Kinshasa\, a railway station\, the central post office and the only existing fire station. At times surreal\, at times hopeful\, this film will reveal a truly surprising perspective on lives lived beyond chaos. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”” 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=”115565″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nKristof Bilsen (director/DOP/producer) completed a filmmaking BA in Brussels (2002). He also works as cinematographer\, editor and director for the performing arts and collaborated in the past with directors such as Peter Missotten\, Sidi Larbi Cherkaoui and Meg Stuart. His first film Three Women (about female detainees in a Belgian prison) was shortlisted for the Henri Storck Prize and shown twice on Belgian National Television. He also made the short  documentary Fez-return-ticket\, about a mixed marriage in Morocco before beginning his Masters  at the National Film and Television School. He enrolled for the Werner Herzog Film Course in Los Angeles and also attended the Berlinale Talent Campus 2012.  Elephant’s Dream\, his first feature film\, is a co-production with Limerick Films\, Associate directors\, Man’s Films and RTBF and is currently traveling festivals worldwide. His work screened at more then 50 festivals worldwide (IDFA\, DOK Leipzig\, Hot Docs\, Margaret Mead\, Thessaloniki\, a.o.) and won several awards\, such as the Nanook/Jean Rouch Grand Prize in Paris. Along with his film practice\, he is one of the 8 founding members of Kitchen Sink collective and also runs his boutique company Limerick Films. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-24-elephants-dream/
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/2015/10/Elephants-Dream-11.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:20151024T193000
DTEND;TZID=America/New_York:20151024T213000
DTSTAMP:20260429T093845
CREATED:20151005T040000Z
LAST-MODIFIED:20190502T183715Z
UID:10002098-1445715000-1445722200@uniondocs.org
SUMMARY:The Iron Ministry
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]Filmed over three years on China’s railways\, The Iron Ministry traces the vast interiors of a country on the move: flesh and metal\, clangs and squeals\, light and dark\, language and gesture. Scores of rail journeys come together into one\, capturing the thrills and anxieties of social and technological transformation. The Iron Ministry immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world’s largest railway network. \n  \n“[T]he best film about China in the twenty-first century that I’ve seen to date—was made by an American\, J.P. Sniadecki\, known for his work with Harvard’s Sensory Ethnography Lab. Following People’s Park (2012) and Yumen (2013)\, both documentaries on contemporary China that Sniadecki co-directed\, The Iron Ministry compiles three years of footage shot during rides on China’s extensive railway system. A cow stomach is sliced into edible bits; a man puffs on a bamboo cigar-holder between compartments; the filthy floor is lined with cigarette butts and sleeping human bodies; a precocious little boy sarcastically encourages the crowd to piss and shit in the aisles.” – Travis Jeppesen\, Artforum \n  \n\n\n\n\nOfficial Selection\, New York Film Festival \nJury Award\, Ann Arbor Film Festival \nJury Award\, Camden International Film Festival \nOfficial Selection\, Locarno Film Festival \nOfficial Selection\, Viennale \nOfficial Selection\, International Film Festival of Rotterdam \n  \n\n\n\n\nRead more about The Iron Ministry[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”83 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=”117027″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Born in Michigan\, J.P. Sniadecki is a filmmaker and anthropologist whose films have screened at festivals such as the Berlinale\, the Locarno International Film Festival\, the New York Film Festival\, the Viennale\, BAFICI\, the Beijing Independent Film Festival\, and at museums and galleries such as the Guggenheim and the MoMA in New York\, the MAC in Vienna\, the UCCA in Beijing and the 2014 Whitney Biennale. He is also a professor of filmmaking in the Performing and Media Arts Department at Cornell University.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-24-iron-ministry/
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/2015/10/THE-IRON-MINISTRY-590x332.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:20151030T000000
DTEND;TZID=America/New_York:20151101T000000
DTSTAMP:20260429T093845
CREATED:20150817T192237Z
LAST-MODIFIED:20180323T182327Z
UID:10002589-1446163200-1446336000@uniondocs.org
SUMMARY:BRANDED DOCUMENTARIES: An Intensive 3-day Seminar on Creative Content
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nBRANDED DOCUMENTARIES:\n\nAn Intensive 3-day Seminar on Creative Content \n \nFrom DamNation – photo by Ben Knight \n\nThis seminar is a theoretical and practical intensive course designed for documentary filmmakers and media artists looking to develop their skill sets in the emerging field of branded content. Branded videos are on the rise! Clients are looking to engage with their customers through creative collaborations. Filmmakers are using this new form of patronage to finance their own works. \nDesigned by UnionDocs in partnership with Mathilde Walker-Billaud\, the seminar will explore new business models in the media and entertainment industry. It will offer technical tools and strategies for working with clients while developing and maintaining a creative voice. \nThis seminar will bring together five guest instructors who are thinkers and practitioners from different disciplines: producers\, marketers and strategists\, entrepreneurs and filmmakers. The goal is to expose a small group (the audience is limited to 14 students) to a broad range of creative approaches to branded documentary\, including audience engagement\, online and cultural marketing\, branded and creative content\, fundraising strategy\, digital innovation and film production/distribution. \nFilm producer\, entrepreneur and writer Brian Newman will lead the seminar. \n\n IMPORTANT FACTS: \nWhen: Friday\, October 30th to Sunday\, November 1st\, 10:00am – 5pm \nWhere: UnionDocs\, 322 Union Avenue\, Brooklyn\, NY 11211 \nWho is eligible? \nOpen to the public. We are looking for producers\, marketers and filmmakers interested in branded content. Participants are accepted on a first-come\, first-served basis. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience in films and a project idea (if you have one)\, plus a bio. There’s a spot for a link to a work sample and CV\, which would also be nice\, but is not required. \nPlease note: Participants *will not* be producing a piece during the week. Focus is on discussion. The goal is also to develop your personal project conceptually. \nCost: \n$450  \nPlease note that the service charge is waived if payment is made via check. \nChecks can be made out to UnionDocs and mailed to 322 Union Ave\, Brooklyn\, NY 11211. \nTechnology Requirements: \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers. \n\nEach day will explore one topic with one or two guest instructors: \nFriday – The filmmaker as an artist-entrepreneur \nThe first day of the seminar looks in-depth at the ways we produce and distribute films today. How best to use both the internet and the film industry at the same time? How innovative is the branded documentary model? \nInstructors: \nAM: Brian Newman \nPM: Kenyatta Cheese \nSaturday – New strategies for brands \nThe second day of the intensive focuses on content and cultural marketing. How do the brands implement successful marketing campaign and generate audience engagement with the help of artists and filmmakers? \nInstructors: \nAM: Adam Katz \nPM: Karol Martesko-Fenster (cinelan.com) \nSunday – The final cut \nThe third day explores the creative execution of branded content. What is the impact of brands on the process? \nInstructors: \nAM: Trish Dalton \nPM: Final presentation\, critique and discussion of individual projects \n Each day follows this general structure\, with some minor variations and substitutions: \n10:00a    Warm up\, inspiring references\, exercises and film training. \n10:30a    Presentation by guest speaker \n11:45a    Discussion \n12:30p    Share / Discussion / Exercise \n1:00p      Lunch (on your own) \n2:00p      Presentation by guest speaker \n3:15p      Discussion \n4:00p      Workshop Exercise and Critique \n5:00p      End \n\nINSTRUCTOR BIOS: \nTrish Dalton is an independent director/producer\, currently working on projects at her production company Lucky Cat Pictures. Her first feature\, ONE NIGHT STAND\, directed with Elisabeth Sperling\, was released theatrically in over 450 theaters in North America by Fathom and  Front Row events. The film also aired on OVATION in the spring of 2013. It won the audience award from Newfest and was called  “Engaging” by Hollywood Reporter\, “Joyous and heartfelt” by Indiewire\, and “wonderfully hilarious” by LA Times. \nHer short documentary\, SOUTHMOST U.S.A.\, about Brownsville\, Texas\, a community separated by the US/Mexican border fence\, premiered in film festivals in 2013.  It has won awards from USA film Festival\, Cine las Americas\, and Worldfest-Houston. \nThanks to generous support from New York State Council on the Arts\, Trish recently completed BORDERING ON TREASON\, a personal retrospective of America’s war with Iraq told though the eyes of photojournalist\, Lorna Tychostup. \nTrish began her film career in 1999\, when she moved from Toronto to New York to study film at New York University. While there\, she volunteered and worked for a number of film collectives and organizations\, including: The 5th Night\, Paper Tiger TV\, United Nations Global Action Project\, Reel Sweet Betty\, DCTV\, and the Indy Media Center. In 2001\, Trish formed ‘Ohms Media Collective’ along with other socially conscious filmmakers to combine her love of storytelling with her dedication to social activism.  She launched the ongoing “Park Slope Coop Screening series” in 2004\, showcasing Brooklyn documentaries. Trish is an active member of NYWIFT\, IFP\, Shooting People\, and is sponsored by Women Make Movies. \nMany of her documentaries have been used as tools for social change.  For example\, BREAKING THE SILENCE\, was made in collaboration with Girls Educational and Mentoring Services (GEMS)\, as an advocacy tool for the organization to share the voices of commercially sexually exploited youth for legal and financial aid.  Similarly\, FARM SANCTUARY\, was made in collaboration with the organization upstate New York that rescues animals in danger\, was used to raise awareness about animal cruelty. \nIn addition to making documentaries\, Trish has been directing and producing commercial\, branded\, and educational content for a wide range of International organizations and companies\, including: Capital One Spark\, Amazon\, Kashi\, Danskin\, About.com\, Beiersdorf\, Pepsi\, Nike\, illy\, Cole Haan\, Cossette\, and IDEO.   She also production managed the National Geographic television series\, ‘Fight Science’. \n[su_youtube url=”https://www.youtube.com/watch?v=7DhkjDTvWWE”] \n  \n \nBrian Newman is the founder of Sub-Genre\, a consulting company focusing on developing and implementing new business models for film and new media. Current clients include: Patagonia\, developing film strategies\, including distribution and marketing for the feature documentaryDamNation; Sundance Institute on a film data project; and several filmmakers on fundraising\, distribution and marketing. \nBrian is also the producer of Love & Taxes a narrative feature in post from Jake and Josh Kornbluth\, and executive producer\, Shored Up a documentary feature by Ben Kalina. Brian has served as CEO of the Tribeca Film Institute\, president of Renew Media and executive director of IMAGE Film & Video. Brian is chair of the board of Rooftop Films\, and serves on the board of Muse Film & Television. He authored “Inventing the Future of the Arts: Seven Digital Trends that Present Challenges and Opportunities for Success in the Cultural Sector” for the book 20 Under 40: Reinventing the Arts and Arts Education for the 21st Century. He was born in North Carolina and has an MA in Film Studies from Emory University. \n  \n  \n \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. \n  \n  \nAdam Katz\, President and Co-Founder of Imprint Projects\, a creative agency that develops innovative brand platforms for marketing and communications. \nAdam is a brand consultant\, cultural programmer and entrepreneur. He strives to develop new business models that encourage arts patronage and community engagement.  In addition to his brand campaign portfolio (Google Play\, Levi’s\, Moog Music Sonos\, Virgin)\, Adam’s professional background includes work in art museums\, contemporary galleries and non-profit arts organizations.  Adam holds a degree in Art Semiotics from Brown University. He has organized and led countless workshops and classes\, including stints managing The Public School in Los Angeles and New York. \n[su_youtube url=”https://www.youtube.com/watch?v=MKWNl0ZsH_U”] \n\nKarol Martesko-Fenster is an Austrian-born American entrepreneur and media industry innovator with broad motion picture\, broadcast\, publishing\, event\, and Internet backgrounds and his career spans over two decades including leadership in the American independent film industry. \nHe is a special consultant on Kevin Kerslake’s AS I AM: THE LIFE AND TIMES OF DJ AM\, Avi Lewis’ THIS CHANGES EVERYTHING and Jon Long’s THE SEARCH FOR FREEDOM and the producer of Thomas Wirthensohn’s 2015 DOCNYC Grand Jury Award winning HOMME LESS. Karol is an Executive Producer on Amy Benson’s DRAWING THE TIGER\, Daniel McCabe’s THIS IS CONGO\, Phil Cox’s THE LOVE HOTEL and THE BENGALI DETECTIVE\, Noel Dernesch & Moritz Springer’s 2013 Zurich Film Festival Audience Award winning JOURNEY TO JAH\, Havana Marking’s SMASH & GRAB: THE STORY OF THE PINK PANTHERS\, James Allen Smith’s FLOORED\, and Dean Budnick’s WETLANDS PRESERVED.  He was the Production Executive on Emmett Malloy’s 2013 Grammy Award winning BIG EASY EXPRESS and Harry Belafonte’s 2012 NAACP Image Award winning SING YOUR SONG and Executive Producer of Danfung Dennis’s 2012 Academy Award Nominee HELL AND BACK AGAIN. \nKarol is a Managing Partner of Cinelan and Thought Engine | Media Group and collaborates closely with Abramorama and Gull Gotham.  Hewas the President of Film & Media for Michael Cohl’s S2BN Entertainment Corporation\, SVP of Film & Animation at Babel Networks\, and Head of Film at Chris Blackwell’s Palm Pictures. He has produced over 25 television and satellite broadcast music programs and he co-founded FILMMAKER Magazine\, RES Magazine\, and the media content enterprises indiewire.com\, hackateerventures.com\,conditionone.com and cinelan.com. \nWay back when Karol was a Coordinating Producer for PBS & WNET’s Great Performances Music Division and Market Director for the breakout 1989 Independent Feature Film Market and in 1990\, as the Executive Director of the IFP\, he restructured the organization and co-initiated the inaugural Gotham Awards. \n[su_vimeo url=”https://www.vimeo.com/107520721″] \n  \n\nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, participants must pay in full via PayPal. After the registration deadline of October 13th\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be cancelled. Participants will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, participants are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-30-branded-doc/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151031T193000
DTEND;TZID=America/New_York:20151101T030000
DTSTAMP:20260429T093845
CREATED:20151013T040000Z
LAST-MODIFIED:20190516T164403Z
UID:10001960-1446319800-1446346800@uniondocs.org
SUMMARY:HALLOWEEN at UNIONDOCS
DESCRIPTION:On Saturday October 31st UnionDocs will closed its doors to a spooky night of thrill and horror. Stop by if you dare\, and bring your friends.\n \nWith \n/cheap drinks /your friends in costume /decorations made by real artists /djs + so much dancing /our new sound system /real ghosts /etc \nAs some of you know\, our Collaborative Studio is made up of both local and international artists\, some of whom have NEVER celebrated Halloween before! \nLet’s show them how it’s done. \nDJ’s: \n– DJ Stewey Decimal (with visuals by Grayson Earle) \n– Secil Sane (Denmark) \nDrink tickets at the door – cash only. Your contribution benefits the UnionDocs collaborative and their productions. \nRSVP ON FACEBOOK
URL:https://uniondocs.org/event/2015-10-31-halloween-undo/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2017/01/giphy.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151101T193000
DTEND;TZID=America/New_York:20151101T213000
DTSTAMP:20260429T093845
CREATED:20151005T040000Z
LAST-MODIFIED:20190516T170211Z
UID:10002103-1446406200-1446413400@uniondocs.org
SUMMARY:Speculation Nation
