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DTSTART;TZID=America/New_York:20140118T193000
DTEND;TZID=America/New_York:20140118T220000
DTSTAMP:20260430T081730
CREATED:20131206T050000Z
LAST-MODIFIED:20190411T161240Z
UID:10001814-1390073400-1390082400@uniondocs.org
SUMMARY:The Aesthetic of the Fragment
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] \nThese nonfiction films and videos are composed of ambiguously-related parts. These can include excerpted spoken statements and text-as-image passages\, historical documents and contemporary iconography\, enigmatic narration and visual ellipses. Each work constructs sound-image juxtapositions and concatenations of scenes with various points of connection. Their arrangement and design presumes that the spectator will attempt to generate or find possible meanings-despite or even because of their initial\, apparent opacity. \nThe program proposes that these works comprise a “constellation” model of the essay film/video\, whose key elements are a high degree of informational ambiguity and a commitment to an aesthetic of the fragment. In the context of a discussion of essayistic forms\, the term constellation is meant to evoke its usage by Walter Benjamin\, who referred to ideas as constellations and who attempted to describe the dynamic relationship between particulars and concepts. Benjamin is merely a reference point\, however\, since our focus will be on the moving image and its unique modes of address.The films in the program are also unified by a tendency to link depictions of place with reflections on history. \nThreading together historical episodes and scientific descriptions\, Lea Hartlaub’s Bensberg September 2009 is ostensibly about earthquakes and seismographic studies\, but in its recounting of odd and unexpected incidents\, it becomes cumulatively suggestive. An earthquake\, or rather its aftermath\, is also relevant to Anna Marziano’s The Mutability of All Things and the Possibility of Changing Some\, which offers a portrait of L’Aquila\, Italy\, and certain of its inhabitants. Like Marziano’s film\, I Am Micro\, by Shai Heredia and Shumona Goel\, juxtaposes a voice-over interview and the representation of a visually striking locale (contrasting the words of an Indian filmmaker with images from an optics and camera company in Jadavpur\, Kolkata). In Soon-Mi Yoo’s Dangerous Supplement\, a number of its landscape shots are found footage artifacts\, filmed by the American military during the Korean War; in the words of the late Mark Lapore\, “All the images/places are metaphorically flawed or incomplete\, being lost as fast as you can see them.”-Federico Windhausen \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Bensberg September 2009 by Lea Hartlaub” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”11 min.\, 2010″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA detached house on a mountain by Cologne\, a station. The earth’s movement is monitored and recorded. An archive in the basement\, 54 years stored away in this room. A dial gauge ticking through the old tubes. – Academy of Media Arts Cologne \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”The Mutability of All Things and the Possibility of Changing Some by Anna Marziano” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”16 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nThis journey into mutability takes place in Abruzzi\, Italy\, in a territory that was damaged by the earthquake in 2009. By way of fragments of conversations\, archive material and readings in public spaces\, the film explores the becoming of individual and social bodies. How should one accommodate the perpetual new beginning of things and continue participating in the transformation of a community? – Anna Marziano \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”I am Micro by Shai Heredia and Shumona Goel” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”14 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nShot in an abandoned optics factory and centered on the activities of a low budget film crew\, I am Micro is an experimental essay about filmmaking\, the medium of film\, and the spirit of making independent cinema. – Shail Heredial & Shumona Goel \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Home Movies Gaza directed by Basma Alsharif” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”24 min.\, 2013″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nHome Movies Gaza introduces us to the Gaza Strip as a microcosm for the failure of civilization. In an attempt to describe the everyday of a place that struggles for the most basic of human rights\, this video installation claims a perspective from within the domestic spaces of a territory that is complicated\, derelict\, and altogether impossible to separate from its political identity. – Basma Alsharif \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Dangerous Supplement directed by Soon-Mi Yoo” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”14 min.\, 2005″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nDangerous Supplement looks at the cultural and perspective balance between aerial shots and everyday life on the ground\, between blunt intent and incidental evidence and between past and present. – Film Festival Rotterdam \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115939″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nKorean-born Soon-Mi Yoo works with various media and genres\, including photography\, film\, installation and text to explore marginalized histories. Her work has been exhibited at festivals internationally\, including Oberhausen\, Pompidou Center\, New York Film Festival\, Rotterdam International Film Festival\, and Seattle IFF\, and galleries across the country\, including the International Center of Photography and Boston Center for the Arts. Her films include Pink (2011)\, Dangerous Supplement (2005)\, ISAHN (2004)\, ssitkim: talking to the dead (2004)\, faith (1999)\, Do Roo (Circling Back\, 1994). Her photographs of the Comfort Women (victims of sexual slavery in the Japanese “rape camps” during WW II) survivors are published in “Comfort Women Speak: Testimony from Sex Slaves of the Japanese Military ” in 2000.  She is a recipient of the Rockefeller Foundation’s Media Arts Fellowship\, a fellowship from the American Photography Institute\, the Corcoran Alumni Award for Excellence\, and the National Asian American Telecommunications Association Grant. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115940″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nFederico Windhausen is a film scholar whose research areas include Latin American cinema and experimental practices in film\, video and new media. He teaches at the California College of the Arts. His writing can be found in Hitchcock Annual\, October\, Grey Room\, Animation: An Interdisciplinary Journal\, The Moving Image\, MIRAJ: Moving Image Review & Art Journal\, Millennium Film Journal\, and Senses of Cinema. He recently edited an all-interview issue of the San Francisco Cinematheque’s journal Cinematograph\, and he is writing a monograph on Paul Sharits.In May 2014 he will curate the first Oberhausen Seminar\, a project by the International Short Film Festival Oberhausen\, LUX (London)\, and The Robert Flaherty Film Seminar (New York). \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115266″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nMelissa Ragona’s essays and reviews have appeared in October\, Frieze\, Art Papers and in the edited collections Lowering the Boom: Critical Studies in Film Sound\, eds. J. Beck and T. Grajeda (U of Illinois Press\, 2008)\, Women’s Experimental Cinema\, ed. Robin Blaetz (Duke University Press\, 2007)\, and Andy Warhol Live (Prestel\, 2008)\, among others. She is currently completing a book on Andy Warhol’s tape recordings tentatively titled Readymade Sound: Andy Warhol’s Recording Aesthetics\, forthcoming from University of California Press\, Berkeley. She is an Associate Professor of Critical Theory and Art History in the School of Art at Carnegie-Mellon University. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/01-18-2014-federico-windhausen-aesthetic/
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/2013/12/HerediaGoel_IAmMicro-Feature.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140119T193000
DTEND;TZID=America/New_York:20140119T220000
DTSTAMP:20260430T081730
CREATED:20131230T050000Z
LAST-MODIFIED:20190404T203252Z
UID:10001947-1390159800-1390168800@uniondocs.org
SUMMARY:Start Somewhere
DESCRIPTION:[vc_row][vc_column][vc_column_text]A festival of traditional folk music high in the Bulgarian mountains; a rock band sharing a house in Los Angeles; a well-known performer about to release an album and embark on tour – whatever the context\, musician and filmmaker Joe DeNardo’s vibrant body of 16mm work over the course of the last five years has eschewed traditional performance documentary aesthetics\, favoring an experimental\, jaggedly playful approach that combines contemplative distance with rehearsal footage and scripted dramatization. Peculiar intimacy ensues – a filmic correlative to live performance\, documenting lives lived in and through music.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \nJoe DeNardo was born in 1979\, and grew up in various midwestern suburbs. His immersion in punk rock led him to school in Olympia\, Washington\, where his studies branched out from Photography and Electronic Music into Film and Political Economy. He has been a member of the art-punk group GROWING for 12 years and has directed and photographed various music films\, including IMA NEMA\, an expressionistic movement around Bulgarian folk singing. He continues to explore expanded shapes of sound and image in his collages\, films\, and music. \n  \n \nPaul Felten received his BA from the Evergreen State College and his MFA from Columbia University’s Film Division. His writing has appeared in The Brooklyn Rail and in the anthology Lost and Found: Stories From New York (ed. Thomas Beller). A 2011 Sundance Screenwriting Fellow\, he is the writer (with Ian Olds) of the scripts for the short film Bomb and the experimental feature Francophrenia (or: Don’t Kill Me\, I Know Where the Baby Is). \n  \n  \nAt a time when most female singer-songwriters perform as alter egos\, Eleanor Friedberger is simply\, refreshingly herself. And that’s just the way her fans like it. Having spent the last decade fronting the indie-rock institution The Fiery Furnaces (currently on hiatus) with her brother Matthew\, in 2011 she emerged as a formidable solo artist with Last Summer\, a thoughtfully crafted tale of memory and place couched in the organic pop of her ’70s idols. Instantly\, Friedberger established herself as a modern-day heir to the tradition of Donovan\, Todd Rundgren\, Ronnie Lane\, and their ilk: warm\, nuanced\, timeless songs. No gimmicks necessary.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/01-19-2014-joe-denardo/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140125T193000
DTEND;TZID=America/New_York:20140125T220000
DTSTAMP:20260430T081730
CREATED:20140105T050000Z
LAST-MODIFIED:20190418T214208Z
UID:10001951-1390678200-1390687200@uniondocs.org
SUMMARY:Documentary Disruption
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nBYOD Live Taping\nBYOD is hosted & produced by Ondi Timoner\, director of “DIG!\,” “JOIN US” and “WE LIVE IN PUBLIC\,” and has the rare distinction of winning the Grand Jury Prize at Sundance twice. Each week the show explores a different documentary filmmaker or aspect of filmmaking\, with special guests and a live Q&A– diving deep into creative process and the business realities of producing and distributing films.  Ondi shares her insider views\, opinions\, and personal stories\, welcoming audience participation.  BYOD aims to entertain\, inform\, and elevate documentaries in general by bringing attention to films and film makers that deserve exposure. \n \n\n\n\nIn 2007 Heidi Ewing and Rachel Grady were nominated for an Academy Award for best documentary feature for “Jesus Camp\,” a candid look at Pentecostal children in America. The film received a wide theatrical release by Magnolia Pictures and was broadcast in over 40 countries worldwide\, including the A&E Network.Heidi and Rachel recently completed “DETROPIA\,” an arresting exploration of Detroit City and its struggle to transform itself into a new and innovative place. The film won the Editing Award for Documentary at the Sundance Film Festival 2012\, and enjoyed a successful theatrical release and was broadcast on the Independent Lens series on PBS. \nIn 2010 Ewing and Grady premiered “12th & Delaware” in competition at the Sundance Film Festival. The movie\, made for HBO\, takes a quietly intense look at the raging abortion battle in America. The film won the prestigious Peabody Award in 2011. Ewing and Grady were also part of an all-star team of filmmakers adapting the bestselling book “Freakonomics” into a feature-length documentary\, which recently enjoyed a wide theatrical release.Previously\, the directing team was nominated for an Emmy for “The Boys of Baraka\,” a film about preteens struggling to make it in Baltimore city. The film was winner of the NAACP Image Award and was distributed by ThinkFilm and broadcast on the prestigious POV series on PBS. In their previous television work LOKI has taken on a vivid array of subjects that include the inner workings of Scientology\, the criminally insane\, Saudi Arabian teenagers\, the dissident movement in Cuba and the effort to rebuild New Orleans. Ewing and Grady have been featured in Time Magazine as innovators of the documentary craft. Both are members of the Directors Guild of America as well as the Academy of Motion Picture Arts and Sciences. They are based in New York City. \n\n\n\n  \n\nThe only filmmaker to win the Sundance Film Festival’s Grand Jury Prize twice\, Ondi Timoner is one of the most celebrated documentarians working today. Through her web series and short films\, she continues to put forth cutting edge content investigating the craft of documentary filmmaking as well as tech innovators. Timoner will give us an in-depth overview of her work the past two decades under her company Interloper Films by showing excerpts an answering questions. In addition to her more than 6 doc features and dozens of nonfiction shorts\, she will also discuss the decision and challenges of developing her first fiction feature. \nTimoner’s 2004 doc Dig! chronicles feuding bands the Dandy Warhols and the Brian Jonestown Massacre. An exploration on the collision of art and commerce\, this feature film was an instant classic and recently named the top music film of all time by The Guardian. She would follow this up with We Live in Public (2009)\, a riveting portrait of Internet pioneer Josh Harris who made and lost a fortune and explored humans willingness to give up their privacy in the virtual age. Her other features explore topics like women in the American justice system (The Nature of the Beast\, 1994)\, what draws us to cults (Join Us\, 2007) and global warming (Cool It\, 2010). \nShe hosts the ongoing series Bring Your Own Doc (BYOD) for TheLip.tv\, whose archive is a tremendous resource of interviews with filmmakers like Steve James\, Lucy Walker\, Eugene Jarecki\, Kirby Dick\, Lauren Greenfield\, Joshua Oppenheimer and Les Blank to name a few. Her channel A TOTAL DISRUPTION has multiple series about innovators who are using technology to change our lives. Featuring guests like Reddit’s Alexis Ohanian and Jack Dorsey from Twitter\, this project is also being developed into a feature length documentary. Timoner has also collaborated on short films that have succeeded in the festival circuit such as Library of Dust and Recycle. Having made dramatic documentaries with strong narrative arcs\, she is gearing up to shoot her first fiction feature this year about photographer Robert Mapplethorpe. \n \nOndi loves to use her camera as a bridge to bring herself and the audience deep into worlds they may never otherwise enter. In 2000\, Timoner created the original VH-1 series Sound Affects\, about music’s effect at critical moments in people’s lives.  She has directed commercials and web series for McDonalds\, State Farm\, Ford\, The Army\, and others.  She has directed films for CNN Heroes\, and helmed short films for Honda’s Dream the Impossible series\, which premiered at the 2011 Sundance Film Festival.  She directed the closeding film for President Clinton’s birthday/fundraiser concert featuring Steven Spielberg\, Barbra Streisand\, Jay-Z\, and the President himself at the Hollywood Bowl. \n  \n\nThe MFA Social Documentary Film Program at the School of VISUAL ARTS guides & supports emerging artists to explore fully the social documentary film form and\, in so doing\, to find innovative ways to examine and communicate the core experiences and events that define us. \n  \n  \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/01-25-2014-ondi-timoner/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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GEO:40.7099952;-73.9507576
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140126T193000
DTEND;TZID=America/New_York:20140126T220000
DTSTAMP:20260430T081730
CREATED:20131218T050000Z
LAST-MODIFIED:20190404T210421Z
UID:10001942-1390764600-1390773600@uniondocs.org
SUMMARY:Adjectives in the Halting Speech
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nselections and fragments of work made in the past ten years that sing to or move \n  past fractured moments\, some fleeting/some more situated amongst or against \n    recordings made – recordings found – phrases in books – family – portraits \n                  borders on a map – in between spaces  – songs made \n                     for special occasions – ice melting – people soaring \n                        color fields in landscapes – travel documents \n                           things leaving and animals moving\, passing \n                                  through dissonance or a pause \n                                      with occasional tenderness \nPossible ways that a familiar image or sound or movement or moment seems both recognizable and necessary. A season for now with winter frost and body temperature rising against the quiet quiet of snow.  It’s not too hard to buy a plane ticket and stand amongst strangers with comfort\, with the sounds in your chest increasing beats.  Smile and acknowledge a certain kind of privilege\, a kind that conjures thoughts of others who move through this or that space. Move through the space.  And point it back to your own home\, – I think it is my home or at least it sounds that way when described to others who don’t live there. The animals move and the flowers return in a season that follows.  The warmer sun can bring lust or longing – still negotiating a difference but will welcome them both – write something down\, the longer days propose to be documented but try to simplify\, especially when the descriptions are jumbled.  Or at least think about heading north and looking back down from this small mountain.  The sky grows from here and I thought of you as I squinted towards the sun. I am sorry for not telling you sooner\, apologize for something\, maybe for waiting all this time. Or a conversation around personal fragments and external reverberations. \n\nThis project is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program\, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.orgwww.eARTS.org).[/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=”If the War Continues by Jonathan Schwartz; 6 minutes | 2012 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]For ascending[/vc_column_text][vc_custom_heading text=”Between Gold by Jonathan Schwartz; 10 minutes | 2011 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]Of a dividing line\, division of light\, gestures and glances\, a body of water\, against two continents\, amongst a time of reflection\, and a moment from Mark Twain’s The Innocents Abroad: “I saw a dog of this kind start to nibble at a flea–a fly attracted his attention\, and he made a snatch at him; the flea called for him once more\, and that forever unsettled him; he looked sadly at his flea-pasture\, then sadly looked at his bald spot. Then he heaved a sigh and dropped his head resignedly upon his paws. He was not equal to the situation.”[/vc_column_text][vc_custom_heading text=”33 1/3 side A by Jonathan Schwartz; 17 minutes | 2005-2010 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]A compilation of films as song or poems or eulogies. “Have you seen a horizon lately?” You can hear the echo in it. Side A: for them ending\, for a winter\, the wedding present\, 90 years\, a logic sore\, new year sun[/vc_column_text][vc_custom_heading text=”Nothing is over Nothing by Jonathan Schwartz; 16 minutes | 2008 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]Jerusalem with this quote written about it: (There) “was a certain stone built into a house – a stone that was so seemed and scarred that it bore a sort of grotesque resemblance of the human face.  The projections that answered for cheeks were worn smooth by the passionate kisses of generations of pilgrims from distant lands. We asked Why?”  -from The Innocents Abroad[/vc_column_text][vc_custom_heading text=”33 1/3 side B by Jonathan Schwartz; 16 minutes | 2006-2010 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]In a year with 13 deaths\, sunbeam hunter\, wash+shave\, copper green\, warm spots.[/vc_column_text][vc_custom_heading text=”Happy Birthday by Jonathan Schwartz; 10 minutes | 2010 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]A single recording\, recorded in a tunnel that one passes through after exiting a boat taking you from one continent to another\, where people are selling bright colored toys and bright white sneakers. for the brief variations in the movement on the periphery[/vc_column_text][vc_custom_heading text=” A Preface to Red by Jonathan Schwartz; 6 minutes |2011 | 16mm” font_container=”tag:h1|text_align:left”][vc_column_text]Set up the picture – it is a celebration\, it might mark the time with movement\, patterns\, bluebird eggs\, little things. Then there is the moon\,  it might mark the time with seasons. There is a song\, here is a gift.[/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]Jonathan Schwartz is an American experimental filmmaker. He is also currently a Film Studies Assistant Professor at Keene State College. \nRebekah Rutkoff is currently the Hannah Davis Seeger Postdoctoral Research Fellow in Hellenic Studies at Princeton University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/01-26-2014-jonathan-schwartz/
