1. Where: The Pit Authentic BBQ (Rooftop Bar) @ 321 W Geer St, Durham, NC
    When: Tuesday, September 16, 2014 from 8-10pm
    Contact: durhamunexposed@gmail.com
    Cost: FREE



    H.E.F.F. on 95 : Winners of the Haverhill Experimental Film Festival
    Total Runtime : 1hr 50min 

    In Light, In! (12min, Ken Paul Rosenthal)

    A haunting, visual essay about the awkward and angry junctures where our culture struggles to manage its emotional distress. Images recycled from 1950’s-era educational films are accompanied by original compositions by world-reknowned cellist, Zoe Keating. 

    F-Line (9min, Silvia Turchin)

    A poetic documentary that explores an ethereal past and romance aboard San Francisco’s historic streetcars. Shot entirely on celluloid, F­Line embodies a textural way of perceiving these relics and examines the traces of time’s mystery that fluctuate beneath the surface.

    where she stood in the first place. (9min, Lindsay McIntyre)

    Situated at the geographic center of Canada, Baker Lake, Nunavut is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre’s haunting and sparse film uses hand­wrought black and white 16mm film in a meditation on place and personal histories.

    theoria (5min, Josh Weissbach)

    A Greek man, once a guide on the island of Delos, started discussing what the word theory meant. Our ensuing conversation was the initial inspiration for this film, entitled theoria [theh­oh­ree­ah].

    Pillager (3min, Josh Lewis)

    A chemical painting made towards the end of my tenure as a grunt worker in a film processing lab. At the time, I was spending most of my days slacking off down in the lab’s sub basement playing with raw film stock and reversal chemicals.

    Red Luck (26min, Mike Olenick)

    As a sunny day comes to an end, a handful of seemingly disparate characters converge in this experimental psycho­sexual thriller. Something bad is blowing in the wind and it’s not a good day to go out looking for love. Weeds are growing, the sun is setting…and Red Luck is coming. You had better do the things that you dream.

    Human Body Battleground Organ Organism (9min, Metrah Pashaee)

    An appropriated moving image collage investigating the sex organs as
    disembodied vessels. Utilizing a digital voice to enact this estrangement, a
    narration of declaration generates a questioning of definitions, where sound
    and image structures dismantle, revealing a deconstruction of audio­visual
    form and subject’s signification.

    RECKONING 3 (11min, Kent Lambert)

    This work is comprised largely of imagery and sound culled from over two years of Mac and Playstation 3 video game play. Some of this play was explorational, some was performative and much was anthropological in intent. The latter category of play was conducted in online multiplayer “shooter” games, in which numerous strangers (seemingly all male) drop in and out of play and communicate via headset microphones. Though I had the ability to communicate with these strangers through my own headset microphone, I was more or less paralyzed by horror and disorientation; I remained silent and documented my eavesdropping. RECKONING 3 is an attempt toward a lucid and expansive reflection on that disorientation.

    Gente Perra (25min, Anja Dornieden & Juan David Gonzalez Monroy)

    A film based on fragments of the story “La Gente Perra” by the Colombian
    writer Gomati D. Wahn (1923 ­1993). The story, which takes place 3000
    years in the future, tells of the character of The Admiral as he searches for
    the land of the Dog People and the riches that it hides. However, as is typical of Wahn’s style, the story is assembled out of altered existing texts, in this case, historic accounts of the discovery and conquest of America or, as it was known then, The New World.


    Thanks to The Pit Authentic BBQ for hosting us!

  2. WHITE ROUGHAGE 10 min / 16mm color / digital sound / 2013 Sound element by Jahiliyya fields (Matthew Morandi, L.I.E.S.)
    CLIMBER 5 min / 16mm color / digital sound / 2013 Sound element by Ryan Marino (Remnants, Imminent Frequencies)
    RELAY 12 min / Super 8mm color negative to DV / digital field recording sound / 2013 Sound performance element by Ei Wada, (Sony Music, Japan)
    TUSSLEMUSCLE 5 min / 16mm color / optical sound / 2007-2009 Sound element by Earthen Sea (Jacob Long, Imminent Frequencies/Lover’s Rock)


    Where: The Carrack Modern Art @ 111 West Parrish St, Durham, NC
    When: Monday, August 18, 2014 from 8-10pm
    Contact: durhamunexposed@gmail.com
    Cost: FREE

    UNEXPOSED is teaming with The Carrack again in downtown Durham for the August screening featuring works by Brooklyn-based filmmaker/director/curator, Steve Cossman, founder of the organization called MONO NO AWARE (www.mononoawarefilm.com). As always with UNEXPOSED, the filmmaker will be in attendance to follow up the films with a lengthy Q&A. Bring those bustling brains and ask, inquire, interrogate this man. Oh, and BYOB friends!



