Jan 23 - Jan 28

Women in Public

Union Docs/Triangle Arts Association

“Women in Public ” is a multidisciplinary program  inspired by the figure of the female traveler / drifter. Two visual lecture-performances and a filmmaking workshop investigate the role of wandering in the artistic and experience-gathering process, with a focus on the perspectives of women. The highlight of the program is the presence of the French writer Nathalie Léger, author of  Suite  for  Barbara  Loden  about Barbara Loden's masterpiece  Wanda  (Dorothy Project, 2016).

Program curated by Kara Oehler, Courtney Stephens and Mathilde Walker-Billaud

Itinerant Women
Thursday Jan 23, 7:30pm
Visual lecture by Nathalie Léger, with reading by Jessica Mitrani, Mitra Parineh and Courtney Stephens. 

Triangle Arts Association
20 Jay Street Suite 317 & 318 [ 3rd Floor]
Brooklyn, NY 1120

“We don't know, we'll never know what Wanda, the heroine of Barbara Loden's film, found by the end of her journey. Maybe she was searching, like Ferdinand Céline in Journey to the End of the Night, for "the worst possible grief, to make us truly ourselves before we die"? One thing is certain: quest, or pause, awakening, or illusion, there is something potent in her wandering. And unsurprisingly she is not the only one to wander. Judith in The Savage Eye, Rosemonde in The Salamander, Giulana in Red Desert walk and search the same way. One is reminded of Pippa Bacca, the young Italian artist, who traversed Europe in 2008 as a protest for peace, and was subsequently murdered by one of the rides she took. So many obstinate figures, real or imaginary, who light up for a brief moment the opacity of the world."
Nathalie Léger

In Itinerant Women, Nathalie Léger will introduce and reads from her books Suite for Barbara Loden (Dorothy Project, 2016) and La Robe Blanche (The White Dress, to be published in the fall 2020) while showing excerpts from Barbara Loden’s Wanda (1970), Peter Zinner’s The Salamander (1971), Michelangelo Antonioni’s Red Desert (1964), Ben Maddow, Sidney Meyers and Joseph Strick’s The Savage Eye (1960) and Joël Curtz’s The Bride (2012). 

For more information: https://www.triangleartsnyc.org/upcoming


 Critical Terrain — Motion and Travel as documentary practice
Friday Jan 24- Sunday Jan 26, 10am-5pm
Workshop led by Courtney Stephens, with Nathalie Leger, Kara Oehler, Jodie Mack, Martin DiCicco, Jessica Bardsley. Additional guests TBA.

322 Union Avenue
New York, NY 11211

Travel has been a long companion to nonfiction filmmaking — and is often a part of the research and making process of documentarians. In this workshop, we will look at films and artworks that reconsider the creative function of working with site and terrain — treating it as an essential formal element, or as an organizing structure to the film. In 2020, what can working in multiple geographic registers offer documentary practices?

From colonial legacies of the travelogue, to contemporary indexical films, road-trips to migrant voyages, this workshop explores the complex facets of modern mobility, and revisits established travel practice through economic, racial, and gendered lenses. The guest speakers and participants will think about the challenges and possibilities of building films that center on the experience of land and motion. Topics will include: documenting ideas across geographies, working effectively in various communities, representing wilderness in times of ecological crisis, building narratives through the movement of people, and the flow of data in physical terms. The goal of the workshop is to inspire and encourage artists to work in a considered way with the rich possibilities of filmmaking in transit.

For more information: https://uniondocs.org/event/critical-terrain-travel-and-motion-as-a-documentary-practice/


Gone to Earth
Sunday Jan 28, 7:30pm
Screening and live presentation followed by discussion with Jessica Bardsley and Elvia Wilk, moderated by Mathilde Walker-Billaud

322 Union Avenue
New York, NY 11211

"I want to dissolve into sulfide and magnesium" Jessica Bardsley wishes silently, as a stranger enters the hot spring where she bathes naked.  How do female figures walk within, threaten to become landscape? The narrator finds herself absorbed by the plants, animals, and minerals around her: Is this ability to merge with nature a death trap, or a possible future?

In a series of short films and live presentation, real and fictional travelers take risks and cross gender-delineated territories. Through these acts of transgression, and the educational experiences of fear, solitude, and desire, new horizons come into relief, revealing the complex and often rigid relationships between bodies, patriarchy and landscape.