DESCRIPTION:[vc_row][vc_column][vc_custom_heading text=”Speculation Nation\, Sabine Gruffat & Bill Brown\, USA\, 74 min\, 2014″][vc_empty_space][vc_column_text]Real estate speculators destroyed the Spanish economy\, and now ordinary citizens occupy empty buildings and speculate on new ways to live. \nThe global financial crisis that began in 2007 battered Spain. Over a quarter of the population lost their jobs\, and hundreds of thousands of people lost their homes. The constitutional guarantee for housing that has been a cornerstone of Spain following the death of Francisco Franco has been shaken by a combination of greedy real estate speculators\, predatory banks\, corrupt public officials\, and a global financial catastrophe. \nIn this impressionistic documentary film\, Sabine Gruffat and Bill Brown travel across Spain to explore the consequences of the housing crisis. What they find are Spanish citizens\, inspired by the politics of The 15M Movement and Occupy Wall Street\, who are mobilizing\, collectivizing\, and fighting for the right for a decent place to live. Along the way\, the filmmakers visit young mothers and their families squatting in failed condo developments; intentional communities of mountain cave dwellers; protest campsites that have sprung up in front of bank branches; and empty apartment buildings transformed into experiments in utopian living. The film examines the ideologies that separate housing from home\, and real estate speculation from speculations about a better way to live. \n \nSpeculation Nation is interested in rendering political crisis not only as a wasteland but also a catalyst for social action. In depicting protest camps\, demonstrations and the occupation of unused apartments and the caves overlooking Granada\, the film’s title picks up a secondary meaning inflected by the determination of ordinary citizens to think outside the box. \nAfter the screening\, filmmaker and political activist Paige Sarlin\, photojournalist Elia Gran and writer and activist Luis Moreno-Callabud will join in a panel discussion about the Spanish housing crisis and some of the resulting issues. \nSelected Screenings: \nCPH:DOX\, Cclosedhagen\, 2014 \n53rd Ann Arbor Film Festival\, 2015 (Michael Moore Award for Best Documentary) \n22nd Chicago Underground Film Festival \nArchitecture Film Festival Rotterdam\, 2015 \n9th Nuremberg International Human Rights Film Festival\, 2015[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \n\n \nSabine Gruffat is a digital media artist and filmmaker living and working in North Carolina. Currently she is Assistant Professor of Art at the University of North Carolina – Chapel Hill. \nSabine’s films and videos have screened at festivals worldwide including the Image Forum Festival in Japan\, The Ann Arbor Film Festival and Migrating Forms in New York. Her feature film I Have Always Been A Dreamer has screened internationally including at the Viennale\, MoMA Documentary Fortnight\, Cinéma du Réel at the Centre Pompidou\, and The Cclosedhagen International Documentary Film Festival. \nShe has also produced digital media works for public spaces as well as interactive installations that have been shown at the Zolla Lieberman Gallery in Chicago\, Art In General\, Devotion Gallery\, PS1 Contemporary Art Museum\, and Hudson Franklin in New York. \n  \n \nBill Brown is a writer and filmmaker living in North Carolina where he is a lecturing fellow in the Arts of the Moving Image Program at Duke University. He received a BA from Harvard University and an MFA from the California Institute of the Arts. In his work\, Bill is interested in landscapes as markers of our memories\, dreams\, and desires. \nBill’s films have screened at venues around the world\, including the Viennale\, the Rotterdam Film Festival\, the London Film Festival\, the Sundance Film Festival\, and Lincoln Center. A retrospective of his films was shown at the Museum of Modern Art in New York. He is a recipient of a Creative Capital Grant and a Rockefeller Fellowship. \n  \nPaige Sarlin is a filmmaker\, scholar\, and political activist. Her first film\, The Last Slide Projector\, premiered at the Rotterdam International Film Festival in 2007. Her writings on art\, film\, and politics have been published in October\, Re-Thinking Marxism\, Afterimage\, Reviews in Cultural Theory\, The Journal of Aesthetics and Protest\, and Framework: A Journal of Film and Culture.  She is currently at work on a book-length manuscript entitled Interview-Work: The Genealogy of a Cultural Form and a documentary film whose working title is Practice: How to Get a Job.  She is an Assistant Professor in the Department of Media Study at University at Buffalo\, SUNY. \n  \nElia Gran is a Spanish\, New York based photojournalist. She has written or collaborated with various radios and written journals like The Nation\, WBAI radio\, DemocracyNow!\, The New York Times\, Periódico Diagonal\, La Directa and Eldiario.es. In Barcelona\, Spain she was involved in organizing local media\, especially through radio programs and local publications\, to try to talk about those issues less present in mainstream media. Her interests focus mainly on Human Rights issues and social movements. She considers herself an activist and is part of the Marea Granate organization in NYC which\, together with other worldwide grassroot communities\, are trying to create a global network of collaboration \n  \nLuis Moreno-Caballud is a researcher\, writer\, and activist. He works at the University of Pennsylvania and participates in different political groups (including Marea Granate NY)\, focusing mostly on building dialogues between anti-neoliberal social movements in Spain and the US. His book Cultures of Anyone. Studies on Cultural Democratization in the Spanish Neoliberal Crisis has been published by Liverpool UP in 2015 (it’s available online for free here). It explores the crisis of authoritarian and competitive cultures in the wake of the Spanish economic crisis\, and the emergence of collaborative and equalitarian alternatives in social movements such as 15M and the PAH.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-01-speculation-nation/
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/2017/01/unnamed.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:20151106T193000
DTEND;TZID=America/New_York:20151106T213000
DTSTAMP:20260429T093845
CREATED:20150930T040000Z
LAST-MODIFIED:20240130T035734Z
UID:10001949-1446838200-1446845400@uniondocs.org
SUMMARY:Haunted (Maskoon)
DESCRIPTION:[vc_row][vc_column][vc_custom_heading text=”HAUNTED Liwaa Yazji\, Syria\, 2014\, 112 minutes”][vc_column_text] \n\n\n\nThis screening is supported by CEC Arts Link and the Vera List Center for Art and Politics\, The New School\, in conjunction with the exhibition and conference Abounaddara. The Right to the Image\, presented at Parsons from October 22 through November 11\, 2015. \n\n“When the bombs fell\, the first thing we did was run away. It was not until later that we realized we had not looked back. We were not allowed to say goodbye to our home\, our memories\, our photos and the life that was lived within them. We have become vacant like these spaces; our hastily packed belongings and the forgotten things haunt us.” \n\n  \nAn uncertain existence followed the escape and expulsion from Syria that tumbled into a physical and mental nowhere\, a non-space between yesterday and tomorrow. Haunted tells of the loss of home and security\, of the the meanings that a home has in one’s life. \n  \nHaunted received a Special Mention Prize for a First Film at FID Marseille\, 2014. \nAwarded a Special Mention in (FID Marseille’s) First Film category\, Yazji’s film is harrowing but affectionate\, struggling to maintain contact on those who remain in their homes amid bombings\, depletion of supplies\, and mounting and uncertainty and dread. Through Skype conversations and owner-led tours of damaged homes\, the film constructs an almost metonymic nostalgia for a lost homeland\, invested in devastated apartments and salvaged heirlooms. \n\n\n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]Liwaa Yazji was born in Moscow in 1977. She is a graduate of Theater Studies in Damascus/Syria and worked in the fields of theater dramaturgy\, playwriting\, and screen writing. She acted in Abdullatif Abulhamid’s September Rain (Syria 2009) and was assistant director of Allyth Hajjo and Ammar Alani’s docudrama Windows of the Soul (Syria 2011). In 2012\, she published her first play “Here in the Garden” and is currently preparing the second one with the Royal Court. In 2014\, her poetry book Peacefully\, we leave home was published in Beirut. She wrote the screen play for the TV drama series The Brothers (2013) which was broadcast on Abu Dhabi TV\, CBC Egypt\, and LBC Lebanon. Haunted (Syria/Germany 2014) is Liwaa’s directorial debut. \n  \nThe Vera List Center for Art and Politics \nFounded in 1992 and named in honor of the late philanthropist\, the Vera List Center for Art and Politics at The New School is dedicated to serving as a catalyst for the discourse on the role of the arts in society and their relationship to the sociopolitical climate in which they are created. It seeks to achieve this goal by organizing public programs that respond to the pressing social and political issues of our time as they are articulated by the academic community and by visual and performing artists. The center strives to further the university’s educational mission by bringing together scholars and students\, the people of New York\, and national and international audiences in an exploration of new possibilities for civic engagement. www.veralistcenter.org[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-06-haunted-maskoon/
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:20151108T193000
DTEND;TZID=America/New_York:20151108T213000
DTSTAMP:20260429T093845
CREATED:20151014T040000Z
LAST-MODIFIED:20190516T164206Z
UID:10001957-1447011000-1447018200@uniondocs.org
SUMMARY:Eavesdroppers\, Ventriloquists and Ghosts
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nPerforming Lost\, Stolen and Misplaced Sounds\nThis event brings together a group of international artists and theorists who work with sounds that are in some sense illegitimate. These sounds (and modes of listening to them) are particularly contemporary. They play on textures and moods conditioned by shifting economic forces\, changes in our understanding of the role of the state\, and the fragmenting of identity politics. Here\, the illicit listening of the eavesdropper taps into the anxieties and potentialities of an era of surveillance and privatisation. The uncanny voice of the ventriloquist speaks of the encounter of human and non-human agent\, and asks: who is controlling whom? The voices of the past and the ghost in the machine haunt the proceedings and insist on a reckoning with both history and the future that is nevertheless full of gaps\, multiples and indeterminacies. \nThis event is informed partly by notions of ‘acousmatic’ sounds\, or sounds whose origins are in some way obscured or indiscoverable. As theorist Salomé Voegelin suggests\, however\, this is not to figure origins as singular and fixed\, but to closed up thinking about context as ‘a plurality of things thinging’ (Voegelin\, 2015). This focus on plurality extends to ideas of the live and recorded\, so that the distinction between them is understood as dynamic and subject to interpretation. \nDavid Helbich performing:\nNo Music – ‘Ohrstücke’\, a performative rehearsal \nNo Music approaches listening as a performative act. The event triggers musical experience without being actually music. \nThis lecture-performance is neither a performance\, nor a lecture\, but rather a rehearsal for a piece\, that you can take home and perform anytime you want for yourself\, wherever you want. You will learn to read a score\, there will be a conductor\, performers (us) and audience (us as well). No sound production\, still a musical progression. Introduction\, development\, finale. Still no music. \nThe acoustic results change radically with every new location\, still the piece keeps its structural identity. Together\, environment and composition dissolve into the responsibility of the listener him/herself; it becomes your own thing\, as personal as a bodily experience can be. \nInstead of a proper piece the work this is more of a practice\, an attitude towards surroundings and awareness. Rules without control. Freedom with precision. Awareness without yoga.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \n\nJohanna Linsley is a London-based artist\, researcher and producer. Her ongoing collaborative project Stolen Voices (created with Rebecca Louise Collins) is inspired by eavesdropping. It transforms public spaces into semi-fictional constructions to which the artists are summoned\, and which they investigates by tuning in to what is on the tip of everyone’s tongue. Johanna is a founding partner of UnionDocs\, and is also a founder of the performance collective I’m With You. Her work has been shown widely in the US and UK\, and internationally in Cclosedhagen\, Zagreb\, and elsewhere. She has recently been an artist-in-residence at the Delfina Foundation in London\, and she is currently a researcher on the Wellcome Trust-funded project ‘Challenging Archives’ in collaboration with the Live Art Archives at the University of Bristol. \n  \nBrian House is a media artist whose work traverses alternative geographies\, experimental music\, and a critical consideration of data-driven practices. His project Conversnitch is a light fixture that automatically tweets overheard conversations. Brian’s work has been shown by MoMA in New York\, MOCA in Los Angeles\, Ars Electronica\, Cincinnati Contemporary Arts Center\, Eyebeam\, Rhizome\, and Los Angeles Contemporary Exhibitions\, among others\, and has been featured in publications including WIRED\, TIME\, The New York Times\, SPIN\, Metropolis\, and on Univision Sports. He is currently a doctoral student at Brown University and a fellow at the Tow Center for Digital Journalism at Columbia University. \n  \nLaure Fernandez is a researcher in the performing arts. Her thesis\, defended in 2011\, focused on theatricality in the visual arts (1960-2010). A Postdoctoral Research Fellow at the Drama\, Theatre & Performance department of University of Roehampton (London) and associate researcher at Thalim-CNRS (Paris)\, she co-directs the NoTHx seminar (Nouvelles Théâtralités / New Theatricalities) at Théâtre Nanterre-Amandiers (Paris)\, dedicated to the evolution of performance creations post-2000 and to the critical and analytical renewal for which the study of these works often seems to call. Since 2012\, she is a lecturer for the Parc de la Villette in the context of the “Aesthetics of contemporary dance” and “Introduction to contemporary theater scene” cycles that she co-created. Laure is working on the question of ventriloquism and the dissociated voice in the framework of various projects on the sound of theatre run by Marie-Madeleine Mervant-Roux (CNRS). \n  \nBrian Fuata was born in Wellington\, New Zealand in 1978 and migrated to Australia in 1985.  He is a Sydney based  artist working in text and performance characterized by improvisation and interdisciplinarity.  Fuata uses a range of sites to develop and present performance including theaters\, art galleries\, mobile phone text messages\, and the internet – most notably including the format of the email.  Fuata purposely works across such sites to make performances that are responsive to their immediate environment.  The cultural context of it\, by which the way it is read and integrated into the dialogue of other art practices\, social and political contexts is paramount. \nRecent performances and exhibitions include: All titles\, no centre crux: the email performances in Performa 2015\, Performa\, NY (2015)\, Some things\, Poetry Project\, NY (2015); F.I.F.O Ghosts at National Gallery of Victoria\, Melbourne (2015); Apparitional Charlatan…Chisenhale Gallery\, London (2015); Framed Movements\, Australian Centre for Contemporary Art\, Melbourne (2014); and Privilege (performance)\, Museum of Contemporary Art Sydney (2013). \n  \nAlison S.M Kobayashi is an artist working in video\, performance\, installation and drawing. She now lives in Brooklyn where she is the Special Projects Director at UnionDocs. In her work\, Kobayashi performs a variety of characters inspired by Kobayashi’s extensive collection of lost\, discarded\, and donated objects. Through repeated interaction with the objects (listening\, transcribing\, re-enacting\, playing) narratives and imagery begin to manifest themselves and inspire performances\, videos\, installations\, and drawings. Kobayashi’s short videos have been exhibited and screened widely in Canada\, the United States\, and overseas. She was a guest artist at the 2008 Flaherty Film Seminar\, and her body of work was a Spotlight Presentation at Video Out\, Jakarta International Film Festival\, Indonesia. In 2012\, she was commissioned by Les Subsistances in Lyon\, France\, to produce her first live performance\, Defense Mechanism. She is currently developing her second live performance.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-08-eavesdroppers/
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/2015/10/Fernandez.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:20151115T193000
DTEND;TZID=America/New_York:20151115T213000
DTSTAMP:20260429T093845
CREATED:20151020T040000Z
LAST-MODIFIED:20190404T190913Z
UID:10001962-1447615800-1447623000@uniondocs.org
SUMMARY:Sublime Optics: Documentary\, Geography\, and Mapping
