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DTSTART;TZID=America/New_York:20140629T193000
DTEND;TZID=America/New_York:20140629T193000
DTSTAMP:20260425T120854
CREATED:20140620T040000Z
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SUMMARY:An Evening with Jem Cohen
DESCRIPTION:[vc_row][vc_column][vc_column_text]This evening will feature a wide-ranging selection of works\, works-in-progress\, and excerpts\, which Cohen has stubbornly evaded identifying in detail. He will then discuss them with Holmgren and the audience. Suffice to say\, there will be some surprises. \n  \n  \nJem Cohen has made over 60 films including the feature length projects\, Museum Hours\, Instrument\, Chain\, and Benjamin Smoke (with Peter Sillen). Short films include Lost Book Found\, Little Flags\, Night Scene New York\, and the Gravity Hill Newsreels (documenting Occupy Wall Street). He also makes still photographs\, installations\, and shows of projected images with live soundtracks\, including We Have an Anchor\, which was included in the 2013 BAM Next Wave Series. His work is in collections including those of MoMA and the Whitney Museum and has been broadcast by PBS\, Arte\, the BBC\, and the Sundance Channel. He’s had retrospectives at venues including London’s NFT\, Buenos Aires Independent Film Fest\, and Spain’s Punto de Vista\, which published the monograph\, Signal Fires: The Cinema of Jem Cohen\, in 2010. He has collaborated extensively with musicians including Fugazi\, Patti Smith\, Terry Riley\, Vic Chesnutt\, Godspeed You Black Emperor!\, R.E.M.\, DJ Rupture\, Elliott Smith\, Jim White\, and the Ex. Cohen was extensively involved in overturning proposed restrictions on street photography in New York City.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-06-29-jem-cohen/
LOCATION:NY
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140706T193000
DTEND;TZID=America/New_York:20140706T193000
DTSTAMP:20260425T120854
CREATED:20140701T040000Z
LAST-MODIFIED:20180306T191935Z
UID:10002454-1404675000-1404675000@uniondocs.org
SUMMARY:Sweet Work. Shorts on Labor at the Domino Brooklyn Refinery
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]On the cusp of the Domino Sugar Brooklyn Refinery’s demolition\, UnionDocs presents a program of mostly unseen work that examines the effect the refinery had on the surrounding neighborhood as well as addressing broader themes of sweetness and power. This will be the first public public exhibition of Sarah Jane Lapp’s short\, “Sweetface”\, that she began filming with the Domino Sugar workers in 2000. There will be a post-screening discussion moderated by Filip Noterdaeme\, contributor to the Huffington Post and founder of The Homeless Museum of Art. \n“Domino Sugar – 1989”  \n10 min / VHS Transfer / 1989 \ndirected by Kenny Malcom \n edited by Anthony Simon and Mike Vass \nA time capsule of home video vignettes from 1989 filmed by Domino Sugar employee Kenny Malcom that illuminates the diversity of the Domino workforce and the empowerment they felt at the time. Featured is a picket line in front of the Domino site\, a private meeting at the Polonia Club\, as well as a union meeting dispute between the Domino workers and the ILW Union organizers. \n“Sweetface”  \n28 min / 16mm / 2000-2013 \ndirected by Sarah Jane Lapp \nA personal essay film which uses actual sugar production as a point of departure to explore a variety of relational moments that involve soft power\, gratitude\, and love. The film evolved from the filmmaker’s hand-production of about 1\,000 sugar packets\, the majority of which she gave as gifts to workers at the Domino Sugar Refinery during their twenty-month strike in the early 2000’s. \n  \n“Third Shift”  \n20 min / HDV / 2013 \ndirected by Anthony Simon \nproduced by Mike Vass \nTwo former Domino Sugar workers that remain blocks away from the now closed refinery reflect on their past experiences as employees and their future as residents in a rapidly changing neighborhood. \n  \nFilip Noterdaeme is the artist behind the conceptual art project known as The Homeless Museum of Art and the author of The Autobiography of Daniel J. Isengart (Outpost19\, 2013). He also writes a blog on contemporary art for the Huffington Post. One of his most recent articles\, “Sugarcoating the Art of Real Estate” considers Creative Time’s relationship with artist Kara Walker’s exhibition in the Domino Sugar Factory. \n  \n  \n  \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-07-06-domino-sugar-shorts/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/07/Sweetface_SugarPackets2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140725T193000
DTEND;TZID=America/New_York:20141005T193000
DTSTAMP:20260425T120854
CREATED:20140711T040000Z
LAST-MODIFIED:20180306T193827Z
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SUMMARY:LIVING LOS SURES: SELECTIONS
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]From 2010 through 2014\, UnionDocs is producing a collaborative documentary about the Southside neighborhood in Williamsburg\, Brooklyn where the organization has been situated for nearly a decade. Part omnibus film\, part media archeology\, part deep-map and city symphony\, the project uses Los Sures\, a brilliant work of cinema verite directed by Diego Echeverría in 1984\, as a starting point for the investigations of more than forty artists over the course of four years. Collectively\, their projects tell the story of a longstanding Latino community that is defeating displacement and surviving the growth machine. Living Los Sures is a multi-part project that restores a lost film\, remixes local histories\, reinvestigates Williamsburg’s Southside today\, and hopes to reunite a neighborhood around a sustainable future. \nIn the late seventies and early eighties\, 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. Los Sures\, a documentary from 1984 by Diego Echeverría\, skillfully represents the challenges of this time; drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single parent homes\, and inadequate local resources. Yet\, Echeverría’s portrait also celebrates the vitality of this largely Puerto Rican community\, showing the strength of their culture\, their creativity and their determination to overcome a desperate situation. \nUnionDocs has partnered with Echeverría to develop Living Los Sures\, revisiting his powerful film to pursue four primary goals. RESTORE: Bring the original film back to life and make it accessible online for the first time\, working with the local community to update\, annotate\, and challenge the narrative through a participatory platform. REMIX: Expand the experience of the original through deeply interactive audio/visual experiments. REUNITE: Activate the community to engage vital civic issues for a more sustainable future. REFRAME: Create new short documentaries to illustrate the issues the community faces today. \nTo date\, over thirty such reinvestigations have been created by members of the UnionDocs Collaborative Studio. Each year since 2010\, UnionDocs has hosted twelve Collaborative artist-fellows who work together to produce short documentary projects about the Southside today. These projects cover a wide range of topics and forms — from short videos to soundworks\, audio walks\, installations and interactive media. The works in this show represent the variety of form and subject matter\, as well as the common concerns\, that characterize the Living Los Sures project. \nBEFORE AFTER by Michael Kugler and Daniel Terna \nBefore After explores South Williamsburg Brooklyn through a series of filmed experiments in the mostly Latino and Jewish communities. The camera is considered as a compass that gives direction to a variety of inquiries. This compass guided interactions with the neighborhood\, both in terms of physical space and its inhabitants\, and consequently the neighborhood began to be approached and considered as a spacious urban playground. The short sequences in this piece are the result of unexpected encounters with people\, images\, and local rituals. Objects were used as props to facilitate interventions with spaces and communications with people. The title references a photography storefront sign along Lee Avenue in the heart of the Jewish neighborhood\, and it reminds us that deciding when something is “over” or “finished” is easier said than “done.” An interview between the artists will accompany the work in the form of a book. \nOF BIRDS AND BOUNDARIES by Annie Berman \nAn unexpected relationship reveals itself over three months of phone calls between two unlikely collaborators – “Marty”’ a 25-year old Ultra Orthodox Hasidic family man\, and Annie\, a filmmaker in residence at UnionDocs. It all begins when Annie places an ad on Craigslist for a Hasidic researcher for a film about Williamsburg’s eruv\,* and “Marty” answers. Both parties agree to record their calls\, keep Marty’s real name and identity secret\, and never to meet; both live in Williamsburg. Answer the phone to have a listen. Please have a seat. \n*Eruv: a wire boundary that symbolically extends the private domain of Jewish households into public areas\, permitting activities within it that are normally forbidden in public on the Sabbath. \nANOTHER DAY WITHOUT A FUTURE\, BUT WHAT THE HELL ANOTHER DAY… by Adam Khalil \n“Either\, I am a traveler in distant times\, and am faced with a prodigious spectacle which would be almost entirely unintelligible to me and might indeed provoke me to mockery or disgust\, or I am a traveler of my own day\, hastening a search for a vanished reality. In either case\, I am the loser\, for today\, as I go groaning among the shadows\, inevitably I miss the spectacle that is now taking place.” – Juan Downey\, The Laughing Alligator \n  \nSOUTHSIDE STORIES by Shannon Carroll\, Federica Sasso\, Andrew Hinton and Jen Epstein \nWithin a generation\, the Brooklyn neighborhood of Williamsburg has drastically changed. Southside Stories is an immersive audio walk featuring newcomers and long-term residents who share their thoughts on the community’s past\, present and future. Participants get an opportunity to see the neighborhood from a different perspective\, walk in the shoes of another person and ultimately empathize with their experiences. Visit http://southsidewalk.com to learn more. \n \nFOR SALE IN LOS SURES by Federica Sasso\, Maria Badia\, Andrew Hinton \nFor Sale in Los Sures explores the Southside of the Williamsburg area of Brooklyn through a carefully curated selection of items which can be bought in the neighborhood. Los Sures (the Southside of Williamsburg) is a rapidly gentrifying area\, and this project is an evolving work-in-progress map which borrows the language and aesthetics of commercials to closed windows onto the community and its changing identity by inviting people to interact with individuals and businesses there. \nBROADWAY TRIANGLE by Meg Kelly \nThe Broadway Triangle is a largely vacant space pinned between Bushwick\, Williamsburg and Bed-Stuy. Spanning 18 acres\, it remains one of the most disputed spaces in New York City. Both traditionally neglected and contested\, its development has exacerbated long-standing communal tensions between residents who live along its borders. This piece engages the contrast between the intense (and quickly disappearing) vacancy that characterizes the physical space and the tension that characterizes its place in the neighborhood. \nMichael Kugler is a Brooklyn\, NY native who graduated with a BA in Comparative Arts from Washington University in St. Louis (2007). He has worked as a media educator with organizations including the Tribeca Film Institute\, the Museum of the Moving Image\, the Jacob Burns Media Arts Lab\, and Urban Arts Partnership. His films and audiovisual installations have been exhibited in the US and in Japan. Michael is currently pursuing an MA in Media Art in Design at the Bauhaus University in Weimar\, Germany. \nDaniel Terna (Brooklyn\, NY) works primarily in photography and video. His work questions when and why we choose to make pictures\, and examines the relationship we have had with picture-making in the past and what it is today.  Terna’s work has been exhibited in New York City at UnionDocs\, Outpost Artist Resources\, NurtureArt Gallery\, the AC Institute\, the Austrian Cultural Forum\, Eyebeam\, the Museum of the City of New York\, and 321 Gallery. He has also screened at the Contemporary Arts Center (New Orleans)\, Carpenter Center for the Visual Arts (Cambridge\, MA)\, Armory Center for the Arts (Pasadena\, CA)\, and Gallery Tayuta (Tokyo). His work will be included in a group exhibition in the forthcoming BRIC Arts Media Brooklyn Biennial (Fall of 2014). Terna graduated with a BA in photography from Bard College and is an MFA candidate at the International Center of Photography. \nAnnie Berman is an interdisciplinary artist whose background in photography and psychology inspires work about visual culture\, religion\, and the changing media landscape. Her work has screened at festivals\, galleries\, and universities\, including the Harvard Film Center\, Anthology Film Archives\, and Rooftop. She is currently a MFA candidate in Integrated Media Arts at Hunter College. \nAdam (Shingwak_Nehro_Rashad_Krebs) Khalil is a filmmaker\, artist\, and media archivist. His practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Adam’s work has been exhibited at Goldilocks Gallery (Philadelphia)\, Microscope Gallery (Brooklyn)\, Museo ExTeresa Arte Actual (Mexico City)\, Carnival of eCreativity (Bombay)\, and Fine Art Film Festival Szolnok (Hungary). Khalil is a UnionDocs Collaborative Fellow and Gates Millennium Scholar. In 2011 he graduated from the Film and Electronic Arts program at Bard College.  Adam is currently in post-production on a feature film about the history of the Ojibway people with his collaborator and brother Zack Khalil. \nShannon Carroll is an artist and media producer based in Brooklyn\, NY. She works with media to foster community engagement\, cross-cultural understanding and human rights advocacy. Her creative roots lie in photography\, and her current work involves design\, interactive media\, digital storytelling and documentary filmmaking. Visit her website at http://shannonleecarroll.com. \nFederica Sasso is an Italian journalist and radio producer based in New York City. She writes for Italian outlets and is a contributor to the Swiss national broadcasting company for which she produces audio documentaries. Federica was a Collaborative Fellow at UnionDocs and studied documentary film at the Scuola di Cinema\, Televisione e Nuovi Media of Milan. \nAndrew Hinton is a documentary filmmaker drawn to individuals and stories with positive change at their heart. His most recent film Tashi & The Monk won two awards at its premiere at Mountainfilm in Telluride. His previous film Amar was the Vimeo Documentary Award winner. He is from the UK but now lives in Brooklyn.www.vimeo.com/pilgrimfilms. \nJen Epstein is a researcher\, writer and self-shooting media maker who has devoted many years to working as a manager in film and television for a variety of New York post-houses and media companies. She’s currently an Operations Project Manager for Discovery Communications. Her passion for documentary arts began while working as a production assistant/researcher on several documentary features including BrotherMen\, a performance based documentary film that aired nationally on PBS. She holds a BA in Communication Arts from Ramapo College of New Jersey and earned an MA in Media Studies\, with a concentration in Documentary Studies\, from the New School. \nMaria Badia is a storyteller and filmmaker from Barcelona\, where she  graduated in Journalism with a minor in international politics andcultural communication. She is based in New York City since 2008\, where she freelances as Editor and Multimedia Producer. She is also correspondent in the East Coast for a spanish TV network and collaborates as video editor at the post-production department of the New York Film Academy. She was a fellow at the 2012-2013 Uniondocs Collaborative Studio\, a documentary arts center\, and she is part of theBrooklyn Filmmakers Collective\, a community of professional filmmakers in Brooklyn\, who are dedicated to innovative approaches to filmmaking. \nMeg Kelly is a multi-media media artist and designer who has documented physical\, political and cultural landscapes in Mumbai\, New York City and elsewhere. She is the co-founder and creative director of Decent Workshop where she uses design + storytelling to support social entrepreneurs. She is the former creative director of the Millennial Trains Project\, a former collaborator at the Uniondocs Center for Documentary Art and a sometimes contributor to Urban Omnibus. She holds a Bachelor’s Degree with high honors in Architecture from Barnard College where she grew her passion for understanding and explaining the complexities and contrasts of cities.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-living-los-sures-selections/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/07/Still-from-Another-Day.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140809T193000
