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DTSTART:20240310T070000
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DTSTART;TZID=America/New_York:20240229T190000
DTEND;TZID=America/New_York:20240229T190000
DTSTAMP:20260408T095248
CREATED:20240207T064953Z
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UID:10002832-1709233200-1709233200@uniondocs.org
SUMMARY:Reflections from the Future
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:00p\nProgram 7:30p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/911300547″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]UnionDocs is delighted to come together with Arteeast to co-present REFLECTIONS FROM THE FUTURE\, curated by ArteEast Programs and Communications Director Lila Nazemian! \nREFLECTIONS FROM THE FUTURE presents documentary films that explore continuities and transformations over the last two decades within Iran’s cultural landscape. Shedding perspectives on some of the forces that have resulted in the decay and preservation of various traditions\, the films explore Iranian culture across food\, music\, sport\, as well as literary and spiritual performance. The program highlights the tireless efforts of individuals as they struggle to maintain the long legacy of Iran’s cultural diversity while simultaneously innovating traditions to align with the evolving times. \nThe evening includes Hadi Afarideh’s The Afar and Gelareh Kiazand’s Preserving Taste\, followed by a Q&A and tasting with filmmaker Gelareh Kiazand\, Chef Hanif Sadr\, and ArteEast Programs and Communications Director\, Lila Nazemian.  \nFollowing the Q&A\, chef Hanif Sadr will be discussing some of these ancient techniques as well as sharing some of his handmade preserves with the audience to taste! \nCome through! \nNote: This screening features two of several films featured in this program. The entire program will be available worldwide on Arteeast’s website from February 25 – March 5. RSVP.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nThe Afar by Hadi Afarideh\n[/vc_column_text][vc_column_text]29 mins\, 2015\, Iran\, Persian with English subtitles[/vc_column_text][vc_column_text]The Afar is about ancient and sacred dances from the towns of Torbat Jam and Torbat Heydarieh in Iran. The film features Farooq Kiyani who has strived to preserve local dances from the Khorasan region\, including the dance of Afar which is a ritual dance performed during Nowruz since ancient times in Iran. Nowruz\, which corresponds to the vernal equinox\, is the new year celebration dating back thousands of years and is still practiced by communities of varying faiths across Central and West Asia. The movements performed in the Afar dance are symbols of creation that represent the harmony of the four elements: water\, wind\, earth and the sun.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nPreserving Taste by Gelareh Kiazand\n[/vc_column_text][vc_column_text]21 mins\, 2023\, Iran\, English and Persian with English subtitles[/vc_column_text][vc_column_text]In the era of food sustainability\, Hanif Sadr\, an engineer turned chef from Tehran\, Iran\, has opened his first Iranian regional restaurant in San Francisco\, USA. He delved into the farm to table gastronomy world after working as a cook for a Montessori school in Berkley. His mission is to introduce the regional and seasonal recipes of Northern Iran\, learnt from his childhood\, to the North American public where its ingredients geographically match California. With his wife banned from the US\, and a lack of distribution of Iranian food ingredients\, he travels back and forth between Iran and the U.S\, attempting to bridge the personal and political to bring back a taste of home. Alongside other renowned food figures Hanif aims to show the depth of a unique forgotten cuisine that is connected with nature\, influenced by seasons\, and which defines the art of preservation techniques.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 50 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150041″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Hadi Afarideh was born in Tehran\, Iran in 1984. He started his art career in the theater in 1998\, followed by the cinema in 2001 through the Iranian Youth Cinema Society from where he graduated with honors. He was chosen the Best Documentary Filmmaker in the first specialized workshops of documentary filmmaking in Iran by the Documentary and Experimental Film Center and Iranian Documentary Filmmakers Association in 2006. Afarideh has participated in more than 200 Iranian and international festivals and won various awards for the directing\, writing\, and research of his 3 short films and 30 documentaries.  Some of the documentaries made by Afarideh have been screened in renowned universities such as UCLA\, Dutch Anthropology Society\, and international television channels such as the BBC.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150040″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Born in Tehran 1981\, Gelareh Kiazand is a freelance Canadian-Iranian director of photography (DP)\, director and producer. She is currently based in NYC but had lived in Iran for 12 years as well as residing and covering stories in Afghanistan and Turkey resulting in producing over 25 stories. Documentaries she had directed and DP’d have also taken her to Antartica\, India\, Pakistan\, Malta\, Iraq\, Lebanon\, Jordan and Ukraine. In 2016\, she became Iran’s first female DP for a fiction feature film\, post 79 revolution. Initially beginning her career as a photographer in 2003\, she also held exhibitions and had her photos for renowned filmmaker Kiarostami’s film SHIRIN published internationally as well as being exhibited in Arles Photography Festival. Her most prominent works include: two documentaries directed and DP’d for ARTE Germany titled – A GOAL FOR FREEDOM (Kabul)\, DEATH OF DAPHNE (MALTA) and one directed and DP’d for VICE WORLD titled PRESERVING TASTE (Iran); four feature movies DP’d in Iran\, Germany and China\, 2 news feature reports co-produced and co-DP’d for VICE NEWS on the situation of Afghanistan post Taliban that brought in 3 News Emmys and 1 Peabody. In 2019 her Canadian production company SEETO PRODUCTIONS INC. was founded working with a young team in Iran that brought in other clients such as the HBO\, History channel\, Al Jazeera\, Show of Force and other production companies. She and her team in Tehran also received a Doc Emmy for their work in the series HOSTAGES on HBO.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150042″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Lila Nazemian (she/her) is an independent curator and the Special Projects Curator at ArteEast in New York. In 2023\, she joined the Brooklyn-based Transmitter gallery as a co-director. Her research and curatorial practice are focused on reimagining approaches to histories from the Middle East/Southwest Asia North Africa (SWANA) and Central Asia regions in an effort to counter narrative revisionism and collective amnesia. Recent curatorial projects include: “Conjuring Flames\,” Arsenal Contemporary\, New York\, (2023); “Now That We Have Established A Common Ground” within Protocinema’s Emerging Curator Series\, (2022);  “A Few In Many Places\, New York\,” Protocinema\, Governors Island New York\, (2021); “I open my eyes and see myself under a tree laden with fruit that I cannot name\,” Center for Book Arts\, New York (2020). \nShe received a B.A. in History from Scripps College\, California; and an M.A. in Near Eastern Studies from N.Y.U.\, New York. She was a QAYYEM 2019 Curatorial Fellow\, was among the inaugural participants of the 2018-2019 Interdisciplinary Art and Theory Program in New York and participated in ICI’s 2018 Curatorial Intensive in Bangkok.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150067″][/vc_column][vc_column width=”2/3″][vc_column_text]Hanif Sadr is chef and co-founder of Komaaj Food Group\, a northern Iranian restaurant group in the Bay Area. Chef Sadr grew up in Tehran and spent summers on his grandparents’ farm in northern Iran\, where he developed a lifelong love of exploring nature and learned about tradition foraging\, farming\, and animal husbandry from the people working the land. After earning a college degree in materials science in Iran\, he went to work in his country’s large oil and gas fields. He came to the United States in 2012 for a graduate program on renewable energy at San Jose State University and was asked to become a cook despite having no previous knowledge. His family’s longtime cook in Iran\, Baaji Khanoom\, became his tutor. He has become a fixture of the Bay Area food scene\, from his wildly popular pop-ups to his farmers’ market appearances. As co-founder and head chef for Komaaj Food Group\, he oversees operates four projects: Komaaj restaurant and wine bar\, Komaaj Catering\, and Komaaj Preservation Lab – all in San Francisco\, and Komaaj Mazze Bar at Calabash Market in Oakland.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1707421906206-489c5f31-46dd-2″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/reflections-from-the-future-2024-02-29/
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:20240308T100000
DTEND;TZID=America/New_York:20240310T163000
DTSTAMP:20260408T095249
CREATED:20240123T204428Z
LAST-MODIFIED:20240228T165609Z
UID:10002831-1709892000-1710088200@uniondocs.org
SUMMARY:Mediating the Mirror: Autofiction on Film
DESCRIPTION:[vc_row][vc_column][vc_btn title=”This workshop is sold out” color=”danger” align=”center”][vc_column_text]If you would like to be added to the workshop’s waitlist e-mail: raphaelle@uniondocs.org[/vc_column_text][vc_empty_space height=”30px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: This workshop will be held in UnionDocs’ new space in Ridgewood!\nWe’re now at: 352 Onderdonk Ave\, Ridgewood\,  NY – 11385[/vc_message][vc_column_text]Join us for a three-day workshop with acclaimed filmmaker and scholar Jessica Bardsley to explore the intersections of autofiction and film practice. \nBorrowing the term “autofiction” from literature\, this workshop investigates the cross-section of autobiography and fiction\, considering how this rich territory can spark inspiration for filmmakers. We will explore the innovative\, self-reflexive strategies filmmakers have invented to grapple with the complex relationship between self and representation. Embracing this tension\, we will share possibilities for reinvention and imagination\, looking closely at how filmmakers have used the devices of cinema to mediate personal experience and situate themselves in worlds both real and imagined. \nWe’ll ask questions like\, how can the moving image help us to question the narratives through which selfhood emerges? How can the self be crafted to probe larger social and political questions? \nFeaturing renowned filmmakers and visual artists who will share their own relationships to this framework\, we’ll leave inspired by a number of unique approaches and methodologies. Su Friedrich (Sink or Swim\, Today) will dive into how she has used fiction to refract experience through the lens of social identity. Laura Huertas Millán (El Laberinto\, Sol Negro) will expand on her practice of fictional\, decolonial (auto)ethnography and the strategies she has invented to explore her family history. Caveh Zahedi (In the Bathtub of the World\, I Am A Sex Addict) will discuss casting himself in his own work and depicting his real relationships on screen\, while Jennifer Montgomery (Art For Teachers of Children\, Transitional Objects) will unpack the use of fiction as a space to politically reframe personal experience. \nTogether\, we will consider the scripting and performance of the self in film\, but also the ways that images themselves function as fictions that are lived in everyday life. \nThis workshop is open to filmmakers\, film producers\, journalists\, media artists\, scholars and anyone who’d like to delve into the edges of documentary. \nSeats are limited\, so sign up today! \nNOTE: This workshop will require in-person participation from all participants. Each participant must present proof of vaccination. Any and all questions\, please reach out to raphaelle@uniondocs.org.\n[/vc_column_text][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/908863856″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801e6e6b-713c”][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, choreographers\, dancers\, performance and media artists looking to develop the cinematic languages with which they can represent and incorporate movement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801e6e6b-713c”][vc_column_text]$350 early bird registration by March 1st\, 2024 at 11:59PM. \n$400 regular registration. \nFor each workshop\, UnionDocs will offer the equivalent of 2 full scholarships for participants from historically marginalized backgrounds\, who are BIPOC\,  living with disabilities\, or NYC artists earning under 30% AMI (Area Median Income). \nApplicants should reach out to raphaelle@uniondocs.org in order to fill out a scholarship inquiry by February 12th\, 2024.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801e6e6b-713c”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until March 1st. After March 1st\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801e6e6b-713c”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801e6e6b-713c”][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of March 1st\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, Mar 8: 10:00AM – 7:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Welcome & intros\n10:30am – 12:30pm Intro session with Jessica Bardsley\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Su Friedrich\n4:00pm – 4:30pm Wrap Up Discussion with lead additional exercises / discussion\n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Mar 9: 10:00AM – 4:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case studies\n10:30am – 12:30pm Session with Laura Huertas Millán\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Jennifer Montgomery\n4:00pm – 4:30pm Wrap Up Discussion with lead\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Mar 10: 10:00AM – 4:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, eye training.\n10:30am – 12:30pm  Work-in-progress with Jessica Bardsley\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Caveh Zahedi\n4:00pm – 4:30pm Wrap Up Discussion with lead\, additional exercises / discussion[/vc_column_text][vc_separator color=”white”][/vc_column_inner][/vc_row_inner][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1707157370810-2ff0f0df-b297″][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, choreographers\, dancers\, performance and media artists looking to develop the cinematic languages with which they can represent and incorporate movement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1707157370837-4455911e-a85d”][vc_column_text]$350 early bird registration by March 1st\, 2024 at 11:59PM. \n$400 regular registration. \nFor each workshop\, UnionDocs will offer the equivalent of 2 full scholarships for participants from historically marginalized backgrounds\, who are BIPOC\,  living with disabilities\, or NYC artists earning under 30% AMI (Area Median Income). \nApplicants should reach out to raphaelle@uniondocs.org in order to fill out a scholarship inquiry by February 21st\, 2024.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1707157370866-5d507bda-a4d4″][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until March 1st. After March 1st\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1707157370897-92836fca-68fb”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1707157370928-78dbee21-3672″][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of March 1st\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, Mar 8: 10:00AM – 7:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Welcome & intros\n10:30am – 12:30pm Intro session with Jessica Bardsley\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Su Friedrich\n4:00pm – 4:30pm Wrap Up Discussion with lead additional exercises / discussion\n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Mar 9: 10:00AM – 4:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case studies\n10:30am – 12:30pm Work-in-progress with Jessica Bardsley\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Jennifer Montgomery\n4:00pm – 4:30pm Wrap Up Discussion with lead\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Mar 10: 10:00AM – 4:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, eye training.\n10:30am – 12:30pm Session with Laura Huertas Millán\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Caveh Zahedi\n4:00pm – 4:30pm Wrap Up Discussion with lead\, additional exercises / discussion[/vc_column_text][vc_separator color=”white”][/vc_column_inner][/vc_row_inner][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1707157358443-ab29f741-28cc”][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, choreographers\, dancers\, performance and media artists looking to develop the cinematic languages with which they can represent and incorporate movement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1707157358467-30fb08cd-996e”][vc_column_text]$350 early bird registration by March 1st\, 2024 at 11:59PM. \n$400 regular registration. \nFor each workshop\, UnionDocs will offer the equivalent of 2 full scholarships for participants from historically marginalized backgrounds\, who are BIPOC\,  living with disabilities\, or NYC artists earning under 30% AMI (Area Median Income). \nApplicants should reach out to raphaelle@uniondocs.org in order to fill out a scholarship inquiry by February 21st\, 2024.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1707157358492-69e8fd0f-04d0″][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until March 1st. After March 1st\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1707157358516-7cef4afe-c246″][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1707157358541-4a39e94d-c996″][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of March 1st\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, Mar 8: 10:00AM – 7:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Welcome & intros\n10:30am – 12:30pm Intro session with Jessica Bardsley\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Su Friedrich\n4:00pm – 4:30pm Wrap Up Discussion with lead additional exercises / discussion\n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Mar 9: 10:00AM – 4:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case studies\n10:30am – 12:30pm Work-in-progress with Jessica Bardsley\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Jennifer Montgomery\n4:00pm – 4:30pm Wrap Up Discussion with lead\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Mar 10: 10:00AM – 4:30PM” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, eye training.\n10:30am – 12:30pm Session with Laura Huertas Millán\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Caveh Zahedi\n4:00pm – 4:30pm Wrap Up Discussion with lead\, additional exercises / discussion[/vc_column_text][vc_separator color=”white”][/vc_column_inner][/vc_row_inner][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]First Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Second Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”148934″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jessica Bardsley (she/they) is an artist and scholar working across film\, writing\, and studio art. Her films have screened across the U.S. and internationally at festivals like Sundance\, CPH:DOX\, Visions du Réel\, EMAF\, RIDM\, True/False\, and on the Criterion Channel. She is the recipient of various awards\, including a Princess Grace Award\, Grand Prize at 25FPS\, the Eileen Maitland Award at the Ann Arbor Film Festival\, Best Short Film at Punto de Vista\, and numerous Harvard Film Study Center fellowships. Her first feature film\, The Cave Without a Name\, was a finalist for the 2022 Venice Biennale’s Cinema College. \nHer research and writing have been supported by the Radcliffe Institute for Advanced Study\, the Terra Foundation for American Art\, and the Henry Luce Foundation/American Council of Learned Societies. She received a Ph.D. in Film and Visual Studies from Harvard University and an M.F.A. from the School of the Art Institute of Chicago. She is Assistant Professor of Experimental Film and Media at NYU’s Tisch School of the Arts. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”149700″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nSince 1978\, Su Friedrich has produced and directed twenty-four 16mm films and videos\, including I Cannot Tell You How I Feel\, Gut Renovation\, From the Ground Up\, Seeing Red\, The Odds of Recovery\, Hide and Seek\, Sink or Swim\, Damned If You Don’t\, The Ties That Bind\, and Gently Down the Stream. Friedrich is the writer\, cinematographer\, director and editor of all her films\, with the exception of Hide and Seek\, which was co-written by Cathy Quinlan and shot by Jim Denault. Her films have won many awards\, including Grand Prix at the Melbourne Film Festival\, Outstanding Documentary Award at Outfest and Best Narrative Film Award at the Athens International Film Festival. She has received Rockefeller and Guggenheim Foundation fellowships\, numerous grants from the Jerome Foundation\, the New York Foundation for the Arts\, the New York State Council of the Arts and The Independent Television Service. She was also a recipient of the Alpert Award in the Arts. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”149772″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Caveh Zahedi is an autobiographical filmmaker whose feature-length films include The Sheik and I (2012)\, I Am A Sex Addict (2005)\, In The Bathtub of the World (2001)\, I Don’t Hate Las Vegas Anymore (1994)\, and A Little Stiff (1991). He is also the writer/director of the web series The Show About the Show as well as the writer and host of the podcast 365 Stories I Want To Tell You Before We Both Die. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”149771″ img_size=”full”][vc_column_text]Photo credit: Renato Cruz \n[/vc_column_text][/vc_column][vc_column width=”2/3″][vc_column_text]Laura Huertas Millán is a Colombian artist and filmmaker based in Paris\, France. Selected in major cinema festivals such as the Berlinale\, Toronto International Film Festival (TIFF)\, Rotterdam International Film Festival\, New York Film Festival and Cinéma du Réel\, her films have been awarded at the Locarno Film Festival\, FIDMarseille\, Doclisboa and Videobrasil\, among others. More than twenty retrospectives and focuses on her work have been organised internationally\, in cinematheques (Toronto ́s TIFF Lightbox\, Harvard ́s Film Archive\, Bogota ́s cinematheque\, Austrian Film Museum\, Tabakalera); museums (CA2M\, CCA Glasgow\, OCA Norway); film festivals (Mar del Plata\, Rencontres du Documentaire de Montréal\, FICUNAM\, Curtocircuito); and non-fiction seminars (The Flaherty seminar\, DocsKingdom). Her films have been featured in solo exhibitions at the MASP Sao Paulo\, Maison des Arts de Malakoff and Medellin ́s Modern Art Museum; in biennials such as the Liverpool Biennial\, FRONT Triennial\, Videonnale and ScreenCity Biennial; and screenings in museums such as the Centre Pompidou\, the Jeu de Paume\, the Solomon R. Guggenheim Museum. Her work is part of private and public collections such as KADIST\, CNAP\, Banco de la República de Colombia\, CIFO Miami\, and FRAC Lorraine. Since 2019\, she is part of the curatorial and research collective Counter Encounters\, which has developed projects at the Centre Pompidou and Tate Modern.  \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”149773″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jennifer Montgomery’s film titles include One Species Removed (2012)\, The Agonal Phase (2010)\, Deliver (2008)\, Notes on the Death of Kodachrome (2006)\, Threads of Belonging (2003)\, Transitional Objects (2000)\, Troika (1998)\, Art For Teachers of Children (1995)\, I\, a Lamb (1992)\, Age 12: Love With a Little L (1990)\, and Home Avenue (1989). Most recently\, she collaborated with the artist Josiah McElheny on a short film\, The Light Club of Vizcaya (2012). These films range from experimental essays to experimental features\, and are distributed by Zeitgeist Films\, Waterbearer Films\, Women Make Movies\, and Video Data Bank. Her work has shown at international festivals\, as well as the 2008 Whitney Biennial (NYC)\, MoMA (NYC)\, the Brooklyn Academy of Music\, the Gene Siskel Film Center (Chicago)\, the ICA (London)\, and the Walker Arts Center (Minneapolis). She has been the recipient of many grants\, including a Guggenheim Fellowship. \nTeaching experience includes professorships at Bard College\, the University of Illinois at Chicago\, Northwestern University\, Columbia College Chicago\, and Hampshire College. She has also held long-term lectureships at Barnard College and the Cooper Union School of Art.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2024-03-08-autofiction/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/01/Autofiction-gif.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240312T190000
DTEND;TZID=America/New_York:20240312T190000
DTSTAMP:20260408T095249
CREATED:20240220T174721Z
LAST-MODIFIED:20240229T205549Z
UID:10002835-1710270000-1710270000@uniondocs.org
SUMMARY:God Bless the Child
