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DTSTART;TZID=America/New_York:20230414T193000
DTEND;TZID=America/New_York:20230414T223000
DTSTAMP:20260416T045244
CREATED:20230403T222528Z
LAST-MODIFIED:20230406T171612Z
UID:10002612-1681500600-1681511400@uniondocs.org
SUMMARY:Journey to Somewhere
DESCRIPTION:[vc_row][vc_column][vc_video link=”https://vimeo.com/761005580″][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]We are delighted to bring you an evening of cinema and conversation with Helena De Llanos as we screen her feature documentary film Journey to Somewhere. The film is brought to us by longtime collaborator\, curator and filmmaker Ruth Somalo as part of her ongoing decentralized series “Filming one’s own ghosts”. \nLlanos is the granddaughter of renowned actors Fernando Fernán Gómez and Emma Cohen. What began as a film that sought to document her grandparents’ professional lives soon morphed into one that favored an imaginative rendering of their experiences over an analytical one. Through painstakingly combing through their archives\, Llanos melds never before seen archival materials from Gómez and Cohen’s films\, home movies\, inventive animations and reenactments to create a vibrant\, expressive homage to her grandparents. Using her grandparents’ home – which she now lives in – as the primary site of the film\, we encounter vivid traces of Gómez and Cohen’s lives\, feeling their absence and presence in equal measure. \nCalled  “A film with no genre\, no limits and no fear” in Cineuropa\, you don’t want to miss it! We’re lucky to have Helena De Llanos joining us in person\, along with curator and filmmaker Ruth Somaloo\, for a conversation following the screening.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nProgram \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_custom_heading text=”Journey to Somewhere by Helena De Llanos” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”104 min.\, 2021″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]An everyday person inherits an enormous house from their grandparents and with it\, a series of responsibilities and surprises. However\, the talent and skills of the former inhabitants are not passed on. Fortunately\, they continue to linger in the house\, and they won’t take long to make an appearance. Their names are Emma Cohen and Fernando Fernán Gómez.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \n104 mins \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”147075″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Helena De Llanos is a filmmaker and researcher. She studied Hispanic Philology\, she worked as a teacher of Spanish\, literature and film history in various centers and universities; and she holds a doctorate in literature and film in the United States. Her audiovisual works oscillate between documentary and fiction. On occasions she has focused her work on giving a new meaning to audiovisual archives\, creating pieces such as Diario de Cuarentona (2020)\, in which she worked with a large amount of archive material to create a story about the months of lockdown during the pandemic. Her approach\, to date\, is a junction between cinema with art\, memory and citizen participation in cultural creation. Since 2016\, she has been researching and organizing the written\, theatrical and cinematographic work of Fernando Fernán Gómez and Emma Cohen through a multidisciplinary project that includes\, in addition to several books\, the short film ¿Nos hablan los muertos? (2019) and the feature film Viaje a alguna Parte (2021).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”147086″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Ruth Somalo is a Spanish curator\, filmmaker and researcher based in New York. She is currently a Senior Programmer at DOC NYC\, DocumentaMadrid and The Architecture and Design Film Festival. As an independent curator she is interested in cinematic rituals and emotional experience in subjective cinema\, the poetics of fragility\, and reclaiming a non judgmental non anthropocentric space for emotions. Ruth’s latest films are constructed around taboos of the female body\, gender specific illnesses and patriarchal structures in the medical establishment\, ritual\, mortality\, human remains and experiences of loss. She is finishing her practice-based PhD at Universidad Autónoma de Madrid with her thesis project MENDING OBJECTS: Mourning\, healing and the self in contemporary non fiction\, and currently serves as the chair of the Programming Committee of the Board of Trustees of the Flaherty Seminar.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”147085″ img_size=”full”][/vc_column][vc_column width=”2/3″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/journey-to-somewhere-2023-04-14/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2023/04/journey-to-somewhere-gif.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230415T120000