DTEND;TZID=America/New_York:20140809T193000
DTSTAMP:20260425T120854
CREATED:20140708T040000Z
LAST-MODIFIED:20180306T181905Z
UID:10001859-1407612600-1407612600@uniondocs.org
SUMMARY:Multiplicity: City as Subject / Matter
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Multiplicity is an international survey of artworks sharing an interest in the politics and poetic potential of contemporary urban environments and exposing the irresistible pull of the similarities—intercultural meeting points\, common problems\, goals and dreams—around which people converge. Multiplicity features a wide-ranging selection of works exploring culturally and geographically distant urban spaces\, curated by Marco Antonini in collaboration with a network of curatorial advisors based in Belfast\, Hong Kong\, New Delhi\, New York\, Tel Aviv and Tirana\, and presented as a series of four consecutive exhibitions hosted by NURTUREart\, Mixed Greens\, INVISIBLE-EXPORTS and UnionDocs. The works address the myriad public and private rituals of the city\, mining its institutional and vernacular histories while re-imagining its formal and functional aspects. \nThe Making of Neon Signs / 2014 / 12min / CPAK Studio \n“The Making of Neon Signs” is part of “Mobile M+: NEONSIGNS.HK“\, an online exhibition celebrating Hong Kong’s neon signs\,  presented by M+\, West Kowloon Cultural District. In this work\, CPak studio documents the dying trade (and once thriving local business) of Hong Kong neon-sign makers. With Neon consistently replaced by LED\, the gigantic neon signs that once characterized the city’s urban landscape are disappearing. \nA Removals Job / 2012 / Nicholas Keogh \nThe film follows the household clearance of a traditional two-up\, two-down red brick terrace in Belfast. At first\, the movements of the workers are erratic and violent; only after an understanding of each character has been established is order restored. Their movements are subtly choreographed\, producing a seamless flow of objects that slot perfectly into a skip — reminiscent of the classic 1990s computer game Tetris. \nLe Chiavi di Casa / 2007 / Alice Schivardi \nIn this video\, people of different nationalities try to build a “house” using found materials\, and trying to communicate via different languages and experiences. Various cultures and personalities translate in different ways to address the task at hand and highlight the importance of collaboration in defining physical as well as cultural spaces. \nPerfect ride / 2012 / video / 5min / Sasa Tkacenko \nIn the interior of the Museum of Contemporary Art in Belgrade\, which purpose was neglected for years (closed down for renovation for 5 years now)\, a skater is trying to perform what is most important for him – the perfect ride. The atmosphere of timelessness that is dominant in the space of the “abandoned” Museum of Contemporary Art appeared perfect as the scenery for a incompatible action that gave its endless reconstruction new character. In this way\, I wanted to show the intimate and intense moments of connection between a young man and his skills to the forgotten building of the Museum and thereby retrieve the grandeur and importance of this building through a moment that\, as the action unfolds\, becomes a very important experience for young actor in the video. This video is essentially a homage to the building – the master piece of modernistic architecture in Yugoslavia – that\, despite all current technical shortcomings\, remains a monumental and incredibly powerful. \nDetroit / 2009 / single channel video / 13min / Amir Yatziv \nA map of an Arab Town is presented to city planers who aren’t aware that it was built as a military training area. They analyse the influence of the city’s structure on its imaginary inhabitants. The title of the video is borrowed from this training area in the country’s southern region. “Detroit” is a 1:1 simulation of a Palestinian city. The simulation generates an alternative reality which conceals the true reality. The training city “Detroit” was intended to prepare soldiers for combat in an urban area. It resembles a Muslim quarter\, thus meeting the users’ needs in a simulation which would furnish them with a fantasy of an Arab city. The essence of this city is replaced by its fictive image. “Detroit” is devoid of flowering gardens; the city’s residents are mere extras\, and the houses contain no books or any other sign of life.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-08-09-multiplicity-city/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/07/Courtesy-of-Sasa-Tkacenko.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140810T193000
DTEND;TZID=America/New_York:20140810T193000
DTSTAMP:20260425T120854
CREATED:20140729T040000Z
LAST-MODIFIED:20180306T190448Z
UID:10001866-1407699000-1407699000@uniondocs.org
SUMMARY:Southside Stories: Audio Walk Launch
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]See the neighborhood with fresh eyes. Join us for the launch of Southside  Stories\, an immersive audio journey into Williamsburg in Brooklyn\, New York featuring the residents of Williamsburg’s Southside Community. We will start with a group version of the 35-minute audio walk\, and celebrate afterwards with the storytellers at the Caribbean Club\, the last remaining Puerto Rican social club in Williamsburg.\n</br/>The audio walk features stories from the neighborhood’s recent history as a predominantly Latino neighborhood juxtaposed to a landscape rapidly undergoing transformation and synonymous with hipster culture. The walk encourages a reinvigorated sense of discovery\, wonder and responsibility in participants’ relationship with the city. \n6 PM: Meet as a group for the audio walk at the corner of Bedford Ave and N  7th St\, in front of the Dunkin Donuts. Address: 182 Bedford Ave\, Brooklyn NY  11211. Please bring your headphones\, a MP3 player/listening device\, and download the audio track from http://southsidewalk.com. \n6:45 PM: Meet at the Caribbean Club for drinks and to celebrate with the storytellers featured in the walk. Address: 244 Grand St\, Brooklyn NY 11211. \nVisit the official website to learn more and listen to audio excerpts: http://southsidewalk.com This project is part of Living Los Sures\, a UnionDocs Collaborative Production. The UnionDocs Collaborative Studio is a one-year program for a group of emerging media artists from the US and abroad. Core team: Shannon Carroll\, Jen Epstein\, Andrew Hinton and Federica Sasso. \nShannon Carroll is an artist and media producer based in Brooklyn\, NY. She is the Creative Director of Vivid Storytelling\, a creative agency specializing in video\, photography and interactive design for causes\, products and brands. Visit her online at http://vividstudio.co and http://shannonleecarroll.com. \nFederica Sasso is an Italian journalist and radio producer based in New York City. She writes for Italian outlets and is a contributor to the Swiss national broadcasting company for which she produces audio documentaries. Federica was a Collaborative Fellow at UnionDocs and studied documentary film at the Scuola di Cinema\, Televisione e Nuovi Media of Milan. \nAndrew Hinton is a documentary filmmaker drawn to individuals and stories with positive change at their heart. His most recent film Tashi & The Monk won two awards at its premiere at Mountainfilm in Telluride. His previous film Amar was the Vimeo Documentary Award winner. He is from the UK but now lives in Brooklyn.www.vimeo.com/pilgrimfilms. \nJen Epstein is a researcher\, writer and self-shooting media maker who has devoted many years to working as a manager in film and television for a variety of New York post-houses and media companies. She’s currently an Operations Project Manager for Discovery Communications. Her passion for documentary arts began while working as a production assistant/researcher on several documentary features including BrotherMen\, a performance based documentary film that aired nationally on PBS. She holds a BA in Communication Arts from Ramapo College of New Jersey and earned an MA in Media Studies\, with a concentration in Documentary Studies\, from the New School.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-08-10-southside-stories-audio-walk-launch/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140919T193000
DTEND;TZID=America/New_York:20140919T193000
DTSTAMP:20260425T120854
CREATED:20140829T040000Z
LAST-MODIFIED:20180306T173613Z
UID:10001864-1411155000-1411155000@uniondocs.org
SUMMARY:Living Los Sures Shorts on the Lawn - Outdoor Screening/Picnic
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nUnionDocs is very excited to partner with El Puente on a free outdoor screening at Havemeyer Park on Friday\, September 19th. A collection of short documentaries from Living Los Sures\, the expansive documentary project about the Southside of Willamsburg\, will be presented. UnionDocs will also preview some of the new interactive elements of the project\, which will premiere the following week.\nNew York Film Festival’s Convergence. \n \nFull runtime: approx. 85 minutes. \nThird Shift (Anthony Simon\, Michael Vass\, Tamer Hassan) 20 minutes. \nTen years after the closure of the Domino Sugar Brooklyn Refinery\, two workers return. \n*** Awarded Best Short Doc Brooklyn Film Fest 2014*** \nLa Marqueta 2 (Elizabeth Lawrence\, Sonia Gonzalez) 5 minutes. \nLa Marqueta: portraits of one of the oldest markets in Williamsburg. \nOf Memory & Los Sures (Laurie Sumiye\, Andrew Parsons)\, 14 minutes. \nAnimated oral histories of longtime residents reflect a collective memory of Los Sures. \n***Official selection at BAM’s Cinefest*** \nEl último pan (Maria Rosa Badia\, Federica Sasso) 7 minutes. \nThe final days of a Mexican bakery that became a staple in a working class neighborhood. \nFor Sale in Los Sures (Andrew Hinton\, Federica Sasso\, Maria Rosa Badia) 5 minutes. \nA collection of super short films that explore the Southside of Williamsburg through items for sale in the neighborhood. \nRosemary’s Street (Constanza Mirré\, Emilia Bilinska\,Tamer Hassan) 13 minutes. \nA unique event in the life of a young woman reflects the passage of time in the tight knit community of Los Sures. \nToñita’s (Sebastian Diaz\, Beyza Boyacioglu)\, 21 minutes. \nA documentary portrait of the last Puerto Rican social club in Williamsburg\, Brooklyn. \n***Official selection at MoMA’s Doc Fortnight & “Best Brooklyn Film” Brooklyn Film Fest 2014.*** \nThis event is presented by El Puente CADRE (Community Artists’ Development & Resource Exchange) and UnionDocs\, and co-sponsored by Rooftop Films and NYFF. \nScreening: 7pm at Havemeyer Park\n  \n \nWe are proud to announce that The Film Society of Lincoln Center has selected Living Los Sures for the 2014 New York Film Festival. Now in its third year\, the highly anticipated annual program delves into the world of transmedia with a mix of unique films\, panels\, and immersive experiences. \nSaturday\, September 27th\, join us to launch the expansive documentary project Living Los Sures and premiere the fully restored film Los Sures (Diego Echeverria\, 1984). Gearing up for this launch\, there will be a number of local events\, including the screening on September 5th. \nSTREET FESTIVAL \nSaturday\, September 13 and Saturday\, September 20 1-6pm. Get a sneak peak of some of the interactive elements of Living Los Sures at the 3rd annual Southside Connex\, annual two-day community street festival in Los Sures (Southside of Williamsburg). Havemeyer Street between Grand Street and South 4th Street will be closed to vehicle traffic and filled with cultural activities\, health and wellness workshops\, environmental justice information & resources. \nGALLERY INSTALLATION: \nThrough October 5th\, catch selections from Living Los Sures on view at Fordham University’s Ildiko Butler Gallery. \n  \nABOUT LIVING LOS SURES\n  \nIn the late seventies and early eighties\, the Southside of Williamsburg was one of the poorest neighborhoods in New York City. Los Sures\, a documentary from 1984 by Diego Echeverria\, skillfully represents the challenges of this time; drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single parent homes\, and inadequate local resources. Echeverria’s portrait also celebrates the vitality of the largely Puerto Rican community\, showing the strength of their culture\, their creativity and determination to overcome a desperate situation. Living Los Sures is a multi-year production that partners with Echeverria to revisit his powerful film\, make it accessible online for the first time\, create a collection of companion documentary projects that update\, annotate\, challenge\, and spiral off from the original\, and activate the community to share stories around remarkable local histories and important civic issues. \nABOUT EL PUENTE\nEl Puente is a community human rights institution that promotes leadership for peace and justice through the engagement of members (youth and adult) in the arts\, education\, scientific research\, wellness and environmental action. Founded in 1982 by Luis Garden Acosta\, El Puente currently integrates the diverse activities and community campaigns of its Center for Arts and Culture and its Green Light District & Community Wellness Program within its four neighborhood Leadership Centers\, and its nationally recognized public high school\, the El Puente Academy for Peace and Justice. Organizing in North Brooklyn and beyond\, El Puente remains at the forefront of community/youth learning and development issues and as such\, initiates and impacts social policy both locally and nationally. \nABOUT Southside Connex\nSouthside Connex is an annual two-day community street festival in Los Sures (Southside of Williamsburg) co-produced by El Puente Green Light District and Southside Merchants with support from the Brooklyn Chamber of Commerce. In conjunction with NYC Department of Transportation’s Weekend Walks program\, on September 13th and 20th\, 1-6PM Havemeyer Street between Grand Street and South 4th Street will be closed to vehicle traffic and filled with cultural activities\, health and wellness workshops\, environmental justice information & resources\, and El Puente’s annual ¡WEPA! Festival for Southside Performing Arts on September 20th. Last year\, during its inaugural year\, Southside Connex attracted over 1\,500 community members\, artists\, tourists\, merchants and young people and is remembered as an event that celebrates the Latino culture of the neighborhood and offers local residents the chance to meet and interact with each other in the streets of Los Sures. \n  \nWhile in the neighborhood visit ¡Cultura Con Azúcar!\nMake sure to check out the freshly painted ¡Cultura Con Azúcar!\, a mural by El Puente’s resident public art collective Los Muralistas de El Puente. The mural reflects the culture\, history and people of Los Sures (Southside of Williamsburg)\, incorporating portraits of community members and quotations from residents sharing their memories and dreams for the Southside.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-09-19-outdoor-los-sures/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/08/LosMUralistas.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140920T193000
