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DTSTART;VALUE=DATE:20251114
DTEND;VALUE=DATE:20261117
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CREATED:20250930T202405Z
LAST-MODIFIED:20260105T173108Z
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SUMMARY:A Symposium of Sorts: Radical Inquiries with the UNDO Fellows
DESCRIPTION:g
URL:https://uniondocs.org/event/a-symposium-of-sorts/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20260405T193000
DTEND;TZID=America/New_York:20260405T193000
DTSTAMP:20260404T111716
CREATED:20260303T063157Z
LAST-MODIFIED:20260313T155238Z
UID:10003028-1775417400-1775417400@uniondocs.org
SUMMARY:Beyond Resolution: Films By Sabine Gruffat
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:30p\nProgram 8:00p\nTickets $12[/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://www.youtube.com/watch?v=ZG5alzAuchc&feature=youtu.be” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re thrilled to welcome back a profoundly rigorous artistic practice to the screen here at UnionDocs and spend the night focusing on the multivalent work of Sabine Gruffat! \nBeyond Resolution: Films by Sabine Gruffat\, is a touring program spanning her expansive body of work from 2007 to 2025. It’s always a huge honor to spotlight Gruffat’s genre-defying and formally adventurous practice\, which continually invites new ways of thinking about experimentation\, technology\, process\, and systems of representation. \nThis series of films favors ambiguity and resists resolution. The nearer the gaze\, the more obscure the view. Illegibility here is not an escape from politics\, but a way of inhabiting it differently: as a site of tension\, friction\, and possibility. \nThese films draw from a range of genres and layered techniques. Images are processed to draw attention to the hidden logics in software\, hardware\, and materiality. In repurposing media\, the works call attention to the histories from which meaning’s fragile frameworks emerge. \nWe’re so excited to share Sabine’s work with first-time viewers and longtime fans on this special evening dedicated to her ever-evolving body of work. We hope you’ll join us in welcoming her and joining for a conversation following the program as she tours this exciting new program. \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 css=””] \nDisclaimer\n[/vc_column_text][vc_column_text css=””]Marseille\, FR. 2025. 5 mins. Digital Video.[/vc_column_text][vc_column_text css=””]The following film has been modified from its original version. It has been formatted to fit this screen.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nHeadlines: BOMB PARTS\n[/vc_column_text][vc_column_text css=””]Detroit\, MI. 2007\, 3 mins. 16mm master negative transferred to digital.[/vc_column_text][vc_column_text css=””]A semi-automated animation process of a New York Times article results in sentence recombinations that sometimes made sense while emphasizing certain words and images. The writing from February 27\, 2007 is about bomb parts found in Baghdad that the newspaper speculates were planted by Iran. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nA Return to the Return to Reason\n[/vc_column_text][vc_column_text css=””]Chapel Hill\, NC. 2014\, 3 mins. Laser etched BW 35mm film.[/vc_column_text][vc_column_text css=””]A tribute to Man Ray’s 1923 film Le Retour à La Raison. In this film Man Ray’s “original” film was digitized with its scratches\, and splices\, then compiled into digital filmstrips. These filmstrips are used to output a dithered image that the laser engraver may etch onto black film leader.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nBrave New World\n[/vc_column_text][vc_column_text css=””]Chapel Hill\, NC. 2015\, 7 mins. 35mm Film transferred to HD.[/vc_column_text][vc_column_text css=””]In 1927 Henry Ford bought land in the Amazon for a rubber plantation and called it Fordlandia. In this video\, 35mm archival silent documentary film footage shot by Henry Ford’s own filmmakers is reworked and given a soundtrack revealing the colonial lens through which the filmmakers apprehended unfamiliar nature.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nBlack Oval White\n[/vc_column_text][vc_column_text css=””]Owego\, NY. 2009\, 3 mins. Mini DV/DVCAM transferred to digital.\n[/vc_column_text][vc_column_text css=””]A video recording of a computer-generated abstract animation that is keyed\, wiped and matted by electronic oscillators and feedback. The sound of the electronic oscillators is delayed and pitched to produce modulations.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nTake it Down\n[/vc_column_text][vc_column_text css=””]Chapel Hill\, NC. 2019\, 12.5 mins. Solarized color positive 35mm film.[/vc_column_text][vc_column_text css=””]A last stand for the silent guardians of the old order. Take It Down is a filmic day of reckoning for the Old Confederate South. What is up must come down\, like the Confederate soldier monuments standing in court house squares across the South. Solarized film makes positives bleed into negatives.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nFramelines\n[/vc_column_text][vc_column_text css=””]Washington\, DC and Chapel Hill\, NC. 2017\, 10 mins. Laser-etched Color Negative transferred to Digital.[/vc_column_text][vc_column_text css=””]Framelines is an abstract scratch film made by laser etching abstract patterns on the film emulsion of negative and positive 35mm film. The strips of film were then re-photographed on top of each other as photograms then contact printed. The soundtrack layers the noise made by the etched optical track.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nMoving or Being Moved\n[/vc_column_text][vc_column_text css=””]Chapel Hill\, NC. 2021\, 11 mins. Digital Video\, 3D Animation\, and Motion Capture.\n[/vc_column_text][vc_column_text css=””]Post-modern dance theory by Trisha Brown and Yvonne Rainer is put to work while a woman cleans the house in a motion capture suit. The everyday performance of domestic labor is teleported into a surreal game world where an emotionally responsive AI chatbot provides no answers.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nSouvenir Statuette\n[/vc_column_text][vc_column_text css=””]Ménerbes\, FR and Sante Fe\, NM. 2024\, 11 mins. Digital Video\, 3D Animation\, and MoCap.[/vc_column_text][vc_column_text css=””]Souvenirs of souvenirs. Souvenir Statuettes were animated in real spaces with a custom made augmented-reality application. Whether they be cast from a mold\, or 3d scanned and propagated online\, Souvenir Statuettes aim for virality. Some of the quasi-objects in this video were once objects\, others are non-objects or computer model imaginaries.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 65 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=”161601″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sabine Gruffat is a French-American artist born in Bangkok\, Thailand. She co-founded and co-programs the Cosmic Rays Film Festival in Chapel Hill\, NC with filmmaker Bill Brown. Currently she lives in Marseille\, France.  \nSabine Gruffat works on experimental\, animation\, and essay forms and exhibits her work as installations\, performances\, and single-channel screenings. By actively engaging with both current and outmoded technology\, Gruffat’s work questions our standardized and mediated world. \nSabine Gruffat’s films and videos have screened at festivals worldwide including the Image Forum Festival\, The Ann Arbor Film Festival\, Migrating Forms\, the Viennale\, MoMA Documentary Fortnight\, Chicago Underground\, Cinéma du Réel\, 25FPS\, Transmediale in Berlin\, and The Copenhagen International Documentary Film Festival.  She has produced digital media works for public spaces as well as interactive installations that have been shown at the North Carolina Museum of Art\, Zolla Lieberman Gallery in Chicago\, Art In General\, PS1 Contemporary Art Museum\, and Hudson Franklin in New York. Her collected video works are distributed by the Video Data Bank in Chicago\, IL.[/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:1772138076492-7fa64de3-5ac9-2″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2026-04-05-beyond-resolution-sabine-gruffat/
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/2026/02/giphdy.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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T193000
DTEND;TZID=America/New_York:20260409T193000
DTSTAMP:20260404T111716
CREATED:20260303T065351Z
LAST-MODIFIED:20260327T195412Z
UID:10003042-1775763000-1775763000@uniondocs.org
SUMMARY:Faraway My Shadow Wandered
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:30p\nProgram 8:00p\nTickets $12[/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 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=””] \nWe are delighted to invite you to a special screening of Faraway My Shadow Wandered\, co-directed by Liao Jiekai and Sudhee Liao\, presented in collaboration with Cinemovement! \nThe wintry wind moves through the coastal town of Anamizu\, where Junya once promised his grandfather he would inherit the family’s centuries-old Shinto shrine. Years later\, that promise remains unfulfilled. In the time between leaving and returning\, Junya has drifted far from home. \nAn unexpected encounter with Sara — a dancer born on the same day as him — gently guides him back toward the place he once left behind. As Junya photographs his hometown with an analogue camera\, he observes quietly: swallows always return to their nests. \nBlending dance\, photography\, and cinema\, this deeply introspective hybrid documentary gives form to emotions that often remain unspoken. As the film unfolds\, language gradually recedes\, making space for gestures\, movement\, and presence. Sara appears almost like an apparition\, accompanying Junya through landscapes of memory\, longing\, and return. \nPremiering to international audiences at festivals including Cinéma du Réel 2021 and International Film Festival Rotterdam 2021\, the film has been recognized for its delicate merging of choreography and cinema. \nDon’t miss this quietly powerful work that asks how the body remembers\,  and how images can hold time. Filmmaker Liao Jiekai will be in attendance for a conversation with filmmaker Anocha Suwichakornpong following the program. \nCome through! \n[/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=””] \nFaraway My Shadow Wandered by Liao Jiekai and Sudhee Liao\n[/vc_column_text][vc_column_text css=””]2021/ Singapore & Japan / 70 min [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 70 minutes \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=”162051″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Liao Jiekai (Singapore) is a filmmaker\, visual artist and educator based in Tokyo. He holds a Master’s degree in Film Directing from Tokyo University. His debut Red Dragonflies (2010) won the Special Jury Prize at Jeonju International Film Festival\, and As You Were (2014) competed at film festivals in Tokyo\, Torino and Nantes. His work lingers between cinema and the visual arts\, often investigating the “hidden history of places” and drawing out “the relationship between people and places”. Faraway My Shadow Wandered (2020)\, co-directed with choreographer Sudhee Liao\, premiered at the Singapore International Film Festival. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162052″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sudhee Liao is a Singapore based interdisciplinary choreographer\, movement artist\, and educator. She holds a BFA in Contemporary Dance and Choreography from The Hong Kong Academy for Performing Arts. Her work intricately weaves movement\, identity\, and socio-political themes\, often integrating materials with movement to create multidimensional performances that reflect on the nuances of existence. Sudhee is an alumna of Cinemovement Lab I and II. Her film Faraway My Shadow Wandered\, co-directed with Liao Jiekai\, was incubated under the Cinemovement Residency programme in 2020.[/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:1773846316721-b6b91144-ede3-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/faraway-my-shadow-wandered-2026-04-09/
