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The Brooklyn Peephole Cinema will be moving to a new location soon–stay tuned!!!

Thank you Union Docs for a fantastic year.


Kintoscopic Records at UnionDocs

contemporary short films and videos inspired by the earliest cinema

Program by Dan Streible (NYU / Orphan Film Symposium)

Open to Public 24/7 from September 18th – December 31st   


Hosted by UnionDocs Center for Documentary Art


About the Films:

Peephole Cinema exhibitions showcase contemporary media artists while also evoking the proto- and early cinema experiences of the peep show. This UnionDocs program, Kinetoscopic Records, invites a collision of the old and new, the earliest movies and born-digital works. The ten pieces replicate qualities of the earliest film shows, an incongruous variety of kinetic, flickery, silent pictures in motion, each less than a minute long.

This program’s inspiration is the recent rebirth of one of the first motion pictures ever made, Edison Kinetoscopic Record of a Sneeze, January 7, 1894 (aka Fred Ott’s Sneeze). Although its copyrighted images appeared in print in 1894, the Sneeze was not seen in motion until reanimated on 16mm film in 1953. However, only now has the entire recording been reproduced. The new Library of Congress version reveals The Sneeze to be nearly twice as long as presumed, with Mr. Ott sneezing twice in one unedited take. This is its premier public run.


The ten movies in five minutes are:

K.-L. Dickson, Edison Kinetoscopic Record of a Sneeze 

Evan Meaney, Re_Sneeze 

Jodie Mack, All Stars 

Joel Schlemowitz, The Invention of the Gramophone 

Danielle Ash, Creature of the Gowanus

Tom Whiteside & Anna Kipervaser, Ott Gotcha 

Andrea Callard, Something Medical 

Bill Brand, Ornithology 4 

Mono No Aware, Sneezes 

Bill Morrison, Dancing Decay 


 Mack_AllStars Morrison_Dancing Whiteside_Gotcha

Images:  Mack, Morrison, Whiteside & Kipervaser

Three new pieces derive directly from the Sneeze. Evan Meaney takes the new version and digitally explodes its halftone printing. Tom Whiteside (who actually collects celluloid prints of Fred Ott’s Sneeze) and Anna Kipervaser create a 16mm found footage jest, while the Mono No Aware collective made a pilgrimage-homage, traveling to the Edison Historic Site in New Jersey to shoot Sneezes on black-and-white 16mm film inside the Black Maria building.

Two others works, also born on celluloid, reference the era of early cinema. Joel Schlemowitz shot black-and-white film for his Mélièsian féerie about the Kinetoscope’s exact contemporary, the gramophone. Bill Morrison’s uncanny piece of decaying nitrate 35mm film reveals dancers (a frequent Kinetoscope subject) dancing in a pink cobweb of swirling emulsion. (It too came from the Library of Congress, but from its discard bin.)

The remaining pieces deliver a variety of arresting images for the peep show viewing context. Jodie Mack’s cameraless animation stars rapid-fire geometric forms, while fellow animator Danielle Ash creates an ethereal aerial view of an imagined Brooklyn, lit up by lengthy exposures of thousands of pinholes. Bill Brand’s dual-layered duel of abstraction and HD realism pushes the kinetic accelerator even further with a traveling matte that flutters over every frame. The medical imaging technology Andrea Callard uses in her memento mori piece pulls in yet another direction, a reminder that early cinema combined optical toys and scientific devices.

Spacetime Singularities

New works by Bradley Eros, Sarah Halpern, Andrew Lampert

curated by Elle Burchill and Andrea Monti (Microscope Gallery, Brooklyn)

Spacetime Singularities is a program of new moving image works made for the occasion of Peephole Cinema by Bradley Eros, Sarah Halpern and Andrew Lampert. The works, hand shot by each artist in the darkness – of a cave, a nightclub and on the streets of NYC in the wee morning hours – collapse sensations and sounds into a single focus viewing experience in which stalactites appear as sonograms, Kenneth Anger conducts a ceremony on the theremin, and liquid nitrogen tanks become ticking time bombs in the city’s rain-slicked streets. – EB & AM









Bradley Eros

Nitrogen Ghost, 2015

digital video, color and b&w, sound, 3 minutes

“A speculative fiction on the mysterious tanks that populate the streets of New York City. A haunted abstraction of metal, steam & luminous objects moving through urban spaces.” – BE

Bradley Eros is a New York-based artist working in various mediums including film & video, collage, performance, contracted and expanded cinema & installation. Eros works have exhibited and screened extensively in the US and abroad including at The Whitney Biennial, The Whitney Museum’s series “The American Century”, The Museum of Modern Art (MoMA), The Andy Warhol Museum, MoMA P.S.1, The New Museum, Anthology Film Archives, Participant Inc., The Kitchen, Performa09, Arsenal (Berlin), Camden Arts Center (London), and The New York, London and Rotterdam Film Festivals. Collaborations include the Alchemical Theater, the band Circle XVoom HD Lab, and the expanded cinema groups kinoSonikArcane Project and currently Optipus. Eros works and lives in Brooklyn, NY.