DTEND;TZID=America/New_York:20140920T210000
DTSTAMP:20260425T120854
CREATED:20140812T040000Z
LAST-MODIFIED:20180302T221648Z
UID:10001863-1411241400-1411246800@uniondocs.org
SUMMARY:What You Get Is What You See: The Tabloid
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nBefore there was an Internet\, or even television\, there was the tabloid. It was a newspaper\, but it was also a personal-size billboard. You could walk through the city and catch the news just by looking at what people were reading\, and–well before the 24-hour news cycle–you could track events through the day by the successive editions that hit the stands. Luc Sante will talk about the history of tabloids\, the poetry of the Railroad Gothic typeface\, the many permutations of the half-sheet\, the pleasures and dangers of public hysteria\, the heritage of the punk-rock handbill\, the silent shout and the urban central nervous system\, among other things. He will show slides. Luc Sante first encountered the tabloid as a pedestrian walking by the newsstands in New York City. Showing his personal archives of images from tabloids and other materials\, and beginning with memories from his childhood in the 60’s\, he will share his own perception of this culture. He will also tell us how the tabloid has been used in movies and pop art and its place in the news ecosystem of today. \nLuc Sante is the author of Low Life\, Evidence\, The Factory of Facts\, Kill All Your Darlings\, and Folk Photography. He has translated Félix Fénéon’s Novels in Three Lines. He is a frequent contributor to The New York Review of Books and teaches writing and the history of photography at Bard College. The Other Paris will be published next year. \n[su_spacer][/su_spacer] \nWhat You Get Is What You See:\nA Series on Spectatorship \n \nWhat hides behind simple gestures of attending. \nIn this series\, UnionDocs invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series presented by Mathilde Walker-Billaud. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-09-20-the-tabloid/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/08/Luc-Sante-portrait1-e1408549510902.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140921T193000
DTEND;TZID=America/New_York:20140921T213000
DTSTAMP:20260425T120854
CREATED:20140903T040000Z
LAST-MODIFIED:20180302T211950Z
UID:10001868-1411327800-1411335000@uniondocs.org
SUMMARY:Frederick Wiseman: Law and Order (1969)
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nLaw and Order\nFrederick Wiseman\, 1969 \nUSA | Format: 16mm| 81 minutes \nAgainst a backdrop of American cities riven by racial injustice and class inequality\, soaring crime rates and unemployment\, and a volatile mistrust of cops and judges\, Wiseman made this thoughtful\, measured\, and often surprising film about the police department in Kansas City\, Missouri. Weighing difficult questions of morality and justice\, Wiseman goes beyond simplistic depictions of the police as an abusive authoritarian force. Though he does not gloss over scenes of racism and police brutality\, his nuanced portrait of law enforcement also offers moments of compassion\, comfort\, and helplessness. — Museum of Modern Art \nLaw & Order surveys the wide range of work the police are asked to perform: enforcing the law\, maintaining order\, and providing general social services. The incidents shown illustrate how training\, community expectations\, socio-economic status of the subjects\, the threat of violence\, and discretion affect police behavior. The film finds special relevance in light of the recent protests around the use of deadly force by police in NYC and in Ferguson\, Missouri. \nFrederick Wiseman\, an original and prolific documentary filmmaker\, is the creator of over 30 films. He explores institutions that are part of contemporary society. Wiseman has earned wide acclaim and critical respect for his unique approach\, which avoids such filmmaking conventions as narration\, interviews and added music. Wiseman’s filmmaking career began in 1967 with Titicut Follies\, a look at conditions inside the Bridgewater State Prison for the Criminally Insane. The only American film ever censored for reasons other than obscenity or national security\, Titicut Follies was banned for 24 years by the Commonwealth of Massachusetts until the ruling was overturned in 1991. In the decades since\, Wiseman has made films about many key institutions of the late 20th century. His latest film\, National Gallery\, will have its U.S. Premiere at the 2014 NYFF. \n \nKent Jones is the Director and Selection Committee Chair of the NYFF. Jones began in programming with Bruce Goldstein at Film Forum\, and served as the American representative for the Rotterdam International Film Festival from 1996 to 1998. From 1998 to 2009\, he was Associate Director of Programming at The Film Society of Lincoln Center\, and from 2002 to 2009 he served on the New York Film Festival selection committee. He has also served on juries at film festivals around the world\, including Rotterdam\, Buenos Aires\, San Francisco\, Venice and Cannes. In 2009\, he was named Executive Director of The World Cinema Foundation\, and in 2012 he rejoined the NYFF as the Director of Programming.  \n \nFrederick Wiseman at the 2014 New York Film Festival:\nNational Gallery\nFrederick Wiseman\, 2014 \nUSA/France | Format: DCP | 180 minutes \nU.S. Premiere \n More Information \nFrederick Wiseman’s glorious new film is about the energies of\, and around\, painting—discussing\, framing\, mounting\, lighting\, repairing\, restoring\, creating\, and\, perhaps most of all\, looking at painting. This is a film of color\, light\, and sensuous action\, in the artwork on the walls and within the universe of London’s great National Gallery itself. In fact\, the dividing line between the paintings and the life around them dissolves almost immediately\, as Wiseman attunes us to pure response: the individual’s response to the paintings\, the painter’s response to the subject at hand\, the filmmaker’s response to the people\, activities\, and light around him. There are discussions of budgetary concerns and social media\, but the film and the people within it are always drawn back to the magnetic power of the art itself. National Gallery is a film of faces: the faces of those looking and the faces of those who look back from the canvases\, in an endless\, joyful exchange. – NYFF \nSun\, Oct 5 at 4:00pm | Walter Reade Theater | Ticket Info \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-09-21-wiseman/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/09/NYFF52generic3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140927T193000
DTEND;TZID=America/New_York:20140927T193000
DTSTAMP:20260425T120854
CREATED:20140908T040000Z
LAST-MODIFIED:20180306T170535Z
UID:10002472-1411846200-1411846200@uniondocs.org
SUMMARY:Living Los Sures Launch at the 2014 NYFF Convergence
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nPROGRAM DETAILS:\nSaturday\, September 27th at the Film Society of Lincoln Center \n1:30p – Living Los Sures (Interactive Presentation and Launch) \nProduced by UnionDocs\, 2014 \nUsing Echeverria’s 1984 documentary Los Sures as a starting point\, Southside-based UnionDocs has created Living Los Sures\, a massive mixed-media project that defies easy categorization. Composed over the course of four years and pulling on the talents of over 30 different artists\, Living Los Sures paints a picture of a neighborhood from street level\, an ever-evolving mosaic of people and places captured through film\, audio\, and now an online participatory experience. With the premiere of two new elements—89 Steps\, a continuation of the story of one of the original characters from Los Sures\, and Shot by Shot—that invites people to share their personal stories inspired by the shots and locations of the original film—the UnionDocs team will take audiences through the process of building this unique documentary storyworld. \n8:00pm – Los Sures (Screening and Interactive Presentation) \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 just in time for the 30th anniversary of its premiere at the New York Film Festival. \n  \nABOUT 89 STEPS\n \nMarta Avilés can barely remember a time before she called Los Sures home. In the late 50s\, Marta’s mother found refuge for her family in this Brooklyn Latino community after leaving their village in Puerto Rico and enduring homelessness and hunger elsewhere in New York. As a single mother with a family of her own\, Marta fought hard to stay in Los Sures\, cooperating with other tenants to wrestle their building away from a negligent landlord. During this time\, the late 70s and early 80s\, Los Sures was known as one of the worst ghettos in America. Marta faced many challenges while raising five children there\, but always felt the dignity of owning a home in the neighborhood she’d known so well. Now in a new phase of her life and struggling to afford the rapidly gentrifying city\, Marta must decide to stay or go. \n89 Steps is an interactive experience that visits Los Sures and lets Marta tell her story as she contemplates leaving the past behind and confronts the possibility of finding a new home. The project follows the tradition of character-based approaches to documentary\, but uses the web as medium that offers new ways of immersing the audience. As the viewer explores\, Marta’s voiceover reacts\, providing guidance\, description\, facts and responsive anecdotes. A linear set of scenes introduce important elements in Marta’s narrative\, as she grapples with the decision to sell the sixth floor walk-up apartment she has lived in for 40 years\, move out\, and potentially relocate to suburban Florida. The viewer is offered an immediate relationship to Marta’s dilemma and a deeper understanding of the pressures and incentives that force individuals in many rapidly changing urban environments to give up their homes and longstanding communities.89 Steps is a chapter from Living Los Sures\, an expansive documentary project about the Southside of Willamsburg\, Brooklyn. \n  \nABOUT SHOT BY SHOT\n \n  \nShot By Shot is an interactive historical record that remixes Echeverria’s film with memories\, images\, videos and stories gathered through the participation of long-standing local residents. Each individual shot of the film from 1984 contains people\, places or things that go unmentioned in the narrative\, but offer the jumping off point for a side story\, a personal memory\, or an intriguing update. UnionDocs is currently working with the local community to gather these stories from the people who lived them\, offering details and additional imagery that expand the significance of these brief moments from history\, abstracted from their functional role as supporting sequences in the narrative. \nOver the past six months\, the UnionDocs team has interviewed dozens of people to create content for this platform\, examining specific shots and recording both oral histories and video. This material is edited into discrete short stories and illustrated with vernacular photography collected from members of the community. More material will be added over time\, allowing the project to grow as more stories come to light. Viewers of the website will be able to submit potential stories for inclusion. The final website will allow every visitor to navigate through the film shot by shot\, with relevant stories attached. \n  \n ABOUT LIVING LOS SURES\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.Nearly 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. \nABOUT 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  \nADDITIONAL LIVING LOS SURES PROGRAMMING \nFriday\, September 19th at 7:30pm: UnionDocs and El Puente\, with support from NYFF and Rooftop Films\, host a free outdoor screening in the Williamsburg’s scenic Havemeyer Park on Kent St and South 4th St. The program will highlight some of the best short documentaries produced over the past four years for Living Los Sures. More info here. \nSaturday September 13th and 20th\, 1:00pm – 600pm: UnionDocs will be participating in the 3rd annual Southside Connex\, on Havemeyer between Grand St. and South 4th in Williamsburg\, on behalf of El Puente. \nclosed until October 5th\, 9:00am – 9:00pm: Experimental selections from Living Los Sures are currently on view Fordham University’s Ildiko Butler Gallery \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-09-27-los-sures-convergence/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/09/LLS-Poster-Back.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141011T193000
DTEND;TZID=America/New_York:20141011T213000
DTSTAMP:20260425T120854
CREATED:20140903T040000Z
LAST-MODIFIED:20190404T213608Z
UID:10002460-1413055800-1413063000@uniondocs.org
SUMMARY:Independent Cinema For The Dying
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nJoin us for the first public reading of Stephen Elliott’s debut play\, Independent Cinema For The Dying\, co-presented with The Rumpus. \nIndependent Cinema For The Dying is a one hour play about Paul\, an author of seven books\, who has recently found out he is dying. In an effort to “live twice as much in the time he has left” he decides to make a movie. Fortunately\, a big star has optioned one of his books and agrees to be in his film. But will the celebrity actually show up? \nDirected by Adrienne Campbell-Holt.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]Stephen Elliot is the author of seven novels\, memoirs\, and story collections. He has written and directed two feature films\, About Cherry which premiered at the Berlin International Film Festival and the soon to be released Happy Baby based on the novel of the same name. Principal production was recently completed on a film adaptation of his memoir\, The Adderall Diaries\, starring James Franco\, Ed Harris\, Cynthia Nixon\, and Christian Slater. He is the founding editor of the popular online literary magazine The Rumpus. \n  \nAdrienne Campbell-Holt is the Founding Artistic Director of Colt Coeur\, a Brooklyn-based theatre ensemble. Upcoming: World Premiere of Dry Land by Ruby Rae Spiegel (workshops at New York Stage & Film and Ojai Playwright’s Conference\, production with Colt Coeur @ HERE\, NYC). She is a recipient of a Jerome Foundation/Tofte Lake Fellowship\, the EST/Sloan grant\, an alum of the Lincoln Center Directors Lab\, and a New Georges Affiliated Artist. BA Barnard College\, Columbia University. \n  \nSarah Mezzanotte made her NYC professional acting debut last month as Amy in Dry Land. She hails from the Pennsylvania countryside\, and recently graduated from NYU Tisch\, having studied at both Stella Adler and Stonestreet Studios.  \n  \n  \n  \n \nJason Kravits is best known for his role as ADA Richard Bay on ABC’s Emmy Award Winning Drama “The Practice\,” He has appeared more recently on TV on shows such as “The Blacklist” “Married\,” “Curb Your Enthusiasm\,” and “Masters of Sex”; in the movies “Chinese Puzzle\,” and “The Adjustment Bureau”; and on Broadway in productions of Relatively Speaking\, The Drowsy Chaperone\, and Sly Fox. He is co-creator of the hit web series “Lords of the Playground\,” and author of “Green Eggs and Hamlet\,” “The Kvetch\,” “Rocky and Bullwinkle’s A Christmoose Story\,” and the upcoming improvised cabaret “I…(A Life).” \n  \nThe Rumpus is perhaps the most popular literary website. Featuring book reviews\, comics\, interviews with authors\, and the Dear Sugar column penned by Cheryl Strayed. Launched January 20\, 2009 and updated up to fifteen times a day\, The Rumpus is a great way to kill time when you should be at work. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-10-11-independent-cinema-for-the-dying/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/09/Michael-Patrick-Kane.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141018T193000