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/2026/03/Cinemovement_FEATURED-IMG.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:20260410T193000
DTEND;TZID=America/New_York:20260410T193000
DTSTAMP:20260404T111716
CREATED:20260306T011246Z
LAST-MODIFIED:20260329T162013Z
UID:10003035-1775849400-1775849400@uniondocs.org
SUMMARY:Tripoli / A Tale of Three Cities
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/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 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=””]We’re thrilled to invite you to join UnionDocs and our friends from the Leslie-Lohman Museum of Art for a screening of Raed Rafei’s Tripoli / A Tale of Three Cities\, which premiered at IDFA in 2024 to an outpouring of praise. After the screening\, Raed will be in conversation with multidisciplinary artist and filmmaker Sinan Tuncay\, whose work is on view at Leslie-Lohman Museum of Art through April 12.  \nTripoli / A Tale of Three Cities tells the story of a queer filmmaker’s homecoming to Tripoli\, Lebanon\, a place where he’d previously been cast to the margins. Against the backdrop of revolutionary limbo and economic crisis\, he sets out to find the people and beliefs that shape the city’s evolving identity.  \nThe resulting film is made up of strung-together portraits framed by Rafei’s curious and patient eye. Whether brief or extended\, his interactions fill up with meaning\, opening space for politics and identity to be discussed openly and for dreams and fears to be held.  \nAs he moves through the city\, he’s also drawn towards the quiet\, more poetic encounters that frame his path\, like anonymous passerbys\, the built environment\, and its ephemera.  \nIn his searching attempt to understand a home marked by personal and political complexity\, he weaves together a loving portrait of a place that is both familiar and estranged.  \nBusiness Doc Europe writes\, “Tripoli / A Tale of Three Cities celebrates this enigmatic place and its people with an open mind and through a loving\, compassionate lens\, with nostalgia but also hope for the future\, and with an exceptional eye for detail and the humanity in everyone.” \nSince premiering at IDFA\, the world’s largest documentary film festival\, Tripoli / A Tale of Three Cities has gone on to screen at queer film festivals internationally\, like Queer Lisboa (Lisbon)\, Xposed (Berlin) and Mix Milan (Italy). \nWe’re thrilled to have Raed with us for the screening and to welcome multidisciplinary artist and filmmaker Sinan Tuncay\, who will lead the post-screening discussion.  \nSinan’s work is on view at Leslie-Lohman Museum of Art as part of Soft Spaces\, a series of installations featuring works by alumni of the Museum’s Fellowship program\, curated by Chloe Ming\, Assistant Curator / Exhibitions Manager. The exhibitions unfold over time\, presenting works spanning digital art\, painting\, photography\, filmmaking\, performance\, and installation by more than three dozen artists. Together\, the works respond to the ever-changing landscape of LGBTQIA+ experience\, informed by queer and trans histories\, liberatory frameworks\, and reclamations of identity. \n  \nCome through for a night you won’t want to miss![/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=””] \nTripoli / A Tale of Three Cities by Raed Rafei\n[/vc_column_text][vc_column_text css=””]88 mins\, 2024\, Lebanon.[/vc_column_text][vc_column_text css=””]A queer director returns to Tripoli\, Lebanon to confront a hometown that once rejected him. He interviews the city’s inhabitants about their cultural and social beliefs and their embrace of new ideas. This contemplative urban symphony paints a picture of a city trapped in a self-spun web\, paralyzed by a deep economic crisis\, a faltering revolution\, and a looming doomsday.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 88 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=”161765″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nRaed (El) Rafei is a filmmaker\, scholar\, and multimedia journalist working across cinema\, criticism\, and queer cultural studies. His award-winning films have been screened at international festivals and institutions including IDFA (Amsterdam)\, the Centre Pompidou (Paris)\, and the Pacific Film Archive (Berkeley). Rafei is currently an Assistant Professor of Film and Media Studies at the University of Pittsburgh\, Pennsylvania. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161962″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sinan Tuncay (b. 1986\, Istanbul) is a multidisciplinary artist and filmmaker based between Istanbul and New York. Through photography\, video\, and installation\, his work explores queer identity\, masculinity\, and collective memory\, often using self-portraiture and digital collage to examine gender representation and cultural belonging. His practice also draws from the visual language of popular culture—particularly music and cinema—to construct theatrical and layered narratives. \nTuncay holds a BA in Visual Communication Design from Sabancı University and an MFA in Photography\, Video\, and Related Media from the School of Visual Arts. His work has been recognized with a NYFA Fellowship in Photography (2016) and the Leslie-Lohman Museum Artist Fellowship (2020)\, and he served as a panelist for the NYSCA/NYFA Artist Fellowship (2018). \nHis work has been exhibited at United Photo Industries (New York)\, Musée de l’Elysée (Switzerland)\, Arter (Istanbul)\, and Istanbul Museum of Modern Art\, among others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text css=””] \nOn the occasion of this program\, we invite donations from folks to support relief for those displaced and impacted by the war and ongoing violence and displacement in Lebanon. \nWe have two organizations here below as suggested spaces for sending funds if you are able to support\, please do!\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=”162195″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Beit Aam is a shared community space in Beirut\, open all week for artists\, students\, collectives & more\, hosting classes\, screenings\, workshops & discussions. Due to the volatile situation in Lebanon\, Beit Aam is serving as a relief hub during crises\, a coordination point for food distribution and shelter\, and\, in more stable moments\, a cultural and political gathering space.  You can learn more and send SUPPORT HERE.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162196″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]MOSAIC-MENA The MENA Organization for Services\, Advocacy\, Integration & Capacity Development\, is a holistic program committed to improve the health and well-being of marginalized groups in Lebanon and beyond. \nThrough its presence and networks in Lebanon and the MENA region\, MOSAIC’s strategic goal is to achieve the coexistence of people in their respective communities and national systems. \nLGBTQIA+ individuals\, as usual\, face some of the most severe consequences\, adding to the structural marginalisation they already experience in the Lebanese context. Queer people often cannot access mainstream shelters because those spaces are often unsafe or hostile\, and in many cases\, they are not welcome at all. \nThey are collecting donations to support the LGBTQIA+ community in Lebanon in these times via GoFundMe. You can learn more and SUPPORT HERE.[/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:1774386511087-fbf8d643-d6ee-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2026-04-10-a-tale-of-three-cities/
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/2026/03/Tripoli-giphy.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T160000
DTEND;TZID=America/New_York:20260412T160000
DTSTAMP:20260404T111716
CREATED:20260306T070001Z
LAST-MODIFIED:20260326T192606Z
UID:10003036-1776009600-1776009600@uniondocs.org
SUMMARY:The Whole Shebang: Celebrating Ken & Flo Jacobs — Living Archive
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 4:00p\nProgram 4:30p\nTickets $12[/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 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_column_text css=””]We’re so happy to be a part of the monthlong city-wide celebration of Ken and Flo Jacobs: The Whole Shebang! It’s a fourteen-venue expanded cinema salute to two of experimental cinema’s most beloved icons. \nFor this occasion\, UnionDocs will present a two-part screening organized with Hanna Rose Shell who will be joined by the city-wide celebration instigator Andrew Lampert\, on Sunday April 12th featuring three monumental films from the Jacobs’ ouevre. \nThis program\, LIVING ARCHIVE\, mines the depths of historic actuality in film and home movies to reveal perceptual histories of surveillance\, displacement\, family\, and communication across three works by Ken Jacobs: New York Ghetto Fish Market 1903 (2006)\,  Urban Peasants (1975)\, and Jerry Takes a Back Seat\, Then Passes Out of the Picture (1987). \nKen (1933–2025) and Flo (1941–2025) were inseparable sweethearts and creative partners from the day they met in 1962\, and while their passing last year leaves us bereft\, it also provides a welcome opportunity to survey their enormous and extraordinary film and digital oeuvre. The Whole Shebang represents an unprecedented aligning of venues across the city\, all of whom presented and championed the Jacobs’ uncompromising output during the last six-plus decades. Featuring key works\, many theatrical and world premieres\, and plenty of deep cuts\, this sweeping festival serves as both a remembrance and an introduction to the duo’s remarkable achievements and impossible-to-categorize genius. \nAs a heralded filmmaker\, distinguished professor at Binghamton University\, and undeniable presence for so many decades\, Ken Jacobs majorly impacted global cinema culture with anarchic wonders like Blonde Cobra (1963)\, Little Stabs at Happiness (1963)\, Star Spangled to Death (1956/2004)\, and the structuralist classic Tom\, Tom\, the Piper’s Son (1969). Beginning with Flo Rounds a Corner (1999)\, he went on to produce an unprecedented array of space- and mind-bending digital videos that\, in many ways\, brought him full circle to his early days as a painter. Florence Jacobs née Karpf was Ken’s partner at every turn and his prime collaborator in the trailblazing live cinema and shadow-play performances they began presenting in the mid-1960s. Whether reworking early silent film footage with the 16mm double-projection “Nervous System” or projecting phantasmagorical 3-D images with their “Nervous Magic Lantern\,” Ken and Flo produced unfathomable\, homespun works that pushed the possibilities of film and digital cinema beyond all expectations. \nCome through for this evening that unfolds in two parts. We invite some milling about and toasting to Jacobs’ impact on the cinematic form during the lengthy yet kinetic and absorbing New York Ghetto Fish Market. We will then conclude with the iconic New York feature Urban Peasants\, preceded by Jerry Takes A Back Seat\, with a conversation led by Hanna Rose Shell & Andy Lampert to follow.