Sight Unseen at EMP

We are psyched to have Sight Unseen at EMP this January 30th at 8PM ($6). Sight Unseen is a nomadic organization showcasing experimental film, video, and expanded cinema. Sight Unseen is programmed by Lorenzo Gattorna, Kate Ewald and Meg Rorison.

In this open call for work, Sight Unseen received over 250 works from 14 countries. Below are the selected works. We are happy to welcome them as well as some of their creators to our space.



Stephen Broomer, 2011, 16mm, color, sound, 6.5m

In the spring of 1998, Christ Church – Saint James, an historic black church in Toronto’s Little Italy, was destroyed by arson. All that remained were walls and a pit, and over subsequent years, the site was overtaken with graffiti. This film has taken on the layered form of the site itself, the space and its surfaces becoming tangled and multiple, the grid of a stone-filled window giving geometric form to simultaneously occurring images of concrete, nature, waste, paint, and sky. Music by John Butcher.


Dan Browne, 2010, 16mm, color, sound, 3m

A campfire for warming eyes, akin to TV static. Produced by accident, chance and fate, all images in this film are achieved by tactile impact, the soundtrack acoustically interpreting the same abrasions.

Maxime Corbeil-Perron, 2013, HD, b/w, sound, 6.5m

Inspired by Japanese experimental film, this video focuses on exploring the movement of shadow and light across space – frame-by-frame.

Thomas Dexter, 2012, HD, color, sound, 4.5m

Created with a small HD camera mounted to the end of an electric drill – composed in-camera as one continuous take, no digital tricks. The sound is slightly processed, but diegetic.

Javier Di Benedictis & Fernanda do Canto, 2013, HD, color, sound, 1m

The series brings to light different experiments linking dance and moving image. This first part deals with Annabelle Serpentine Dance (1895), the first hand-colored film by William K.L. Dickson and Thomas Edison. It is updated through the use of digital technologies. Where the color is the result of different experiments.

VALENT are Fernanda do Canto and Javier Di Benedictis. Fernanda is from Porto Alegre, Brazil. Javier from Buenos Aires, Argentina. They work with mixed media, different techniques and technologies. They have exhibited their work in the Animamundi (Rio de Janeiro/ São Paulo, Brazil), in Lumen_ex (Spain), Magnetica Fest (Buenos Aires, Argentina), 15 Paris festival for Different and Experimental Cinema, Paris, (France) and the 11 Media Arts Biennale (Santiago, Chile) and ANALOGICA 2013, Italy.

Scott Fitzpatrick, 2013, 16mm to digital, color, sound, 3m

In 1997 Microsoft created the truetype dingbats font Webdings,
the highly anticipated sequel to Wingdings. Controversy had circulated around the original font, so for the sequel special attention was paid to the places the ‘bats depicted, and how those places were represented (intentionally and unintentionally). Made on recycled 16mm film, in Microsoft

Cameron Gibson, 2013, HD, color, sound, 6.5m

A DSLR explores its aperture range next to a vacant strip mall.

Stefan Grabowski, 2013, HD, color, sound, 3.5m

One may attempt to make sense of the world as it rushes by, or choose to lose themselves in the omnidirectional swirls of shadow and light.

Karissa Hahn, 2013, 16mm to digital, color, silent, 2.5m

Musings of leeway – an illusive figure emerges from the emulsion.
One strip of super 8 film is reconstructed, taped onto 16mm, and then re-filmed on the Optical Printer.
The effluence according to its new emulsion – becoming a reflection of its own action.

Tsen-Chu Hsu, 2009, 16mm, color, silent, 4m

By working with film as a medium, I have discovered a way to implement my interest in weaving both concepts and materials; integrating different elements into one work. In this piece, I covered the film with cotton and tinted it with dyes. The textures of cotton adhered to the film create a new layer; the original emulsion and the added textures coexist, cover and uncover each other at the same time. The differentials of color tones, the positive and negative footage, and the alternations of abstract and recognizable imagery introduce a dialogue about the possibilities of opposite characters.