DTEND;TZID=America/New_York:20141018T213000
DTSTAMP:20260425T120854
CREATED:20141009T040000Z
LAST-MODIFIED:20190502T183655Z
UID:10002478-1413660600-1413667800@uniondocs.org
SUMMARY:Before You Know It
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]The subjects of Before You Know It are no ordinary senior citizens. They are go-go booted bar-hoppers\, love struck activists\, troublemaking baton twirlers\, late night Internet cruisers\, seasoned renegades and bold adventurers. They are also among the estimated 2.4 million lesbian\, gay and bisexual Americans over the age of 55 in the United States\, many of whom face heightened levels of discrimination\, neglect and exclusion. But Before is not a film about cold statistics and gloomy realities\, it’s a film about generational trailblazers who have surmounted prejudice and defied expectation to form communities of strength\, renewal and camaraderie—whether these communities be affable senior living facilities\, lively activist enclaves or wacky queer bars brimming with glittered trinkets and colorful drag queens. \nDennis is a gentle-hearted widower in his 70s who begins exploring his sexual identity and fondness for dressing in women’s clothing under the name “Dee.” Ty is an impassioned LGBT activist who hears nothing but wedding bells once gay marriage passes in New York. Robert “The Mouth” is a feisty bar owner who presses on when his neighborhood institution comes under threat. Born before the Civil Rights era\, these men have witnessed unbelievable change in their lifetimes\, from the Stonewall Riots and gay liberation\, to the HIV/AIDS pandemic and Queer Nation\, to gay marriage and Lady Gaga\, and have lived to become part of an unprecedented “out” elder generation. Before focuses on the lives of these three gay seniors\, but reminds us that while LGBT elders face a specific set of issues\, aging and its challenges are universal. An affirmation of life and human resilience told with a refreshing humor and candor\, Before confirms that you are never too old to reshape society.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”112 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117042″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Named one of Out Magazine’s “Out 100 2010” and Filmmaker Magazine’s “25 new faces of independent film 2006\,” PJ Raval is an award-winning filmmaker whose credits include Trinidad (Winner\, Best Documentary Cleveland International Film Festival 2009\, Showtime\, LOGO)\, The CHRISTEENE video collection (SXSW)\, and his latest film BEFORE YOU KNOW IT a documentary about LGBT seniors and aging (SXSW World Premiere\, San Francisco International Film Festival\, Edinburgh International Film Festival). Raval is also currently developing a feature fiction narrative with acclaimed screenwriter and playwright Prince Gomolvilas and recently directed a segment called “Rantings” as part of the 2011 remake of Richard Linklater’s indie classic Slacker. \nAlso an award-winning cinematographer\, Raval’s work has earned him awards such as the ASC Charles B. Lang Jr. Heritage Award as well as the Haskell Wexler Award for Best Cinematography. Raval’s work includes the 2009 Academy Award-nominated Trouble The Water as well as the Independent Spirit Award-nominated Room. He recently completed the highly anticipated feature The Bounceback directed by Bryan Poyser\, which will premiere at SXSW.In his spare time Raval likes to try and take small naps and pretend he knows ballet.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-10-18-before-you-know-it/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/10/02-Ty1.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141114T193000
DTEND;TZID=America/New_York:20141114T213000
DTSTAMP:20260425T120854
CREATED:20141029T040000Z
LAST-MODIFIED:20190502T183707Z
UID:10001874-1415993400-1416000600@uniondocs.org
SUMMARY:I Always Said Yes: The Many Lives of Wakefield Poole
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]An outspoken and articulate artist in a turbulent\, passionate time\, Wakefield Poole didn’t think of himself as a pornographer. He was a filmmaker who used his dance and theater background to create beautiful\, erotic art films that challenged the mind. Many agreed. To others\, though\, Poole just made dirty movies. \nI Always Said Yes: The Many Lives of Wakefield Poole tells the story of this sometimes overlooked gay liberation and independent film making pioneer. In an era when anyone making\, promoting\, or appearing in what the US government considered “pornography” could be liable for prosecution and jail time\, Wakefield Poole was a remarkably closed and honest gay filmmaker. He also became internationally famous and his movies screened for years as examples of films that could be artistic as well as sexually explicit. \nFilled with gorgeous archival footage\, excerpts from Poole’s lushly photographed films\, and entertaining and illuminating interviews with Poole’s contemporaries and colleagues\, I Always Said Yes is a story of artistic integrity and disappointment\, self-destruction\, love\, sex\, fortitude\, and musical comedy. \nScreening proceeded by a talk by Jeffrey Escoffier\, author of Bigger Than Life: The History of Gay Porn Cinema from Beefcake to Hardcore \nPresented by MIX NYC[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”93 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117036″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jeffrey Escoffier is the author of Bigger Than Life: The History of Gay Porn Cinema from Beefcake to Hardcore (Running Press/Perseus Book Group\, 2009) and American Homo: Community and Perversity (University of California Press\, 1998) and he edited Sexual Revolution (Thunder’s Mouth\, 2003)\, a compilation of the most important writing on sex published in the 1960s and 70s. He has taught LGBT studies and sexuality at the University of California in Berkeley\, at Rutgers University\, the New School University and Barnard College. From 2007-2009 he was a Visiting Scholar at the Center for the Study of Gender and Sexuality of New York University\, and served on the board of the Center for Lesbian and Gay Studies\, at The City University of New York from 2009-2014.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-11-14-wakefield-poole/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/10/image-w1280.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20141116T193000
DTEND;TZID=America/New_York:20141116T193000
DTSTAMP:20260425T120854
CREATED:20141021T040000Z
LAST-MODIFIED:20190502T183656Z
UID:10001871-1416166200-1416166200@uniondocs.org
SUMMARY:The Toxic Edge: A Screening and Conversation with Sarah Kanouse
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text] \nToxicity figures in a range of contemporary political\, economic\, social\, and environmental discourses\, from the toxic waste of the gulf catastrophe or Fukushima and the toxic assets of financial institutions\, to concerns over toxic lifestyles and the biomonitoring of toxic bodies. In Around Crab Orchard Sarah Kanouse investigates the deep flows of toxicity in the natural environment and how these shape their materiality and the politics of their existence. \nCrab Orchard calls itself a unique place to experience nature. As the only wildlife refuge in the United States whose mission includes industry and agriculture alongside conservation and recreation\, Crab Orchard claims a harmonious balance between past and present\, nature and culture. Assembled from documents\, found footage\, and conversations with activists\, writers\, and local residents\, Around Crab Orchard questions the ideal of natural harmony while meditating on the persistence of history\, the creation of knowledge\, the limits of representation\, and the commonplace of environmental hazard. Around Crab Orchard ultimately argues for forms of storytelling\, image-making\, and action that respond to the full complexity of the social and ecological landscape. \nScreening followed by discussion with Elizabeth A. Povinelli and filmmaker Sarah Kanouse. \nSponsored by the Center for Place\, Culture\, and Politics at The Graduate Center\, CUNY \nCurated by Denisse Andrade \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”70 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117038″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nSarah Kanouse is an interdisciplinary artist and writer examining the politics of landscape and public space. Her research-based projects trace the production of landscape through ecological\, historical\, military\, and legal forces. Her work has appeared at Documenta 13\, Cooper Union\, The Museum of Contemporary Art Chicago\, The Smart Museum\, The Museum of Contemporary Art Detroit\, among others. Kanouse has written extensively about performative and site-based contemporary art practices in Art Journal\, Acme\, Leonardo\, Parallax and in the forthcoming volume Critical Landscapes. She is Associate Professor of Intermedia at the University of Iowa. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117039″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nElizabeth A. Povinelli is Franz Boas Professor of Anthropology at Columbia University where she also teaches in the Institute for Research on Women\, Gender and Sexuality. She is the author of four books and numerous essays exploring the sources and trajectories of the otherwise in late liberalism. She is also a founding member of the Karrabing Film Collection whose films have shown in venues including the Berlinale\, dOCUMENTA-13\, the Wexner Center\, and e-flux gallery. She is currently finishing Geontologies: A Requiem to Late Liberalism. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117040″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nDenisse Andrade is an activist and independent curator currently pursuing a PhD in Geography at the Graduate Center\, City University of New York. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-11-16-around-crab-orchard/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/10/Crabs1-590x331-1.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150110T193000
DTEND;TZID=America/New_York:20150111T213000
DTSTAMP:20260425T120854
CREATED:20141204T050000Z
LAST-MODIFIED:20190228T170238Z
UID:10001876-1420918200-1421011800@uniondocs.org
SUMMARY:FROM DEEP: An Essay in Three Parts
DESCRIPTION:[vc_row][vc_column][vc_column_text]From Deep is a new feature-length experimental documentary by Pittsburgh filmmaker Brett Kashmere\, which explores the three-decade love affair between basketball and rap. Part sociological treatise\, part audiovisual mixtape\, Kashmere’s ambitious documentary delivers a high-energy history of basketball’s evolution in American culture: from indoor New England novelty to outdoor urban phenomenon. \nUsing basketball as an entry point into larger discussions of collective identity\, race\, and fandom\, From Deep combines elements of the personal essay and the mixtape to illustrate the shifting relationship between social\, cultural\, and political forces and developments in America. Part cultural history\, part reflection on the game as part of everyday life\, From Deep unites two interrelated developments form the mid-1980s which together propelled basketball to its prominent position in the American (and global) consciousness: Michael Jordan’s entry into the NBA (and emergence as the world’s first corporate branded athlete)\, and hip hop’s movement from counter-cultural margins to the mainstream. The parallel ascent of the sport and music genre is traced through a vast array of clips culled from movies\, music videos\, news footage\, highlight reels\, and videos games\, and iconic songs such as Kurtis Blow’s Basketball and Run-DMC’s My Adidas. Providing poetic counterpoint are documentary “moving snapshots” of neighborhood pickup and streetball games around the country: from the small towns of Indiana\, to playgrounds in Hartford and Akron\, indoor gyms in Springfield\, Mass. and Louisville\, improvised makeshift courts on parking and abandoned lots in Pittsburgh and Cleveland\, and famous outdoor blacktops like Baltimore’s Druid Hill Park and The Cage at West 4th Street in downtown New York\, among others. \nThis screening will be followed by a Q&A with filmmaker Brett Kashmere in conversation with Jace Clayton (also known as DJ /rupture)\, who provided music direction for the film. \n[/vc_column_text][vc_empty_space][vc_text_separator title=”Press”][vc_empty_space][vc_column_text] \n\n“From Deep is like sitting next to your smartest friend during the game\, the wonk with all the relevant stats and obscure facts\, broadening the game into an exploration of wider cultural symbols and one’s own involvement with them.” \n– Christy LeMaster\, Cine-File \n“Travel far to see FROM DEEP.” \n– Jonathan Kahana\, UCSC \nA “compendious\, compulsively watchable basketball documentary.” \n– Leo Goldsmith & Rachael Rakes\, The Brooklyn Rail \n“The avant-garde video essay meets Steve James’ HOOP DREAMS.” \n– Blake Williams\, blogTO \n“Gorgeously photographed and edited\, it’s an experimental documentary with a mix-tape sensibility—an essay film in thrall to the And-1 Tour.” \n– Adam Nayman\, The L Magazine \n“While plenty can be said about the current state of American politics\, From Deep suggests at least one place where democracy perseveres in its most idealistic form: on the playground\, and in the streets.” \n– Pasha Malla\, The Globe and Mail \nFrom Deep “celebrates the street game as the sport at its purest: raw\, improvisational\, and untarnished by economic exploitation – perhaps like the structure of the movie itself.” \n– Kyle Harris\, Denver Westword \n“Painstakingly researched and chock full of archival footage from the game’s century-long history\, FROM DEEP is Brett Kashmere’s sophisticated essay on the cultural history of basketball. He skillfully balances a poetic consideration of the game with a semiotic inquiry into the symbols created as the game develops from a rec center pastime into a multi-million dollar industry.”  \n– Christy LeMaster\, Cine-File \n“FROM DEEP is being released and screened in 2014\, but its expiration date is nowhere on the horizon. Stick it in a Smithsonian vault and bring it out twenty\, thirty years from now and it will all make perfect sense. Who knows if basketball and hip-hop will have a close relationship by then – if hip-hop\, the way we know it\, will still exist\, but FROM DEEP will still make sense; it will make sense because it has so totally captured the styles that have happened in and to basketball up to this point. Kashmere has given us a uniquely thoughtful and meticulous view of basketball\, respecting and exploring the imprints the game has made\, and will continue to make\, on the rest of society. Watch what he does next.”  \n– Miles Wray\, Sports Illustrated’s Hardwood Paroxsym \n  \nWork Specifics: \nUSA/Canada\, 2013\, 88 minutes\nConcept / Edit / Production: Brett Kashmere\nCamera: Toby Waggoner\nSound: Jeremy Fleishman\nMusic Direction: DJ /rupture\nLocation Recording: Cody Darling\nNarration: Trent Wolfred and Art Terry\nDistribution: Vtape.org \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Presenters”][vc_empty_space][vc_column_text]Brett Kashmere is a Canadian-born\, Pittsburgh-based filmmaker\, writer and curator. Combining traditional research methods with materialist aesthetics and hybrid forms\, Kashmere’s experimental documentaries explore the intersection of history and (counter-) memory\, geographies of identity\, popular culture\, and the politics of representation. His films\, videos\, and installations have been exhibited internationally at festivals and museums\, including the BFI London Film Festival\, Milano. Film Festival\, Kassel Dokfest\, Museum of Contemporary Photography (Chicago)\, Images Festival (Toronto)\, Boulder Museum of Contemporary Art\, among others. Kashmere is also the founding editor and publisher of INCITE Journal of Experimental Media. \nACE CLAYTON\, also known as DJ /rupture\, is an artist whose recent projects include Sufi Plug Ins and The Julius Eastman Memorial Dinner.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-10-from-deep/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/12/BrettKashmere_FromDeep_15.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150111T193000