[/vc_column_text][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]This collective tribute organized by Andrew Lampert  will unfold over April across 30 days with screenings at partner venues like: \nL’Alliance New York\, Anthology Film Archives\, BAM Cinema\, Film-Makers’ Cooperative\, Film at Lincoln Center\, Light Industry\, Metrograph\, Millennium Film Workshop\, The Museum of Modern Art\, Museum of the Moving Image\, Rockaway Film Festival\, The Roxy Cinema\, Spectacle Theater. \nEach venue has created its own unique program\, and works will not repeat between theaters. Information on individual screenings\, as well as guest presenters\, will be available on their respective websites and calendars. \nThe festival also helps celebrate the publication of Ken Jacobs: I Walked Into My Shortcomings\, the first book to gather this seminal artist’s writings\, teachings\, and interviews. Published by The Visible Press\, in association with Anthology Film Archives\, the book will be available in April 2026. \nExtra special thanks to Andrew Lampert\, Nisi Ariana\, Aza Jacobs\, and Diaz and. to The Filmmakers Co-op for supporting this program.[/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=””] \n4:30pm\n[/vc_column_text][vc_column_text css=””]The film will be introduced by Hanna Rose Shell. We invite folks to circulate a bit in and out during this durational work for a social viewing. The bar will be open. [/vc_column_text][vc_empty_space height=”30px”][vc_column_text css=””] \nNew York Ghetto Fishmarket 1903 by Ken Jacobs\n[/vc_column_text][vc_column_text css=””]2006\, 132 min\, b&w\, sound[/vc_column_text][vc_column_text css=””] \n\nWARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders. \nIn New York Ghetto Fish Market 1903\, Jacobs uses archival film footage of New York’s Lower East Side as his source material. The vintage film\, shot by Thomas Edison in 1903\, documents immigrant Eastern European Jews at a crowded marketplace. Digitally manipulating the original film\, Jacobs crafts a performative\, improvisational investigation; he focuses on individuals\, slows down and reverses the footage\, and creates illusions of three-dimensionality through stroboscopic effects evocative of his Nervous System performances. Jacobs considers the social and cultural context of the original film\, as well as the materiality of film as a medium. \n\nProduction\, Image and Sound Organization: Ken Jacobs. Cello: Tom Cora. Voice\, Toy Instruments\, Electronics: Catherine Jauniaux.[/vc_column_text][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n8pm\n[/vc_column_text][vc_column_text css=””]This program will be introduced by Hanna Rose Shell and she’ll be joined by Andy Lampert for a conversation following the program.[/vc_column_text][vc_empty_space height=”30px”][vc_column_text css=””] \nJerry Takes a Back Seat\, Then Passes Out of the Picture by Ken Jacobs\n[/vc_column_text][vc_column_text css=””]1987\, 16mm\, color\, silent\, 11 min[/vc_column_text][vc_column_text]“On the 200th anniversary of Simon Bolivar’s liberation journey across Colombia\, Bicentenario reflects on the far-reaching consequences of the liberator’s legacy\, a legacy kept alive through a wide range of intentional and unintentional rituals of remembrance. Summoning Bolivar’s spirit in the exact landscapes that witnessed the battles\, Bicentenario reveals the contemporary social rituals that perpetuate the ongoing violence residing deep within the social and political unconscious. Two hundred years after his campaign\, Simon Bolivar’s spirit has become a mix of political mysticism\, unquestioned doctrine\, and enigma—or perhaps a curse that has fixed itself in the collective imaginary of an entire continent. It is this curse that Bicentenario seeks to invoke\, and perhaps exorcise.”[/vc_column_text][vc_empty_space height=”30px”][vc_column_text css=””] \nUrban Peasants by Ken Jacobs\n[/vc_column_text][vc_column_text css=””]1975\, 16mm\, color and b/w\, sound on separate reel(s)\, 60 min[/vc_column_text][vc_column_text css=””]Filmed by Stella Weiss and family\, chanced assembled by Ken Jacobs from uncut 100-foot lengths. Alternating sound and image. Image must travel at silent speed. Sound o tape precedes and follows silent image. 40 minutes film plus ca. 12 minutes sound. My wife Flo’s family as recorded by her Aunt Stella. The title is no intended put-down but a simple statement of fact\, as I see it. Brooklyn was a place made up of many little villages; a near-shtetl is pictured here all in the space of a storefront[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration:\n4:30PM Screening — 132 min\n8PM Screening – 71 min \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=”162003″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]One of the founders of the American avant-garde cinema\, Ken Jacobs (1933 — 2025) worked ceaselessly and boundlessly in film\, video and moving image performance for over fifty years. Jacobs began working in a mode of guerilla cinema\, shooting anarchic and exuberant – yet also politically astute – theatrics in the streets of his native New York in the early 1950s\, including a number of prescient and Beat infused works – Little Stabs at Happiness\, the shorts included in The Whirled – made with a very young Jack Smith. \nFascinated with early cinema and experimental film from a young age\, Jacobs gradually turned to found footage as a dominant inspiration\, a breakthrough marked by his seminal deconstruction of cinematic narrative and illusionism Tom\, Tom the Piper’s Son (1969)\, which famously manipulates and expands a 1905 film of the same name to create a breathless and revelatory work of pure cinema. Early “primitive” cinema\, and increasingly\, nineteenth century photography\, has remained a touchstone in Jacobs’ work and a principal tool to launch an extended critique of the aesthetic\, ideological and technological limits defining film and the cinematic apparatus itself.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162000″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Hanna Rose Shell studies aesthetics\, media archaeology\, textiles\, and the interface of art and science; her scholarship takes the form of text and film. Shell’s book on camouflage\, Hide and Seek: Camouflage\, Photography\, and the Media of Reconnaissance\, published by Zone Books in 2012\, has since been translated into French (Zones Sensibles) and inspired her own and others’ multimedia works. Shell has published widely in scholarly and popular journals on subjects including taxidermy\, waste processing\, and the history of chronophotography. She served as co-editor for a volume on science studies published Princeton University Press and previously released an edited reprint of The Extermination of the American BisonTechnology and Culture\, her scholarship has appeared in the publications Journal of Visual Culture\, Configurations\, History and Technology\, Bidoun\, Technology and Culture\, Natural History and Cabinet among others. \nShell’s 2020 book\, SHODDY: From Devil’s Dust to the Renaissance of Rags (University of Chicago Press)\, examines recycled textiles as transformative media forms through the lenses of aesthetics\, material culture\, history\, and critical theory. It dovetails with a series of experimental documentary shorts and a textile installation in the Czech Republic on the subject of waste\, recycling and old clothes. Her films and media works have appeared worldwide\, at art and film venues including The Museum of Modern Art\, Anthology Film Archives\, the ZKM Center for Art and Media\, Machine Project\, Slamdance\, Black Maria Film and Video Festival\, Machine Project\, the Zimmerli Art Museum. \nPrior to her arrival at UC-Boulder in 2018\, she was Associate Professor at the Massachusetts Institute of Technology\, before which she was a junior fellow at the Harvard Society of Fellows. Shell also taught previously at the Rhode Island School of Design. Jointly appointed in the Department of Cinema Studies and Moving Image Arts and the Department of Art & Art History\, she teaches a range of undergraduate and graduate courses.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162004″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nAndrew Lampert has been making films\, videos\, performances and photographs since the late 1990s. His work is regularly presented in international contexts with past shows including: The Whitney Museum of American Art\, Centre Pompidou\, The Getty Museum\, The Solomon R. Guggenheim Museum\, PS1/MoMA\, The New York Film Festival\, The Toronto Film Festival\, The International Short Film Festival Oberhausen\, and The Art Gallery of Ontario among many other venues. \nA frequent writer on art and cinema\, Lampert edited THE GEORGE KUCHAR READER (Primary Information\, 2014)\, co-edited two volumes of HARRY SMITH COLLECTIONS CATALOGUE RAISONNE (J&L Books\, 2015)\, co-edited MANUEL DE LANDA: ISM ISM (J&L Books\, 2018)\, TONY CONRAD: WRITINGS (Primary Information\, 2019) and WILLIAM WEGMAN: WRITING BY ARTIST (Primary Information 2022). He co-writes the monthly advice columns HARD TRUTHS and HARD CHOICES for Art in America with Howie Chen. He is co-publisher and co-editor of The Further Reading Library imprint with Christine Burgin. \nFrom 2002-2015\, Lampert served as Archivist and Curator of Collections at Anthology Film Archives\, where he was responsible for managing the archive\, preserving films and videos\, and programming public screenings. He has restored over 300 classic and obscure moving image works by iconoclastic artists like Vito Acconci\, Stan Brakhage\, Robert Breer\, Bruce Conner\, Tony Conrad\, Maya Deren\, Hollis Frampton\, Robert Frank\, Ken Jacobs\, Danny Lyon\, Marie Menken\, Carolee Schneemann\, Paul Sharits\, and Stuart Sherman to name only a few. \nLampert has taught at CUNY City College\, Purchase College\, The New School for Social Research\, Cooper Union and NYU. He is one half of the creative firm Chen & Lampert\, and his videos are distributed by Electronic Arts Intermix. \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:1774540160031-ea287ae4-1c19-3″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2026-04-12-the-whole-shebang-celebrating-ken-flo-jacobs/
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/2026/03/gif-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:20260414T193000
DTEND;TZID=America/New_York:20260414T193000
DTSTAMP:20260404T111716
CREATED:20260306T104046Z
LAST-MODIFIED:20260402T145455Z
UID:10003044-1776195000-1776195000@uniondocs.org
SUMMARY:Rooted in Community: Ceres Food Film Festival