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/2013/12/ARTS_NYSCA_Logo.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:20140208T193000
DTEND;TZID=America/New_York:20140208T220000
DTSTAMP:20260430T081730
CREATED:20131217T050000Z
LAST-MODIFIED:20190314T202531Z
UID:10001939-1391887800-1391896800@uniondocs.org
SUMMARY:Reenactment: Hybrid Forms of Documentary
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text] \n“The American Imagination demands the real thing\, and to attain it\, must fabricate the absolute fake.”–Umberto Eco \nThe term\, “reenactment\,” brings up many past and present projects in contemporary art and film: Fresh Acconci (1995) by  Mike Kelley and Paul McCarthy\, Jeremy Deller’s The Battle of Orgreave (2001)\, Allison Smith’s The Muster (2005)\, Seven Easy Pieces (2005) by Marina Abramovic and the work of Omer Fast from Spielberg’s List (2003) to Godville (2005) to The Casting (2007) to 5\,000 Feet is Best (2011) to his most recent\, Everything That Rises Must Converge (2013). Currently\, Stan Douglas’s Luanda-Kinshasa (2014) [at David Zwirner]\, a six-hour video projection that reconstructs both the feel and the groove of recordings that occurred at Columbia Records on 30th street in New York —urges us to remember\, indeed relive the work of Miles Davis\, Charlie Mingus\, Billie Holiday and others who recorded there.  The latter is a kind of synthesized gesamtkunstwerk that seems to effortlessly riff across jazz\, blues\, and improvised rock delivering a kind of mnemonic Rorschach of sixties coolness. Where bell-bottoms\, linen shirts\, tweed belts and bandana-styled fros attempt to resurrect period and style in Douglas’s recent work\, algorithmic aesthetics\, LARP\, and hypnosis are the tools that drive Brady Condon and Peggy Ahwesh’s work in this program. Neither would\, perhaps\, use the term “reenactment” as a way of describing what they are attempting to address in their work. As Johanna Drucker has argued\, “the ‘real’ and the ‘symbolic’ are both so traumatically disjunctive that no act of making strange can make them stranger.” \nAfter  Death Animations (2007)\, Condon has almost exclusively claimed to use performance models that come out of a combination of Nordic models of LARP or Live Action Role Playing Games with 1970s durational\, rule-based performances by Allan Kaprow\, Trisha Brown\, and Yvonne Rainer. But\, it isn’t accidental that Condon\, coming out of an interest in role-playing (he was a Dungeon master throughout his youth)\, animation and gaming would be drawn to performance figures that often integrated film\, like Yvonne Rainer did with the films of Hollis Frampton in Carriage Discreteness (1966)— and or her own parallel practices in performance and film: Volleyball (aka Foot Film\, 1967) or Hand Movie (1968). The apparatus of film\, like the apparatus of performance could deliver new sets of epistemologies about consciousness (indeed\, the hope was that\, like psychedelic drugs\, it could possibly expand consciousness). Moreover\, an aesthetics of emergence informed both worlds—watching and waiting to see how the algorithms of technology\, as well as rule-based social situations would play themselves out. In Condon’s Level5\, we see a wonderfully troubled\, confusing merging of the algorithms of game space—metaphorically situated\, but also fully lived through the rules established by LARPers directing and participating in transactional roles—with the repetitions of and compulsions of psychoanalytic transfers\, constantly threatening to blow closed the supposed rule-based role playing\, or the “designated zones” of gaming or “relating.” \nCondon often designs performances that utilize live action role-playing techniques whereby he creates and populates temporary worlds\, then records on video these unscripted and often disorienting interactions\, documenting them in an ethnographic style. He will create a “mix tape” for the event that will be composed of the works below in varying durations. \nAhwesh’s projects are also more about transmission than theatrical reenactment. Actors in Ahwesh’s films are encouraged to “be themselves” but often under unusual circumstances. Thus\, the results are performances that threaten to interpolate the viewer into uncanny worlds where fiction and documentary collide. The volatility of Klaus Kinski (in Herzog’s My Best Friend\, and Aguirre: Wrath of God) is matched in Ahwesh’s films by the unpredictable behavior of actors like Jennifer Montgomery (Martina’s Playhouse)\, Jackie Smith (The Star Eaters\, The Ape of Nature)\, and Deirdre Lewis (Strange Weather). Ahwesh brings us into the darkest corners of an actor’s psychological wasteland — where they can feel their most capable ambitions turn on them like reflexive heads\, cannibalizing themselves in front of the camera. This is the romantic space\, if there is one in Ahwesh’s work — that hypnotic state where fear and pleasure mingle\, where ambition and failure wrestle\, where the body and its ghost consume each other. It’s a place of memory and of forgetting —where perhaps only a cinematic map of objects will help the actor find his or her way out of their own psychic labyrinth. —Melissa Ragona \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Death Animations by Brody Condon” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”2 min.\, 2007-2008″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nNine dancers outfitted in fantasy armour recreated movements based on computer game death animations in slow motion. The performers were simultaneously blasted with high volume binaural beats reputed to induce out of body experiences. Costumes: Lauren Tafuri; Make-up: Lise Leininger; Camera: Dan Marinico; PA: Michele Yu; Dancers: Alexia Lewis\, Aimee Zannoni\, Nicholas Bruder\, Susan Huckle\, Hugo Armstrong\, Adam Overton\, Steve Irvin\, Sarah Anderson\, Mark Herbst. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Without Sun by Brody Condon” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”28 min.\, 2008″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nNamed after the classic Chris Marker video Sans Soleil\, Condon’s Without Sun is an edited compilation of “found performances” of individuals on a psychedelic substance. Images and sounds from the various clips collected from the internet overlap and combine into one seamless experience\, creating a 15 minute pseudo-narrative focused on the exterior surface of their “projection of self” into visionary worlds. Condon’s global players in Without Sun have recorded themselves looking at the camera this time. Taking up where Marker left off\, these (inner) travelogues question memory\, perception\, and the effects of current participatory media and technology on culture. Condon also “recreated” these experiences live in a gallery space (clips of both videos will be screened). \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Level Five by Brody Condon” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”16 min.\, 2010-2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nLevel Five  was a series of participatory performances focused on critically exploring self actualization seminars from the 1970’s such as Large Group Awareness Training sessions like Erhard Seminars Training. LevelFive was not a actual self-actualization seminar\, nor is it affiliated with any actual Large Group Awareness Training company or group. Players arrived as their characters\, and were expected to emote and experience as their characters\, with minimal interruption\, for the 2- day duration of the game. Only participants were allowed in the performance space itself\, while the footage from 3 cameras recording the event were mixed live and analog streamed for the public to the nearby theater during scheduled hours of the event. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”To Prove Her Zeal by Brody Condon” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”(only excerpts from a longer work\, documenting an installation and collaborative performance workshop)” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“To prove her zeal” was a five-day communal situation with eight players\, located inside a seven-story mill tower and nearby farm in the small town of Wassaic\, New York. Anachronistically imagining themselves inhabiting a setting part late 1800’s unorthodox monastic commune\, part 1980’s new age retreat\, and part extra-terrestrial biosphere\, the characters engaged in daily farm chores and group encounter sessions. As the players developed their characters\, these emotionally intense sessions focused on their interpersonal relationships were led by an elusive artificial intelligence embodied by an abstract sculpture\, which the artist inserted into the performance as non-human character. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Future Gestalt by Brody Condon” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”4 min.\, 2012″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nFuture Gestalt is part sci-fi film\, part participatory performance\, and part experiential essay on the history of psychotherapeutic group encounters. Set in a now antiquated vision of the far future\, five trained performers robed in vivid\, diaphanous costume are led by the artist in a series of closed-ended performative psychotherapy techniques\, such as Gestalt group therapy\, developed most famously by Fritz Perls in the 1940s. Tony Smith’s ‘shape shifting’ sculpture Smoke (1967)\, permanently installed at the Los Angeles County Museum of Art\, acts as the elaborate set\, and carnivorous potted plants as exotic props. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Ape of Nature by Peggy Ahwesh” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”24 min.\, 2010″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nPeggy Ahwesh’s installation project\, The Ape of Nature takes its inspiration from Werner Herzog’s Heart of Glass (1976) — a feature length film set in an 18th century Bavarian town with a glass blowing factory that produces a special line of ruby glass (its production is halted when the master glass blower dies\, carrying the secret recipe of ruby glassmaking with him\, and chaos ensues in the town). Herzog hypnotized almost the entire cast in order to achieve a displaced\, supernatural-like tension throughout the film. Ahwesh\, borrowing the trope of hypnosis\, transforms Herzog’s macabre folktale into a contemporary treatise on the malaise of American post-industrial cultures (disappearing jobs\, loss of handicrafts\, fracturing of communities). She doesn’t deliver this as an ethnographic essay\, but rather as the recalling of a troubled dream — with large pieces of the story missing or unresolved conflicts repeating themselves like an addiction\, or shards of objects flickering on the edge of memory. —Melissa Ragona from Drugged Romanticism: Peggy Ahwesh’s The Ape of Nature (2009)\, catalogue essay from The Metropolis Between Your Ears\, James Gallery\, CUNY Graduate Center\, New York \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Bethlehem by Peggy Ahwesh” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”8 min.\, 2009″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nInterior and exterior spaces are transformed into mystical places in Peggy Ahwesh’s lyrical meditation of an experimental short film\, Bethlehem. While the film is mostly about general states of being\, she does manage to tie in two actual Bethlehems: The most famous one in Jerusalem and the other one in mid-east Pennsylvania\, which is Ahwesh’s home state. Many shots\, particularly of Ahwesh’s human subjects\, are from below or in intense close-up\, granting them an element of grandeur even though they are occupying fairly mundane spaces.  — Mike Everleth\, Underground Film Journal  \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Strange Weather by Peggy Ahwesh” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”50 min.\, 1993″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nMade in collaboration with Margie Stosser\, Strange Weather is a fascinating and unnerving view of drug addiction that fundamentally questions truth and representation. “Documenting” a group of crack addicts (actors) at home in Florida\, Ahwesh’s gritty PixelVision camera work delivers an intimate and unnerving view of addiction and intoxication that troubles the conventional separation between documentary and fiction.  \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”132 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=”68777″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nThe interdisciplinary artist Brody Condon’s recent work is focused on the creation and documentation of performative group encounters. Enamored with collective dysfunction\, it explores live role-playing\, group psychotherapy\, and the obsession with fantasy in contemporary culture. He has recently exhibited at On Stellar Rays\, The Aldrich Contemporary Art Museum\, LACMA\, PS1 MoMA\, and Hammer Museum. His awards include the Creative Capital Grant and the Franklin Furnace Grant. Condon has recently been published in ARTnews\, The New York Times\, Art in America\, Beautiful Decay\, and Modern Painters. He has participated in recent lectures at Carnegie Mellon University\, Art Center College of Design\, Glasgow School of Art\, and the Andy Warhol Foundation. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115265″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPeggy Ahwesh is an artist who works in the fields of experimental film and video. Using a range of approaches\, her work elaborates on the aesthetics of 1960s and ’70s American avant-garde film with an investigation of cultural identity and modes of subjectivity in the present. Her work has been shown widely\, including at the Filmmuseum\, Frankfurt\, the Rotterdam International Film Festival\, Museu d’Art Contemporani Barcelona (MACBA)\, the Wexner Center for the Arts\, Ohio\, the Whitney Museum of American Art\, and the Museum of Modern Art\, New York\, among other venues. She is Professor of Film and Electronic Arts at Bard College. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115266″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nMelissa Ragona’s essays and reviews have appeared in October\, Frieze\, Art Papers and in the edited collections Lowering the Boom: Critical Studies in Film Sound\, eds. J. Beck and T. Grajeda (U of Illinois Press\, 2008)\, Women’s Experimental Cinema\, ed. Robin Blaetz (Duke University Press\, 2007)\, Andy Warhol Live (Prestel\, 2008)\, and The Oxford Handbook of Sound and Image (2013)\,  among others. Her book on Andy Warhol’s tape recordings\, Readymade Sound: Andy Warhol’s Recording Aesthetics is forthcoming from University of California Press\, Berkeley. She is an Associate Professor of Critical Theory and Art History in the School of Art at Carnegie-Mellon University and an adviser for UnionDocs. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/02-08-2014-reenactment-melissa-ragona/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2013/12/Screen-Shot-2019-03-08-at-3.49.32-PM.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140209T193000
DTEND;TZID=America/New_York:20140209T220000
DTSTAMP:20260430T081730
CREATED:20131214T050000Z
LAST-MODIFIED:20190314T203638Z
UID:10001811-1391974200-1391983200@uniondocs.org
SUMMARY:Deluge