DTEND;TZID=America/New_York:20150111T213000
DTSTAMP:20260425T120854
CREATED:20141204T050000Z
LAST-MODIFIED:20190418T214937Z
UID:10002482-1421004600-1421011800@uniondocs.org
SUMMARY:FROM DEEP: An Essay in Three Parts
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n“From Deep is like sitting next to your smartest friend during the game\, the wonk with all the relevant stats and obscure facts\, broadening the game into an exploration of wider cultural symbols and one’s own involvement with them.” \n– Christy LeMaster\, Cine-File \n“Travel far to see FROM DEEP.” \n– Jonathan Kahana\, UCSC \nA “compendious\, compulsively watchable basketball documentary.” \n– Leo Goldsmith & Rachael Rakes\, The Brooklyn Rail \n“The avant-garde video essay meets Steve James’ HOOP DREAMS.” \n– Blake Williams\, blogTO \nNew York Premiere Weekend\nSunday\, January 11th \nor click here for Saturday\, January 10th. \nFrom Deep is a new feature-length experimental documentary by Pittsburgh filmmaker Brett Kashmere\, which explores the three-decade love affair between basketball and rap. Part sociological treatise\, part audiovisual mixtape\, Kashmere’s ambitious documentary delivers a high-energy history of basketball’s evolution in American culture: from indoor New England novelty to outdoor urban phenomenon. \nUsing basketball as an entry point into larger discussions of collective identity\, race\, and fandom\, From Deep combines elements of the personal essay and the mixtape to illustrate the shifting relationship between social\, cultural\, and political forces and developments in America. Part cultural history\, part reflection on the game as part of everyday life\, From Deep unites two interrelated developments form the mid-1980s which together propelled basketball to its prominent position in the American (and global) consciousness: Michael Jordan’s entry into the NBA (and emergence as the world’s first corporate branded athlete)\, and hip hop’s movement from counter-cultural margins to the mainstream. The parallel ascent of the sport and music genre is traced through a vast array of clips culled from movies\, music videos\, news footage\, highlight reels\, and videos games\, and iconic songs such as Kurtis Blow’s Basketball and Run-DMC’s My Adidas. Providing poetic counterpoint are documentary “moving snapshots” of neighborhood pickup and streetball games around the country: from the small towns of Indiana\, to playgrounds in Hartford and Akron\, indoor gyms in Springfield\, Mass. and Louisville\, improvised makeshift courts on parking and abandoned lots in Pittsburgh and Cleveland\, and famous outdoor blacktops like Baltimore’s Druid Hill Park and The Cage at West 4th Street in downtown New York\, among others. \nThis screening will be followed by a Q&A with filmmaker Brett Kashmere. \nWork Specifics: \nUSA/Canada\, 2013\, 88 minutes \nConcept / Edit / Production: Brett Kashmere \nCamera: Toby Waggoner \nSound: Jeremy Fleishman \nMusic Direction: DJ /rupture \nLocation Recording: Cody Darling \nNarration: Trent Wolfred and Art Terry \nDistribution: Vtape.org \nMore Press: \n“Gorgeously photographed and edited\, it’s an experimental documentary with a mix-tape sensibility—an essay film in thrall to the And-1 Tour.” – Adam Nayman\, The L Magazine \n“While plenty can be said about the current state of American politics\, From Deep suggests at least one place where democracy perseveres in its most idealistic form: on the playground\, and in the streets.” – Pasha Malla\, The Globe and Mail \nFrom Deep “celebrates the street game as the sport at its purest: raw\, improvisational\, and untarnished by economic exploitation – perhaps like the structure of the movie itself.” – Kyle Harris\, Denver Westword \n“Painstakingly researched and chock full of archival footage from the game’s century-long history\, FROM DEEP is Brett Kashmere’s sophisticated essay on the cultural history of basketball. He skillfully balances a poetic consideration of the game with a semiotic inquiry into the symbols created as the game develops from a rec center pastime into a multi-million dollar industry.” – Christy LeMaster\, Cine-File \n“FROM DEEP is being released and screened in 2014\, but its expiration date is nowhere on the horizon. Stick it in a Smithsonian vault and bring it out twenty\, thirty years from now and it will all make perfect sense. Who knows if basketball and hip-hop will have a close relationship by then – if hip-hop\, the way we know it\, will still exist\, but FROM DEEP will still make sense; it will make sense because it has so totally captured the styles that have happened in and to basketball up to this point. Kashmere has given us a uniquely thoughtful and meticulous view of basketball\, respecting and exploring the imprints the game has made\, and will continue to make\, on the rest of society. Watch what he does next.” – Miles Wray\, Sports Illustrated’s Hardwood Paroxsym[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nBrett Kashmere is a Canadian-born\, Pittsburgh-based filmmaker\, writer and curator. Combining traditional research methods with materialist aesthetics and hybrid forms\, Kashmere’s experimental documentaries explore the intersection of history and (counter-) memory\, geographies of identity\, popular culture\, and the politics of representation. His films\, videos\, and installations have been exhibited internationally at festivals and museums\, including the BFI London Film Festival\, Milano Film Festival\, Kassel Dokfest\, Museum of Contemporary Photography (Chicago)\, Images Festival (Toronto)\, Boulder Museum of Contemporary Art\, among others. Kashmere is also the founding editor and publisher of INCITE Journal of Experimental Media. \nJason Concepcion is a staff writer for Grantland and coauthor of We’ll Always Have Linsanity. @netw3rk[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-11-from-deep/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/12/BrettKashmere_FromDeep_06-1.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150117T193000
DTEND;TZID=America/New_York:20150117T213000
DTSTAMP:20260425T120854
CREATED:20150106T050000Z
LAST-MODIFIED:20190404T202644Z
UID:10001879-1421523000-1421530200@uniondocs.org
SUMMARY:Providence & Friends
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nMagic Lantern presents Providence & Friends\, a broad sampling of recent New England film\, video & multimedia performance.\nThis past summer\, Magic Lantern put out a call for its first submission-based program. They were interested in seeing contemporary work by local artists in the vicinity of Providence\, Boston\, and New Haven\, and in bringing this work to the attention of others in a timely celebration of regional filmmaking. All of the artists featured in Providence & Friends are\, or were until very recently\, based in the area. \nProvidence & Friends ranges from small\, unpretentious 8mm love letters to the most advanced digital manipulations\, from beautiful abstractions to politicized travelogues\, and from the finished form of recorded media to the contingencies of live performance. Its scope is as big as Providence is small. \nFeaturing works by Sarah Abu Abdallah\, Alexander Dupuis\, Dave Fischer\, Tara & Gordon Nelson\, Mariya Nikiforova\, Adrian Randall\, Deirde Sargent\, Asha Tamirisa\, Derek Taylor\, Arvid Tomayko-Peters\, Matthew Underwood\, Freddie Wiss.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Mariya Nikiforova\, Rewards\, 16mm\, 2014\, 4.5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Tara & Gordon Nelson\, Sad Mall\, super 8\, 2013\, 4 min.” font_container=”tag:h1|text_align:left”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]A late winter\, long-distance Super 8 love letter between Boston (shot by Gordon) and Ithaca (shot by Tara). All edits are in-camera. Original soundtrack by Shades of Fawn (Gordon and Tara Nelson). Shot on Ektachrome 100D.[/vc_column_text][vc_custom_heading text=”Deirdre Sargent\, Sea Screen\, digital video\, 2014\, 2.5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]A digitized citizen with her aquatic fantasies is only able to digest experience through screen imagery. The “screen” becomes anything with an clear\, flat surface\, such as an aquarium – the aquarium becomes a television and the TV a tank. With an interest in the lo-fi and and situating a cranium in between a screen and camera\, this video explores our imagined experiences through screen relationships.[/vc_column_text][vc_custom_heading text=”Alexander Dupuis\, That Which Pulls\, digital video\, 2013\, 10 min.” font_container=”tag:h1|text_align:left”][vc_column_text]That Which Pulls applies John Whitney’s principles of differential motion to resynthesize sound and image data into new audio visual material. The resulting sounds and video are cut up\, layered\, and recombined to create a piece that explores the dynamic interplay between the emergent auditory and visual gestures\, focusing on the counterpoint between their patterns of chaos and resolution.[/vc_column_text][vc_custom_heading text=”Derek Taylor\, Someone to Ride the River With\, digital video\, 2008\, 5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]A map of recollection\, the film consists of 286 35mm Kodachrome stills of varying landscapes\, which mine the depths of memory. The film also pays homage to a patient photographer\, whose lyrical impressions of the world evoke a feeling of genuine perception.[/vc_column_text][vc_custom_heading text=”Asha Tamirisa\, OX\, digital video\, 2014\, 7 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Sonic and visual pulse.[/vc_column_text][vc_custom_heading text=”Adrian Randall\, The Bourgeois Agony of Travel\, digital video\, 2014\, 12 min.” font_container=”tag:h1|text_align:left”][vc_column_text]The Bourgeois Agony of Travel is an experimental travelogue which reflects on the images\, spaces\, screens\, and pixels of travel. Recorded over four years\, the film explores how we relate to screens as both the virtual reality of cosmopolitanism\, and as a form of deep\, personal connection.[/vc_column_text][vc_custom_heading text=”Dave Fischer\, Aura Display\, digital video\, 2014\, 5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Aura Display is a short bit of abstract dancing geometry\, in tribute to the device in the film Akira that shows people’s psychic powers. It was written in 100% hand-coded Postscript.[/vc_column_text][vc_custom_heading text=”Freddie Wiss\, Black or White\, digital video\, 2007\, 3 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Black or White is a film that explores the ambiguity of identity and perception with psychological vignettes that are fluid\, tense and enigmatic… culminating in a bit of anxiety and despair.[/vc_column_text][vc_custom_heading text=”Arvid Tomayko-Peters\, Spontaneous Pigeon Vortex\, digital video\, 2014\, 7.5 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Spontaneous Pigeon Vortex is an exploration of improvisation with realtime audio and video manipulation using custom software. The music was recorded in four takes of trumpet and drums (sometimes simultaneously) and realtime manipulation those recordings. The video manipulation was recorded in realtime using original footage from Arches National Park\, Colorado National Monument\, Narragansett Bay\, Providence and highways in Colorado\, Utah and Ontario\, with only a few small tweaks in post production.[/vc_column_text][vc_custom_heading text=”Sarah Abu Abdallah\, The Salad Zone\, digital video\, 2013\, 21 min.” font_container=”tag:h1|text_align:left”][vc_column_text]Disarrayed glimpses of multiple narratives such as that of familial domestic tensions\, a juvenile dream of going to Japan\, the tendency to smash TVs in moments of anger and eating fish. While using scenes from the artist’s surroundings and life in Saudi Arabia like streets or malls\, it never attempts to provide the whole picture but takes a rhizomatic approach to tell a story of the everyday life.[/vc_column_text][vc_custom_heading text=”Matthew Underwood\, Arley Marks & Allen Riley\, multi-media performance\, 2014\, 15 min.” font_container=”tag:h1|text_align:left”][vc_column_text]An array of analog electronics\, folk noise gear\, and scientific instruments create harsh and strange sounds. Custom computer software will generate visuals in real-time in response to these sounds.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]Magic Lantern Cinema is an experimental film and video series based in Providence\, RI. Since 2004\, its various members and guest curators have focused on eclectic and thematic programming of film\, video\, and new media art\, while also bringing experimental features\, long-form cinema\, and multimedia performance to the Providence area. Magic Lantern is supported by grants from the Malcolm S. Forbes Center for Culture and Media Studies at Brown University and the Robert Rauschenberg Foundation. It is currently organized by Josh Guilford\, Seth Watter\, Beth Capper\, and Faith Holland.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-17-providence-friends/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150123T193000
DTEND;TZID=America/New_York:20150123T213000
DTSTAMP:20260425T120854
CREATED:20141211T050000Z
LAST-MODIFIED:20190404T204757Z
UID:10001877-1422041400-1422048600@uniondocs.org
SUMMARY:What You Get Is What You See: Down and Out in San Francisco and Antarctica
DESCRIPTION:[vc_row][vc_column][vc_column_text]In this presentation\, David Levine will discuss how a 2004 trip to Berlin’s Volksbuehne led him to conspiracy theories about the transformation of performance into spectatorship\, spectatorship into surveillance\, and surveillance into transcendence. \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series curated by Mathilde Walker-Billaud.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nDavid Levine is an artist living in New York and Berlin. His work incorporates video\, photography\, performance\, and theater\, and has been seen at MoMA\, Mass MOCA\, and KW Institute for Contemporary Art (Berlin).  His work has been featured in Artforum\, Frieze\, and the New York Times\, and his writing has appeared in Parkett\, Mousse\, and Cabinet. He recently directed an opera about the pop group Milli Vanilli. \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-23-down-and-out-in-san-francisco-and-antarctica/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/12/LA.-Print-by-David-Levine-1974.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150131T193000
DTEND;TZID=America/New_York:20150131T213000
DTSTAMP:20260425T120854
CREATED:20150112T050000Z
LAST-MODIFIED:20190502T211158Z
UID:10001881-1422732600-1422739800@uniondocs.org
SUMMARY:Anthromentaries Four
