February - May 2000
All programs curated by Astria Suparak and accompanied by program notes, unless otherwise noted. Unmarked screenings took place at Pratt Institute in Brooklyn, New York, free of admission charge and open to the public, projected on 16mm, Super-8mm, 3/4" and 1/2" video.

Date
Title
Program information
Press
May 10, 2000


G. Snider, "Flight"

P. Rose, "The Man Who..."
 "#91:
LAST DANCE, LAST CHANCE"		 This is the Ninety-First show at Pratt Institute programmed by Astria Suparak. For the past three years this has been a showcase dedicated to showing media work not easily accessible to the public, and to forging ties across art disciplines including performance, music, painting, sculpture, technology, animation, theater, and architecture. Work from eighteen countries, spanning nearly the history of cinema (1901 to works in progress and premieres), have been exhibited here. We also featured guest filmmakers and performers, traveling film and music festivals, and collaborations with other New York City venues.

8:30pm, "#90":
1) Guy MADDIN, "Odilon Redon," 1995, 3 min, 16mm, Canada.
2) Julie MURRAY, "Conscious," 1993, 10 min, 16mm, silent.
3) Jennifer FIEBER, "The Upper Hand." 2000?, 5 min, 16mm, silent.
4) Brian FRYE, "Striptease," 2000?, 6.5 min, 16mm.
5) Brian FRYE, "The Most Important Moment of My Life," 2000?, 3.5 min, 16mm.
6 ) Stephanie BARBER, "angus mustang," 1996, 6 min, 16mm.
7) Julie Murray, "Domain," 1999, 6 min, 16mm, sound on cassette.
8) Scott STARK, "I'll Walk With God," 1994, 8 min, 16mm.
9) Charlemagne Palestine, "Dark Into Dark," 1979, 19:28, video.

9:45pm, "#91":
1) Astria Suparak, (camera roll), 1999, 3 min, silent, 16mm.
2) Stephanie BARBER, "shipfilm," 1998, 4 min, silent, 16mm.
3) Stan Brakhage, "Reflections on Black," 1955, 12 min, 16mm.
4) Greta SNIDER, "Flight," 1996, 5 min, silent, 16mm, 18 fps.
5) Stan Brakhage, "Window Water Baby Moving," 1959, 12 min, 16mm.
6) Peter ROSE, "The Man Who Could Not See Far Enough," 1981, 16mm, 33 min.
"Curator Astria Suparak leaves Pratt with a bang. Among the highlights of this last show are Guy Maddin's Odilon Redon, excerpts from Leslie Thornton's Peggy and Fred in Hell, and Stan Brakhage's Window Water Baby Moving." -A. Taubin
May 3, 2000


May calendar.		 Guest:

Barry Schwartz		 Multi-media and high-voltage artist BARRY SCHWARTZ.

First New York appearance! California-based Schwartz incorporates metal, mechanics, computer-controlled hardware, chemically reactive agents, and high-voltage electricity into his work. Creating an auto-electronic environment, he stands in fountains and waterfalls of non-conductive fluid manipulating various mechanical devices. The components generate an audible atmosphere through various types of audio transducers and amplification. Schwartz will present a live event incorporating his videos, slide projection, live video feeds, dry ice, and live electricity! 		 

April calendar.

April 5, 2000


G. Hill, "Soundings"

K. Fitzgerald & J. Sanborn, "Ear to the Ground"		 "{Re:soundings}" Rarely seen optical work from the German collective SELEKTION (including Achim Wollscheid of SBOTHI and P16.D4, Markus Caspers, Horst Maus, Ralph Wehowsky aka RLW):
1) "Cloi sonne," Clara Felding, 1985, 3:06, video, Germany.
2) "Punkt rot flieger punkt rot," H. Rottweiler, 1986, 2:50, video, Germany.
3) "Schleifen," ?, 3:02, video, Germany.
4) "Konvolut," H. Troppmann, 1986, 2:40, video, Germany.
5) "Futux," MakXs, 1984, 6:00, video, Germany.
6) "Elementarfilm," MakXs, 1985, 2:40, video, Germany.

7) "Winter Wheat," Mark Street, 1989, 8:00, film, USA.
8) "Echo Echo," Robert Attanasio, 1976, 5:00, film, USA.
9) "Lightsource," Robert Attanasio, 1979, 2:45, 16mm, USA.
10) "Shepherd's Bush," Mike Leggett, 1971, 15.5 min., film.