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]“A few years ago\,  I had a chance to work on a major\,  building project with a group of architects. One of the things that I got out of that experience was the concept of “place making”. That is what I am doing in my work.  I am making a place for the viewer to go to. Welcome to my world. You enter at your own responsibility.  I am providing the material for provocation.  I am not providing the answers.”-John Knecht \nJohn Knecht began working with moving images in 1973. Since 1984  he has been making both single channel and multiple channel work. The body of my work is divided equally between both formats.  “Fragments From the Wheels of Ezekiel”\, 2011\, is a work for fifteen individual flat screen displays. “Considering the Probability of Divine Intervention” 2013\, is a piece that is made up of five flat screens and five paintings. DELUGE  and Mr. Baxter’s Trip to a Parallel Universe  continue a long series of works that John Knecht has made in both video\, drawings and paintings which are informed by a fascination with imagined spaces that lay outside of the rational\,  gravitationally determined physical world that we occupy as biological and emotional beings.  All of these recent movies are set in the same imaginary place.  Different locations in another universe. Knecht’s moving pictures are drawn\, to begin with\, with pencil on paper. \nHis work has been informed by my Midwestern\, rural\, evangelical up-bringing in the 50’s and by the Chicago Imagist painters of the late sixties\, most specifically the work of the “Hairy Who” painters of that time.  He greatly admires the work of Segundo de Chomon who made “magic” films from 1988 – 1990.  As a young filmmaker Knecht was in the camp of George Landow/Owen Land  and Robert Nelson and William Wiley\, more than in the formal camp of the structuralists. He likes to illustrate and loves the frame by frame control that animation allows.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”DELUGE: Studies in the Super Natural” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”10min.\, 2010″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”Mr. Baxter’s Trip to a Parallel Universe” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”10 min.\, 2012″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”Anima” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”2 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”Fragments From the Wheels of Ezekiel” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”Considering the Probability of Divine Intervention” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”2013″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”90 min” 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=”114694″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]John Knecht has been a practicing film and video artist since 1973. His films\, videos and multiple channel installations have been shown all over the world. Recent exhibitions include “Considering the Probability of Divine Intervention”\, a five channel installation at the Llewellyn Gallery at Alfred State College; “Fragments from the Wheels of Ezekiel”\, a fifteen channel installation at the Everson Museum; now installed in part at the Munson Williams Proctor Arts Institute in Utica\, NY as part of their permanent collection. The “Urban Video Project”\, an undertaking of\, Syracuse University\, Light Works Gallery and the Everson Museum; “Fragments from the Wheels of Ezekiel”; Clifford Gallery\, Colgate University; “First Person Cinema” series\, University of Colorado\, Boulder; “Making Movies”\, Schweinfurth Art Museum; The @ LAB\, Ohio Univeristy; The Tou Scene Contemporary Art Center in Stavanger\, Norway\, the Vienna Film Festival\, Bard College\, the Mix Festival\, NYC. Knecht’s works are included in the collections of the Munson Williams Proctor Arts Institute\, The Queens Museum\, California Institute of the Arts\, and elsewhere.John Knecht holds the Russell Colgate Distinguished Professor of Art and Art History and Film and Media Studies Chair at Colgate University in Hamilton\, New York where has been teaching since 1981. He served as Chairman of the Art and Art History department from 1991- 1999. Knecht has also taught in the Semiotics Department at Brown University as a Visiting Lecturer in 1980; and as an Assistant Professor in the School of Art at the University of Oklahoma from 1974-1978. Knecht served as a member of the Executive Committee at the Collective For Living Cinema in New York from 1980-82. He was a member of the Board of Governors of the National Conference on Undergraduate Research from 1993-1999. Knecht received his undergraduate degree from the University of Wisconsin at Oshkosh in 1972 and a Masters of Fine Arts degree from Idaho State University in 1974. He served with the Ninth Infantry Division in the U.S. Army in Vietnam\, 1967-68.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”114695″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rebecca Cleman is the Director of Distribution of Electronic Arts Intermix (EAI). She has  programmed or curated media for such venues as the New York Underground Film Festival\, the Museum of Art and Design\, Anthology Film Archives\, and Andrea Rosen Gallery. Most recently\, she led a roundtable discussion about “video art” for the ICA in Philadelphia\, and co-organized a screening of films by Tommy Turner for Spectacle Theater\, Brooklyn.[/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/02-09-2014-john-knecht/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2013/12/1-deluge.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140223T193000
DTEND;TZID=America/New_York:20140223T220000
DTSTAMP:20260430T081730
CREATED:20140131T050000Z
LAST-MODIFIED:20190502T183506Z
UID:10001825-1393183800-1393192800@uniondocs.org
SUMMARY:Unheard America
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text] \nThe stories\, which tackle religion\, race\, family\, and environment\, were produced by Jeff Emtman and Emile Klein\, who have embraced the musical concept of the ”mashup.” A children’s choir sings odes to a Virginian nun\, an off-the-grid survivalist speaks over a Miami DJ’s peppy beats\, a Hmong North Carolinian defines the nation within an ambient soundscape. Each story walks the line between the personal and the foreign\, exploring America’s cross-cultural harmony. \nMusical collaborators for UNHEARD AMERICA include the iSing choir/ Karen Linford/ Jungmee Kim (choral)\, the Blind Willies (folk)\, Phantom Fauna (ambient)\, Gabriel Zucker (orchestral)\, Zack Varland-Hopkins (down-tempo)\, Richard Haig (electronic)\, and JJ Beck (classical). \n6 stories \nQ&A w/ Klein\, Emtman\, MC Paul Barman\, and select musical collaborators \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”95 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=”117323″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPhantom Fauna is the Brooklyn based electronic ambient/industrial duo of Joe Morgan and Bryn Nieboer. Joe and Bryn met while attending UNC School of the Arts and began recording together when they moved to Brooklyn in 2010. Their music has been featured in the ‘here be monsters’ podcast\, ‘youarelistening.to’\, and ‘the ripple project’. They are currently working on new releases. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117322″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nGabriel Zucker is a composer\, classical and jazz pianist\, and singer­songwriter from New York. He was a winner of the New York Youth Symphony’s First Music Competition\, and his newly commissioned Universal at Midnight was premiered at Carnegie Hall in November 2012. Zachary Woolfe in the New York Times wrote that the work “suavely combined a symphony orchestra and a jazz band… a nocturne out of early Bernstein or introspective Sinatra.” Zucker’s music has been played by the JACK Quartet\, and was awarded a 2013 ASCAP Morton Gould Young Composer Award. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117321″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nEmile Klein and Jeff Emtman teamed up to produce the series UNHEARD AMERICAN. Emile (right) is the director of You’re U.S.\, a non profit using visual\, literal\, and audio arts to tell America’s ever­changing story. Jeff Emtman (left) is the creator of Here Be Monsters\, a podcast about fear and the unknown. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117324″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nPaul Barman stacks culture upon itself like Jenga\, be it in sound or image\, its unmistakably his hand. Whether laying rhymes alongside  MF DOOM\, Prince Paul\, ?uestlove\, and Del tha Funky Homosapien\, exploring new musical territory with filmmaker Michel Gondry in BEER\, or creating children’s books and marital A udioketubah’s that are as depthy as they are giddy\, Barman’s invites us to think\, trusting that we can keep up with his complex lyrical mappings\, a cornucopia of phonics tricks\, big ideas\, and humor. Meticulously layered in meaning\, its a home-made Heraclitus river\, each piece filled with mnemonics\, fresh for the visit. His ebullient potions respect our intellect while saluting our paradoxical love of ribald potty humor. Twitter’s Joyce? D’accord- @mcpb \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/02-23-2014-unheard-america/
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:20140228T193000
DTEND;TZID=America/New_York:20140228T220000
DTSTAMP:20260430T081730
CREATED:20140211T050000Z
LAST-MODIFIED:20190314T215312Z
UID:10001967-1393615800-1393624800@uniondocs.org
SUMMARY:Interactive Storytelling Through the Racontr Platform
DESCRIPTION:[vc_row][vc_column][vc_column_text]Racontr is the first global solution for all interactive storytellers\, both an extremely powerful interactive editing software and a publishing platform. A place to create\, edit and share your interactive experiences such as i-docs\, mobile apps\, multimedia articles\, interactive videos and all those formats defining the future of storytelling. \nIn this workshop we’ll show attendees the platform and provide a hands-on session geared towards non-programmers. Bring a laptop so you can roll up your sleeves and get your hands dirty.[/vc_column_text][vc_empty_space][vc_text_separator title=”90 minutes”][vc_empty_space][vc_column_text] \nBenjamin Hoguet is the cofounder of Racontr\, a global platform for interactive storytellers\, and of Storycode Paris\, a series of monthly conferences and hackathons dedicated to transmedia and new forms of storytelling. Entrepreneur and writer\, he experiments in the ever-expanding world of interactive and transmedia creation\, helping content producers embrace the narratives of the future. \n  \n  \nA digital veteran of 20 years\, Mike Knowlton has always pushed the boundaries of storytelling and technology. He is a recognized leader in the global Transmedia community and is the co-founder of the immersive storytelling community StoryCode. His work at StoryCode has created a vibrant cross-discipline community of innovative creators. He runs the immersive entertainment studio Murmur.\n[/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/02-28-2014-racontr-workshop/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2014/02/Screen-Shot-2014-02-11-at-5.25.35-PM.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140301T193000
DTEND;TZID=America/New_York:20140301T220000
DTSTAMP:20260430T081730
CREATED:20140206T050000Z
LAST-MODIFIED:20190218T153140Z
UID:10001818-1393702200-1393711200@uniondocs.org
SUMMARY:Black Moon
DESCRIPTION:[vc_row][vc_column][vc_column_text]Japan in early summer / A river in July / The same road / Is the belief of the one who wins in war the correct one? / Kamakura / “There is nothing left in me\,” she said / Flowers / Afternoon / The wind blew stronger then anticipated on top of the hill / Countless fields / No landscape is ever complete\, instead there is light and time\, and darkness / Night / Promises / Autumn \n“Toyoda’s images of everyday life… delicately confront issues of memory and temporality and the liminal spaces between them.” –Mia Ferm\, Cinema Project \nBlack Moon is the most recent work from Hitoshi Toyoda\, who has been working in the medium of slideshows for the past two decades. Personally operating one or more analog slide projectors\, Toyoda’s screenings take the form of a feature-length visual diary. His photographs can only be seen in this live context. \nBlack Moon recounts “days spent in Japan during a certain year\, elapsing from early summer towards the winter”. Toyoda weaves multiple visual threads (with an occasional inter-title) that suggest oblique narratives\, which resist sedimentation and embody a preoccupation with transience. \n“The images which appear on screen could not be grasped even if one were to try. Like everyday disappointments or pleasures\, they wash away and disappear with time.”- Hitoshi Toyoda \nMasafumi Fukagawa\, Curator at the Kawasaki City Museum Tokyo\, describes Toyoda’s work as existing “somewhere between photography and Haiku literature” because of the way these slideshows encompass both the minutiae of daily life and the larger\, unknowable forces that govern that life. \n“Things appear and then disappear for eternity…every moment. That is why I show my work in the medium of the slideshow rather than fixing an image on paper. I am as interested in the moments when an image fades from the screen as when it appears. There are things in our lives that we can see only after they have disappeared. The black between the slides\, which I call ‘darkness\,’ evoke what is absent.  …I am trying to bind three dimensions of time together with delicate thread: the time\, or the period in my life I photographed\, the time passing inside of me while looking back at it\, and the time the audience experiences while watching the images in the venue.” – Hitoshi Toyoda. \nBlack Moon by Hitoshi Toyoda \na photographic slideshow by Hitoshi Toyoda \n2010 – 2011\, 80 min\, 35mm slide film\, Japan[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113940″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Hitoshi Toyoda was born in New York City and grew up in Tokyo. He now lives and works in Yugawara\, Japan after living in New York for twenty-two years. He has presented his work in museums\, galleries\, public spaces and film festivals such as Setagaya Art Museum\, Ann Arbor Film Festival\, Images Festival (Toronto)\, Anthology Film Archives\, Cinema Project (Portland)\, Museum of Contemporary Art Tokyo\, Yokosuka Museum of Art\, Taka Ishii Gallery (Tokyo). Alternatively Toyoda has continued to present his work in Buddhist temples\, Shinto shrines\, churches as well as a Jomon Period Archaeological Site.[/vc_column_text][/vc_column][vc_column][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”107630″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Aily Nash is a curator and writer. She has curated programs and exhibitions for MoMA PS1 (NYC)\, FACT (Liverpool)\, BAM/Brooklyn Academy of Music (NYC)\, Anthology Film Archives (NYC)\, Light Cone’s Scratch Expanded (Paris)\, Northwest Film Center (Portland)\, Image Forum (Tokyo)\, Echo Park Film Center (L.A.)\, Art Cinema OFFoff (Ghent)\, and others. Recent exhibitions include Image Employment for MoMA PS1\, and To Look is to Labor for CCS Bard/Basilica Hudson. Her writing has appeared in the Brooklyn Rail\, Artforum.com\, Film Comment\, Kaleidoscope\, and de Filmkrant. She has lectured at Cornell University\, Universität der Künste Berlin (UdK)\, and NYU. Nash curates films for Basilica Hudson\, is co-editor of a film criticism program at the Berlinale Film Festival\, and currently teaches at Parsons The New School for Design and Bruce High Quality Foundation University in New York. She is based in Hudson and Brooklyn\, New York.[/vc_column_text][/vc_column][vc_column][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113941″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]David Dinnell has been programming for the Ann Arbor Film Festival since 2006\, and has been the AAFF Program Director since 2010. David was the Film Programmer for the University of Wisconsin-Milwaukee Union Theatre for five seasons and was Program Director of the Media City Film Festival (Windsor\, Canada) from 2004-2006. He has curated special film programs for the the Museum of Contemporary Art Detroit\, the Wisconsin Film Festival\, the California Institute of Arts\, the School of the Art Institute of Chicago and the Etiuda & Anima Film Festival in Krakow\, Poland. His own moving image work has been exhibited at various venues including the International Film Festival Rotterdam\, EXiS (S. Korea)\, Jihlava International Documentary Film Festival (Czech)\, Images Festival (Toronto) and Views from the Avant Garde (New York Film Festival).[/vc_column_text][/vc_column][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/03-01-2014-hitoshi-toyoda/
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/2014/02/blackmoon_05.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:20140308T193000
DTEND;TZID=America/New_York:20140308T220000
DTSTAMP:20260430T081730
CREATED:20140127T050000Z
LAST-MODIFIED:20181017T200849Z
UID:10001963-1394307000-1394316000@uniondocs.org
SUMMARY:Public Hearing
DESCRIPTION:[vc_row][vc_column][vc_column_text]A civic transcript buried on the internet is regenerated as a feature film\, word-for-word and entirely in close-up. Public Hearing is the verbatim re-performance of a rural American town meeting from a transcript downloaded as publicly available information. Shot entirely in cinematic close-up on black-and-white 16mm film\, a cast of actors and non-actors read between the lines in an ironic debate over the replacement of an existing Wal-Mart with a super Wal-Mart. \nPublic Hearing by James N. Kienitz Wilkins  \n110 minutes | USA | 2012 | 16mm-to-HD Projection[/vc_column_text][/vc_column][vc_column][vc_separator color=”white”][vc_column_text]James N. Kienitz Wilkins is an artist and filmmaker based in Brooklyn\, NY. Working mostly in film and video\, his projects have screened internationally. He’s received grants and support from Jerome Foundation\, NYSCA\, Lower Manhattan Cultural Council\, Foundation for Contemporary Arts\, Experimental Television Center\, and elsewhere. Residencies include the Volunteer Lawyers for the Arts’ Art & Law Program\, Jihlava Inspiration Forum\, Berlin Talents\, and the MacDowell Colony. He produces and distributes his work through The Automatic Moving Co.\, an artist group and production company based in New York. He is a graduate of the Cooper Union School of Art.\n \n  \n \nTheodore Bouloukos is a New York-based actor and writer whose international performance work encompasses independent cinema\, commercial projects in broadcast\, voice and print\, and character narratives in video\, stage\, painting\, photography and tableaux vivants. In addition to his principal role in Public Hearing\, he recently appeared in Nathan Silver’s Soft in the Head and Kalup Linzy’s Melody Set Me Free. \n  \n  \nEugene Wasserman (Public Hearing\, composer) is a musician and sound engineer based in Brooklyn. He plays with the band\, Dinner\, whose album\, Ray\, will be released later this year.\n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/03-08-2014-public-hearing/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140309T193000
DTEND;TZID=America/New_York:20140309T220000
DTSTAMP:20260430T081730
CREATED:20140204T050000Z
LAST-MODIFIED:20181009T175717Z
UID:10001830-1394393400-1394402400@uniondocs.org
SUMMARY:Joshua Oppenheimer Early Works & The Act of Killing (DIR. CUT)