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:30p\nProgram 8:00p\nTickets $18\n(+$2 Processing Fee)[/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 offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://www.youtube.com/watch?v=ZG5alzAuchc&feature=youtu.be” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nUnionDocs is delighted to collaborate with Ceres Food Film Festival and Push Projects for a special evening of films and conversation exploring the stories\, systems\, and sensibilities that shape how and why we eat. \nCeres brings together films that reveal the layered realities of the global food system\, where food is not only a source of joy\, but also a site of politics\, climate urgency\, culture\, and memory. Through storytelling\, the festival invites us to look more closely at the unseen forces behind everyday consumption\, and to consider our place within a deeply interconnected cycle. \nThe program features a selection of short films spanning intimate community portraits and global perspectives. Barriga Llena\, Corazón Contento (Full Belly\, Happy Heart) made by Jordana Rubenstein-Edberg and Marshall Hanig during UNDO’s 2025 CoLAB traces a Ridgewood food pantry through stories of migration\, care\, and shared meals. Lonely Whale: Seaweed Stories by Jake Sumner looks at seaweed’s potential through voices from Indigenous communities\, science\, and industry. Astrid Malter’s Ice Cream Window captures a neighborhood ritual that grew from a pandemic pop-up into a lasting community tradition. In Guguta\, Anita Volker connects dessert-making with memory and post-Soviet identity. Alison Bartlett’s Zen Brownie explores Greyston Bakery’s Open Hiring model rooted in inclusivity. \nThe evening will conclude with a panel featuring Barriga Llena\, Corazón Contento co-director and producer\, Jordana Rubenstein-Edberg and Natalia Fuentes respectively\, moderated by Molly Surno\, founder of Push Projects. \nThe evening will also include a special drink tasting by Acid\, whose botanical spirits are made through vacuum distillation\, preserving the natural aromatics of ingredients at low temperatures. By upcycling citrus peels and surplus botanicals\, they create bright\, expressive spirits that highlight both sustainability and experimentation. \nDon’t miss this evening of films\, shared flavors\, and conversation that invites reflection on the food systems that nourish us! \n[/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=””] \n*Special Preview*\n[/vc_column_text][vc_column_text css=””] \nBarriga Llena\, Corazón Contento (Full Belly\, Happy Heart) by Jordan Rubenstein-Edberg & Marshall Hanig\n[/vc_column_text][vc_column_text css=””]A chorus of stories from the organizers of a grassroots food pantry in Ridgewood\, Queens—interweaving migration journeys\, home-made meals\, and the everyday acts of care that bind a community together.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nSeaweed Stories by Jake Sumner\n[/vc_column_text][vc_column_text css=””]Seaweed Stories is a vibrant\, global look at the wonders of seaweed\, and some of the extraordinary stories and characters whose lives have been entangled by this often overlooked marine plant which may hold answers to some of humanity’s biggest challenges. Seaweed Stories includes insights from a Silicon Valley startup creating plastic alternatives from macroalgae\, to the Indigenous Shinnecock Kelp Farmers using seaweed to prove their sovereign right to coastal land\, and a scientist in South Korea supporting seaweeds’ sexual reproduction to create new species that can withstand the effects of a changing climate.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nIce Cream Window by Astrid Malter\n[/vc_column_text][vc_column_text css=””]In August 2020\, in the midst of Covid\, we started offering scoops of ice cream from our studio’s service window—a 3-week pop-up to share the joy of ice cream with our neighbors. We were back the following year. In 2022\, 2023\, and 2024 we were back again for long and hot summers\, every Saturday and Sunday. Now it’s 2025\, our fifth year already\, still here to share the joy of ice cream. BedStuy’s beloved LadyMooMoo still helps us greatly and we’re proud to continue to serve their delicious gourmet ice cream and sorbets\, and of course we continue to work together on our own highly popular exclusive ice cream flavors.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nGuguta by Anita Volker\n[/vc_column_text][vc_column_text css=””]In the heart of Moldavia\, a dessert tells the story. In her kitchen\, Maria prepares Guguță\, a cherry cake inspired by a mythical figure from Soviet culture. As the pancakes pile up\, archive images resurface: those of Guguță wearing an oversized hat\, symbolizing a shared past. Between culinary tradition and collective memory\, the film weaves a link between generations\, revealing a country at the crossroads of memory and transmission.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nZen Brownie by Alison Bartlett\n[/vc_column_text][vc_column_text css=””]Zen Brownie tells the tale of Buddhist Monks and how leading with inclusivity\, kindness\, and compassion has created a well-known business in Greyston Bakery. Filmmaker Alison Bartlett in partnership with Michael Pirson (Stoner Chair for Global Sustainability – Gabelli School of Business\, Fordham University) delve into the Humanistic Model Management and the philosophy behind and applying it to real world business through Open Hiring.[/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_column_text css=””] \nProgram Duration: 65 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=”156204″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Marshall Hanig (he/him) is a socially engaged mediamaker based in Ridgewood\, Queens. He is interested in producing stories where the larger structures shaping our world intersect with the emotional experiences of individual beings and communities.[/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=””]Jordana Rubenstein-Edberg (she/her) is a documentary filmmaker and community-engaged artist; she collaborates with activists and policymakers to share narratives that challenge dominant histories and imagine liberatory futures. Jordana holds a degree in Human Rights Journalism from Bard College and an MFA in Social Practice from the Corcoran School of Art. Through her documentary production company\,[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162106″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jake Sumner is the award-winning director of acclaimed documentaries Fantastic Man: Who is William Onyeabor? (VICE\, 2014) Channel 4’s I Was There When House Took Over The World (2017)\, and DOC NYC Jury prize winning short Bob of the Park (2019). Other films include The Plastic Age (2015) with Pharrell Williams and multiple film collaborations with contemporary artist KAWS. As a commercial director\, Jake has created work with brands such as Nike\, Tiffany’s\, Moncler\, Google\, Mastercard and Pepsi.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162108″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Anita Volker is a documentary filmmaker. A former operating room nurse\, she notably took part in the world’s first face transplant. She now develops documentary projects focused on disability\, in collaboration with foundations and associations.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162109″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] \nAstrid Malter is a documentarian. She graduated from Carleton College with a degree in Cinema & Media Studies. Her nonfiction work is interview based and revolves around urban and environmental change. \nHer films have screened across the country at the Coney Island Film Festival\, New York Climate Film Festival\, Better Cities Film Festival\, Flagstaff Mountain Film Festival\, Downstream Environmental Film Fest\, McMinnville Shorts Festival\, Sidewalk Film Festival\, Better Cities Film Festival and more. In 2024\, her film Fl*shing Injustice won the Social Impact Award at the World Water Film Festival. \nShe lives and works in her native Brooklyn.  When she’s not working\, she enjoys listening to The Brian Lehrer Show\, snacking\, and knitting tiny animals … sometimes all at once. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162111″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Alison Bartlett is an Award Winning Writer\, Emmy Nominated Actress\, and Director. She made her Off Broadway acting debut at the age of 12 in “Landscape of The Body” directed by Gary Sinise. Her Broadway debut was in David Rabe’s “Hurly-burly” directed by Mike Nichols. From 1986-2015 she starred as the role of Gina on the world wide acclaimed television show “Sesame Street”. Known for her recurring roles on HBO’s “The Sopranos”\, & FX’s “Rescue Me”\, she has guest starred on numerous TV shows and received an Emmy Nomination for “Outstanding Performer in a Children’s Special” for her lead performance in ABC’s Afterschool Special “It’s Only Rock & Roll”. As a screenplay writer Alison has won a Silver Remi at the Worldfest-Houston International Film Festival; was a Semi-Finalist at Big Apple Film Festival and Screenplay Competition\, and was an Official Selection of the Atlanta International Screenplay Awards. Alison is a lifelong New Yorker.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162338″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Molly Surno Davis is a multidisciplinary artist and cultural producer who creates immersive\, multi-sensory experiences across installation\, performance\, curation\, and cultural strategy. She consults on the future of creativity\, bridging contemporary art\, sound\, and experience design to deepen public engagement and support artist-centered models. Her performance We of Me\, presented at BAM and the Getty\, transformed domestic rituals into sonic instruments using custom-built microphones. She has produced projects with the Met\, MoMA/PS1\, TEDx\, Kickstarter\, and Meow Wolf. Molly mentors artists through Strategic Planning Partners\, teaches at UC Santa Cruz\, mentors at NEW INC\, serves on the selection committee for the Lumen Prize\, and is co-developing a new creativity institute in Colorado with Theo Edmonds.[/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:1775141670578-966a8790-b90a-7″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/ceres-film-festival-2026-04-14/
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/2026/03/gif-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:20260425T100000
DTEND;TZID=America/New_York:20260510T163000
DTSTAMP:20260404T111716
CREATED:20260212T181130Z
LAST-MODIFIED:20260330T160604Z
UID:10003031-1777111200-1778430600@uniondocs.org
SUMMARY:Critical Care:  The Documentary Clinic
DESCRIPTION:[vc_row][vc_column][vc_btn title=”Register!” style=”outline-custom” outline_custom_color=”#FFFFFF” outline_custom_hover_background=”#ADADCC” outline_custom_hover_text=”#0000CD” shape=”round” align=”center” css=”” link=”url:https%3A%2F%2Fairtable.com%2FappdVEm0GuHIuyDJF%2FshrotfkacOtCNAy0O”][vc_column_text css=””]Are you stuck or spiraling on a documentary project currently in development? Would some feedback and counsel from an experienced producer help take you to the next level? \nWe know that documentary filmmaking can be a lonely endeavor\, especially in the development and early production phase\, and sometimes we all need a little therapy particularly in a climate of increasingly scarce resources and support. Independent filmmakers are left alone to research\, develop\, write grants\, pitch and fundraise their project\, when this is the time when support\, constructive feedback and creative guidance can be the most transformative. We’re delighted to offer this intensive workshop to filmmakers in such a position\, providing a space for focused consultation with experienced creative producers who have best practices and experiences navigating the ever-changing landscape of independent documentary. \nOver three days\, emerging filmmakers will work closely with industry professionals and a cohort of peers to address the obstacles commonly faced by non-fiction practitioners working alone. Participants will have the chance to fortify their project’s framework\, to consider their filmmaking methodology\, clarify creative direction and adjust priorities for next steps. Together we’ll hone the craft of producing compelling teasers\, media samples\, loglines\, synopses\, and director’s statements with a focus on figuring out what to prioritize when shooting and what to look for when reviewing footage for producing these necessary materials. Our goal is to help participants identify areas in need of growth and provide tools to help answer creative and practical questions\, so participants can refine the scope and vision of the project\, and draw a roadmap for further development. \nThe first day of the workshop kicks off with individual 1-on-1 meetings with industry mentors\, who will provide tailored feedback and advice for each participant and their project. This day is proposed as a remote/in-person hybrid day\, allowing participants from out of town to participate online. After a 2 week gap\, giving participants the time to digest feedback and work on their project\, we’ll gather in person for a two-day intensive. On day 1 each participant will pitch their projects to the whole cohort. On the final day of the workshop the participants will be split into groups led by a mentor to guide them through a specific aspect of the development process\, adapted to the participant group and their needs.  \nParticipants will submit project materials ahead of the workshop in order for industry mentors to familiarize themselves with the project ahead of time. This workshop is tailored towards non-fiction filmmakers with an independent project between development and early production\, without a producer. Registration for this workshop will function on a first-come-first-serve basis\, potential participants will need to fill out a REGISTRATION FORM so we can ensure the submitted projects for the program are at the appropriate stage for this level of feedback and development. \nOnce we receive the completed form\, we’ll be in touch within 72 hours to confirm the eligibility of the project\, and will send on a registration link. Prospective participants are advised to please read the full schedule before submitting the form\, as accepted participants will be required to attend every session.[/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text css=””] \nWho is eligible? \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_column_text css=””]This workshop is designed for independent non-fictions filmmakers with a project in development or early production\, with no producer attached. We want to be sure that projects are at an appropriate stage\, so we are asking folks to fill a short REGISTRATION FORM before registering to join. \nWe will follow up with you once we review the form and send you a registration link with a payment portal and collect a short statement of interest and bio along with some informal project materials to share with instructors so they can get to know your work in advance. [/vc_column_text][vc_empty_space height=”40px”][vc_btn title=”REGISTRATION FORM” style=”outline-custom” outline_custom_color=”#FFFFFF” outline_custom_hover_background=”#ADADCC” outline_custom_hover_text=”#0000CD” shape=”round” align=”center” css=”” link=”url:https%3A%2F%2Fairtable.com%2FappdVEm0GuHIuyDJF%2FshrotfkacOtCNAy0O”][/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=”WEEK 1\nSaturday April 25th (in-person/remote hybrid) – 1-ON-1s” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 11:00am Welcome & workshop introduction  \n11:00am – 1:30pm Half hour 1-on-1 sessions (x5) \n1:30pm – 2:30pm LUNCH \n2:30pm – 5:00pm Half hour 1-on-1 sessions (x5)[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”WEEK 2\nSaturday May 9th (in-person) – PITCHING” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Welcome\, Introduction \n10:30am – 1:00pm Participants present/pitch work with the group and receive feedback (x5) \n1:00pm – 2:00pm LUNCH \n2:00pm – 4:30pm Participants present/pitch work with the group and receive feedback (x5) \n4:30pm – 5:00pm Wrap up discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday May 10th (in-person) – GROUP WORK\, BREAKOUTS” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Introduction \n10:30am – 12:30pm FOCUSSED BREAK OUT GROUP  #1  \n12:30pm – 1:30pm Lunch \n1:30pm – 3:30pm FOCUSSED BREAK OUT GROUP  #2 \n3:30pm – 4:30pm Final thoughts\, conclusion \n4:30pm –  Happy hour[/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=”161605″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Paul Dallas is a Toronto-born writer\, producer\, and director based in Brooklyn. He co-wrote the HBO docu-drama REALITY\, winner of a 2023 Peabody Award. Producing credits include the documentaries HALSTON (CNN Films/Amazon) and the 2024 NAACP Image Award winner INVISIBLE BEAUTY (Magnolia Pictures)\, both of which premiered at Sundance. He also produced the acclaimed indie comedy THE PLAGIARISTS\, a New York Times Critics’ Pick\, and he Co-producer of THE MISCONCEIVED (IFFR 2026). He served as archival producer on HBO’s ARMED ONLY WITH A CAMERA\, which is nominated for the 2026 Academy Award for Documentary Short. Paul’s latest short DIVISION premiered at True/False 2026 and was selected for New Directors/New Films 2026. His writing has appeared in Artforum\, BOMB\, Extra Extra Magazine\, Filmmaker Magazine\, IndieWire\, the Village Voice\, and he has programmed films for BAM Cinema\, the Guggenheim\, and Maysles Documentary Center. He is a 2025 MacDowell Fellow.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162297″ img_size=”200×200″ css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Su Kim is an Academy Award-nominated\, two-time Emmy and two-time Peabody Award-winning producer and executive producer known for her compelling nonfiction storytelling. Her acclaimed work includes Hale County This Morning\, This Evening (Oscar nominee)\, Free Chol Soo Lee (Emmy winner)\, Bitterbrush\, and Midnight Traveler (Emmy winner). Her films have premiered at top-tier festivals such as Sundance\, Berlinale\, Tribeca\, Telluride\, and the New York Film Festival\, and have been distributed by PBS\, Hulu\, The Criterion Channel\, Magnolia Pictures\, Cinema Guild\, and MUBI. Kim is a member of the Academy of Motion Picture Arts and Sciences\, BAFTA\, the Television Academy\, and the Producers Guild of America. She is a former Women at Sundance Fellow and the recipient of the 2022 Sundance Amazon Studios Nonfiction Producers Award. Her recent projects include Sansón and Me\, Suburban Fury\, and The Tuba Thieves\, continuing her dedication to bold filmmaking.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801eac56-3cdc”][vc_column_text css=””]$475 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801eac56-3cdc”][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 11th. After April 11th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801eac56-3cdc”][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-d1c784d0-801eac56-3cdc”][vc_column_text css=””]To register for a workshop\, students must pay in full via card\, check\, or cash . After the early bird registration deadline of April 11th\, 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_column][/vc_row]
URL:https://uniondocs.org/event/critical-care-the-documentary-clinic-2026-04-25/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2026/02/2025.07.14-Summer-Documentary-LabP1088643-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:20260425T190000
DTEND;TZID=America/New_York:20260425T200000
DTSTAMP:20260404T111716
CREATED:20260306T184459Z
LAST-MODIFIED:20260327T181606Z
UID:10003038-1777143600-1777147200@uniondocs.org
SUMMARY:Muscle Beach
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/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 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=””]We’re thrilled to host the New York premiere of Muscle Beach\, a lyrical\, kinetic\, and darkly comic journey into the heart of the American weird from filmmaker Jacob Hurwitz-Goodman.  \nMoving uncannily between documentary and dramatic neo-noir\, the film centers on weightlifting influencer Ike Catcher who plays Abe\, a fictional version of himself\, a bodybuilder in search of his missing best friend.  \nOver the course of a day\, Abe finds himself pulled into a paranoid journey of tainted supplements\, supernatural conspiracies\, and naked greed\, set against the sun-bleached streets and back-alleys of Venice Beach – the last true vestige of the American carnival.  \nThe film stars breakout talent Lindsey Normington (Anora\, Hacks\, The Idol)\, two-time Mr. Vienna and ‘King of Muscle Beach’ Ike Catcher\, and 90’s cult movie icon\, Kirk Baltz (a.k.a. the guy who got his ear cut off in Reservoir Dogs). \nWe’ll share a short documentary that Hurwitz-Goodman shot at Muscle Beach a decade ago to precede the film. We hope you’ll come through to experience Muscle Beach across these two works with us\, as we’re absolutely *pumped* to welcome Jacob Hurwitz-Goodman to dig into his film with us following the screening. See 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_text css=””] \nMuscle Beach by Jacob Hurwitz-Goodman\n[/vc_column_text][vc_column_text css=””]93 mins\, 2026[/vc_column_text][vc_column_text css=””]After soaring high and flaming out in Hollywood\, Abe\, a celebrated bodybuilder\, returns home across the 405 to Venice Beach\, where it all started. But Abe’s beloved boardwalk feels different. There’s a nasty bite to the sea breeze\, a slew of unexplained overdoses putting the gym rats on edge\, strange supernatural sightings on the pier hinting at something primordial lurking beneath the surface of sun-dappled Venice. And Jay—his old lifting partner\, his former roommate\, the one person he truly abandoned in his pursuit of fame—has disappeared\, leaving Alice\, his ex\, alone to take care of their infant son. \nThroughout an increasingly desperate afternoon\, Abe searches for his old friend\, navigating an odyssey of local characters\, and unearthing a subterranean war for the soul of this sparkling\, seedy strip of waterfront\, sitting on some of the most valuable real estate in the hemisphere.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nThe Defenders of Muscle Beach by Jacob Hurwitz-Goodman\n[/vc_column_text][vc_column_text css=””]6 mins\, 2016[/vc_column_text][vc_column_text css=””]Originally called the Santa Monica Beach Playground\, California’s Muscle Beach was a soft landing pad for gymnasts and circus and vaudeville performers looking for a place to practice in the 1930s. To employ people during the Great Depression\, the US government funded the construction of a platform for tumbling\, parallel bars\, and rings. Enterprising acrobats—male and female—entertained the masses during those bleak times. \nBodybuilders and fitness gurus eventually joined the fun in the sun. Joe Gold\, founder of Gold’s Gym\, launched his career at Muscle Beach\, and\, before television made him famous\, Jack LaLanne wowed beach audiences by performing 1\,000 pushups in a row. \nThe spectacle was over after a scandal erupted in 1958. Santa Monica dismantled the beachside gym and bodybuilders moved a few kilometers south to what became Muscle Beach Venice. It’s the beach that vaulted a young Austrian bodybuilder\, Arnold Schwarzenegger\, into the celebrity stratosphere. And today\, it’s where the Defenders of Muscle Beach perform feats of strength\, dwarfed only by the power of the waves lapping their oceanside gym.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 99 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=”161769″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jacob Hurwitz-Goodman is a Detroit-born\, Los Angeles-based filmmaker. His films\, music videos\, and documentaries tease out the hidden strands\, characters\, and ideologies coursing through tech\, economics\, politics\, emergent AI\, and obscure subcultures. His eclectic\, intimate work has been featured at the Athens Biennale\, New York Times OpDocs\, BBC\, PAF\, NPCC Fest\, San Francisco’s DeYoung Museum\, PBS\, Atlas Obscura\, NBC Left Field\, CPH:DOX\, and in museums and festivals globally. His films have won an Edes Award for Emerging Artists and an Emmy.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162259″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Joshua Citarella is an artist and writer. He is the founder of Do Not Research. He is the host of Doomscroll\, a talk show that explores online culture and politics in the 21st century.[/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:1774635331296-a77a9592-ef64-10″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2026-04-25-muscle-beach/