DTEND;TZID=America/New_York:20230415T150000
DTSTAMP:20260416T045244
CREATED:20230316T170241Z
LAST-MODIFIED:20230611T073733Z
UID:10002613-1681560000-1681570800@uniondocs.org
SUMMARY:Artistic Differences: BODY OF THE BODY\, BODY OF THE MIND
DESCRIPTION:[vc_row][vc_column][vc_btn title=”GET A REMINDER TO JOIN!” style=”outline-custom” outline_custom_color=”#61ff00″ outline_custom_hover_background=”#61ff00″ outline_custom_hover_text=”#000000″ shape=”round” align=”center” link=”url:https%3A%2F%2Fairtable.com%2FshrQQyl718Dcv2AEO|title:Breakout%20Reminders”][vc_empty_space height=”40px”][vc_column_text]ARTISTIC DIFFERENCES is back with Internationale Kurzfilmtage Oberhausen this April to present BODY OF THE BODY\, BODY OF THE MIND. \nCo-curator Cíntia Gil has assembled a mini-retrospective at this year’s festival on one of our longtime collaborators\, the beloved and brilliant Lynne Sachs.  We’re delighted to focus on one of these three programs for an upcoming Study Group on April 15th from noon-2:30PM Est.  \nThe title of this retrospective and program quotes Lynne Sachs in her 1991 film The House of Science: A Museum of False Facts. It speaks of a zone of experimentation that crosses Sachs’ work and grounds filmmaking as a practice of dislocating words\, gestures and modes of being into open ontologies. What can be a woman\, a word\, a color\, a shade\, a line\, a rule or an object? The negotiation between the body of the body and the body of the mind is another way of saying that things exist both as affections and as processes of meaning\, and that filmmaking is the art of not choosing sides in that equation. That is why Sachs’ work is inseparable from the events of life\, while being resolutely non-biographical. It is a circular\, dynamic practice of translation and reconnection of what appears to be separated. \nThere are many ways of approaching Lynne Sachs’ full body of work\, and many different programmes would have been possible for this retrospective. Films resonate among each other. Like threads\, themes link different times. Repetition and transformation are a constant obsession in the way images\, places\, people and ideas are revisited. While looking for an angle for this programme\, we tried to look at some of the lines that seem to us the most constant\, even if sometimes subterraneous\, throughout the films. The three programmes are not systematically bounding themes and building typologies. They are three different doors to the same arena where body (and the ‘in-between’ bodies) is the main ‘topos’: translation\, collaboration\, and inseparability of the affective and the political. Yet\, none of these terms seems to truly speak of what’s at stake here.  \nLynne Sachs knows about the impotency problem of words and concepts\, about the difference between the synchronicity of life and the linearity of discourse. She also knows that words can be both symptoms and demiurgic actors. That is maybe why she wrote poems\, and that is why this programme was inspired by her book\, “Year By Year Poems” – can learn more and get your copy here. \nSign up for the Study Group to join this dialogue and ever-growing international community![/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nFILM PROGRAM \n[/vc_column_text][vc_separator color=”white”][vc_custom_heading text=”The House of Science: A Museum of False Facts by Lynne Sachs” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”30 min | 16mm | Color | 1991″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Combining home movies\, personal remembrances\, staged scenes and found footage into an intricate visual and aural collage\, the film explores the representation of women and the construction of the feminine otherness. A girl’s sometimes difficult coming of age rituals are recast into a potent web for affirmation and growth.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Drawn and Quartered by Lynne Sachs” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”4 min | 16mm | Color | Silent | 1986″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections. An experiment in form/content relationships that are peculiar to the medium. A declaration of desire of and through cinema.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Maya at 24 by Lynne Sachs” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”4 min | 16mm to Digital Transfer | B&W | 2021″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]“My daughterʼs name is Maya. Iʼve been told that the word maya means illusion in Hindu philosophy. I realized that her childhood was not something I could grasp but rather – like the wind – something I could feel tenderly brushing across my cheek.” Lynne filmed Maya at ages 6\, 16 and 24\, running around her\, in a circle – as if propelling herself in the same direction as time\, forward.