Schedule (subject to change)

Elvia Wilk, Death By Landscape, visual lecture, 25 min

Death by Landscape is the title of a Margaret Atwood story in which a young woman disappears into a forest. She is gone, but there is no evidence she has died; it appears she has become the landscape. Her disappearance is unexplainable and fundamentally weird. The weird, in the words of Mark Fisher, is an “outside space that lies beyond standard perception, cognition, and experience.” This outside might include the world of the nonhuman: plant, animal, mineral, alien. Or it might be a complex system of humans and nonhumans: forest, internet, financial capital, climate. Weird stories are what happens upon encounter with this outside, when the categories we have for describing the planet fall short. Mystical encounters with the divine and the cosmos provide a historical framework for contemporary stories about weird outsides. Like mysticism, such fictions defy genre categorization. In the zone of weird fiction, “death” is not the death of a human or humans, but the death of a kind of story: the kind of story with the human at the center of the world.

Jessica Bardsley, GoodBye Thelma, film, 16 mm, 13 min

GoodBye Thelma synthesizes footage from the 1991 film Thelma & Louise and footage of the author's own making to create a mysterious, and at times disturbing, auto-fictional exploration of the joys and terrors of traveling as a woman alone.

For more information: https://uniondocs.org/event/2020-01-26-gone-to-earth/

Women in Public

Jessica Bardsley is an artist and PhD Candidate in Film and Visual Studies at Harvard University, where she is also a Film Study Center Fellow. Her films have screened across the U.S. and internationally at venues such as CPH:DOX, Visions du Réel, European Media Arts Festival, Kassel Dokfest, RIDM, True/False, and Flaherty NYC. She is the recipient of various awards, including a Princess Grace Award, Grand Prize at 25FPS, the Eileen Maitland Award at the Ann Arbor Film Festival, and Best Short Film at Punto de Vista. She received an MFA and an MA from the School of the Art Institute of Chicago.

Martin DiCicco is a cinematographer and director whose feature directorial debut, All That Passes By Through a Window That Doesn’t Open won the Regard Neuf award at Visions du Reel, Camden IFF’s Cinematic Vision Award and Taiwan IDF’s Artistic Merit Prize before playing at numerous international festivals.  As a cinematographer he has collaborated with Brett Story on CamperForce and The Hottest August, as well as with Cecilia Aldarondo on her her short Picket Line and her forthcoming feature Landfall. Most recently he shot and directed Here There Is No Earth, which premiered at the 56th New York Film Festival.

Nathalie Léger is an award-winning French author living in Paris, as well as an editor, an archivist and a curator. Léger’s first book Les vies silencieuses de Samuel Beckett, was published in 2006. L’exposition (2008) precedes Suite for Barbara Loden inspired by the character of Wanda in Loden’s eponymous film and La Robe Blanche reflecting on Pippa Bacca’s travel performance and tragic death in the Meditteranea in 2008. Léger is the Director of the Institut Mémoires de l’Édition Contemporaine (IMEC), a unique organisation dedicated to the archives of 20th- and 21st-century French writers and publishers. She curated the 2002 exhibition on Roland Barthes and the 2007 exhibition on Samuel Beckett, both at the Pompidou Centre, Paris.

Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Mack’s 16mm films have screened at a variety of venues including the Locarno Film Festival, the Toronto International Film Festival, the New York Film Festival, the Jeonju International Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. She was the 2017/18 Roberta and David Logie/Film Study Center Fellow at the Radcliffe Institute for Advanced Study and a 2018/19 Fellow at the Film Study Center Fellow at Harvard University. She is a 2019 Artist In Residence at the Headlands Center for the Arts, and she is an Associate Professor of Animation at Dartmouth College.

Jessica Mitrani is a Colombian-born, New York–based artist working in performance and video. Employing narrative, humor, and psychoanalytic tropes, she investigates how the social and aesthetic construction of femininity shapes identities.Her work has been exhibited, screened, and broadcast internationally. Some of the videos she has written and directed include Rita Goes to the Supermarket (Oberhausen Film Festival), Headpieces for Peace (Grand Prix at the ASVOFF5 Festival at Centre Pompidou, Paris; Museo de Arte Moderno, Medellín), La Divanée (Nowness, Marfa Film Festival, Oaxaca Film Festival), and the series A Crucigramista (ARTE1, Brazil). Her collaboration with the Civilians theater group, The Undertaking, was performed at the Brooklyn Academy of Music’s New Wave Festival. Mitrani received a grant from the Hermès Foundation to make the immersive film and performance work Traveling Lady, starring iconic Spanish actress Rossy de Palma, which appeared at Crossing the Line, New York; New Settings, Paris; Soluna International Music and Arts Festival, Dallas; Oslo World; and Museo Universitario del Chopo, Mexico City. Recently her work was part of the 45th Salón Nacional de Artistas at the Museum of Modern Art in Bogota, Colombia.