Video artists Kit FITZGERALD and John SANBORN collaborated with avant-garde musicians in the early 1980s. Some of these works are experimental music videos for the New Wave band Love of Life Orchestra and "Ear to the Ground" (in which Downtown percussionist David VAN TIEGHEM uses the surfaces of Manhattan as a musical instrument).
11) "Siberia," Fitzgerald & Sanborn, 1982, 3:35, video. Love of Life Orchestra.
12) "The Long Island," Fitzgerald & Sanborn, 1982, 2:35, video. LOLO.
13) "Ear to the Ground," Fitzgerald & Sanborn, 4:30, video. David van Tieghem.

14) "Soundings," Gary Hill, 1979, 13 min. excerpt from 28:00, video, USA.
In "Soundings" a series of "processual rituals" ends with a text from the found object of a loud speaker describing its electronic, changing state as a relationship with the viewer. As Hill speaks about touch and sound in an extrapolated monologue he buries the speaker in sand, sets it on fire, drives a spike through it, and pours waters into it.
April 12, 2000



N. Uman, "Leche"; K. Resetarits, "Egypt". 		Guest:

"Lost In Translation"

MadCat Women's International Film Festival, San Francisco		 Presented by Ariella BEN-DOV, Festival Director. These films explore the gap between history and memory, between language and communication. MadCat is committed to showcasing film- and videomakers who challenge the use of sound and image and modes of visual story-telling.

1) Imelda PRICHERIT, " Dover Street," 1999, 16mm, 2 min, USA.
2) Lisl PONGER, "Passages," 1996, 16mm, 12 min, Austria.
In this layered meditation on travel and the travelogue, Super 8 and 8mm films made by tourists circa 1940-60 are coupled with a meditative soundtrack as each person recounts memories, revealing travel as a post-colonial journey through space and time.
3) Kathrin RESETARITS, "Egypt," 1997, 16mm, 10 min, Austria.
Winner of an award for best soundtrack, Egypt is almost silent. A film about the sign language of deaf-mutes, a language which, like the ancient Egyptian hieroglyphs, links the symbolic terminology of words with the mimetic and analogous representations of graphic gestures.This film is an introduction to an unfamiliar way of experiencing the world, where one sees the sounds without hearing them.
4) Elke GROEN, "Tito Material," 1998, 16mm, 6 min, Austria.
5) Jenny PERLIN, "The Whole History of That," 1998, 16mm, 17 min, USA.
6) Paula FROEHLE, "Fever," 1998, 16mm, 7 min, USA.
7) Naomi UMAN, "Leche," 1998, 16mm, 30 min, USA/Mexico.
April 19, 2000


M. July, "The Amateurist"
"Recital"

Self-reflexivity and the rites of passage.

1) The New York premiere of Brian FRYE's "The Anatomy of Melancholy" (1999, 16mm, b/w, 10 min). "Huddled figures mouth fragments of dialogue, apparently rehearsing for a play, until images that seemed stilted and static become powerfully iconic, almost frightening." -Chicago Reader
2) Jane GANG's "Fine Lines" (1995, 5 min, Super 8mm on video).
3) Miranda JULY attempts control through surveillance in "The Amateurist" (1998, 14 min, video).
 4) Seth PRICE's "Recital" (2000, 16 min, 16mm to video) is a "power-struggle set to music: the back and forth, with the young gun under the voice-knife, who can resist words with images, but ultimate capitulation to 'feelings.'"
- Peggy AHWESH turns psychoanalytic theory upon its head in "Martina's Playhouse" (1989, 19:48 min, Super 8 film on video).
April 26, 2000



B. Melhus, "No Sunshine"; K. Stoltmann, "Self-Reflecting". 		"Camp, Fire" - In "The Apparent Trap" (1999, 24 min., video), Julie ZANDO investigates the submerged issues of sexuality and subjectivity in the 1961 Walt Disney film "The Parent Trap." Summer camp is the site of adolescent sexual experimentation and initiation into adult social roles.
- Jennet THOMAS' "4 Ways he tried to tell you" (1999, 7 min., video, UK) is about "the thing that won't go away, it has been trying to contact me by altering bits of my reality for several years now and this 7 minutes is a clear demonstration of that… I'm not sure if it's dead now, we'll just have to see."
- The soundtrack of German artist Bjorn MELHUS' "No Sunshine" (1997, 6 min., video) is derived from the childhood voices of early Michael Jackson and Stevie Wonder songs.
- Brooklyn's Cathy COOK: "Ass Dance," 2000, 30 sec., video transferred to 16mm.
"The Match That Started My Fire," 1991, 19 min., 16mm.
"Bust Up," 1989, 7 min., 16mm.
- Kirsten STOLTMANN, "Self-Reflecting," 1999, 1:05, video.
- Jennet THOMAS, "Gorgeous Operation," 1996, 8 min., Super and Single 8mm film to video.