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”A Biography of Lilith by Lynne Sachs” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”35 min | 16mm | Color | 1997″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Off-beat narrative\, collage and memoir\, updating the creation myth by telling the story of the first woman. Lilith’s betrayal by Adam in Eden and subsequent vow of revenge is recast as a modern tale. Interweaving mystical texts from Jewish folklore with interviews\, music and poetry\, Sachs reclaims this cabalistic parable to frame her own role as a mother. [/vc_column_text][vc_separator color=”white”][vc_column_text] \nSTUDY GROUP — ONLINE – APR 15 \n[/vc_column_text][vc_separator color=”white”][vc_column_text]We’re thrilled to come together for a Study Group Session structured around these incredible films! Like a kind of grassroots book club\, but for documentary art\, it’s all about sparking discussion and deeper investigation\, through reading\, listening and responding in small\, self-organized groups that together form a larger collective experience. \nYou will get access to the film program through our Membership Hub a few days in advance. Sign up now and stay tuned in your inbox for further instructions![/vc_column_text][vc_empty_space height=”40px”][vc_btn title=”SIGN UP!” style=”outline-custom” outline_custom_color=”#61ff00″ outline_custom_hover_background=”#61ff00″ outline_custom_hover_text=”#000000″ shape=”round” align=”center” link=”url:https%3A%2F%2Fairtable.com%2FshrQQyl718Dcv2AEO|title:Breakout%20Reminders”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nPUBLIC DIALOGUE – AT THE FESTIVAL – APR 30 – MAY 1 \n[/vc_column_text][vc_separator color=”white”][vc_column_text]If you’re interested in hearing from the filmmakers & artists themselves as well as the ideas generated in collaboration with our Study Group be sure to catch our regular public dialogues for each film program on the UNDO Member’s Hub. These conversations sample from the festival dialogues\, the study group and an in-depth interview hosted by Artistic Differences with the featured artists.  Sign Up to receive a note when it’s released.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBIOS \n[/vc_column_text][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”139255″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Since the 1980s\, Lynne Sachs has created cinematic works that defy genre through the use of hybrid forms and cross-disciplinary collaboration\, incorporating elements of the essay film\, collage\, performance\, documentary and poetry. Her highly self-reflexive films explore the intricate relationship between personal observations and broader historical experiences. With each project\, Lynne investigates the implicit connection between the body\, the camera\, and the materiality of film itself. From essay films to hybrid docs to diaristic shorts\, Sachs has produced 40 films as well as numerous projects for web\, installation\, and performance. She has tackled topics near and far\, often addressing directly the challenge of translation — from one language to another or from spoken work to image. These tensions were investigated most explicitly between 1994 and 2006\, when Lynne produced five essay films that took her to Vietnam\, Bosnia\, Israel\, Italy and Germany—sites affected by international war–where she looked at the space between a community’s collective memory and her own subjective perceptions.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”147091″ img_size=”full” onclick=”custom_link” link=”https://www.spdbooks.org/Products/9780927920209/year-by-year-poems.aspx”][/vc_column][vc_column width=”2/3″][vc_column_text]Poetry. Film. When filmmaker Lynne Sachs turned fifty\, she dedicated herself to writing a poem for every year of her life\, so far. Each of the fifty poems investigates the relationship between a singular event in Sachs’ life and the swirl of events beyond her domestic universe. Published by Tender Buttons Press\, YEAR BY YEAR POEMS juxtaposes Sachs’ finished poems\, which move from her birth in 1961 to her half-century marker in 2011\, with her original handwritten first drafts. In this way\, she reveals her process of navigating within and alongside historical events such as the Moon Landing\, the assassination of Martin Luther King\, Jr.\, streaking\, the Anita Hill hearings\, the Columbine shootings\, and controversies around universal health care. In YEAR BY YEAR POEMS\, Lynne Sachs realizes the long anticipated leap from her extraordinary career in filmmaking to this\, her first book of poems. With an introduction by Paolo Javier\, former Queens poet laureate and author of the book Court of the Dragon. \n“The whole arc of a life is sketched movingly in this singular collection. These poems have both delicacy and grit. With the sensitive eye for details that she has long brought to her films\, Lynne Sachs shares\, this time on the page\, her uncanny observations of moments on the fly\, filled with longings\, misses\, joys and mysterious glimpses of a pattern of meaning underneath it all.”