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Our 2026 schedule continues!

The current exhibition is Holo Be Thy Name (a @seesawmap editor’s pick) by the fabulous @jeanettehayes and @suede87 which will be closing with a reception on Thursday April 9th from 6-8pm. Come party with us!

Then on Thursday April 16th from 6-8pm we are celebrating the opening of Breathe In, Breathe Out with powerful laser visible and pulse work from Chicago-based artist Richard Bruck.

Moving into the summer we will welcome @rainbowpintos.media with his incredible kinetic sculptural works in Illusion in Motion.

In the fall we’ll have Warren by @videograms_ , our 2026 artist in residence, showing analog film, holography, and animatronics.

Save the dates and join us in celebrating the innovative, evocative and beautiful work of our artists. See you there!

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘭𝘪𝘧𝘦
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘪𝘵𝘤𝘩－𝘥𝘢𝘳𝘬𝘯𝘦𝘴𝘴 𝘩𝘢𝘭𝘭𝘴 𝘰𝘧 𝘢 𝘧𝘰𝘳𝘦𝘴𝘵
𝘓𝘰𝘴𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘪𝘷𝘦𝘯 𝘵𝘰 𝘮𝘦..."
- Dante (as quoted by Jytte Rex)

all november @spectaclenyc is hosting a series of films by multidisciplinary (and proudly avant garde) artist/writer/director 𝗝𝘆𝘁𝘁𝗲 𝗥𝗲𝘅, organized by Nico Cadena (@videograms_) and myself. While not complete, it is a FIRST EVER U.S. RETROSPECTIVE with many new scans/subtitles initiated by Jytte for the occasion...

While she is rightly regarded as a major living artist in Europe with a CV of important feminist artworks dating back to the 1970s and longstanding gallery representation, Rex’s films have never been available to see in the United States. In hopes of remedying this blind spot, Spectacle offers New Yorkers a first-ever chance to see her noted features ISOLDE (1989) and MIRRORS OF THE PLANET (1992, which played as a one-off at Spectacle in 2013) plus more recent works like THE RIVER (2003), SILK ROAD (2004), and the newly subtitled THE GIRL WITH THE PLAIT (2005), alongside her most recent video SEARCH - LIMBO (2022).

From her freewheeling dual adaptation of Borges in THE MEMORIOUS, the cosmically focused ghost-story MIRROR OF THE PLANETS to her updated retelling of classic tragedy in ISOLDE, Rex’s is a cinema that flirts with death. At once baroque and gothic while also clinical and exacting, her films invite audiences into the headspaces of characters who are near death, perhaps already taking their first steps into the afterlife or, likelier still, somewhere in between. Embracing mystery and eschewing narrative conventions, Rex’s work is imbued with a Tarkovskian sensibility, featuring quotidian video-diaries, unsettling found-footage, and private fears drawn from a lifetime of looking. Rex’s keen musical palette profoundly attunes the viewer’s attention in montages and tableaux equal parts impossible to describe and to forget.

Special thanks to Jytte Rex, the Danish Film Institute, Kong Gulerod Film and Wilson Saplana Gallery.

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

“Site” (2025) - I wanted this latest work to emerge from nothing - like catching smoke. Over the past 8 weeks at Bard, I found myself landing in between.

Where did the camera go? :)

Site is a room-sized movie.

Final portrait by @_morgan_______ 🤍

It’s a true honor to be part of this year’s Vision Festival with a performance under the theme: “When Democracy Took a Day Off.”

Together with these artists, I will share music shaped by memory and resistance:

DoYeon Kim – Gayageum, Voice
Mat Maneri – Viola @manerimat
John Hebert – Bass @johnhebertbass
Tom Rainey – Drums
Nicolas Cadena – Visuals @videograms_

Where sound and silence meet, memory becomes a question we must face.

The performance will take place on June 6 at Roulette, Brooklyn. @roulette_intermedium
We invite you to witness, reflect, and remember—together.🤍 @artsforart

Throwback to a blindingly sunny October day with @binchuation and @anananitagw . Just a roll and buddies :) 🕊️🤍

*Full Video Link in Bio!*

A few stills and a clip from ‘glass and stone’ a multimedia performance by @claranoise, which played this past Sunday in Berlin featuring a video made by myself and Clara :) the piece was performed by @yarnwire at Maerz Musik (Slide 4!). 🤍

I’m deeply grateful to Clara for trusting me to help shape her personal family archive.

This video couldn’t have been made without the help of my brilliant friends who came to my aid during impromptu production 🤍

*Full Video Link in Bio!*

A few stills and a clip from ‘glass and stone’ a multimedia performance by @claranoise, which played this past Sunday in Berlin featuring a video made by myself and Clara :) the piece was performed by @yarnwire at Maerz Musik (Slide 4!). 🤍

I’m deeply grateful to Clara for trusting me to help shape her personal family archive.