    A program of moving image work by Steve Cossman
    Running time : 47 minutes 

    "The world, on both the micro and macro level, is constantly moving within a framework of units. This irrepressible flux of time is the nexus of human experience and perception. Investigating the quantification of this motion through a reordering of various elements, I employ universally recognizable imagery within a patterned visual language. Often using time as a structure, the ‘natural’ rhythm of life is altered to create a resonating interval. This visual discord allows the viewer to reconsider established perceptual relationships. Materials for these works have been sourced from refuse and re-organized to speak to their own degradation." - Steve Cossman 

    5 min / 16mm color / optical sound / 2007-2009 
    Sound element by Earthen Sea (Jacob Long, Imminent Frequencies/Lover’s Rock)

    The work presented is a reflection on humanity’s ecological relationship. The violent pulse speaks with a sense of urgency and chaotic struggle while the hypnotic arrangement keeps us in blinding awe us to its condition. The collage films are composed of 7,000+ single frames, which were appropriated from view-master reel cells. Each frame was hand-spliced to create a linear film-strip using musical and numerical patterns to compose visual rhythms. WHITE ROUGHAGE (below) is the raw optically printed footage used to create the companion piece to TUSSLEMUSCLE, W H I T E C A B B A G E .

    12 min / 16mm color / optical sound / 2010 
    Sound element by Daniel Caldas (ex. Black Eyes, Dischord Records) 

    To expedite the transfer/loading speed of representational images online they are assigned a low resolution of 72 dpi. In the “de-res” process, a considerable amount of visual information is labeled unimportant and discarded by software. I worked with a programmer to create PHP code in order to read a thumbnail image from left to right, top to bottom, placing each pixel’s color as a full frame of the same color along the timeline. The sequence of frames plays out at 24 frames per second. In the same way that the persistence of vision creates the illusion of smooth linear movement in frame-by-frame animation, the mind is able to re-instate some of the lost visual/color information. Concurrently, the static composition of the photographic image dictates a pattern in time. A vertical line will appear at the same place in time repeatedly creating a “beat” while horizontal lines and forms become an undulation. Composition of form creates visual rhythm. 

    12 min / Super 8mm color negative to DV / digital field recording sound / 2013
    Sound performance element by Ei Wada, (Sony Music, Japan) 

    A document of the environment created by artist Ei Wada. Wadasan re-wires obsolete Braun-tubed TVs to function like a theremin. Performing in the dark, he creates a unique audio/visual experience using VHS cassette tapes with distorted image output to control frequency and uses his own hands to control amplitude. I conducted an interview with Wadasan and filmed two performances; one in Germany, the other in Japan. Based on our conversations, I created this short piece that emphasized his grassroots approach to instrument making and reflected his own concepts about performance as art. The footage shot in Japan was captured during the last hour of signal broadcasting. 

    5 min / 16mm color / digital sound / 2013 
    Sound element by Ryan Marino (Remnants, Imminent Frequencies) 

    3 min / 16mm color / silent / 2013

    Silent motion studies.

    10 min / 16mm color / digital sound / 2013 
    Sound element by Jahiliyya fields (Matthew Morandi, L.I.E.S.)


    STEVE COSSMAN is founder and director of Mono No Aware; a nonprofit cinema arts organization whose annual event exhibits the work of contemporary artists who incorporate live film projections and altered light as part of a performance, sculpture or installation. In 2010 the organization established a series of analog filmmaking workshops, and has grown to include in their activities an equipment rentals program and an in-person screening series entitled Connectivity Through Cinema. Steve’s first major work on film, TUSSLEMUSCLE, earned him Kodak’s Continued Excellence in Filmmaking award and has screened at many festivals and institutions internationally. In 2013, he completed residencies at MoMA PS1’s Expo 1 and the Liaison of Independent Filmmakers of Toronto. He has been a visiting artist at Dartmouth, the New York Academy of Art, Yale, SAIC, and UPenn. Steve’s newest work on film, W H I T E C A B B A G E (2011-2014), a collaboration with Jahiliyya Fields of L.I.E.S., had its U.S. premiere at Anthology Film Archives. He currently lives and works in Brooklyn as a director, curator, visual artist and member of the collective DecayNY, creating time-based works on film, video, and paper.