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] \nFew moving-image artists can claim to have developed and practiced their own recognizable genre\, but in the three feature-length pieces he has made since 2010—Psychohydrography\, Tectonics\, and now Topophilia—Peter Bo Rappmund has done just that. \nRead an essay about Topophilia by Paul Dallas\, curator of this program: \nhttp://www.averyreview.com/issues/13/sublime-optics \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Topophilia” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”64 min.\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nTopophilia traces the 800-mile path of the Trans-Alaska Pipeline System (TAPS)\, and examines one of the most historically productive oil routes in the United States. Completed in 1977\, TAPS unique structure runs both above and underground through pristine Alaskan terrain—up mountain passes\, over frozen tundra\, and across hundreds of rivers and streams. From numerous extraction points on the North Slope\, hot crude oil is moved the entire length of Alaska via TAPS to the Valdez Marine Terminal\, where ships load the petroleum before they voyage to ports around the world. This terminal was the initial point of departure for the Exxon Valdez\, an oil tanker bound for Long Beach\, California\, which ran aground on the Bligh Reef in 1989 and resulted in the second largest oil spill in U.S. history. \nShot entirely with a stills camera\, Topophilia studies a pipeline’s inherent linearity and its unwavering repetition in construction. The documentary presents these architectural elements as both foreground and background; recurring patterns in the structure become fixed points that illuminate movement and stasis in natural and man-made landscapes. Through the use of frame by frame animation\, time-lapse photography\, looped sequences\, and layered field recording compositions\, the film decodes hidden messages of the built environment\, and portrays TAPS and its surroundings harmoniously as a continuous\, giant building; a space that not only reorders ideas about landscape and our place within it\, but one that also offers an unmistakable juxtaposition between the endgame of industrial revolution\, and the modern ecosystems where this scenario ultimately plays out. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”64 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=”115559″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPeter Bo Rappmund is a Texas-based artist whose practice relies on understanding both empirical and metaphysical properties of the environment. He has exhibited at a variety of venues\, including the Museum of Modern Art\, New York\, Anthology Film Archives\, George Eastman House\, National Maritime Museum\, London\, REDCAT Los Angles\, Whitney Museum of American Art\, and the Locarno\, New York\, Vienna\, Ann Arbor\, and Hong Kong International Film Festivals. Rappmund held a solo exhibition at the Laguna Art Museum in 2012\, and recently worked as principle photographer on Thom Andersen’s\, Reconversão\, a film about Portuguese architect Souto de Moura. Peter Bo Rappmund received a MFA from the school of music and school of film/video at CalArts \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115557″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nLaura Kurgan teaches architecture at the Graduate School of Architecture\, Preservation\, and Planning at Columbia University\, where she is Director of the Spatial Information Design Lab (SIDL) and the Director of Visual Studies. Her work explores problems ranging from digital location technologies\, the ethics and politics of mapping\, to new structures of participation in design\, and the visualization of urban and global data. Her recent research includes a multi-year SIDL project on “million-dollar blocks” and the urban costs of the American incarceration experiment and an exhibition on global migration and climate change\, “Native Land: Stop Eject\,” at the Fondation Cartier in Paris. Her work has appeared at the Venice Architecture Biennale\, the Whitney Altria\, MACBa Barcelona\, the ZKM in Karlsruhe\, and the Museum of Modern Art (where it is part of the permanent collection). She was named one of Esquire Magazine’s ‘Best and Brightest’ in 2008\, and was awarded a United States Artists Rockefeller Fellowship in 2009. She has published articles and essays in Atlantic Magazine\, Volume\, Grey Room\, Assemblage\, and Else/Where Mapping\, among other books and journals. Her monographic book is Up Close at a Distance: Mapping\, Technology\, and Politics (MIT Press\, 2013). spatialinformationdesignlab.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115558″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPaul Dallas is a Brooklyn-based writer\, journalist and programmer. His writing has appeared in Artforum\, BOMB\, Cinema Scope\, Extra Extra\, Film Comment\, Filmmaker\, IndieWire and Interview. He has curated film series for the Guggenheim Museum and Maylses Cinema in New York. He studied filmmaking at The School of the Art Institute of Chicago and is a graduate of The Cooper Union’s School of Architecture. He is a 2015 Robert Flaherty Film Fellow and a 2008 Schindler Fellow at the MAK Center for Art and Architecture in Los Angeles. He recently worked on Michael Almereyda’s new film Marjorie Prime\, and is developing a narrative feature with director Frédéric Tcheng. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-15-topophilia/
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/2015/10/15289185434_e0a254eac8_b.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:20151118T193000
DTEND;TZID=America/New_York:20151118T213000
DTSTAMP:20260429T093845
CREATED:20151102T050000Z
LAST-MODIFIED:20190516T163913Z
UID:10002115-1447875000-1447882200@uniondocs.org
SUMMARY:Lucky
DESCRIPTION:[vc_row][vc_column][vc_column_text]BK@24FPS – Human Rights Through a Different Lens\, is a film series meant to use documentary film to expand dialogue around the intersection of human rights and art. It is a partnership of Brooklyn media organizations Skylight\, WITNESS and UnionDocs. \nAn astoundingly brilliant\, incredibly intimate account of struggle and survival\, Lucky is a gut-wrenching and fascinating watch. Following the confrontingly bullish and hopelessly vulnerable Waleska ‘Lucky’ Torres Ruiz for over six years\, ‘Lucky’ is an unflinching\, provocative look at one woman’s turbulent life through foster care\, rape\, abuse\, poverty\, homelessness and hustling. A single parent lesbian mother of two\, Lucky’s New York isn’t Barney’s and bike rides around Central Park. It’s the Bronx\, homeless shelters and trying to fight a frustratingly red-tape strewn system. \n[/vc_column_text][vc_empty_space][vc_custom_heading text=”LUCKYLaura Checkoway\, USA\, 2013\, 75 min.”][vc_column_text]Lucky Torres masks a lifetime of abuse and abandonment behind an angry\, tattooed exterior. Growing up in foster care\, Lucky and her sister Fantasy have been searching for stability all their lives. While her sister has settled down\, Lucky still hasn’t found her way. But despite being homeless\, unemployed and a single mother\, jumping from girlfriend to girlfriend\, the compelling Lucky still dreams of true love and success. \nJournalist Laura Checkoway spent more than six years following Lucky and has captured an experience rarely depicted onscreen. The film’s executive producer\, award-winning filmmaker Steve James (Hoop Dreams\, The Interrupters\, Life Itself)\, recognizes the power in this unvarnished documentary. “I see great perseverance in telling a difficult story about a fascinating but difficult person\,” James says. “There are not enough of these kinds of stories being told today.” \n\nPresented by Julie Bridgham from Film Fatales\nFilm Fatales is a collective of female feature directors who meet regularly to mentor each other\, collaborate on projects and create a supportive community in which to make their films. The group was founded in 2013 in New York City and has since expanded to include over two dozen local chapters around the world. \nIn an industry where less than 5% of the top grossing Hollywood films and less than 15% of independent features are directed by women\, Film Fatales provides a space for female filmmakers to support each other\, share resources\, and help get their films made. In addition to the monthly meetings\, Film Fatales supports a number of other collaborative programs including: writing groups\, master classes\, panel discussions\, film festival programming\, educational workshops\, theatrical field trips\, and numerous other special events. \nFilm Fatales has quickly become a grassroots community of collaboration and support. By offering a space for mentorship\, peer networking and direct participation\, Film Fatales continues to promote the creation of more films by and about women. \nIndeed\, a movement is forming\, and it’s a good one. It’s a movement where we women admit we are stronger together than apart. It’s a movement where women support each other to make films\, hire more women\, and get more stories about women told \n[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \n\n\n \nLaura Checkoway is a documentary filmmaker and journalist. Her debut feature film LUCKY is executive produced by Steve James (Hoop Dreams\, Life Itself) and had its television broadcast premiere on DirecTV. The film has screened at festivals across the globe\, world premiering at Hot Docs and winning the Grand Jury Prize for Best Documentary at Urbanworld Film Festival in 2014. Laura has directed and produced documentary segments for Google\, Scion\, and PBS and is currently in production on a documentary\, Edith + Eddie.  With a background in journalism\, Checkoway penned revealing celebrity profiles and investigative features for numerous publications including Rolling Stone and the Village Voice and is the former senior editor of Vibe magazine. Her acclaimed first book\, My Infamous Life: The Autobiography of Mobb Deep’s Prodigy (Simon & Schuster) was short-listed as one of the best music books of 2011 by NPR and she is the co-author of a forthcoming celebrity autobiography being published by Penguin Random House. \nJulie Bridgham is an award winning Director and Producer of documentary film and television with over 15 years of experience. She was the Director and Producer for the multi-award winning documentary feature “The Sari Soldiers\,” for which she was granted a Sundance Institute Documentary Fellowship\, and was the recipient of the Nestor Almendros Prize for courage and commitment in human rights filmmaking.  She has directed numerous documentary series and feature films that have taken her around the globe\, and has produced for CBS\, BBC\, the Discovery Channel\, TLC\, and the Travel Channel\, among others. She lived in Nepal for over seven years\, where she produced and directed films for the United Nations World Food Programme and The Nepal Youth Foundation\, in addition to “The Sari Soldiers”\, and the feature documentary in-progress “At the Edge of Sufficient.” Prior to working in documentary film and television she was a Project Officer with the United Nations for the project “Ecologically Sustainable Industrial Development” in Costa Rica\, and was a researcher for the human rights organization Andean Information Network in Bolivia. Most recently\, Julie is the Producer and Director for the interactive trans-media documentary “Shifting Borders” following Nepali migrant workers in Qatar\, and is an Executive Producer for the feature documentary “Drawing the Tiger.”  \n  \n \nDr. Pereta P. Rodriguez has more than 35 years experience as a mental health clinical practitioner and administrator. She has worked as a private practitioner and as a counselor/psychotherapist in social agencies in New York City and Washington DC. Much of Dr. Rodriguez’s experience has been on the front lines in heavily populated ethnic communities providing prevention services and counseling for families in the child welfare system; suicide prevention with college age students\, and psychotherapy with domestic violence women and children returning to live in communities from the NYC shelter program. She was the administrator of the largest Prevention Child Welfare Agency in the Bronx. During her tenure at the Wellness and Counseling Center at City College\, she set up medical and psychological services and a SAMHSA College Suicide Prevention Program as well as counseling services for veterans returning from deployment to register and attend college courses for credits. Dr. Rodriguez has an MSW from Fordham University\, a certificate from the Albert Ellis Rational Emotive Psychotherapy Institute\, and a DSW from Columbia University School of Social Work. She was a HHS Fellow and received recognition for her clinical services as well as her volunteer efforts in the Puerto Rican and Latino Communities. \n \nNeyda Martinez is a producer and independent strategic communications and cultural consultant with over 15 years of experience. While working in marketing and communications at POV\, the longest running showcase of independent documentary films on PBS\, she completed graduate studies at Columbia University’s School of International and Public Affairs earning an MPA in 2008. Presently\, she is the communications strategist for America Reframed on the World Channel and is an engagement consultant to the National Endowment for the Humanities and the American Libraries Association’s national public learning initiative Latino Americans 500. Additionally\, she is an adjunct professor at The New School in the graduate division of media studies. She is also the producer of the independent film LUCKY by Laura Checkoway and a co-executive producer of Cinetico Productions’ Cry Now. In addition to serving on the board of directors for Women Make Movies\, she volunteers on committees for the Metropolitan Museum of Art and Uprose and serves on the national board of directors for The Association of American Cultures\, as well as for the Bronx-based dance company Pepatian. \n  \n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-18-lucky/
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:20151120T193000
DTEND;TZID=America/New_York:20151120T213000
DTSTAMP:20260429T093845
CREATED:20151111T050000Z
LAST-MODIFIED:20190411T161811Z
UID:10002598-1448047800-1448055000@uniondocs.org
SUMMARY:City of Lost Souls
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] \nLagging behind gay and lesbian history\, a transgender cultural cannon is still being defined\, and Rosa von Praunheim’s 1983 trans musical spectacular\, City of Lost Souls\, captures a unique position within the development of transgender theory. \nAt the time it was released\, City of Lost Souls was criticized for its messy storyline. Trans: A Memoir author Juliet Jacques argues that the film has aged remarkably well; in fact it’s flawed or Warholian insistence on character and improvisation forever preserved a nuanced exploration of the alienation that comes with being a gender or sexual minority. “It’s fascinating to see the debates in which they worked out their gender identities staged before online communities\, transgender-specific fanzines or Queer/Transgender Studies courses — all crucial to the development of organized transgender politics\,” Jacques wrote in her review of the film. \nFollowing the screening\, Jacques will discuss how City of Lost Souls has inspired her writing and her process of creating trans art that faithfully documents the messiness of her experience\, subverting the transition genre designed for the cis-gaze. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”City of Lost Souls” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”91 min.\, 1983″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]By 1982\, “transgender” had been used in several contexts\, but it does not appear in City of Lost Souls. The relationship between the two main characters\, Angie Stardust\, a transexual\, and Tara O’Hara\, the transvestite “ideal\,” whose breasts Angie envies and derides — anticipate the passionate debates about the tranvestite / transsexual dichotomy and transgender alliance. As Jacques writes in her memoir\, the transgender alliance that emerged did not end debates between transsexual people who moved across the gender binary and transgender and genderqueer individuals who aimed to find space beyond male and female.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”91 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=”115522″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJuliet Jacques is a freelance writer\, best known for the Guardian’s “Transgender Journey”—the first time the gender reassignment process had been serialized for a major British publication. Her column was longlisted for the Orwell Prize in 2011. She was included in the Independent’s Pink List for 2012\, 2013 and 2014\, and is a regular contributor to the New Statesman. She has also written for Granta\, TimeOut\, Filmwaves\, 3am\, the London Review of Books\, the New Humanist\, the New Inquiry\, and many other publications. She lives in London. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-20-city-of-lost-souls/
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/2015/11/City-of-Lost-Souls-1280x720-1-1-1-1-1-1-1-1-1-1-1-1-1-1-1-1-1-1-1-2-1-1-2-1-1-2-1-1-1-1-1-1-1-1-1.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:20151122T193000
DTEND;TZID=America/New_York:20151122T213000
DTSTAMP:20260429T093845
CREATED:20151102T050000Z
LAST-MODIFIED:20190404T191101Z
UID:10002111-1448220600-1448227800@uniondocs.org
SUMMARY:Nicolas Boone: Psalm and Hillbrow
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] \nAt this event two of Nicolas Boone’s most recent works\, Psalm (2015) and Hillbrow (2014) will be screened. \n [/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Psalm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”48 min.\, 2015 ” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]In a near future\, the villages of a Sub-Saharan area have all been deserted. Mad and disabled people as well as child soldiers are the only ones who remain on those dry lands. In this survival atmosphere\, relationships are harsh. \nIn Psalm\, the location is not specified apart from contemporary indicators of sub-Saharan Africa. At the start\, from the white background of the screen and as if emerging from an earthy dust\, a small cart pulled by a donkey accompanied by ghostly figures arrives at a well. Drinking\, fussing with a can\, is their first action and it is slow\, long\, necessary and primordial. Then they leave. From one scene to the next\, the obviousness of which is imposed each time by a long sequence shot enveloping space that is both ample and fluid\, a post-apocalyptic landscape is drawn\, the colours faded\, without sunshine. \nThe Centre national des arts plastiques (CNAP: National Centre for the Visual arts) prize\, created in 2015 in partnership with the FID Marseille\, seeks to reward a producer for a work arising from the area where fiction and documentary meet and mingle. Basma Alsharif\, after a week of screenings and discussions with the five members of the panel of judges of the French competition\, decided to make the award to a film which is neither easy nor affirmative. It is a film that does not belong to any genre – a film that  snatches us up into its world and holds us captive\, long after the closing credits. It is a work of cinema that takes risks by adopting a radical position in relation to its subjects\, that leaves us speechless\, or even in a state of shock. By making a fierce attack upon representation\, this film forces to confront our own selves.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Hillbrow” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”32 min.\, 2014″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nHillbrow\, Johannesburg’s oldest and trendiest cultural attraction\, has now developed into a densely populated and rather violent working-class neighborhood. The movie Hillbrow offers a selection of local stories that cross over geographical boundaries and whose fictional characters are portrayed by inhabitants presently living in the neighborhood. In ten journeys\, Hillbrow draws a labyrinth of urban tensions. \nNicolas Boone dissects the violent neighborhood of Hillbrow\, in Johannesburg\, through a series of episodes drawn from real life stories. A man stands in the ledge of a high building\, looking down. Another man gets attacked on the streets. Violence is seen as a force of rupture on this urban panorama. \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”84 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=”115553″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJust graduated from Les Beaux-Arts de Paris in 2001\, Nicolas Boone directed shootings/performances\, “films for once” without any recording system: his work constantly stands between direction and video recording –when\, sometimes\, the “simple” act of shooting makes the film itself. His work takes various forms: series (BUP\, 2007/2008)\, feature film (codirected with Olivier Bosson: 200%\, 2013)\, short films –sometimes gathered together to compose a whole program (Les Dépossédés\, 2012). \nIn 2011\, The Vivo Art Center\, in Vancouver\, presented a complete retrospective of Nicolas Boone’s work. His films were selected in many international film festivals\, and often awarded\, such as Bailu Dream (2013; shown in IFFRotterdam\, in IndiesLisoa and in IFFJeonju this year) and Hillbrow (2014)\, selected in FID Marseille (France)\, the IFF Indies in Sao Paulo (Brazil)\, the IFF in Clermont-Ferrand (France)\, the IFF Entrevue in Belfort (France)\, where it received 3 awards (Audience\, One+One and Camira Prizes)\, the Festival du Nouveau Cinema/FNC in Montreal (Canada)\, where it received the grand prize (Loup argenté). In France\, it also received the Grand Prize “Scribe du cinema” in 2014. In 2015\, Nicolas Boone directed Psalm\, shot in Senegal (FID Marseille\, French competition\, Prizes of the CNAP/National Center of Art and of the High School Students). \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-22-nicolas-boone/