Spring Break 2000: Midwest Hemi-Tour

Date
Title
Program information
Press
March 9, 2000


NYUFF catalogue, interior.
"Sex on the Fritz: Performance Anxiety"

@ New York Underground Film Festival

 Festival Guest Curator: Astria Suparak.
Dis-ease and uncomfort within desire. Sexual development in the age of the spectacle.

1) "WSNO", Miranda July*, 1998, 9:12, audio piece with gel over projector light.
2 + 3) "No Place Like Home #1," 5 min, "#2", 6 min, Karen Yasinsky*, 1999, video.
4) "Performance," Laura Parnes*, 1995, 4 min, video.
5) "Sincerely, Joe P. Bear," Matt McCormick*, 1999, 4 min, 16mm
6) "pornfilm," Stephanie Barber, 1998, 4min, 16mm.
7) "Lullaby," Jennifer Reeder, 1999, 18 min, video.
8) "Talent Show," Laura Parnes*, 1996, 4 min, video.
* Filmmaker will be present.
M. McCormick, "Sincerely,..."
March 8-11, 2000


NYUFF catalogue. 		Special Event Party.

@ NYUFF, CBGB's Downstairs Gallery		 Guest Curator: Astria Suparak. Part of the music and performance sidebar, CINE-PHONIC.

Live video-mixing (laptop and Whirligig software) by Jennifer and Kevin McCoy.

Glitter Fat: Fashion Maggot wearable raw-meat fashion show by Luther Price.

Raw: Installation and video by Jennifer Sullivan. Life-sized cardboard standees of people and places from family photos and childhood memories of the Eighties and a video piece. Olivia Newton John karaoke.		  
March 22, 2000


C. Marclay, "Record Players"
"Broken Music"

@ The School of the Art Institute of Chicago, Eye & Ear Clinic		 1) Christian Marclay, "Record Players," 1984, 4:00
2) Sonic Youth, "Piano Piece #13 (For Nam June Paik)," 1999, 4:25.
3) Steina Vasulka, "Violin Power" excerpt, 1978, 7:10.
4) Christian Marclay,"Ghost (I Don't Live for Today)," 1985, 4:00.
5) Barry Schwartz, excerpts from videos and performances, 1987-1995, 7:10.
6) Voice Crack, "Kick That Habit," 1990, 43 min., film on video.

DJing beforehand by Kean Holtkamp, Chicago-based sound artist.
For more information see the Broken Music webpage.		 CHICAGO READER, Critic's Choice:
"New York film curator Astria Suparak assembled this wonderful program of videos on experimental music in which a variety of artists put familiar instruments and objects to unusual uses, showing that the seen world is alive with sonic possibilities... It's a pretty noisy program, but true to the ideas of John Cage, noise is redeemed as music." -F. Camper. Full article here.
March 23, 2000


P. Ahwesh, "The Color of Love"; "Martina's Playhouse". 		"Sexuality Malfunctioned"

@ UW Madison, Starlight CInema in Memorial Union		 (Performance) Anxiety, ambivalence, anticipation.

1) "WSNO", Miranda July, 1998, 9:12, audio with gel over projector.
2 + 3) "No Place Like Home #1," 5 min, "#2", 6 min, Karen Yasinsky, 1999, video.
4) "Performance," Laura Parnes, 1995, 4 min, video.
5) "Talent Show," Laura Parnes, 1996, 4 min, video.
6) "Johnny Take a Dive," Jennifer Reeder, 1999, 14 min, video.
7) "Martina's Playhouse," Peggy Ahwesh, 1989, 20 min, Super8 film on video.
8) "The Color of Love," Peggy Ahwesh, 1994, 10 min, 16mm. 		In Step:
"Curated by Astria Suparak, Film Series Director at Pratt Institute, Sexuality Malfunctioned's entire program runs less than 90 minutes but will nevertheless prove daunting to the [Hollywood]-minded masses. Nothing fits easily in these short films and videos (and one audio-piece) - either the soundtrack sits uncomfortably on top of the image like a Coke can floating in a pond or a variety of devices are used to obscure the image or both. This is doubly disorienting because much of the imagery is pornographic and violent (often simultaneously) and the tweaking offers little moral edification. Still, because Suparak has programmed Sexuality Malfunctioned like a perfectly coherent essay, one need only keep in mind her précis from the program notes to begin to see how these bursts of mismatching energy actually signify..."