Kara Oehler is a media artist and radio producer. Her Peabody award-winning work has aired around the world and her interactive storytelling projects have been exhibited at MoMA and SFMoMA. She is a Co-Founder of Mapping Main Street, a collaborative project with NPR documenting all 10,000+ streets named Main Street in the United States; GoPop, an app for juxtaposing GIFs, photos and videos acquired by Buzzfeed in 2015; Zeega, an interactive storytelling platform; metaLAB (at) Harvard, a research center focused on network culture; and the UnionDocs Collaborative, an innovative model for documentary arts education and production. She recently edited and produced The New York Times Magazine‘s “Sonic Voyages” issue, which won an Ellie award for innovation. She was a Film Study Center Fellow at Harvard’s Radcliffe Institute for Advanced Study and a Rockefeller Fellow with United States Artists.

Mitra Parineh is a writer and creative director living in New York City. Her debut novel TWO NIGHTS IN A LONDON HOTEL is a comedy about ambition, adventure, and the creation of the self—it plugs into politics and play, agitation and alliances, and the hilarity and tensions that ensue as we quest for the “right kind” of feminism while situating Red Pill masculinity in the new world order. Parineh holds a master’s in fiction from the University of Southern California and taught for many years in USC’s undergraduate writing program. She founded and ran the literary venture Telling in San Francisco, and has published essays and editorial work in journals and newspapers including The Washington Post, Forbes, 7×7, and The Orchard Valley Review. Parineh also works in book-making, and has helped produce over 15 projects published by Ten Speed Press, Chronicle Books, and HeyDay.

Courtney Stephens is a filmmaker and programmer based in Los Angeles. Her non-fiction and experimental films have appeared at NYFF, SXSW, Hong Kong IFF, Dhaka IFF, Mumbai IFF, San Francisco IFF, The Exploratorium, DokuFest, Onion City, Orphans Film Symposium, Crossroads, and elsewhere.  She founded and co-programs the Highland Park microcinema Veggie Cloud, and has curated programs at numerous institutions including the Museum of the Moving Image, the Getty, Flaherty NYC. and has programmed She attended the American Film Institute, has received fellowships to Yaddo and MacDowell Fellow, is the recipient of a Fulbright scholarship to India.  She has lectured and written on subjects related to female travel and material history at the Royal Geographical Society and elsewhere.

Mathilde Walker-Billaud is a curator and cultural producer based in New York City. She worked as an editor, programmer and manager for Centre National de la Danse, company nora chipaumire, Cultural Services of the French Embassy in New York, Fondation Cartier pour l’art contemporain, UnionDocs, and Villa Gillet (a center for fiction and non-fiction based in Lyon, France). Walker-Billaud programs and hosts at UnionDocs an ongoing interdisciplinary series of events about spectatorship entitled “What You Get Is What You See“. She co-curated the 2019 Fall Flaherty NYC: Surface Knowledge and won the BKH Curator Award 2019. Her writing and voice have appeared in BOMB Magazine and the podcast Benjamen Walker’s Theory of Everything.

Elvia Wilk is a writer and editor living in New York. She often focuses on art that engages emerging technologies, feminist practices, and questions of ecology. Her writing has appeared in publications such as Frieze, Artforum, Bookforum, Granta, n+1, The White Review, BOMB, Mousse, Flash Art, and Art Agenda, and she is currently an editor at e-flux Journal. Her first novel, Oval, was published by Soft Skull press in 2019. She is the recipient of an Andy Warhol Arts Writers Grant and a 2020 fellow at the Berggruen Institute.

Union Docs/Triangle Arts Association

UnionDocs (UNDO) is a non-profit Center for Documentary Art that presents, produces, publishes, and educates. We bring together a diverse community of activist artists, experimental media-makers, dedicated journalists, big thinkers, and local partners. We are on a search for urgent expressions of the human experience, practical perspectives on the world today, and compelling visions for the future.

Triangle Arts Association is an artist-founded non-profit art institution in New York City, working locally and globally since 1982. Our programs emphasize research, dialogue and experimentation through residencies and public programs.