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Program 7:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]Offsite\nMicroscope Gallery\n525 W 29th St 2nd Floor\nNew York\, NY 10001[/vc_column_text][vc_btn title=”GET TICKETS!” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#0000cd” outline_custom_hover_text=”#ffffff” shape=”round” link=”url:https%3A%2F%2Fmicroscopegallery.ticketleap.com%2Fchristopher-harris-god-bless-the-child-a-multi-media-presentati%2Fdates%2FMar-12-2024_at_0700PM|title:GET%20TICKETS!|target:_blank”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]UnionDocs is delighted to come together with Microscope Gallery & Fordham University to welcome the brilliant Christopher Harris to NYC  for a multi-media presentation of an upcoming film and art project and Harris’s first autobiographical work\, “God Bless the Child.” The event will take place in person and online. \nIn “God Bless the Child\,” Harris draws directly from his infancy and experience as a foster child. Combining photos\, records\, and other materials from his personal archives with 16mm film footage he recently shot in Senegal\, Harris situates “the carcerality of the social welfare state and child services in relation to Black childhood in the US” within the broader context of the transatlantic slave trade and the French Catholic Church’s colonization of West Africa and the Americas. His hometown of St. Louis\, MO and Saint-Louis\, Senegal are presented as fraternal colonized twin cities. \nHarris says: “I was born on Easter Sunday to Mary Ellen Harris\, a Catholic woman who gave me the Greek derived name Christopher\, which means “bearing Christ.” I was still a newborn when the Catholic Charities Archdiocese of Saint-Louis\, MO became my legal guardian. I lived in a foster home for the first 16 years of my life\, spending 8th grade in a Catholic boarding school and junior and senior year of high school in a Catholic group home for boys run by Jesuit priests. In between the foster home and the group home\, I spent a few nights in juvenile detention because I had nowhere else to go.” \nThe archival materials — which include\, among many others\, records about Harris from the Archdiocese of Saint-Louis\, photos of his birth and foster mothers\, and a newspaper profile of him as a child available for adoption placed just above an ad for Lane Bryant shoes and other products — will eventually be edited into an experimental essay film along with additional footage Harris will soon be shooting in his hometown and in Paris. \nThe presentation is followed by an open conversation and Q&A with the audience. \nA special video installation/performance by Fordham professor Catalina Alvarez’s students featuring interviews\, field recordings\, and images of historical documents related to the destruction of the San Juan Hill neighborhood and Lincoln Square community in the 1950s to make way for Lincoln Center\, Fordham College\, and other developments will precede the event. Interviewees include Michael Nelson\, Neal Matticks\, Sandra Chestnut\, Harold Thomas and Marguerite Nelson. Student artists include: Nikki Estelami\, Reed Maruyama\, Matthias Lai\, Dana Ebralidze\, Nicole Miceli\, Manpreet Singh\, Luisa Gazio\, Helen Cahill\, Charlotte Marsden\, Fiona Nunn\, Johnny Morocho\, Kelly Stanton\, Lily Sood\, & Vanessa Hernandez. \nThis program is being supported by a Fordham University Faculty Challenge Grant and Interdisciplinary Research Grant\, as well as funding from Fordham’s Center for Community Engaged Learning. It’s a collaborative effort with Fordham University’s Visual Arts – Art and Engagement program\, and UnionDocs Center for Documentary Art.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nGod Bless the Child by Christopher Harris\n[/vc_column_text][vc_column_text]A multi-media presentation[/vc_column_text][vc_column_text]In “God Bless the Child\,” the artist’s first autobiographical work\, Harris draws directly from his infancy and experience as a foster child. Combining photos\, records\, and other materials from his personal archives with 16mm film footage he recently shot in Senegal\, Harris situates “the carcerality of the social welfare state and child services in relation to Black childhood in the US” within the broader context of the transatlantic slave trade and the French Catholic Church’s colonization of West Africa and the Americas. His hometown of St. Louis\, MO and Saint-Louis\, Senegal are presented as fraternal colonized twin cities.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150151″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Christopher Harris makes experimental films and video installations informed by Motown\, P-Funk\, bebop\, free jazz and beyond. Often drawing on archival sounds and images\, his work features staged re-enactments\, hand-cranked cameras\, rear-projection\, close-focus cinematography\, re-photography\, photochemical manipulations\, and screen captured video among other strategies. Like his production techniques\, his influences — among them Black literature\, avant-garde structuralist film\, and most significantly\, all forms of Black music—are eclectic. Working through incongruity and slippages\, between sound and image\, between past\, present and future\, and between absence and presence\, his films\, like the music from which they take inspiration\, embodies the existential complexities and paradoxes of racialized identity in the U.S. \nHis films have appeared widely at festivals\, museums and cinematheques\, including an upcoming solo screening at the 2024 Whitney Biennial. Previous screenings include solo shows at the Museum of Modern Art\, the Academy Museum of Motion Pictures\, the Locarno Film Festival\, and Arsenal Berlin\, a two-person screening with Su Friedrich at the Cinémathèque Française in Paris\, and group screenings at the New York Film Festival\, the International Film Festival Rotterdam\, and the Whitney Museum of American Art\, among many others. Harris is the recipient of the 2023 Herb Alpert Award in the Arts in Film/Video\, a 2015 Creative Capital Award and fellowships from the Mellon Foundation\, Radcliffe\, and Chrysalis. He currently lives in Iowa where he is the F. Wendell Miller Associate Professor in the Department of Cinematic Arts at the University of Iowa.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”148938″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Catalina Alvarez collaborates with citizens and actors to incorporate physical theater and social issues into films\, expanded cinema and virtual reality projects. Her films have screened at festivals including Slamdance\, Fantastic Fest\, New Orleans and Palm Springs\, and venues such as the ICA Philadelphia\, the San Diego Art Institute and the Museum of the Moving Image. She is a recipient of fellowships and residencies from the Flaherty Seminar\, the Virginia Center for the Creative Arts\, Rooftop Films\, Flux Factory and the Wexner Center for the Arts. Catalina grew up in a bilingual (Spanish and English) household. She currently teaches in the Visual Arts program at Fordham University\, where she is head of Art & Engagement.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1709240092475-1cd55fef-b113-1″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/god-bless-the-child-2024-03-12/
LOCATION:Microscope Gallery\, 525 W 29th St 2nd Floor\, Manhattan\, 10001\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/02/ezgif.com-animated-gif-maker.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240404T200000
DTEND;TZID=America/New_York:20240404T200000
DTSTAMP:20260408T095249
CREATED:20240220T233908Z
LAST-MODIFIED:20240403T160119Z
UID:10002833-1712260800-1712260800@uniondocs.org
SUMMARY:Relict: A Phantasmagoria
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/923423846″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]We are delighted to welcome experimental animator\, nonfiction filmmaker\, magic lanternist and educator Melissa Ferrari to UnionDocs! Melissa will be performing her incredible experimental documentary Relict: A Phantasmagoria with antique magic lanterns and hand-drawn animation.  \nInvoking the history of magic lantern phantasmagoria as an exercise in belief and perception\, Relict considers the zeitgeist of pseudoscience\, fake news\, religion\, and documentary ethics collapsed within contemporary cryptozoology. Adapting modern cryptozoological lore such as Bigfoot hunts and the Loch Ness Monster to hand-drawn magic lantern slides\, Relict employs the visual language of magic lantern phantasmagoria through slides based on antique designs\, including rackwork slides and dissolving views. \nThese pre-cinematic images are infused with the aesthetics of veracity in current nonfiction filmmaking\, including CGI speculative animated documentary\, thermal imaging\, and interventions of rotoscoped documentary re-enactment. Inspired by the magic lantern’s historical role as a tool for scientific lectures\, Relict wanders through histories of documentary animation used to visualize and legitimize monstrous creatures. The performance is nested in a collage of soundscapes\, including interviews with Dr. Brian Regal (Kean University)\, a leading historian of science on the politics of skepticism in cryptozoology; a recent creationist sermon; and excerpts of pseudoscientific wildlife documentaries. \nJessi DiTillio sums up the awe-inspiring nature of Ferrari’s project in X-TRA: \n“By featuring her own body as she produced the film\, instead of hiding behind the curtain like the proverbial Wizard of Oz\, Ferrari pointed to the sleight of hand essential to cryptozoology’s pseudoscience. This eccentric subject matter and its presentation—a combination of animation and found historic images—gelled perfectly\, expressing how such fantastic images can mesmerize us even as we’re aware of their fabricated nature.” \nCome through for the fantastical work as well as a conversation between Melissa and celebrated author Colin Dickey following the program. \nThis night is presented in partnership and with support from the great folks over at Science New Wave.  Check ’em out![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nRelict: A Phantasmagoria by Melissa Ferrari\n[/vc_column_text][vc_column_text]32 min\, Two-channel experimental documentary expanded cinema performed with magic lanterns &hand-drawn animation projections.  \n[magic lantern projection\, handmade wood\, acrylic & film lantern slides\, digital projection\, pre-recorded audio][/vc_column_text][vc_column_text]cryptozoology noun\ncryp·to·zo·ol·o·gy | \ ˌkrip-tə-zō-ˈä-lə-jē \, -zə-ˈwä-\\nThe study of and search for animals and especially legendary animals (such as Sasquatch) usually inorder to evaluate the possibility of their existence. \nRelict: A Phantasmagoria is an experimental documentary performed with antique magic lanterns and hand-drawn animation. Invoking the history of magic lantern phantasmagoria as an exercise in belief and perception\, Relict considers the zeitgeist of pseudoscience\, fake news\, religion\, and documentary ethics collapsed within contemporary cryptozoology.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 45 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150137″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Melissa Ferrari is an experimental animator\, nonfiction filmmaker\, magic lanternist and educator who seeks to acquaint folklores of the past with contemporary culture. In exposing peripheral histories\, she aims to unveil the wonder that lies in the shadow of nonfiction\, rather than fiction. Her practice engages with the mythification of science and pseudoscience\, the preternatural\, and the history of phantasmagoria. Originally from Virginia\, Melissa is now based in Los Angeles where she received an Experimental Animation M.F.A. from CalArts. Her films and magic lantern performances have been shown internationally in venues such as Hot Docs\, Hauser & Wirth LA\, Ottawa International Animation Festival\, and the Ann Arbor Film Festival. Recent awards for her lantern shows and films include the 2023 Dick Balzer Award\, the 2022 Damer E. Waddington Red Cabbage Award\, and the 2020 Science Sandbox Symbiosis Award. As a documentary animator\, Melissa specializes in handmade and experimental techniques. Her commissioned work has appeared on PBS\, BBC\, CNN\, and The New York Times. Melissa teaches courses and workshops on animation & expanded cinema\, and has been a lecturer at CalArts\, Whittier College\, Queens College\, Cal State LA\, and LACHSA. Melissa’s research focuses on the ethics and research methodologies of animated nonfiction.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150308″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] Colin Dickey is the author of five books of nonfiction\, including Ghostland: An American History in Haunted Places; The Unidentified: Mythical Monsters\, Alien Encounters\, and Our Obsession with the Unexplained; and\, most recently\, Under the Eye of Power: How Fear of Secret Societies Shapes American Democracy. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1710543605084-4dcf48b1-4dbe-4″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/relict-a-phantasmagoria-2024-04-04/
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/2024/02/UnionDocs-GIF-downsized_large.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:20240407T193000
DTEND;TZID=America/New_York:20240407T193000
DTSTAMP:20260408T095249
CREATED:20240313T193446Z
LAST-MODIFIED:20240502T212325Z
UID:10002837-1712518200-1712518200@uniondocs.org
SUMMARY:Non-Aligned Film Archives: Réou Takh
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/928591164″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]We’re thrilled to come together with Annabelle Aventurin to present Réou Takh by Mahama Johnson Traoré! Réou Takh is the name given to Dakar by Senegalese from the countryside. A Black American eager to return to his roots is surprised to find a Westernized\, depersonalized country. \nThis film will be presented within the Non-Aligned Film Archives programme\, an ongoing programme curated by researchers and archivists Léa Morin and Annabelle Aventurin in collaboration with Open City Documentary Film Festival. The project aims to create a space to share films that have been neglected and overlooked – important works\, many of which have been recently restored\, that have been marginalised from dominant cinematic narratives. Each session revolves around a single lost work that is instead invoked through other films that have survived. \nThe following programme is based on an unrealised project by poet and playwright Abdoul War and filmmaker Med Hondo : Notes pour une série télévisuelle de fiction sur l’histoire de l’Afrique noire (Notes for a fictional television series on the history of Black Africa).\nIn the late 1980s\, War and Hondo began working on a script for a 28-episode pre-colonial\, colonial and post-colonial history of Africa inspired by the writing of Burkinabe historian and politician Joseph Ki Zerbo. \nAnnabelle Aventurin and Elizabeth Ramírez-Soto will be in conversation following the screening. Come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nRéou Takh by Mahama Johnson Traoré\n[/vc_column_text][vc_column_text]| 1972 | Senegal | 46’ | 16mm (digital transfer) | French spoken\, English subtitles[/vc_column_text][vc_column_text]Réou Takh is the name given to Dakar by Senegalese from the countryside. A Black American eager to return to his roots is surprised to find a Westernized\, depersonalized country.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 46 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_column_text css=””] \nHear Annabelle Aventurin & Elizabeth Ramírez-Soto in conversation about restoration vs. restitution. \n[/vc_column_text][vc_video link=”https://vimeo.com/942128562?share=copy” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150414″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Annabelle Aventurin is a Paris-based film archivist. She worked on the preservation and distribution of films by director Med Hondo at Ciné-Archives\, the audiovisual fund of the PCF and the workers’ movement between 2020 and late 2023. She is also a programmer for various festivals and venues. In 2022\, she completed her first documentary film\, LE ROI N’EST PAS MON COUSIN cousin screened at numerous international festivals.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150419″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Elizabeth Ramírez-Soto is Assistant Professor in the Department of Communication and Media Studies at Fordham University. Prior\, she worked in the School of Cinema at San Francisco State University. She is the author of (Un)veiling Bodies: A Trajectory of Chilean Post-Dictatorship Documentary (Legenda\, 2019) and coeditor of Nomadías: El cine de Marilú Mallet\, Valeria Sarmiento y Angelina Vázquez (Metales Pesados\, 2016). Her work has appeared in journals like Film Quarterly\, Feminist Media Histories\, and Jump Cut\, as well as in numerous edited collections. Elizabeth is currently working on a book tentatively titled Transnational Experimental Television: The Global South on European Screens\, for which she received a Summer Stipend from the National Endowment for the Humanities. She is cofounder of the Latin American Women’s Audiovisual Research Network\, RAMA.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1714684902840-5a1d7539-fac5-4″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/reou-takh-2024-04-07/
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/2024/03/UnionDocs-GIF-downsized_large-3.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:20240414T193000
DTEND;TZID=America/New_York:20240414T193000
DTSTAMP:20260408T095249
CREATED:20240314T185354Z
LAST-MODIFIED:20240402T235642Z
UID:10002841-1713123000-1713123000@uniondocs.org
SUMMARY:Memories of Southern China 南方记忆
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:00p\nProgram 7:30p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/929121925″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]UnionDocs is delighted to co-present the inaugural screening of the series Nooks & Crannies 犄角旮旯! \nNooks & Crannies 犄角旮旯 is a curated series of screenings and events showcasing diverse works by emerging Chinese filmmakers. We hope to offer local audiences an immersive journey into the myriad perspectives and talents shaping contemporary cinema in China and around the world. By eventizing the in-person\, moviegoing experience\, “Nooks and Crannies” fosters meaningful connections and dialogue through the shared experience of in-person screenings. \nThe inaugural screening presents a program titled Memories of Southern China 南方记忆. The program presents short films directed by four emerging filmmakers\, all hailing from the city of Wenzhou in southern China. “Memories of Southern China” evokes an air of nostalgia as each film tackles what it means to come of age in South China during different periods from the 1980s & 90s to the present. \nIn “Winter by the River\,” Shuyao shares the experience of an adolescent boy’s exploration of love and sex in the 1980s. In “Gugu\,” Rae details the internal turmoil of a young girl as she calculates whether to tell a lie for the first time ever. In “Will You Look at Me\,” Shuli reminisces about his return home\, from NYC to Wenzhou\, where he and his mother engaged in a complicated\, intimate\, and heart-wrenching conversation. In “Northern Lights\,” Hangcheng tells the present-day story of a young hairstylist’s chance encounter with a new client\, an aspiring artist. \nThese short films collectively explore the tensions between the filmmakers’ own generation and that of their parents\, and they illustrate the diverse yet interconnected experiences of those who\, like the four filmmakers here\, left their home for the United States on the tide of globalization. “Memories of Southern China” is an inspiring collection that reconstructs and explores the past\, while journeying into the present. In so doing\, “Memories of Southern China” opens a window to the future based on what has been learned.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nWinter by the River 冬日河\nDirector: Shuyao Chen 陈力格\n[/vc_column_text][vc_column_text]14 min\, 2022\, China/USA\, Chinese (Mandarin) w/ English subtitles[/vc_column_text][vc_column_text]A young boy’s fantasy about love towards an older woman is disenchanted when he is faced with the reality of intimacy.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nGugu 奇怪的果\nDirector: Rae Hu 胡乐瑞\n[/vc_column_text][vc_column_text]30 mins\, 2022\, Hong Kong\, China\, Chinese (Wenzhou Dialect)\, Chinese (Mandarin) w/English Subtitles[/vc_column_text][vc_column_text]Set in the backdrop of ’90s Wenzhou\, a young girl Gugu lies to her parents for the first time. She comes to understand the life and the secrets of her father\, who tries to set up an overseas business throughout the day trip with her. At the end of the day\, she has to conceal the incidents when facing her mother. Through Gugu’s eyes\, this film demonstrates the unique childhood memories of children born in the ever-changing ’90s Wenzhou. Stirring feelings of guilt and nostalgia\, the film explores life in China during large-scale economic reform and a childhood with absent parents.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nWill You Look At Me 当我望向你的时候\nDirector: Shuli Huang 黄树立\n[/vc_column_text][vc_column_text]20 mins\, 2022\, China\, Chinese (Mandarin) w/ English subtitles[/vc_column_text][vc_column_text]As a young Chinese filmmaker returns to his hometown in search of himself\, a long-due conversation with his mother dives the two of them into a quest for acceptance and love.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nNorthern Lights 极光\nDirector: Hangcheng Xu 徐航澄\n[/vc_column_text][vc_column_text]15 mins\, 2022\, China\, Chinese (Mandarin) w/ English subtitles[/vc_column_text][vc_column_text]Wei\, an assistant hairdresser\, meets Miao\, an aspiring artist. As Miao takes Wei to see her “northern lights\,” Wei changes his attitude toward embracing the unknown.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 79 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150489″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Shuyao Chen\, a.k.a. 陈力格\,was born and raised in Wenzhou\, a coastal city in southeast China. She moved to New York in 2018 to pursue a MFA degree at NYU graduate film after she completed her study in photojournalism at Penn State. With prior experience in journalism and documentary filmmaking\, she has good instincts on subtle emotions in human behaviors which often times serve as the inspiration for her narrative filmmaking work.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150487″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rae Hu 胡乐瑞 is a director from China\, based in Hong Kong and Shanghai. Her debut film GUGU tells the story of a young girl who starts lying to her parents for the first time. She has created commercial work for Yong Master Brewery\, Handsome Factory Barbershop\, Yuet Tung China Work\, etc.\, and is currently working on several feature-length screenplays. She has honed her craft in Asia\, Europe\, and the U.S.\, and she speaks four languages fluently.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150488″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Shuli Huang 黄树立 is a Chinese writer\, director\, and cinematographer living in New York. He studied cinematography at the Beijing Film Academy and film directing in the Graduate Film Program at New York University. His short film\, Will You Look At Me\, premiered at the 61st Semaine de la Critique where it was awarded Queer Palm of Festival de Cannes 2022. Goodbye First Love\, his latest short film premiered in competition at the Berlinale Shorts 2024.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150486″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Hangcheng Xu 徐航澄 is a Chinese filmmaker based in New York City and China. She received her MFA in Film Production from Columbia University in 2024. She loves capturing people’s experiences in relation to time\, places\, and cultures.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1712101840095-30826e07-ff64-4″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/memories-of-southern-china-%e5%8d%97%e6%96%b9%e8%ae%b0%e5%bf%86-2024-04-14/
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/2024/03/UnionDocs-GIF-downsized_large-7.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:20240418T200000
DTEND;TZID=America/New_York:20240418T200000
DTSTAMP:20260408T095249
CREATED:20240315T155626Z
LAST-MODIFIED:20240403T161705Z
UID:10002840-1713470400-1713470400@uniondocs.org
SUMMARY:Echoes of Ji.hlava: Photophobia
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/929130617″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]UnionDocs is thrilled to co-present Photophobia by Ivan Ostrochovský and Pavol Pekarčík in partnership with the 7th edition of Echoes of Ji.hlava International Documentary Film Festival (IDFF) and the Czech Center in NYC. \nIn the spring of 2022\, Kharkiv metro is transformed into an experimental laboratory. Everything is reversed here – life and safety below\, death and destruction above. In the middle of it all\, children grow up like flowers in a greenhouse. Without fresh air\, without day and night\, the world has frozen into a surreal landscape that is more like a movie or a dream. This lyrical portrait of life in the midst of war\, included as a special screening at the Venice Film Festival\, captures a society in limbo. On the surface\, the apocalypse rages\, the world we know turns into a memory\, a past\, a mirage\, a waiting room without time\, and in its place there is nothing. \n“That was why we decided to find something most closely approaching ‘ordinary life’ and preserve it to the best of our abilities: to find a moment of genuine humanity at a time of devastating horror.”\nQuote from Giornate degli Autori. \nWe’re delighted that Co-director Pavol Pekarčík will be in attendance for a conversation following the film.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nPhotophobia\n[/vc_column_text][vc_column_text]71 mins\, 2021[/vc_column_text][vc_column_text]In the spring of 2022\, Kharkiv metro is transformed into an experimental laboratory. Everything is reversed here – life and safety below\, death and destruction above. In the middle of it all\, children grow up like flowers in a greenhouse. Without fresh air\, without day and night\, the world has frozen into a surreal landscape that is more like a movie or a dream. This lyrical portrait of life in the midst of war\, included as a special screening at the Venice Film Festival\, captures a society in limbo. On the surface\, the apocalypse rages\, the world we know turns into a memory\, a past\, a mirage\, a waiting room without time\, and in its place there is nothing. \n“That was why we decided to find something most closely approaching ‘ordinary life’ and preserve it to the best of our abilities: to find a moment of genuine humanity at a time of devastating horror.” — Giornate degli Autori.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 71 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150442″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Ivan Ostrochovský (1975)\, Slovak director\, screenwriter and producer\, graduated from the Department of Audiovisual Studies and Documentary Directing at the Academy of Performing Arts in Bratislava. He made his documentary debut Velvet Terrorists (IDFF Ji.hlava 2013) together with his classmate Pavel Pekarčík. His feature films Goat and Servants competed at the Berlinale.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150443″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Pavol Pekarčík (1972)\, Slovak director and screenwriter\, studied documentary directing at the Academy of Performing Arts in Bratislava. He collaborated with Ivan Ostrochovský on the short films Minor Evil\, The Wind and Karakorum before making their debut together (IDFF Ji.hlava 2013). His independent film Silent Dayscompeted in the Eastern Promises section at the Karlovy Vary Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1712155981455-c4301b2c-7fa8-5″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/echoes-of-ji-hlava-2023-photophobia-2024-04-18/
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/2024/03/UnionDocs-GIF-downsized_large-5.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:20240421T190000
DTEND;TZID=America/New_York:20240421T220000
DTSTAMP:20260408T095249
CREATED:20240317T192050Z
LAST-MODIFIED:20240411T231516Z
UID:10002842-1713726000-1713736800@uniondocs.org
SUMMARY:Queer Ecologies