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nPerhaps one of the most radical nominees for an Academy Award for Best Documentary ever—presented here in its revealing 159-minute director’s cut—The Act of Killing takes an innovative and willfully unnerving approach to the murderous legacy of Indonesia. Government-sanctioned purges meet Hollywood phantasmagoria in the film’s plunge into the genocidal imagination\, as the comfortably middle-aged perpetrators of the original crimes—self-proclaimed “gangsters”—participate in bizarre reenactments. Building on Jean Rouch and General Idi Amin Dada\, Marcel Ophuls and Claude Lanzmann\, and more. This double program also features important Early Works from Oppenheimer which proceeded this stirring doc. \n\n4:15p – EARLY WORKS (run time: 128 min.)\nThe Entire History of the Louisiana Purchase\, Joshua Oppenheimer\, 50 minutes\, USA\, digital projection \nAn imaginative and innovative film essay which combines faux and real documentary with lyrical fiction to paint a monstrous yet beautiful portrait of America at the end of the millennium.  The film is a playful intellectual travelogue through the abandoned remnants of the Wild West\, an ex-frontier turned into a heartland deprived of its promises\, gazing at the stars for signposts to a brighter future.  The film reminds us that the West may share something more than barbed wire with genocide\, and that history can be told through the moving image in startling new ways.  Oppenheimer suggests that we may look to cinema to understand the dark secrets at the heart of the American dream. As in Buñuel’s dogless Andalusian Dog\, there is no textbook history and no Louisiana in The Entire History of the Louisiana Purchase.  Examining hallucinatory stories told by religious and political eccentrics\, he shows how they\, broken existentially and orphaned by a corporation-state and its laissez-faire praxis\, use their closed minds as a last shelter\, as their Andalusian doghouses. \nOppenheimer’s monstrous yet charming ‘history of my country’ is written by a poet\, sweet and dark\, joyous as the wet rats who save themselves from drowning in the film’s last sequence.  And the film never loses sight of the rats’ wealthy cousin\, that most famous mouse from the West Coast. The Entire History of the Louisiana Purchase is a pioneering and innovative work.  It closeds a genre of film as revelatory and intelligent dream\, stimulant of social memory\, and means for re-examining the relationship between fact and fiction\, historical truth and social myth. –Dusan Makavejev \nEarly shorts by Joshua Oppenheimer \nMarket Update 2001\, 1 minute\, digital projection \nA Postcard from Sun City\, Arizona 2003\, 4 minutes\, digital projection \nA Brief History of Paradise as Told by the Cockroaches 2003\, 3 minutes\, digital projection \nThe Globalisation Tapes\, Joshua Oppenheimer\, Indonesia\, 2003\, 70 minutes\, digital projection \nSharman Sinaga’s granddaughter looks bored as her grandfather demonstrates for the camera his favored technique of market liberalisation: holding union activists upside down in flooded fields. He mimics their gargles as they choke in the mud. He could hold down two or three at a time he boasts; he seems faintly nostalgic in the dim light and the smoke; his only regret\, that his arms and knees aren’t what they used to be. The orders to hold people upside-down came from the top\, he tells us\, from Surhato; they came also with support from high on Capitol Hill. \nThe Globalisation Tapes were made in collaboration with those a little further down the pile\, closer to the mud (and the rubber and the oil)\, closer to the memories of the massacre that cleared the way for Indonesia’s ‘modernisation’. Using their own forbidden history as a case study\, the Indonesian filmmakers trace the development of contemporary globalisation from its roots in colonialism to the present. Through chilling first-hand accounts\, hilarious improvised interventions\, collective debate and archival collage\, The Globalisation Tapes exposes the devastating role of militarism and repression in building the ‘global economy’\, and explores the relationships between trade\, third-world debt\, and international institutions like the IMF and the World Trade Organization. The film is a densely lyrical and incisive account of how these institutions shape and enforce the corporate world order (and its ‘systems of chaos’). This movie is a collaboration between the Independent Plantation Workers’ Union of Sumatra (Indonesia)\, the International Union of Food and Agricultural Workers (IUF)\, and Vision Machine Film Project. – The Institute of Contemporary Arts \n\n7:15p – The Act of Killing (Director’s Cut\, run time: 159 min.)\nDirected by Joshua Oppenheimer; co-directed by Christine Cynn and Anonymous; Denmark\, UK\, Norway and Indonesia; language Indonesian (with English subtitles); HD Projection \nIn this chilling and inventive documentary\, executive produced by Errol Morris (The Fog Of War) and Werner Herzog (Grizzly Man)\, the filmmakers examine a country where death squad leaders are celebrated as heroes\, challenging them to reenact their real-life mass-killings in the style of the American movies they love. The hallucinatory result is a cinematic fever dream\, an unsettling journey deep into the imaginations of mass-murderers and the shockingly banal regime of corruption and impunity they inhabit. Shaking audiences at the 2012 Toronto and Telluride Film Festivals and winning an Audience Award at the 2013 Berlin International Film Festival\,The Act of Killing is an unprecedented film that\, according to The Los Angeles Times\, “could well change how you view the documentary form.” The director’s cut is the main festival and theatrical version in Europe\, Asia\, and Australia\, and runs 40 minutes longer than the US theatrical release version. Oppenheimer calls it “the definitive version of The Act of Killing – the film in its most terrifying\, dreamlike\, and intimate form”. \nPrint courtesy of Drafthouse Films. \n\nBorn 1974\, Texas\, USA. Joshua Oppenheimer has worked for over a decade with militias\, death squads and their victims to explore the relationship between political violence and the public imagination. Educated at Harvard and Central St Martins\, London\, his award-winning films include THE LOOK OF SILENCE (forthcoming 2014)\, THE ACT OF KILLING (2012)\, THE GLOBALIZATION TAPES (2003)\, THE ENTIRE HISTORY OF THE LOUISIANA PURCHASE (1998\, Gold Hugo\, Chicago Film Festival\, Telluride Film Festival)\, THESE PLACES WE’VE LEARNED TO CALL HOME (1996\, Gold Spire\, San Francisco Film Festival) and numerous shorts. Based in Cclosedhagen\, Denmark\, Oppenheimer is Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London. \nNicolas Rapold is senior editor at Film Comment magazine and a regular contributor to The New York Times. His writing has also appeared in Sight & Sound\, The L Magazine\, the Village Voice\, and Artforum. He co-programs the Overdue screening series and has also curated work at the Film Society of Lincoln Center and the Museum of the Moving Image. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/03-09-2014-joshua-oppenheimer/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/02/9_TAOK_Behind_the_scenes_Fire_Anonymous2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140322T193000
DTEND;TZID=America/New_York:20140322T220000
DTSTAMP:20260430T081730
CREATED:20140304T050000Z
LAST-MODIFIED:20190314T214555Z
UID:10001829-1395516600-1395525600@uniondocs.org
SUMMARY:My Name is Janez Janša
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]“My Name Is Janez Janša is a fine mixture of documentary\, biography\, essay\, study and travelogue with a lively sense of irony and self-irony (…) It’s a documentary about a silent\, slow\, peaceful\, permanent revolution – is cheerful\, lively and optimistic; hence\, it ends with a happy end.” – Marcel Stefancic jr.\, Mladina \n“A proper name is a word that answers the purpose of showing what thing it is that we are talking about but not of telling anything about it”.  – John Stuart Mill in A System of Logic (1. ii. 5.)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white”][vc_empty_space height=”40px”][vc_column_text]A name. Everybody has one. Individuals\, artists and academics from all over the world share their thoughts about the meaning and purpose of one’s name from both private and public perspectives. The problem of homonymy and other reasons for changing one’s name are explored as the film draws references from history\, popular culture and individual experiences\, leading us to the case of a name change that caused a stir in the small country of Slovenia and beyond. \nIn 2007 three artists joined the conservative Slovenian Democratic Party (SDS) and officially changed their names to that of the leader of that party\, the Prime Minister of Slovenia\, Janez Janša. While they renamed themselves for personal reasons\, the boundaries between their lives and their art began to merge in numerous and unforeseen ways. \nSignified as an artistic gesture\, this particular name change provoked a wide range of interpretations in art circles both in Slovenia and abroad\, as well as among journalists and the general public. \nPreviously screened at  BWPWAP\, Berlin\, Germany\, 2013; Festival Internacional de Cine de Punta del Este\, Montevideo\, Uruguay\, 2013; 14th Media Forum\, Moscow\, Russia\, 2013; Philadelphia Independent Film Festival\, Philadelphia\, USA\, 2013; The Influencers\, CCCB\, Barcelona\, Spain\, 2013; Lo Schermo dell’Arte Film Festival\, Florence\, Italy\, 2013.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”68 min” color=”white”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”69653″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Janez Janša is a conceptual artist\, performer and producer living in Ljubljana\, Slovenia. He is the author of numerous videos\, performances\, installations\, and new media works which have been presented in several exhibitions\, festivals and lectures around the world. He is the director of the film My Name is Janez Janša\, co-founder and director of Aksioma – Institute for Contemporary Art\, Ljubljana and artistic director of the Aksioma | Project Space.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”114198″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Marco Antonini is an active independent curator and writer. Some of his key curatorial projects have been produced by Japan Society\, the Lower Manhattan Cultural Council (LMCC)\, ISE Foundation\, Elizabeth Foundation\, The Italian Cultural Institute in New York\, Bevilacqua LaMasa Foundation\, Venice\, The International Studio and Curatorial Program (ISCP)\, FUTURA Center for Contemporary Art\, Prague\, CCE/G\, Guatemala City. Recent curatorial projects include Welcome to The Real an exhibition curated for {TEMP} art space\, an installation of artist Luigi Presicce’s Mistici e Maghi photo collection at SPRING BREAK and Richard\, a large multi-authored project dedicated to a re-evaluation of readymade art in contemporary practice. Antonini’s articles\, essays and interviews have been published worldwide on magazines\, journals\, catalogs and other exhibition-related publications\, he has edited …Is This Free? a collection of interviews\, published by NURTUREart in 2012 and currently working on a new book dedicated to the return of abstraction in painting.[/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/03-21-2014-my-name-is-janez-jansa/
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/2014/03/MYNAMEISJANEZJANSA_poster_web.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:20140323T193000
DTEND;TZID=America/New_York:20140323T220000
DTSTAMP:20260430T081730
CREATED:20140304T050000Z
LAST-MODIFIED:20181107T184316Z
UID:10001979-1395603000-1395612000@uniondocs.org
SUMMARY:Narrative Medicine
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white”][vc_column_text]What is Narrative Medicine? What are the connections between storytelling and clinical practice? What do the fields of creative writing\, medicine\, oral history and literary studies have to teach one another? \nNarrative Medicine teachers and practitioners Nellie Hermann\, Catherine Rogers\, and Danielle Spencer will discuss Narrative Medicine and what is happening at the nexus of these different disciplines in a panel moderated by Deepu Gowda\, physician and teacher. In addition to the history of the work and its growth\, the panelists will explore these interdisciplinary connections from different angles—the role of creativity in healthcare\, working with different populations of learners\, bringing experiences of illness and embodiment into documentary work\,and how it all may speak to a broader interest in storytelling\, embodiment and empowerment. The panelists will also lead the audience in an approximately half-hour long narrative medicine exercise.[/vc_column_text][vc_empty_space][vc_separator color=”white”][vc_empty_space][vc_column_text] \nDeepu Gowda\, MD\, MPH is a general internist and an Assistant Professor of Medicine at Columbia University’s College of Physicians and Surgeons. He is the Course Director of Foundations of Clinical Medicine\, which teaches Columbia’s students the medical interview\, physical exam\, and clinical reasoning He has been involved with the Program in Narrative Medicine at Columbia since 1999 in an effort to use narrative method to enhance medical education and effect institutional change towards a more humanistic practice. In his role as the chair of the Fundamentals Curriculum Committee at Columbia\, the committee charged with curricular oversight of the pre-clerkship curriculum\, he has worked with educators to better integrate narrative methods into the curriculum. His recent efforts in this field have included spearheading Art Matters\, a visual art education experience at the Frick Collection for the entire first year class\, leading small group discussions in Narrative Medicine workshops with health care professionals from around the world\, and co-developing and co-teaching a narrative medicine based interprofessional education course at Columbia’s health sciences campus. His particular interest within Narrative Medicine is on the use of close reading of texts and visual art to enhance one’s clinical attention and healing presence. His scholarship also includes innovations in teaching the physical exam. He was awarded best pre-clerkship educator by the Columbia medical students in 2011 and received the Ambulatory Medicine Teacher of the Year Award for 2008. In 2011\, he was appointed by Mayor Bloomberg to a 6-year term on the New York City Board of Health. \nNellie Hermann\, Creative Director of the Program in Narrative Medicine at Columbia University\, is a graduate of Brown University and the M.F.A. program at Columbia University. Her first novel\, The Cure for Grief (Scribner: 2008)\, received national acclaim in such publications as Time Magazine\, Elle\, The Washington Post\, The Boston Globe\, and others\, and was chosen as a Target “Breakout” book. Hermann’s short story “Can We Let the Baby Go?” won first prize in Glimmer Train’s 2008 “Family Matters” competition and was published in the Winter\, 2010 issue; another story of hers appeared in Glimmer Train in August\, 2012. Her non-fiction has appeared in an anthology about siblings\, Freud’s Blindspot (Free Press: 2010)\, as well as in Academic Medicine. She has been an invited resident to numerous artist residencies such as The Millay Colony\, The UCross Foundation\, and The Saltonstall Foundation of the Arts. Over the last eight years she has taught fiction and narrative medicine to undergraduates\, medical students\, graduate students\, and clinicians of all sorts\, and has given conference addresses in Iowa\, California\, Seoul\, Korea\, and elsewhere. Her second novel is forthcoming in February\, 2015 with Farrar\, Straus\, and Giroux. \nCatherine Rogers is a playwright and performer who lives and works in New York. Her fiction was recently published in the Gettysburg Review; she is anthologized in Our Changing Journey to the End (Praeger 2013)\, Spontaneous Combustion (Manhattan Theatre Source 2006)\, and Voices Made Flesh: Performing Women’s Autobiography (U Wisconsin 2003). Her solo performance The Sudden Death of Everyone was seen at Dixon Place in New York before touring to Greece. The Austin Texas Public Domain Theatre commissioned her full-length play Einstein’s Daughter later developed at the Cleveland Public Theatre. Rogers can be seen flashing past the camera in episodes of Mercy (NBC-TV) and in the upcoming Amazing Spider-Man 2 (Columbia Pictures 2014). In feature roles\, she appears for Greenpoint Film Factory and documentarian Joe Goldman. She has taught writing at NYU\, Parsons School of Design\, Pratt Institute\, Aristotle University Thessaloniki\, University of Athens\, Theatre for a New Audience\, and others. She has given Narrative Medicine workshops for pre-med students\, literature students\, poets\, Fulbright scholars and artists\, and clinicians. A two-time Fulbright fellow in Greece and James A. Michener Fellow at the University of Texas\, where she earned her M.F.A.\, she is currently an M.S. candidate in Narrative Medicine at Columbia University. \nDanielle Spencer is an Associate Faculty member of the Program in Narrative Medicine at Columbia University\, and Faculty of the Einstein-Cardozo Master of Science in Bioethics program. At Columbia University Medical Center she is the instructor for Narrative Medicine Rounds for Child Psychiatry fellows at New York-Presbyterian Morgan Stanley Children’s Hospital as well as the Summer Medical and Dental Education Program & MedPrep program; she is also on the faculty for the Macy Seminar on Interprofessional Teamwork and Narrative Medicine Intensive Workshops for clinicians\, and serves as co-instructor for courses in the Master of Science in Narrative Medicine program. In the Einstein-Cardozo program she is on the faculty of the Bioethics and Medical Humanities foundations course and teaches specialized seminars in the Master’s program as well\, including a course focused on visuality and the medical gaze. In addition\, Spencer worked as artist/musician David Byrne’s Art Director for many years\, serving as project manager\, editor\, collaborator and graphic designer for a wide array of multimedia projects. She also worked with photographer Nan Goldin and pursued graduate work in literary theory in Paris for several years. She has been published in WIRED magazine and Creative Nonfiction\, and is at work on a book about identity and perceptual/cognitive differences. Spencer holds a B.A. from Yale University and an M.S. in Narrative Medicine from Columbia University\, where she received the 2012 Narrative Medicine Fellowship award.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/03-23-2014-narrative-medicine/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140329T193000
DTEND;TZID=America/New_York:20140329T220000
DTSTAMP:20260430T081730
CREATED:20140303T050000Z
LAST-MODIFIED:20181017T211951Z
UID:10001973-1396121400-1396130400@uniondocs.org
SUMMARY:DISTANT STAR
DESCRIPTION:[vc_row][vc_column][vc_column_text]This event will feature two performances by sound artists Jefre Cantu-Ledesma and Byron Westbrook with new Super 8 and 16mm films by Paul Clipson. \nAs part of the event\, Clipson will introduce and speak about REEL\, a new book of unique film projectionist drawings being released by Oakland-based LAND AND SEA. REEL unofficially surveys over a decade of 35mm screenings at the San Francisco Museum of Modern Art\, where Clipson works as a projectionist\, and is an eccentric cinefile’s collection of technical notes for the ever-more rare art of celluloid filmmaking\, projection and exhibition. Also screening will be a montage of changeover moments\, or “cigarette burns\,” created by Clipson for the book’s artist’s edition. \nFor more information about the book at LAND AND SEA: http://landandseaeditions.virb.com/20-paul-clipson[/vc_column_text][vc_separator border_width=”2″][vc_column_text]Jefre Cantu-Ledesma is a Brooklyn-based musician who has performed in bands and under his own name since 1996. He is a founding member of the groups Tarentel\, The Alps\, Portraits\, and Moholy-Nagy as well as the Root Strata record label. His solo work is often generated from the electric guitar and orbits the gravity of memory\, melancholia\, excess\, and restraint. http://www.shiningskull.org/ \nByron Westbrook is an artist and composer working with the dynamic quality of physical space through site-specific installations and unique listening formats to activate architecture and community. He has presented work at Clocktower Gallery\, ISSUE Project Room\, Eyebeam\, Diapason Gallery\, LMAK Projects\, ExitArt (NYC)\, ICA London\, Human Resources (Los Angeles)\, The LAB (San Francisco)\, VIVO MediaArtCenter (Vancouver)\, O’ (Milan). He has been an artist in residence at Clocktower Gallery\, Wassaic Project\, Diapason Gallery\, Hotel Pupik\, and Institute of Intermedia. He has releases with Sedimental\, Los Discos Enfantasmes\, Three:Four Records. He holds an MFA from the Milton Avery Graduate School of Arts at Bard College and lives and works in Brooklyn NY. http://www.byronwestbrook.com/ \n\n\n\nPaul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on films\, installations and performances. His Super 8 and 16mm films aim to bring to light subconscious visual preoccupations that reveal themselves while working in a stream of consciousness manner\, combining densely layered\, in-camera edited studies of figurative and abstract environments\, in a process that encourages unplanned-for results\, responding to and conversing with the temporal qualities of musical composition and live performance. http://www.withinmirrors.org/[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/03-29-2014-distant-star/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140330T193000
DTEND;TZID=America/New_York:20140330T220000
DTSTAMP:20260430T081730
CREATED:20140304T050000Z
LAST-MODIFIED:20181017T212751Z
UID:10001824-1396207800-1396216800@uniondocs.org
SUMMARY:JOKE ON A JOKE