DESCRIPTION:[vc_row][vc_column][vc_column_text]Steve Wetzel will be exhibiting several videos never seen in New York. In fact this group of works has never been seen much outside the Midwest. Each is inspired in its own way by observational documentary\, ethnographic film and video\, and the rich and hugely diverse body of experimental time-based art. In addition Steve will read a few passages from two of his short collections of writings published by the Green Gallery Press (Occasional Performances and Wayward Writings\, 2010\, and [Pause]\, 2014). The forms and subjects addressed in the writings range from essays and lectures on love\, public space and mentorship\, to email correspondences and interviews about teaching and art practice. Both texts will be available for purchase at the screening. \nSteve Wetzel will be joined by filmmaker Pacho Velez for a conversation to follow the screening. \nOn Tuesday\, February 3 at 7pm\, Steve Wetzel will be part of the Flaherty NYC Winter/Spring 2015 program at Anthology Film Archives programmed by Sierra Pettengill & Pacho Velez. Details here.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_custom_heading text=”Men’s Hockey\, Steve Wetzel\, USA\, 2003\, 28 min.”][vc_column_text]Men’s Hockey is a glimpse at a privileged and intimate space where men prepare for competition with each other. The video\, the anthromentary\, is recorded in a direct observational style that reveals the texture\, complexity and everydayness of a single day inside the locker room of a professional hockey team in Rockford\, IL. \nDetroit Film Center\, Detroit\, MI \nWisconsin International Film Festival\, Madison\, WI[/vc_column_text][vc_custom_heading text=”The First Shot is Silent (Kaszube’s Park)\, Steve Wetzel\, 2010\, 14 min.”][vc_column_text]The First Shot is Silent is about the commemoration of a once-thriving migrant fishing village in Milwaukee\, now bulldozed into an industrial corridor. As with all progress\, many experience its opposite: reversal into disappearance. The memorial attempts to preserve the idea and memory of the Kaszubes\, and is a physical marker that conjures the realness of geography and the actual bodies that once animated it. It feels like a weak apology to me. \nPittsburgh Filmmakers\, Pittsburgh\, PA \nThe Nightingale Theater\, Chicago\, IL[/vc_column_text][vc_custom_heading text=”Kid Beat Box: Twenty-two Tapes\, Edit Nine\, Steve Wetzel\, USA\, 2009\, 9 min.”][vc_column_text]In the end all biography is inadequate\, but that doesn’t mean we shouldn’t try. There’s much to learn from these efforts. In saying this I don’t mean to suggest that Kid Beat Box is a biography; I don’t think it is\, or if it is a biography\, then that’s just part of the story\, part of the experience: experiment in biography\, anthromentary\, experimental document\, flimsy structuralist video\, short documentary essay. Whatever the case it’s only nine minutes long\, and we can handle that. \nMilwaukee Museum of Art\, Milwaukee\, WI \nPittsburgh Filmmakers\, Pittsburgh\, PA \nThe Nightingale Theater\, Chicago\, IL \nAnn Arbor Film Festival\, Ann Arbor\, MI[/vc_column_text][vc_custom_heading text=”Of the Iron Range\, Steve Wetzel\, USA\, 2014\, 20 min.”][vc_column_text]Of the Iron Range documents a cultural event in a small Midwestern town (Cuyuna\, Minnesota) that once held the nation’s supply of iron ore. Every year\, people from across the region gather for a dynamic\, convivial social performance where hundreds of wood ticks are gathered and raced. Deeply symbolic and rich in human observation\, Iron Range offers a portrait of one of America’s once-thriving industrial sites. \nThe Great Poor Farm Experiment\, Manawa\, WI[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \nSteve Wetzel is an artist and award-winning video maker from Minnesota\, USA\, and currently teaches in the Film Department at the University of Wisconsin-Milwaukee. Over the past decade Wetzel has produced many works of experimental non-fiction and anthromentary video\, and has shown nationally and internationally. Much of Wetzel’s work focuses on social construction and the everyday inscription of the human symbolic. These themes can also be found in two small volumes of Wetzel’s writings\, Occasional Performances and Wayward Writings (2010)\, and [PAUSE] (2014\, Green Gallery Press)\, described variously by his editor as “an urgent and generous exegesis\,” and “a contemporary mix of aesthetic-\, personal-\, and moral imminence.” \nPacho Velez works at the intersection of ethnography\, contemporary art\, and political documentary. His current project\, The Reagan Years\, explores a prolific actor’s defining role: Leader of the Free World. Told entirely through a largely-unseen trove of archival footage\, the film captures the pageantry\, pathos\, and charisma that followed the 40th President from Hollywood to the nation’s capital. His last film\, Manakamana (co-directed with Stephanie Spray) won a Golden Leopard at the Locarno Film Festival. It played around the world\, including at the Whitney Biennial and the Toronto International Film Festival. \nPacho lives in New York City. He teaches filmmaking at Bard College and MassArt. Along with Sierra Pettengill\, he  is co- programming the Flaherty NYC’s  2015 spring program at Anthology Film Archives.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-01-31-anthromentaries-four/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150207T193000
DTEND;TZID=America/New_York:20150207T210000
DTSTAMP:20260425T120854
CREATED:20141205T050000Z
LAST-MODIFIED:20190228T171205Z
UID:10002488-1423337400-1423342800@uniondocs.org
SUMMARY:That Which Is Possible
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Michael Gitlin’s film That Which Is Possible is a portrait of a community of painters\, sculptors\, musicians and writers making work at the Living Museum\, an art-space on the grounds of a large state-run psychiatric facility in Queens\, New York. Shot over the course of two years and structured across the arc of a day\, the film observes with an intimate lens and unspools like a musical\, both bracing and tender. That Which Is Possible explores the liberatory and reparative functions that creative action has for a group of artists drawn together by shared struggle. \nThe title\, That Which Is Possible\, points to several things at once: the Living Museum as a place where a variety of ways of being are possible\, where one can paint or sculpt or write or play music\, or simply be left alone for a moment outside the temporal and spatial control of the modern psychiatric institution; the way this moment outside of control allows for the possibility of spontaneous interaction\, closedness\, and even joy; the possibility that the Living Museum might serve as a kind of template for a more humane and holistic approach to mental illness; and the utopian possibility that the Living Museum and places like it might serve as transformational fulcrum points for larger social changes. \nMichael Gitlin will be joined by Issa Ibrahim and Jim Supanick for a discussion to follow the screening.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”83 min” color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”65497″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Michael Gitlin’s work has been screened at numerous venues\, including the Museum of Modern Art in New York\, the New York Film Festival\, the Toronto International Film Festival\, the Full Frame Documentary Festival\, the London Film Festival and the Whitney Biennial Exhibition. His 16mm film\, The Birdpeople (61 minutes\, 2004)\, is in the permanent collection of the Museum of Modern Art. Gitlin was the recipient of a Guggenheim Fellowship in 2006. His work has also been supported by the Jerome Foundation\, the New York State Council on the Arts\, and the New York Foundation for the Arts. Gitlin received an M.F.A. from Bard College. He teaches at Hunter College in New York City.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”96928″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jim Supanick is a videomaker and writer born in Cleveland\, Ohio\, and living in Brooklyn. Forthcoming videos include a long-term project titled “Seed Sold Back to the Farmer”\, a two-part animated essay about the assembly line and its legacy of damage\, as well as a re-edited segment of Caspar Stracke’s “Circle’s Short Circuit” (featuring an interview with Avital Ronell). He has received support from NYSCA\, the Puffin Foundation\, and the Experimental Television Center. His essays on film\, video\, and visual culture have appeared in such publications as Film Comment\, Millennium Film Journal\, The Wire\, Cineaste\, and The Brooklyn Rail\, along with exhibition catalogs and with DVD releases. He is the recipient of a Creative Capital/Warhol Foundation Arts Writers Grant and a NYFA Grant for Nonfiction Literature. He is also a member of Synthhumpers\, a quasi-musical collaboration with Josh Solondz. Jim currently teaches at City College of New York.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-02-07-that-which-is-possible/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/04/gitlin_still_for_uniondocs_5.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150227T193000
DTEND;TZID=America/New_York:20150227T230000
DTSTAMP:20260425T120854
CREATED:20150216T050000Z
LAST-MODIFIED:20190314T215939Z
UID:10002511-1425065400-1425078000@uniondocs.org
SUMMARY:All or Nothing: Final Hours Fundraiser Party
DESCRIPTION:Have we succeeded in our fundraising goal\, or will this be our last chance?\nEither way\, let’s have a drink.\n \nWe’re celebrating our final days raising funds for Living Los Sures and all of the backers who have so generously donated thus far.\n$10 at the door with drink specials and dance-y jams by J. Escobedo Sheperd and Sebastian Diaz. \nFree entry for backers who pledged $25 or more on Kickstarter! \nComplimentary cocktails\, 9pm – 11pm (while supplies last). \nCourtesy of El Buho Mezcal. \nAlso\, cheap beer all night.
URL:https://uniondocs.org/event/2015-02-27-party/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/02/3442184353_fbff1379ee_z.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150301T193000
DTEND;TZID=America/New_York:20150301T213000
DTSTAMP:20260425T120854
CREATED:20150212T050000Z
LAST-MODIFIED:20181113T223911Z
UID:10001887-1425238200-1425245400@uniondocs.org
SUMMARY:The Uprising
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white”][vc_column_text]The Uprising shows us the Arab revolutions from the inside. It is a multi-camera\, first-person account of that fragile\, irreplaceable moment when life ceases to be a prison\, and everything becomes possible again.[/vc_column_text][vc_text_separator title=”Program”][vc_column_text] \nThe Uprising\n2013\, Belgium/Great Britain\, 79 mins. \nThis feature-length documentary is composed entirely of videos made by citizens and long-term residents of Tunisia\, Egypt\, Bahrain\, Libya\, Syria and Yemen. The film uses this footage\, not to recount the actual chronology of events or analyze their causes\, but to create an imaginary pan-Arab uprising that exists (for the moment) only on the screen. It has screened at over twenty international film festivals\, including Turin\, Edinburgh\, Bratislava\, and MoMA’s Doc Fortnight \nPeter will be joined by artist Ganzeer for a discussion to follow the screening. \nDirector’s statement: The Uprising is based\, not on a naive belief in the power of spontaneous rebellion to usher in a perfect and just world\, but on the incontrovertible evidence that video works. That it communicates an energy that can break down walls of isolation and fear\, and transform people’s lives. That it can preserve the individual voice without which the largest crowd is worth nothing. And that this call to refuse the humiliation and ridicule that governments heap upon those they govern\, and to try and live instead with honour and with dignity\, can speak directly not only to the people of these six Arab nations\, but to all of us\, everywhere.[/vc_column_text][vc_text_separator title=”79 min.”][vc_column_text]Peter Snowdon was born and brought up in Northumberland\, England.  He moved to Paris in 1992 to teach English and to write.  In a moment of creative misunderstanding\, he gave up poetry for political activism after reading Ivan Illich.  From 1997 to 2000 he lived in Egypt\, where he was a journalist with Al-Ahram Weekly.  On his return to Europe\, he began making agit-prop documentary films in collaboration with grassroots citizens’ groups.  Over time\, his work has evolved beyond the purely political to engage with the experimental and avant-garde traditions\, and to address wider philosophical issues.  His short films are distributed by the Collectif Jeune Cinema (Paris). The Uprising is his first feature-length film\, and was produced as part of a practice-based Phd at the MAD Faculty (University of Hasselt/PXL)\, Belgium.  Peter is currently based in Glasgow\, where teaches filmmaking at the University of the West of Scotland. \nGanzeer is the pseudonym of an Egyptian artist operating mainly between graphic design and contemporary art since 2007. He is not an author\, comicbook artist\, installation artist\, painter\, speaker\, street artist\, or videographer\, though he has assumed these roles in a number of places around the world. His art has been shown in Bahrain\, Belgium\, Brazil\, Canada\, Finland\, Germany\, Jordan\, the Netherlands\, Switzerland\, United Arab Emirates\, and the United States\, as well as in myriad Cairo galleries.  Art in America Magazine has referred to Ganzeer’s work as “New Realism\,” and the Huffington Post ranked him among “25 Street Artists from Around the World who are Shaking Up Public Art\,” but Ganzeer rejects both labels and regards Bidoun magazine’s description of him as a “contingency artist” as probably the most accurate\, while Ganzeer refers to his own practice as Concept Pop. Al-Monitor.com has placed him on a list of “50 People Shaping the Culture of the Middle East” (2013)\, and he is also one of the protagonists in a critically acclaimed documentary “Art War” (2014) by German director Marco Wilms.  Ganzeer is currently based in Brooklyn\, New York. He can be reached by emailing shout(at)ganzeer.com[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-01-the-uprising/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150306T193000
DTEND;TZID=America/New_York:20150306T213000
DTSTAMP:20260425T120854
CREATED:20150207T050000Z
LAST-MODIFIED:20181017T202227Z
UID:10001884-1425670200-1425677400@uniondocs.org
SUMMARY:The Klansmen\, the Journalist\, and the Artist