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/2026/03/Muscle-Beach-Giphy.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260426T190000
DTEND;TZID=America/New_York:20260426T190000
DTSTAMP:20260404T111716
CREATED:20260331T201625Z
LAST-MODIFIED:20260403T012642Z
UID:10003047-1777230000-1777230000@uniondocs.org
SUMMARY:One Thousand and One Journeys
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/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 offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][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_text css=””]We’re delighted to partner with ArteEast to co-present ONE THOUSAND AND ONE JOURNEYS. The program traces the history and legacy of Arab-American migration across the United States. Borrowing its title from Abe Kasbo’s sweeping documentary\, this program follows the layered journey of Levantine migration in America that began in the late 19th early 20th centuries and continues today. \nFrom establishing the enclave of Little Syria\, to peddling goods to remote areas\, to settling in various states across the country\, the films show us how early Arab immigrants shaped the landscape of now thriving communities in major cities. Through documentaries from a variety of perspectives and locales\, this program explores the stories\, contributions\, and ongoing realities of Arab-Americans\, painting a rich portrait of the diversity of Arab identity and how it continues to shape contemporary cultural life in America. \nIn Beirut on the Bayou (2022)\, Lebanese author\, Raif Shwayri\, travels to Louisiana to trace the life of his grandfather who once worked as a peddler serving the Cajuns on Bayou Lafourche. Alfred “Sweet Papa” Nicola spent nearly two decades\, in the early 20th century\, selling his wares to the French-speaking melting pot that was developing on the edge of civilization. His years of traveling to these isolated villages would eventually\, and surprisingly\, lead to substantial aid for tens of thousands of disabled and impoverished children in Lebanon. This film celebrates the rarely told story of early Arab-American immigrants and includes never-before-seen 16mm footage of South Louisiana and Beirut from the 1950s\, as well as rare photos of early Cajun life. It also features an original Arabic score and a cover of a Cajun classic using Arabic instruments. \nA Thousand and One Journeys: The Arab Americans (2015)\, from which this program borrows its title\, is a documentary offering a broad historical lens on Arab migration to the U.S. It follows the formation of early communities such as Little Syria in lower Manhattan\, the rise of peddling routes that took immigrants deep into the American South and Midwest\, and the ways Arab Americans built lives\, businesses\, and cultural networks across the country. The film grounds the program in a foundational national history while highlighting New York City as one of the earliest and most significant sites of Arab-American settlement. \nThe films will be followed by a talk on the history of Little Syria in lower Manhattan with Linda Jacobs scholar & author of Strangers in the West: The Syrian Colony of New York City\, 1880-1900.  \nThis program is collaboration with curator Nanor Vosgueritchian and is part of ArteEast’s Unpacking the ArteArchive series\, which highlights curated selections from the ArteArchive\, ArteEast’s film and video collection in dialogue with contemporary voices. The full program\, including additional films and a recorded discussion with filmmaker Abe Kanso\, will be presented online on artearchive.org from April 13–23. \nThis program is supported\, in part\, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.[/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=””] \nBeirut on the Bayou by Brent Joseph\n[/vc_column_text][vc_column_text css=””]2022\, 28 mins.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nA Thousand and One Journeys: The Arab Americans by Abe Kasbo\n[/vc_column_text][vc_column_text css=””]2015\, 20 min excerpt[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 48 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=”162345″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Linda K. Jacobs is a New York-based scholar and author. She holds a Ph.D. in Near Eastern Archaeology/Anthropology and spent many years working on archaeological excavations and economic development projects in the Middle East. Dr. Jacobs is committed to promoting Middle Eastern culture and knowledge in the United States\, founding KalimahPress in 2011 and sitting on the board of several Middle Eastern organizations. All four of her grandparents were members of the New York Syrian Colony. She is the author of two books on the nineteenth-century Syrian diaspora in the United States.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162346″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Brent Joseph is a filmmaker from New Orleans who got his start as an assistant in the cutting rooms of David Fincher\, Seth Rogen\, and David Simon. He went on to edit several feature films and documentaries including “La Gloria” (starring David Morse) and “Shell Shocked” (PBS). His directing work — from Beirut on the Bayou\, which traces a little-known chapter of early Arab-American life in Cajun Louisiana\, to his Katrina portraits Holdout and A Loud Color — is tied together by stark visuals\, original music\, and a persistent curiosity about how people find meaning when the familiar fades away.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162347″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Abe Kasbo is a Syrian-American entrepreneur\, author\, and filmmaker best known as the Founder and CEO of Verasoni Worldwide\, an integrated marketing communications advisory and agency based in Fairfield\, New Jersey. Born in Aleppo\, Syria\, Kasbo immigrated to the United States in 1980 at age 10. After growing up in Paterson\, NJ\, he earned a Bachelor of Arts in Political Science and International Relations and a Master’s in Public Administration from Seton Hall University\, where he was later inducted into the Entrepreneur Hall of Fame.[/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:1775067132007-d1cbc5f6-e3c9-5″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/one-thousand-and-one-journeys-2026-04-26/
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/2026/03/ArteEast-One-Thousand-and-One-Journeys-FEATURED-IMG.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:20260501T100000
DTEND;TZID=America/New_York:20260503T133000
DTSTAMP:20260404T111716
CREATED:20260302T133030Z
LAST-MODIFIED:20260327T010806Z
UID:10003037-1777629600-1777815000@uniondocs.org
SUMMARY:An Audience Yet to Come:  Projective Documentary  and The Essay Film
DESCRIPTION:[vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_video link=”https://www.youtube.com/watch?v=46T0dWTytwA” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]“You didn’t know\, and couldn’t know\, and didn’t care\, safe in your pram”\n— A Diary for Timothy (1945)\, Humphrey Jennings \nWhen we make a documentary\, we rarely know who will ultimately watch it. Films travel through time\, across contexts and generations. They may be seen years—or decades—after they are made. So how do we speak to or project to an audience we cannot know? \nIn this workshop\, essay filmmaker\, critic and scholar Kevin B. Lee (Transformers: The Premake\, Afterlives) will explore this idea of “projective documentary”\, asking  how filmmakers address audiences that are distant\, unknown\, or yet to come. A pioneer of the desktop documentary and a master of the essay film form\, Kevin will guide participants through ways of thinking about documentary as a conversation across time. \nEssay films often speak directly—to a person\, a community\, a future viewer\, or even to someone who may never respond. This act of address allows filmmakers to reflect on the present while imagining how it might be understood in the future. What does it mean to document our moment with viewers we cannot yet see? And how might the way we speak shape how that future understands us? \nAcross three days of artist talks\, screenings\, and feedback sessions\, participants will examine different ways documentary filmmakers have addressed their audiences—from wartime letter-films to contemporary desktop documentaries. Together we will think about how voice\, form and structure can help create films that endure beyond the moment in which they are made. \nThe workshop will revolve around questions such as: \nWhat does it mean to make a film for someone who cannot respond? \nWho gets to speak—and who is spoken for? \nHow might we represent the present for viewers in the future? \nDo we ever truly know who our films reach? \nWhat forms work best when addressing an unseen or unknown audience? \nHow might emerging technologies\, including generative AI\, change how we imagine the future viewer? \nWhat happens when images are generated rather than captured? \nJoining Kevin for the workshop is a group of invited filmmakers\, thinkers and researchers working across moving-image practice. Film scholar Jane Gaines will bring a historical approach to projective documentary. Filmmaker Gala Hernández López will join remotely to discuss how AI and digital culture shape her approach to documentary and essay filmmaking. And Lynne Sachs will walk participants through her extensive experience with the essay form. Participants will also be encouraged to share their own work in the context of a creative feedback session with Kevin. \nRegister below\, spots are limited. Hope to see you there![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801ebd47-97fc”][vc_column_text css=””]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801ebd47-97fc”][vc_column_text css=””]$295 early bird registration ends on April 21\, 2026. \n$350 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801ebd47-97fc”][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 21.  After April 21\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801ebd47-97fc”][vc_column_text css=””]No animation software is required for participation in this workshop. \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801ebd47-97fc”][vc_column_text css=””]To register for a workshop\, students must pay in full via card\, check\, or cash . After the early bird registration deadline of April 21\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, May 1st” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Welcome & intros  \n10:30am – 12:30pm Intro session with Kevin B. Lee \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Jane Gaines \n4:00pm – 4:30pm Wrap Up Discussion with Kevin additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, May 2nd” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case studies \n10:30am – 12:30pm Session with Lynne Sachs \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Remote Session with Gala Hernández López \n4:00pm – 4:30pm Wrap Up Discussion with Kevin\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, May 3rd” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 12:30pm Creative work-in-progress session with Kevin \n12:30am – 1:30pm Wrap-up discussion and final thoughts[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161747″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kevin B. Lee is the Locarno Film Festival Professor for the Future of Cinema and the Audiovisual Arts at Università della Svizzera italiana (USI). A filmmaker and media researcher\, he has produced nearly 400 video essays exploring film and media. His award-winning film Transformers: The Premake introduced the “desktop documentary” format. His recent work includes the feature film Afterlives (2025)\, which premiered at the BFI London Film Festival and DocLisboa. He co-leads the Swiss National Science Foundation research project “The Video Essay: Memories\, Ecologies\, Bodies”. Lee is a 2018 Sundance Institute Art of Nonfiction Grantee and has screened his work at the Museum of Modern Art\, Berlinale\, and International Film Festival Rotterdam.