DESCRIPTION:[vc_row][vc_column][vc_column_text]An evening of video artists\, performance artists\, musicians\, and writers reenacting\, translating\, paying homage to\, improving upon\, and/or pissing all over classic stand-up routines from some of comedy’s most revered live performers. The artists in this program have been given free reign to choose their sources\, and may employ video\, music\, and other crutches to enhance their 4-6 minute long sets. \nHosted by Ben Coonley and featuring the derivative comedy stylings of Eileen Maxson\, Angie Waller\, Alina Simone\, Joel Holmberg\, Sophia Cleary\, Cecilia Dougherty\, Andrew Lampert\, Benjamin Hale\, Brian Droitcour\, David Kalal\, and Jordan Rathus…plus special guests. \nSpecial thanks Adam Khalil.[/vc_column_text][vc_separator border_width=”2″][vc_column_text]BEN COONLEY is an electronic media artist who sometimes uses the word “performance” in his short artist bios. He is best known for his cat videos and collaborations with Dr. Jonathan Zizmor. \nEILEEN MAXSON is an interdisciplinary artist working at the confluence of video\, performance and installation. Her works interrogate the line between imagination and consumer coercion; reconstituting cultural detritus\, material and fleeting\, into counterspells of memory\, merchandise and persona. \nDescribed by Paul McCarthy as “the funniest person in Los Angeles\,” and by Werner Herzog as “a funny bird\,” you might know ANGIE WALLER as the host of Search Engine Friendly Feud. When she’s not performing on stage\, she’s writing auto-generated romance novels and datamining for unknownunknowns.org. \nALINA SIMONE is the author of two books: the essay collection You Must Go and Win and the novel Note to Self\, both published by Faber. Her writing has appeared in the New York Times and Wall Street Journal\, and she is a regular contributor to BBC’s The World. \nOn Thanksgivings JOEL HOLMBERG gave thanks for the gift of fear while repeatedly insisting that fear was a gift. \nSOPHIA CLEARY is a performance artist based in Brooklyn\, NY. She is the founder and coordinator of the works-in-progress series REHEARSAL and is co-editor for Ugly Duckling Presse’s performance annual Emergency INDEX. \nCECILIA DOUGHERTY is a visual artist and writer. She’s interested in studies of daily life\, issues of globalization and regionalism\, and the history of spirituality. Her first book\, The Irreducible I: Space\, Place\, Authenticity\, and Change\, was published in 2013 by Atropos Press. \nSome people say that ANDREW LAMPERT was born funny\, but he’s not laughing about it. He soon starts production on a charming comedy starring his toddler daughter and legendary TV talk show host Joe Franklin. \nBENJAMIN HALE is the author of the novels The Evolution of Bruno Littlemore (Twelve\, 2011) and The Grid\, as well as the story collection The Minus World (both forthcoming from Simon & Schuster).  He currently teaches at Bard College. \nBRIAN DROITCOUR is a critic\, curator\, translator\, and an editor at the New Inquiry. His web site Fifteen Stars was featured in First Look\, the New Museum’s series of online exhibitions\, in October 2013\, and he is editing Klaus_eBooks\, a series of artists’ ebooks published by Klaus von Nichtssagend Gallery. \nDAVID KALAL has recently moved back to his hometown of NYC after a decade living in Sweden. His sense of what’s funny is appropriately dated and slightly melancholy. \nJORDAN RATHUS’ work questions our patterns of dialoguing and our collective contributions to the language of pop culture. She recontextualizes popular moving image formats like narrative film and reality television\, thereby providing room for active viewership and creating new forms of critique within the entertainment engine. \n\nB’klyn Burro. Bite into one of our amazing burritos and you’ll be teleported to 24th and Mission\, San Francisco. Food this good needs to be on both coasts. Well guess what\, IT IS! B’klyn Burro’s also brings tacos\, and quesadillas. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/03-30-2014-joke-on-a-joke/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140406T193000
DTEND;TZID=America/New_York:20140406T220000
DTSTAMP:20260430T081730
CREATED:20140324T040000Z
LAST-MODIFIED:20180508T173933Z
UID:10001833-1396812600-1396821600@uniondocs.org
SUMMARY:Disappearance
DESCRIPTION:[vc_row][vc_column][vc_column_text]For part one\, eteam joins forces with Paul Amitai to merge history\, fiction\, documentation\, and sci-fi through a performative reading of Amitai’s “In Between States” and eteam’s “Buzz Cut”. Independently published\, both books explore the uncanny experience of observing foreign landscapes that are equally mundane and loaded with trace evidence from the past. It’s an exercise in “parallel storytelling” in which each artist’s overlapping images and text allow the audience to weave their own narrative through the counterpoint dialogue between the artists’ presentations. “In Between States” examines the relationship between two adjacent sites – a post-World War II displaced persons camp and a present-day corporate industry park located outside of Frankfurt. In 2012 eteam visited the towns of Mars and Moon Township in Pennsylvania. Their approach in “Buzz Cut” is documentary\, positioning themselves as cultural anthropologists who view the towns as if they were simulated environments on the planet Mars and Earth’s satellite\, the Moon. \nPart two will approach the theme of disappearance through excerpts of eteam’s “Space Delay” a work in progress and a work about con-artists and online identities\, “Track One” their shortest work to date incorporating yellow cabs in Taipei and Prim Limit\, the life of a dumpster in secondlife. Additionally\, ghost ships\, motorcycle chases and airplanes will provide a frame of reference for this section. \nPart three will be a discussion between eteam and Paul Amitai\, with moderator Jim Supanick. \nSince 2001\, eteam (Franziska Lamprecht and Hajoe Moderegger) traffic in transience. At the intersection of relational aesthetics\, the Internet and land art\, eteam coordinates collective happenings and conceptual transactions between the earthly plane and the realms of the interweb\, often reconstructed in digital realities\, hypnotic video work\, radio plays\, or more recently novellas. Their projects have been featured at P.S.1 MoMA NY\, Eyebeam NY\, Transmediale Berlin\, MUMOK Vienna\, Centre Pompidou Paris\, Neues Museum Weimar\, Nelson Atkins Museum of Art in Kansas City and the Museo Nacional Centro de Arte Reina Sofia in Spain. eteam’s videos have been screened at\, The Taiwan International Documentary Festival in Taipei\, the New York Video Festival\, the International Film Festival Rotterdam\, and the Biennale of Moving Images in Geneva.  They have received grants from Art in General\, NYSCA\, Rhizome\, Creative Capital\, and the John Simon Guggenheim Memorial Foundation\, and were residents at Eyebeam\, Harvestworks\, Smack Mellon\, CLUI\, LMCC\, Yaddo and the MacDowell Colony. www.meineigenheim.org \nPaul Amitai is an artist and musician who has exhibited and performed in North America\, Europe\, Australia\, and the Middle East\, and shared the stage with legends such as Run-DMC and The Specials. http://paul-amitai.com \nJim Supanick is an artist and writer whose work has appeared in artspaces and festivals internationally\, including the Cleveland Museum of Art\, PDX Festival\, Apex Art\, video_dumbo\, and the Dia Art Foundation.  His essays on film\, video\, and visual culture can be found in Film Comment\, Millennium Film Journal\, The Wire\, Cineaste\, and The Brooklyn Rail\, exhibition catalogs\, and with DVD releases.  He has the received support from  Creative Capital/Warhol Foundation and NYFA for his criticism\, and from NYSCA\, the Puffin Foundation\, and the Experimental Television Center for his video.  He is a member of Synthhumpers\, a quasi-musical collaboration with Josh Solondz.  Jim teaches at City College\, and is a member of the UnionDocs Advisory Board.  http://supanickblog.blogspot.com[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/04-06-2014-disappearance/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/03/AbelCineUnionDocs.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140412T193000
DTEND;TZID=America/New_York:20140412T220000
DTSTAMP:20260430T081730
CREATED:20140317T040000Z
LAST-MODIFIED:20180515T203026Z
UID:10001823-1397331000-1397340000@uniondocs.org
SUMMARY:SLEEPLESS NIGHTS
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nThrough the stories of Assaad Shaftari\, a former high ranking intelligence officer in a Christian right wing militia\, responsible for many casualties in the protracted civil war in Lebanon and Maryam Saiidi\, the mother of Maher\, a missing young communist fighter who disappeared in 1982\, the film digs in the war wounds and asks if redemption and forgiveness are possible. \n\n\nSleepless Nights a film by Eliane Rehab \nHD | 128 min | 2012 | Lebanon \n\n\n“Eliane Raheb’s debut Sleepless Nights\, an out-of-nowhere knockout that brilliantly combines moral tenacity\, indefatigable reportage\, ingenious interpersonal manipulations\, and cop-to-the-construct formal reflexivity in pursuit of some measure of resolution in post-civil war Lebanon.”  -Eric Hynes\, Cinema Scope \n\n“It’s hard to find a Lebanese documentary that doesn’t touch on the country’s bloody civil war\, yet it’ll be even harder to find one better than “Sleepless Nights.” Helmer Eliane Raheb’s emotionally trenchant pic slices through fuzzy notions of forgiveness and reconciliation\, exposing the concept of clemency without justice as a mask that protects the perpetrators and leaves survivors with festering wounds.” -Jay Weissberg\, Variety \n\n  \nEliane Raheb was born in Lebanon and is the director of 2 short films: The last screening and Meeting\, and of the documentaries : Karib Baiid (So near yet so far)\, Intihar (Suicide) and Hayda Lubnan (“This is Lebanon”) which received the Excellency Award at the Yamagata film festival\, and was broadcasted on ARTE/ZDF/ Al Jadeed and NHK. Layali Bala Noom (Sleepless nights) is her first feature documentary. With Nizar Hassan\, she founded ITAR productions\, and the cross media documentary Arabi Hor (Free Arabs) www.arabihor.com \, a project on the dailies of people within the Arab revolutions\, that produced 160 short documentaries aired online. She is also one of the founders of the cultural cooperative for cinema Beirut DC \, where she was the artistic director of “Ayam Beirut al Cinem’iya” film festival for 6 editions. \nTom McCarthy is the writer and director of THE STATION AGENT\, THE VISITOR\, and WIN WIN. He also shared story credit on Pixar’s UP for which he received an Oscar nomination. McCarthy\, primarily known for his acting before entering the filmmaking scene\, continues his career as an actor and has appeared in such films as FLAGS OF OUR FATHERS\, SYRIANA\, GOOD NIGHT AND GOOD LUCK\, MEET THE PARENTS\, ALL THE KING’S MEN\, and on the final season of HBO’s THE WIRE. McCarthy has just finished filming his latest writing/directing endeavor\, THE COBBLER\, starring Adam Sandler and Dustin Hoffman. He is currently editing the film.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/04-12-2014-sleepless-nights/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140413T193000
DTEND;TZID=America/New_York:20140413T220000
DTSTAMP:20260430T081730
CREATED:20140323T040000Z
LAST-MODIFIED:20180515T190255Z
UID:10001828-1397417400-1397426400@uniondocs.org
SUMMARY:The Untitled Kondabolu Brothers Podcast Live
DESCRIPTION:[vc_row][vc_column][vc_column_text]The Untitled Kondabolu Brothers Project (UKBP) is a live talk show with mostly improvised banter and a carefully prepared powerpoint presentation along with a super secret guest. Past topics have included: Peak Oil theory\, cultural appropriation\, the Illuminati\, Blipsters\, police brutality and Ashok’s vitamin manifesto. Tonight’s show will be recorded as part of The Untitled Kondabolu Brothers Podcast. Their website is http://kondabolubrothers.com/.  \nHari Kondabolu is a standup comedian who has appeared on Conan\, Jimmy Kimmel Live\, John Oliver’s NY Standup Show and has his own half-hour special on Comedy Central. He was also a writer for “Totally Biased with W. Kamau Bell” on the FX Network. His debut album “Waiting for 2042” came out on indie-label Kill Rock Stars earlier this Spring and can be purchased here: http://www.killrockstars.com/waitingfor2042/. His website is harikondabolu.com and you can find him on Twitter at @harikondabolu. \n  \nAshok Kondabolu was the hypeman “Dapwell” of the now-defunct rap-group Das Racist. He is also the creator of the online interview/documentary series “Chillin’ Island” and is a DJ on the East Village Radio show of the same name. He also writes columns and reviews for online magazines Noisey and Talkhouse. His website is dapwell.com and you can find him on Twitter at @dapwell \n  \n \nSocio-political comedian W. Kamau Bell has emerged as the post-modern voice of comedy. Named an Ambassador of Racial Justice by the ACLU\, his weekly half-hour FX comedy series\, Totally Biased with W. Kamau Bell\, premiered in August 2012 and became a critically acclaimed but criminally short nightly show in September of 2013 on FX’s new comedy network FXX. The NY Times called Kamau “the most promising new talent in political comedy in many years.” The show was nominated for “Best Talk Series” at the 2012 NAACP Image Awards and Salon.com listed Kamau on their “Sexiest Men of 2012” list\, calling the series “surreptitiously revolutionary in its effortless diversity and humanism.” The San Francisco Chronicle raved\, “it makes The Daily Show seem like something your dad watches.” Totally Biased was executive produced by Chris Rock\, who became a fan after seeing a performance of Kamau’s one man show.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/04-13-2014-untitled-kondabolu-brothers-podcast/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/03/0313_hariperforming-506c5ba9574b21.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140419T193000
DTEND;TZID=America/New_York:20140419T220000
DTSTAMP:20260430T081730
CREATED:20140325T040000Z
LAST-MODIFIED:20180515T175143Z
UID:10001983-1397935800-1397944800@uniondocs.org
SUMMARY:Penumbra and Letter
DESCRIPTION:[vc_row][vc_column][vc_column_text]Letter a film by Sergei Loznitsa \n2013 | HD / Blu-ray | Color | 20 min \nOver 10 years ago\, Loznitsa shot astounding black-and-white footage at a psychiatric institution in a forgotten corner of Russia. Since then it has resided in his archive. In recent years\, he has made documentaries all on the same subject: ‘Homo Sovieticus’. In Letter he describes this country as a place inhabited by unconscious prisoners. No human voice can be heard and the pain is stifled in this unsullied environment. \nPenumbra a film by Eduardo Villanueva \n2013 | México | HD / Blu-ray | Color | 98 min \nPortrait of a poor and aged couple waiting for death and filling time with the rituals of routine. Picturesque and realistic documentary\, with a leading role for the wild Mexican countryside under the smoke of one of the most active volcanoes on the continent. \nThe border area between the Mexican coastal provinces of Jalisco and Colima is dry\, rocky and wild. The sparse population of this poor and isolated region speaks a dialect difficult to follow for outsiders. Their everyday battle for existence is larded with rituals\, in which spirits and natural faith play an important role. \nThe film follows the old hunter Adelelmo Jimenez on his journeys through the forest\, setting traps for wild animals and searching for medicinal plants. His pious wife Dolores stays at home\, does the washing\, prepares a frugal meal. \n‘Penumbra’ is a term from optics and means half-shadow. Eduardo Villanueva shot his entire film in the hours between daylight and darkness. In this way\, he augments the mood of a state in between\, a social vacuum in which time seems to stand still. This is also a reference to the clair-obscur in paintings by for instance Caravaggio – intemperate\, dramatic light-dark contrasts suggesting depth and volume. \nBesides being painterly\, ‘Penumbra’ is deeply human. Via the lives of an ageing married couple\, the film portrays a world that is disappearing. Adelelmo Suffers from asthma\, which not only affects his lungs but also his mental defences. Dolores mourns for her son\, who was stabbed to death trying to cross the Mexican-American border. She’s waiting for the end. \nDescriptions courtesy of Rotterdam Film Festival. \nEvgeny Gusyatinskiy studied film history and theory at the VGIK (All-Russian State Institute of Cinematography). Aftter his studies\, Gusyatinskiy has been working as a film critic and journalist for a range of Russian media. He is an editor of Film Art (Russian: Iskusstvo Kino)\, the oldest film magazine in Europe. Gusyatinskiy has been visiting IFFR since 2005\, where he was part of the IFFR’s Young Film Critics Project. He has been selecting full-length films for the Kinotavr Film Festival in Sochi since 2006 and compiles programmes for the Pioner Cinema arthouse cinema in Moscow. For IFFR\, Evgeny Gusyatinskiy selects feature films from Russia\, Central and Eastern Europe. \nInge de Leeuw studied Cultural Studies and Film & Television Studies in the Netherlands. She started working at the International Film Festival Rotterdam (IFFR) in 2006 which she combined with working in film production. Inge de Leeuw is selecting films for the IFFR from North America\, Great Britain\, Ireland\, Australia and New Zealand and is in the selection committee of the Tiger Awards Competition. For IFFR she curated several thematic programmes about the relationship between film and popular culture (fashion\, television\, augmented reality). Besides IFFR Inge de Leeuw is also writing about film and related media. \nOriginally from Mexico City\, Lucila Moctezuma has collaborated with New York’s independent film community since 1996. Previous to joining UnionDocs she was manager of the Production Assistance Program at Women Make Movies\, a program that provides support to women filmmakers in the development of their media projects. Formerly\, she was director of the Media Arts Fellowships for the Rockefeller Foundation\, a highly prestigious program that supported media artists in the U.S. and Latin America\, and she founded and was coordinator of the TFI Latin America Media Arts Fund for the Tribeca Film Institute. Lucila sits on the founding executive board of Cine Qua Non Lab\, a residency for international filmmakers based in Michoacán\, Mexico\, is vice-president of the board of trustees of The Flaherty\, and serves on the advisory board for Rooftop Films. She has frequently collaborated with international film festivals including the Morelia Film Festival in Mexico and the Huesca Film Festival in Spain and media organizations\, such as Cinema Tropical. She has served on selection panels for the Jerome Foundation\, the Gucci Tribeca Documentary Fund\, the International Emmy Awards\, the Gucci Ambulante Fellowship (Mexico)\, and Cinergia Foundation (Costa Rica) among others. Her work as associate producer includes the documentary series “The New Americans” for Kartemquin Films\, and “Shocking and Awful” for Deep Dish TV\, which was part of the 2006 Whitney Biennial. She studied Philosophy at Universidad Iberoamericana in Mexico City. \nEduardo Villanueva (1970\, Mexico) is an artist and independent filmmaker. He is a scriptwriter\, director and producer. He studied music and architecture in Guadalajara. His first feature film  Reise Nach Tulum/A Trip to Tulum (2011) took seven years to produce. With the script Tramp (2010) he was granted by the Global Film Initiative Award. Penumbra\, his second film\, was supported by the Hubert Bals Fund. It was a nominee for the Tiger Award 2013 and received the Lions Film Award at Rotterdam IFF. It has been presented in more than 20 film festivals around the world such as Edinburgh\, Durban\, Thessaloniki\, Morelia\, Brightson\, Teplice\, Gijón\, Kerala\, the Museum  Reina Sofia in Madrid. The film received the FIPRESCI Award at the 28th Mar del Piata IFF. \n  \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/04-19-14-letter-and-penumbra/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/03/623213.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140427T193000
DTEND;TZID=America/New_York:20140427T220000
DTSTAMP:20260430T081730
CREATED:20140415T040000Z
LAST-MODIFIED:20180508T180636Z
UID:10001997-1398627000-1398636000@uniondocs.org
SUMMARY:Documentary Planning