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 6:30p\nProgram 7:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/930320445″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]We’re thrilled to come together with the American LGBTQ+ Museum\, in partnership with the Incite Institute at Columbia University for Queer Ecologies\, a unique night that celebrates the intersection of the natural world and the LGBTQ+ community. Programmed with writer / art historian specializing in queer art and culture Ksenia M. Soboleva\, this program features a curated selection of films and oral histories highlighting diverse perspectives on nature\, identity\, and personal journeys within the LGBTQ+ spectrum. \nThis selection of thought-provoking films and intimate storytelling explores connections between the natural world and queer experience\, from Sasha Wortzel’s punk rock fairytale that brings to life the portraiture of Shoog McDaniel — a fat\, queer\, and disabled photographer working in and around northern Florida’s vast network of freshwater spring\, to what Soboleva describes recently in Bomb Magazine as Amina Ross’s “deeply visceral\, imagery…[that] heightens viewers’ awareness of the relationship to their own body and its movements through a world that is seemingly more concerned with demolishing than building.”  \nWe’ll also be invited to listen in on a sample from J. Wortham’s forthcoming oral history project that delves into elders resilience amidst changing tides and explore Ohan Breiding’s reflection on collective care and memory through the telling of the Rhône glacier and Rhône river that connects the Swiss Alps to the Mediterranean Sea.  \nEach work uniquely sheds light on the beauty\, challenges\, and resilience often found within the these intersections between our natural world and identity.  \nWhether you are a nature enthusiast\, an LGBTQ+ ally\, or someone interested in engaging this notion of queer ecologies\, this event offers a space for reflection\, celebration\, and meaningful dialogue.  Join us as we delve into compelling stories that inspire\, educate\, and amplify voices often underrepresented in mainstream media at the crossroads of nature and LGBTQ+ experiences.  \nA conversation will follow the program with featured artists Amina Ross\, Sasha Wortzel\, Ohan Breiding & J.Wortham moderated by Suhaly Bautista-Carolina Director of Public Programs & Partnerships at the American LGBTQ+ Museum.   \nSpecial thanks to Baldwin for the Arts and the rest of our collaborators Kenia Hale (Incite Institute)\, Michael Falco (Incite Institute)\, & SC Lucier (American LGBTQ+ Museum) for all their efforts to bring together this celebratory night of works. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nBelly of a Glacier: Chapter 2 (Rhône) by Ohan Breiding\n[/vc_column_text][vc_column_text]14:15 mins\, 2023\, 2k video\, 16mm\, sound[/vc_column_text][vc_column_text]Belly of a Glacier: Chapter 2\, Rhône (2023) uses experimental documentary strategies to reflect on the Rhône glacier and Rhône river that connects the Swiss Alps to the Mediterranean Sea. During the last three springs\, the neighboring Rhône glacier town residents have draped thermal blankets over the five-acres long glacier. This is a community-initiated project that insulates the Alpine landscape from the rising temperatures\, and experiments with new strategies of ecological care as the Rhône is predicted to have fully disappeared by 2050. Belly of a Glacier: Chapter 2\, Rhône translates a hyperobject–an object or event whose dimensions in space and time are massive in relation to a human/animal life–into haptic imagery of melting ice\, disintegrating fabric\, photographs of photographs my mother took on the Rhône glacier during my childhood and the bovidae that rely on the glaciers water for survival. Beginning with a cow birth that poetically connects to the climactic calving of a glacier\, this video offers a new conception of time (beyond the linear)\, and place (beyond fixity). Through a focus on affect\, the memory of ice and collective care\, I gesture towards a trans reimagining of our material world and amplify the current state of climate emergency.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nHow to Carry Water by Sasha Wortzel\n[/vc_column_text][vc_column_text]This punk rock fairytale doubles as a portrait of Shoog McDaniel — a fat\, queer\, and disabled photographer working in and around northern Florida’s vast network of freshwater springs\, the state’s source of precious drinking water. For over a decade\, Shoog’s photographs have transformed the way fat people view themselves and how a fat phobic society views fat bodies. Bringing Shoog’s photography to life\, the film immerses audiences in a world of fat beauty and liberation\, one in which marginalized bodies — including bodies of water — are sacred.[/vc_column_text][vc_column_text]14:25 mins[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nWaterfront Queer Stories: Elders Resilience Amidst Changing Tides by J. Wortham (sample)\n[/vc_column_text][vc_column_text]This project is produced out of the “I See My Light Shining: Baldwin-Emerson Elders Project.” [/vc_column_text][vc_column_text]4 mins[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \n “I am under” by Amina Ross\n[/vc_column_text][vc_column_text]In I am under the rock\, Ross constructs a multisensory environment comprising reclaimed materials\, video and experimental audio\, all in dialogue with the architecture of the space\, and particularly the arched windows. Extending their interest in “the underground” from their recent work Man’s Country\, about a former\, queer bathhouse\, Ross’s project develops a realm for marginalized figures to exist and thrive in safety and to exercise agency. Negotiating vulnerability and resiliency\, Ross draws connections with spirituality and subterranean networks in the natural world. Ross contemplates being a part of the land—“beneath the earth and made of earth”—rather than extracting from it or overlooking it.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 79 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150495″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Amina Ross is an artist\, educator and lifelong learner who makes videos\, sculptures\, sounds\, and situations. Their work has been recently exhibited at Someday (New York\, NY)\, the Hessel Museum of Art (Hudson\, NY)\, the Tang Teaching Museum (Saratoga Springs\, NY) and Sentiment (Zurich\, CH) among other venues. In the summer of 2023 they were a featured artist at the 68th annual Flaherty Film Seminar: Queer World Mending and in winter of 2024 they were a Macdowell Fellow. Currently\, Ross is the 2023-2024 Estelle Lebowitz Artist in Residence at Douglass College\, Rutgers University. They recently completed residencies at Fire Island Artist Residency\, Lower East Side Printshop\, Skowhegan School of Sculpture and Painting\, Wave Hill\, Abrons Art Center\, and Harvestworks among others. They hold a BFA from School of the Art Institute of Chicago and an MFA from Yale School of Art\, where they received the Fannie B. Pardee Prize in sculpture. \nAs an educator\, Ross approaches the classroom as a site where they can co-create critical agency with students. They have taught at the Museum of Contemporary Art\, Chicago\,The School of the Art Institute of Chicago\, Rhode Island School of Design\, Parsons School of Design\, The New School\, and Vassar College. \nRoss lives and works in Brooklyn\, New York.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150494″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nSasha Wortzel uses video\, installation\, sculpture\, sound\, and performance to explore how this country’s past and present are inextricably linked through resonant spaces and their hauntings. Raised in South Florida (Miccosukee and Seminole lands) and based in New York City (Lenape lands)\, Wortzel specifically attends to sites and stories systematically erased or ignored from these regions’ histories. Tangled dynamics of desire and loss layered in the landscape and reverberating across time form a through-line in her work. \nWortzel’s films have screened at the Museum of Modern Art’s DocFortnight\, CPH:DOX\, True/False Film Festival\, San Francisco International Film Festival\, DOC NYC\, BAMcinemaFest\, New Orleans Film Festival\, Wexner Center for the Arts\, and Smithsonian American Art Museum\, among others. Solo exhibitions include Dreams of Unknown Islands at Cooley Memorial Art Gallery with Portland Institute of Contemporary Art\, Portland\, OR (2022) . \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150493″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Ohan Breiding works in photography\, drawing\, video\, and collaboration to represent subjects that are marked deviant or illegible\, and to experiment with forms of world-making that offer an alternative to state sanctioned legitimation. Breiding attended Scripps College\, the Glasgow School of Art and received their Masters from CalArts. \nThey have exhibited work at art venues and museums including LAMAG (Los Angeles)\, Photo LA (Los Angeles)\, LAXART (Los Angeles)\, Human Resources (Los Angeles)\, Elga Wimmer Gallery (New York)\, the Armory Center for the Arts (Pasadena)\, Southern Exposure (San Francisco)\, the Berkeley Art Museum and Pacific Film Archive (Berkeley)\, the Yerba Buena Center for the Arts (San Francisco) and the Oakland Museum of California (Oakland). Breiding is a recipient of the 2017 Rema Hort Mann Emerging Artist Grant\, and their work has been written about in Artforum\, Hyperallergic\, and Art in America amongst other publications. Originally from a small village in Switzerland\, Ohan Breiding currently lives and works in Los Angeles\, CA and Williamstown\, MA where they are an Assistant Professor of Art and Art History at Williams College.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150532″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]J. Wortham (they/them) is a sound healer\,\, reiki practitioner\, herbalist\, and community care worker oriented towards healing justice and liberation. \nJ is also a staff writer for The New York Times Magazine\, and co-host of the podcast ‘Still Processing\,’ They occasionally publish thoughts on culture\, technology and wellness in a newsletter. \nJ is the proud editor of the visual anthology “Black Futures\,” a 2020 Editor’s choice by The New York Times Book Review\, along with Kimberly Drew\, from One World. J is also currently working on a book about the body and dissociation for Penguin Press. J mostly lives and works on stolen Munsee Lenape land\, now known as Brooklyn\, New York\, and is committed to decolonization as a way of life.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150534″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Suhaly Bautista-Carolina (she/they/we/us) joined the American LGBTQ+ Museum in February 2023. Prior to our museum\, Suhaly acted as the Senior Managing Educator of Audience Development and Engagement in the Metropolitan Museum of Art’s education department. Additionally\, Suhaly has held roles at the Caribbean Cultural Center African Diaspora Institute (CCCADI)\, Creative Time\, and Brooklyn Museum and has worked in various capacities with organizations including The Laundromat Project\, ArtBuilt\, and ArtChangeUS. She has curated exhibitions and public programs in collaboration with Myrtle Avenue Brooklyn Partnership\, Art Connects New York (ACNY)\, FOKUS\, and NYC Salt and is one of 50 field leaders profiled in Jasmin Hernandez’ 2021 book\, “We Are Here: Visionaries of Color Transforming the Art World.” \nHer herbalism practice\, as Moon Mother Apothecary\, has been featured in The New York Times\, Oprah Magazine\, and People en Español among others. Suhaly has presented her work as an arts educator and community organizer at conferences around the world including MuseumNext\, ArtPrize\, Open Engagement\, Culture Push\, The New York City Arts in Education Roundtable\, and POW Arts (Professional Organization of Women in the Arts). She is an executive board member of Weeksville Heritage Center in Brooklyn\, NY\, a national executive board member at ArtTable\, and Catalyst Co-Chair of The Laundromat Project. She is also a founding member of the arts collective\, present futures\, a member of Black Women Artists for Black Lives Matter\, and founder of BlackMagic Afrofuturism Book Club. \nSuhaly was recently named a 2021 Women inPower Fellow with the 92Y Belfer Center for Innovation and Social Impact and is a member of the inaugural class of NYFA’s Incubator for Executive Leaders of Color. She earned her BA and MPA from New York University and lives in her native city of New York with her wife and their daughter\, Luna.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150537″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Dr. Ksenia M. Soboleva is a New York based writer and art historian specializing in queer art and culture. She holds a PhD from the Institute of Fine Arts\, NYU\, with a dissertation on art\, AIDS\, and lesbian identity in the United States. Currently\, she is working on a book project titled “Friendship as a Way of Art: Queer Identity and Visual Citation\,” and co-editing the first monograph of the queer 1990s gallery Trial BALLOON (forthcoming with Karma). Soboleva is a regular contributor to the Brooklyn Rail and BOMB magazine\, and her writings have appeared in various exhibition catalogues and artist monographs. She teaches at the New School and NYU.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1712246253872-14775130-bbf8-7″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2024-04-21-queer-ecologies/
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/2024/03/UnionDocs-GIF-downsized_large-9.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:20240503T190000
DTEND;TZID=America/New_York:20240503T190000
DTSTAMP:20260408T095249
CREATED:20240402T001524Z
LAST-MODIFIED:20240601T015350Z
UID:10002845-1714762800-1714762800@uniondocs.org
SUMMARY:Feeble Transmitters
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]7:00p[/vc_column_text][vc_btn title=”FREE RSVP” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”left” link=”url:https%3A%2F%2Fpartiful.com%2Fe%2F1wOwVmMCDt7AQl8GJTEr”][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]We’re delighted to invite you to the opening of Feeble Transmitters\, a two-person exhibition of works by Tara Aliya Kesavan and Indranil Choudhury.  \nThe show features paintings\, ceramic sculptures\, and hybrid objects punctuated with speakers\, screens\, and projections. The artists invite the viewer into a world filled with feeble transmitters – devices studded with diminutive portals\, gently dispatching sounds and images from other places. \nNote: The week-long show will also feature two live events\, programmed around the themes explored in the show. RESONANT CHAMBERS will present an evening of live sound performances on a quadraphonic sound system\, featuring artists that investigate the materiality of sound as central to their practice. LIGHT FROM THE OTHER SIDE features a screening of two films exploring the origins of cinema by Zoe Beloff that are shot on 3D B/W 16mm film. Come through![/vc_column_text][vc_empty_space height=”30px”][vc_separator][vc_column_text css=””] \nExhibition Note \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_column_text css=””]In this series of paintings\, Kesavan chronicles the emergence of the image of the urban\, working woman in India. They feature subjects who are absorbed in their daily tasks\, at times interacting with apparatus common to laboratory and office environments. Kesavan freezes these passing moments using loose\, diaphanous layers of paint. Their swimming surfaces throw these ordinary vignettes into more enchanted territory. The figures seem to occupy a moment suspended in time\, their interiority taking precedence over a steady grounding in time and space. \nShe draws from public and personal records to access this visual imaginary. This includes state sponsored documentary films from the 1950’s – 1970’s modeling the image of the “modern Indian working woman” in a newly independent India; accounts about the life of Saeeda Bano\, the first professional female news broadcaster in India; feature films like Mahanagar by Satyajit Ray; as well as stories of her grandmother’s working life as an acoustical engineer at All India Radio\, India’s public radio broadcaster. \nKesavan’s sculptures present forms that mix soft curves and lines that evoke the body with the precise cuts and openings of technological devices. Embedded with small\, glimmering openings of light and moving images\, they stand with one foot in sculptural space and one foot in media space.[/vc_column_text][vc_column_text css=””]The acoustic horn is a motif in Choudhury’s sculptures. Perhaps the most universal sign of sound\, the simple yet inviting form beckons viewers to peer into openings that rupture the logic of physical space. Soft trails of sound emanate out of these forms\, drawing our attention back to the clay bodies that hold them\, literally shaping the sound as it emerges. \nChoudhury will also present a series of acrylic pieces that occupy a space between manufactured objects and organic forms. He draws on the material culture of industrial design in audio\, and explores the relationships and rituals that people have with consumer technology.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150640″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Indranil Choudhury is an artist from Kolkata\, currently based in Brooklyn. His work spans moving images\, sound\, sculpture\, and installation. He has shown work with Locust Projects\, Miami\, Queens Public Library\, and Jamaica Center for Arts and Learning. He is an MFA candidate at Hunter College’s Integrated Media Arts MFA program. He teaches filmmaking\, podcasting\, and new media at Marymount Manhattan College. He is currently an artist in residence at the Fat Cat Fab Lab makerspace.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150642″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Tara Aliya Kesavan is an artist from New Delhi\, currently based in New York. She works across painting\, sculpture and video. She has exhibited work at Locust Projects\, UnionDocs and Center for Performance Research. She teaches at the Film and Media department at Marymount Manhattan College. She helps produce screenings and events at UnionDocs\, a center for documentary art in Ridgewood\, Queens. She holds an MFA from Hunter College\, CUNY.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1717206808280-ca50105f-c27f-8″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/feeble-transmitters-2024-05-03/
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/2024/04/IMG_1898-scaled.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240505T193000
DTEND;TZID=America/New_York:20240505T193000
DTSTAMP:20260408T095249
CREATED:20240402T162215Z
LAST-MODIFIED:20240417T194548Z
UID:10002843-1714937400-1714937400@uniondocs.org
SUMMARY:Resonant Chambers
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We are thrilled to invite you to an evening of live sound performances featuring sound artists Jenn Grossman\, Shelley Hirsch\, and Hans Tammen. \nJenn Grossman uses a range of materials in her practice including pipes\, tubes\, amplified fans to create sound sculptures\, installations\, and object-based performances. Her work explores the psycho-spatial\, surreal\, affective\, and transcendent potentials of sensory media.  Jenn will present a performance: ‘reflective vessels’ that stretches the material dimensions of amplified sound objects/instruments\, (industrial tubing\, fans\, sine tones\, synths) embedded in a quadraphonic soundscape of ethereal tones and textures.  \nIn Eigengrau\, Tammen and Hirsch play with spontaneity in form as they respond to each others’ improvisations. Eigengrau is the color you see when you close your eyes. Tammen uses his inquisitive approach to musical instruments as objects\, and uses transducers to tease out overtones and noises from guitars. Hirsch uses her signature extended vocal techniques\, devised over decades of experimentation\, dipping in and out of singing\, storytelling\, and using the voice as an instrument. \nThe evening’s performances will be presented on a quadraphonic sound system. We’re embracing the DIY ethos that artists have taken to appropriating the often inaccessible domain of spatial audio. \nPresented in conjunction with Tara Aliya Kesavan and Indranil Choudhury’s exhibition FEEBLE TRANSMITTERS\, the evening’s performances center experiencing the tactile and material dimensions of sound.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nEigengrau\n[/vc_column_text][vc_column_text]Sound Performance[/vc_column_text][vc_column_text]In Eigengrau\, Tammen and Hirsch play with spontaneity in form as they respond to each others’ improvisations. Eigengrau is the color you see when you close your eyes.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n‘reflective vessels’ \n[/vc_column_text][vc_column_text]Sound Performance[/vc_column_text][vc_column_text css=””]‘reflective vessels’ stretches the material dimensions of amplified sound objects/instruments\, (industrial tubing\, fans\, sine tones\, synths) embedded in a quadraphonic soundscape of ethereal tones and textures.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 60 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150842″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jenn Grossman is an audiovisual artist\, composer\, and sound sculptor based in Brooklyn\, NY. She is concerned with the expansive physical and psycho-spatial potentials of sensory media within a culture of commodification\, expanding the “every-day” into affective/emotive/expressive vessels and transportive experiences. She explores themes of disorientation\, staged synchronicity\, cyclical time\, the surreal\, and other-worldly. Her work has taken the form of sound sculpture\, audiovisual installation/performance\, video\, light events\, public interventions\, and spatial audio compositions. She’s held residencies at I-Park Foundation\, Harvestworks Digital Media Arts Center\, presented audio works & research at venues and festivals such as the Black Mountain College Museum\, the Museum of the Moving Image\, the Megapolis Audio Festival\, Cistern Dreams at the Deep Listening Institute\, the Global Composition Conference at Darmstadt amongst many NYC venues and galleries. Recently\, her work’s been presented at SARC’s Sonic Lab\, Roulette’s MATA festival\, the Light Matter Film Festival\, and the Re-embodied Sound Symposium at EMPAC in Troy\, NY.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150721″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nBorn and raised in East New York Brooklyn\, Vocal Artist\, Performer\, Composer\, Storyteller\, Interdisciplinary Artist Shelley Hirsch has been pushing boundaries with her unique vocal art and performance work\, drawing on her life experiences\, her memory\, her vivid imagination for decades. The New York Times called her “A woman of a thousand voices… She offered an enthralling demonstration of the way songs\, vocal styles and language might have evolved out of more primal musical impulses”. Hirsch’s multimedia performances\, compositions\, improvisations\, electronic music pieces\, sound installations\, collaborations and radio plays have been presented at concert halls\, museums\, theaters\, galleries\, clubs\, radio\, worldwide in venues including Alice Tully Hall\, Roulette\, Experimental Intermedia Foundation and CBGB’s in NYC; Experimenta Festival in Buenos Aires\, What is Music? Festival Melbourne Australia; Beyond Innocence Festival in Kobe Japan; City of Women Festival Llubliana Slovenia; Dom Cultural Center Moscow; Akademie Der Künste Berlin; Next Festival Bratislava Slovakia; Time Festival Ghent\, Belgium; Angelica Festival Bologna Italy\, All Ears Festival Oslo Norway; Red House Sofia Bulgaria; Taktlos Festival Bern Switzerland; New Music America Festival Helena Montana\, TBA Festival Portland Oregon\, and hundreds more.. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150580″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Hans Tammen is just another worker in rhythms\, frequencies and intensities. He likes to set sounds in motion\, and then sit back to watch the movements unfold. Using textures\, timbre and dynamics as primary elements\, his music is continuously shifting\, with different layers floating into the foreground while others disappear. This flows like clockwork\, “transforming a sequence of instrumental gestures into a wide territory of semi-hostile discontinuity; percussive\, droning\, intricately colorful\, or simply blowing your socks off” (Touching Extremes). \nHe performs regularly with prepared and microtonal guitars\, Buchla Music Easel\, and a Blippoo Box chaos synthesizer. He also performs with various pieces of software of his own design\, made for the interactive processing of various objects or instruments. He regularly writes for large ensembles\, notably his 18-piece chamber-jazz ensemble Third Eye Orchestra\, and the all-electronic Dark Circuits Orchestra\, both founded in 2005. In 2021 FLUX String Quartet commissioned him to write a large work for string quartet and live electronics.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1713381196407-cb85787f-d7b5-8″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/resonant-chambers-2024-05-05/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-10.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:20240509T193000
DTEND;TZID=America/New_York:20240509T193000
DTSTAMP:20260408T095249
CREATED:20240402T165408Z
LAST-MODIFIED:20240509T173507Z
UID:10002847-1715283000-1715283000@uniondocs.org
SUMMARY:Light from the Other Side
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]We are delighted to invite you to an evening of cinema and conversation with the brilliant Zoe Beloff!  \nWe’ll screen two of Zoe’s films – Shadow Land or Light from the Other Side and Charming Augustine. \nThe title and the narrative of Shadow Land or Light from the Other Side are taken from the 1897 autobiography of Elizabeth d’Espérance\, a materializing medium who could produce full body apparitions. Charming Augustine presents an experimental narrative based on the case of a young patient\,  Augustine who was documented in a series of photographs and texts on hysteria published in the 1880’s under the title of the Iconographie photographique de la Salpêtrière. Both films explore the origins of cinema from a feminist and psychological perspective. \nThe films are shot on 3D B/W 16mm film. We’ll be setting up a silver screen\, 16mm projector and will provide 3D glasses to all\,  come through to witness the unique and rare wonder of stereoscopic film! \nThis screening is presented in conjunction with Tara Aliya Kesavan and Indranil Choudhury’s exhibition FEEBLE TRANSMITTERS. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nShadow Land or Light from the other Side\n[/vc_column_text][vc_column_text]32 minutes\, 2000\, 3D B/W 16mm[/vc_column_text][vc_column_text]The title and the narrative are taken from the 1897 autobiography of Elizabeth d’Espérance\, a materializing medium who could produce full body apparitions.We discover a lonely little girl who can conjure imaginary friends that appear\, to her\, completely real. This remarkable ability causes her much suffering\, for upon reaching adolescence\, she is diagnosed as mad on account of seeing people who are not there. Only later does she find a way to cultivate her gifts within the spiritualist movement.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nCharming Augustine\n[/vc_column_text][vc_column_text]40 minutes\, 2005\, 3D B/W 16mm[/vc_column_text][vc_column_text css=””]The film is inspired by series of photographs and texts on hysteria published in the 1880’s under the title of the Iconographie photographique de la Salpetriere. It is an experimental narrative based on the case of a young patient\, Augustine. At fifteen she was admitted to the hospital suffering from hysterical paralysis. The doctors were captivated by her frequent hysterical attacks. They appeared extraordinarily theatrical and photogenic. She became the star\, the “Sarah Bernhardt” of the asylum. Yet at the same she was deeply disturbed. She had visions and heard voices. She hallucinated. The film explores connections between attempts to document her mental states and the prehistory of narrative film.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 72 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150853″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Zoe Beloff is an artist\, filmmaker\, writer and rootless cosmopolitan based in New York. She aims to make art that both entertains and provokes discussion. With a focus on social justice\, she draws timelines between past and present to imagine a more egalitarian future. Her projects often involve a range of media including films\, drawings and archival documents organized around a theme. They include proposals for new forms of community\, projects that explore relationships between labor\, technology and our inner lives. She created a trilogy of movies\, based on ideas for films proposed by never realized by radical artists; Eisenstein’s scenario Glass House\, Brecht’s A Model Family in a Model Home and James Agee’s The Tramp’s New World\,. \nShe recently completed a documentary public art project\, @ WORK in collaboration with her long-time cinematographer and all-round partner in crime\, Eric Muzzy. Many of her works also go out into the world as books. Her most recent publication reproduces her panoramic painting Parade of the Old New \, an allegory of America in dark times. She is currently working on a large-scale project\, that involve two films Josephine the Singer or the Mouse People \, based on the short story by Franz Kafka and Life Forgotten that conjures up the world of the working people of New York’s Lower East Side in the early years of the twentieth century. \nZoe’s work has been featured in international exhibitions and screenings; include the Whitney Museum Biennale\, MoMA\, the National Gallery in Washington D.C.\, the Pompidou Center in Paris\, International Film Festival Rotterdam and FID Marseille. She has received fellowships from the Guggenheim Foundation\, the Radcliffe Institute at Harvard\, and the Foundation for Contemporary Arts. However\, she particularly enjoys working in alternative venues that are free and open to the community for events and conversations. She is a professor at Queens College CUNY.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1713129391640-cb45db90-f8a1-0″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/light-from-the-other-side-2024-05-09/