DESCRIPTION:[vc_row][vc_column][vc_column_text]On the occasion of the exhibition Traces in the Dark presented at the Institute of Contemporary Art\, the University of Pennsylvania\, UnionDocs presents an artist presentation\, screening and conversation with the Toronto-based artist Deanna Bowen. She presents the findings from her meticulous research on Canadian and American Ku Klux Klan activities in performance\, prints\, bookwork\, and collage at ICA in a group exhibition about the things that lie in the margins of recorded history. Through this body of work\, Bowen advances her argument that iconic images of civil rights protest ironically occlude the Klan’s activities\, and\, in response\, she shines light on the invisible perpetrators. At UnionDocs\, she discusses her research and screens her 2012 short film Paul Good at Notasulga\, based on an original audio recording from 1964 of the late civil rights journalist Paul Good’s coverage of a violent incident. Liz Park\, Whitney-Lauder Curatorial Fellow at ICA and the curator of the exhibition\, will moderate a conversation about the burden and privileges of being the keeper of an archive and of being the storyteller with Bowen and the late journalist’s daughter Regan Good. \nTraces in the Dark is on view at ICA through March 22\, with performances by Deanna Bowen presented on select Wednesdays and Sundays. Please check the website for details: icaphila.org. \nThe price of admission to this UnionDocs event includes a complimentary copy of the Traces in the Dark exhibition catalogue\, normally on sale for $12. \n \nConceptualized and produced as an analogue of the exhibition of the same title\, Traces in the Dark is a collection of essays and artist folios that nest inside each other. The artist folios are: Imaginary Archive by Gregory Sholette and Olga Kclosedkina; “Hunting the Nigs” in Philadelphia: or an alternative chronology of events leading up to and one year beyond the Columbia Avenue Uprisings\, August 28-30\, 1964. by Deanna Bowen; and We were the mist\, the smoke curtain\, that hid everything by Harold Mendez. A curatorial essay by Liz Park and a new text by Sholette\, “Heart of Darkness: 1956\, 2015\, 2065\,” contextualize the artist folios. \nPaul Good at Notasulga\, Canada/US\, 2012\, 20 mins. \n \n– Paul Good in Nashville\, interviewing John Lewis and Lester McKinnie (Photo: Archie E. Allen) \n \n– Monson Motor Lodge\, St. Augustine\, FL\, 1964. \nInstallation photos by Aaron Igler/Greenhouse Media[/vc_column_text][vc_separator color=”white”][vc_column_text] \nDeanna Bowen is a descendant of the Alabama- and Kentucky-born Black Prairie pioneers of Amber Valley and Campsie\, Alberta.  Winner of the 2014 William H. Johnson Prize\, she is an interdisciplinary artist whose work has been exhibited internationally in numerous film festivals and museums\, including the Images Festival\, Toronto; the Kassel Documentary Film and Video Festival; Oberhausen Film Festival; Nasher Museum of Art at Duke University\, Durham\, North Carolina; and the Canadian Museum of Immigration at Pier 21\, Halifax.  Bowen teaches video art and ethnographic documentary production in the Department of Arts\, Culture and Media at the University of Toronto Scarborough. \nLiz Park is a curator and writer from Vancouver\, Canada\, currently based in Philadelphia as Whitney-Lauder Curatorial Fellow at the Institute of Contemporary Art. After receiving an MA in Art History/Curatorial Studies at the University of British Columbia\, she held various curatorial positions including Curator-in-Residence at Western Front\, Co-Director/Curator of Access Gallery\, and Public Programmer at the Vancouver Art Gallery. She curated a number of exhibitions internationally including at the Glenbow Museum in Calgary\, the Kitchen in New York\, and Seoul Art Space_Geumcheon in Seoul\, and her writing has been published by Afterall Online\, Performa Magazine\, Fillip\, Yishu: A Journal of Contemporary Chinese Art\, Pluto Press\, and Ryerson University Press\, among other places. The topics of her curatorial research and writing include the politics of visibility\, the representation of violence\, artist-run institutions\, and non-Western art in the global context of contemporary art. In 2011–2012\, Park was Helena Rubinstein Fellow in the Curatorial Program at the Whitney Independent Study Program. \nRegan Good is a poet and writer living in Brooklyn.  She currently teaches creative writing at the Fashion Institute.  She is writing a memoir (tentatively called The Good Family) about growing up in Westport\, CT in the sixties and seventies when the town had a soul and money didn’t matter as much.  Her father’s work during the Civil Rights Movement is at the heart of the memoir.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-06-the-klansmen-the-journalist-and-the-artist/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/11/unnamed-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150314T193000
DTEND;TZID=America/New_York:20150314T213000
DTSTAMP:20260425T120854
CREATED:20150216T050000Z
LAST-MODIFIED:20181107T220831Z
UID:10001891-1426361400-1426368600@uniondocs.org
SUMMARY:Field Niggas and Antonyms of Beauty
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_empty_space][vc_column_text] \nField Niggas\n2014 USA\, HD\, 60min \n“Set entirely at night\, Field Niggas takes us to the corner of 125th Street and Lexington Avenue in Harlem and introduces us to its faces. Not just avoiding but repudiating condescension\, Khalik Allah’s camera\, a longtime\, welcome presence in the neighborhood\, spotlights his subjects in stunningly composed\, dignified portraits that are hypnotically woven with street images. The non-synch audio track consists of conversations with and among those faces: dreams\, regrets\, arguments\, affection\, observations\, opinions. Field Niggas is a mesmerizing viewing experience\, that finds its rhythm using field hollers. The title draws from Malcolm X’s “Message to the Grass Roots” speech\, in which he targets the power balance that creates a dangerous wedge between the “house slaves” and the “field slaves.” Khalik Allah’s singular\, trenchant film serves as an ardent call to rise above social constructs.” As told by Chris Boeckmann of True/False Films. \nAntonyms of Beauty\n2013\, USA\, 8/35 mm\, 27min  \nPointing to my head : You got no idea how deep this goes\, and coherent all the way through. I read thousands of books that had me vacillating between insanity and sanity. Now I walk the precipice of death until there’s nothing left. \n“I’ve been staring into the sun since I was a child. Some people told me not to do that. I did it anyway. I made Antonyms of Beauty for the same reason. I have to stare at what nobody wants to look at.” From Fotogragia Magazine. \nArtist Statement: \nI don’t see other photographers where I shoot\, only surveillance cameras. When asked if fear was the main theme of my work I said it’s not fear\, but the removal of fear leading to the awareness of Love that interest me. We don’t react to anything directly in the world\, only to our interpretation of things. And our interpretations are mostly wrong. Photography is a therapeutic tool I use to confront my own perception\, and challenge my ego. It strengthens my spirit when I see passed appearances and approach people who I would’ve otherwise avoided.[/vc_column_text][vc_empty_space][vc_text_separator title=”87 min” color=”white” border_width=”2″][vc_empty_space][vc_column_text]Khalik Allah\, b. 1985\, is a self taught filmmaker and photographer. His work has been described as visceral\, hauntingly beautiful\, penetrative and profoundly personal. In August of 2010 Khalik asked his father to loan him a camera to take some casual photographs of his emcee friend\, The Genius of The Wu- Tang Clan. But when Khalik was given a fully manual\, analogue film camera\, his casual interest quickly became serious. Up until that point he was focused mainly on film-making. Photography became and extension of that film-making\, allowing Khalik to create more quickly by telling stories in a single frame. Photography and film-making are two overlapping circles that form a venn diagram in Khalik Allah’s mind; the area where they overlap is the space he inhabits as an artist. \n Omar Mullick is a film director and cinematographer known for his work on the 2013 feature film THESE BIRDS WALK. In 2012\, Filmmaker Magazine named Omar one of the 25 New Faces of Independent Film. Premiering at SXSW in 2013 and distributed theatrically by Oscilloscope Laboratories\, THESE BIRDS WALK went on to be named as one of the best films of the year by the New Yorker Magazine\, Indiewire\, and Sight + Sound Magazine. It currently ranks as one of the best ever rated documentaries on Rotten Tomatoes. \nTrained as a photographer\, Omar’s work was published in The New York Times\, Foreign Policy Magazine\, National Geographic and TIME\, receiving awards from the Doris Duke Foundation\, the Western Knight Center for Journalism\, Annenberg and Kodak. In 2009 he was granted a solo show of his photographs titled ‘Can’t Take It With You’ at the Gallery FCB in Chelsea\, New York. His current work as a cinematographer and director includes as clients HBO\, CNN\, PBS\, Discovery\, Al Jazeera America and The Gates Foundation.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-14-field-niggas-and-antonyms-of-beauty/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150321T193000
DTEND;TZID=America/New_York:20150321T213000
DTSTAMP:20260425T120854
CREATED:20150216T050000Z
LAST-MODIFIED:20190314T211549Z
UID:10001888-1426966200-1426973400@uniondocs.org
SUMMARY:A Cocktail of Mistakes\, or a Mistake of Cocktails: The (Notorious) Legend of Robert Beck Memorial Cinema in 2 or 3 Easy Lessons
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nEvery Tuesday night for more than a hex of years\, the RBMC illuminated the snowy-white screen of the Collective Unconscious on Manhattan’s Lower East Side. Initiated by Brian Frye & immediately joined by Bradley Eros\, both shared the core curating frenzy of this no-budget operation\, managing to produce over 300 programs and exhibiting more than a thousand artists. When Frye left\, it relocated & regrouped\, mutating into Roberta Beck Mercurial Cinema at Participant Inc’s gallery just around the corner\, for a year\, with a team of at least six\, but primarily & irrepressibly Eros & Joel Schlemowitz. It later became a restless\, nomadic cinema\, mushrooming & mutating in myriad incarnations\, most notoriously at Issue Project Room on the Gowanus Canal in Brooklyn\, both indoors and out.  Lastly\, it explored more artworld and musical contexts\, transforming the field of experimental film\, as both quixotic and quicksilver.\n\n\n\n\n\n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”90 min”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n \n  \nThe Legend of Robert Beck / Sanitarium Cinema\, Brian Frye & Bradley Eros / Bradley Eros & Maria Losier\, 1999\, DVD\, 3 min/7 min. \nThe history told & enacted. \nRobert Beck is Alive & Well & Living in NYC\, Brian Frye with Stuart Sherman\, 2000\, 16mm\, 4 min. \nThe myth performed. \n \nburn (or\, The 2nd Law of Thermodynamics)\, Bradley Eros\, 2004\, DVD\, 5 min. \nAn accident of modulated destruction; an offshoot of the original “Mistakes” show. \nPunch n’ Judy Santa (double projection)\, found films – Eros/Frye intervention\, 2000\, 16mm\, 10 min. \nAn RBMC fave. \n \nX times X\, Bradley Eros\, 1998\, R-8mm/16mm\, 4 min. \nThe X-Rated x-ray film\, a subterranean science experiment. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \nBradley Eros: An artist working in myriad media: experimental film & video\, collage\, photography\, performance\, sound\, text\, contracted and expanded cinema and installation. Also a maverick curator\, composer\, designer & investigator.  Concepts include: ephemeral cinema\, mediamystics\, subterranean science\, erotic psyche\, cinema povera\, poetic accidents\, and musique plastique. Work has been exhibited at Whitney Biennial & The American Century MoMA\, Performa09\, The New York\, London\, and Rotterdam Film Festivals\, The Kitchen\, and Microscope Gallery.  Worked for many years with the New York Filmmakers’ Cooperative\, Anthology Film Archives & co-directed the Robert Beck Memorial/Roberta Beck Mercurial Cinema. \n  \nBrian L. Frye is a filmmaker\, writer and law professor. His films explore relationships between history\, society\, and cinema through archival and amateur images. His films have appeared in places like The Whitney Biennial\, New York Film Festival’s “Views from the Avant-Garde”\, New York Underground Film Festival\, San Francisco Museum of Modern Art\, The Warhol Museum\, Pleasure Dome\, Media City and Images Festival. His short films are in the permanent collection of the Whitney Museum and distributed by the Filmmaker’s Coop. He’s been awarded grants from the Jerome Foundation and ETC. His writing on film and art has appeared in October\, The New Republic\, Film Comment\, Cineaste\, Millennium Film Journal and the Village Voice. He is currently a visiting assistant professor at Hofstra Law School and is developing a beer-brewing hobby. \n  \nJon Dieringer is a programmer\, writer\, filmmaker\, and media conservator. As the editor and publisher of Screen Slate\, Dieringer provides a daily resource for listings and commentary on New York City moving image culture. He is also one of the principle programmers\, administrators\, and trailer editors at Brooklyn’s Spectacle and has additionally organized screenings at 92YTribeca\, Anthology Film Archives\, The International House\, The Museum of Arts and Design\, and UnionDocs. His collaborative videos\, often brain-burning takes on the shape and construction of meaning through popular reappropriation\, have screened at Anthology\, Flux Factory\, MAD\, MoMA PS1\, The Nightingale (Chicago)\, and Spectacle. Dieringer has also written for TIME.com\, TIME Magazine’s LightBox\, and INCITE Journal of Experimental Media. Professionally\, he is the Technical Director at Electronic Arts Intermix—following in the lineage of unintended RMBC namesake\, video artist Robert Beck.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-21-a-cocktail-of-mistakes-or-a-mistake-of-cocktails-the-notorious-legend-of-robert-beck-memorial-cinema-in-2-or-3-easy-lessons/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/04/unnamed-1.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150322T193000
DTEND;TZID=America/New_York:20150322T213000
DTSTAMP:20260425T120854
CREATED:20150218T050000Z
LAST-MODIFIED:20181127T221805Z
UID:10002516-1427052600-1427059800@uniondocs.org
SUMMARY:Terrible Resonance: A Live Podcast about Subversive Sound\, Earthquakes\, Ghosts\, Outer Space\, Sonic Weaponry\, and Whales
DESCRIPTION:[vc_row][vc_column][vc_column_text]There is a murky and uncertain world of sound below the bassiest bass we can hear.  Despite the physical limitations of our ears\, these rumbles\, called “infrasounds” affect us\, in wildly different ways–sometimes beautiful\, sometimes terrifying. \nTerrible Resonance is a journey from 0-20hz\, telling stories from the well-studied rumbles of Earth’s crust\, songs of whales and elephants\, and resonant points in the human body to the areas of the unknown that lead to wild speculation: hauntings\, the “brown” note\, spontaneous orgasm and not-so-secret weapons programs from the Pentagon. \nThe show runs roughly 90 minutes and includes a live infrasound demonstration from Brooklyn-based musician Joe Morgan.  Earplugs will be provided.  Children and service animals should use extra precaution during this portion of the show. \n[/vc_column_text][vc_text_separator title=”90 min”][vc_column_text]Jeff Emtman is a Seattle-based artist. He is the creator of Here Be Monsters\, a philosophy/science/storytelling podcast about fear and the unknown.  He also manages The Dream Tapes Project\, which mails tape recorders around the world to capture semi-consious stories from drowsy people. \n\n\n\n\n \n\nJoe Morgan is a Brooklyn-based sound designer\, video artist\, and electronic music composer. He has created original music videos for artists such as Kyle Bobby Dunn and Iyez and is one half the ambient music duo Phantom Fauna.\n\n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-22-terrible-resonance-a-live-podcast-about-subversive-sound-earthquakes-ghosts-outer-space-sonic-weaponry-and-whales/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/06/unnamed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150322T193000
DTEND;TZID=America/New_York:20150322T230000
DTSTAMP:20260425T120854
CREATED:20150305T050000Z
LAST-MODIFIED:20190314T203335Z
UID:10001894-1427052600-1427065200@uniondocs.org
SUMMARY:Terrible Resonance: A Live Podcast about Subversive Sound\, Earthquakes\, Ghosts\, Outer Space\, Sonic Weaponry\, and Whales (Late Show)