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/2015/11/From-HILLBROW-3-590x332-1.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:20151204T193000
DTEND;TZID=America/New_York:20151204T210000
DTSTAMP:20260429T093845
CREATED:20151117T050000Z
LAST-MODIFIED:20190411T215329Z
UID:10001964-1449257400-1449262800@uniondocs.org
SUMMARY:Reception in Honor of the Roberto Guerra Documentary Fund
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nA toast to celebrate The Roberto Guerra Documentary Fund and first grantee Cecilia Aldarondo\n  \nIncluding a sneak preview of clips from Aldarondo’s awarded and long-awaited film Memories of a Penitent Heart. In this personal documentary about family\, faith\, and the painful costs of prejudice\, Aldarondo revisits her family history. Twenty-five years after her uncle Miguel died of AIDS\, she tracks down his gay lover and cracks closed a Pandora’s box of unresolved family drama. \nThe Roberto Guerra Documentary Fund was launched in the fall of 2014 during the 5th Contemporary Peruvian Film Showcase. Originally from Peru\, filmmaker Roberto Guerra came to New York as a young\, aspiring filmmaker in the late 60s to meet the cinema verité pioneers. From then on he was inspired to create a number of films while living in New York and Europe. He continued to shoot and produce throughout the last year of his life.  His spirit and equanimity in the face of his sudden cancer diagnosis was inspirational. He died in January 2014. \nThe Fund aims to honor Roberto Guerra’s life and legacy in the field by supporting and encouraging an emerging Latin-American or US-based Latino filmmaker living in New York in the creation of his or her documentary work. Media artist Kathy Brew\, Roberto Guerra’s long-time collaborator and wife\, established the Fund in partnership with UnionDocs as the non-profit administrator. To date\, the fund has raised almost $15\,000. A list of supporters can be found here. \n A select group of people in the field were invited to nominate potential candidates and then a selection panel convened on September 11th. Cecilia Aldarondo will receive $ 2\,500 to support  the completion of her first feature-length documentary\, Memories of a Penitent Heart. The film is currently in post-production and the grant funds will be used towards costs of an original music score for the film. \nCecilia Aldarondo’s personal documentary Memories of a Penitent Heart has been supported by grants and fellowships from The MacDowell Colony\, the Sundance Institute\, The Time Warner Foundation\, Firelight Media\, The Arch and Bruce Brown Foundation\, and The National Association of Latino Independent Producers (NALIP). In 2015\, Memories of a Penitent Heart was selected for IFP’s Independent Filmmaker Lab as well as Sundance Institute’s Edit and Story Lab. That same year\, Aldarondo was selected as one of Filmmaker Magazine’s “25 New Faces of Independent Film.” \n  \nThe fund is still closed for donations. Go to Roberto Guerra Documentary Fund to read more or to make your contribution. \n\nWine provided by: \n \nBeer provided by: \n \nPisco provided by: \n \n  \nFood provided by: \n \n  \nAdditional support by: \n \n Trade Commission of Peru in New York \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-12-04-roberto-guerra-fund/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/06/unnamed.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151205T100000
DTEND;TZID=America/New_York:20151206T170000
DTSTAMP:20260429T093845
CREATED:20170227T173538Z
LAST-MODIFIED:20180228T041353Z
UID:10002364-1449309600-1449421200@uniondocs.org
SUMMARY:PRIVATE LIVES\, DISPARATE SELVES: An Intensive Seminar on Expanded Personal Filmmaking
DESCRIPTION:[vc_row][vc_column][vc_column_text]After many decades on the fringe of documentary\, personal filmmaking is now muddying the waters of the genre in exciting ways\, and up-ending documentary’s sacred tenets of truth-telling and objectivity. Despite persistent cultural prejudices against personal work\, we can also see an equally powerful fascination with private lives and intimate subjects. \nThis weekend intensive draws on a growing\, complex landscape of personal films\, beginning from the premise that there is no single way to tell a personal story. We will spend two days unpacking a multitude of possible approaches to personal filmmaking\, and tackling crucial questions around this thorny cousin of documentary film. Does ‘personal’ always mean autobiographical? How does a filmmaker avoid the pitfalls of narcissism—or indulge in it productively? What are the ethics of working with subjects (both people and stories) that are ‘close to home’? Is personal work incompatible with politics-with-a-capital-P filmmaking\, and can personal films have wide-ranging social impact? How do we deal with personal archives\, and what can we do creatively with them? \nParticipants will learn from three talented professional practitioners\, artists\, thinkers and filmmakers\, using their past projects as key examples for discussion. Together we will explore key ideas that range from intimate filmmaking\, autobiography\, artisanal storytelling\, ethics\, private archives\, social and political engagement and more. Through lectures\, group discussions\, short exercises and work-in-progress critique\, participants will be encouraged to put this new knowledge into practice. Filmmaker Cecilia Aldarondo\, currently in post-production on a feature-length documentary about her uncle (Memories of a Penitent Heart) will lead the workshop. Guest artists include the prolific Su Friedrich (Sink or Swim\, The Ties that Bind\, Gut Renovation) and Alan Berliner (Nobody’s Business\, Intimate Stranger\, First Cousin Once Removed). \nThis workshop is two full days; please only enroll if you can commit to the entire schedule.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae901c07-7202″][vc_column_text]Open to everyone. We are looking for filmmakers\, media artists\, writers\, professors\, and producers. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience in filmmaking practice and a project idea (if you have one)\, plus a bio. There’s a spot for a link to a work sample and CV\, which would also be nice\, but is not required.\nPlease note: Participants are accepted on a first-come\, first-serve basis. Focus is on discussions\, observation and storytelling. The goal is to develop your project conceptually.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e8431c07-7202″][vc_column_text]$285 early bird registration by November 10th\, by 5pm. \n$315 regular \nPlease note that the service charge is waived if payment is made via check. \nChecks can be made out to UnionDocs and mailed to 322 Union Ave\, Brooklyn NY 11211.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf1c07-7202″][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-50161c07-7202″][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c71c07-7202″][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Saturday\, Dec 5: 9:30am – 5pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Saturday \n9:30-11:00am: Welcome and Student Introductions \n11:00am-1:00pm: Presentation by Su Friedrich + discussion \n1:00-2:00pm: Lunch (on your own) \n2:00-3:00pm: Workshop \n3:00-5:00pm: Presentation by Cecilia Aldarondo + discussion \nExpect about an hour of homework on Saturday night.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Dec 6: 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Sunday \n10:00am-11:00am:  workshop \n11:00am-1:00pm: presentation by Alan Berliner + discussion \n1:00pm: Lunch (on your own) \n2:00-3:00pm: Workshop \n3:00pm-5.30pm: student presentations + critiques[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”55252″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Cecilia Aldarondo obtained her MA in Contemporary Art Theory from Goldsmiths College and PhD in Comparative Studies in Discourse and Society from the University of Minnesota. Her personal documentary MEMORIES OF A PENITENT HEART has been supported by grants and fellowships from The MacDowell Colony\, The Sundance Institute\, The Time Warner Foundation\, Firelight Media\, and The National Association of Latino Independent Producers. In 2015 MEMORIES was selected for IFP’s Independent Filmmaker Labs as well as Sundance Institute’s Edit and Story Lab. She recently accepted a position as Assistant Professor of Film Studies at Skidmore College.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”55253″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Su Friedrich has produced and directed twenty-three 16mm films and digital videos\, including Queen Takes Pawn (2013)\, Gut Renovation (2012)\, From the Ground Up (2007)\, Seeing Red (2005)\, The Head of a Pin (2004)\, The Odds of Recovery (2002)\, Hide and Seek (1996)\, Rules of the Road (1993)\, First Comes Love (1991)\, Sink or Swim (1990)\, Damned If You Don’t (1987)\, The Ties That Bind (1984)\, Gently Down the Stream (1981)\, and Cool Hands\, Warm Heart (1979). With the exception of Hide and Seek\, Friedrich is the writer\, director\, cinematographer\, sound recordist and editor of all her films. Friedrich’s films have won many awards\, including BEST NARRATIVE FILM AWARD at the Athens International Film Festival\, OUTSTANDING DOCUMENTARY FEATURE at Outfest in Los Angeles\, SPECIAL JURY AWARD at the New York Gay & Lesbian Film Festival\, GRAND PRIX at the Melbourne Film Festival\, the GOLDEN GATE AWARD at the San Francisco Film Festival and BEST EXPERIMENTAL NARRATIVE AWARD at the Atlanta Film Festival. Her work is widely screened in the United States\, Canada and Europe and has been the subject of retrospectives at the Museum of Modern Art\, the Whitney Museum of American Art\, the Rotterdam International Film Festival\, The London Lesbian and Gay Film Festival\, The Stadtkino in Vienna\, the Pacific Cinematheque in Vancouver\, the National Film Theater in London\, the Sheldon Memorial Art Gallery in Lincoln\, Nebraska\, the Buenos Aires Festival of Independent Cinema\, the New York Gay and Lesbian Film Festival\, the First Tokyo Lesbian and Gay Film Festival\, the Cork Film Festival in Ireland\, the Wellington Film Festival in New Zealand\, The Bios Art Center in Athens\, Greece\, and the Anthology Film Archives in New York. Friedrich is the recipient of the Alpert Award in the Arts (1996)\, an Independent Television Service production grant (1994)\, an NEA Fellowship (1994)\, a Rockefeller Foundation Fellowship (1990)\, a Guggenheim Foundation Fellowship (1989)\, a DAAD grant as artist-in-residence in Berlin (1984)\, as well as multiple grants from the New York State Council on the Arts\, the New York Foundation for the Arts and the Jerome Foundation her work is in the collection of the Museum of Modern Art\, the Art Institute of Chicago\, the Royal Film Archive of Belgium\, the Centre Pompidou in Paris\, the National Library of Australia\, as well as many university libraries. The films are distributed by The Museum of Modern Art\, Outcast Films\, Canyon Cinema\, The Canadian Filmmaker’s Distribution Center\, Light Cone in Paris and the Freunde der Deutschen Kinemathek in Berlin.\nThe films have been reviewed in numerous publications\, including Variety\, Premiere\, The Village Voice\, Artforum\, The New York Times\, The Nation\, Film Quarterly\, The Millennium Film Journal\, Sight and Sound\, Flash Art\, Cineaste\, The Independent\, Heresies Art Journal\, Afterimage\, and The L.A. Weekly. Essays on her work as well as excerpts from her scripts have appeared in numerous books\, including Crafting Truth: Documentary Form and Meaning (2011) Modern Women: Women Artists at the Museum of Modern Art (2010)\, Women’s Experimental Cinema (2007)\, 501 Movie Directors (2007)\, Contemporary American Independent Film: From the Margins to the Mainstream (2005)\,Visionary Film: The American Avant-Garde\, 1943-2000 (2002)\, Left In the Dark (2002)\, The Wedding Complex: Forms of Belonging in Modern American Culture (2002)\, Girl Director: A How-To Guide (2001)\, Collecting Visible Evidence (1999)\, Experimental Ethnography (1999)\, The New American Cinema (1998)\, Play It Again\, Sam (1998)\, Film Fatales (1998)\, Cinematernity (1996)\, Screen Writings (1994)\, Women’s Films (1994)\, Queer Looks (1993)\, Avant-Garde Film: Motion Studies (1993)\, Vampires and Violets (1992)\, and Critical Cinema: Volume Two (1992). \nHer DVD collection is distributed by Outcast Films.\nMore information: http://www.sufriedrich.com[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”55256″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Alan Berliner‘s uncanny ability to combine experimental cinema\, artistic purpose\, and popular appeal in compelling film essays has made him one of America’s most acclaimed independent filmmakers. The New York Times has described Berliner’s work as “powerful\, compelling and bittersweet… full of juicy conflict and contradiction\, innovative in their cinematic technique\, unpredictable in their structures… Alan Berliner illustrates the power of fine art to transform life.”Berliner’s experimental documentary films\, First Cousin Once Removed (2013)\, Wide Awake (2006)\, The Sweetest Sound (2001)\, Nobody’s Business (1996)\, Intimate Stranger (1991)\, and The Family Album (1986)\, have been broadcast all over the world\, and received awards\, prizes\, and retrospectives at many major international film festivals.  The San Francisco International Film Festival called Berliner\, “America’s foremost cinematic essayist.”  The Florida Film Festival called him “the modern master of personal documentary filmmaking.”  Over the years\, Berliner’s films have become part of the core curriculum for documentary filmmaking and film history classes at universities worldwide\, and are in the permanent collections of many film societies\, festivals\, libraries\, colleges and museums. All of his films are in the permanent collection of the Museum of Modern Art. \nIn July of 2013\, Berliner was awarded the Freedom of Expression Award by the San Francisco Jewish Film Festival. In 2006\, the International Documentary Association honored him with an International Trailblazer Award “for creativity\, innovation\, originality\, and breakthrough in the field of documentary cinema.” Berliner had also been a recipient of a Distinguished Achievement Award from the IDA in 1993. In 2002\, the National Foundation for Jewish Culture presented him with a Cultural Achievement Award in the Arts\, and he was the recipient of the Storyteller Award from the Taos Talking Picture Film Festival in 2001. Berliner’s films have won awards at many major international film festivals\, and he has received retrospectives at the Museum of Modern Art (NYC)\, and many other museums and film festivals all over the world. \nBerliner is a recipient of Rockefeller\, Guggenheim and Jerome Foundation Fellowships\, and has received multiple grants from the National Endowment for the Arts\, the New York State Council on the Arts\, and the New York Foundation for the Arts.  He’s won three Emmy Awards and received seven Emmy nominations from the National Academy of Television Arts and Sciences.  Berliner has also served on several non-profit foundation funding panels and various international film festival juries\, including the 2007 Sundance Film Festival Documentary Jury. He is on the Board of Directors of the Full Frame Documentary Film Festival and is a member of the Board of Advisors of the Martha’s Vineyard Film Festival. \nMore information: http://www.alanberliner.com \nFirst Cousin\, Once Removed (2013)\, dir. Alan Berliner\, 78 min.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/private-lives-disparate-selves-intensive-seminar-expanded-personal-filmmaking/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
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:20151206T193000
DTEND;TZID=America/New_York:20151206T213000
DTSTAMP:20260429T093845
CREATED:20151104T050000Z
LAST-MODIFIED:20190404T202905Z
UID:10002594-1449430200-1449437400@uniondocs.org
SUMMARY:Stone Tape Theories: Hearing\, Haunting\, and the Memory of Materials