Sarah Halpern

Interior, 2015

16mm film transferred to digital, color, silent, 2 minutes

“An optically printed cave sonogram for hole peeping.” – SH

Sarah Halpern works with 16mm film, collage on paper, 35mm slides, music and performance. Her work is largely focused on cinematic time and the active role of the viewer, and has been shown previously at venues including The Museum of Moving Image, The Kitchen, Participant Inc, Anthology Film Archives, and Microscope Gallery. Halpern holds a B.A. in Film and Electronic Arts from Bard College and was awarded a MacDowell Colony Fellowship in 2014. She works and lives in Brooklyn, NY.



Prelude in Anger


Andrew Lampert

Prelude In Anger, 2015

Super 8mm transferred to digital, color, silent, 1 minute 50 seconds

“Silent documentation of a loud event that you don’t need to hear in order to feel. Kenneth Anger, filmmaker and author, live on the theremin, May 19 2010.” – AL

Andrew Lampert makes moving images, photographs and live performances that deal with whatever he is thinking about, fascinated by or concerned with around the time of production. He has no single focus and is strategically inconsistent, which may or may not be apparent. Lampert has widely exhibited at institutions and festivals including the Whitney Museum of American Art, The Art Gallery of Ontario, MoMA P.S.1, The Getty Museum, The British Film Institute, The International Rotterdam Film Festival, The Toronto International Film Festival and The New York Film Festival. Musical collaborators have included Chris Corsano, Peter Evans, Okkyung Lee, Alan Licht and C. Spencer Yeh among many others. He is editor of the book THE GEORGE KUCHAR READER (Primary Information, 2014) and co-editor of both volumes of HARRY SMITH COLLECTIONS CATALOGUE RAISONNE (J&L Books, 2015). Electronic Arts Intermix (EAI) in NYC distributes many of his works. Lampert works and lives in Brooklyn, NY.

MayFilms from Living Los Sures

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The Peephole Cinema integrated in a new public artwork on the facade of UnionDocs. This piece, created in early June, is part of the multi-faceted Living Los Sures project. Part omnibus film, part media archeology, part deep-map and city symphony, the project uses Los Sures, a brilliant work of cinema verite directed by Diego Echeverria in 1984, as a starting point for the investigations of more than sixty artists over the course of five years.

In the early 80s, the Southside neighborhood of Williamsburg Brooklyn (locally known as Los Sures) was one of the poorest neighborhoods in New York City. In fact, it had been called the worst ghetto in America. Shot in 1984, Diego Echeverria’s film skillfully represents the many challenges this place faced: drugs, gang violence, crime, abandoned real estate, racial tension, single-parent homes, and inadequate local resources. At the same time, the documentary also celebrates the vitality of this largely Puerto Rican and Dominican community, showing the strength of their culture, their creativity, and their determination to overcome a sometimes desperate situation. Beautifully restored just in time for the 30th anniversary of its original premiere at the New York Film Festival, Los Sures is a piece of New York City history we must not forget.

Living Los Sures restores  this lost film, remixes local histories, reinvestigates the Southside today, and hopes to reunites a neighborhood around a sustainable future. The new mural on UnionDocs facade is by local artist José Luis Medina and painted by Daniel Colon. It focuses on the life of Cuso Soto, one of the five principle characters from the 1984 documentary. Through a 9 panel comic, Medina in collaboration with UnionDocs, tells the story of Soto’s life and expands beyond the limits of the original film. Beautiful scenes of streetlife in the neighborhood that show Cuso Soto in1984 are on current view in through the Peephole.


Dark Matter:  The films of Sarah Christman, Matt Town and Carolyn Lazard.

Curated by Toby Lee.


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Dark Matter

The cosmological concept of dark matter has served as a useful metaphor to describe the hidden structures underlying a variety of social worlds. As Gregory Sholette writes about the art world, its “dark matter” functions as an invisible twin to the visible world — a largely unseen body of people, places and practices that exists in parallel to, and even conditions, the visible world, but can only be sensed or known through its effects. Here, we apply the concept of dark matter to our experience of the city, its built environment, its social structures. In these films, we glimpse this invisible city.

Sarah Christman Outside Over There

Shot in Jamaica Bay, Queens. At the shore, the city comes to an end. Or, from another point of view, this is where it begins. Figure, or ground? The water looks back.


Still from Sarah Christman’s Film  Outside Over There  (2 min, 16mm to HD, 2009/2014)

Sarah Christman2


Sarah Christman1

Matt Town Protest

Housing protest in Bushwick, Brooklyn. As the “development” of a neighborhood marches on, so do its residents.

Still from  Matt Town’s film Protest



Matt Town


Carolyn Lazard The Blues

The Blues chews over the intermittent visibility and exceptionalism of one of the most entrenched New York City infrastructures: the police.