Read full article here.
March 24, 2000


"Sexuality Malfunctioned" poster, UW Milwaukee.
  		"Sexuality Malfunctioned"

@ University of Wisconsin, Milwaukee, Union Theatre
 (Performance) Anxiety, ambivalence, anticipation. An evening of short films and video exploring dis-ease and uncomfort within sexuality through techniques such as optical printing, manipulated found footage (and pornography), and stop-motion animation. Presented by Astria Suparak.

1) "WSNO", Miranda July.
2 + 3) "No Place Like Home #1," & "#2," Karen Yasinsky.
4) "Performance," Laura Parnes.
5) "Talent Show," Laura Parnes.
6) "Family Tyranny (Modeling and Molding)," Paul McCarthy with Mike Kelley, 1987, 8:08, video.
7) "pornfilm," Stephanie Barber, 7 min, 16mm.
8) "Sodom," Luther Price, 25 min, 16mm.

March calendar.

Date
Title
Program information
Press
March 1, 2000


C. Baldwin, "Sonic Outlaws"		 "Sonic Outlaws" Craig BALDWIN's experimental documentary on audio collage, copyright violation, and culture jamming. 1995, 16mm.

Features NEGATIVLAND, John OSWALD, the TAPE BEATLES, EMERGENCY BROADCAST NETWORK, and the BARBIE LIBERATION ORGANIZATION. 		Village Voice:
"Pratt Institute: Underground filmmaker Craig Baldwin revels in the aesthetic and political parallels between his found-footage collages and a decade of sampling-driven music." -A. Taubin
March 8, 2000


M. July, "Nest of Tens"
 Guest:

MIRANDA JULY
+
Big Miss Moviola		 Multi-media performer and video artist July (Portland, OR) will present her new video and selections from BIG MISS MOVIOLA (the movie distribution network for independent lady moviemakers) in her 2nd visit here.

"Nest of Tens" is comprised of four alternating stories which reveal mundane yet personal methods of control derived from intuitive sources. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies. 		Village Voice:
"Wednesday Night Film Series at Pratt. Miranda July in person! Filmmaker, performance artist, video producer and distributor, July is a force to be reckoned with. She presents her latest and best film Nest of Tens as well as selections from the new Big Miss Moviola compilation video." -A. Taubin
March 15, 2000


C. Palestine, "Dark Into Dark"		 "Dark Into Dark" Videos by Charlemagne PALESTINE, Vito ACCONCI, Tony OURSLER.

1) Vito Acconci/Kathy Dillon's "Pryings" (1971, 17 min.) is a graphic exploration of the physical and psychological dynamics of male/female interaction; a study in control, violation and resistance. The body is a vehicle for a literal enactment of the desire for and resistance against intimate contact.
2) Charlemagne Palestine, "Running Outburst," 1975, 6 min.
3) Charlemagne Palestine, "Internal Tantrum," 1975, 5:30
4) Charlemagne Palestine, "Dark Into Dark," 1979, 19 min.
Rarely seen psychodramatic videos from Palestine. "Movement and sound, as they relate to the body and the voice, are the vehicles through which Palestine expels internal energy." Through the use of video as an extension of the body, the viewer is both participant and voyeur.
5) Tony Oursler's "Grand Mal" (1981, 22 min.) is a sinister fable of postmodern cultural malaise. His fantastic theater of the absurd creates an eerie sense of displacement and disorientation. -EAI catalogue 		Village Voice:
"Pratt Institute: Video is used by Vito Acconci, Charlemagne Palestine, and Tony Oursler as a medium for investigating and exhibiting obsession, trauma, and need for control. Prying, a collaboration between Acconci and Kathy Dillon, discloses the scary, sadomasochistic dynamics of an intimate relationship." -A. Taubin
March 29, 2000