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/2024/04/UnionDocs-GIF-downsized_large-12.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:20240512T193000
DTEND;TZID=America/New_York:20240512T193000
DTSTAMP:20260408T095249
CREATED:20240410T223217Z
LAST-MODIFIED:20240508T180043Z
UID:10002858-1715542200-1715542200@uniondocs.org
SUMMARY:Liminal Tales
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/941430034?share=copy” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to come together with ArteEast to co-present LIMINAL TALES  a collection of contemporary animated shorts that share poignant and pressing narratives from across the SWANA region and its diasporas. The in-person program at UnionDocs includes shorts by Sofia El Khyari\, Ayçe Kartal\, Huda Razzak and Sarah Saidan and an introduction by curator Lila Nazemian. \nIt features short films by Ayçe Kartal\, Sofia El Khyari’ Huda Razzak and Sarah Saidan\, and a feature-length animation by Inna Sahakyan Memory is experienced like a phenomenon in which each central character or narrator reveals how their internal psyches affect their external realities. Furthermore\, the narratives are told through the lens of characters that vary in age\, allowing for a nuanced storytelling of reflection and at times\, disassociation. Each film has an innate ability to transport viewers into their intricate realms using a variety of visually expressive techniques \nInna Sahakyan’s Aurora’s Sunrise is based on the true story of Aurora Mardiganian\, a survivor of the Armenian genocide who\, after fleeing to the U.S.\, starred in a silent film about her own life and experience\, titled Auction of Souls (1919). The animation retells Mardiganian’s harrowing story\, incorporating scenes from the 1919 film\, archival footage of Mardiganian recounting her arduous journey\, as well as using her memoir\, Ravished Armenia\, as a chronological grounding. Mardiganian’s astonishing yet horrific memories are rendered using paper cutouts and semi-rotoscoped characters crafted alongside ephemeral watercolor imagery. \nIn Ayçe Kartal’s Wicked Girl\, centers around the story of a young girl whose vivid and conjured accounts of summers in the countryside of Turkey with her grandparents reveal a horrible reality she has suffered. While she recounts various fond memories amidst describing things that bring her joy\, her fragmented narrative is interspersed with dark and threatening imagery. Kartal masterfully depicts the girl’s innocence and confusion through over 10\,000 drawings made on a tablet and animated with fleet pen strokes. \nHuda Razzak’s The Ocean Duck is inspired by a passage from Rumi’s Masnavi and is based on the director’s relationship with her grandmother who passed away after a long struggle with dementia. The touching narrative revolves around a young girl who visits her grandmother in the hospital. While reminiscing fond memories spent together\, she recalls a poignant story that her grandmother told her about a duck who lived with hens since it had forgotten that its true home was the ocean. The metaphor refers to humanity’s amnesiatic impermanence on earth and each person’s ultimate union with the Divine. The decorative borders that frame the film and the flat two-dimensional perspective are inspired by the tradition of illuminated manuscripts. \nIn Shadow of the Butterflies\, Sofia El Khyari incorporates hand-painted ink and watercolor images to evoke fleeting feelings of nostalgia. The film explores the notion of saudade\, a portuguese term describing an emotional state of melancholic yearning for a beloved\, or a melancholic longing for something or someone who is absent. The sensorial experience of the animation is imbued with El Khyari’s own touch\, from imprints of her skin to the sound of her singing voice serving as the soundtrack. \nUnresolved feelings of longing are also at the core of Sarah Saidan’s playfully touching\, Home of the Heart. When an Iranian immigrant who moved to Paris with his family is attacked on the street and stabbed in the heart\, doctors come to the startling realization that he has survived because he has no heart. He embarks on a journey back to his hometown of Shiraz in hopes of reconciling what is missing within him. The stories within the film are inspired by Saidan’s own immigrant experiences in France. The film was made from a mix of 2D drawn and digital cut-out animation which convey its layered textures. While the saying goes “Home is where the heart is\,” Saidan asks us a question many immigrants are faced with\, “Where is home if you cannot locate your heart?” \nSaidan’s Beach Flags revolves around the story of a group of young Iranian women by the Caspian Sea coast who are training for the beach flag competition of the international Lifeguard Championships in Australia. A new girl enters their team and outruns their star contender sowing dissonance among the team’s spirit. The film aptly reflects the overlapping issues of class\, tradition\, and gender struggles within Iranian society. Solidarity in the face of external forces ultimately bridges the seemingly clashing worlds of these women. \nA Man Wanted to Play Drums by Mahmoud Hamdi is a rotoscope animation using scenes taken from the 2007 American film “The Visitor\,” directed by Tom Macarthy. The film’s subject matter of a man sheepishly joining a public drum circle in a park while others dance and play accompanying instruments would appear to be comical were it not for the ominous soundtrack. The artist’s visual touch in vibrantly coloring the instruments is juxtaposed alongside his addition of helmets\, berets and whistles possibly alluding to the military’s heavy presence amidst rising public tensions in Egypt\, only a month prior to the 2011 revolution. \nNote: This program is part of the legacy program Unpacking the ArteArchive\, which preserves and presents 20 years of film and video programming by ArteEast. The program will be screened online on artearchive.org from May 7 – 19.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nHome of the Heart by Sarah Saidan\n[/vc_column_text][vc_column_text css=””]14 min and 46 sec\, 2022\, France\, Animation\, Persian and French with English subtitles[/vc_column_text][vc_column_text css=””]Omid is an Iranian immigrant who came to France with his family. One evening\, in the street\, he is attacked and stabbed in the heart. At the hospital\, the diagnosis is formal: he has no heart. Has he left it behind in Iran?[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nAurora’s Sunrise by Inna Sahakyan\n[/vc_column_text][vc_column_text css=””]1 hour and 36 min\, 2022\, Armenia\, Germany\, Lithuania\, Animation\, Language with English subtitles[/vc_column_text][vc_column_text css=””]A genocide survivor becomes a silent movie star: Aurora Mardiganian’s odyssey is close to unreal. After losing her family\, escaping slavery\, and enduring Hollywood greed\, she journeys far to tell the world of the Armenian Genocide.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nShadow of the Butterflies by Sofia El Khyari\n[/vc_column_text][vc_column_text css=””]9 min\, 2022\, France\, Portugal\, Qatar\, Animation\, Arabic with English subtitles[/vc_column_text][vc_column_text css=””]In a mysterious forest\, a young woman’s emotions\, memories\, and desires intermingle with the delicate movements of the butterflies that surround her.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Ocean Duck by Huda Razzak\n[/vc_column_text][vc_column_text css=””]7 min\, 2021\, United States\, Animation\, English with English subtitles[/vc_column_text][vc_column_text css=””]A granddaughter visits her ailing grandma in a hospital during a flood\, bringing back fond memories of the past – spilling over into fantastical visions in the present – as an ancient tale comes to life.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nWicked Girl by Ayçe Kartal\n[/vc_column_text][vc_column_text css=””]8 min\, 2017\, France\, Turkey\, Animation\, Turkish with English subtitles[/vc_column_text][vc_column_text css=””]S.\, 8 years old\, is a little Turkish girl with an overflowing imagination. She is keen on nature and animals. While she is looking back on the good old days in her grandparents’ village from a hospital room\, dark and terrifying memories emerge and\, little by little\, begin to make sense.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nBeach Flags by Sarah Saidan\n[/vc_column_text][vc_column_text css=””]13 min and 38 sec\, 2014\, France\, Iran\, Animation\, Persian with English subtitles[/vc_column_text][vc_column_text css=””]Vida is a young Iranian lifeguard swimmer. Popular in her team\, she is determined to fight in order to be the one to participate in an international competition in Australia. However\, when Sareh\, as fast and talented as her joins the team\, she will have to face an unexpected situation.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nA Man wanted to play Drums by Mahmoud Hamdi\n[/vc_column_text][vc_column_text css=””]3 min and 12 sec\, 2010\, Egypt\, Rotoscope animation\, Silent[/vc_column_text][vc_column_text css=””]A Man Wanted to Play Drums is a short rotoscope animation in which Mahmoud Hamdi reworks footage from Tom McCarthy’s “The Visitor.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 50 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151053″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Lila Nazemian (she/her) is an independent curator and the Special Projects Curator at ArteEast in New York. In 2023\, she joined the Brooklyn-based Transmitter gallery as a co-director. Her research and curatorial practice are focused on reimagining approaches to histories from the Middle East/Southwest Asia North Africa (SWANA) and Central Asia regions in an effort to counter narrative revisionism and collective amnesia. Recent curatorial projects include: “Conjuring Flames\,” Arsenal Contemporary\, New York\, (2023); “Now That We Have Established A Common Ground” within Protocinema’s Emerging Curator Series\, (2022);  “A Few In Many Places\, New York\,” Protocinema\, Governors Island New York\, (2021); “I open my eyes and see myself under a tree laden with fruit that I cannot name\,” Center for Book Arts\, New York (2020).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151143″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sarah Saidan is a director\, graphic author\, and script writer. She graduated from Tehran University of Art and later from la Poudrière (France) in 2011\, as a director of animation films. Sarah Saidan has since directed many short films often with the common theme of Human Rights\, notably the award-winning Beach Flags produced by Sacrebleu productions.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151144″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Huda Razzak is an animation filmmaker based in Atlanta\, whose parents immigrated from Iraq. Her animated short\, ‘The Ocean Duck\,’ was long-listed for the Oscars short animated film category after winning the 2022 Jury Award at the New York International Children’s Film Festival. In 2023\, she was nominated for the Best of Newfilmmakers LA Award. Huda has also independently produced and directed content for Sesame Street and is a former ISF Film Grant recipient. She studied Animation at SCAD\, where she received her MFA in 2021. Huda currently works as a Script & Story Production Assistant at Netflix Animation.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151145″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sofia El Khyari is an animation filmmaker and visual artist born in Casablanca. Alongside her Master studies in cultural management in France\, she taught herself the craft of animation before obtaining another Master’s Degree from the Royal College of Art in London. Her films have since won awards and been screened at multiple international festivals\, including the Locarno Film Festival\, TIFF Toronto International Film Festival and Annecy animation film festival. They have also been acquired and exhibited by prestigious museums and institutions such as Institut du Monde Arabe and Musée du Quai-Branly Jacques Chirac in Paris or the Cinémathèque Française.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151146″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Ayce Kartal graduated from Anadolu University in Eskişehir with a Master of Fine Arts in 2010. His last film\, Wicked Girl received the Césars Award for the Best Animated Short Film in 2019. It’s also the first animated short in 40 years to win the National Grand Prize in Clermont-Ferrand.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151147″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Mahmoud Hamdi\, is a Cairo based visual artist\, curator and cultural activist. He graduated from the Faculty of Art Education at Helwan University in 2002 and has since been active in Egypt’s visual art scene since 2000. He has held nine solo exhibitions and participated in many group exhibitions in Egypt and abroad. He concurrently works as a curator and cultural events manager and has curated exhibitions for the Egyptian ministry of culture\, NGOs\, NPOs and private art spaces in Egypt and abroad. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Inna Sahakyan has directed and produced feature-length documentaries\, documentary series\, and shorts\, for over fifteen years. Following her feature-length debut co-directing the award-winning Armenia’s Last Tightrope Dancer in 2010\, she directed Mel and Aurora’s Sunrise\, completing both international co-productions in 2022. Inna also enjoys mentoring her native Armenia’s next generation of filmmakers. \n[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1715191168624-4549d3d9-e7fa-5″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2024-05-12-liminal-tales/
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/2024/04/Screenshot-2024-04-17-at-6.34.43-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:20240517T100000
DTEND;TZID=America/New_York:20240519T163000
DTSTAMP:20260408T095249
CREATED:20240327T045816Z
LAST-MODIFIED:20240512T015225Z
UID:10002838-1715940000-1716136200@uniondocs.org
SUMMARY:Embodied Acoustics: Orality\, Sound\, Rhythm in NonFiction Art Practices
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”30px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: This workshop will be held in UnionDocs’ new space in Ridgewood!\nWe’re now at: 352 Onderdonk Ave\, Ridgewood\,  NY – 11385[/vc_message][vc_column_text]Join us for a three-day workshop with filmmaker\, cinematographer and editor Pablo Álvarez-Mesa to explore the acoustic\, the musical\, and the oral realm in nonfiction storytelling.  Discover how sound\, music\, vocal performance and rhythm can act as openings to new knowledge and accessing personal\, historical and collective narratives. \nThroughout the workshop\, we’ll bring in a variety of practitioners to present a kaleidoscopic vantage into questions on listening and understanding vocalization\, gesture\, performance\, orality and all things tapping into the acoustic in your work. \nWe’ll look at how voice\, gesture\, song and sound as they function and are observed in the world or can be employed through direct performance. \nSome grounding questions will be: Where do other forms of knowledge exist beyond writing? How can music help us understand time and history? How do our surroundings shape our perception of nature\, community\, and self? And how can gestures and vocal performances transmit knowledge? We’ll think of building new historial avenues via the embodied\, kinetic\, and performed to depart from the most standard modes of story and narrative. \nPablo Álvarez-Mesa will discuss his ongoing work on Simón Bolívar (Bicentenario\, La Laguna del soldado)\, exploring the themes of orality and place\, with a particular focus on “The Musical”. This discussion will feature audiovisual samples and research materials. \nArtist and composer Samita Sinha will explore the intersection of orality and the body in music and voice\, as well as the invisible aspects manifested through nonverbal communication\, performance\, and presence. \nFilmmaker and choreographer Lucy Kerr will explore archives and repertoire through the body and movements\, uncovering narratives in gestures and choreography. \nThis workshop is open to filmmakers\, film producers\, journalists\, media artists\, scholars and anyone who’d like to delve into the potential of musicality and there will be space given for participants to share a work-in-progress and receive feedback from the group. \nSeats are limited\, so sign up today! \nNOTE: This workshop will require in-person participation from all participants. Each participant must present proof of vaccination. Any and all questions\, please reach out to raphaelle@uniondocs.org.[/vc_column_text][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/928897850″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801e6e6b-713c”][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, choreographers\, dancers\, performance and media artists looking to develop the cinematic languages with which they can represent and incorporate movement.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801e6e6b-713c”][vc_column_text]$350 early bird registration by May 10th\, 2024 at 11:59PM. \n$400 regular registration. \nFor each workshop\, UnionDocs will offer the equivalent of 2 full scholarships for participants from historically marginalized backgrounds\, who are BIPOC\,  living with disabilities\, or NYC artists earning under 30% AMI (Area Median Income). \nApplicants should reach out to raphaelle@uniondocs.org in order to fill out a scholarship inquiry by April 24th\, 2024.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801e6e6b-713c”][vc_column_text css=””]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until April 30th. After May 10th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801e6e6b-713c”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801e6e6b-713c”][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of May 10th\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, May 17″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Welcome & intros\n10:30am – 12:30pm Intro session with Pablo Álvarez-Mesa\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Paula Gaitán \n4:00pm – 4:30pm Wrap Up Discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, May 18″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case studies\n10:30am – 12:30pm Work-in-progress with lead instructor\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Samita Sinha\n4:00pm – 4:30pm Wrap Up Discussion [/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_custom_heading text=”Sunday\, May 19″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case study\, eye training.\n10:30am – 12:30pm Session with  Konstantine Vlasis (Zoom)\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Session with Lucy Kerr\n4:00pm – 4:30pm Wrap Up Discussion[/vc_column_text][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]First Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Second Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150420″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Pablo Álvarez-Mesa is a filmmaker\, cinematographer and editor working mainly in non fiction\, whose films have played and earned awards at international film festivals including Berlinale\, IFFR\, Viennale\, MoMA\, Visions du Réel\, and RIDM. His work in cinema lies in the relationship between fact and fiction; between what is recalled and what is inevitably constructed. Pablo is Sundance Doc Fund grantee\, an affiliate member of the Centre for Oral History and Digital Storytelling at Concordia University\, and a Berlinale Talents\, Banff Centre for the Arts and Canadian Film Centre alumnus.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150421″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Artist and composer Samita Sinha creates multidisciplinary performance works that unravel Indian vocal traditions through the body to create a decolonized\, multivalent language of voice and vibration. Sinha’s works have been commissioned by Asia Society\, Performance Space\, Danspace\, Rubin Museum\, Lower Manhattan Cultural Council\, Queens Museum\, Gibney Dance\, and Western Front\, and presented by The Kitchen\, Wexner Center for the Arts\, REDCAT\, PICA\, National Sawdust and others. She has received awards from National Endowment for the Arts\, Fulbright Foundation\, National Performance Network\, and New York State Council on the Arts.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150427″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Lucy Kerr (b. Houston\, Texas 1990) is a filmmaker\, artist\, choreographer\, and educator. Her work is rooted in questions of image-making and performance and how both of these are tied up with ritual and transformation. Kerr received and MFA in Film/Video and Art from California Institute of the Arts in 2020. In 2022\, she was named one of the 25 New Faces of Independent Film in Filmmaker Magazine. Her debut feature film\, Family Portrait\, premiered at the Locarno Film Festival in 2023 and garnered her the Locarno Boccalino d’Oro for Best Director\, the feature film grant from Austin Film Society and the AirFrance Prize from FIDLab\, and the New Horizons Award from US in Progress at the American Film Festival in Wroclaw\, Poland. Her short film\, Crashing Waves\, is in the permanent collection of Frac Provence-Alpes-Côte d’Azur in Marseille\, France. Kerr’s projects have been presented by International Film Festival Rotterdam\, FIDMarseille\, San Sebastian International Film Festival\, Reykjavik International Film Festival\, The San Francisco Museum of Modern Art\, REDCAT\, Anthology Film Archives\, Francois Ghebaly Gallery\, The McEvoy Foundation for the Arts\, and others. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151155″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Konstantine Vlasis is a scholar and composer of ecological sound. His work explores how sound\, music\, and listening together mediate ecological relationships\, and the efficacy of audio-based mediums for climate communication and environmental storytelling. His current project\, “Listening With Glaciers: The Sounds and Songs of a Melting Landscape\,” traces the human ecology of glaciers in Iceland through ambient sound and traditional music. Mr. Vlasis is an NYU Torch Fellow\, Leifur Eiríksson Foundation Fellow\, and Fulbright-NSF Arctic Research Fellow. He is currently a PhD Candidate in Music and Sound Studies at NYU\, and an active member of the percussion quartet\, Apex Percussion.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150521″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Paula Gaitán was born in Paris in 1954. A visual artist\, photographer\, poet\, and filmmaker with a Visual Arts degree from the University of Los Andes in Bogotá\, Colombia\, Gaitán has been working in film since 1978\, when she participated as an art director in Glauber Rocha’s The Age of the Earth. She has created several documentaries\, video art\, and plastic art installations for numerous collective exhibitions. \nPaula’s work combines a deeply personal artistic vision with palpable reality. Her filmography consists of 9 feature length films. In 2016\, the Cinematheque of Museum of Modern Art (MAM – Rio de Janeiro) presented a retrospective of her work \, and Mostra Tiradentes\, also in Brazil\, presented a homage to her work in the 2021 edition. . \nCurrently lives and works in the city of São Paulo\, Brazil.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/embodied-acoustics-orality-sound-rhythm-in-nonfiction-art-practices-2024-03-17/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/03/UnionDocs-GIF-downsized_large-4.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240530T193000
DTEND;TZID=America/New_York:20240530T193000
DTSTAMP:20260408T095249
CREATED:20240405T180225Z
LAST-MODIFIED:20240628T184717Z
UID:10002862-1717097400-1717097400@uniondocs.org
SUMMARY:Noite