—Phillip Lopate \n“The highly acclaimed filmmaker Lynne Sachs is also a captivating and surprising poet. YEAR BY YEAR distills five decades into lyric\, a lustrous tapestry woven of memory\, wisdom\, cultural apprehension and the delicate specificities of lived life.”—Claire Messud \n“In YEAR BY YEAR\, Lynne Sachs selects and distills from larger fields of notation\, acute scenes representing her life and the world she was born into. Her measured\, spare account brings her to an understanding and acceptance of the terrible and beautiful fact that history both moves us and moves through us\, and\, more significantly\, how by contending with its uncompromising force\, we define an ethics that guides our fate.”—Michael Collier \n“Renowned experimental documentary filmmaker Lynne Sachs wrote one of 2019’s best books of poetry. In 2011\, after deciding to write one poem for each of the fifty years of her life\, Sachs asked herself\, ‘How have the private\, most intimate moments of my life been affected by the public world beyond?’ The graceful\, diaristic poems that she went on to produce successfully distill events and themes in the poet’s life and simultaneously\, magically\, reflect larger movements of history and culture. Intimate and imagistic\, the poems unfold a series of miniature stories with sensuous rhythms\, telling visual detail\, and gentle humor. Thus in ‘1969’ a young Sachs imagines Neil Armstrong calling on the telephone\, then turning ‘to look at all of us (from the moon).’ This beautifully designed book includes facsimiles of many of the poetry’s initial drafts\, which subtly illumine this artist’s creative process.”—San Francisco Public Library Staff Pick \n“As an artist\, Sachs keeps playing\, again and again\, with each of the thirty-three films she has made over the decades and now\, with her first book of poems\, which are just as inventive and fresh\, just as delightfully playful with form. These poems are innovative but never intimidating or deliberately opaque. Instead\, they invite us in\, encouraging us to play along. They give us a structure to enter into our own retrospective lives\, our own distillations of time\, our own superimpositions of the newsworthy world onto our most intimate moments.”—Sharon Harrigan\, Cleaver Magazine[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/artistic-differences-body-of-the-body-body-of-the-mind/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2023/03/ezgif.com-crop.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230421T100000
DTEND;TZID=America/New_York:20230423T163000
DTSTAMP:20260416T045244
CREATED:20230207T150003Z
LAST-MODIFIED:20230419T171650Z
UID:10002769-1682071200-1682267400@uniondocs.org
SUMMARY:Spaces of Interdependency: Performance and Movements in Non Fiction Practices
DESCRIPTION:[vc_row][vc_column][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: This workshop will be held in UnionDocs’ new space in Ridgewood!\nWe’re now at: 352 Onderdonk Ave\, Ridgewood\,  NY – 11385[/vc_message][vc_column_text]How can we use the body and gestures for conceptual and narrative purposes? What is bodily and archival memory? How do we interact with the camera and between frames? What makes performance powerful? \nJoin former dancer and choreographer/filmmaker Lucy Kerr (Family Portrait\, Site of Passage\, Four Girl Trick) along with other acclaimed filmmakers\, choreographers\, to explore and think through the tensions surrounding the representation of the body in the process of image making.  \nThis workshop will take participants on a journey to investigate the gap between the body and its representation\, its materiality and its image\, to explore how movements can be translated/ transformed into choreography in film and live performance. \nOn Friday\, filmmaker and choreographer Yara Travieso (Director\, Third Trinity\, La Medea) will share her experiences with performance and live filming.  On Saturday\,  director of photography and director Derek Howard (Venda Los O jos (Blindfold)\, Cannibalizing The Conductor) will discuss the relation between the camera and the performers. Multimedia artist Georden West (Multimedia Artist\, Playland) will discuss the use of gestures and their combination with archival material. On Sunday\,  Xavier Cha (Artist and Movement Director\, Ruthless Logic\, Body Drama)\, will explore the production of the image and the apparatus attached to the body. Interested participants will also have the option to share a work in progress or discuss a current project. \nCome spend a weekend exploring movements and choreographic processes to enrich or evolve your film and performance practice\, and come away with inspiration\, and connections that will help to guide your own work! \nNo dance or choreographic experience is required. Seats are limited\, so sign up today! \nNOTE: This workshop will require in-person participation from all participants. Each participant must present proof of vaccination. Any and all questions\, please reach out to info@uniondocs.org.