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161748″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gala Hernández López is an artist\, filmmaker and researcher. Her interdisciplinary practice combines filmmaking with the creation of video installations\, performances\, and publications. More specifically\, her work critically analyzes new modes of subjectivation produced by computational capitalism. She examines the imaginaries circulating in virtual communities\, the desires conveyed by disruptive technologies\, and new reactionary techno-utopias as shared fictions that populate our collective unconscious. Her works are based on research\, combining materialist analysis with poetry\, intimacy\, and dreams with the aim of dissecting fantasies of unlimited techno-scientific control over reality. Her work has been presented at international festivals and institutions such as Cannes\, Berlinale\, Rotterdam\, IDFA\, DOK Leipzig\, Cinéma du Réel\, Curtas Vila do Conde\, IndieLisboa\, Berlinische Galerie\, Palais de Tokyo\, Sarajevo Film Festival\, Vancouver Film Festival\, Festival du Nouveau Cinéma\, Camden Film Festival\, Courtisane\, transmediale\, Kurzfilmtage Winterthur\, FRAC Île-de-France\, among others. Her film La Mécanique des fluides won the César for Best Documentary Short Film in 2024. She regularly gives workshops\, lectures\, and talks at venues such as Beaux-Arts de Marseille\, Freïe Universität\, Kunsthochschule Kassel\, Filmuniversität Babelsberg Konrad Wolf\, Beaux-Arts de Paris\, The Photographers Gallery\, Locarno Film Festival\, Harvard University\, Goldsmiths University of London\, University of British Columbia and University of Michigan.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161929″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jane M. Gaines is Professor Emerita of Literature and English\, Duke University and currently Professor of Film\, Columbia University. She is the author of three books\, Pink-Slipped: What Happened to Women in the Silent Film Industry? (University of Illinois\, 2018)\, Contested Culture: The Image\, the Voice\, and the Law (North Carolina\, 1991)\, and Fire and Desire: Mixed Race Movies in the Silent Era (Chicago\, 2001). In 2018\, Prof. Gaines received the Society for Cinema and Media Studies Distinguished Career Award and in 2023\, an Honorary doctorate from University of Stockholm. A founder of the Visible Evidence conference on documentary\, she continues to publish on documentary activism\, intellectual property in the internet age\, the history of piracy\, and has critiqued the “historical turn” in film and media studies as “What Happened to the Philosophy of Film History?” and “Eisenstein’s Absolutely Wonderful\, Totally Impossible Project\,” in Sergei M. Eisenstein: Notes for a General History of Cinema. Forthcoming is What Happened?: Documentary Media and the Dilemmas of Historical Time. The online resource\, Women Film Pioneers Project\, published by the Columbia University Libraries\, launched as a pilot project in the future of publishing in 2013.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”161935″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Lynne Sachs is a filmmaker and poet living in Brooklyn\, New York. She has produced over 50 short and feature-length films. Sachs creates cinematic works that defy genre through the use of hybrid forms and cross-disciplinary collaboration\, incorporating elements of the essay film\, collage\, performance\, documentary and poetry. Her films explore the intricate relationship between personal observations and broader historical experiences. With each project\, Lynne investigates the implicit connection between the body\, the camera\, and the materiality of film itself. Lynne discovered her love of filmmaking while living and studying in San Francisco. During this time\, she produced her early\, experimental works on celluloid which took a feminist approach to the creation of images and writing— a commitment which has grounded her body of work ever since. Lynne’s films have screened at MoMA\, Wexner Center for the Arts\, New York Film Festival\, Sundance\, Punto de Vista\, and DocLisboa. Retrospectives of her work have been presented at Museum of the Moving Image\, Ambulante\, Buenos Aires International Festival of Independent Cinema\, Cámara Lúcida\, China Women’s Film Festival\, Cork Int’l Film Festival\, Costa Rica Int’l Film Fest\, and Oberhausen. In 2021\, Edison and Prismatic Ground Film Festivals honored her body of work in the experimental and documentary fields.  Tender Buttons Press published Lynne’s Year by Year Poems in 2019\, and Punctum Books published Hand Book: A Manual on Performance\, Process and the Labor of Laundry written by Lynne and playwright Lizzie Olesker in 2025.  In 2026\, the San Francisco International Film Festival and the Berkeley Art Museum/ Pacific Film Archive gave Lynne their annual Persistence of Vision Award which honors “filmmakers whose achievements go beyond the boundaries of the traditional film form.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/an-audience-yet-to-come-projective-documentary-and-the-essay-film-2026-05-01/
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/03/gif.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260501T193000
DTEND;TZID=America/New_York:20260501T193000
DTSTAMP:20260404T111716
CREATED:20260402T185424Z
LAST-MODIFIED:20260403T012712Z
UID:10003046-1777663800-1777663800@uniondocs.org
SUMMARY:Portals In Between
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:30p\nProgram 8:00p\nTickets $12[/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 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=””]We’re delighted to join with Airtime and Speciwomen to present PORTALS IN BETWEEN\, a pair of short films that dance with hybridity to experiment with time\, memory and the concept of home. \nWe invite Aslı Baykal’s Darkroom (2023) and Kim Torres’ Solo la Luna Comprenderá (2023) into a lyrical conversation that reimagines the transportive potentials of our everyday surroundings: nature\, water\, corn fields\, windows\, children’s games\, red lights\, stars and the moon. \nThese works invite the audience to the makers’ open archives that unfold alongside their making\, bringing viewers into process as it develops. \nAs part of this responsive approach\, we are inviting a third film into the program\, shifting from a singularly selected viewing experience toward a community gathering where the boundaries between maker and audience are more porous\, and the night is positioned more as an evolving encounter. \nIn the collective spirit in which both films were made\, the team behind this night decided to put forth an open call to find an additional short film that may continue and expand their dialogue. Please find the prompt below and submit a film to join the lineup if you are inspired and feel like your work is a part of this conversation. \nWe invite you to join us for this expansive program that offers how imagination builds resilience and to join the conversation that these films begin. \nSpecial thanks to program partners for tonight. Airtime\, and Speciwomen. This program is organized in conjunction with the Magnet Residency\, a funded artist-in-residence program hosted by Speciwomen welcoming artists from outside of New York to spend time and make work in the city.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text css=””] \nOpen Call Prompt \n[/vc_column_text][vc_separator][vc_column_text css=””]We invite you to submit a film to be screened for this evening! \nWe’re requesting submissions for a hybrid film that offers a portrait of home that constructs an alternate reality to reimagine time and memory. \nPlease fill the form here to share your work for consideration: SUBMIT FILM \nMax runtime 30 min. | Deadline April: 18th | Selected films will receive a $50 honorarium for their inclusion in the program.\n[/vc_column_text][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=””] \nSolo la Luna comprenderá / The Moon Will Contain Us by Kim Torres\n[/vc_column_text][vc_column_text css=””]18 min\, 2023\, Costa Rica\, U.S\, 16mm[/vc_column_text][vc_column_text css=””]In the small coastal town of Manzanillo\, Costa Rica\, filmmaker Kim Torres enlists the local teens and adolescents to share their stories\, lies\, and fantasies on the cusp of a cataclysmic event. Playing amid ruins and wreckages\, and voicing their boredom at the lack of change\, Manzanillo’s children engage in a collective fabulation\, finding strategies for building a new world from the old. \n— NYFF Programming team.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nDarkroom by Aslı Baykal\n[/vc_column_text][vc_column_text css=””] 14 min\, 2023\, Turkey\, U.S\, 16mm[/vc_column_text][vc_column_text css=””]At the modern-day crossroads of Turkey and Syria\, the ancient city of Istasyon is taken over by children with cameras. Through their gaze\, they transform cinder block villages into portals and roam freely across abandoned train tracks to Sirkhane Darkroom\, an oasis of red light and pomegranate trees\, where their images are born. Darkroom is an experimental and celebratory portrait of Istasyon’s youth and their capacity to forge an alternate reality within a conflict zone. Embedded in 16mm film\, a co-creation between the film crew and these photography students is a reverence for the mysterious power and intimacy of analog image-making.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 74 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=”162321″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kim Torres is a Costa Rican filmmaker. Through light\, gesture\, and atmosphere\, her work investigates questions of transformation and becoming. Working across fiction and non-fiction\, her films shift in form\, drawing poetry from the natural world while forming deep connections with diverse communities and landscapes. Her films have screened at Festival de Cannes\, Locarno Film Festival\, New York Film Festival\, San Sebastian International Film Festival\, New Directors/New Films at MoMA and Lincoln Center\, and the Eye Filmmuseum. She was a Guest Artist at CalArts University (2022)\, a Berlinale Talents participant (2023)\, and an alumna of the Locarno Filmmakers Academy (2024).