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/952437314?share=copy” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]We are beyond honored to be hosting a two-night focus on the legendary filmmaker Paula Gaitán in conjunction with our monthly online cineclub Artistic Differences. \nAs our co-collaborator and programmer for the cineclub\, Cíntia Gil wrote\, “Gaitán is one of the most exciting contemporary artists and filmmakers of our time\, whose work is both brutally sensitive and free. She aligns a strange capacity to listen to all things around and respond to them through radically singular gestures. Her films are not only voyages through deep modes of thinking and feeling\, but also strange investigations on the minimal and most subtle aspects of the encounter between the camera and the world. \nNot really interested in canons\, norms and “good practices”\,  Paula Gaitán obsessively looks for the vibration of things in the filmic matter\, for how life is manifested in a filming body.” \nDAFilms calls the body of work of Colombian-Brazilian filmmaker Paula Gaitán\, “one of the most radical and uncompromising to appear in Latin America in the last 30 years…ever occupied by the forceful movement of a human body in and through a space; a background in poetry and the visual arts seemingly setting the stage for a performative\, mutant\, and highly material cinema.” \nNoite\, a sensorial portrait of a possible urban night\, is an extraordinary example of this filmmaker’s radical precision — using the camera as a haptic device\, the montage as the construction of a world and its lines of flight. \nDon’t miss this immersive and transporting film\, and come back on 6/2 for SUBTLE INTERFERENCES\, her iconic portrait of musician\,  Arto Lindsay. \nPaula will be in attendance for conversations following both programs. Come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nNoite by Paula Gaitán\n[/vc_column_text][vc_column_text css=””]The Audio Rebel experimental music space in Rio de Janeiro\, the city’s streets\, the obscurity crossed by the night colors\, are materials that respond to and embody an angled and multi shaped soundscape. Opening our senses\, Noite enfolds us into a meditation on presence. \nBecause the night belongs to lovers. Because the night belongs to lust. Because the night belongs to lovers. Because the night belongs to us.” (Patti Smith)[/vc_column_text][vc_column_text css=””]83 mins\, Brazil\, 2015\nCast: Clara Choveaux\, Nash Laila\, Cassius Augusto\, Ava Rocha\, Negro Leo\, Andre Novais\, Maíra Senise\, Daniel Passi\, Mell Brigida\, Carolina Caju\, Joana dos Santos\, Bella\, Daniel Fernandes –\nProduction: Bernardo de Oliveira\,Paula Gaitán[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 82 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151405″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Paula Gaitán was born in Paris in 1954. A visual artist\, photographer\, poet\, and filmmaker with a Visual Arts degree from the University of Los Andes in Bogotá\, Colombia\, Gaitán has been working in film since 1978\, when she participated as an art director in Glauber Rocha’s The Age of the Earth. She has created several documentaries\, video art\, and plastic art installations for numerous collective exhibitions. \nPaula’s work combines a deeply personal artistic vision with palpable reality. Her filmography consists of 9 feature length films. In 2016\, the Cinematheque of Museum of Modern Art (MAM – Rio de Janeiro) presented a retrospective of her work \, and Mostra Tiradentes\, also in Brazil\, presented a homage to her work in the 2021 edition. . \nCurrently lives and works in the city of São Paulo\, Brazil.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151507″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Andrea Avidad is a PhD candidate and adjunct professor in the Cinema Studies department at NYU Tisch. Her research focuses on sound and vocality in nonfiction film and acousmatic sound and aurality in film and literature. Her publications include book chapters in Sound Affects\, published by Bloomsbury US\, and the Oxford Handbook of Media and Vocality\, as well as essays on film sound and acousmaticity published in journals such as Film-Philosophy and Soapbox (Radical Open Access Collective). Her pedagogical practice focuses on documentary art history\, early cinema\, and all things sonic.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1719599729408-152da2b2-8c80-3″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/noite-2024-05-30/
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/2024/05/UnionDocs-GIF-downsized_large-20.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:20240602T193000
DTEND;TZID=America/New_York:20240602T193000
DTSTAMP:20260408T095249
CREATED:20240406T173400Z
LAST-MODIFIED:20240531T222446Z
UID:10002861-1717356600-1717356600@uniondocs.org
SUMMARY:Days in Sintra
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]We are beyond honored to be hosting a two-night focus on the legendary filmmaker Paula Gaitán. \nOne of the most exciting contemporary artists and filmmakers of our time\, whose work is both brutally sensitive and free\, Gaitán aligns a strange capacity to listen to all things around and respond to them through radically singular gestures. Her films are not only voyages through deep modes of thinking and feeling\, but also strange investigations on the minimal and most subtle aspects of the encounter between the camera and the world. \nNot really interested in canons\, norms and “good practices”\,  Paula Gaitán obsessively looks for the vibration of things in the filmic matter\, for how life is manifested in a filming body. \nDAFilms calls the body of work of Colombian-Brazilian filmmaker Paula Gaitán\, “one of the most radical and uncompromising to appear in Latin America in the last 30 years…ever occupied by the forceful movement of a human body in and through a space; a background in poetry and the visual arts seemingly setting the stage for a performative\, mutant\, and highly material cinema.” \nHow are the traveler and the exile different? How shall we think of memories created in exile? This are the axis upon which Days in Sintra rotates. The film is a poetic account of the exile of Glauber Rocha in Sintra\, Portugal\, in which photographs serve as a mnemonic guide to the search for traces of the filmmaker’s passage through the city. Gaitán’s film about her longtime partner Rocha is built on the border of a fragmented\, involuntary\, unfinished\, and precarious memory. \nPaula will be in attendance for conversations following the program. Come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nDays in Sintra by Paula Gaitán\n[/vc_column_text][vc_column_text css=””]91 mins\, 2007[/vc_column_text][vc_column_text css=””]How are the traveler and the exile different? How shall we think of memories created in exile? This are the axis upon which Days in Sintra rotates. The film is a poetic account of the exile of Glauber Rocha in Sintra\, Portugal\, in which photographs serve as a mnemonic guide to the search for traces of the filmmaker’s passage through the city. Gaitán’s film about her longtime partner Rocha is built on the border of a fragmented\, involuntary\, unfinished\, and precarious memory.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 82 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151405″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Paula Gaitán was born in Paris in 1954 and grew up between Colombia\, Brazil\, and Europe. Her father\, Jorge Gaitán Durán\, was a poet\, while her mother\, Dina Moscovici\, was a writer\, theater director\, and filmmaker. Surrounded by different art forms and constantly moving from place to place\, Gaitán eventually transformed her state of perpetual motion into the core of her artwork. Her work as a poet\, photographer\, and visual artist suffuse the cinematic gestures in her films. Populated by literary fragments and archival images\, strong performances and outstanding uses of sound\, abundant experiments with texture and exquisite color compositions\, her films remind us that cinema can be a place of fluid frontiers. Whether in films\, television works\, music videos\, or installations\, Gaitán’s world is a force of continuous displacement and infinite exchange. \nIn Uaká (1989)\, her encounter with the Indigenous people of Xingu becomes a sensory exploration of the landscape\, powered by exuberant work with the colors available in 16mm footage. In Diário de Sintra (Days in Sintra\, 2007)\, Gaitán revisits her last months with Brazilian filmmaker Glauber Rocha and their children Ava and Eryk in Portugal in the late 1970s. The camera works as a tactile instrument\, rubbing surfaces and auscultating spaces\, while fragments of philosophical texts\, memories\, and poems fill the soundtrack. \nIn Vida (Life\, 2008) and Agreste (Drylands\, 2010)\, respectively dedicated to Brazilian actresses Maria Gladys and Marcélia Cartaxo\, Gaitán developed a unique experimental portraiture which continues in films like Sutis Interferências (Subtle Interferences\, 2016)\, É Rocha e Rio\, Negro Leo (Riverock (2019)\, and Ostinato (2021). \nGaitán has portrayed visual artists\, musicians\, and actors\, and has found a peculiar method of establishing relationships with them by transforming formal aspects of their oeuvre into cinematic gestures. For instance\, in Sutis Interferências\, everything that is usually discarded in a documentary soundtrack – overlapping words\, moments of disagreement\, the noise of the air conditioner – becomes the main subject. Gaitán borrows the interference motif from Arto Lindsay’s music and translates it into cinema. \nGaitán’s films are at once ethereal and deeply physical. The evocations in Noite (Night Box\, 2014)\, are rooted in the materiality of the body\, photographs\, and fabrics\, and in the physical presence of the landscape. Even in robust narrative fictions such as Exilados do Vulcão (The Volcano Exiles\, 2013) and Luz nos trópicos (Light in the Tropics\, 2020)\, the desire to tell a tale is always counterbalanced by an experimental pulse. The most striking impressions are that of a film proudly torn apart from within\, whose entrails we are invited to inhabit. Paula Gaitán has always practiced a cinema that elevates the sketch to the highest artistic density.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1717193328440-f9020477-1f4e-0″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/days-of-sintra-2024-06-02/
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/2024/04/UnionDocs-GIF-downsized_large-24.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:20240609T180000
DTEND;TZID=America/New_York:20240609T203000
DTSTAMP:20260408T095249
CREATED:20240605T030047Z
LAST-MODIFIED:20240606T225205Z
UID:10002865-1717956000-1717965000@uniondocs.org
SUMMARY:Release: Screenings from Fox Maxy’s Mental Wellness Film Workshop
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_btn title=”REGISTRATION” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#0000cd” outline_custom_hover_text=”#ffffff” shape=”round” align=”center” css=”” link=”url:https%3A%2F%2Fwww.veralistcenter.org%2Fevents%2Frelease-screenings-from-fox-maxys-mental-wellness-film-workshop%2F|title:GET%20TICKETS!|target:_blank”][vc_empty_space height=”40px”][vc_column_text css=””]We’re delighted to join hands with the Vera List Center to co-present and host a screening and celebration of the Mental Wellness Film Workshop with Fox Maxy! \nFilms will be presented by participating workshop filmmakers including: Natalie Erazo\, João Eduardo Freitas\, Izzy Groenewegen\, Symone “s” Jackson\, Jard Lerebours\, Naiomi Lewis\, Che’Li\, Ananya Malagi\, Camila Palomino\, ingrid romero\, Aisha Servia\, Liana Shewey\, Jan Tancinco\, Tomomi\, and Elsa Wong. This will be followed by a screening of Fox Maxy’s Maat (2020). \nFox Maxy is a filmmaker known for her kaleidoscopic and thrilling films. Maxy’s films push the genre of horror and documentary\, creating deeply personal and biographical reflections on survival\, joy\, and pleasure. Her 2022–2024 VLC Borderlands Fellowship project is a film about portals and mental health. \nMaxy’s belief is that anyone and everyone can be a filmmaker. Wrapping up her 2022–2024 VLC Borderlands Fellowship\, Maxy hosts a filmmaking workshop inspired by releasing heaviness through storytelling and mental wellness. Bringing this workshop to New York City\, where her feature film will be set\, Maxy invites participants to learn and create a short film with her over the course of several weeks. The workshop begins with introductory meetings that will be hosted on Zoom\, where participants will create storyboards for their short-films. Participants have an opportunity to meet in person and film together late in the evening across New York City\, with the city’s after hours as its backdrop. \nNote: This workshop is part of Fox Maxy’s 2022–2024 Vera List Center Borderlands Fellowship and is organized by Camila Palomino\, Curatorial Assistant. This program is co-hosted with Relative Arts and UnionDocs\,  and is co-sponsored by the Center for Imagination in the Borderlands at Arizona State University.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBIOS \n[/vc_column_text][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151555″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Fox Maxy is a California-based artist and filmmaker of Kumeyaay and Payómkawichum ancestry. This experience of being Native American is a central theme in their work\, which deals with Native American identity and culture\, and the power of (de)colonization.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/release-screenings-from-fox-maxys-mental-wellness-film-workshop/
LOCATION:Spectacle\, 124 south 4th street williamsburg\, brooklyn\, Williamsburg\, NY\, 11211\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240611T193000
DTEND;TZID=America/New_York:20240611T193000
DTSTAMP:20260408T095249
CREATED:20240410T182950Z
LAST-MODIFIED:20240610T191622Z
UID:10002863-1718134200-1718134200@uniondocs.org
SUMMARY:Incorrectional
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]We are thrilled to come together with the co-founder of Berlin Critics’ Week\, Dennis Vetter for a night from his curatorial vision that brings us a selection of recent work of Christopher Jason Bell. \nDuring this program we will present two films from this essential voice of independent cinema including the US and NYC premiere of a very exciting film\, INCORRECTIONAL (2018) along with TRAMMEL (2020). In his elegant\, tender\, yet unsentimental films\, he frequently collaborates with a non-professional cast to sharply explore the thin lines between fiction and nonfiction as much as between human beings. He has been shooting self-funded work since 2000 and his autonomy from the industry has led him to develop a truly unique style. \nBennett Glace wrote about Incorrectional that it\, “gets better and better the more it appears to self-destruct. To paraphrase one of its central figures\, Bell’s masterful doc-fiction hybrid is most definitely ‘a film-film.’ Also it’s kind of a masterpiece.” \nIn the spirit of the Critics’ week we’re thrilled to have film critic and NYFF programmer Kameron Austin Collins in attendance to join for an in-depth conversation after the screening. \nSee you there![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nIncorrectional by Christopher Jason Bell\n[/vc_column_text][vc_column_text css=””]85 mins\, 2018[/vc_column_text][vc_column_text css=””]Saeed braves an adolescent crush and an altercation with his best friend while his temperamental father Ali struggles to connect with him. Both they and the film are heading for a breakdown.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nTrammel by Christopher Jason Bell\n[/vc_column_text][vc_column_text css=””]11 mins\, 2020[/vc_column_text][vc_column_text css=””]Dale lives a solitary life in a small town\, his only outlet being conversations with the local pharmacist Mohammad. As time passes\, Dale slowly begins to reveal more of his life and history to Mohammad.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 96 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151391″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Dennis Vetter co-founded the Berlin Critics’ Week in 2014 and is one of its Artistic Directors – a festival which focusses on debates around cinema during the Berlinale. Also he has been a board member of the German Film Critics Association for ten years. His writing has been published in more the 30 magazines and newspapers\, as well as in several books.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151589″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nChristopher Jason Bell is a former critic and active filmmaker. His first feature THE WINDS THAT SCATTER premiered at Northside Festival and went on to play in Madrid\, South Korea (winning Best International No Budget Feature Film at the KIXFF)\, Cambodia\, Chile\, Argentina\, and numerous places in the USA. You can now watch the film on Means TV. Christopher completed and released a series on US President George W. Bush using all archival material called MISS ME YET. It can be viewed in its entirety on MeansTV. FAILED STATE is his third feature film and premiered at the Torino Film Festival in 2023. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nKameron Austin Collins is a programmer at NYFF and film writer / critic. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1718046867824-ec9b3840-cc95-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2024-06-11-christopher-bell/
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/2024/04/IncorrectionalRayvin.jpeg
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:20240613T200000
DTEND;TZID=America/New_York:20240613T220000
DTSTAMP:20260408T095249
CREATED:20240411T162649Z
LAST-MODIFIED:20240607T204741Z
UID:10002844-1718308800-1718316000@uniondocs.org
SUMMARY:Tom Rubnitz: Community Drag Theater
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][vc_btn title=”Free RSVP!” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” css_animation=”bounceIn” css=”” link=”url:https%3A%2F%2Fpartiful.com%2Fe%2FopgNW7I5sgN8h2wjbx6z%3F”][vc_column_text]Offsite- Across the street from UnDo\nGrover Cleveland Athletic Field\n1817 Dekalb Ave\nRidgewood\, Queens NY\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/938738784″ css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]Come out under the stars for our first outdoor Summer Screening and behold a lively night of Community Drag Theater celebrating the dynamic and moving work of the legendary Tom Rubnitz and in partnership with the wonderful folks at Visual AIDS. We’re so lucky to also have fixtures of the scene\, David Yarritu & Billy Beyond in attendance to share some memories and be in conversation for this special celebration too. \nIf you don’t know the work of Tom Rubnitz\, it can be described by an array of adjectives including sexy\, glamorous\, campy\, hallucinogenic\, hedonistic\, joyful\, and romantic\, but the heart of the work is the New York City queer community who came together and collaborated on this bouquet of images from the 1980s-90s. \nOriginally from Chicagoland\, Tom Rubnitz\, a New York transplant\, injected both humor and clarity into the deadliest decade of the AIDS crisis. From playful takes on advertising and drag performances at the renowned Pyramid Club to more serious commentary\, such as his collaboration with artist and writer David Wojnarowicz\, this program describes a decade of queer culture\, performance\, and friendship. \nWe’re delighted to partner with our friends at Video Data Bank for this night that was programmed with the brilliant Emily Eddy who will be in attendance to introduce and speak through the program following. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nChicken Elaine\n[/vc_column_text][vc_column_text] 1983\, 1:00\n[/vc_column_text][vc_column_text]Rubnitz’s short cooking clip showcases a chicken casserole recipe from the kitchen of Elaine Clearfield. All you need is chicken\, rice\, a packet of Lipton onion soup mix\, a can of cream of mushroom condensed soup\, and water![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nMade for TV\n[/vc_column_text][vc_column_text]1984\, 15:00[/vc_column_text][vc_column_text]Combining Rubnitz’s skillful manipulation of the familiar “look” of TV shows with an extraordinary range of characters\, performer Ann Magnuson convincingly impersonates the array of female types seen on TV in a typical broadcast day.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nHustle With My Muscle\n[/vc_column_text][vc_column_text] 1986\, 4:00[/vc_column_text][vc_column_text]This rapid-montage music video for John Sex’s song “Hustle with My Muscle” portrays the singer as a ladies’ man with ample endowment to share. “Can you handle all the man below my belt?” he provocatively asks.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nThe Mother Show\n\n[/vc_column_text][vc_column_text] 1991\, 4:00[/vc_column_text][vc_column_text]Produced by Tom Rubnitz in collaboration with Tom Koken and Barbara Lipp\, The Mother Show is a tribute to mothers everywhere\, starring Frieda\, the “living” doll.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nFrom the Files of the Pyramid Cocktail Lounge\n[/vc_column_text][vc_column_text] 1983\, 6:00[/vc_column_text][vc_column_text]From The Files of the Pyramid Cocktail Lounge is a series of video clips taken at the Pyramid Club\, a seminal location for the East Village drag scene in the midst of the club’s most influential years.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nListen to This\n[/vc_column_text][vc_column_text]1992\, 15:30[/vc_column_text][vc_column_text]Listen To This is a fragment of collective memory that finds critical relevance in contemporary Queer discourse.  Tom Rubnitz weaves narration\, image\, and a form of temporality\, dislocated from ‘real time’\, into a video where artist and AIDS activist David Wojnarowicz’s loss and anger is palpable.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nDrag Queen Marathon\n[/vc_column_text][vc_column_text]1986\, 5:00[/vc_column_text][vc_column_text]A dragumentary about a day in the life of a score of drag queens on the lookout for photo opportunities at Lincoln Center\, the Guggenheim Museum\, Tiffany’s\, and in SoHo. A tripped-out Hapi Phace shares her haiku\, and The “Lady” Bunny pouts about the concept of unisex clothes.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 51 mins + Q&A \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150594″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Emily Eddy is a writer\, curator\, producer\, and cinephile living and working in Chicago\, Illinois. Her work has appeared in books\, on screen\, and online. She has programmed short films at multiple festivals nationwide including Chicago International Film Festival\, Maryland Film Festival\, and Onion City Experimental Film + Video Festival. She has been the volunteer director of Nightingale Cinema since 2018. Emily received her M.A. in Visual & Critical Studies from the School of the Art Institute of Chicago in 2020 where she focused on contemporary theory\, writing\, and film studies. She currently teaches at the School of the Art Institute of Chicago.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151587″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]\nBilly Beyond is a multidisciplinary artist\, working in photography\, film\, music\, and perfume amongst other media. As one of the stars of Strawberry Short-Cut\, Billy worked with Tom Rubnitz on the creation of his beloved elfin character.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151588″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]David Yarritu moved to New York City in 1983 and met and befriended Tom Rubnitz that year. David is currently scanning and archiving hundreds of the Polaroids that he shot in the 1980’s\, including over 200 images documenting early Wigstock festivals.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151359″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Visual AIDS utilizes art to fight AIDS by provoking dialogue\, supporting HIV+ artists\, and preserving a legacy\, because AIDS is not over. visualaids.org[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1717793229371-c0d9f0a1-1abe-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/tom-rubnitz-community-drag-theater/
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/2024/04/HUSTLE_01.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:20240618T193000
DTEND;TZID=America/New_York:20240618T193000
DTSTAMP:20260408T095249
CREATED:20240413T014751Z
LAST-MODIFIED:20240606T211022Z
UID:10002859-1718739000-1718739000@uniondocs.org
SUMMARY:The Mechanics of Fluids
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][vc_column_text css=””][/vc_column_text][vc_btn title=”Sign up” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” css_animation=”bounceIn”][vc_column_text css=””][/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/941663468/a4bee23c9e?share=copy” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to bring you an evening of cinema with filmmaker and researcher\, Gala Hernández López! \nHer films delve into the intricacies of algorithms\, revealing found footage within virtual communities\, showcasing their depth and complexity. Hernández López’s work explores transhumanism\, focusing on the subjective experiences emerging within the internet and how algorithms amplify certain unsettling aspects of these experiences. The vast planes of the internet are compiled into a documented body of work questioning masculine fantasies of control and the struggle with accepting human limitations\, particularly in relationship with the seemingly boundless potential of the internet. \nWe can’t wait to share this curious and innovative way of filmmaking as we screen two of Hernández López’s sci-fi fiction documentaries for here am i sitting in a tin can far above the world and La Mécanique des fluides\, as well as a clip from her in progress film.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nfor here am i sitting in a tin can far above the world\n[/vc_column_text][vc_column_text css=””]France 2024\, 19 mins[/vc_column_text][vc_column_text css=””]A woman dreams of a future economic crisis affecting the cryptocurrency market. Thousands have been cryogenized\, waiting for better times… for here am I sitting in a tin car far above the world\, a two-channel work\, is a dizzying psychedelic epistolary laden with doom and unease. Are we all suspended or are we falling into the void? And what strange relationship do we have with the future?[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nLa Mécanique des fluides/The Mechanics of Fluids\n[/vc_column_text][vc_column_text css=””]France/Spain 2022\, 38min[/vc_column_text][vc_column_text css=””]In 2018\, an incel (i.e.\, an involuntary celibate) posts a suicide letter on the Reddit platform with the title “America is responsible for my death”. The Mechanics of Fluids is an attempt to find answers to his words. A virtual drift through the internet in search of his digital traces that ends up being an inner journey between our connected solitudes.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 57 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151076″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gala Hernández López is an artist\, filmmaker and researcher. Through interdisciplinary research and the production of docu-fiction films\, video installations and performances\, her work explores new modes of subjectivation\, specifically as produced by computational digital capitalism. From a feminist and critical lens\, she examines discourses and imaginaries circulating in virtual communities as fictional symptoms of a state of the world. Her work has been selected at Berlinale\, DOK Leipzig\, Cinéma du Réel\, Punto de Vista\, SEMINCI\, Transmediale\, Centre Wallonie Bruxelles\, FICCI\, Clermont-Ferrand and the Salon de Montrouge\, among others. Her film La Mécanique des fluides won the César for Best Documentary Short film in 2024 and the Experimental Work Award 2023 of la Scam (France)\, among a dozen awards. She is a PhD candidate at the University Paris 8\, where she is finishing a research-creation project on screen capture and where she has taught for 3 years. She has been an Associate Professor (ATER) at the University Gustave Eiffel and a visiting researcher at the Filmuniversität Babelsberg Konrad Wolf (Germany) thanks to a DAAD research grant. In 2023-2024\, she is an artist in residence at the French Academy in Spain – Casa de Velázquez. She co-directs the research and creation collective After Social Networks. She regularly gives workshops and lectured-performances\, in places such as the Filmuniversität Konrad Wolf\, Beaux-Arts de Marseille\, The Photographers Gallery or the Locarno Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1716438763500-e7bf4883-2724-2″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-mechanics-of-fluids-2024-06-18/
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/2024/04/UnionDocs-GIF-downsized_large-22.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:20240622T183000
DTEND;TZID=America/New_York:20240622T183000
DTSTAMP:20260408T095249
CREATED:20240414T205957Z
LAST-MODIFIED:20240620T215834Z
UID:10002866-1719081000-1719081000@uniondocs.org
SUMMARY:Collaborative Studio: Preview + Party!