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] \n“Think of a record that’s kind of stuck\, and it’s playing itself over and over again\,” he told me. These are not cognizant ghosts\, but the energy of past events trapped in things. \n A stone tape is a material object that has “recorded” the energy of a past event. Widely popularized by British author Nigel Kneale in his 1972 teleplay The Stone Tape\, beliefs in the recording ability of objects and environments span the practices of heritage preservation\, paranormal investigation\, sound and media theory\, and spiritual pilgrimage. But if materials do\, in fact\, record the past\, how do contemporary encounters act as instances of playback? Through a focus on sound\, hearing\, and listening\, we will take up this question as an opportunity to interrogate what a sound recording is and what it does. How do we listen to and through material objects? How do we hear a mood or feeling? What is the sound of a memory or a myth? From experiences of haunting to early sound recording techniques to atmospheric design\, we will trace a genealogy of stone tape theory and will discuss how these apply to our own scholarly and artistic practice. \nThrough field recordings\, film screenings\, and archival examples\, this evening will explore the relationships between the social and sensorial practices of hearing and listening and material objects ranging from vinyl to ghost towns to sacred stones. Works presented are grounded in years of non-fiction filmmaking and sound research and include investigations into aural politics\, expanded sound recording techniques\, and heritage production in South Dakota. The evening will culminate in a panel discussion about the relevance of stone tape theory to media archaeology\, archaeoacoustics\, aural heritage\, sound theory\, and non-fiction filmmaking.  \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”SOUNDING WESTERN (field recordings)\, by Jen Heuson” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”8 min.\, 2012-2013″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA selection of four field recordings from South Dakota’s Black Hills\, one of the most popular and contested tourist regions in the United States. Marketed as “the most marvelous hundred square miles on earth\,” the region is home to Mount Rushmore and Crazy Horse Memorials\, Deadwood\, the Badlands\, and the Sturgis Motorcycle Rally. It is also a sacred land called “the heart of everything that is” by local Lakota peoples. Through these field recordings\, we attempt to listen for the legacies of colonial exploitation embedded in ways of hearing and listening. \nCenter of the Nation\, Belle Fourche\, 2013\, 1m \nRunning Elk and Josephine\, Custer\, 2012\, 0m30s \nCrazy Horse Night Blast\, Custer\, 2012\, 2m30s \nClosed Cut Fireworks\, Lead\, 2013\, 3m30s \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”LEAD (film)\, by Jen Heuson” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”4 min.\, 2012″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA time-lapse document of the ex-mining town of Lead\, South Dakota\, home to George Hearst’s Homestake Gold Mine. 8\,000 feet beneath this small mountain town are the artifacts of more than a century of gold mining. Today\, the old mining caverns house dark matter experiments a mile underground\, while the surface continues to resound with everyday life. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”BRIDGE (film)\, by Kevin T. Allen” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”11 min.\, 2013″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA study of three similar but distinct microcultures: the Manhattan Bridge\, Brooklyn Bridge and Williamsburg Bridge. Interrogated through the use of contact microphones\, the physical infrastructures of these bridges become audible and reveal their inherent macroacoustics. The film treats the bridge as an anthropological body for discourse\, as a physiology of limbs\, organs\, eyes and ears moving in time. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”REAL WEST (film)\, by Kevin T. Allen” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”11 min.\, 2013″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nAn experimental portrait of two roadside ghost towns in South Dakota. It is also the tale of the two elderly proprietors who devotedly maintain these sites. Such roadside attractions conjure the mythical West through material and cultural artifacts\, from a decrepit wagon wheel to an out-of-tune player piano. Tourists are encouraged to not only experience\, but also to re-enact these historical environments. The film uses contact microphones and super-8mm film as archaeological tools to uncover the material traces of this living history. \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”84 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=”115528″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJen Heuson is a scholar\, filmmaker and sound ethnographer. Her films have screened internationally at venues as diverse as FLEX Fest\, Big Muddy\, Black Maria and the Margaret Mead Film & Video Festival\, and she has produced sound ethnographies of the Peruvian Amazon\, New York City and South Dakota’s Black Hills. Jen earned her PhD with distinction from the Department of Media\, Culture\, and Communication at New York University. Funded by the Wenner-Gren and Reed Foundations\, her research explores how heritage and tourist experiences are made and managed through sound. Jen is currently working on a film about aural sovereignty and a science-fiction novel exploring stone tape theory in South Dakota. She teaches media ethics at The New School and critical media analysis at New York University. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115529″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nKevin T. Allen is a filmmaker\, sound artist and radio producer. He has exhibited at numerous venues\, including MoMA\, Ethnographic Terminalia\, Flaherty NYC\, Margaret Mead Film Festival\, Berlin Directors Lounge and Ann Arbor Film Festival. His sound work has been featured at museums and festivals\, including the Canadian Centre for Architecture\, Third Coast International Audio Festival and Deep Wireless Festival of Radio Art. He has made ethnographically imbued films in Vietnam\, Sri Lanka\, India\, Peru\, Bolivia\, Argentina\, the Wild West\, and the migrant farm worker community of Immokalee\, Florida. Recent research has lead him to find culture not exclusively in human forms\, but also inherent in physical landscapes and material objects. His work is funded through the Jerome Foundation. He teaches documentary practice and film form at The New School. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-12-06-stone-tape-theories/
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/2015/11/kevin_t_allen.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:20151212T100000
DTEND;TZID=America/New_York:20151213T170000
DTSTAMP:20260429T093845
CREATED:20170206T200141Z
LAST-MODIFIED:20180228T041353Z
UID:10002353-1449914400-1450026000@uniondocs.org
SUMMARY:Translating Empathy: A Seminar Dedicated to Social Engagement and Documentary Art
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nFacilitate empathetic understanding about social topics with a multimedia approach. Empower your audience with a knowledge about challenging issues. This weekend intensive wrestles with the thorny question of how to activate change with artistic representations. \nDesigned by Mathilde Walker-Billaud and Jody Wood\, the workshop exposes a small group of up to 14 participants to a range of creative practices and approaches to socially engaged films and media art. \nParticipants will learn from four talented professional practitioners using their past projects as key examples for discussion. Together we will explore key ideas that range from exposing social issues with accountable narratives\, engaging the audience on difficult and uncovered topics and art activism to working with communities\, using media with marginalized peoples\, and creating space for artistic decisions while decentralizing point of view. Through artists’ presentations\, lectures\, group discussions\, short exercises and work-in-progress critique\, participants will be encouraged to put this new knowledge into practice. The guests’ presentations will also include technical demonstrations and documentary filmmaking expertise. The final afternoon will be dedicated to presentations by students and include feedback by guest curator Sally Szwed. \nMultimedia artist Jody Wood will lead the intensive.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae90f44b-0cce”][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e843f44b-0cce”][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bff44b-0cce”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-5016f44b-0cce”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c7f44b-0cce”][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Saturday\, Dec 12: 10am – 5:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 1 – SATURDAY \n10-11:00am: General presentation + short presentations by students \n11:00am-1:00pm: presentation by Jody Wood +  discussion with students (Focus: Translating Empathy with a Multimedia Approach) \n1:00pm: Lunch (on your own) \n2:00-3:00pm: workshop \n3:00-5:00pm: presentation by Barbara Hammer +  discussion with students (Focus: Engaging the Audience) \n5:00-5:30pm workshop \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Dec 13: 10:00am – 5:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 2 – SUNDAY \n10:00am-11:00am:  workshop \n11:00am-1:00pm: presentation by Kelly Anderson + discussion with students (Focus: Working with Communities) \n1:00pm: Lunch (on your own) \n2:00pm-5:00pm: presentation by Sally Szwed  + critique / feedback on projects (Focus: Presenting/Evaluating Socially Engaged Films and Media Art)[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53392″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Jody Wood is an artist whose work is time-based and performative\, utilizing video\, installation\, performance\, and community organization to engage with socially charged content. Primarily focusing on transitional experiences of death\, trauma\, and social isolation\, her work aims to unpack and meaningfully interpret these issues by working one-on-one with members of her community. Her work was honored with a Fellowship for Socially Engaged Art by A Blade of Grass for 2014-2015\, and has been supported by organizations including Brooklyn Arts Council\, Lower Manhattan Cultural Council\, and Skowhegan School of Painting and Sculpture. She is a participant in the 2014 Open Engagement Conference at Queens Museum\, and has presented collaborative community-based projects in NYC at El Museo Del Barrio and in Seoul\, South Korea at Temporary Space Artist Residency\, Seoul Art Space Geumcheon\, One-Circle Community Theatre\, and the Senior Welfare Center of Seoul. Wood is an Adjunct Assistant Professor at Pace University.\nCheck out: the artist’s website and her Beauty in Transition project[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53395″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Sally Szwed is the Curator of Engagement for the Creative Time Summit\, and has contributed to Creative Time’s programs since 2008. In addition to her work on the Summit\, Sally helped form Creative Time’s Global Initiatives department and managed the Global Residency Program from 2012-2014. Previously\, she served as Program Manager of EFA Project Space\, at the Elizabeth Foundation for the Arts\, in New York City\, where she produced exhibitions\, workshops\, and other events. Sally has organized numerous public programs\, including a series of parties welcoming new artists to the city\, experimental wine tastings\, and projects for Open Engagement and Flux Factory\, where she recently joined the Board of Directors. She has lectured at the New School\, and has spoken at various symposiums including Whose Terms? at the New Museum\, and panels at Brooklyn College and Judith Charles Gallery. She holds a BFA in Sculpture from Syracuse University\, and an MA in Curatorial Practice from California College of the Arts.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53396″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Barbara Hammer  is a visual artist working primarily in film and video. She has made over 80 moving image works in a career that spans 40 years. She is considered a pioneer of queer cinema. \nIn 2013 she received a Guggenheim Fellowship for a film Waking Up Together on the poet Elizabeth Bishop. She was awarded the same year a Marie Walsh Sharpe artist studio to work on performance projection. Hammer was honored with a month long retrospective at The Museum of Modern Art in New York City from September 11-October 13\, 2010. In February 2012 she had a month long retrospective at The Tate Modern in London followed by retrospectives in Paris at Jeu de Paume in June 2012 and the Toronto International Film Festival in October 2013. Her work is represented by the gallery Koch Oberhuber Woolfe in Berlin\, Germany. \nHer experimental films of the 1970’s often dealt with taboo subjects such as menstruation\, female orgasm and lesbian sexuality. In the 80’s she used optical printing to explore perception and the fragility of 16mm film life itself. Optic Nerve (1985) and Endangered (1988) were selected for the Whitney Museum of American Art Biennials (’85\,’89\,’93). \nHer documentaries tell the stories of marginalized peoples who have been hidden from history and are often essay films that are multi-leveled and engage audiences viscerally and intellectually with the goal of activating them to make social change. Nitrate Kisses (1992) was chosen for the 1993 Whitney Museum of American Art Biennial. The Leo Award from the Flaherty Film Seminar was presented to her in 2008 for making a significant contribution to documentary film. In April of that year\, Diving Women of Jeju-do premiered at the Seoul International Women’s Film Festival where Hammer presented followed by a trip to Beijing where she showed her 1970 lesbian films to a Feminist Seminar and at a new LGTQI Center. In 2011 she was a guest of the 10th Beijing Queer Film Festival. Hammer’s experimental documentary film on cancer and hope\, A Horse Is Not A Metaphor\, premiered in June\, 2008 at the 32nd Frameline International Lesbian and Gay Film Festival in San Francisco and in February\, 2009 at DocFortnight at the Museum of Modern Art\, New York. It won the Teddy Award for Best Short Film at the 2009 Berlinale and Second Prize at the Black Maria Film Festival. It was selected for Punta de Vista Film Festival in Bilbao\, Spain; the Torino Gay and Lesbian Film Festival in Italy; the International Women’s Film Festival Dortmund/Koln\, and the Festival de Films des Femmes Creteil among others. \nIn March 2010 her book\, Hammer! Making Movies Out of Sex and Life published by The Feminist Press at the City University of New York was launched in a performance at the Elizabeth A. Sackler Center for Feminist Art at Brooklyn Museum of Art\, New York. A 2010 book tour included The Hammer Museum\, Los Angeles\, California; The University of Michigan at Ann Arbor; the British Film Institute in London\, England; the Experimental Film Congress in Toronto\, Canada; the University of California at San Diego Visual Arts Department; the San Francisco Cinematheque Crossroads Festival; the Northwest Film Center at the Portland Art Museum\, and the Northwest Film Forum in Seattle\, Washington. \nShe teaches each summer at The European Graduate School in Saas-Fee\, Switzerland. Barbara Hammer lives and works in New York City and Kerhonkson\, New York.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53397″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Kelly Anderson‘s most recent film is My Brooklyn\, a documentary about gentrification and the redevelopment of Downtown Brooklyn\, which she directed and produced (with Allison LIrish Dean). My Brooklyn premiered at the 2012 Brooklyn Film Festival\, where it won an Audience Award for Documentary. It had a three-week sold out run at reRun Theater in Brooklyn and aired on the PBS World series America ReFramed. My Brooklyn screened at many festivals worldwide\, including DOXA (Vancouver) and This Human World Human Rights Film Festival (Vienna). In the summer of 2013\, Anderson and her community partners created a discussion and resource guide\, and offered the film free to anybody willing to organize a screening of six people or more. The “My Brooklyn\, Our City” campaign generated more than 50 screenings that summer\, including some in parks and community gardents\, and one in a Bedford Stuyvesant café that drew more than 200 people. Kelly’s other documentary work includes Never Enough\, about clutter\, collecting and Americans’ relationships with their stuff\, and Every Mother’s Son\, a documentary she made with Tami Gold about mothers whose children have been killed by police officers and who have become national spokespeople on police reform. Every Mother’s Son won the Audience Award at the Tribeca Film Festival\, aired on POV\, and was nominated for a national Emmy for Directing. It is still being used extensively for education and community engagement around law enforcement policy. Kelly’s other documentaries include Out At Work (also with Tami Gold)\, which screened at the Sundance Film Festival and was broadcast on HBO.  She is a Professor in the Department of Film and Media Studies at Hunter College (CUNY)\, where she also teaches in the Integrated Media Arts (IMA) MFA program.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/translating-empathy-seminar-dedicated-social-engagement-documentary-art/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/support-2.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:20151213T193000
DTEND;TZID=America/New_York:20151213T213000
DTSTAMP:20260429T093845
CREATED:20151202T050000Z
LAST-MODIFIED:20190411T162047Z
UID:10001968-1450035000-1450042200@uniondocs.org
SUMMARY:Internet Poetics: Steve Roggenbuck and Alli Simone Defeo