    Where: The Carrack Modern Art @ 111 West Parrish St, Durham, NC
    When: Tuesday, July 22, 2014 @ 8:30pm
    Contact: durhamunexposed@gmail.com
    Cost: FREE

    UNEXPOSED is teaming with The Carrack in downtown Durham for the July screening featuring works by Iowa-based filmmaker and North Carolina native Joshua Yates (thisisyates.com). Yates will be presenting three videos totaling 35 minutes. As always with UNEXPOSED, the filmmaker will be in attendance, so bring those questions! A lengthy Q&A will follow the screening. BYOBooze too!

    this is (not) YATES   -   3min
    This might (not) be a fake self portrait.

    The Bags, Probably 1971    -    5min
    A southern family of four is reincarnated during this hand-processed assemblage of their previously unearthed audio/visual keepsakes.

    Bring the Ruckus    -    26min
    This experimental nonfiction interweaves an ever-shifting myriad of serene and violent home video footage, still portraiture and diaristic snapshots. An exercise in catharsis, this fragmented visual autobiography recontextualizes years of home movies in order to explore coming-of-age anxieties, delayed grieving processes and living in a world that is not one’s home.

    We can’t forget to thank Laura Ritchie at The Carrack Modern Art for offering their space and supporting our screening series!


    Where: The Perch @ 1011 Burch Avenue, Durham, NC
    When: Sunday, June 15, 2014 @ 7:30pm
    Contact: durhamunexposed@gmail.com

    FREE EVENT. BYOBooze. Donations for this traveling trio will gladly be accepted!

    UNEXPOSED is gearing up for its fourth monthly screening on Sunday, June 15th. We are hosting the traveling film tour called Woman With Knives, featuring works by experimental animators Lauren Cook, Kelly Gallagher, and Charlotte Taylor.

    Lauren Cook
    PXXXL (35mm/video, 3min)
    Altitude Zero (16mm, 5min)
    Handmade (35mm, 3min)

    Kelly Gallagher
    The Herstory of the Female Filmmaker (video, 14min)
    Pen Up the Pigs (video, 12min)

    Charlotte Taylor
    The Edge of Summer (16mm, 4min)
    Secrets (16mm, 3min)
    Leaf. (16mm, 3min)
    Aurora and the Sea (video, 1min)


    Lauren Cook’s films have screened internationally at venues including the Margaret Meade Film Festival at the American Museum of Natural History, Ann Arbor Film Festival, Des Moines Art Center, Sao Paulo Museum of Image and Sound, Black Maria Film Festival, PDX, VideoEx Switzerland, Festival Des Cinemas Differents De Paris, Brighton Film Festival (UK), and the Emerging Filmmakers Showcase at the Cannes Film Festival. She is director of cinema and associate professor at the University of Hartford. She’s currently working on an experimental video game for Oculus Rift, called Death Drive, that is entirely hand drawn with pencil and paper.


    Kelly Gallagher’s films have screened in venues across the world, including: the Ann Arbor Film Festival, Anthology Archives, Asheville Art Museum, Bryn Mawr Film Institute, Other Cinema, Women’s Film Institute, Northwests Film Forum, London Hackney Picturehouse, Berlin Mobile Kino, and Paris International Lesbian and Feminist Film Festival. She is the recipient of the 2014 Helen Hill Award from Indie Grits for her film Pen Up the Pigs. She has presented her research at Yale University’s Fields of Vision Conference, and will be sharing her most recent paper on the political possibilities of handcrafted cinema at the 2014 UFVA conference.


    Charlotte Taylor is an experimental animator, teaching Film/Video in the rural mountains of Western North Carolina. Her research ranges from digital animation and handmade film to optical toys, and she is particularly interested in alternative forms of production and presentation. Her work has screened at venues across the world, including: Ann Arbor Film Festival, Indie Grits Festival, Strange Beauty Film Festival, TIE, EFF Portland, FLEX Fest, and the Anthology Film Archives. She was the recipient of the 2012 Helen Hill Award from Indie Grits, for her film The Edge of Summer. She enjoys organizing and teaching community filmmaking workshops for kids and at risk youth and is co-founder/co-director of the Mechanical Eye Microcinema. She is currently working on a direct animation music video and an animated 16mm essay film about women in Belegarth medieval combat.