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_btn title=”RSVP” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#0000cd” outline_custom_hover_text=”” shape=”round” align=”center” css=”” link=”url:https%3A%2F%2Fpartiful.com%2Fe%2FaTQlWVFqe9RReSgPKrku”][/vc_column][vc_column width=”1/2″][vc_column_text css=””]Handball Court\nAcross the street from UNDO\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_single_image image=”151573″ img_size=”full” alignment=”center” css=””][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text css=””]We’re back with our annual Preview in the Park that this year debuts a new collection of 7 fresh new short films grounded geographically in our relatively new neighborhood of Ridgewood\, Queens. \nYou’re invited to join us in celebrating with us on the Handball Courts across from UnionDocs on Dekalb Ave to take in this dynamic and far-ranging collection of new local stories from the artists in our Collaborative Studio (CoLAB). \nWe’ve found our proximity to the borough boundary of Brooklyn and Queens notable and a good starting place for local engagement. This cross-section opens many questions around what the New York Times has called a\, “historic interborough murkiness” and with a wave of media attention calling Ridgewood one of the hippest neighborhoods in the world\, the never-ending rise of median rents in Brooklyn creeping to Queens\, these demarcations and questions of neighborhood and borough identity are brought into sharper relief. \nThe short documentaries in this program were developed by twelve film and audio makers over six months in response to some of the questions we’ve been discussing around this prompt with inputs from important community members too. \nThrough this research\, the intrepid artists in this year’s CoLAB have conjured delightful stories\, and challenging narratives mapped to this particular borderland; from deep listening and collecting of oral histories from the community around key landmarks and historical flashpoints\, to careful observations of surprising ecosystems and everyday tapestries of labor\, expression\, transit and movement\, to reflections on public space\, and the common histories and present day impacts on our shared futures. \nAfter the films\, we’ll invite folks across the street back to UNDO to celebrate and keep the party going with festive drinks\, dancing\, and music ‘til late. \nRSVP & COME THROUGH![/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text css=””] \nProgram \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_custom_heading text=”THE NIGHT THE LIGHTS WENT OUT” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Director/Co-Producer/Editor: Andrew Thomas\nCo-Director/DP: Jeff Oliver\nProducer: Anna Cardovillis\nConsulting Producer: Pia Rios” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_empty_space height=”40px”][vc_custom_heading text=”INTERSECTION” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Director/Cinematographer/Assistant Sound Designer/Co-Editor: Meijuan Foo\nCo-Director/Sound Designer/Assistant Cinematographer/Co-Editor: Valerie Neck” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_empty_space height=”40px”][vc_custom_heading text=”AFTERIMAGE” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-director\, Producer: Pia Rios\nCo-director\, Cinematographer & Sound: Andrew Thomas\nEditor: Justin Scheer\nCollage Artist/ Additional Cinematographer: Jeff Oliver” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_empty_space height=”40px”][vc_custom_heading text=”EL RÉGIMEN DEL MIRAR (THE REGIME OF SEEING)” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Director / Producer: Vida Zamora\nEditor / Art Director: Anna Cardovillis\nAssistant Producer / Mentor: Sophie Kazis\nAssistant Producer / Camera Operator: Meijuan Foo\nProducer / Sound Recordist: Margaret Cirino” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_empty_space height=”40px”][vc_custom_heading text=”WRITING ON THE WALL” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Director/ Director of Photography: Colin Nusbaum\nDirector/ Producer: Justin Scheer\nEditor: Destiny Arturet\nAdditional Cinematographer / Sound / Associate Producer: Valerie Neck” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_empty_space height=”40px”][vc_custom_heading text=”RESERVOIR” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Director/Producer: Sophie Kazis\nCo-Director/Cinematographer: Colin Nusbaum\nEditor: Pia Rios\nAssistant Producer: Margaret Cirino” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][vc_empty_space height=”40px”][vc_custom_heading text=”POTENTIALLY RESPONSIBLE PARTIES” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Co-Director / Co-Producer: Margaret Cirino\nCo-Director / Editor: Destiny Arturet\nDP / Graphic Artist / Colorist: Meijuan Foo\nSound Designer: Vida Zamora\nStory Editor: Sophie Kazis” font_container=”tag:p|text_align:left” use_theme_fonts=”yes” css=””][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][vc_column_text]ABOUT THE UNIONDOCS COLLABORATIVE STUDIO \nThe UnionDocs Collaborative Studio is a fellowship program for non-fiction media research and group production. It seeks to bring together individual talents\, voices\, and stories to create multi-dimensional documentaries. For the past 10 months\, fellows have been immersed in research\, idea generation\, planning\, recording\, edits\, critiques\, and re-edits. Teams were formed around a set of select proposals\, which all moved through the stages of production in tandem. In addition to this production work\, fellows engage in masterclasses\, seminars\, and workshops on the history\, theory and practice of documentary arts.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151611″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Destiny Arturet has been exploring stories about niche hobbies\, small communities\, and collective interests even before she picked up a camera. A graduate of the Salt Institute for Documentary Studies\, her short film Welcome to King Friday’s Dungeon was selected for the 2023 Camden International Film Festival. She recently completed FilmNorth’s Inclusive and Socially Conscious Filmmaking Lab and is a member of Brown Girls Doc Mafia.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Anna Cardovillis is a documentary filmmaker from Nairobi\, Kenya.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151657″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Margaret Cirino is an audio producer at NPR. Her job involves a little bit of everything – pitching and sourcing\, sound designing and reporting stories on everything from climate change in city parks to support groups for folks transitioning in their 60s. She loves covering reproductive health and queer/trans issues and culture. Cirino has produced four different podcasts: Life Kit\, Short Wave\, TED Radio Hour and How I Built This.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151610″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Meijuan Foo is an interdisciplinary artist working in the intersections of film\, dance\, poetry and painting. Through movement of imagery and language\, she is interested in the spaces in between and within\, unpacking the unseen to bring the invisible into the realm of consciousness and ultimately drive transformation. Born and raised in Singapore\, she is currently based in Brooklyn\, NYC.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151632″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Sophie Kazis is a Brooklyn-based audio documentarian. She’s Project Manager for the ACORN Oral History Project\, an audio archive on the national community organizing group. Previously\, at Vice News\, she produced podcasts including American Terror\, about the rise of far-right extremist groups. She attended Transom\, after getting her start in community radio–first at Oberlin College and later helping to launch an LPFM station at a Boston youth arts organization. Sometimes she makes music too.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151609″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Valerie Neck is a NY-based documentary artist who is drawn to capture the poetics in the everyday\, or the infraordinary. Her style of filmmaking reflects colorful life experiences\, from being an army paratrooper in Italy to rescuing a street dog in Laos to supporting the dying as a hospice social worker in rural Oregon. She has been described as blending the documentary gaze with mysticism\, and using the camera to paint impressionist portraits of the world that both enchant and bedevil her. Her debut film\, All That Is\, premiered at DOC NYC (2021).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151613″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Colin Nusbaum is a documentary film director\, editor and cinematographer who focuses on intimately observed and beautifully crafted stories. His work asks more questions that it answers.\n \nColin’s films have screened at the Sundance\, Tribeca\, SXSW\, HotDocs\, Sheffield\, DOCNYC\, Full Frame and many others.\n \nColin earned a BA from The College of Wooster and an MA in Media Studies and Film from The New School. When he is not making films\, Colin enjoys cycling\, ceramics\, canoeing\, and practicing aikido.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151655″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Jeff Oliver (he/him) is a writer\, director and media educator. His work centers on moments of the comedic\, horrific and the absurd. His 2021 short film\, The Beast of Torpor\, premiered at the Portland Art Museum in collaboration with the Montavilla Jazz Festival. His most recent film\, Thirsty Thursday\, premiered at the 2024 Portland Horror Film Festival. \nHe has been awarded grants by the Oregon Community Foundation\, Regional Arts and Culture Council and Oregon Film. Since 2012 he has taught filmmaking workshops with organizations like Buck’s Rock Performing and Creative Arts Camp\, Hollywood Theatre\, Movie Madness\, Open Signal & Outside the Frame. \nHe is in pre-production on a new documentary\, We’re All Gonna Make It\, about mental health and the history of the standup comedy community in Portland\, Oregon.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151614″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Pia Rios is a Peruvian interdisciplinary researcher and educator with a Philosophy\, Media Studies\, and Anthropology background. She holds a B. A in Philosophy from Pontificia Universidad Catolica del Peru and an M.A in Interdisciplinary Studies from NYU. She is currently studying Anthropology and Education at Teachers College. She enjoys thinking about how we express and construct our identities\, preserve and create history\, and reading/watching stories of resistance.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151616″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Justin Scheer is a writer and filmmaker based in Brooklyn. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151612″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Andrew Thomas is a documentary film editor and director based in Brooklyn. His most recent films screened at Tribeca\, and DOC NYC. With a penchant for portrait style documentaries on artists and untold community histories\, Andrew strives to create films that are engaging\, cinematic and artfully crafted. He is a member of the Alliance of Documentary Editors\, The Video Consortium\, and with over a decade in New York\, still carries a continued excitement for finding stories and uncovering more about the city.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”151608″ css=””][/vc_column][vc_column width=”3/4″][vc_column_text css=””]Vida Zamora is a Documentarist and Writer delving into the intricate tapestry of intersectionality\, dialectics\, and historicity through an unyielding lens firmly rooted in resistance and dissent. Their process confronts entrenched roles and doctrines through direct address and action\, democratizing mediums historically unavailable to marginalized voices. \nVida advocates for “Kuxlejal” life-affirming processes through Mutual Aid as a world-making practice\, yet vocalizes through a disciplinary width span that borrows from decolonial and socialist theories.[/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/collaborative-studio-preview-party-2024-06-22/
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/2024/06/UnionDocs-GIF-downsized_large-25.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:20240627T193000
DTEND;TZID=America/New_York:20240627T193000
DTSTAMP:20260408T095249
CREATED:20240415T204932Z
LAST-MODIFIED:20240523T191320Z
UID:10002836-1719516600-1719516600@uniondocs.org
SUMMARY:You Are A Lesbian Vampire
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/929137464″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text]We’re excited to welcome Theo Jean Cuthand back to UnionDocs for a mini retrospective of his decades spanning oeuvre of short\, experimental narrative works about sexuality\, madness\, Queer identity and love\, and Indigeneity\, \nAlong with these video works\, Theo will present a Carmilla the Lonely\, a video game written\, drawn and programmed by the artist. Come through to follow the journey of lesbian vampire Carmilla as she unravels what it means to be an ethical vampire! \nRunning through each of these singular works is the vividly personal lens through which Theo reflects on societal norms and historical legacies. Cuthand’s works invite audiences to engage with the intersections of personal and collective identity and the enduring quest for understanding and connection. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nCarmilla the Lonely\n[/vc_column_text][vc_column_text]Video Game[/vc_column_text][vc_column_text] \nCarmilla the Lonely is a Lesbian vampire\, but with ethics. She’s got complicated needs for blood and love and avoiding the sun. In this small urban community she meets the late night crowds on the street\, in a diner\, and in a local BDSM club. She also lives in a crypt in a cemetery down the street where she returns to escape the dawn. Through conversations and interactions you will learn to ethically behave as a vampire\, although honestly you could drain people of their blood. But is that a good idea? \nWritten\, drawn\, and programmed by Theo Cuthand. \nMade with support from The Canada Council for the Arts\, Q21 in Vienna\, Austri\, and McMaster University School of the Arts in Hamilton Ontario Canada. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nBoi Oh Boi\n[/vc_column_text][vc_column_text]2012\, 09:32 minutes\, colour\, English[/vc_column_text][vc_column_text]After a long period in life identifying as a Butch Lesbian\, Cuthand considers transitioning to male. This experience involved a six month period of his life during which he went by the name Sarain\, which he would have been called had he been born a boy\, and asking to be called by male pronouns. Complicated by mental health crises\, Cuthand found themselves in a mental health group home for women\, having to hide their gender dysphoria. After a considerable amount of thought and discussion\, Cuthand changed his mind and decided to remain a Butch Lesbian. Explaining his decision\, she touches on the desire to maintain a connection to the Lesbian community\, as well as the sexy genderfucking that happens when one is a masculine woman. Shot partially on location in Hamburg\, Germany\, riding back and forth on the UBahn is a metaphor for his eventual acceptance of fluctuating between a masculine and a feminine gender. In a nod to his two spirited ancestors\, he mentions that he would have been able to make up his own gender had colonization not happened. Since this video was completed\, Cuthand decided again to transition to male and use he/him pronouns.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nHelpless Maiden Makes an “I” Statement\n[/vc_column_text][vc_column_text]1999\, 06:00 minutes\, colour\, English[/vc_column_text][vc_column_text]Deriving its title from the classic quilt pattern “Grandmother’s Flower Garden\,” Grandmother’s Garden examines the past and present production of quiltmaking as it relates to the histories of slavery and cotton production\, westward expansion\, and the textile industry in the United States.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nJust Dandy\n[/vc_column_text][vc_column_text]2013\, 07:38 minutes\, colour\, English[/vc_column_text][vc_column_text] \n\nInvited to speak at an Indigenous Revolutionary Meeting\, the narrator describes an intimate encounter with an Evil Colonizing Queen which leads to Turtle Island’s contraction of an invasive European flora. \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nYou Are A Lesbian Vampire\n[/vc_column_text][vc_column_text]2008\, 03:17 minutes\, B&W/colour titles\, English[/vc_column_text][vc_column_text]In the dark night of a prairie city\, a vampire considers her future with a fetching mortal. But requiring blood for sustenance brings a host of problems to the relationship.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nNeurotransmitting\n[/vc_column_text][vc_column_text]2021\, 08:23 minutes\, English[/vc_column_text][vc_column_text] \n\nTheo Jean Cuthand and his mother Ruth Cuthand have a candid conversation about his last hospitalization for Bipolar Disorder in 2007. While Theo only knew his manic episode from the inside\, Ruth had to deal with caregiving decisions and trying to find help. While they reminisce they also have to reckon with the feelings of animosity that arose between them during these events. \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 90 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150323″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Theo Jean Cuthand was born in Regina\, Saskatchewan\, Canada\, in 1978\, and grew up in Saskatoon. Since 1995 he has been making short experimental narrative videos and films about sexuality\, madness\, Queer identity and love\, and Indigeneity\, which have screened in festivals internationally\, including the Tribeca Film Festival in New York City\, Mix Brasil Festival of Sexual Diversity in Sao Paolo\, ImagineNATIVE in Toronto\, Ann Arbour Film Festival\, Images in Toronto\, Berlinale in Berlin\, New York Film Festival\, Outfest\, and Oberhausen International Short Film Festival. His work has also exhibited at galleries including the Remai in Saskatoon\, The National Gallery in Ottawa\, the Whitney Museum of American Art in New York\, MoMA in New York\, and The Walker Art Center in Minneapolis.  He completed his Bachelor of Fine Arts majoring in Film and Video at Emily Carr University of Art and Design in 2005\, and his Masters of Arts in Media Production at Toronto Metropolitan University in 2015. He has made commissioned work for Urban Shaman and Videopool in Winnipeg\, Cinema Politica in Montreal\, VIMAF in Vancouver\, and Bawaadan Collective in Canada. In 2020 he completed working on a 2D video game called A Bipolar Journey based on his experience learning and dealing with his bipolar disorder. Currently he finished his second video game Carmilla the Lonely\, a lesbian vampire game about ethics. He has also written three feature screenplays and has performed at Live at The End Of The Century in Vancouver\, Queer City Cinema’s Performatorium in Regina\, and 7a*11d in Toronto. He is a Whitney Biennial 2019 artist. He is a trans man who uses he/him pronouns. Cuthand is of Plains Cree and Scots descent\, a member of Little Pine First Nation\, and currently resides in Toronto\, Canada.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1711829133427-ddd700c5-ecb4-9″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/theo-jean-cuthand-2024-06-27/
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/2024/03/UnionDocs-GIF-downsized_large-2.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:20240628T190000
DTEND;TZID=America/New_York:20240628T190000
DTSTAMP:20260408T095249
CREATED:20240416T214259Z
LAST-MODIFIED:20240626T094721Z
UID:10002851-1719601200-1719601200@uniondocs.org
SUMMARY:Documentary Fundamentals: How it Started
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 css=””]This session of Documentary Fundamentals covers all the basics of planning your documentary and covers all the basics of creating a production plan for your project. What are the goals for your story? Who is your proposed audience? How do you map out a feature length story arc? And how do you allocate resources to make the film you want to make? This session covers these issues and gives you the tools to match your creativity with logistical planning.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151012″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Marley McDonald is a filmmaker\, animator\, and painter living in Queens\, New York. In 2021\, she was chosen as a Points North Fellow and worked as an additional editor on Penny Lane’s film Listening to Kenny G. Her associate editor work includes Spaceship Earth\, and the Golden Lion-winning and Oscar-nominated documentary\, All the Beauty and the Bloodshed. She most recently directed and edited her debut feature\, Time Bomb Y2K (co-directed with Brian Becker) for HBO.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151011″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Brian Becker is a New York-based filmmaker who directed and produced Time Bomb Y2K (co-directed with Marley McDonald)\, which premiered on HBO in December\, 2023. The film’s festival run included True/False Film Festival\, Hot Docs\, Sheffield DocFest\, IDFA\, Camden International Film Festival\, and DocNYC. Brian served as archival producer on Free Chol Soo Lee\, MLK/FBI\, and Spaceship Earth\, and as co-producer on the series Bobby Kennedy for President. Brian is a 2022 Doc NYC 40 Under 40 recipient\, Impact Partners Producing Fellow\, Points North Fellow\, and a FOCAL Jane Mercer Researcher of the Year award nominee. Before turning to production\, he worked as a mosquito ecologist.[/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/documentary-fundamentals-how-it-started-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-14.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:20240628T190000
DTEND;TZID=America/New_York:20240630T180000
DTSTAMP:20260408T095249
CREATED:20240416T191948Z
LAST-MODIFIED:20240625T171807Z
UID:10002848-1719601200-1719770400@uniondocs.org
SUMMARY:Documentary Fundamentals 2024