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]Steve Roggenbuck\, poet\, video artist\, and comedian who was once “cataloged as a meme\,” will be joined by Alli Simone Defeo\, “the fastest poet alive”\, for a reading\, screening\, and discussion on Sunday evening. Steve plans to also show a selection of his personal performative videos and give a talk on internet-based poets\, twitter accounts\, memes\, image-based poetry\, and video-based art. Radio producer and poet Pejk Malinovski will be there to show a clip from a doc-in-progress about Steve and initiate a discussion between the two artists and the audience.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”120 minutes” 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=”115495″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nSteve Roggenbuck is a poet\, video artist\, and comedian whose work explores the new forms art and humor might take on the internet. He is known most for his videos\, which have accumulated more than a million views together\, and which have been presented in the New Museum Triennial in New York and the Oslo Poesifilm Festival in Norway. Steve’s work has been covered by the New York Times\, Gawker\, Rolling Stone\, The Fader\, NPR\, The Guardian\, and The Atlantic. Steve also published six collections of writing so far\, and has performed over 250 times in five countries and all 48 continental United States. He is the founder of Boost House\, a poetry publisher and vegan co-op house in Tucson\, Arizona. In 2012 he was the first living poet to be cataloged as a meme by Know Your Meme. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115496″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nAlli Simone Defeo is a poet and photographer from Connecticut. They are co-editor of Glo Worm Press\, and have published two chapbooks. Alli is also the fastest poet alive. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115494″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPejk Malinovski is a poet and documentarian. His works have aired on Public Radio\, BBC and radio stations around the world and been shown in museums and galleries. They have won prizes at festivals and competitions like Prix Europa\, Sheffield International Doc festival and Third Coast International Audio Festival. In 2012 he launched Passing Stranger\, an audio walking tour of the East Village’s poetry history. He was the co-creator and host of Thirdear\, an online audio magazine and he continues to edit and translate books for Basilisk\, a poet-run publishing house in Cclosedhagen. He is currently working on an audio walk about internet infrastructure in Lower Manhattan in conjunction with Laura Poitras’ upcoming exhibition at The Whitney. And a short documentary about Steve Roggenbuck. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-12-13-steve-roggenbuck/
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/2015/12/LIVE-MY-LIEF.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:20151219T230000
DTEND;TZID=America/New_York:20151220T040000
DTSTAMP:20260429T093845
CREATED:20151201T050000Z
LAST-MODIFIED:20190411T215142Z
UID:10001966-1450566000-1450584000@uniondocs.org
SUMMARY:THE UNDO HOLIDAY PARTY
DESCRIPTION:Ho-Ho-Ho hold on! The Holiday break is just around the corner and we invite you to celebrate with us for a dance and a drink in winter wonderland! \n\nSEE YOU THERE!\n  \n  \n\n \n  \n  \nWhether in the mood or not\, this party will kickstart a jolly\, merry\, and much needed holiday break! We make sure you will dance so much that you need to take a serious holiday brake for a day or ten. \n  \nDJ's\nDJ Black Santa\nDJ Haram \nDRINKS\nGlühwein\nGinger Punch \nMarble Rhye \n  \n#WinterWonderland - bring snow and glitter!
URL:https://uniondocs.org/event/2015-12-19-holiday-party/
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:20160108T193000
DTEND;TZID=America/New_York:20160108T213000
DTSTAMP:20260429T093845
CREATED:20151123T050000Z
LAST-MODIFIED:20190411T161923Z
UID:10001969-1452281400-1452288600@uniondocs.org
SUMMARY:Wave Farm Recent Artists-in-residence Present and Perform
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] \nEd Bear\, Mike Bullock and Linda Aubry Bullock\, Damian Catera and Patricia Kositzky\, and Bernd Klug present and perform work created during their 2015 Wave Farm Artist Residencies. \nMaking use of UnionDocs’ newly installed 7.1 sound system these artists will perform the following pieces: \nEd Bear will perform and present his newly developed instrument\, an experimental multichannel synthesizer\, comprised of an array of microradio transmitters. \nMike Bullock and Linda Abury Bullock will present a 7.1 channel sound and single-channel video mix of their residency project “Lanalog\,” which was a six-hour durational performance using transmission to connect six performers located throughout Wave Farm’s 29 acres. \nBernd Klug will perform “Transmissions and Frequency Spectra of a Radio Station.” Comprised of site-specific recordings made during his residency\, Klug employs acoustic and electromagnetic detritus to produce a generative work in which the radio “plays itself.” \nDamian Catera and Trish Kositzky will present “Strategies Against Communication: NIGHT\,” a four episode interactive radio performance series\, incorporating original composition\, theatre\, and spoken word. \nWave Farm is a non-profit arts organization that celebrates creative and community use of media and the airwaves. Their programs provide access to transmission technologies and support artists and organizations that engage with media as an art form.  \nTransmission Arts \nTransmission Arts programs support artists who engage the transmission spectrum\, on the airwaves and through public events. The Wave Farm Artist Residency Program is an international visiting artist program. The Transmission Arts Archive presents a living genealogy of artists’ experiments with broadcast media and the airwaves. Wave Farm Radio is a continuous online radio feed and site-specific broadcast on 1620-AM. \nWGXC 90.7-FM \nWGXC-FM is a creative community radio station based in New York’s Greene and Columbia counties. Hands-on access and participation activate WGXC as a public platform for information\, experimentation\, and engagement. \nMedia Arts Grants \nMedia Arts Grants programs include the New York Media Arts Map and the Media Arts Assistance Fund (MAAF)\, which support electronic media and film organizations\, as well as individual artists\, in all regions of New York State through a Regrant Partnership with NYSCA\, Electronic Media and Film\, as well as fiscal sponsorship. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”120 minutes” 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=”115506″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nBernd Klug is an Austrian born\, Brooklyn based sound artist and double bassist. In sound installations and solo concerts\, his music encounters our everyday circumstances as found forms and questions our perceptions of sound and social space.   He has performed his solo double bass work at CTSwaM Fridman Gallery\, Share Issue Project Room\, Biegungen Ausland (Berlin)\, CoCART – Tarun (PL)\, CNMAT (Berkeley) and Radiokulturhaus and the Porgy and Bess in Vienna. As an improviser and bassist\, he has collaborated with Burkhard Stangl\, Keiko Uenishi\, Shelley Hirsch\, Radu Malfatti\, Franz Hautzinger\, Butch Morris\, Bernhard Lang\, John Butcher\, Gust Burns\, Danielle Dahl\, Mimu Merz\, Daniel Lercher\, Henrik Munkeby Nørstebø\, Laurie Amat\, Brendan Landis\, Lucio Menegon\, Kjetil Hanssen\, ctrl\, OENCZkekvist and Ritornell. His most recent bands include the experimental techno noise band T-Shit and the dramatic chamber duo Rash. Klug’s personal website. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115509″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nEd Bear is an American performing artist and engineer. His work with robotics\, sound\, video\, transmission and collective improvisation investigates the questionable calibration of perception. As an educator and designer committed to a closed source world\, he researches and practices material reuse and as a civil responsibility. He has toured extensively in North America and Europe as a performer and teacher\, working with organizations such as The Mattress Factory\, The Montreal Pop Festival\, Oberlin Conservatory of Music\, and Renssalaer Polytechnic Institute. In 2009 and 2010 he received NSF and other funds to study e-waste streams as educational resources\, software defined radio and novel energy harvesting using ionic polymer metal composites. He is a 2012 LMCC SwingSpace artist-in-residence\, 2010 free103point9 AIRtime fellow and received the 2008 Roulette Emerging Composer Commission. His music is available on Peira\, Azul Discographica\, Roar Tapes\, and several other record labels. Bear’s personal website. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115517″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nMike Bullock is a composer\, improviser\, and media artist based in Philadelphia\, PA. His sound work encompasses electroacoustic improvisation\, analog/digital synthesis\, voice\, and contrabass. In the visual realm he works with video\, porcelain\, and illustration. Bullock performs across the US and in Europe\, collaborating with a huge range of artists including Bertrand Gauguet\, Andy Guhl\, Mazen Kerbaj\, Pauline Oliveros\, Bhob Rainey\, Steve Roden\, Keith Rowe\, and Christian Wolff. Bullock’s music has been released by Sedimental\, Intransitive\, Important\, Winds Measure\, Sedimental\, Grob\, and al Maslakh. Collaborating with Linda Aubry Bullock they perform together at rise set twilight\, make porcelain as Aubry Arts\, and co-run the art-edition label Shadowselves. With a PhD from the Arts Department at Rensselaer Polytechnic Institute in Troy\, NY\, he currently serves as Lecturer in Digital Media Arts at UMass Boston\, and leads workshops in the US and Europe. Bullock’s personal website. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115510″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nLinda Aubry Bullock. In 2013 Bullock founded Aubry Arts\, creating handmade porcelain tableware\, decorative accessories\, and experimental works combining porcelain with other medium. She also creates stop motion animation\, video collages\, and sound art as Orangecookie Image and Sound. Bullock’s multimedia work combines rapidly moving packets of visual information with sound from modular synthesizers\, electronics\, piano\, harp\, field recordings\, and voice.     She is half of the multimedia duo rise set twilight\, with Mike Bullock; and provide vocals\, electronics and guitar in the experimental psych drone band Twilight of the Century. As part of the VJ duo Twin Stars\, also with Mike Bullock\, she performs live video. Bullock studied music composition at Berklee College of Music (MA) and Bennington College (MFA). \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115507″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nDamian Catera is a composer\, interdisciplinary sound and media artist\, whose work reflects interests in critical analysis\, installation\, performance and transmission. He has toured and exhibited his work the US\, Europe and Asia. His primary mission as an artist is to blur disciplinary boundaries often utilizing appropriated material and algorithmic processing.      In recent years\, Catera has exhibited a series of multimedia installations and performances investigating issues of cultural production in baroque and classical music in such venues as The Chelsea Art Museum\, Outlet Fine Arts and The Hogar Collection. As a collaborator\, Damian has performed at the National Gallery in Prague\, The Walker Center\, The Whitney Museum\, The Kitchen and The Hayden Planetarium. Damian’s recent recordings of radically decomposed baroque music are available through his Praxis Classics label. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115518″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPatricia Kositzky is a published poet\, produced playwright and songstress living in the New York City area. Her play Tales from the Oven: the absolutely true confessions of a bakery counter girl\, was produced at the Nuyorican Poets Café and received critics choice for comedy in Time Out New York magazine. Her work blurs conventional lines of theatrical and musical form\, and she has worked closely with the 78th Street Theatre Lab in the birth of these projects. Patricia has created poetry cabarets and musical biographies—most notably Positively Peggy\, a cabaret show written\, directed and performed by her in various cabaret venues and jazz festivals. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-01-08-wavefarm-residents/
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:20160122T193000
DTEND;TZID=America/New_York:20160123T193000
DTSTAMP:20260429T093845
CREATED:20160106T050000Z
LAST-MODIFIED:20180301T141505Z
UID:10002615-1453491000-1453577400@uniondocs.org
SUMMARY:Los Sures at MoMA PS1
DESCRIPTION:UnionDocs is pleased to participate with\nMoMA PS1’s Greater New York exhibition.\nWith screenings of Diego Echeverria’s 1984 film Los Sures and accompanying shorts from the Living Los Sures project\nJanuary 17 – 23\n\n ABOUT LOS SURES \n \nDiego Echeverria\, USA\, 1984\, 16mm\, 66m \nDiego Echeverria’s Los Sures skillfully represents the challenges of its time: drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single-parent homes\, and inadequate local resources in Brooklyn’s Los Sures neighborhood. Yet Echeverria’s portrait also celebrates the vitality of this largely Puerto Rican and Dominican community\, showing the strength of their culture\, their creativity\, and their determination to overcome a desperate situation. Nearly lost\, this 16mm film has been restored\, reframed\, and remixed by Southside-based UnionDocs. The restored version premiered at the 2014 New York Film Festival. \n\n ABOUT LIVING LOS SURES \n[su_vimeo url=”https://vimeo.com/122791902″][/su_vimeo] \nIn the late 70s and early 80s\, the Southside of Williamsburg was one of the poorest neighborhoods in New York City. In fact\, it had been called the worst ghetto in America. The 1984 film Los Sures 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. Yet\, Echeverria’s portrait also celebrates the vitality of this largely Puerto Rican and Dominican community\, showing the strength of their culture\, their creativity and their determination to overcome a desperate situation. \nNearly lost\, this 16mm film has been restored for theatrical exhibition just in time for its 30th anniversary and become the point of departure for an expansive documentary project\, called Living Los Sures. This multi-platform work reframes the neighborhood today through an impressive collection of new short documentaries\, updates the film’s narrative through an interactive feature called 89 Steps\, and remixes Echeverria’s film Shot by Shot with memories and stories gathered through the participation of longterm local residents. The resulting portrait brings together the remarkable past and present of a very unique place\, and offers a rich and collaborative study of an urban community striving for sustainability against displacement and forces of gentrification. \nShorts to be screened: \nJan 17: ÁLVARO by Daniel Wilson\, Liz Warren\, Alexandra Lazarowich and Chloe Zimmerman. \nJan 18: BEFORE/AFTER by Michael Kugler and Daniel Terna. \nJan 21: THIRD SHIFT by Anthony Simon. \nJan 22: OF MEMORY & LOS SURES by Michael Kugler and Laurie Sumiye. \nJan 23: TOÑITAS\, Beyza Boyacioglu and Sebastian Diaz. \n\n ABOUT THE PRODUCTION \nLiving Los Sures was initiated and directed by UnionDocs Founder\, Christopher Allen. It is a production of UnionDocs (UnDo)\, a nonprofit Center for Documentary Art that was born in the Southside of Williamsburg\, Brooklyn and has operated there for nearly a decade. Through four year-long iterations of the UnionDocs Collaborative Studio\, over 40 artists fellows have worked together on research and short documentary productions for Living Los Sures.Though the film was nearly lost\, it has been lovingly restored for theatrical exhibition just in time for its 30th anniversary with the support of The Reserve Film and Video Collection of the New York Public Library for the Performing Arts\, Dorothy and Lewis B. Cullman Center. \n\n ABOUT GREATER NEW YORK \nMoMA PS1 presents the fourth iteration of its landmark exhibition series\, begun as a collaboration with The Museum of Modern Art in 2000. Recurring every five years\, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Greater New York arrives in a city and art community that has changed significantly since the first version of the survey. With the rise of a robust commercial art market and the proliferation of art fairs\, opportunities for younger artists in the city have grown alongside a burgeoning interest in artists who may have been overlooked in the art histories of their time. Concurrently\, the city itself is being reshaped by a voracious real estate market that poses particular challenges to local artists. The speed of this change in recent years has stoked a nostalgia for earlier periods in New York—notably the 1970s and 1980s\, and the experimental practices and attitudes that flourished in the city during those decades. Against this backdrop\, Greater New York departs from the show’s traditional focus on youth\, instead examining points of connection and tension between our desire for the new and nostalgia for that which it displaces. \nBringing together emerging and more established artists\, the exhibition occupies MoMA PS1’s entire building with over 400 works by 157 artists\, including programs of film and performance. Greater New York is co-organized by a team led by Peter Eleey\, Curator and Associate Director of Exhibitions and Programs\, MoMA PS1; and including art historian Douglas Crimp\, University of Rochester; Thomas J. Lax\, Associate Curator\, Department of Media and Performance Art\, MoMA; and Mia Locks\, Assistant Curator\, MoMA PS1. \nConsidering the “greater” aspect of its title in terms of both geography and time\, Greater New York begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate\, reaching back to artists who engaged the margins of the city. Together\, the works in the exhibition employ a heterogeneous range of aesthetic strategies\, often emphatically representing the city’s inhabitants through forms of bold figuration\, and foregrounding New York itself as a location of conflict and possibility.
