Short Films Screening Night within the Exhibition, "If Not a Note, a Chasm"

Join filmmakers for a screening of new works followed by Q&A, within the space of our current exhibition featuring large-scale installation, sculpture, and mixed-media works. Films include experimental and documentary genres. Free and open to the public!

Parking is available in the long lot on the left side of the building (the side closest to the train station). The exhibition space within the building is located at the opposite end. Walk down the red brick driveway at the corner of East William st, and you’ll see the door at the end of the driveway!

Featured Filmmakers:
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Ana Armengod is a Mexican Multidisciplinary artist born in Mazatlán Sinaloa, currently living in Braddock, PA. Her art encompasses a wide range of mediums including film, illustration, writing, sculpture, installation, and sound. Rather than confining herself to a single medium, she skillfully intertwines and blends them into not just one thing, but many. Her work is tied with nature and its death, as well as the small details that get lost in the bigger picture. Focused on accentuating the overlooked and unimportant, she gives magnitude to human reactions, history, emotion, and the environment while questioning how these things push us to evolve.

Ana Armengod presents: A mi Padre and A mi Madre:
A mi Padre, 2019
Shot in Super 8 mm, hand processed, audio by Jose Maria Armengod (the artist’s father).
An ode to Armengod’s parents, an intimate view into their life, personal glimpse into their experiences and their bond as they cope with her father's illness.
A mi Madre, 2020 Shot in Super 8 mm, hand processed audio by Ana Esther Valades (the artist’s mother)
A continuation to the glimpse into Armengod’s parents’ life, shot while in quarantine, taking in what was left of life.
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Alejandro Durán is an artist who transforms international trash washing ashore on Mexico's Caribbean coast into aesthetic yet unsettling artworks, awakening viewers to the threat of plastic pollution. His long-term project, “Washed Up: Transforming a Trashed Landscape,” uses photography and installation to explore the complex intersections of humanity and nature, highlighting the pervasive impact of consumer culture on the natural world. Durán engages audiences through environmental, community-based art-making workshops and speaking engagements. As National Geographic’s Becky Harlan noted, “A gorgeous UNESCO World Heritage site has a serious problem with ocean trash, and artist Alejandro Durán wants to inspire us into action.”

Born in Mexico City in 1974, of Mexican and American descent, Durán currently splits his time between Brooklyn, New York, and Sian Ka’an, Mexico, where he continues to gather trash for his project. He holds an MA in Teaching from Tufts University and an MFA in Poetry from the New School for Social Research. As an educator, Durán has taught photography and video classes at The Museum of Modern Art and the International Center of Photography. Durán received a 2019 Creative Capital Award and served as Hunter College’s Artist-in-Residence in 2014-15. His work has been featured at the Weltkulturen Museum in Germany, the Mt. Rokko International Photography Festival in Japan, and Basta con la Plastica, Italy’s first Ocean Awareness Week. “Washed Up” has been published in National Geographic and Time Magazine, and appears in the books Art & Ecology Now, Greta Thunberg’s The Climate Book, and the forthcoming The History of Art: A Global View by Thames & Hudson.

Alejandro Durán presents Washed Up: Transforming a Trashed Landscape, an environmental installation and photography project that transforms the international debris washing up on Mexico's Caribbean coast into aesthetic yet disquieting works. Over the course of this project, Durán has identified plastic waste from fifty-eight nations and territories on six continents that have washed ashore along the coast of Sian Ka’an, one of Mexico's largest federally-protected nature reserves and a UNESCO World Heritage site. He uses this international debris to create color-based, site-specific sculptures that conflate the hand of man and nature. At times, he distributes objects the way the waves would; other times, the plastic mimics algae, roots, rivers, or fruit, reflecting the infiltration of plastics into the natural environment.

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Cristina Gomez is an Ecuadorian filmmaker with a passion for exploring the comedy genre. Bringing a unique but also very common cultural perspective to her work, she infuses her films with vibrant storytelling. As a filmmaker, her mission is to create stories that not only entertain but also resonate deeply with folks who are often overlooked in media.
Cristina Gomez presents: Bad Tia: When a young aunt realizes she forgot to pick up her niece from school, a frantic and hilarious race against the clock ensues – all in just one chaotic minute!