DESCRIPTION:[vc_row][vc_column][vc_column_text css=””]Today’s documentary landscape is rapidly evolving with new avenues and pitfalls around every corner. DOC FUNDAMENTALS\, our annual six session professional development series\, responds each year to the changes we see in the field and is geared towards preparing emerging and mid-career independent filmmakers with all the foundational knowledge they need to complete a feature documentary. We’re ecstatic that this year’s Documentary Fundamentals course is led by Marley McDonald and Brian Becker\, co-directors of the incredible all-archival documentary Time Bomb Y2K that was called “a sleek\, lean film that never falters” by Forbe It’s so exciting that much of Time Bomb Y2Ks team will join us for this weekend in June!  You’re invited to follow along and trace the trajectory of one of this recent documentary hits all the way from its pre-production and planning stages to post-production and through its spectacular distribution. \nTime Bomb Y2K will serve as a case-study across all the sessions including PITCHING\, ARCHIVAL\, EDITING\, MUSIC/GFX and RELEASING your documentary. Each session features a range of exciting\, advanced and award-winning professionals from the field and many from this film who represent all aspects of producing a documentary feature. It is perfect as a primer or a way to refocus and rethink your project in today’s changing landscape! You can attend all sessions with a SERIES PASS or just tackle the hurdles where you need help with a single session.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”BUY SERIES PASS – ALL ACCESS” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”]$175.00Add to cart	\n			\n [vc_column_text css=””]The full series pass includes access to all of the 2024 Documentary Fundamentals sessions listed below and the public screening of Time Bomb Y2K. You can also tailor your Doc Fundamentals attendance to your personal needs and select each course a la carte for $35/session.[/vc_column_text][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/938826119″ css=””][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text css=””] \nAbout Time Bomb Y2K \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_column_text css=””]As the year 2000 approached\, rumblings started to spread outside of the world of computer engineers and into the mainstream consciousness about a ubiquitous glitch in computer code that meant when the year turned from “1999” to “2000\,” all computers would reset to “1900” and the world’s systems would malfunction\, grinding to a halt. In a fully archival tour de force\, co-directors Brian Becker and Marley McDonald document the countdown to Y2K against the backdrop of the mass hysteria that infiltrated everything from politics to pop culture. Doomsday prepper communities started to proliferate and businesses popped up with products\, books\, and any way to make a quick buck off the looming disaster. Time Bomb Y2K is a wild ride through the final days of the ’90s and a compelling portrait of a turning point in the digital revolution.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nAbout Doc Fundamentals \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_column_text css=””]UnionDocs has developed this ongoing program for documentarians\, after receiving countless requests from folks who desire a better foundation for navigating the modern landscape of independent filmmaking and has received feedback that this course does the trick! Each year we select an array of guests that represent the best of the field with contemporary approaches to navigating with best practices.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Reflections from past participants of Doc Fundamentals:” font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_column_text] \n“Overall a great balance between breadth & depth; I feel very encouraged & equipped with the basic knowledge of how turn my projects into more serious endeavors.” \n[/vc_column_text][vc_column_text] \n“The focus of the sessions on brass tacks issues like funding\, logistics\, legal & business matters\, organizing production flow\, and how to find & work with collaborators was excellent; it’s the most helpful information that can be shared in such a relatively limited amount of time & it conveys a trust in session participants that they will find their own way through” \n[/vc_column_text][vc_column_text] \n“I really enjoyed the concept of breaking a single documentary down over several focus points. Looking forward to future courses! Thank you!” \n[/vc_column_text][/vc_column][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Day 1: Friday\, June 28″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]How it Started \nTime Bomb Y2K Screening[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Day 2: Saturday\, June 29″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]11am EST – Pitching and Financing\nwith Penny Lane and Gabriel Sedgwick \n2pm EST – Archival\nwith Peter Nauffts\, Shelby Fintank and Rich Remsberg\n\n4pm EST – Editing\nwith Katyann Gonzalez\, Maya Mumma and David Teague[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Day 3: Sunday\, June 30″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]2pm EST – Music / GFX\nwith Nathan Micay\, Cole Kush\, and Tom Goulet (Zoom) \n4pm EST – Releasing\nwith Chloe Trayner and Dara Messinger.[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151012″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Marley McDonald is a filmmaker\, animator\, and painter living in Queens\, New York. In 2021\, she was chosen as a Points North Fellow and worked as an additional editor on Penny Lane’s film Listening to Kenny G. Her associate editor work includes Spaceship Earth\, and the Golden Lion-winning and Oscar-nominated documentary\, All the Beauty and the Bloodshed. She most recently directed and edited her debut feature\, Time Bomb Y2K (co-directed with Brian Becker) for HBO.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151011″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Brian Becker is a New York-based filmmaker who directed and produced Time Bomb Y2K (co-directed with Marley McDonald)\, which premiered on HBO in December\, 2023. The film’s festival run included True/False Film Festival\, Hot Docs\, Sheffield DocFest\, IDFA\, Camden International Film Festival\, and DocNYC. Brian served as archival producer on Free Chol Soo Lee\, MLK/FBI\, and Spaceship Earth\, and as co-producer on the series Bobby Kennedy for President. Brian is a 2022 Doc NYC 40 Under 40 recipient\, Impact Partners Producing Fellow\, Points North Fellow\, and a FOCAL Jane Mercer Researcher of the Year award nominee. Before turning to production\, he worked as a mosquito ecologist.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151010″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Peter Nauffts is a New York-based archival researcher and producer. In addition to Time Bomb Y2K\, he has conducted archival research on films and series for Lucy Walker\, Alex Gibney and Mariam Ghani. He is currently working on a documentary about Sun Ra for Firelight Films. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151009″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rich Remsberg is a two-time Emmy Award-winning archival producer with more than twenty years of experience in documentary films and series. Working with directors such as Lawrence Kasdan\, Ben Stiller\, Penny Lane\, Amir Bar-Lev\, Marshall Curry\, Eugene Jarecki\, Jesse Moss\, and Dawn Porter\, Remsberg specializes in creating fresh storylines and finding rare and unseen footage to support them. \nHis credits for HBO\, Netflix\, Disney+\, NatGeo\, History\, and PBS include Light & Magic\, Street Gang: How We Got to Sesame Street\, Bobby Kennedy for President\, Happy Valley\, and the Academy Award-nominated A Night at the Garden. \nRemsberg has served on the faculties of the Maine Media Workshops and the Library of Congress’ American Folklife Center Field School; was a frequent collaborator with the sampling-based music duo The Books; and has been a contributor to Vice Magazine\, Esopus\, and NPR’s online feature The Picture Show. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151718″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Shelby Fintak is a bi-coastal archival researcher and filmmaker from St. Petersburg\, Florida. She has worked as an archival researcher on Time Bomb Y2K and an upcoming Pee-Wee Herman documentary directed by Matt Wolf. Shelby has recently worked as a 1st Assistant Camera for Tubi\, an electrician on Rare Objects\, and production designer for numerous short films. Currently\, Shelby works as an archival production assistant on a documentary for PBS’s American Masters series.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151009″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rich Remsberg is a two-time Emmy Award-winning archival producer with more than twenty years of experience in documentary films and series. Working with directors such as Lawrence Kasdan\, Ben Stiller\, Penny Lane\, Amir Bar-Lev\, Marshall Curry\, Eugene Jarecki\, Jesse Moss\, and Dawn Porter\, Remsberg specializes in creating fresh storylines and finding rare and unseen footage to support them. \nHis credits for HBO\, Netflix\, Disney+\, NatGeo\, History\, and PBS include Light & Magic\, Street Gang: How We Got to Sesame Street\, Bobby Kennedy for President\, Happy Valley\, and the Academy Award-nominated A Night at the Garden. \nRemsberg has served on the faculties of the Maine Media Workshops and the Library of Congress’ American Folklife Center Field School; was a frequent collaborator with the sampling-based music duo The Books; and has been a contributor to Vice Magazine\, Esopus\, and NPR’s online feature The Picture Show. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151008″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Maya Mumma\, ACE\, was an editor on the Academy Award winning documentary “O.J.: Made in America” for which she was honored with a Best Editing award from the LA Film Critics Association\, an ACE Eddie\, and a Primetime Emmy. She began her career in the edit room of the Academy Award nominated documentary “Restrepo”\, which won the Grand Jury Prize at the 2010 Sundance Film Festival. She has gone on to edit such films as “Which Way Is the Front Line From Here”\, “Whoopi Goldberg Presents Moms Mabley”\, the Peabody Award winning “Mr. Dynamite: The Rise of James Brown”\, the Emmy winning “King in the Wilderness”\, the Emmy and Peabody Award winning “True Justice: Bryan Stevenson’s Fight for Equality”\, the three-part “Obama: In Pursuit of a More Perfect Union”\, and most recently “Time Bomb Y2K”. She has mentored for the Firelight Media Documentary Lab\, the Open City Documentary Festival Assembly Lab\, the TFI/A&E IndieFilms StoryLab\, the Sundance Art of Editing Fellowship\, and the Chicken & Egg Pictures (Egg)celerator Lab. She is the current president of the Karen Schmeer Film Editing Fellowship.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151007″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gabriel Sedgwick hails from the grim and frostbitten kingdom of Sweden but lives in New York City\, where he has produced both fiction and documentary films that have screened at festivals including Sundance\, Toronto Int’l Film Festival\, SXSW\, Rotterdam\, Full Frame\, and New Directors/New Films. His productions include director Penny Lane’s documentaries Hail Satan? (Magnolia Pictures) and Listening to Kenny G (HBO) and Lanre Olabisi’s fiction features August the First and Somewhere in the Middle (Film Movement)\, as well as executive producing Brian Becker and Marley McDonald’s Time Bomb Y2K (HBO). On the shorts side\, he produced the sea-monkey documentary Just Add Water for CNN Films\, which garnered massive online popularity with eight million views and counting. He’s a Sundance Creative Producing Labs fellow\, Berlinale Talent fellow\, two-time Sundance Institute Documentary Film Program Grantee\, and enthusiastic karaoke participant.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151006″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Katyann Gonzalez is a video editor born\, bred and living in New York. Having worked in documentary post-production for the majority of her career\, she recently made the jump into the narrative space on the upcoming A24 film\, Death of a Unicorne. She has worked as an assistant editor on several documentaries and docuseries which had major streaming distribution (HBO\, Netflix\, etc.) and successful film festival runs (Sundance\, True/False\, Camden\, Sheffield\, and more.) Some of the titles include Union\, Time Bomb Y2K\, and Love Has Won. Katyann is also a 2024 Karen Schmeer Editing Fellow under the mentorship of Penny Falk and Toby Shimin in a cohort of 6 talented editors in NYC. She also works as a colorist for fashion films\, short films\, branded content\, and music videos and in 2023 she color graded a feature-length documentary called Divisible.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151219″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]David Teague is an Emmy-winning documentary film editor and writer. His work as an editor includes the Oscar-nominated and Emmy-winning Life Animated\, the Oscar-nominated and Emmy-winning Cutie and the Boxer\, the Independent Spirit-nominated The Departure\, the Emmy-nominated E-Team\, and the Oscar-winning Freeheld. He wrote and produced Stamped from the Beginning\, shortlisted for the Academy Award for Best Documentary Feature\, and was nominated for a Writers Guild Award for his work on the film. He was the supervising editor for the Sundance-winning Frida and the Emmy-nominated Pretty Baby: Brooke Shields\, for which he received a Cinema Eye Editing Award. As a consulting editor\, he worked on Knock Down The House\, Crip Camp\, Cameraperson\, Welcome to Chechnya\, and Mayor. He wrote the fiction film Cassandro with director Roger Ross Williams\, starring Gael García Bernal\, which premiered at Sundance 2023. David has served as an editing mentor with IFP/Gotham\, Firelight\, Tribeca\, Brown Girls Doc Mafia\, the Catapult True/False Rough Cut Retreat\, and the Sundance Institute.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151005″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Penny Lane has been making award-winning\, innovative nonfiction films for over a decade.  This includes six features – most recently Confessions of a Good Samaritan\, premiering at SXSW 2023 – and over a dozen short films.  A 2020 Guggenheim Fellow\, Lane has also received grants and awards from the Sundance Film Festival\, Cinereach\, Creative Capital\, Chicken & Egg Pictures\, Tribeca Film Institute\, Wexner Center for the Arts and many others. Penny has been honored with mid-career retrospectives at the Museum of the Moving Image\, San Francisco DocFest\, Open City Documentary Festival and Cinema Moderne. She is a member of the Academy of Motion Picture Arts and Sciences. And yes\, Penny Lane is her real name.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151004″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Tom Goulet is a freelance director / motion graphics artist living in Los Angeles working mostly on projects in the music\, commercial\, and film industries. Tom graduated Ithaca College in 2016 and worked for 4 years at Spikeball Inc. as their videographer/graphic designer/social media guy. Now he works full time on freelance projects directing videos\, doing VFX\, motion graphics\, graphic design\, title design\, and other stuff. He does almost everything in After Effects. He loves eating cereal but just plain cereal\, not sugary kinds. His two favorite cereals are Special K (Original)\, and Joe’s O’s\, but Joe’s O’s changed their formula slightly when they moved factories in 2020 and it’s a little worse than it used to be.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151013″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Cole Kush is a director and animator from Canada whose works tend towards the absurd\, often finding the bizarre in the mundane. He has directed projects for Adult Swim\, HBO\, SNL\, A$AP Rocky\, Nike\, Vice and a variety of artists to create innovative visual work. Cole founded Eternal Family\, an artist-run streaming service and co-founded the creative studio Grin Machine.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151014″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Toronto born\, Berlin based artist Nathan Micay has been on quite the run these past few years. His debut EP on esteemed label AD93 (formerly Whities) in 2018 ‘First Casualtiy’ became one of the biggest hits of the dance music circuit\, gaining acclaim on best of year lists from Resident Advisor\, Mixmag\, Dj Mag. He followed this up in 2019 with his debut album ‘Blue Spring’ on Warp Records affiliate label LuckyMe. The album became a landmark release that effortlessly brought together the sounds of trance\, electronica and techno\, placing them under the roof of the avant-garde. The release received wide acclaim\, prominently featured on many end of year lists\, this time in dance music and beyond. As a DJ\, he has continued to make his mark on the international club circuit\, establishing himself as sa regular at key venues such as Berghian Berlin\, fabric London\, Contact Tokyo and Goodroom NYC. However\, in 2020 Nathan truly arrived\, offering two bodies of work that nobody saw coming. His surprise second album on LuckyMe ‘The World I’m Going to Hell For’ was released in May 2020. It was created entirely with his string instruments and limited electonics. Pitchfork called it “Uniquely powerful” and it offered fans and listeners alike a new window into Nathan’s growing artistic vision. The album expanded on his cinematic sound and perfectly positioned for the natural move into scoring. He spent the first six months of 2020 working on his biggest project yet: a full symphonic hybrid score for the new HBO series Industry. The three hours of score in the series received acclaim from The New Yorker\, The New York Times\, The Independent among other leading publications. He has followed this up with scores for HBO’s Reality\, HBO’s TimeBomb: Y2K and other scoring projects for studios such as Netflix and Paramount. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151003″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Dara Messinger is the longtime Director of Programming at DCTV where she has overseen many of the honored organization’s public programs. Her work as curator continues and deepens as she now programs its new Firehouse: DCTV’s Cinema for Documentary Film. She is also a filmmaker\, member of Meerkat Media Collective since 2008\, and a 2022 DOC NYC Documentary New Leader.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151138″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Chloé Trayner is the Artistic Director of Ragtag Film Society working across True/False Film Fest and Ragtag Cinema in Columbia\, Missouri. Chloé previously worked in film and events programming in London with a focus on nonfiction and talent development. She is the Founder of Assembly Documentary Development Lab and has worked with organizations such as Open City Documentary Festival\, Bertha DocHouse\, BFI Future Film Festival\, The Guardian\, Wellcome Trust and UnderWire Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-1.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:20240628T200000
DTEND;TZID=America/New_York:20240628T200000
DTSTAMP:20260408T095249
CREATED:20240416T194609Z
LAST-MODIFIED:20240626T221443Z
UID:10002849-1719604800-1719604800@uniondocs.org
SUMMARY:Time Bomb Y2K
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Program begins at 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text css=””] \n\n\n\n\n\n\n\n\nUnionDocs\n352 Onderdonk Ave\nRidgewood\, NY \n\n\n\n\n\n\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/893833357?share=copy”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to present an evening of cinema and conversation with Marley McDonald and Brian Becker’s incredible all-archival documentary Time Bomb Y2K  \n“A condensed reminder of the exponential growth of the internet.” — Filmmaker Magazine. \nAs the year 2000 approached\, rumblings started to spread outside of the world of computer engineers and into the mainstream consciousness about a ubiquitous glitch in computer code that meant when the year turned from “1999” to “2000\,” all computers would reset to “1900” and the world’s systems would malfunction\, grinding to a halt. In a fully archival tour de force\, co-directors Brian Becker and Marley McDonald document the countdown to Y2K against the backdrop of the mass hysteria that infiltrated everything from politics to pop culture. Doomsday prepper communities started to proliferate and businesses popped up with products\, books\, and any way to make a quick buck off the looming disaster. Time Bomb Y2K is a wild ride through the final days of the ’90s and a compelling portrait of a turning point in the digital revolution. \nNote: We’re ecstatic that this year’s Documentary Fundamentals course is led by Marley McDonald and Brian Becker! Time Bomb Y2K will serve as a case-study for DOC FUNDAMENTALS\, our annual six session professional development series\, across all the sessions including FINANCING\, ARCHIVAL\, EDITING\, MUSIC/GFX and RELEASING your documentary. Each session features a range of exciting\, advanced and award-winning professionals from the field and many from this film who represent all aspects of producing a documentary feature. It is perfect as a primer or a way to refocus and rethink your project in today’s changing landscape! You can attend all sessions with a SERIES PASS or just tackle the hurdles where you need help with a single session.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nTime Bomb Y2K\n[/vc_column_text][vc_column_text]80 mins\, 2023\, United States[/vc_column_text][vc_column_text]As the year 2000 approached\, rumblings started to spread outside of the world of computer engineers and into the mainstream consciousness about a ubiquitous glitch in computer code that meant when the year turned from “1999” to “2000\,” all computers would reset to “1900” and the world’s systems would malfunction\, grinding to a halt. In a fully archival tour de force\, co-directors Brian Becker and Marley McDonald document the countdown to Y2K against the backdrop of the mass hysteria that infiltrated everything from politics to pop culture. Doomsday prepper communities started to proliferate and businesses popped up with products\, books\, and any way to make a quick buck off the looming disaster. Time Bomb Y2K is a wild ride through the final days of the ’90s and a compelling portrait of a turning point in the digital revolution.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 80 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”149132″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Marley McDonald is a filmmaker\, animator\, and painter living in Queens\, New York. In 2021\, she was chosen as a Points North Fellow and worked as an additional editor on Penny Lane’s film Listening to Kenny G. Her associate editor work includes Spaceship Earth\, and the Golden Lion-winning and Oscar-nominated documentary\, All the Beauty and the Bloodshed. She most recently directed and edited her debut feature\, Time Bomb Y2K (co-directed with Brian Becker) for HBO.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”149133″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Brian Becker is a New York-based filmmaker who most recently directed and produced his debut feature Time Bomb Y2K (co-directed with Marley McDonald). The film premiered at True/False Film Festival in March 2023 and will air on HBO in December 2023. He served as an archival producer on Free Chol Soo Lee\, MLK/FBI\, and Spaceship Earth\, and as a co-producer on Bobby Kennedy for President. Brian is a 2022 Doc NYC 40 Under 40 recipient\, Impact Partners Producing Fellow\, Points North Fellow\, and a FOCAL Jane Mercer Researcher of the Year award nominee. Before turning to production\, he worked as a mosquito ecologist.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1719440067771-2b54a58f-5af3-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/time-bomb-y2k-2024-06-28/
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/2023/12/UnionDocs-GIF-downsized_large-1.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:20240629T110000
DTEND;TZID=America/New_York:20240629T130000
DTSTAMP:20260408T095249
CREATED:20240417T195934Z
LAST-MODIFIED:20240629T094901Z
UID:10002850-1719658800-1719666000@uniondocs.org
SUMMARY:Documentary Fundamentals: Pitching & Financing
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 css=””]This session of DOCUMENTARY FUNDAMENTALS is about pitching and financing your next documentary. This session will address the eternal question: how to finance your doc? What are the pros and cons of different fundraising options and how does someone get started on this process? Pitching\, how to pitch and successfully apply for grants\, and routes to markets will be discussed in this can’t-miss session.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151012″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Marley McDonald is a filmmaker\, animator\, and painter living in Queens\, New York. In 2021\, she was chosen as a Points North Fellow and worked as an additional editor on Penny Lane’s film Listening to Kenny G. Her associate editor work includes Spaceship Earth\, and the Golden Lion-winning and Oscar-nominated documentary\, All the Beauty and the Bloodshed. She most recently directed and edited her debut feature\, Time Bomb Y2K (co-directed with Brian Becker) for HBO.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151011″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Brian Becker is a New York-based filmmaker who directed and produced Time Bomb Y2K (co-directed with Marley McDonald)\, which premiered on HBO in December\, 2023. The film’s festival run included True/False Film Festival\, Hot Docs\, Sheffield DocFest\, IDFA\, Camden International Film Festival\, and DocNYC. Brian served as archival producer on Free Chol Soo Lee\, MLK/FBI\, and Spaceship Earth\, and as co-producer on the series Bobby Kennedy for President. Brian is a 2022 Doc NYC 40 Under 40 recipient\, Impact Partners Producing Fellow\, Points North Fellow\, and a FOCAL Jane Mercer Researcher of the Year award nominee. Before turning to production\, he worked as a mosquito ecologist.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151005″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Penny Lane has been making award-winning\, innovative nonfiction films for over a decade.  This includes six features – most recently Confessions of a Good Samaritan\, premiering at SXSW 2023 – and over a dozen short films.  A 2020 Guggenheim Fellow\, Lane has also received grants and awards from the Sundance Film Festival\, Cinereach\, Creative Capital\, Chicken & Egg Pictures\, Tribeca Film Institute\, Wexner Center for the Arts and many others. Penny has been honored with mid-career retrospectives at the Museum of the Moving Image\, San Francisco DocFest\, Open City Documentary Festival and Cinema Moderne. She is a member of the Academy of Motion Picture Arts and Sciences. And yes\, Penny Lane is her real name.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151007″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gabriel Sedgwick hails from the grim and frostbitten kingdom of Sweden but lives in New York City\, where he has produced both fiction and documentary films that have screened at festivals including Sundance\, Toronto Int’l Film Festival\, SXSW\, Rotterdam\, Full Frame\, and New Directors/New Films. His productions include director Penny Lane’s documentaries Hail Satan? (Magnolia Pictures) and Listening to Kenny G (HBO) and Lanre Olabisi’s fiction features August the First and Somewhere in the Middle (Film Movement)\, as well as executive producing Brian Becker and Marley McDonald’s Time Bomb Y2K (HBO). On the shorts side\, he produced the sea-monkey documentary Just Add Water for CNN Films\, which garnered massive online popularity with eight million views and counting. He’s a Sundance Creative Producing Labs fellow\, Berlinale Talent fellow\, two-time Sundance Institute Documentary Film Program Grantee\, and enthusiastic karaoke participant.[/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/documentary-fundamentals-financing-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-13.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:20240629T140000