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162329″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Aslı Baykal is a Turkish filmmaker and visual artist based in New York\, working between documentary and experimental forms\, often blending personal narratives with collective memory. She holds a BFA in Film & TV from NYU’s Tisch School of the Arts. Her short film Darkroom (2023)\, co-created with children from the Sirkhane Darkroom photography workshop along the Turkish-Syrian border\, premiered at MoMA Doc Fortnight and screened internationally at festivals including Visions du Réel (Doc Alliance nominee for Best Short Documentary)\, Camden IFF\, Ji.hlava\, and Dokufest. She has collaborated with musical artists such as Sampha\, Nick Hakim\, Nourished by Time\, and Karen O. Her work has been featured in MIT Press\, Taschen\, and Harvard Design Magazine. In 2018\, she founded the Airtime Screening Series\, later expanding into Airtime Online\, a global hybrid platform focusing on curated screenings and artist collaborations.[/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:1774984485090-35c4d0de-5a15-6″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_column_text css=””] \nAbout \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]About Speciwomen & Magnet Residency\nSpeciwomen is a 501(c)(3) non-profit arts organization committed to giving space to women and LGBTQIA+ artists for retreat\, research\, and making.  \nMagnet is a funded artist-in-residence program hosted by Speciwomen welcoming artists from outside of New York to spend time and make work in the city. Our commitment is to provide a supportive environment where artists can delve into their work with unencumbered time\, developing their practice and fostering relationships.  \nAbout Airtime\nAIRTIME is an artist-run film initiative dedicated to reimagining how we experience the moving image. Founded in 2018 as a pop-up screening series and expanded in 2023 with an experimental online global platform\, it presents artists whose work pushes form and opens new ways of seeing and feeling. The initiative works closely with artists\, valuing collaboration and dialogue throughout the process.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2026-05-01-portals-in-between/
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/2026/03/gif-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:20260515T100000
DTEND;TZID=America/New_York:20260517T133000
DTSTAMP:20260404T111716
CREATED:20260324T125314Z
LAST-MODIFIED:20260325T214509Z
UID:10003045-1778839200-1779024600@uniondocs.org
SUMMARY:Beyond the Feed:  Expanding the Art of Audio Non-Fiction
DESCRIPTION:[vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_video link=”https://www.youtube.com/watch?v=46T0dWTytwA” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]After a period of commercial growth and seemingly endless interest and investment\, the last few years of the podcasting industry has seen a decline in opportunities for creators new and old. What could be seen as an industry in contraction can alternatively be thought of as an opportunity for artistic evolution. Join award winning podcast producer and documentary artist Mitra Kaboli for this 3-day workshop\, as she explores the new horizons of the contemporary audio documentary landscape. \nAlongside a select group of esteemed guests\, Mitra will guide participants through a world of sonic exploration\, in which audio work is conceived and considered within an expansive artistic framework. Elevated beyond its commercial value and leaving behind the podcast feed\, this workshop takes the audio documentary form and reaches for new possibilities in research\, format\, performance and distribution. We’ll be rifling through the rich lineage of podcasting and sound-based storytelling through sound to investigate what forms of audio presentation are available to sound artists and audio producers in the current landscape. \nThis workshop is intended to provoke out-of-the-box thinking\, inspire creativity and encourage an expansive approach to the potentials of audio techniques. Through a variety of hands-on activities\, artist talks and deep listening exercises\, we’ll be diving into questions like: what is the state of the podcasting industry and where can we go from here? How can we share and uplift our work beyond the podcast feed? What tools\, techniques and networks are available to sound artists and audio documentarians? What makes a story told through sound so compelling? \nThe workshop centers emerging and established artists from the intersecting worlds of sound art\, audio documentary and the podcasting industry\, and we’re lucky to be joined and guided by a few of them. Mitra Kaboli will be taking the lead\, guiding us over the bridge between our familiar podcast feed and the ever-expanding possibilities of sound-based documentary. Interdisciplinary artist Aaron Edwards will discuss multi-modal performance and field recording practices. Viv Corringham\, one of the foremost practitioners of the soundwalk\, will walk participants through her practice and the ideas that guide it. Composer\, vocalist and performance artist Gelsey Bell will share expert insight from years of research into vast artistic applications of the voice. Participants will also get the opportunity to share their own work in the context of a group discussion and feedback session\, hopefully leaving the weekend with tangible learnings and productive advice. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801ebd47-97fc”][vc_column_text css=””]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801ebd47-97fc”][vc_column_text css=””]$295 early bird registration ends on May 5\, 2026. \n$350 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801ebd47-97fc”][vc_column_text css=””]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until May 5.  After May 5\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801ebd47-97fc”][vc_column_text css=””]No animation software is required for participation in this workshop. \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801ebd47-97fc”][vc_column_text css=””]To register for a workshop\, students must pay in full via card\, check\, or cash . After the early bird registration deadline of May 5\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, May 15th” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Welcome & intros  \n10:30am – 12:30pm Intro session with Mitra Kaboli \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Aaron Edwards \n4:00pm – 4:30pm Wrap Up Discussion with Mitra additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, May 16th” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case studies \n10:30am – 12:30pm Session with Viv Corringham \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Gelsey Bell \n4:00pm – 4:30pm Wrap Up Discussion with Mitra\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, May 17th” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case study\, ear training. \n10:30am – 12:30pm Creative session OR work-in-progress with Mitra \n12:30pm – 1:30pm Wrap Up Discussion with Mitra\, additional exercises / discussion[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162177″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Mitra Kaboli is an award-winning audio producer\, sound designer\, and multimedia artist working professionally in radio and podcasting since 2012. Mitra was one of the original members of the Peabody Finalist podcast\, The Heart. Her work has been featured on ESPN’s 30 for 30 Podcasts\, the BBC\, Making Contact and NY Mag’s Tabloid. In 2022\, she hosted and produced the critically acclaimed podcast\, Welcome to Provincetown. Currently\, Mitra is an adjunct professor at the CUNY Graduate School of Journalism and at Hunter College.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162178″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Aaron Edwards is an interdisciplinary director\, story editor and writer working across text\, stage and narrative audio. His writing\, podcasting and performance work has appeared at places like BAM\, Lincoln Center\, the Brooklyn Public Library and the Tribeca Festival. He’s based in the Hudson Valley.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162179″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Viv Corringham (voice\, electronics\, field recordings) is a US based British vocalist and sound artist\, who has been described as “a vital force in improvised music since the late 1970s” (Corey Mwamba\, BBC Radio 3) and “a vocalist of stunning virtuosity” (Louise Gray\, The Wire). She makes concerts\, soundwalks\, workshops and installations. Her practice explores relations between voice\, place and walking\, responding with sung improvisations to both natural and urban soundscapes. Corringham has received international recognition and awards including two McKnight Composer Fellowships through the American Composers Forum. She is a certified facilitator of Deep Listening\, having played and studied with composer Pauline Oliveros. In 2024 this practice took her to Mexico\, Spain\, Germany and the Listening Academy in Hong Kong. Notable live performances have occurred in festivals at Queen Elizabeth Hall\, London\, Hong Kong Arts Centre\, Fonoteca Nacional de Mexico\, Issue Project Room New York and Tempo Reale Florence. Her recent album “Soundwalkscapes” (Vol. 1: January to June) on Flaming Pines label (Bandcamp’s Best Field Recordings 2024) has been well received. The Wire wrote that “Corringham voices the depth of place.” Her definitive contribution to sound art practice is the 20 year ongoing “Shadow-walks”\, which create layers of time and space\, combining recordings from shared and solo walks along the same path with her improvised sung response. They have occurred in 18 countries\, are taught in many sound art classes and have been the focus of articles in books and publications.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”162180″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Gelsey Bell (she/they) is a Brooklyn-based multidisciplinary performance creator\, composer\, and vocalist. Her recent works include the experimental opera mɔɹnɪŋ [morning//mourning] (2023)\, commissioned by the HERE Arts Center and presented in the Prototype Festival; Cairns (2020)\, a soundwalk for Green-Wood Cemetery; the musical one-act Archaeopteris (2025)\, commissioned by Wet Ink; and thingNY’s collaboratively written opera Mouthful (2024). She is the Co-Artistic Director of thingNY and Varispeed. She has released multiple albums\, including the recent mɔɹnɪŋ [morning//mourning]\, Skylighght\, and Heads Together. She has received awards from the Foundation for Contemporary Arts\, Opera America\, the Aaron Copland Fund for Music\, the Japan Foundation\, NYSCA\, and others. Performance highlights also include Dave Malloy’s Natasha\, Pierre\, & the Great Comet of 1812 (Broadway) and Ghost Quartet\, Robert Ashley’s Celestial Excursions and Improvement\, Darius Jones’s Samesoul Maker\, and others. She has a PhD in performance studies from NYU\, is part-time faculty and the program director for the Master of Music Performer-Composer program at the New School\, and has published articles in TDR/The Drama Review (for which she is a Contributing Editor)\, The Journal of Interdisciplinary Voice Studies (for which she is an Associate Editor)\, Tempo\, Performance Research\, and others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/beyond-the-feed-expanding-the-art-of-audio-non-fiction-2026-05-15/
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/webp:https://uniondocs.org/wp-content/uploads/2026/03/46064a16-770b-4991-8083-2a5ac1144b43_6000x4000.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260629T080000
DTEND;TZID=America/New_York:20260828T170000
DTSTAMP:20260404T111716
CREATED:20260204T170004Z
LAST-MODIFIED:20260204T171735Z
UID:10001514-1782720000-1787936400@uniondocs.org
SUMMARY:Summer Documentary Labs
DESCRIPTION:
URL:https://uniondocs.org/event/summer-documentary-labs/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2025/02/Summer-Documentary-Lab-2026.png
END:VEVENT
END:VCALENDAR