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Diana Haro is an artist from Tijuana, Mexico. She has immersed herself in a process of learning and self-discovery through the moving image. Her film work is informed by her life experiences as memory exercised through feeling. Her restlessness for exploring has led her to work with mirror sculptures and more recently through ceramics. She is fascinated by materials, tools, and the discovery of textures through unexpected objects and images. She seeks to transform the literal into the poetic, and digs into the falsity of her memories to give them new meaning through film.  Haro graduated from International Affairs with a Diploma in Production of Contemporary Art. She is a proud member of Brown Girls Doc Mafia.

Haro is also an award-winning filmmaker. Her experimental documentary, Portrait of Absence was awarded a grant from the Mexican Institute of Cinema, and her work as a producer has been awarded both the Grand Jury Award and the Audience Award for Competition Features at the 25th annual Dances with Films festival in Los Angeles, among other recognition.

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Yan Jin is an interdisciplinary artist born in Shanghai, China. Currently based in New York. Her works include photography, video, sculpture, and multi-media installations. She constantly alienates objects of our familiarity and recontextualizes found materials through distortion and dislocation; blurs the gaps between presence and absence, and brings disparate binaries in dialogue with one another. Her work has been widely exhibited and screened in the United States, Europe, and Asia. Solo and Two-Person shows include “Little Lies and Counterweights, Little Lies and Counterweights (2023, New York, US)”, “I Should Use A Language Not to be Betrayed (2023, Seoul, South Korea)” and “I Don't Want to Make Photographs Anymore (2023, Xiamen, China)”.

Yan Jin presents: A Good Bye
A Good Bye, 2019
Single Channel Video, 4 min
The protagonist is trying to find something that eludes him. He searches in his dream for the missing piece. This non-linear non-dialogue narrative is about lost memory, time, and recurrence.

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Nicole Solis-Sison is a multi-racial Filipinx visual artist, writer, producer and creative director. Her work focuses on cultural equity, diversity and sustainability in digital discourse across the art, media and film industries. Nicole is a proud founding member of the Undocumented Filmmakers Collective, a nationwide organization that tackles systemic inequities facing undocumented immigrants in the media field. Solis-Sison is a producer and impact strategist to From Here, From There, a documentary about the first undocumented attorney to argue a case in the Supreme Court. Nicole received her BFA at University of California, Berkeley and a certified Circular Economist from Massachusetts Institute of Technology. More recently, Nicole is a Rockwood Documentary Fellow, Define American Fellow and Sundance Asian American Fellow.

Nicole Solis-Sison Presents: Undocuhoneys: Homecoming, a short film that captures the absurdity of four individuals teleporting through green screen to the motherland after years of assimilation in America. This is their homecoming to a "land" that they have yearned to revisit and stay connected to. Undocuhoneys: Homecoming is a part of a larger, multidisciplinary ongoing series.

Undocuhoneys is a celebration of immigrants in America. With or without papers, we are beautiful creators of our futures. Together, we have come a long way mentally, physically, emotionally for ourselves and our family. This is a space to reclaim, reflect and express the experience with great depth through photographs and video poetry through a multidisciplinary project called Undocuhoneys. Undocuhoneys is a term of endearment for my community of fellow immigrants who have been in and out of the state of undocumentedness through the American immigration system. With DACA, the deferred childhood arrivals program under threat, I wanted to reclaim the word undocumented and add my loving touch by combining it with the word honey. Undocuhoneys is a term used to lovingly describe my community with affection and tragedy in one breath. Aside from making our America home, we have a common theme that is unspoken. We can no longer visit the countries we came from. Our old home remains fractured and connectivity through digitization is all we have. The video counterpart of the project, Undocuhoneys: Homecoming, captures the absurdity of being teleported through green screen to the motherland after assimilation in America. Undocuhoneys experiments with creating a dialogue between the two mediums (photography and video) in order to present the fragmented relationship immigrants have of the two places they call home. This is the world of an Undocuhoney.