URL:https://uniondocs.org/event/2016-01-17-los-sures-at-ps1/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/01/Los-Sures_small.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160128T193000
DTEND;TZID=America/New_York:20160128T213000
DTSTAMP:20260429T093846
CREATED:20160114T050000Z
LAST-MODIFIED:20190404T191154Z
UID:10001976-1454009400-1454016600@uniondocs.org
SUMMARY:Painters Painting
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text] \nThe definitive documentary on the New York School Painters\, featuring the major figures of the New York Art Scene between 1940-1970. \nWhat does and doesn’t make it into the various frames at play in de Antonio’s film points to concerns which remain as crucial today as they were in 1952 or 1972. The evening’s program will begin with Hart Perry’s 1969 portrait of Grace Hartigan\, Hartigan and conclude with a discussion featuring Mary Potter\, curatorial assistant at the Whitney as a moderator\, and Catherine Pearson and Justine Hill discussing the films.  \n16mm print of Painters Painting courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Painters Painting\, by Emile de Antonio” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”116 min.\, 1973\, 16mm” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nTo grouse\, as Vincent Canby did in the Times upon its initial release\, that Emile de Antonio’s portrait of the post-war art scene in New York\, Painters Painting\, might have been more reasonably titled Painters Talking\, misses the joke in several senses. Made at roughly the midpoint between his two most famous films\, In the Year of the Pig (1968) and Underground (1974)\, and generally received as something of an amiable diversion from his more serious political work\, Painters Painting in fact continues de Antonio’s career-long project of building structural critiques out of carefully culled anecdotes. So\, yes: brand-name painters (Warhol\, Johns\, Rauschenberg\, etc.) and the various other agents comprising the art world do indeed talk and talk and talk to de Antonio\, a close friend of many of the film’s participants\, in the process revealing both a considerable amount about their own principles and methods\, and perhaps even more about the emerging role of the artist as a public persona. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”116 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=”115538″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nDocumentary filmmaker Emile de Antonio created a great deal of controversy during his nearly 20 years as a filmmaker by making decidedly Marxist underground films that sharply criticized his native U.S. during the times when the Cold War was still very real. The Pennsylvania native was the son of a wealthy doctor and educated at Harvard–he was in the same class as JFK. Before becoming a filmmaker\, he held odd jobs ranging from longshoreman to college instructor. De Antonio began making documentaries in the mid 1960s. As a filmmaker\, he preferred to intricately edit old footage into something new. Many of his films were made without narration because he believed there was something fascist about someone telling the viewer what to think. His rather radical criticism of American institutions and government officials angered many officials who would send the FBI out to harass him. His style of filmmaking greatly influenced the avant-garde films of Andy Warhol. –Sandra Brennan\, Rovi \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115539″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nDuring the last 30 years working as a filmmaker\, Hart Perry has carved out three distinct reputations: social and music documentarian\, cameraman and artist. Hart Perry is a cinematographer and director\, known for Harlan County U.S.A. (1976)\, American Dream (1990) and Valley of Tears (2003). \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115540″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJustine Hill is an artist living and working in Brooklyn. She received her MFA from the University of Pennsylvania and her BA from the College of the Holy Cross. She has had solo exhibitions at Kathryn Markel Fine Arts (New York)\, Blueshift Project (Miami)\, and Galerie Protégé (New York)\, and has been in critically reviewed group shows such as Metamodern at Denny Gallery (New York) and Immediate Female at Judith Charles Gallery (New York). Her work has been reviewed in Hyperallergic\, The Observer\, Huffington Post\, Arte Fuse\, and On Verge. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115542″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nCatherine Pearson is based in Brooklyn\, NY. Her first solo exhibition was “A Feeling” at Good Work Gallery\, which coincided with the release of her book of the same title. She holds a BFA from Cooper Union. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115541″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nMary Potter is a curatorial assistant at the Whitney Museum of American Art. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-01-24-painters-painting/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/01/59688.large_.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:20160131T193000
DTEND;TZID=America/New_York:20160131T213000
DTSTAMP:20260429T093846
CREATED:20160119T050000Z
LAST-MODIFIED:20190411T215037Z
UID:10001972-1454268600-1454275800@uniondocs.org
SUMMARY:GOOD TIMES\, WONDERFUL TIMES
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nGood Times\, Wonderful Times: a film by Lionel Rogosin \nA blistering condemnation of political complacency amidst nuclear armament and the Vietnam War \n“These hard-drinkers\, self-satisfied small-talkers\, are we really like them?” \n— Joseph Gelmis\, Newsday\, July 19\, 1966 \nLionel Rogosin’s Good Times\, Wonderful Times (1965) is a biting critique of political complacency amidst nuclear armament and America’s escalating involvement in Vietnam. This message comes by way of sardonic visual and aural contrast where the idle chatter and swinging music of a London cocktail party is juxtaposed with bleak archival footage of nuclear devastation\, fascism\, concentration camps\, and protest. This didactic mode of assemblage indicts the film’s frivolous partygoers for their tacit support of continued warfare and oppression. The urgency of its message prompted one critic to write: “[Rogosin] has managed brilliantly to set the present world—and the urgent questions of personal responsibility—teetering on the stem of a Martini.” \n \nGood Times\, Wonderful Times demonstrates Lionel Rogosin’s continued commitment to addressing themes rarely grappled with by mainstream cinema as evidenced by his better-known earlier works—the skid-row film On The Bowery (1956) and anti-apartheid masterwork Come Back Africa (1959). Disappointed by the limited release of the latter film in the United States\, Rogosin set up shop in London for his next project\, an attack on nuclear proliferation. Armed with letters of introduction from Bertrand Russell\, Rogosin and his crew embarked on a several-year journey across Western Europe\, the Soviet Bloc\, and Asia to acquire newsreel\, military\, and other war footage from numerous (often uncooperative) government archives to be paired with their semi-documentary staging of a posh cocktail party. Awarded first prize at the Leipzig Documentary Festival and selected as Britain’s entry into 1965 Venice Film Festival\, the film received a more muted response in the United States where political tensions forced the director to distribute the film himself via progressively-minded independent theaters and the burgeoning college campus circuit. Rogosin proudly claimed that over one million American students saw the documentary in its first year of release\, galvanizing the youth antiwar movement in its crucial early stages. The film is a rarely seen gem of found footage filmmaking and biting critique of apathy in our tumultuous times. – Tanya Goldman. \nDigital projection courtesy of Milestone Films.[/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] \nLionel Rogosin (1924-2000) committed his career to addressing some of the most pressing issues of mid-twentieth century politics. Rogosin’s first major release was the Oscar-nominated On The Bowery (1956)\, a depiction of unemployment and homelessness on Manhattan’s skid row heavily influenced by Robert Flaherty and Italian Neorealism. He followed up in 1958 with Come Back Africa\, a landmark anti-apartheid film shot surreptitiously on location in Johannesburg. During the filming of Good Times\, Wonderful Times\, Rogosin became a leading voice in European protests against the Vietnam War. Rogosin’s later films—a trio of black liberation films shot for European television and a film on the Arab-Israel conflict from 1974—found limited audiences in the United States\, and he spend the remainder of the decade fighting for greater diversity in American commercial broadcasting. He was also a founding member of the New American Cinema Group and ran the influential independent Bleecker Street Cinema from 1960-1974. \nIntroduced by: \nTanya Goldman is a doctoral student in Cinema Studies at New York University. Her research focuses on mid-twentieth century nonfiction film and its history as a political discourse and practice. Her work and reviews have appeared in Feminist Media Histories\, Film Quarterly\, Jump Cut\, and Senses of Cinema\, and she has served as a member of the Peabody Awards nominating committee for documentary television programming. \nAbout the panelists: \nMatt Peterson is a documentary artist from New York who has recently returned from Rojava. He made a film on the Tunisian insurrection called Scenes from a Revolt Sustained\, and is currently working with Malek Rasamny on The Native and the Refugee\, a multi-media project connecting the American Indian reservation with the Palestinian refugee camp. He is part of Woodbine\, a commune in Ridgewood. \nDavid Fresko is a Visiting Assistant Professor of Culture and Media at Eugene Lang College\, the New School. He recently completed a Ph.D. in the Department of Art & Art History at Stanford University with a dissertation entitled “Montage—Praxis—Politics: Radical French and American Film of the 1960s and 1970s\,” which shows how filmmakers in France and the United States utilized the technique of montage to galvanize solidarity with political movements at home and abroad\, above all those across the decolonizing world. His writing has appeared in animation: an interdisciplinary journal\, InVisible Culture\, and the volume: The Global Sixties in Sound and Vision: Media\, Counterculture\, and Revolt. Prior to joining academia he worked as a documentary film editor and at the legendary Mondo Kim’s on St. Mark’s Place. \nAbout the co-presenters: \nMilestone Films is an award-winning independent film distribution company founded in 1990 by Dennis Doros and Amy Heller known for releasing classic cinema masterpieces\, groundbreaking documentaries\, and American independent features. Thanks to the company’s work in rediscovering and releasing important films including Charles Burnett’s Killer of Sheep\, Kent Mackenzie’s The Exiles\, Lionel Rogosin’s On the Bowery\, Mikhail Kalatozov’s I Am Cuba\, the Mariposa Film Group’s Word is Out\, and Shirley Clarke’s The Connection\, Milestone has long occupied a position as one of the country’s most influential independent distributors. For more information: http://www.milestonefilms.com \nWhile narrowly defined as a motion picture abandoned by its owner or caretaker\, the Orphan Film Symposium embraces a broader definition of this new rubric in film preservation to constitute all manner of films outside the commercial mainstream including: independent documentaries\, experimental pieces\, stock footage\, found footage\, public domain materials\, home movies\, amateur materials and beyond. “Orphans”—as its biennial event has affectionately become known among its attendees—brings together scholars\, artists\, archivists\, collectors\, curators\, conservators and enthusiasts who recognize the Orphic value of these neglected aspects of our culture. The 10th Annual Orphan Films Symposium will take place at the Library of Congress’ Packard Campus for Audio-Visual Conservation in Culpeper\, Virginia in April 2016. For more information: http://www.nyu.edu/orphanfilm/ \nBased in Gowanus\, Interference Archive is an all-volunteer organization committed to exploring the relationship between cultural production and social movements. This work manifests in an closed stacks archival collection\, publications\, a study center\, and public programs including exhibitions\, workshops\, talks\, and film screenings\, all of which encourage critical and creative engagement with the rich history of social movements. The archive contains many kinds of objects that are created as part of social movements by the participants themselves: posters\, flyers\, publications\, photographs\, books\, T-shirts and buttons\, moving images\, audio recordings\, and other materials. Through programming\, Interference uses these cultural ephemera to animate histories of people mobilizing for social transformation\, preserving and honoring histories and material culture that is often marginalized in mainstream institutions. Their current exhibition “Our Comics\, Ourselves: Identity\, Expression\, and Representation” is running through April 17\, 2016. For more information: http://interferencearchive.org/[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-01-28-good-times-wonderful-times/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/01/GoodTimesWonderfulTimes.004.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:20160206T193000
DTEND;TZID=America/New_York:20160206T213000
DTSTAMP:20260429T093846
CREATED:20160126T050000Z
LAST-MODIFIED:20190228T170842Z
UID:10002122-1454787000-1454794200@uniondocs.org
SUMMARY:The Shadow
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Program”][vc_empty_space height=”40px”][vc_column_text]The Shadow is an intimate audiovisual essay\, a confessional narration about the rise and fall of a house\, of a family\, of a cinematography. And about the director’s father\, Hector Olivera\, in his success years as the director of “La Patagonia Rebelde” (The Rebel Patagonia); as a co-productor of the grossing movies of Olmedo and Porcel; as a host of the lavish parties that were developed in the house; of the encounter with left-wing intellectuals like Bayer\, Soriano\, Cossa. The refinement and solitude of the house which worked more as a scenary than a home. To grow in a walled garden that contained the innocence of childhood\, while outside a devastating dictatorship occurred. To take down the monumental shadow of the father in order to become oneself. \nThe movie was realized along 10 years\, a process of deep search\, in which the director worked with a Super 8 moviola and digital video\, mixing formats\, finding narrative construction. The sound design\, created by ZYPCE\, challenging and questioning the image\, and generating a sound memoir that rescues sounds from the seventies. \nAs the director’s family house gets demolished\, memory emerges from its hideouts as fragments of super 8 footage. An audiovisual essay where analog images blended with digital ones rewrite the director’s biography and reveal certain clues: the house as a stage and a monument; family relationships; life under Military dictatorship in the 70’s and the father figure as a tycoon of Argentine Cinema.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Festivals and Awards” color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]BAFICI 2015 – Best Film ACCA (Argentine Film journalists Association) \nFICCALI 2015 – Best Film International Competition \nVIENNALE 2015 – Official Selection \nTRANSCINEMA 2015 – Official Selection \nMARGENES 2015 – CAMIRA Critics Award \nTOULOUSE 2016 – Documentary Competition[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”72 min”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”73746″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Javier Olivera is an Argentine-born filmmaker and visual artist\, who works primarily in film\, video and photography. Trained initially in painting\, he later studied film and video at UCLA and Iberoamerican literature in Spain. He wrote and directed The Visitant (1999)\, Floresta (2007) and the feature doc Mika: Mi Spanish War (2014). The films have obtained praising reviews and have been screened at numerous international film festivals. Alongside\, since 1990 Olivera has developed a body of work that covers paintings\, photographs\, videos and video installations\, which have been exhibited in solo and group shows in Argentina and abroad. Olivera’s work focuses on the relationship between man and nature\, and how culture and memory build identity. He lives and Works in Montevideo\, Uruguay.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”114263″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Tomás Dotta is the Programmer of Kino Palais\, audiovisual space of the Palais de Glace (National Palace of Arts)\, part of the Ministry of Culture in Argentina. He is focused on author cinema\, documentary\, experimental cinema and independent cinema.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-02-06-the-shadow/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/01/The-Shadow-still-2.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:20160211T193000