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nWhat are the essential business and legal issues to consider as you plan your documentary film? What can you do now to avoid problems later? Do you need an LLC? What is E&O insurance? This session covers issues of legal rights and clearances\, business basics for filmmakers\, budgeting\, structuring agreements for talent and crew\, and more. \nFeatured Presenters: \n  \nTom Davis is a partner at SeeThink Films. He produced their debut film\, DARKON (IFC TV) which is currently optioned for a narrative remake by Plan B / Paramount. He produced New World Order (IFC TV) and was the lead producer of SeeThink’s narrative debut KING KELLY. He is currently in production on a untitled feature documentary with director Luke Meyer. Projects in development include the hybrid documentary HOLY WATER\, to be directed by Josh Nussbaum of MssngPeces\, and FOURTH WALL\, a documentary about a psychotherapy cult\, with Meyer. \n  \nA member of the New York law firm of Shatzkin & Mayer\, P.C.\, Karen Shatzkin has worked on legal issues affecting documentary films for more than 25 years\, primarily on behalf of independent filmmakers and independent production companies. She has vetted films pre-release; negotiated contracts with creative personnel\, distributors\, studios\, and networks; and responded to claims against filmmakers. Her clients run the gamut from well-established\, award-winning documentarians to first-time filmmakers. A graduate of Columbia Law School\, Ms. Shatzkin has an active litigation practice in addition to her transactional work for filmmakers and other creative clients.  She has conducted numerous seminars to documentary filmmakers about fair use and other legal issues affecting documentary production.  More details about Ms. Shatzkin’s background are available at www.shatzkinmayer.com and a number of film projects she has advised are on her IMDb entry. \nSIERRA PETTENGILL is a Brooklyn-based filmmaker. Town Hall\, her directorial debut\, will broadcast on PBS’ America ReFramed on April 1\, 2014. She is the producer of the Oscar-nominated documentary Cutie and the Boxer\, and the archival producer of Matt Wolf’s Teenage (Tribeca ‘13) and Ross Kauffman & Katy Chevigny’s E-Team (Sundance ’14). For PBS\, she was the associate producer of the Emmy-nominated Walt Whitman\, as well as the Peabody Award-winning Triangle Fire. She was also the associate producer of HBO’s Wartorn: 1861 – 2010\, produced by James Gandolfini\, and Nick Bentgen’s Northern Light. \nCUTIE AND THE BOXER \nA reflection on love\, sacrifice\, and the creative spirit\, this candid New York documentary explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife Noriko. As a rowdy\, confrontational young artist in Tokyo\, Ushio seemed destined for fame\, but he is met with little commercial success after he moves to New York City in 1969\, seeking international recognition. When 19-year-old Noriko moved to New York to study art\, she fell in love with Ushio—abandoning her education to become the unruly artist’s wife and assistant. Over the course of their marriage\, their roles shifted. Now 80\, Ushio still struggles to establish his artistic legacy\, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie\,” depicting her challenging past with Ushio. Spanning four decades\, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice\, disappointment and aging\, against a background of lives dedicated to art. \n  \nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \n\nHosted by the Cutie and the Boxer (2013) team\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models.  Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices.  Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nFULL SCHEDULE: \n4/27 | Planning Your Documentary – featuring producer Tom Davis (SeeThink) and attorney Karen Shatzkin\, hosted by Producer Sierra Pettengill. \n5/4 | Financing Your Documentary – featuring José Rodriguez (Tribeca Film Institute)\, John T. Trigonis (Indiegogo) and CPA Fred Siegel\, hosted by Producer Sierra Pettengill. \n5/16 | Directing and Shooting Your Documentary – featuring Oscar-winning filmmaker Ross Kauffman\, award-winning filmmaker Malika Zouhali-Worrall\, hosted by Director Zachary Heinzerling. \nNOTE: This session will be hosted by AbelCine in Manhattan (609 Greenwhich Street) \n5/18 | Editing Your Documentary – featuring editor David Teague (The Brooklyn Vitagraph Company)\, Will Cox (Final Frame)\, hosted by Director Zachary Heinzerling. \n6/1 | Graphics\, Music\, and Your Transmedia Campaign – featuring graphic designer Teddy Blanks (CHIPS) and musician T. Griffin\,  hosted by Director Zachary Heinzerling \nNOTE: At 5pm before this session Macktez will present a special free planning bootcamp workshop as a supplement to the series\, featuring Noah Landow and Reed Payne. \n6/8 | Releasing Your Documentary – featuring programmer Dan Nuxoll (Rooftop Films)\, hosted by Producer Sierra Pettengill. \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/04-27-14-documentary-planning/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/02/headshot.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140503T193000
DTEND;TZID=America/New_York:20140503T193000
DTSTAMP:20260430T081730
CREATED:20140422T040000Z
LAST-MODIFIED:20180424T164634Z
UID:10002014-1399145400-1399145400@uniondocs.org
SUMMARY:Ukrainian Protest Cinema
DESCRIPTION:[vc_row][vc_column][vc_column_text]The Maidan in Kyiv\, Ukraine has captivated the world’s stage since November of 2013. What initially started as a desire for closer ties with Europe\, the Maidan movement has grown into a demand against corrupt government and basic human rights.  Join us as we discuss this movement and the current crisis in Ukraine with filmmakers and Ukrainian activists who have been using their cameras as weapons to tell the story of the people of Maidan. With excerpts of films by Lesya Kalynska/Ruslan Batytsky and Olha Onyshko\, shorts by Vanessa Black\, Babylon 13\, and IndieLab. \nThe organizer of this event\, Roxy Toporowych is a graduate of NYU’s Tisch School of the Arts\, with a Bachelor of Fine Arts in Film and Television. She is a filmmaker as well as the Program Director of the American Independence Film Festival in Kyiv\, Ukraine\, a festival which works in collaboration with the US Embassy to bring American filmmakers and stories to a Ukrainian audience.    Since 2007 Roxy has worked for the Sundance Film Festival and the Tribeca Film Festival as a screener for their festival programs as well as a video content producer.  Her company\, KinoRox Productions\, was founded while she was directing her first documentary feature\, Folk!  about the underground world of Ukrainian folk dancing in New York City.  The goal of KinoRox Productions is to engage and inspire it’s audience with unique\, character driven stories\, focusing on the Eastern European experience.  She is currently editing a short documentary about her personal experience on the Maidan in December of 2013. \nAndrij Dobriansky is an Executive Board Member of the Ukrainian Congress Committee of America and a UN Representative for the Ukrainian World Congress.   He is an arts industry and community advocacy professional with a background in Eastern European and Asian arts and culture.   Andrij has been a spokesperson for the Ukrainian community during the current crisis\, appearing on CNN\, AL Jazeera\, Fox News and other media outlets. \nhttps://www.linkedin.com/in/andrijdobriansky\n Yuri Shevchuk is a Lecturer\, in the Department of Slavic Languages at Columbia University.  He founded  Columbia University’s Ukrainian Film Club (UFCCU) which is a forum for showcasing the best of Ukrainian cinema\, both classic and new\, to the Greater New York public and to film enthusiasts across the United States and Canada. Since its establishment in October 2004\, the Club has become a unique international initiative connecting Ukrainian filmmakers with the world. \nhttp://www.columbia.edu/cu/ufc//index.html \nhttp://harriman.columbia.edu/people/yuri-shevchuk \n \nLesya Kalynska is an award-winning filmmaker. Originally from Ukraine\, she currently lives between Kyiv and NYC pursuing her career as the CEO of the production company Pomegranate Studios. Green card holder. Kalynska earned her MFA in directing and writing from NYU’s Tisch School of the Arts. The short films Balloonist and The Debt\, which she directed and produced respectively\, have been screened internationally\, including at the Sundance and Tribeca festivals\, winning the Best Student Film Award at the Hope and Dreams IFF in NJ\, as well as awards at Manheim IFF\, Hampton IFF\, and the Los Angeles Annual Showcase. Recently Lesya directed a TV documentary series\, Level of Secrecy 18\, produced the documentary Salt in The Air and co-produced short Ukrainian Lessons\, which won the Fipresci Award in 2013. Currently Kalynska directing the documentary Land of the Lost Crusaders in its post-production stage and shooting a film about the Maidan\, Heaven Admits No Slaves (with Ruslan Batytsky)\, of which she will show an excerpt. \n Olha Onyshko is originally from Western Ukraine\, from the region of Galicia. She began her career in Ukraine as a broadcast journalist. She worked for almost 10 years in communications\, running public education campaigns to promote democracy and market reforms in Ukraine for several international development organizations. When working for the World Bank\, she provided trainings and support for NGOs in Ukraine\, Belarus and Moldova. In 2002\, she moved to the United States\, worked as a reporter for Voice of America and then in 2006 went back to school to obtain her Masters of Fine Arts in Film and Electronic Media. After producing and directing several short films\, Olha completed the production of feature length documentary Three Stories of Galicia in 2010. She will show excerpts from this recent film on Sunday. \nVanessa Black is a filmmaker based in NYC. Using pop-culture language\, she aims to tell stories that can reshape our world politically and socially.  Her project #UkraineRising aims to tell the human stories and not just the breaking stories behind the crisis. The project encompasses a digital youtube series\, content for a feature film\, and a large format photo series.  Her large format photography exhibit\, “Defenders: Heroes of Maidan”  is currently on display in SHNY Place Gallery in New York.  Vanessa will share episodes of her digital series #UkraineRising and discuss her experience filming on Maidan post the February 18th sniper attacks. \n  \n\nA member of the IndieLab team and director/scriptwriter/cameraman for More than Nikolai (TRT 12:49)\, Oksana Shornik is a graduate from the Kherson State University. Oksana is a journalist and a freelance correspondent of the Tonis TV channel and the Segodnia newspaper. She has been working as a radio and TV journalist at Kherson’s lead National TV and Radio Company Skifia since 2005. She participated in international TV and radio festivals and in Kherson Document Documentary Film Festival. Oksana also worked in the genre of investigative journalism. She is a member of the National Union  of Journalists of Ukraine since 2010. \n\nIndieLab Kyiv – The Indie Lab initiative is a documentary film workshop for young Ukrainian filmmakers. The films were developed over a two month process of workshops taught by American and Ukrainian experts and are part of the U.S. Embassy’s American Independence Film Festival (AIFF) – the only film festival in Ukraine that celebrates the tradition of independent American and Ukrainian filmmaking.    Indie Lab documentaries follow the stories of everyday people and explore their contributions to Ukriane’s resilient civil society and grassroots democratic tradition.  We will be screening the film More than Nikolai (TRT 12:49) as part of our program. \n\n\nBabylon ’13: In their instantaneous reaction to the events of November 30th\, where peaceful protestors in favor of Ukraine joining the EU \, were attacked and violently dispersed\,  a group of Ukrainian cinematographers joined together and formed Babylon ’13.  They started to record the further course of civil protest\,  filming their reality in the light of a director’s creative perspective.  They filmed the mood of the people and the events left off-screen by typical journalists reporting from the hotspots of Kyiv.  Together\, the group of filmmakers\, directors\, screenwriters and cinematographers united to tell the story of the Ukrainian Maidan and provide a better understanding of what is going on in their world.  Our night will begin with the screening of several of Babylon ’13 works. \n\n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/05-03-2014-ukrainian-protest-cinema/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140504T193000
DTEND;TZID=America/New_York:20140504T220000
DTSTAMP:20260430T081730
CREATED:20140405T040000Z
LAST-MODIFIED:20180417T214306Z
UID:10001988-1399231800-1399240800@uniondocs.org
SUMMARY:Vincent Moon 3.0: Petites Planetes
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nVincent Moon\, the french filmmaker responsible for the Take Away Shows is back in New York. \nAfter documenting rock and pop music while based in Paris or on tour with REM or The Arcade Fire\, he left for a new kind of adventure – 5 years traveling around the world\, collecting sounds and images from shamanic rituals deep in Peru to sufi trances from Chechnya\, from orthodox chants in Ethiopia to experimental folklore music from Java\, and much more. \nThe result\, his Collection Petites Planètes\, composed of more than 100 films and digital albums exploring music\, is all available for free online on his website\, under CC licence. He will present in exclusivity some of his new works with us. \n \nOKO • NUR-ZHOVKHAR (chansons de Tchétchénie) from Vincent Moon / Petites Planètes on Vimeo. \n  \n \n\nVincent Moon (real name Mathieu Saura\, born August 25\, 1979) is an independent filmmaker from Paris. He was the main director of the Blogotheque’s Take Away Shows\, a web-based project recording field work music videos of indie rock related musicians as well as some notable mainstream artists like Tom Jones\, R.E.M.\, or Arcade Fire. For the past five years\, Vincent Moon has been traveling around the globe with a camera in his backpack\, documenting local folklores\, sacred music and religious rituals\, for his label Collection Petites Planètes. He works alone or with people he finds on the road\, and most of the time without money involved in the projects\, trying to produce and distribute films without following the established industry standards. He shares all his work\, films and music recordings\, for free on internet\, under Creative Commons licence. \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/05-04-2014-vincent-moon-petites-planetes/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/04/12266143425_c8ee650ca1_z.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140504T193000
DTEND;TZID=America/New_York:20140504T220000
DTSTAMP:20260430T081730
CREATED:20140415T040000Z
LAST-MODIFIED:20180417T213940Z
UID:10001834-1399231800-1399240800@uniondocs.org
SUMMARY:Documentary Financing
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nThis session will address the eternal question: how to finance your doc? What are the pros and cons of different fundraising models (grants\, equity investment\, pre-sales\, crowdsourcing)? We will also have veteran independent film accountant Fred Siegel to talk about tax ramifications and planning around financing as well as investor relations. Budgeting\, how to find and successfully apply for grants\, tips and tools for crowdfunding and other approaches to getting funded will be discussed in addition for this can’t-miss session. \n  \nFeatured Presenters: \nJosé Rodriguez is the Manager of Documentary Programming at the Tribeca Film Institute. A native of Puerto Rico\, he grew up with a passion for movies that led him to Syracuse University\, where he wrote a feature script and directed two shorts. After interning as an assistant to producer Amy Hobby\, he settled in New York City and became a script/book reader for Overture Films while also working on Tze Chun’s Children of Invention and the documentary Poor Consuelo Conquers the World. Follow him on Twitter: @theJoFer \n  \n  \nA behind-the-scenes consulting machine\, John T. Trigonis has mentored hundreds of filmmakers worldwide to create compelling crowdfunding experiences that not only reach\, but also exceed their goals. An indie filmmaker and successful crowdfunder himself\, Trigonis has literally written the book on Crowdfunding for Filmmakers\, and puts his prowess to greater use as Indiegogo’s specialist for film and video campaigns. \n  \n  \nFred Siegel is an indie film\, tax\, and business consultant and founder of Fred Siegel\, CPA\, specializing in key tax and business issues for producers and dealing with the business of film. Fred is a former jazz musician and entrepreneur: those experiences infuse Fred’s professional work today with an independent spirit and artistic bent and understanding of the lives of artists/producers\, the world of business\, and the interplay between the two. Fred has worked for over 20 years with independent filmmakers and their development and production companies and creative professionals. His experience includes working on numerous independent films\, including “Winters Bone” and “Boys Don’t Cry\,” and with both acclaimed filmmakers such as Christine Vachon\, Debra Granik\, and Paul Mezey\, and filmmakers in earlier stages of their careers. Fred is a graduate of Columbia University (Economics\, Phi Beta Kappa\, Magna Cum Laude) and attended NYU’s Graduate School of Business (taxation; accounting). \nSIERRA PETTENGILL is a Brooklyn-based filmmaker. Town Hall\, her directorial debut\, will broadcast on PBS’ America ReFramed on April 1\, 2014. She is the producer of the Oscar-nominated documentary Cutie and the Boxer\, and the archival producer of Matt Wolf’s Teenage (Tribeca ‘13) and Ross Kauffman & Katy Chevigny’s E-Team (Sundance ’14). For PBS\, she was the associate producer of the Emmy-nominated Walt Whitman\, as well as the Peabody Award-winning Triangle Fire. She was also the associate producer of HBO’s Wartorn: 1861 – 2010\, produced by James Gandolfini\, and Nick Bentgen’s Northern Light. \nCUTIE AND THE BOXER \nA reflection on love\, sacrifice\, and the creative spirit\, this candid New York documentary explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife Noriko. As a rowdy\, confrontational young artist in Tokyo\, Ushio seemed destined for fame\, but he is met with little commercial success after he moves to New York City in 1969\, seeking international recognition. When 19-year-old Noriko moved to New York to study art\, she fell in love with Ushio—abandoning her education to become the unruly artist’s wife and assistant. Over the course of their marriage\, their roles shifted. Now 80\, Ushio still struggles to establish his artistic legacy\, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie\,” depicting her challenging past with Ushio. Spanning four decades\, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice\, disappointment and aging\, against a background of lives dedicated to art. \nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \n\nHosted by the Cutie and the Boxer (2013) team\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models.  Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices.  Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nFULL SCHEDULE: \n4/27 | Planning Your Documentary – featuring producer Tom Davis (SeeThink) and attorney Karen Shatzkin\, hosted by Producer Sierra Pettengill. \n5/4 | Financing Your Documentary – featuring José Rodriguez (Tribeca Film Institute)\, John T. Trigonis (Indiegogo) and CPA Fred Siegel\, hosted by Producer Sierra Pettengill. \n5/16 | Directing and Shooting Your Documentary – featuring Oscar-winning filmmaker Ross Kauffman\,  award-winning filmmaker Malika Zouhali-Worrall\, hosted by Director Zachary Heinzerling. \nNOTE: This session will be hosted by AbelCine in Manhattan (609 Greenwhich Street) \n5/18 | Editing Your Documentary – featuring editor David Teague (The Brooklyn Vitagraph Company)\, Will Cox (Final Frame) hosted by Director Zachary Heinzerling. \n6/1 | Graphics\, Music\, and Your Transmedia Campaign – featuring graphic designer Teddy Blanks (CHIPS) and musician T. Griffin\,  hosted by Director Zachary Heinzerling \nNOTE: At 5pm before this session Macktez will present a special free planning bootcamp workshop as a supplement to the series\, featuring Noah Landow and Reed Payne. \n6/8 | Releasing Your Documentary – featuring programmer Dan Nuxoll (Rooftop Films)\, hosted by Producer Sierra Pettengill. \n  \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/05-04-2014-documentary-financing/