J. Trainor, "The Bats"		 Guest:

Jim Trainor		 Trainor will present his newest film, "The Moschops". This is about a prehistorical animal- "Love, Lust and Betrayal on the plains of Permian South Africa."
Other animated films include: "The Fetishist", an animated biography of an adolescent serial killer from the 1940's; "The Bats", "A vermivorous neotropical phyllostomid of no extant species narrates this story of a life devoted to carnal pleasures and the avoidance of predators, under the guidance of a prescient but ineffectual God"; "The Bat and the Virgin"; and selections from "31 Found-Footage Exercises"- nature footage and 1950's educational films reedited (to the "Goldberg Variations" of Bach) to reveal their sinister content.
Trainor teaches animation at Pratt's Media Arts Dept. 		 

February calendar.

Date
Title
Program information
Press
February 2, 2000


M. Arnold, "Alone..." 		"Playgiarism" Personal Selections from the New York Film-Maker's Cooperative, spanning four decades. A 'play' with the mediums of found-footage and desire. A play full ness, humor (dark, perhaps), subversion.

This program originally screened at Anthology Film Archives in August 1999, commissioned by M.M. Serra of the FMC and curated by Astria Suparak.

1) Julie MURRAY, "Anathema," 1993, 10 min. silent.
2) Lewis KLAHR, "Her Fragrant Emulsion," 1987, 10 min.
"An obsessional homage to the '60s film actress Mimsy Farmer. The film's visceral collage images act as a metaphor for sensuality and move in and out of sync with the soundtrack to evoke the distancing and intimacy cycles that are common in love relationships."
3) Lana LIN, "I Begin To Know You," 1992, 2.5 min.
4) Joyce WIELAND and Betty FURGUSON, "Barbara's Blindness," 1969, 17 min.
Hand-painted film. "We started out with a dull film about a little blind girl named Mary and ended up with something that made us get crazy."
5) Ken JACOBS, "The Doctor's Dream," 1978, 23 min.
"(Programmers: please don't print the above [synopsis] for the audience to read before seeing the film. It would be like explaining a joke to them before they heard the joke. It's important to the experience of the film to discover its system and its divulgences.)" - KJ
6) Martin ARNOLD, "Alone: Life Wastes Andy Hardy," 1998, 15 min. "...Andy Hardy (Mickey Gooney), the all-American sunny boy of the '30s and '40s returns as an oedipally destroyed teenie clone to be released from his suffering by Betsy's (Judy Garland) singing and kiss. Overlay here are the melancholic musical scores from Brown, Freed and others which will melt over the pictures (in forward and reverse) like icing sugar." - MA
7) M.M. SERRA, "Just For You Girls," 1997, 2 min.

"Playgiarism: Found footage collage was the most overused avant-garde genre of the 90s, but this program includes some of the most intriguing recent and historical works. Among them: Ken Jacobs' The Doctor's Dream, Lewis Klahr's "Her Fragrant Emulsion and Joyce Wieland and Betty Ferguson's Barbara's Blindness." -A. Taubin 
February 9, 2000


J. Rekveld, "Film #3" 		Guest:

Joost Rekveld		 Dutch filmmaker and sculptor Rekveld's only New York appearance in his North American tour, including three premiers.

Joost Rekveld started making abstract films and kinetic installations out of a fascination for the emotive power of moving color. While studying composition of electronic music he was heavily influenced by the approach used by post-serial composers such as Xenakis. This led him to base his work on what he considers the fundamentals of moving-image technology; the way in which it comes to grips with the flux of the world by dividing time in atoms. His most recent work is entirely based on spatial and temporal interferences, making use of very elementary mechanical scanning principles.