DTEND;TZID=America/New_York:20240629T160000
DTSTAMP:20260408T095249
CREATED:20240417T220025Z
LAST-MODIFIED:20240629T094727Z
UID:10002857-1719669600-1719676800@uniondocs.org
SUMMARY:Documentary Fundamentals: Archival
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 css=””]In this DOCUMENTARY FUNDAMENTALS session\, we’ll explore the research and licensing of archival materials. Learn how to discover\, organize and prioritize footage effectively. Discover tips for expanding your process with input from experts. Understand licensing and fair use\, and find out how to responsibly include third party material. Join us to enrich your documentary storytelling with archives.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151010″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Peter Nauffts is a New York-based archival researcher and producer. In addition to Time Bomb Y2K\, he has conducted archival research on films and series for Lucy Walker\, Alex Gibney and Mariam Ghani. He is currently working on a documentary about Sun Ra for Firelight Films. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151009″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rich Remsberg is a two-time Emmy Award-winning archival producer with more than twenty years of experience in documentary films and series. Working with directors such as Lawrence Kasdan\, Ben Stiller\, Penny Lane\, Amir Bar-Lev\, Marshall Curry\, Eugene Jarecki\, Jesse Moss\, and Dawn Porter\, Remsberg specializes in creating fresh storylines and finding rare and unseen footage to support them. \nHis credits for HBO\, Netflix\, Disney+\, NatGeo\, History\, and PBS include Light & Magic\, Street Gang: How We Got to Sesame Street\, Bobby Kennedy for President\, Happy Valley\, and the Academy Award-nominated A Night at the Garden. \nRemsberg has served on the faculties of the Maine Media Workshops and the Library of Congress’ American Folklife Center Field School; was a frequent collaborator with the sampling-based music duo The Books; and has been a contributor to Vice Magazine\, Esopus\, and NPR’s online feature The Picture Show. [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-archival-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-18.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:20240629T160000
DTEND;TZID=America/New_York:20240629T180000
DTSTAMP:20260408T095249
CREATED:20240417T215000Z
LAST-MODIFIED:20240418T210144Z
UID:10002852-1719676800-1719684000@uniondocs.org
SUMMARY:Documentary Fundamentals: Editing
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 css=””]This session of DOCUMENTARY FUNDAMENTALS is about editing your next documentary. 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? [/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”]$175.00Add to cart	\n			\n [vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151006″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nKatyann Gonzalez is a video editor born\, bred and living in New York. Having worked in documentary post-production for the majority of her career\, she recently made the jump into the narrative space on the upcoming A24 film\, Death of a Unicorne. She has worked as an assistant editor on several documentaries and docuseries which had major streaming distribution (HBO\, Netflix\, etc.) and successful film festival runs (Sundance\, True/False\, Camden\, Sheffield\, and more.) Some of the titles include Union\, Time Bomb Y2K\, and Love Has Won. Katyann is also a 2024 Karen Schmeer Editing Fellow under the mentorship of Penny Falk and Toby Shimin in a cohort of 6 talented editors in NYC. She also works as a colorist for fashion films\, short films\, branded content\, and music videos and in 2023 she color graded a feature-length documentary called Divisible. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151039″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]David Teague is an Emmy-winning documentary film editor and writer. His work as an editor includes the Oscar-nominated and Emmy-winning Life Animated\, the Oscar-nominated and Emmy-winning Cutie and the Boxer\, the Independent Spirit-nominated The Departure\, the Emmy-nominated E-TEAM\, and the Oscar-winning Freeheld. As a consulting editor\, he worked on American Factory\, Knock Down the House\, Crip Camp\, Cameraperson\, Welcome to Chechnya\, Mayor\, and Athlete A. He wrote the fiction film Cassandro with director Roger Ross Williams\, starring Gael García Bernal (Sundance 2023). David has served as an editing mentor with IFP/Gotham\, Firelight\, Catapult & True/False\, Brown Girls Doc Mafia and the Sundance Institute.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-editing-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-15.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:20240630T140000
DTEND;TZID=America/New_York:20240630T160000
DTSTAMP:20260408T095249
CREATED:20240417T215738Z
LAST-MODIFIED:20240629T094604Z
UID:10002854-1719756000-1719763200@uniondocs.org
SUMMARY:Documentary Fundamentals: Post-Production (Graphics / Music / Archive)
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 css=””]This session of DOCUMENTARY FUNDAMENTALS is about harnessing the power of music and graphic design in your next documentary. How can title design and graphics be effectively utilized in documentary? What about my approach to music or working with a composer? This session will dig in to graphics\, music that come together during post production.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151004″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Tom Goulet is a freelance director / motion graphics artist living in Los Angeles working mostly on projects in the music\, commercial\, and film industries. Tom graduated Ithaca College in 2016 and worked for 4 years at Spikeball Inc. as their videographer/graphic designer/social media guy. Now he works full time on freelance projects directing videos\, doing VFX\, motion graphics\, graphic design\, title design\, and other stuff. He does almost everything in After Effects. He loves eating cereal but just plain cereal\, not sugary kinds. His two favorite cereals are Special K (Original)\, and Joe’s O’s\, but Joe’s O’s changed their formula slightly when they moved factories in 2020 and it’s a little worse than it used to be.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151013″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Cole Kush is a director and animator from Canada whose works tend towards the absurd\, often finding the bizarre in the mundane. He has directed projects for Adult Swim\, HBO\, SNL\, A$AP Rocky\, Nike\, Vice and a variety of artists to create innovative visual work. Cole founded Eternal Family\, an artist-run streaming service and co-founded the creative studio Grin Machine.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151014″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Toronto born\, Berlin based artist Nathan Micay has been on quite the run these past few years. His debut EP on esteemed label AD93 (formerly Whities) in 2018 ‘First Casualtiy’ became one of the biggest hits of the dance music circuit\, gaining acclaim on best of year lists from Resident Advisor\, Mixmag\, Dj Mag. He followed this up in 2019 with his debut album ‘Blue Spring’ on Warp Records affiliate label LuckyMe. The album became a landmark release that effortlessly brought together the sounds of trance\, electronica and techno\, placing them under the roof of the avant-garde. The release received wide acclaim\, prominently featured on many end of year lists\, this time in dance music and beyond. As a DJ\, he has continued to make his mark on the international club circuit\, establishing himself as sa regular at key venues such as Berghian Berlin\, fabric London\, Contact Tokyo and Goodroom NYC. However\, in 2020 Nathan truly arrived\, offering two bodies of work that nobody saw coming. His surprise second album on LuckyMe ‘The World I’m Going to Hell For’ was released in May 2020. It was created entirely with his string instruments and limited electonics. Pitchfork called it “Uniquely powerful” and it offered fans and listeners alike a new window into Nathan’s growing artistic vision. The album expanded on his cinematic sound and perfectly positioned for the natural move into scoring. He spent the first six months of 2020 working on his biggest project yet: a full symphonic hybrid score for the new HBO series Industry. The three hours of score in the series received acclaim from The New Yorker\, The New York Times\, The Independent among other leading publications. He has followed this up with scores for HBO’s Reality\, HBO’s TimeBomb: Y2K and other scoring projects for studios such as Netflix and Paramount. [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-post-production-graphics-music-archive-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-16.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:20240630T160000
DTEND;TZID=America/New_York:20240630T180000
DTSTAMP:20260408T095249
CREATED:20240417T220350Z
LAST-MODIFIED:20240426T205118Z
UID:10002856-1719763200-1719770400@uniondocs.org
SUMMARY:Documentary Fundamentals: Releasing
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 css=””]This session of DOCUMENTARY FUNDAMENTALS is about releasing your next documentary. How can you find and build audiences for your film?  How do you know if your film is best suited for theatrical\, broadcast\, or both?  How do digital platforms affect “traditional” models of distribution and release? How can you best utilize your film festival campaign? Another can’t-miss session![/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nBuy a Series Pass \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text css=””]DOCUMENTARY FUNDAMENTALS: A professional development series designed to give the emerging or intermediate documentary filmmaker an inside look at the filmmaking process from pre-production planning to post-production and distribution. Over the past few years\, UnionDocs has developed this ongoing program for documentarians that desire a better foundation for navigating the modern landscape of independent filmmaking. This six-part program takes place over the course of one weekend at UnionDocs. Buy a SERIES PASS ($175) or choose to attend individual sessions ($35/each).[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_column_text] \nInstructors \n[/vc_column_text][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151003″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Dara Messinger is the longtime Director of Programming at DCTV where she has overseen many of the honored organization’s public programs. Her work as curator continues and deepens as she now programs its new Firehouse: DCTV’s Cinema for Documentary Film. She is also a filmmaker\, member of Meerkat Media Collective since 2008\, and a 2022 DOC NYC Documentary New Leader.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Chloé Trayner is the Artistic Director of Ragtag Film Society working across True/False Film Fest and Ragtag Cinema in Columbia\, Missouri. Chloé previously worked in film and events programming in London with a focus on nonfiction and talent development. She is the Founder of Assembly Documentary Development Lab and has worked with organizations such as Open City Documentary Festival\, Bertha DocHouse\, BFI Future Film Festival\, The Guardian\, Wellcome Trust and UnderWire Festival.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-fundamentals-releasing-2024/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-17.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:20240707T193000
DTEND;TZID=America/New_York:20240707T230000
DTSTAMP:20260408T095249
CREATED:20240606T014520Z
LAST-MODIFIED:20240629T014509Z
UID:10002867-1720380600-1720393200@uniondocs.org
SUMMARY:Fallow Frames: An Exhibition\, Program & Neighborhood Biennial
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 8:00p[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][vc_column_text css=””]Exhibition on view\, July 3-14.[/vc_column_text][vc_column_text css=””]Offsite\nFallow Frames Biennial[/vc_column_text][vc_btn title=”See Map” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” css_animation=”bounceIn” css=”” link=”url:https%3A%2F%2Fwww.google.com%2Fmaps%2Fd%2Fu%2F0%2Fviewer%3Fmid%3D1Z_nh1PyDoZSHghkH5d1woXUyPIbU6Pg%26hl%3Den_US%26femb%3D1%26ll%3D40.70432821847599%252C-73.90548054999998%26z%3D16|target:_blank”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]UnionDocs is thrilled to come together with friends at Urban Omnibus to share an opening night celebration for FALLOW FRAMES\, an ongoing photo series by artist\, Alexa Hoyer and a debut biennial art festival from Hoyer and co-curated with Alexander Zev. \nFrom July 7-13\, we will have Hoyer’s photo series on view in the front gallery space at UnionDocs in anticipation of the first ever FALLOW FRAMES BIENNIAL\, an expanded community-based project inspired by her photo series taking place across Ridgewood\, Queens July 13th & 14th. \nThis evening will share a bit of the process behind Hoyer’s archive-based photography practice and will help to build a forum for some of the central questions being put forth by this biennial by convening a collection of artists working through the stewardship of public space in their work. \nHoyer spoke about the initial photo project with Urban Omnibus Managing Editor\, Kevin Ritter\, and shared: \n“While many tree pits\, of course\, have trees and plant life\, quite a lot are cut off or empty\, exhibiting varying degrees of neglect and decay. During my walks around the neighborhood\, I started noticing a variety of these empty tree beds and began researching and documenting them\, reflecting on their strange beauty.” — In Absentia. \nArtists Katarina Jerinic & Lee Cannarozzo have been invited to intertwine their inquiries with their city-centered earth works that question and surface many of the same resonant mysteries that rhyme with the stories and surprises found in Hoyer’s photographs. \nJerinic will present excerpts from a site-specific project adopting-a-highway plot carved out between a BQE exit ramp and a congested Brooklyn street\, calling attention to the land itself and ways it is shaped by urban bureaucratic and natural forces\, passers-by\, and Jerinic’s own endless efforts to maintain it. \nWhile Cannarozzo will share his experiments transforming a selection of neglected public micro spaces into ephemeral works of Land Art with a temporary installation project called FLAX ESTATES in Chelsea. \nLastly\, when considering the provocations made in this collection of work\, we couldn’t help but conjure Gillian Waldo’s astonishing new short film from this past year\, Public Surfaces\, that explores the One Percent for Art program\, in which sculptures were placed in public schools in Baltimore City during the 1960s-1980s. \nWe’re quite happy to bring together a dialogue between Hoyer\, Jerinic\, Cannarozzo and Waldo led by one of our leading minds on our city environments\, the Editor-in-Chief at Urban Omnibus\, Mariana Mogilevich. We will together and with the help of these artists research and public practices unpack notions of presence and absence\, neglect\, stewardship\, the growthful\, the decaying\, and the fallow and ask how we might learn from these efforts and continue to cultivate our shared commons. \nCome on out early to explore the installation of photographs\, and stay to hear the ideas and intentions behind this work and to add your voice and perspective to this conversation! \nAlso\, be sure to come back for The Fallow Frames Biennial taking place July 13th and 14th\, where local artists are staging site-specific installations and performances in 25 abandoned tree beds across Ridgewood. \nThis public festival will invite visitors to wander the neighborhood as active participants in a larger narrative of renewal and artistic expression – and to spark conversations about urban ecology and these small neglected patches of the city’s landscape. SEE THE MAP & COME THROUGH![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nFallow Frames by Alexa Hoyer\n[/vc_column_text][vc_column_text css=””]Installation & Presentation\, 10 mins[/vc_column_text][vc_column_text css=””]A tree bed is a small plot of land carved out from the solid pavement of the sidewalk — a common sight across numerous neighborhoods in New York City. While many nurture trees\, plant life\, and vegetation\, a significant number are neglected or abandoned — overlooked corners in a city that typically puts great value on space. Ubiquitous yet enigmatic\, they appear like gaps or voids in the city’s concrete landscape with questions about their nature and purpose. In 2023\, Alexa Hoyer meticulously mapped and documented these spaces in various states of dereliction in her neighborhood of Ridgewood\, Queens\, capturing a unique perspective on the distinctive topography of New York City. The exposed earth\, sometimes weathered and strewn with debris\, becomes a canvas for contemplation\, unveiling new layers of meaning within the material of our everyday environments. The project inspired her to curate “Fallow Frames\,” a group exhibition exploring these pervasive yet mysterious spaces in terms of form\, culture\, and architecture.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nBeautification This Site by Katarina Jerinic\n[/vc_column_text][vc_column_text css=””]Excerpt / Presentation\, 10 mins\, 2016[/vc_column_text][vc_column_text css=””]Beautification This Site centers on a neglected\, leftover piece of the landscape Katarina Jerinic acquired through the Department of Transportation’s Adopt-A-Highway Program\, carved out between a BQE exit ramp and a congested Brooklyn street. Part earthwork\, part self-assigned residency\, the project called attention to the land itself and ways it is shaped by urban bureaucratic and natural forces\, passers-by\, and Jerinic’s own endless efforts to maintain it. \nThe standard issue DOT sign and the labor required of all volunteers (which became a kind of performance for passers-by) were just a part of the project. Jerinic also staged subtle interventions on the site in the form of plants and signs\, a guided tour\, a workshop and a projected slide show for cars stuck in traffic featuring images of trash found on site. Additionally\, Jerinic made a series of photographs\, videos and ephemera focused on ideas of wild spaces\, urban places\, and land art.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nFlax Estates by Lee Cannarozzo\n[/vc_column_text][vc_column_text css=””]Presentation\, 10 mins[/vc_column_text][vc_column_text css=””]Flax Estates were seven temporary earthworks located in the Chelsea neighborhood of New York City. The earthworks consisted of abandoned sidewalk plots that were tilled\, amended\, and planted with flax (Linum Usitatissimum). Most of the flax crops planted in the seven Flax Estates never made it to maturity; destroyed by either pigeons\, dogs\, or city workers. The few plants that did make it to maturity were transformed into a single paper-based nonsite. This project was an experiment in the production of locally sourced art materials and the transformation of neglected public micro spaces into ephemeral works of Land Art.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nPublic Surfaces by Gillian Waldo\n[/vc_column_text][vc_column_text css=””]16mm to digital\, 11 mins\, 2023[/vc_column_text][vc_column_text css=””]A film exploring the One Percent for Art program\, in which sculptures were placed in public schools in Baltimore City during the 1960s-1980s\, only for many of them to disappear.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 43 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151639″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nAlexa Hoyer is a NYC-based German Visual Artist working in photography. In her most recent work\, she meticulously creates photographic archives of ad hoc systems in everyday environments. Alexa exhibited internationally\, including PS122 Gallery\, Mana Contemporary\, NJ\, the Contemporary Arts Museum in Houston\, TX\, Arles Les Rencontres de la Photographie\, Arles\, France\, PHOTO IS:RAEL\, the Inside Out Arts Museum in Beijing and a video installation at the Eastern State Penitentiary in Philadelphia\, PA. She participated in LMCC’s Governors Island artist residency and was recently awarded the 2023 Queens Arts Fund (QAF) New Work Grant. Her photography has been published in Hyperallergic\, Vice\, Urban Omnibus\, DOMUS\, and Harper’s Magazine. In 2022 her project “Wegweiser” was published by Kenektid in Seoul\, Korea. Alexa received a BFA from Webster University in St Louis\, MO and an MFA from Tyler School of Art in Philadelphia\, PA. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151640″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nMariana Mogilevich is a writer and historian of architecture and urbanism focused on the design and politics of the public realm. She is editor in chief of Urban Omnibus\, and author of The Invention of Public Space: Designing for Inclusion in Lindsay’s New York (U Minnesota Press\, 2000). \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151692″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nKatarina Jerinic makes photographs\, maps and ephemera about built landscapes and the past and present of particular places. Solo exhibitions and projects include SPACES\, Cleveland\, OH; Baxter St at CCNY\, New York\, NY; Marjorie Barrick Museum of Art at University of Nevada Las Vegas; and a public project along the Gowanus Canal\, Brooklyn\, NY supported by NYC Department of Transportation Art Program and neighborhood partners. Her projects have been supported by Puffin Foundation\, Teaneck\, NJ; Times Square Alliance\, New York; Brooklyn Arts Council\, NY and chashama\, New York among others. Residencies include Wave Hill\, Bronx\, NY; Lower Manhattan Cultural Council\, New York; Typa\, Tartu\, Estonia; Center for Book Arts\, New York; and MacDowell\, Peterborough\, NH. Her work has been discussed in Hyperallergic\, New York Magazine\, Washington City Paper\, Washington Post\, Philadelphia Inquirer. Jerinic has an MFA in Photography and Related Media from School of Visual Arts and a BA in History from American University. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151693″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nLee Cannarozzo (b. 1989\, Las Vegas\, NV) is a New York-based interdisciplinary artist with an M.F.A in Studio Art from SUNY University at Buffalo and a B.A. in Art History from The University of Nevada Las Vegas. Cannarozzo’s work has been exhibited in various cultural centers such as The Marjorie Barrick Museum of Art\, The Burchfield Penney Art Center\, The Bemis Center for Contemporary Art\, and The Visual Studies Workshop. Through a protean practice that utilizes constantly evolving methodologies and media relevant to the subject of each artistic project\, his work investigates the contemporary resonance of various social\, legal\, and ecological histories \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”151660″ img_size=”medium” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nGillian Waldo is originally from Baltimore\, Maryland and makes short nonfiction works about the built world on16mm. Her work has screened at Prismatic Ground\, IndieLisboa\, Open City Documentary Festival\, Cosmic Rays\, the Winnipeg Underground Film Festival\, and ICDOCS among other festivals. She co-runs Syllabus Project\, programmed QuaranTV\, works in libraries\, and is currently based in Milwaukee\, WI. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text css=””] \nMore about the Fallow Frames Biennial \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_column_text css=””] \nRidgewood’s sidewalks have over 800 empty tree beds – or roughly one for every 90 residents. \nThe Fallow Frames Biennial is an upcoming public art festival that will be held on July 13th and 14th\, where local artists are invited to use 24 abandoned tree beds to stage site-specific installations and performances. \nVisitors are invited to wander the neighborhood as active participants in a larger narrative of renewal and artistic expression – and to spark conversations about urban ecology and these small neglected patches of the city’s landscape. Follow the map below to tour the beds and meet the artists! \nco-curated by Alexa Hoyer & Alexander Zev \nJuly 13 & 14 from 2-7PM.[/vc_column_text][vc_empty_space height=”30px”][vc_raw_html css=””]JTNDaWZyYW1lJTIwc3JjJTNEJTIyaHR0cHMlM0ElMkYlMkZ3d3cuZ29vZ2xlLmNvbSUyRm1hcHMlMkZkJTJGZW1iZWQlM0ZtaWQlM0QxWl9uaDFQeURvWlNIZ2hrSDVkMXdvWFV5UEliVTZQZyUyNmhsJTNEZW5fVVMlMjZlaGJjJTNEMkUzMTJGJTIyJTIwd2lkdGglM0QlMjI2NDAlMjIlMjBoZWlnaHQlM0QlMjI0ODAlMjIlM0UlM0MlMkZpZnJhbWUlM0U=[/vc_raw_html][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1719625474800-6c8952bb-4bd6-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2024-07-07-fallow-frames/
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/2024/06/FF-GRID.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
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