LOCATION:NY
CATEGORIES:Workshops & Labs
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140511T193000
DTEND;TZID=America/New_York:20140511T193000
DTSTAMP:20260430T081730
CREATED:20140414T040000Z
LAST-MODIFIED:20180424T191331Z
UID:10001992-1399836600-1399836600@uniondocs.org
SUMMARY:The Ties that Bind: Documentary and Families
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nLife in a rural industrial town: a teenage boy\, his family\, friends and failed attempt at love are investigated through stark black-and-white photography and static long takes. Filmed in a fusion of authentic and staged documentation\, with robotic performances by actors and non-actors\, the piece meditates on the mundane existence of human and animal life. \nAlso\, don’t miss the upcoming premiere of Fotopoulos’ Dignity at Spectacle Theater May 22nd (7:30 and 10:00pm). \nFamilies a film by James Fotopoulos \n16mm film (b/w) | 97 min | 2002 | USA \n“Families bears the stylistic traits of his earlier feature-length films but expands the number of characters and locations. closeding with a portentous shot of nearly motionless sheep\, the black-and-white film develops in disaffected dialogue scenes interspersed with shots of dreary Midwestern exteriors. The main strain of the narrative focuses on a young man and woman and their prolonged\, halting conversations\, many of which revolve around death. Yet none of the violence recounted in these exchanges takes place on screen\, where life is characterized by the absence of physical contact\, robotic soliloquy\, and a general sense of forlorn ennui. Recurring throughout the film are repeated shots of the sheep form the closeding\, dogs\, or fish in an aquarium\, paradigmatically linking animals to the characters and their awkward interactions. Fotopoulos suggests that the titular familial ties refer to larger structures of kinship\, and constructs a bleak parallel in the common markers of human and animal existence.” – Henriette Huldisch\, Whitney Museum of American Art\, Whitney Biennial 2004 \n“Crafted with the same sculptural symmetry of his previous films\, Families re-imagines human society as the struggles of multiple collections of organisms\, each facing the inevitable move toward entropy and death.” -Ed Halter\, New York Underground Film Festival \n“Groundbreaking.” -Perry Brass\, Gay City \n“Families is his best yet\, surprisingly combining a greater sense of humanity with a greater feeling of cinematic experimentation.” -James DiGiovanna\, Tucson Weekly \n  \nJames Fotopoulos is a filmmaker who began production on his first feature-length film\, ZERO (1997)\, in 1995. In 1998\, he founded Fantasma for the production of his second feature\, Migrating Forms (1999)\, and would continue to create a number of critically acclaimed narrative feature films\, such as Back Against the Wall (2000)\, Families (2002)\, The Nest (2003) and Dignity (2012).   Along with his narrative productions\, Fotopoulos has created a prolific body of over 200 non-narrative films\, which include Christabel (2001)\, Esophagus (2004)\, The Mirror Mask (2005)\, The Sky Song (2007) and Alice in Wonderland (2010). These works range from feature length to a few seconds long and combine an exhaustive portfolio of visual art and performance techniques.  Fotopoulos’ work received a retrospective at the Anthology Film Archives; premiered at the Museum of Modern Art\, MoMA PS1\, Festival del Film Locarno and the Museum of Art and Design; and was screened and exhibited widely at a number of film festivals\, museums\, and sites\, such as Rotterdam International Film Festival\, Sundance Film Festival\, London Film Festival\, Whitney Biennial\, Walker Art Center\, and the Andy Warhol Museum\, among many others. \nRebecca Cleman is the Director of Distribution of Electronic Arts Intermix (EAI). She has  programmed or curated media for such venues as the New York Underground Film Festival\, the Museum of Art and Design\, Anthology Film Archives\, and Andrea Rosen Gallery. Most recently\, she led a roundtable discussion about “video art” for the ICA in Philadelphia\, and co-organized a screening of films by Tommy Turner for Spectacle Theater\, Brooklyn. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-05-10-ties-bind-documentary-families/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140516T193000
DTEND;TZID=America/New_York:20140516T193000
DTSTAMP:20260430T081730
CREATED:20140415T040000Z
LAST-MODIFIED:20180424T182619Z
UID:10001838-1400268600-1400268600@uniondocs.org
SUMMARY:Documentary Shooting & Directing
DESCRIPTION:[vc_row][vc_column][vc_column_text]Documentary filmmakers produce and shoot in a wide variety of locations under many different practical\, financial\, technical and legal constraints. What kind of equipment do you need? Who do you need on your production team? How do you deal with emergencies during shooting and how do you pick out a camera and DP? Should I be thinking of archival material in advance? This session will take place at series partner AbelCine in Manhattan (609 Greenwhich Street). \nFeatured Presenters: \nRoss Kauffman is the director\, producer\, cinematographer\, and coeditor of Born into Brothels\, winner of the 2005 Academy Award for best documentary and more than 40 other awards\, including one for best documentary from the National Board of Review and the Sundance Film Festival 2004 documentary Audience Award. He also executive-produced In a Dream\, shortlisted for the 2009 Academy Award for best documentary feature. Kaufmann’s latest feature E-Team (co-directed by Kate Chevigny) had it’s World Premiere at the 2014 Sundance Film Festival to much acclaim where it won the Cinematography Award in the U.S. Documentary category. \n  \nMALIKA ZOUHALI-WORRALL is a filmmaker of British/Moroccan origin. She is the co-director and producer of CALL ME KUCHU (2012)\, a documentary that depicts the last year in the life of the first closedly gay man in Uganda\, David Kato. The film premiered at the Berlin Film Festival\, where it won the Teddy Award for Best Documentary and the Cinema Fairbindet Prize. It has since won 18 more awards—including Best International Feature at Hot Docs Canadian International Documentary Festival—and has been theatrically distributed in Canada\, Germany\, the UK and the US. Malika is a Chaz & Roger Ebert Directing Fellow and an alumnus of the Film Independent Documentary Lab and the Garrett Scott Documentary Development Grant at Full Frame Documentary Film Festival. In 2012\, Filmmaker Magazine named Malika one of 25 New Faces of Independent Film. Most recently she co-directed a series of short documentaries for Human Rights Watch. Her journalism work has been published in The Financial Times\, and she has reported for CNN.com from India\, Uganda\, China\, and the U.S. Malika holds an M.A. in International Affairs from the Paris Institute of Political Studies (Sciences Po)\, and she is a graduate of Cambridge University. She lives in Brooklyn\, NY with her husband\, journalist Andy Greenberg. \nZACHARY HEINZERLING is a film director based in Brooklyn\, New York. His debut feature\, Cutie and the Boxer is currently nominated for a 2014 Academy Award for Best Documentary Film. The critically acclaimed film won prizes at top film festivals around the world and was featured on many best film lists of 2013\, including that of A.O. Scott from the New York Times and Joe Morgenstern of the Wall Street Journal. The film received a field leading three 2014 Cinema Eye Honors\, for Outstanding Debut Feature\, Outstanding Original Score\, and Outstanding Visual Effects. Zachary was the winner of the 2013 Sundance Film Festival Directing Award for US Documentary. He was awarded the Charles Guggenheim Emerging Artist award at the 2013 Full Frame Film Festival. He was the recipient of the 2013 International Documentary Association’s Emerging Documentary Filmmaker Award\, which recognizes the achievements of a filmmaker who has made a significant impact at the beginning of his or her career in documentary film. He was nominated for a 2014 DGA award for Outstanding Directorial Achievement in a Documentary. He began his career at HBO\, where he worked on four consecutive Emmy Award-winning documentaries as a Field Producer and Cinematographer. Most recently he directed a five-part web series with Beyoncé Knowles-Carter entitled “Self-Titled” for her latest album “Beyoncé”. \nCUTIE AND THE BOXER \nA reflection on love\, sacrifice\, and the creative spirit\, this candid New York documentary explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife Noriko. As a rowdy\, confrontational young artist in Tokyo\, Ushio seemed destined for fame\, but he is met with little commercial success after he moves to New York City in 1969\, seeking international recognition. When 19-year-old Noriko moved to New York to study art\, she fell in love with Ushio—abandoning her education to become the unruly artist’s wife and assistant. Over the course of their marriage\, their roles shifted. Now 80\, Ushio still struggles to establish his artistic legacy\, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie\,” depicting her challenging past with Ushio. Spanning four decades\, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice\, disappointment and aging\, against a background of lives dedicated to art. \nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \n\nHosted by the Cutie and the Boxer (2013) team\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models.  Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices.  Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nFULL SCHEDULE: \n4/27 | Planning Your Documentary – featuring producer Tom Davis (SeeThink) and attorney Karen Shatzkin\, hosted by Producer Sierra Pettengill. \n5/4 | Financing Your Documentary – featuring José Rodriguez (Tribeca Film Institute)\, John T. Trigonis (Indiegogo) and CPA Fred Siegel\, hosted by Producer Sierra Pettengill. \n5/16 | Directing and Shooting Your Documentary – featuring Oscar-winning filmmaker Ross Kauffman\, award-winning filmmaker Malika Zouhali-Worrall\, hosted by Director Zachary Heinzerling. \nNOTE: This session will be hosted by AbelCine in Manhattan (609 Greenwhich Street) \n5/18 | Editing Your Documentary – featuring editor David Teague (The Brooklyn Vitagraph Company)\, Will Cox (Final Frame)\, hosted by Director Zachary Heinzerling. \n6/1 | Graphics\, Music\, and Your Transmedia Campaign – featuring graphic designer Teddy Blanks (CHIPS) and musician T. Griffin\,  hosted by Director Zachary Heinzerling \nNOTE: At 5pm before this session Macktez will present a special free planning bootcamp workshop as a supplement to the series\, featuring Noah Landow and Reed Payne. \n6/8 | Releasing Your Documentary – featuring programmer Dan Nuxoll (Rooftop Films)\, hosted by Producer Sierra Pettengill. \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/05-16-2014-documentary-shooting-directing/
LOCATION:NY
CATEGORIES:Workshops & Labs
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140518T193000
DTEND;TZID=America/New_York:20140518T220000
DTSTAMP:20260430T081730
CREATED:20140415T040000Z
LAST-MODIFIED:20180424T181444Z
UID:10001841-1400441400-1400450400@uniondocs.org
SUMMARY:Documentary Editing
DESCRIPTION:[vc_row][vc_column][vc_column_text]How can documentary directors work effectively with editors\, sound designers\, and other essential post-production talent?  How does a story emerge from a pile of footage?  Can you really “fix it in post”?  What is an online edit and can you do it yourself?  How does a good sound designer work\, and how does post-production sound enhance your documentary? \n  \nFeatured Presenters: \nDavid Teague is a documentary film editor whose work has played at Cannes\, Sundance\, Berlin\, Hot Docs\, SXSW\, Tribeca\, Full Frame\, and True/False\, amongst many others. He recently edited E-Team (Sundance 2014) and the Oscar-nominated Cutie and the Boxer (Sundance 2013). Previously\, David edited the Oscar-winning documentary Freeheld (Sundance 2007) as well as two other Oscar-nominated films (Mondays at Racine\, Sun Come Up). Other credits include the feature documentary The Iran Job\, the PBS series Constitution USA\, and the Emmy-winning Sesame Street primetime special Growing Hope Against Hunger. David has also directed and edited two award-winning documentaries: Intifada NYC (LIDF 2009) and Our House (Hot Docs 2010\, co-directed with Greg King). David has taught cinematography and editing at Downtown Community Television\, the New School\, Brooklyn College and Long Island University\, and he is the author of two best-selling guides to film editing with Final Cut Pro. David lives in Brooklyn\, NY\, with Annie Wedekind and their son Henry Wedekind. \nWill Cox started his career in the video department at Tekserve in 1995 while editing underground video features as part of nuBright Solutions\, a collective of artist/filmmakers populating the web with indie films. After teaching editing for the Ford Foundation in Africa\, he went to work at Oxygen Media\, the first network to go entirely on-air using Final Cut Pro\, as the Senior Engineer. Will co-founded Final Frame in 2001. Will has been color correcting for the past 13 years with Online/Color Correction credits on the 2010 and 2011 Oscar winning documentaries\, The Cove & Inside Job\, the acclaimed documentary Control Room (Sundance Film Festival)\, Speedo (winner at Full Frame)\, and Murderball (winner of best editor at Sundance)\, as well as numerous other documentary and scripted films. Will’s television credits include shows for MTV\, Comedy Central\, SpikeTV\, Nickelodeon\, Oxygen\, Fuse\, CourtTV\, CSTV\, The History Channel\, Lifetime\, PBS\, IFC and ESPN. \n \nPeter Levin\, known for his work on Dark Days (2000)\, The 24th Day (2004) and Let It Snow (1999)\, is a co-owner of Splash Studios in Chelsea. He splits his attention between family\, post-production\, production and ice hockey. When he is not on the ice\, he is usually found supervising post-sound\, recording sound effects or mixing films and television shows. With 20 years in the industry and\, hundreds credits to his name\, he can usually make a story sound pretty good. \n  \n  \n  \nZACHARY HEINZERLING is a film director based in Brooklyn\, New York. His debut feature\, Cutie and the Boxer is currently nominated for a 2014 Academy Award for Best Documentary Film. The critically acclaimed film won prizes at top film festivals around the world and was featured on many best film lists of 2013\, including that of A.O. Scott from the New York Times and Joe Morgenstern of the Wall Street Journal. The film received a field leading three 2014 Cinema Eye Honors\, for Outstanding Debut Feature\, Outstanding Original Score\, and Outstanding Visual Effects. Zachary was the winner of the 2013 Sundance Film Festival Directing Award for US Documentary. He was awarded the Charles Guggenheim Emerging Artist award at the 2013 Full Frame Film Festival. He was the recipient of the 2013 International Documentary Association’s Emerging Documentary Filmmaker Award\, which recognizes the achievements of a filmmaker who has made a significant impact at the beginning of his or her career in documentary film. He was nominated for a 2014 DGA award for Outstanding Directorial Achievement in a Documentary. He began his career at HBO\, where he worked on four consecutive Emmy Award-winning documentaries as a Field Producer and Cinematographer. Most recently he directed a five-part web series with Beyoncé Knowles-Carter entitled “Self-Titled” for her latest album “Beyoncé”. \nCUTIE AND THE BOXER \nA reflection on love\, sacrifice\, and the creative spirit\, this candid New York documentary explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife Noriko. As a rowdy\, confrontational young artist in Tokyo\, Ushio seemed destined for fame\, but he is met with little commercial success after he moves to New York City in 1969\, seeking international recognition. When 19-year-old Noriko moved to New York to study art\, she fell in love with Ushio—abandoning her education to become the unruly artist’s wife and assistant. Over the course of their marriage\, their roles shifted. Now 80\, Ushio still struggles to establish his artistic legacy\, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie\,” depicting her challenging past with Ushio. Spanning four decades\, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice\, disappointment and aging\, against a background of lives dedicated to art. \nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \n\nHosted by the Cutie and the Boxer (2013) team\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models.  Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices.  Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nFULL SCHEDULE: \n4/27 | Planning Your Documentary – featuring producer Tom Davis (SeeThink) and attorney Karen Shatzkin\, hosted by Producer Sierra Pettengill. \n5/4 | Financing Your Documentary – featuring José Rodriguez (Tribeca Film Institute)\, John T. Trigonis (Indiegogo) and CPA Fred Siegel\, hosted by Producer Sierra Pettengill. \n5/16 | Directing and Shooting Your Documentary – featuring Oscar-winning filmmaker Ross Kauffman\, award-winning filmmaker Malika Zouhali-Worrall\, hosted by Director Zachary Heinzerling. \nNOTE: This session will be hosted by AbelCine in Manhattan (609 Greenwhich Street) \n5/18 | Editing Your Documentary – featuring editor David Teague\, Will Cox (Final Frame)\, and Peter Levin\, hosted by Director Zachary Heinzerling. \n6/1 | Graphics\, Music\, and Your Transmedia Campaign – featuring graphic designer Teddy Blanks (CHIPS) and musician T. Griffin\,  hosted by Director Zachary Heinzerling \nNOTE: At 5pm before this session Macktez will present a special free planning bootcamp workshop as a supplement to the series\, featuring Noah Landow and Reed Payne. \n6/8 | Releasing Your Documentary – featuring programmer Dan Nuxoll (Rooftop Films)\, hosted by Producer Sierra Pettengill. \n  \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/05-18-2014-documentary-editing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140530T193000
DTEND;TZID=America/New_York:20140530T193000
DTSTAMP:20260430T081730
CREATED:20140424T040000Z
LAST-MODIFIED:20180420T214206Z
UID:10002019-1401478200-1401478200@uniondocs.org
SUMMARY:The Sochi Project
DESCRIPTION:[vc_row][vc_column][vc_column_text]Rob Hornstra and Arnold van Bruggen have been working together since 2009 to tell the story of Sochi\, Russia—site of the 2014 Winter Olympics and glamorous Russian Riviera resort on the doorstep of conflict zones Abkhazia\, North Ossetia\, Georgia\, and Chechnya. They have returned repeatedly to this region as committed practitioners of “slow journalism\,” establishing a solid foundation of research on and engagement with this small yet incredibly complicated place before it found itself in the glare of international media attention. \nHornstra’s photographic approach combines the best of documentary storytelling with contemporary portraiture\, found photographs\, and other visual elements collected over the course of their travels. Since the beginning of their collaboration\, The Sochi Project has been released via installments\, in book form and online\, each focusing on a particular facet of the story\, the geography\, the people\, and their history. \nJoin Hornstra and van Bruggen as they offer an alternative perspective and in-depth reporting on this remarkable region that sits at the combustible crossroads of war\, tourism\, and history. Publisher Lesley A. Martin of the Aperture Foundation will moderate the discussion. \n\nRob Hornstra (born in Borne\, The Netherlands\, 1975) is a photographer and self-publisher of slow-form documentary work. In addition to his work on The Sochi Project\, he is also the founder and former artistic director of FOTODOK—Space for Documentary Photography. Hornstra is represented by Flatland Gallery\, Utrecht\, The Netherlands. \nArnold Van Bruggen is a writer and filmmaker. He is the founder of the journalistic production agency Prospektor\, and a cofounder\, with Hornstra\, of The Sochi Project. \nLesley A. Martin is publisher of the Aperture Foundation book program and of The PhotoBook Review\, a biannual newsprint journal dedicated to the conversation surrounding the photobook. Her writing on photography has been published in Aperture\, FOAM\, Lay Flat\, and Ojo de Pez\, among other publications\, and she has edited over eighty books of photography. In 2011\, she launched The PhotoBook Review and co-founded the Paris Photo–Aperture Foundation Book Awards\, celebrating the contribution of the book to the evolving narrative of photography.\nThe Sochi Project: An Atlas of War and Tourism in the Caucasus will be on view at Aperture Gallery in New York from May 30 through July 10. The book is also available from Aperture Foundation. \nAperture\, a not-for-profit foundation\, connects the photo community and its audiences with the most inspiring work\, the sharpest ideas\, and with each other—in print\, in person\, and online. \nCreated in 1952 by photographers and writers as “common ground for the advancement of photography\,” Aperture today is a multi-platform publisher and center for the photo community. From its base in New York\, Aperture Foundation produces\, publishes\, and presents a program of photography projects and programs­­­­––locally\, across the United States\, and around the world.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/05-30-2014-the-sochi-project/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2012/06/UNDO-BLUE.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140531T193000