1) Film #3, 1994, 16mm, 4 min, silent
A film with pure light, in which the images were created by recording the movements of a tiny lightsource with extremely long exposures, so that it draws traces on the emulsion. The light is part of a simple mechanical system that exhibits chaotic behavior.
2) IFS-Film, 1991-94, 16mm, 3 min, silent
A computerfilm based on visual pixel noise which in theory contains all possible images.
3) VRFLM, 1994, 16mm, 2 min, silent
4) Beat Time, 2000, video-piece, 9 min. North American premiere.
Will be in the Rotterdam Film Festival. A meditation on sound and fundamentals of moving image.
5) Film #5, 1994, 3 x 16mm, 6 min, silent
A film for 3 projectors and 3 independent screens next to each other. The images were created by shooting moving reflecting forms with widely varying exposure-times. These images were then printed on the film strip in various ways.
6) Installation #19, 1999, live-piece, approx. 20 min, CD soundtrack.
Installation in which images are produced through interference. The interplay between the time lag of our eye and the fast rotation of a pulsating lightsource results in ever fluctuating ornaments.
7) Film #7, 1996, 1e6mm, 32 min, silent.
A film made by stamping paint onto transparent film and using the result of this as a negative. All movements in the film are caused by the interference of the stamped grid patterns and the perforation of the filmmaterial. 		Village Voice:
"Film Series at Pratt: Rekveld. His abstract kinetic films, multiple screen projections, and installations have been picking up a buzz on the avant-garde festival circuit. This show includes a decade of work from the 90s plus a brand new year 2000 video." -A. Taubin

New York Press:
"Pick: New York Press film critic Ed Halter wants you to know about the abstract films by Dutch artist Joost Rekveld showing at the Pratt Institute Wednesday night. Calling Rekveld 'a dedicated and truly talented abstract filmmaker like they just don't make in the States,' Halter says the young artist's works are 'both rigorous theoretical exercises and head-trippy psychoactive excursions.' The screening also features Rekveld's kinetic sculptures and the filmmaker will be there in person. So get your player-hating-on-Harmony-Korine asses out to Fort Greene, kids, and see if you can back up your convictions." -A. Heimlich
February 16, 2000


A. Bag, "Untitled" 		"TV/Voyeur"

Freebasing TeleVision culture. Videowork from New York and Chicago.

- Alex BAG, "Untitled (Project for The Andy Warhol Museum)," 1996, 20 min.
- Michel AUDER, "Stories, Myths, Ironies and Songs," 1983, 28 min.
- Jennifer REEDER, "Johnny Take a Dive," 1999, 14 min.
- ANIMAL CHARM, "Target," 1999, 8 min.
- Maura JASPER, "Karaoke Project"

 Village Voice:
"Pratt Institute: Image appropriation crosses generational and gender lines in this program that poses Michel Auder's Stories, Myths, Ironies, and Songs against short pieces by younger female artists including Alex Bag and Jennifer Reeder." -A. Taubin
February 23, 2000


Black Maria Festival catalogue.
Guest:

Black Maria Film & Video Festival


 Presented by Alvin Larkins and Astria Suparak. The first New York screening of selected Festival winners.
Since 1980 the BMFVF has honored the creative foresight of Th. Edison who, 100 years ago, along with other pioneers, introduced a potent new, universal mass medium: the motion picture. It is the tradition of lively inquiry, innovation, open artistic exploration, independent vision, and illumination of the human condition which motivates the Festival's work on behalf of contemporary film and video.

- "Morphology of Desire," Robert Arnold, 5.75 min, 16mm, 1999. Turgid illustrations from the covers of pulp romance novels typified by Harlequin Romances are digitally morphed into a never-ending dance of unrealized desire.
- "Metronome," Stephanie Barber, 11 min, 16mm, 1998. Quiet images reveal an achingly hermetic world represented mostly through vintage magazine advertising stills which are cryptically reframed by a deeply melancholy vocal performance.
 - "removed," Naomi Uman, 6.5 min, 16mm, 1999. Operating as a sociopolitical commentary on disempowerment and machismo, 'removed' is composed of fragments of a 1970s porn flick which has been altered by the application of nail polish and bleach.
- "Moby Richard," Emily Breer and Joe Gibbons, 6 min, video, 1999.
- "Dormimundo," Ximena Cuevas, 30 min, video, 1999. A series of biting satirical performances which deconstruct and reframe Latino identity issues, mass culture, and sexual politics.
- "The Two Boys," Jason Livingston, 10 min, video, 1999.
N. Uman, "removed"

 

About:
The Pratt Film Series was a weekly program dedicated to showing media work not easily accessible to the public, and to forging ties across art disciplines including performance, music, painting, sculpture, technology, animation, theater, and architecture.

Over the last three years work from eighteen countries, spanning nearly the history of cinema (1901 to works in progress and premieres), have been exhibited here. We also featured guest filmmakers and performers, traveling film and music festivals, and collaborations with other New York City venues.

Astria Suparak, Pratt Film Series Director 1998-2000

Wednesdays, 8:30pm
Dekalb Ave, betw. Hall + Classon St.s
A/C train to Clinton-Washington