DTEND;TZID=America/New_York:20160211T213000
DTSTAMP:20260429T093846
CREATED:20160202T050000Z
LAST-MODIFIED:20190411T214800Z
UID:10001980-1455219000-1455226200@uniondocs.org
SUMMARY:Olmo and the Seagull
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nOlmo and the Seagull\n— A Film by Petra Costa and Lea Glob \nFestival del film Locarno official selection \n \nA journey through the labyrinth of a woman’s mind\, OLMO AND THE SEAGULL tells the story of Olivia\, a free-spirited stage actress preparing for a starring role in a theatrical production of Chekhov’s The Seagull. As the play starts to take shape\, Olivia and her boyfriend\, Serge\, whom she first met on the stage of the Theatre du Soleil\, discover she is pregnant. \nInitially\, she thinks she can have it all\, until an unexpected setback threatens her pregnancy and brings her life to a standstill. Olivia’s desire for freedom and success clashes with the limits imposed by her own body and the baby growing inside her. The months of her pregnancy unfold as a rite of passage\, forcing the actress to confront her deepest fears. She looks in the mirror and sees both female characters of The Seagull – Arkadina\, the aging actress\, and Nina\, the actress who falls into madness – as unsettling reflections of herself. \nThe film takes a further twist when what appears to be acted is revealed as life itself. This portrait of the creative process invites us to question what is real\, what is imagined\, and what we celebrate and sacrifice in life.[/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] \n \nPETRA COSTA’s (Director) first feature ELENA (2012)\, premiered at IDFA and won several prizes in festivals worldwide. It was the most watched documentary in Brazil in 2013 and in 2014 was released theatrically in the United States. Executive Produced by Fernando Meirelles and Tim Robbins\, ELENA unfolds as a mixture of fever dream and psychological thriller. It tells the story of two sisters – and as one searches for the other their identities begin to blur. The film was called “a cinematic dream” by the New York Times\, “haunting and unforgettable” by the Hollywood Reporter and was defined as a “masterful debut that takes nonfiction where it seldom wants to go – away from the comforting embrace of fact and into a realm of expressionistic possibility” by Indiewire. \n  \n \nLEA GLOB (Director) graduated from the National Film School of Denmark in 2011 with her well received short film MEETING MY FATHER KASPER HØJAT\, an autobiographical interpretation of the director’s personal encounter with her long lost father. The film is an almost archaeological investigation of the father’s identity\, seen through the directors imagination\, as she goes through the boxes of objects left behind of the father. Among other acknowledgments\, the film was nominated for the National Danish Film Award and for The Robert Awards\, and won a Golden Panda for most innovative documentary film at the Chinese Shiuan TV Festival.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-02-11-olmo-and-the-seagull/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/02/Olma-and-the-Seagull-4.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:20160213T193000
DTEND;TZID=America/New_York:20160213T213000
DTSTAMP:20260429T093846
CREATED:20160121T050000Z
LAST-MODIFIED:20190411T161744Z
UID:10001974-1455391800-1455399000@uniondocs.org
SUMMARY:Virtual Womb
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] \nMaylee Todd’s Virtual Womb. A place of gestation\, meditation\, rebirth\, and deprogramming. A place of kaleidoscopic perspectives and ideas\, where birth and death are one of the same\, where there is potential for change to happen\, and a place with no past and no fear of the future. \nHere we are on neutral ground. We have not yet taken form; no age\, race\, gender\, education\, nationality\, status\, any type of identification that might set you apart from another being. Here we have not yet been defined. Here there is no judgement that holds any value. \nBe closed to the poetry of intuition\, flashes of telepathy\, the idea of universal language\, words that come from another\, and a receptacle for new information. Once you exit the womb you can choose to be reborn as a new being. \nBring a blanket\, walk through a large vagina\, and enter a place of gestation; Maylee Todd’s Virtual Womb. Todd will performing live showcasing her upcoming album ‘Acts Of Love’ with harp and various electronics. Todd’s music will be synced to projections on the ceiling created by various video artists. \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”84 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=”115536″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nMaylee Todd is a dynamic and multi-faceted artist\, based in Toronto. Her creativity derives its inspiration from a wide range of artistic disciplines: songwriting\, production\, film\, performance art\, and design. Maylee’s music combines organic and electronic forms\, including elements of boogie\, bossa\, space funk\, psychedelia and soul. She is truly a free spirit who brings all of these seemingly disparate influences into honest\, soulful\, harmonious yet uncompromising vibrations. \nAmongst sharing the stage with the likes of Janelle Monae\, Lee Fields\, Aloe Blacc\, Little Dragon\, and The Budos Band\, Maylee has toured in the Europe\,Transmusicales (Rennes\, France)\, c/o pop (Cologne\, Germany)\, Pop Montreal\, Hillside Festival and in her home city of Toronto at Harbourfront Centre. When’s not busy touring\, she performs with the monthly Motown-themed event The Big Sound alongside 30 other musicians and vocalists. She also collaborates and performs in the electronic dance outfit Ark Analog. Notably Maylee has recently developed a solo-electronic alter-ego persona called Maloo wherein she programs her own beats and rhythms primarily on a sequencer. \nIn 2010\, Maylee released her debut album Choose Your Own Adventure. The album received glowing reviews from the likes of NOW Magazine and The Globe and Mail. In 2012 single Hieroglyphics from new album Escapology (2013 Do Right Music) has already received worldwide airplay from BBC Radio 1 London\, to KCRW in L.A. and J-Wave in Tokyo. Maylee has also composed original music for the film “Lullaby for Lucious & Sumat” which premieres at Cinequest Film Festival 2013 in San Jose. \nIn concert\, Maylee delivers a diverse repertoire of soulful tunes with an infectiously charismatic and joyful stage presence\, full of warm humour and a performance art aesthetic. More than just a concert\, Maylee Todd live is a creative experience that leaves an indelible impact. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-02-13-virtual-womb/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/01/IMG_3472-scaled.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:20160220T100000
DTEND;TZID=America/New_York:20160221T170000
DTSTAMP:20260429T093846
CREATED:20170206T181435Z
LAST-MODIFIED:20180228T041353Z
UID:10002346-1455962400-1456074000@uniondocs.org
SUMMARY:Documentary Fundraising: The Art of Asking
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nDraw a successful financial plan for your film!\nA workshop dedicated to documentary fundraising \nRaising money for an independent documentary film is a daunting task and a long process. What resources are available to you\, and how do you create a road map to secure the financing you need? What are the building blocks for a successful project proposal\, and how do you make your film stand out from the thousands of other documentaries seeking support every year?   \nWriting a fundraising proposal before your film is made is certainly a challenge\, as you never know where the story is going to end up until you start shooting and editing. This weekend workshop is geared to supporting documentary filmmakers with projects in all stages of production\, including development\, production and post-production. The workshop is exercise-heavy and takes a “learning through doing” approach. We will spend two days reviewing the basic pillars of documentary fundraising\, including grant writing\, crowdfunding and individual donations/investments. You will learn to assess\, clarify and articulate the building blocks of your proposal\, including understanding your audience\, demonstrating access to your characters\, crafting a realistic budget\, articulating the themes and visual approach of your film\, discussing and critiquing what makes compelling sample work/footage and learning how to craft a crowdfunding and social media campaign. \nThe goals of the workshops are two-fold: to create a robust understanding of the fundraising landscape for independent documentaries as well as prepare you to assemble the best possible proposal as you approach potential funders. Participants will hear from three successful filmmakers & producers who will speak from experience\, and students will be encouraged to put this new knowledge into practice. Producer and Programmer Adella Ladjevardi will lead the workshop. Guest speakers include Lana Wilson\, Tracie Holder and Anna Rose Holmer.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae901c63-53b9″][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e8431c63-53b9″][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf1c63-53b9″][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-50161c63-53b9″][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c71c63-53b9″][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Saturday\, Feb 20: 10am – 5pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 1 – SATURDAY \n10:00am – 10:30am: Overview of workshop + short introductions by students \n10:30am – 12:30pm: Presentation by Lana Wilson (Focus: Individual Donations + Crowdfunding) + student discussion \n12:30pm – 1:00pm: Writing exercise for students \n1:00pm – 2:00pm: Lunch (on your own) \n2:00pm – 4:00pm Presentation by Anna Rose Holmer (Focus: Grantwriting + fundraising trailers) + student discussion \n4:00pm – 4:30pm: Writing exercise for students \n4:30pm – 5:00pm: Case study[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Feb 21: 10am – 5pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 2 – SUNDAY \n10:00am – 10:30am: Overview of workshop \n10:30am – 12:30pm: Presentation by Tracie Holder (Focus: road map for grants +budget) + student discussion \n12:30pm – 1:00pm: Writing exercise for students \n1:00pm – 2:00pm: Lunch (on your own) \n2:00pm – 4:00pm: Presentation by Adella Ladjevardi (Focus: Financial plan & Grant Evaluations) + student discussion \n4:00pm – 4:30pm: Writing exercise for students \n4:30pm – 5:00pm: Case study[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53385″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Adella Ladjevardi is an independent producer and film industry professional with over 13 years of experience working in all aspects of the industry. She is currently producing a short documentary called Just a Dog by Andrea B. Scott and a feature documentary called U.G. by Matthew Dougherty. She is the co-producer of the fiction feature Icaros: a vision by Leonor Caraballo & Matteo Norzi\, which was selected for the 2015 IFP Narrative Labs and is currently in post-prod. Previously\, Adella was head of the Cinereach Grants Program (2009-2014)\, supporting the development\, production\, and distribution of dozens of award-winning films and\, more recently\, consulted as a screener and programmer at the Tribeca and Los Angeles Film Festivals. She has served as a reviewer on documentary funding panels including the PBS series P.O.V\, ITVS Open Call\, Chicken & Egg Pictures\, Catapult Film Fund\, and IDFA Forum and has also served on the juries of the DocNYC and SilverDocs (now AFI Docs) Film Festivals. She began her career working for documentary distributor Icarus Films\, before moving on to work at Zohe films for filmmaker Jennifer Fox\, where she was the Assoc Producer of Fox’s documentary feature My Reincarnation (Broadcast on POV 2012 & nominated for an Emmy 2013) as well as Fox’s documentary mini-series Flying: Confessions of a Free Woman (Broadcast on Sundance Channel and BBC Storyville 2008). Adella was also the Assoc Producer of Anne Aghion’s documentary feature My Neighbor\, My Killer (Premiered at Cannes 2009 & nominated for a Gotham Award 2009). She is a graduate of the Rhode Island School of Design.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53386″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Emmy-Award winning filmmaker Lana Wilson is a New York-based writer\, director\, and producer. Her feature documentary After Tiller went inside the lives of the four most-targeted abortion providers in the country\, and was critically acclaimed for providing a moving and complex look at one of the most incendiary issues of our time. After Tiller premiered at the Sundance Film Festival in 2013\, and went on to be picked up for distribution by Oscilloscope Laboratories\, which released the film theatrically in 50 US cities. After Tiller was nationally broadcast on the PBS documentary series POV\, and recently won the 2015 News and Documentary Emmy Award for Best Documentary.\nAfter Tiller was also nominated for the Independent Spirit Award for Best Documentary\, four Cinema Eye Honors\, a Satellite Award\, and the Ridenhour Prize. It was named one of the five best documentaries of the year by the National Board of Review\, and featured in “Best of 2013” lists in the LA Times\, Village Voice\, Indiewire\, Artforum\, and more. Flavorwire recently named it one of the “50 Best Documentaries of All Time.” It has played at over 100 festivals around the world\, where it won awards including the Human Rights Award at the Full Frame Documentary Festival and the Grand Prize at the Sarasota Film Festival. \nWilson’s new film\, Last Call\, currently in post-production\, tells the story of a remarkable Zen priest doing suicide prevention work in Japan. It is being executive produced by Lilly Hartley (The Queen of Versailles) and Mike Lerner (The Square)\, shot by Emily Topper (After Tiller)\, and edited by David Teague (Cutie and the Boxer). Wilson is also writing an episode of the forthcoming National Geographic miniseries Story of Vice\, directed by Matt Wolf. Wilson was previously the Film and Dance Curator at Performa\, the New York biennial of new visual art performance. She holds a BA in Film Studies and Dance from Wesleyan University\, where she graduated with honors. \nlanawilson.net[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundraising-art-asking/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/Salero_Festival_Poster_Thumb.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
END:VCALENDAR