(This is hand-processed film)

Theodore Kennedy, 2013, 16mm to digital, b/w, sound, 1.5m

Pittsburgh 8/16/68 is part of a series of films based on the original 16mm camera rolls from a Pittsbugh TV news station during 1968/69.

Antonia Kuo & Lily Jue Sheng, 16mm to digital, color, silent, 3m

“Seeing Double” is a 16mm to HD stop motion collage animation, exploiting the frame-by-frame structure of film within the fleeting pace and temporality of an immersive optical experience. A series of flickering compositions explore the cycles inherent in all scales of biological matter, ranging from flora and fauna to terrestrial topographies. The geometric, yet metamorphic forms reflect the dichotomy between the imposed order and erratic flux of nature.

Antonia Kuo (b. New York, NY, 1987) and Lily Jue Sheng (b. Shanghai, China, 1987) live and work in Brooklyn, New York. They met while attending School of the Museum of Fine Arts Boston and have been collaborating on film projects for the past few years. Their individual practices come together to address the material properties of the moving image, collage and animation.

Josh Lewis, 2011, 16mm, b/w, sound, 3.5m

Made towards the end of my tenure as a grunt worker in a film processing lab, at a time when I was spending most of my days slacking off down in the lab’s sub basement playing with raw film stock and reversal chemicals. This was a fairly disgusting space with dirt floors and four-foot ceilings from which the leaking guts hung down from the operation above, but it was open, and I could stretch out full 100′ foot rolls of film from end to end on the floor. From there, I could freely apply developers, bleaches and fixers in whatever ways I could think of, usually mashing in the dust, leaves, and garbage that was kicked up in the process.

Marcantonio Lunardi, 2013, HD, color, sound, 4m

Television is the only interface through which the remains of culture are spread.
In The Choir, the author represents the commercialization as a force which destroys civilisation, which is then melt into a flattening mixture submitted to the market.

Tomonari Nishikawa, 2013, 16mm, color, sound, 5m

This is about Times Square, the noises and movements at this most well-known intersection. It was shot on B&W films through color filters, red, green, and blue, then optically printed onto color films through these filters. The layered images of shots by handheld camera would agitate the scenes, and advertisements on the digital billboards try to pull ahead of others.

Mike Stoltz, 2013, 16mm, color, sound, 5m

“This morning the window blew its glass onto my face. Real morning with pluses and minuses (my symbols for truth)”
A ground-less and boundless 16mm film in which a wall becomes a window to a swirling landscape.

Leslie Supnet, 2012, DV, color, sound, 3.5m

Amethyst Visions is a commissioned work as part of POP Montreal’s Auroratone project, where original short films by experimental Canadian filmmakers are set to the music of POP Montreal’s 2012 participants to create original abstract films guided by the principles of Cecil Stokes’ Auroratones. ‘Auroratones’ were abstract musical films used in mental institutions and army hospitals after WWII as a means of soothing post-traumatic stress disorder and general mental disturbance, invented by film enthusiast Cecil Stokes who was continuing on nearly two centuries of previous pseudo-scientific attempts to correlate colour with musical notes.

Toby Tatum, 2013, HD, color, sound, 3m

A World Assembled represents Toby Tatum’s creation of an improbable realm, stitched together from a kit of warring elements into a fantastic whole.

Rhayne Vermette, 16mm to digital, color, sound, 1.5m

This film documents a tedious process of dismantling and reassembling 16 mm found footage. Roused by Kazimir Malevich, the film collage imitates functions of a curtain, while the recorded optical track describes the flm’s subsequent destruction during its first projection.

Aaron Zeghers, 2013, Super 8 to digital, color, sound, 3.5m

An anthropological peepshow of Kingdom Animalia’s current state-of-affairs via frame-by-frame Super 8. This animal’s history of wreck and ruin is the catharsis of a (formerly) lapsed vegetarian, brought to life with open exposure photography, light table animation and in-camera editing.