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801e6e6b-713c”][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, choreographers\, dancers\, performance and media artists looking to develop the cinematic languages with which they can represent and incorporate movement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801e6e6b-713c”][vc_column_text]$350 early bird registration by April 14th\, 2023 at 11:59PM. \n$400 regular registration. \nFor each workshop\, UnionDocs will offer the equivalent of 2 full scholarships for participants from historically marginalized backgrounds\, who are BIPOC\,  living with disabilities\, or NYC artists earning under 30% AMI (Area Median Income). \nApplicants should reach out to raphaelle@uniondocs.org in order to fill out a scholarship inquiry by April 3rd\, 2023.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801e6e6b-713c”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until March 3rd. After March 3rd\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801e6e6b-713c”][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-d1c784d0-801e6e6b-713c”][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of March 3rd\, 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=”blue”]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_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, April 21: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Welcome & intros\n10:30am – 12:30pm Intro by Lucy Kerr\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Yara Travieso\n4:00pm – 4:30pm Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, April 22: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, review of previous day\n10:30am – 12:30pm Derek Howard\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Georden West (remote)\n4:00pm – 4:30pm Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, April 23: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, review of previous day\n10:30am – 12:30pm Participant Work-in-Progress\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Xavier Cha\n4:00pm – 4:30pm Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][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]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]First Workshop Session[/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]Lunch[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Second Workshop Session[/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]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146827″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Lucy Kerr is a New York-based filmmaker\, artist\, choreographer\, educator\, and curator. Her work explores performance\, whether it be performances of family\, gender\, class\, labor\, and identity or performance in cinema or the every day. In 2022\, she was named one of the 25 New Faces of Independent Film in Filmmaker Magazine. Kerr received a dual MFA in Film/Video and Art from California Institute of the Arts on the Lillian Disney Scholarship.. Her feature film in progress\, Family Portrait\, garnered her the feature film grant from Austin Film Society\, the AirFrance Prize from FIDLab\, and the New Horizons Award from US in Progress. . Kerr’s projects have been presented by International Film Festival Rotterdam\, FIDMarseille\, San Sebastian International Film Festival\, Reykjavik International Film Festival\, The San Francisco Museum of Modern Art\, REDCAT\, Anthology Film Archives\, Francois Ghebaly Gallery\, The McEvoy Foundation for the Arts\, The MAK Center Los Angeles\, and others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146828″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Georden West (b. 1992) is a multimedia artist of limit-experiences and speculative openings living in the American West. They are committed to curiosity and have no answers.\nGeorden’s first feature\, PLAYLAND\, is a recipient of the 2021 LEF Moving Image Fund and 2022 Frameline Completion Fund. It is executive produced by Nick Knight and Peter Luo and produced by Artless Media and Starlight Entertainment as a member of Starlight Entertainment’s Stars Collective. PLAYLAND was selected as one of the US features in post-production at the 2022 Gotham Week (formerly IFP) and the American Film Festival Poland’s US in Progress program. PLAYLAND premiered in the Tiger Competition at 2023 IFFR\,\nNamed one of Filmmaker Magazine’s “25 New Faces of Independent Film\,” Georden was a 2021-22 Fine Arts Work Center Visual Arts Fellow and an alum of the 2022 Zurich Film Festival Academy. They are a 2021 Academy Gold Women’s Fellowship Finalist and won gold at the 46th Annual Student Academy Awards.