DTEND;TZID=America/New_York:20140531T193000
DTSTAMP:20260430T081730
CREATED:20140519T040000Z
LAST-MODIFIED:20180420T213736Z
UID:10001847-1401564600-1401564600@uniondocs.org
SUMMARY:DE CVRATORIBVS. The Dialectics of Care and Confinement
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nJef Cornelis – Documenta 4 \n1968\, B&W 16mm transferred to video\, 53’40″ \nDutch\, English\, French and German spoken\, English subtitles \nWhen Documenta 4 takes place in 1968 the international art world is entangled in an authority crisis as well\, as Roger Raveel indicates: ”worn threadbare”. At the time Kassel\, with Arnold Bode as its artistic director\, saw things differently. Documenta 4 was streaked with controversy and debate. The politicization of society in the late 1960s made itself felt in Kassel – red flags and groups of people chanting slogans meant that the closeding speeches could not be held. Moreover\, Documenta 4 was going through an internal generational conflict and a debate on the fragile relationship of aesthetic judgment and democratic forms of reaching a consensus. During interviews with\, among others\, Sol Lewitt\, Joseph Beuys\, Harald Szeemann\, Allen Jones\, Christo\, Martial Raysse and Robert Rauschenberg they act the injured innocent and situate themselves on the side of the bewildered spectator. Sublime irony\, since things were not that new and innocent at all. \nIn some ways Cornelis conceptualises a way of appropriating the event\, sidestepping and questioning the definitions of exhibition makers\, but also of artists\, of an exhibition\, of contemporary art. This is possible because Cornelis takes his own medium as a subject. He ignores and questions the authoritarian position offered to him by his medium and he provokes the spectator into judging for himself. The commentary is limited. It is put into perspective and completed with accompanying interviews. In doing so Cornelis enabled a perspective which is not clouded by mystifications and mythomaniacs. \n(from Argos Center for Art & Media) \n\n  \nThe rich and impressive body of work of Jef Cornelis has yet to be evaluated and analyzed. In the period between 1963 and 1998\, he was primarily active as a director and scriptwriter for the Flemish broadcasting company (VRT) in Belgium. One of the most important aspects of Cornelis’ work is that he did not hide himself behind the camera\, or present his films as objective and essentially “true” to reality. Instead\, inspired by certain developments in the filmmaking of the 1960s\, he treated the camera as his pen\, or camera stylo\, as a way to express his opinions on the events that he filmed. Apart from being a television maker\, he was also involved in various art initiatives\, and was an active participant in the international art scene\, which gave him a unique access to this field. He has left behind several documentaries in which the art world is constructed and presented in a particular way\, reflecting his deep dissatisfaction with certain manifestations of power. Nevertheless\, after filming documenta 5 in 1972\, Cornelis decided to stop filming the “art world”. \nIn her new book DE CVRATORIBVS. The Dialectics of Care and Confinement (Atropos Press\, 2013)\, Vesna Madzoski finds two documentaries by the Flemish filmmaker Jef Cornelis to be crucial in the analysis of the history and ideology of documenta. In the lecture\, she will offer an overview of problems raised by the documentaries\, as well as point out the specificity of Cornelis’ method in filmmaking. Among other things\, we will recount the problems and changes provoked in Europe by the first arrival of the artists from the new art center of the world – New York. \n  \n \nVesna Madzoski is an independent theorist and researcher based in Amsterdam. She has a PhD from the European Graduate School\, Saas-Fee\, Switzerland. Her PhD research\, entitled “DE CVRATORIBVS. The Dialectics of Care and Confinement” focused on the history of curating\, the transformations of this practice in the past fifty years and its relationship with the political and economic systems. She has been one of the editors of Prelom\, a Belgrade-based journal for art and theory\, and since 2006 is a member of the artists’ collective Public Space With A Roof in Amsterdam. \nMore info: http://madzoski.synthasite.com. \n  \n \n\n \nThomas Zummer\, is a scholar\, artist\, curator\, who lectures and publishes on philosophy\, aesthetics\, and the history of technology. Zummer’s artworks have been exhibited worldwide\, and he has taught at Brown\, NYU\, The New School\, Transmedia programme\, Brussels\, and Tyler School of Art/Temple University. He is currently Faculty in Philosophy at the Europäische Universität für Interdisziplinare Studien/European Graduate School (EUFIS/EGS)\, Saas-Fee\, Switzerland\, Assistant Professor in the Graduate Program in Graphic/Information Design at Central Connecticut State University\, and Adjunct Professor in the Graduate Studies Division and the Digital + Media Department at RISD. Thomas Zummer holds a PhD summa cum laude in Philosophy and Media/Communications Studies\, and currently lives and works in Brooklyn\, NY. \nNova Benway is a curator\, writer and member of the organizing committee of the free education platform The Public School\, New York\, where she hosts Between Who\, a series of events exploring the intersections between pedagogy and artistic research and artists’ communities. Since 2011\, she has been on the curatorial team at The Drawing Center in New York\, where she is co-curator of closed Sessions\, a two-year program of experimental exhibitions and public programs co-organized with more than fifty local\, national and international artists. \n  \n  \nThis evening is organized in cooperation with MINI/Goethe-Institut Curatorial Residencies Ludlow38 and made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program\, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.org\, www.eARTS.org).  \nFor screening inquiries\, please contact ARGOS Centre for Art & Media.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2014-05-31-de-curatoribus/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2012/06/UNDO-BLUE.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140601T193000
DTEND;TZID=America/New_York:20140602T170000
DTSTAMP:20260430T081730
CREATED:20140416T040000Z
LAST-MODIFIED:20180410T162416Z
UID:10002008-1401651000-1401728400@uniondocs.org
SUMMARY:Macktez's Ultimate Planning Workshop
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n\n\nIf you find yourself overwhelmed\, drowning in unhelpful to do lists\, befuddled by Getting Things Done\, and with an Inbox that’s anything but empty\, join us while the Team from Macktez shares their internal working methodology\, named “Working Yellow\,” used to manage over a hundred clients and projects of wide-ranging scales. \n\n\nOur Team will design and teach a class to creatives using the Macktez “Working Yellow” approach that incorporates our team-customized approach\, incorporating elements of Getting Things Done\, Zero Inbox\, Kaizen\, Seven Habits of Highly Effective People\, Checklist Manifesto\, and numerous other approaches to efficiency\, organization\, and productivity. \nTo read more about us and our Approach see http://www.macktez.com/approach/ \nFeatured Presenters: \nNoah Landow is the founder and president of Macktez. His experience in architecture\, print and interactive design\, network design and installation\, and database development provide a foundation for organizing projects and building collaborative teams. He keeps his head on straight by training in a seriously obscure form of aikijujutsu and by serving on the boards of compelling non-profits like UnionDocs. \n  \nReed Payne is a New Hampshire native\, certified yoga instructor\, and aspiring pilot which means he keeps his bearings\, balance\, and can make a fire by rubbing two sticks together. While majoring in French\, he spent many nights analyzing network traffic\, tinkering with system security\, and wrapping his head around encryption concepts. \n  \n  \nCUTIE AND THE BOXER \nA reflection on love\, sacrifice\, and the creative spirit\, this candid New York documentary explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife Noriko. As a rowdy\, confrontational young artist in Tokyo\, Ushio seemed destined for fame\, but he is met with little commercial success after he moves to New York City in 1969\, seeking international recognition. When 19-year-old Noriko moved to New York to study art\, she fell in love with Ushio—abandoning her education to become the unruly artist’s wife and assistant. Over the course of their marriage\, their roles shifted. Now 80\, Ushio still struggles to establish his artistic legacy\, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie\,” depicting her challenging past with Ushio. Spanning four decades\, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice\, disappointment and aging\, against a background of lives dedicated to art. \n  \nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \n\nHosted by the Cutie and the Boxer (2013) team\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models.  Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices.  Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nFULL SCHEDULE: \n4/27 | Planning Your Documentary – featuring producer Tom Davis (SeeThink) and attorney Karen Shatzkin\, hosted by Producer Sierra Pettengill. \n5/4 | Financing Your Documentary – featuring José Rodriguez (Tribeca Film Institute)\, John T. Trigonis (Indiegogo)  and CPA Fred Siegel\, hosted by Producer Sierra Pettengill. \n5/16 | Directing and Shooting Your Documentary – featuring Oscar-winning filmmaker Ross Kauffman\, award-winning filmmaker Malika Zouhali-Worrall\, hosted by Director Zachary Heinzerling. \nNOTE: This session will be hosted by AbelCine in Manhattan (609 Greenwhich Street) \n5/18 | Editing Your Documentary – featuring editor David Teague (The Brooklyn Vitagraph Company)\, Will Cox (Final Frame)\, hosted by Director Zachary Heinzerling. \n6/1 | Graphics\, Music\, and Your Transmedia Campaign – featuring graphic designer Teddy Blanks (CHIPS) and musician T. Griffin\,  hosted by Director Zachary Heinzerling \nNOTE: At 5pm before this session Macktez will present a special free planning bootcamp workshop as a supplement to the series\, featuring Noah Landow and Reed Payne. \n6/8 | Releasing Your Documentary – featuring programmer Dan Nuxoll (Rooftop Films)\, hosted by Producer Sierra Pettengill. \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/macktezs-ultimate-planning-workshop/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/07/noahlandow.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140601T193000
DTEND;TZID=America/New_York:20140602T193000
DTSTAMP:20260430T081730
CREATED:20140415T040000Z
LAST-MODIFIED:20180410T161744Z
UID:10001835-1401651000-1401737400@uniondocs.org
SUMMARY:Documentary Graphics\, Music & Transmedia Campaigns
DESCRIPTION:[vc_row][vc_column][vc_column_text]How can title design and graphics be effectively utilized in documentary? What about my approach to music? What is transmedia and why should documentary filmmakers pay attention to it?  This session will dig in to graphics and music issues that come together during post production. We will also explore broad strokes of how to plan and execute transmedia campaigns. \nFeatured Presenters: \nTeddy Blanks is co-founder of the Brooklyn graphic design studio CHIPS. He has created closeding title sequences for over 25 films. His work for documentaries includes title design for the Academy Award nominated Cutie and the Boxer\, and more comprehensive graphic treatments for Matt Wolf’s Teenage\, and Broken Heart Land\, a forthcoming doc directed by Jeremy and Randy Stulberg for PBS. \n  \n  \nT. Griffin is a songwriter\, composer and producer working in Brooklyn\, New York. Alone and with his band The Quavers he has released four critically acclaimed CDs of songs in a homespun electronic style that’s been described as ‘porch techno’. \nA prolific film composer with 30 features \, Griffin has scored films for Jesse Moss (Sundance 2014 Special Jury winner The Overnighters)\, Ross Kaufman and Katy Chevigny (E-Team\, Sundance 2014) Tristan Patterson (SXSW Grand Jury winner DragonSlayer\, 2011)\, Liza Johnson (Cannes’ Director’s Fortnight selection\, Return\, 2011)\, Marshall Lewy (California Solo\, Sundance 2012)\, Tze Chun (Children of Invention\, Sundance 2009)\, Michael Almereyda (New Orleans\, Mon Amour\, SXSW 2008)\, Kim Reed (Telluride sensation Prodigal Sons\, 2008)\, Esther B. Robinson (Berlin Teddy Award Winner\, A Walk Into The Sea\, 2007) as well as shorts for Peter Sillen and Jem Cohen\, Lance Weiler and others. He wrote original songs and a full score for avant-garde theater director Anne Bogart’s A Midsummer Night’s Dream\, and has created and performed live soundtrack shows for Jem Cohen\, Brent Green\, and international tours with Sam Green and the late Danny Williams’ Warhol Factory films. \nAs a producer and player he has worked with musical luminaries including Vic Chesnutt\, Patti Smith\, Tom Verlaine\, DJ/Rupture\, Mary Margaret O’Hara and members of godspeed you! black emperor\, Fugazi The Dirty Three and The Ex. Griffin was a 2008 fellow at the Sundance Institute Composer’s Lab. He has twice been nominated for CinemaEye Honors for original score\, once for Utopia in Four Movements\, and once for Dragonslayer. \n \nMarisa Jahn works at the intersection of inequality and access\, positioning interactive media as an essential tool for public engagement and social impact. Jahn is the Founder and Executive Director of REV- (as in to rev an engine)\, a nonprofit studio whose public art projects combine creativity\, bold ideas\, and sound research to address critical issues impacting low-wage workers\, immigrants\, and teens. Jahn originated El Bibliobandido (or ‘story thief’)\, an ongoing living legend built around a masked bandit who\, ravenous for stories\, roves the jungles of Honduras terrorizing little kids until they offer him stories they’ve written; Video Slink Uganda\, a project that transposes experimental videos by African diaspora video artists into the Ugandan black market; a contagious public art competition in Tajikistan for the best ten second poem juried by the Oprah of Northern Tajikistan; and a public art nanny hotline (think NPR’s car talk but for nannies) about the New York State Domestic Workers Bill of Rights. Created in collaboration with the National Domestic Workers’ Alliance\, Jahn’s latest project is the NannyVan\, a bright orange mobile design studio and sound lab that “accelerates the movement for domestic workers’ rights nationwide.”\n  \nZACHARY HEINZERLING is a film director based in Brooklyn\, New York. His debut feature\, Cutie and the Boxer is currently nominated for a 2014 Academy Award for Best Documentary Film. The critically acclaimed film won prizes at top film festivals around the world and was featured on many best film lists of 2013\, including that of A.O. Scott from the New York Times and Joe Morgenstern of the Wall Street Journal. The film received a field leading three 2014 Cinema Eye Honors\, for Outstanding Debut Feature\, Outstanding Original Score\, and Outstanding Visual Effects. Zachary was the winner of the 2013 Sundance Film Festival Directing Award for US Documentary. He was awarded the Charles Guggenheim Emerging Artist award at the 2013 Full Frame Film Festival. He was the recipient of the 2013 International Documentary Association’s Emerging Documentary Filmmaker Award\, which recognizes the achievements of a filmmaker who has made a significant impact at the beginning of his or her career in documentary film. He was nominated for a 2014 DGA award for Outstanding Directorial Achievement in a Documentary. He began his career at HBO\, where he worked on four consecutive Emmy Award-winning documentaries as a Field Producer and Cinematographer. Most recently he directed a five-part web series with Beyoncé Knowles-Carter entitled “Self-Titled” for her latest album “Beyoncé”. \nCUTIE AND THE BOXER \nA reflection on love\, sacrifice\, and the creative spirit\, this candid New York documentary explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife Noriko. As a rowdy\, confrontational young artist in Tokyo\, Ushio seemed destined for fame\, but he is met with little commercial success after he moves to New York City in 1969\, seeking international recognition. When 19-year-old Noriko moved to New York to study art\, she fell in love with Ushio—abandoning her education to become the unruly artist’s wife and assistant. Over the course of their marriage\, their roles shifted. Now 80\, Ushio still struggles to establish his artistic legacy\, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie\,” depicting her challenging past with Ushio. Spanning four decades\, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice\, disappointment and aging\, against a background of lives dedicated to art. \nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \n\nHosted by the Cutie and the Boxer (2013) team\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models.  Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices.  Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nFULL SCHEDULE: \n4/27 | Planning Your Documentary – featuring producer Tom Davis (SeeThink) and attorney Karen Shatzkin\, hosted by Producer Sierra Pettengill. \n5/4 | Financing Your Documentary – featuring José Rodriguez (Tribeca Film Institute)\, John T. Trigonis (Indiegogo) and CPA Fred Siegel\, hosted by Producer Sierra Pettengill. \n5/16 | Directing and Shooting Your Documentary – featuring Oscar-winning filmmaker Ross Kauffman\, award-winning filmmaker Malika Zouhali-Worrall\, hosted by Director Zachary Heinzerling. \nNOTE: This session will be hosted by AbelCine in Manhattan (609 Greenwhich Street) \n5/18 | Editing Your Documentary – featuring editor David Teague (The Brooklyn Vitagraph Company)\, Will Cox (Final Frame)\, hosted by Director Zachary Heinzerling. \n6/1 | Graphics\, Music\, and Your Transmedia Campaign – featuring  graphic designer Teddy Blanks (CHIPS) and musician T. Griffin hosted by Director Zachary Heinzerling \nNOTE: At 5pm before this session Macktez will present a special free planning bootcamp workshop as a supplement to the series\, featuring Noah Landow and Reed Payne. \n6/8 | Releasing Your Documentary – featuring programmer Dan Nuxoll (Rooftop Films)\, hosted by Producer Sierra Pettengill. \n  \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/06-01-2014-documentary-graphics-music-transmedia-campaigns/
LOCATION:NY
CATEGORIES:Workshops & Labs
END:VEVENT
END:VCALENDAR