DESCRIPTION:[vc_row][vc_column][vc_column_text]Terrible Resonance is a journey from 0-20hz\, telling stories from the well-studied rumbles of Earth’s crust\, songs of whales and elephants\, and resonant points in the human body to the areas of the unknown that lead to wild speculation: hauntings\, the “brown” note\, spontaneous orgasm and not-so-secret weapons programs from the Pentagon. \nThe show includes a live infrasound demonstration from Brooklyn-based musician Joe Morgan.  Earplugs will be provided. \n[/vc_column_text][vc_text_separator title=”90 min”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Jeff Emtman is a Seattle-based artist. He is the creator of Here Be Monsters\, a philosophy/science/storytelling podcast about fear and the unknown.  He also manages The Dream Tapes Project\, which mails tape recorders around the world to capture semi-consious stories from drowsy people. \n  \n\n \n\nJoe Morgan is a Brooklyn-based sound designer\, video artist\, and electronic music composer. He has created original music videos for artists such as Kyle Bobby Dunn and Iyez and is one half the ambient music duo Phantom Fauna. \n\n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-22-930-terrible-resonance-live-podcast-subversive-sound-earthquakes-ghosts-outer-space-sonic-weaponry-whales-late-show/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150410T193000
DTEND;TZID=America/New_York:20150410T213000
DTSTAMP:20260425T120854
CREATED:20150226T050000Z
LAST-MODIFIED:20180515T213231Z
UID:10001893-1428694200-1428701400@uniondocs.org
SUMMARY:The Story of Telling
DESCRIPTION:[vc_row][vc_column][vc_column_text]Tirtza Even’s presentation\, “The Story of Telling\,” will review her efforts to communicate social and political realities in visual media. Even’s linear and interactive video work have consistently been engaged with representing the encounter with a variety of groups and individuals\, typically ones whose lives embody complex or decentralized social/political settings (in Palestine\, Turkey\, the U.S and Germany\, among other locations).  At the same time (and perhaps especially) the work could also be described as an exploration of the inevitable\, yet nuanced\, failure of this very act of representation. \nEven’s most recent projects include Land Mine (A feature length documentary\, 2014\, work-in progress); Natural Life (a feature length documentary on incarcerated youth\, 2014)\, and Once a Wall\, or Ripple Remains (a multi-channel video / 3-D animation reflecting on personal encounters in Palestine\, 2009. \nLand Mine (Tirtza Even\, Palestine/Israel\, 2014\, feature length work-in progress) — segment \nNatural Life (Tirtza Even\, USA\, 2014\, 77 minutes) — segment \nOnce a Wall\, or Ripple Remains (Tirtza Even\, Palestine/Israel\, 2009\, 59 minutes/ multi channel installation) — segment \nVideo artist Tirtza Even takes a documentary approach to sociopolitical issues and uses interactive installations to communicate her ideas; her latest work\, designed as a dual projection for museum exhibition\, employs split-screen imagery to look at the crimes of six adult prisoners\, each sentenced as youths to life without parole\, or “natural life.” The paradox that someone might lead a natural life behind bars is central to the film; the director couples interviews with archival footage and staged scenarios to create a sense of confusion and injustice; she never pardons her subjects’ actions\, but she convincingly condemns the more archaic aspects of our penal and judiciary systems as they process lower-class minority teens. Unlike other recent documentaries on prison issues\, this has a riveting performance element that transcends stodgy journalism. \n-Drew Hunt\, The Chicago Reader \nA practicing documentary maker and video artist for over fifteen years\, Tirtza Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine\, Turkey\, Spain\, the U.S. and Germany\, among others).  Even’s work has appeared at the Museum of Modern Art\, NY\, at the Whitney Biennial\, the Johannesburg Biennial\, as well as in many other galleries\, museums and festivals in the United States\, Israel and Europe\, including Rotterdam Film Festival\, San Francisco Film Festival and The New York Video Festival\, Lincoln Center. It has won numerous grants and awards\, including Fledgling Fund; Artadia Awards\, Chicago (winner of top award); Golden Gate Awards Certificate of Merit\, San Francisco International Film Festival; Best Experimental Film\, Syracuse Film Festival; Media Arts Award\, The Jerome Foundation; First Prize\, L’immagine Leggera Festival\, Italy; Individual Artists Program Awards\, NYSCA\, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY)\, the Jewish Museum (NY)\, the Israel Museum (Jerusalem)\, among others. She has been an invited guest and featured speaker at many conferences and university programs\, including the Whitney Museum Seminar series\, the Digital Flaherty Seminar\, Art Pace annual panel\, ACM Multimedia\, the Performance Studies International conference (PSI)\, the Society for Literature\, Science\, and the Arts conference (SLSA) and others. Even’s work is distributed by Heure Exquise\, France\, Video Data Bank (VDB)\, USA\, and Groupe Intervention Video (GIV)\, Canada. She is an Associate Professor in SAIC’s Film\, Video\, New Media\, and Animation department \n\n\nIva Radivojevic is an award winning filmmaker based in Brooklyn. She spent her early years in Yugoslavia and Cyprus before settling in NYC over a decade ago. Her work explores the theme of identity\, migration and belonging. Iva’s films have screened at various film festivals including SXSW\, IFF Rotterdam\, HotDocs\, The Museum Of Modern Art\, were broadcast on PBS and published by the New York Times Op-Docs. Iva was named one of 25 New Faces of Independent Film of 2013 by Filmmaker Magazine. Her feature length documentary “Evaporating Borders” has won several awards internationally and was recently nominated for an International Documentary Association (IDA) Award as well as a Cinema Eye Honors Spotlight Award and is currently touring the world. Follow what she’s up to at www.ivaasks.com \n\n\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/89713384″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-10-the-story-of-telling/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/unnamed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150417T193000
DTEND;TZID=America/New_York:20150417T213000
DTSTAMP:20260425T120854
CREATED:20150316T040000Z
LAST-MODIFIED:20180515T182026Z
UID:10001898-1429299000-1429306200@uniondocs.org
SUMMARY:What You Get is What You See: Two Turntables\, An Image Macro\, and a Bear Named Mr. Truffles
DESCRIPTION:[vc_row][vc_column][vc_column_text]A spectator of spectators\, Kenyatta Cheese will show how Internet meme and pop culture communities actively defy the traditional narrative of spectator passivity and reveal an experience that is communal\, participatory\, and emotional. \nKenyatta will argue that the audience has always desired participation and that this desire was only rendered passive in order to fit the needs of large scale\, industrialized commerce. He then suggests that we change the discourse around the creative process towards a model of networked participation that embraces varying levels of effort and expertise. \nFollowed by a complimentary cocktail reception. \n \nsponsored by El Buho Mezcal \nKenyatta Cheese is a professional internet enthusiast best known for co-creating the web series and internet meme database Know Your Meme. He built interesting things at Rocketboom\, Unmediated\, the Eyebeam Center for Art and Technology\, Screensaversgroup\, and Manhattan Neighborhood Network. Nowadays he is Creative Director at Everybody at Once\, a consultancy dedicated to audience development for media\, entertainment\, and sports. \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series presented by Mathilde Walker-Billaud.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-17-two-turntables/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150418T193000
DTEND;TZID=America/New_York:20150418T213000
DTSTAMP:20260425T120854
CREATED:20150324T040000Z
LAST-MODIFIED:20180515T175817Z
UID:10002523-1429385400-1429392600@uniondocs.org
SUMMARY:Life: Before\, During and After
DESCRIPTION:[vc_row][vc_column][vc_column_text]Niagara’s Fury\, Benjamin R. Taylor\, 2013\, HD\, 27:00 \nNiagara’s Fury is the study of the transformation that the prying eyes of the tourist inflict upon the world. Something like ethnography or anthropology\, the film moves through the seemingly abandoned city that surrounds one of the world’s natural wonders. We watch it\, listen to it. Monuments to entertainment\, absurd idols and apparatuses sit in the stillness of the day as the waters flow by unabated. The film looks at how we reign the natural world into absurd conceptual frameworks and ponders the reflections of the waters and what they may see in us when gazing back. \nI See a Light\, Aaron Zhegers\, 2011\, 16MM and digital found footage\, 1:30 \nA brief glimpse into the final moments of a lifetime. Created from found 16mm\, video and audio footage. \n11 Parking Lots and One Gradual Sunset\, Aaron Zhegers\, 2014\, 8:28 \nBoth beauty and destruction. Both homage and critique. Sincere insincerity amidst the concrete jungle. \n“Nature here is vile and base… I see fornication and asphyxiation and choking and fighting for survival and growing and just rotting away… it’s a land that God\, if he exists\, has created in anger. It’s the only land where creation is unfinished yet. Taking a close look at what’s around us here\, there is some sort of a harmony…” \nTerroir\, Shannon Harris\, 2012\, 6:45 \nRoughly translated terroir can mean a sense of place and coming from a place. This piece is an image/sound portrait of a personal geography as well as formal investigation of digital media. Captured entirely on a cell phone\, the camera records a landscape in constant motion and disintegration. This fluctuating image is married to a sound-scape that grasps for connection that reaches over distance. It is generated from the messages left by friends and loved ones on my cellphone over the course of several years. The raw material of both image and sound come from the same place\, the cell phone\, which I use to record the environment around me as I move across the Canadian landscape. Rarely does one stay where one is born\, we move\, modern life almost necessitates it. This piece explores notions of communication and distance\, technology and intimacy. \nLacuna\, Shannon Harris\, 2008\, 9:40 \nLacuna: 1. an empty space or a missing part; a gap; an absence. 2. a discontinuity in an anatomical structure. \nDifferent textures of grief and acceptance emerge and the camera eye becomes a lens into the interior. Space is inhabited by memory; memory becomes a gesture that seeks the past. Lacuna is a poetic meditation that navigates a landscape of absence\, memory and transformation though image and sound. \nThe process of shooting and editing this film was an intuitive one that was very attached to the process of working through a loss. In the summer of 2007 my mother died suddenly and unexpectedly from cancer. My connection to her is strong; it is one between mother and daughter and between place and home. This film is an image/sound poem as well as a document of the experience and grief of the loss of my mother. \nFracas\, Eduardo Menz\, 2007\, Digital8\, 4:30 \nThe juxtaposition of children’s school portraits with the anxious voices of an elementary spelling bee reveals a haunting reality of innocence that has vanished.  In this experimental documentary\, Eduardo Menz repurposes found images with great effect to create an emotionally compelling montage that lingers long after the film ends. \nLas Mujeres de Pinochet (Les Femmes de Pinochet / Pinochet’s Women)\, Eduardo Menz\, 2005\, Hi8\, 12:00 \nIn this experimental short\, the viewer is forced to role-play through the repeated employment and alteration of the text\, sound and image until his or her expectations have been truthfully realized. The video examines class structure\, the meaning of beauty and forgotten history through two very different but significant women during Pinochet’s brutal regime of the late 1980’s. \nShannon Lynn Harris is an artist whose film and digital work reflect a creative practice rooted in personal experience. She is interested in the intersection of documentary\, avant-garde film and video practices as well as the potential of expanded notions of documentary. She is currently based in Montreal\, Canada and originates from Vancouver\, British Columbia. \nBenjamin R. Taylor is a filmmaker working in experimental and documentary forms. His work focusses on geography\, architecture\, nature and spirituality.He is the curator of the monthly experimental documentary screening series Visions in Montréal. His works have been presented in festivals and galleries in Canada\, Europe\, Asia and Australia. \nEduardo Menz was born in 1977 in Edmonton\, Alberta\, Canada from Chilean descent and has called Montreal home for the past nine years. Eduardo completed his BFA in film production at Concordia University in 2006. He is a member of the Double Negative Collective who showcase international experimental filmmaker’s works as well as exhibit their own films and videos at numerous festivals locally and worldwide. Eduardo’s film work has always attempted to transgress and interweave the boundaries of what defines fiction\, documentary and experimental film genres. Eduardo has also been the fortunate recipient of several federal and provincial media grants for his writing and film work. His films & videos have won awards at Big Muddy in Illinois\, NextFrame Touring Film Festival in the U.S.\, Les Rendez-Vous du Cinema Quebecois in Montreal\, Hot Docs and Images Festival in Toronto and have been shown at several distinguished festivals worldwide. \n \nAaron Zeghers is a Winnipeg-based artist working in film and video. He often works with analogue mediums (super 8 & 16mm)\, found footage and experimental processes. He is a founder of the closed City Cinema collective and the Winnipeg Underground Film Festival. Zeghers’ films have played in marginalized venues the world around. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-18-life-before-during-and-after/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/03/4428094_orig.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150419T193000
DTEND;TZID=America/New_York:20150419T193000
DTSTAMP:20260425T120854
CREATED:20150326T040000Z
LAST-MODIFIED:20180515T174911Z
UID:10001897-1429471800-1429471800@uniondocs.org
SUMMARY:Bloody Marys with Scott Carrier
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nPeabody Award-winning journalist Scott Carrier has been all over.  His work\, both written and spoken\, has taken him around the globe and back\, each time with a new story of the road.  Recently\, he has taken a step into new territory\, the world of podcasts.  With Home of the Brave\, Scott provides a weekly story “from the archives\, the road\, and the end of the world.”  Join UnionDocs for a discussion\, and a Bloody Mary\, with Scott. \n Scott Carrier is a writer\, photographer\, and radio producer. He was born\, raised and still lives in Salt Lake City\, Utah. His print articles and photos have appeared in Harper’s\, Esquire\, GQ\, Rolling Stone and Mother Jones. His radio stories have been broadcast by NPR All Things Considered\, NPR Day to Day\, APM The Story\, Savvy Traveler\, Hearing Voices from NPR\, and PRI This American Life. \nJonathan Goldstein is a frequent contributor to This American Life. He is author of ‘Lenny Bruce is Dead’ and ‘Ladies and Gentlemen\, The Bible!’. His latest book\, ‘I’ll Seize the Day Tomorrow’\, is available for purchase online. He hosts and produces PRI’s Wiretap\, now in its 11th season.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/120756514″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-19-bloody-marys-with-scott-carrier/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/jonathan-goldstein.jpg
END:VEVENT
END:VCALENDAR