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146829″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Yara Travieso is a Brooklyn based Cuban-Venezuelan-American artist\, writer\, director\, filmmaker\, & choreographer. Her films\, performances\, & protests are informed by a hyper-feminist telenovela-queeralism. VICE describes La Medea\, Travieso’s touring production as “A modern-day Medea is mythology’s ‘Nasty Woman’.” She is a 2023 Resident Artist with NYC’s Chelsea Factory\, a 2021 New York State Council For The Arts Individual Artist in Film & Media grant recipient\, a 2019 United States Artist Fellow\, a 2016 Creative Capital recipient\, and a 2014 winner of The National Association of Latino Arts and Cultures Grant via The Ford Foundation. She is currently on faculty at The Juilliard School\, where she also received a Dance BFA. Her productions have been featured in NYC’s Park Avenue Armory\, Lincoln Center\, Performance Space NY\, The Public Theater\, The Knockdown Center\, The High Line\, Opéra National de Lorraine France\, New World Symphony Center\, & The Experimental Media Performing Arts Center among others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146836″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Xavier Cha‘s performance-based works and videos grapple with architectures of subjectivity\, illusions of agency\, what it means to be human with a physical body in a capitalistic-digital age where we exist as consumer and product. Collaboration is central to the work. Specialized participants\, generally performers in fields outside of the contemporary art world\, play prominent roles in extracting the sublimated and magnifying an estranged or alienated human experience within inescapable systems of exchange\, consumption\, and communication. Cha directs actors\, dancers\, or other professionals through focused\, controlled scenarios\, where the challenged expression of their expertise- often pushing performers to extremes- reveals the body as an enigmatic conduit\, a malleable corporeal/ psycho/ social system. Attuned to ways in which the body is watched\, and conveyed\, immersed within heightened circuits of surveillance\, marketing\, voyeurism and self-spectatorship\, Cha examines how mediating frames- screens\, sets\, and the omnipotent lens of the camera- shape behaviors and refine gesture.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”147053″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Derek Howard is a director of photography and director currently based in New York City. After graduating with honors with a BFA from Simon Fraser University in Vancouver\, he moved to Berlin\, where he began assistant directing and shooting for renowned filmmaker Victor Kossakovsky (“Vivan Las Antipodas\, Varicella\, Aquarela”). Immersed in the world of creative documentary\, video art\, and hybrid formats\, Derek established himself as a risk taking\, energetic\, and innovative filmmaker with a focus on LGBTQ+ representation\, dance\, extreme nature\, and climate change stories. His collaborations have led to premieres at many A-list film festivals\, and prestigious art institutors such as the Tate Modern\, Centre Pompidou\, and MOMA PS1. He has participated in the IDFA Summer School\, IDFAcademy\, Reykjavik Trans Atlantic Talent Lab\, Berlinale Talents program\, and the Filming in the Amazon residency led by Apichatpong Weserthat. Most recently\, Derek shot award-winning filmmaker Emelie Mahdavian’s debut feature “Bitterbrush (Telluride 2021)\, celebrated visual artist Alison O’Daniel’s debut feature “The Tube Thieves” (Sundance 2023)\, and award-winning filmmaker Tracy Tragos’s “Plan C” (Sundance 2023).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”147101″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Pageant is an artist-run performance space in Brooklyn\, NY founded with the vision of supporting experimental dance and performance work by artists at varying stages of their career\, regardless of their access to institutional support. In a city where resources are scarce\, we aim to provide an alternative model for supporting artists to take creative risks in their practice\, and to develop a body of work. We opened our doors in April 2022 through a major community fundraising effort and are sustained today through the work of our volunteer organizers.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/spaces-of-interdependency-performance-and-movements-in-nonfiction-practices-2023-03-12/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2023/02/choreography-workshop_gif.gif
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