  5. FILMMAKER #3,4,5: Kate Ewald, Lorenzo Gattorna, and Margaret Rorison

    Where: The Barn & Cupola @ 2315 Albany Street, Durham, NC
    When: Saturday, April 19, 2014 @ 7pm
    Contact: durhamunexposed@gmail.com [352.318.5872 or 352.318.6705

    UNEXPOSED is gearing up for its third monthly screening on Saturday, April 19th featuring works by the programming trio of Sight Unseen based in Baltimore.

    Kate Ewald

    * Make-Up Iterations, 2014, 16mm, color, silent, 2.5m
    2013, 16mm, color, silent, 2m
    * Feedback Landscape (Purple)
    , 2012, analog video feedback to HD, color, sound, 8.5m
    Apollo’s Eye, 2010, digital video, color, sound, 2m

    Lorenzo Gattorna:
    * Sunrise Fires, 2013, 16mm-to-digital, b/w and color, sound, 6.5m
    Mountain Lying Down, 2012, 16mm-to-digital, b/w & color, sound, 3m
    The Enchanted Forest, 2011, 16mm-to-digital, color, sound, 6.5m

    Margaret Rorison:
    Pull/Drift, 2013, 16mm, color, sound, 10m
    The Waiting Sands, 2013, 16mm, color, sound, 5m
    Gowanus Haze, 2012, 16mm, b/w, sound, 5m


    Kate Ewald is a time-based media artist and curator living in Baltimore, MD. With diverse interests in live & expanded cinema, classical structuralist filmmaking, intermedia, mechanical accidents, and homemade video feedback rigs, many of her works violently challenge the conventional assumptions of the spectator as they relate to expectations of narrative, perception, and time. Her curatorial, critical, and academic work is inspired by artistic practice and a ritualistic study of theoretical philosophies.

    Kate currently holds a studio at the cooperatively run Current Gallery in Baltimore. Her films & videos have shown at Microscope Gallery, Videofag, Videopolis, & High Zero Festival, among others. She recently contributed a piece about Sight Unseen to Incite! Journal of Experimental Media #4 and has a proposal accepted to Millennium Film Journal #60 about ecological implications of (and alternatives to) traditional film processing.


    Lorenzo Gattorna is a filmmaker and programmer originally from New York now residing in Baltimore. He received a BFA from Tisch School of the Arts at NYU in 2007. His short films have screened in exhibitions associated with ARKIPEL, Artsfest Film Festival, Baltimore City Paper, CCNY, Chicago Underground Film Festival, Colour out of Space, EMP Collective, Haverhill Experimental Film Festival, LMAKprojects, Les Rencontres Internationales, Maryland Film Festival, Maysles Cinema, Microscope Gallery, Onion City Experimental Film and Video Festival, Plug Projects, Sonic Circuits, Spectacle Theater, TULCA Festival of Visual Arts, UnionDocs, Utopia Film Festival, Videofag, VIDEOMEDEJA and Views from the Avant-Garde at the New York Film Festival. He has programmed screenings for Anthology Film Archives, Antimatter [Media Art], Maysles Cinema, Spectacle Theater and UnionDocs. Recently he received the 2012 Creative Alliance Media Makers’ Fellowship for Falling Out and was selected as a Semi-Finalist for the 2013 Janet & Walter Sondheim Artscape Prize for Coupled Vision.


    Margaret Rorison has been making films since 2011. Before she discovered the magic of filmmaking, she spent most of her energy on poetry, painting and photography. Her current work often develops from extensive walks through rural and urban landscapes, combining memories, field recordings and text. She is interested in the potentials of storytelling through the use of live projection and sound. 

    Rorison’s work has been screened at various festivals and venues including CROSSROADS, AAFF, Images Festival, Mono No Aware VI & VII, Sonic Circuits Festival, Microscope Gallery, The Moscow Museum of Modern Art and The High Zero Festival. She is a partial member of the artist run film lab, LaborBerlin and holds an MFA from The Maryland Institute College of Art.