This video couldn’t have been made without the help of my brilliant friends who came to my aid during impromptu production 🤍

*Full Video Link in Bio!*

A few stills and a clip from ‘glass and stone’ a multimedia performance by @claranoise, which played this past Sunday in Berlin featuring a video made by myself and Clara :) the piece was performed by @yarnwire at Maerz Musik (Slide 4!). 🤍

I’m deeply grateful to Clara for trusting me to help shape her personal family archive.

This video couldn’t have been made without the help of my brilliant friends who came to my aid during impromptu production 🤍

*Full Video Link in Bio!*

A few stills and a clip from ‘glass and stone’ a multimedia performance by @claranoise, which played this past Sunday in Berlin featuring a video made by myself and Clara :) the piece was performed by @yarnwire at Maerz Musik (Slide 4!). 🤍

I’m deeply grateful to Clara for trusting me to help shape her personal family archive.

This video couldn’t have been made without the help of my brilliant friends who came to my aid during impromptu production 🤍

*Full Video Link in Bio!*

A few stills and a clip from ‘glass and stone’ a multimedia performance by @claranoise, which played this past Sunday in Berlin featuring a video made by myself and Clara :) the piece was performed by @yarnwire at Maerz Musik (Slide 4!). 🤍

I’m deeply grateful to Clara for trusting me to help shape her personal family archive.

This video couldn’t have been made without the help of my brilliant friends who came to my aid during impromptu production 🤍

Long overdue but wanted to share some clips from a film I made last summer called “So That Images Can Be Made”. Possibly some of my favorite footage I’ve shot on the Bolex alongside some hand processing work 🤍

Scattered Light heads to Michigan and will screen at the @aafilmfest in March!🪞We couldn’t be more excited!

We’ll also be participating in some additional events around the festival, more info to come very soon 😎

An excerpt from our expanded cinema piece Scattered Light is now up on Vimeo (link in bio) :) This piece could not have been made without the support from @mononoawarefilm and @columbiacomposers

Thank you to everyone who has programmed the film over the last year 🕊️

Scattered Light
Joshua Mastel & Nicolas Cadena

Silver nitrate adheres to sensitized glass and produces a mirror in ways similar to the silver nitrate found in photo-chemical emulsion. This performance takes us through a process of image generation by showing the process of mirror gilding. Through sound composition, image production becomes elemental, and adheres in time.

An excerpt from our expanded cinema piece Scattered Light is now up on Vimeo (link in bio) :) This piece could not have been made without the support from @mononoawarefilm and @columbiacomposers

Thank you to everyone who has programmed the film over the last year 🕊️

Scattered Light
Joshua Mastel & Nicolas Cadena

Silver nitrate adheres to sensitized glass and produces a mirror in ways similar to the silver nitrate found in photo-chemical emulsion. This performance takes us through a process of image generation by showing the process of mirror gilding. Through sound composition, image production becomes elemental, and adheres in time.

An excerpt from our expanded cinema piece Scattered Light is now up on Vimeo (link in bio) :) This piece could not have been made without the support from @mononoawarefilm and @columbiacomposers

Thank you to everyone who has programmed the film over the last year 🕊️

Scattered Light
Joshua Mastel & Nicolas Cadena

Silver nitrate adheres to sensitized glass and produces a mirror in ways similar to the silver nitrate found in photo-chemical emulsion. This performance takes us through a process of image generation by showing the process of mirror gilding. Through sound composition, image production becomes elemental, and adheres in time.

An excerpt from our expanded cinema piece Scattered Light is now up on Vimeo (link in bio) :) This piece could not have been made without the support from @mononoawarefilm and @columbiacomposers

Thank you to everyone who has programmed the film over the last year 🕊️

Scattered Light
Joshua Mastel & Nicolas Cadena

Silver nitrate adheres to sensitized glass and produces a mirror in ways similar to the silver nitrate found in photo-chemical emulsion. This performance takes us through a process of image generation by showing the process of mirror gilding. Through sound composition, image production becomes elemental, and adheres in time.

An excerpt from our expanded cinema piece Scattered Light is now up on Vimeo (link in bio) :) This piece could not have been made without the support from @mononoawarefilm and @columbiacomposers

Thank you to everyone who has programmed the film over the last year 🕊️

Scattered Light
Joshua Mastel & Nicolas Cadena

Silver nitrate adheres to sensitized glass and produces a mirror in ways similar to the silver nitrate found in photo-chemical emulsion. This performance takes us through a process of image generation by showing the process of mirror gilding. Through sound composition, image production becomes elemental, and adheres in time.

An excerpt from our expanded cinema piece Scattered Light is now up on Vimeo (link in bio) :) This piece could not have been made without the support from @mononoawarefilm and @columbiacomposers

Thank you to everyone who has programmed the film over the last year 🕊️

Scattered Light
Joshua Mastel & Nicolas Cadena

Silver nitrate adheres to sensitized glass and produces a mirror in ways similar to the silver nitrate found in photo-chemical emulsion. This performance takes us through a process of image generation by showing the process of mirror gilding. Through sound composition, image production becomes elemental, and adheres in time.

A pretty excellent lineup of folks is taking over the Sunview Luncheonette in Greenpoint on Oct 5th for a sound-filled eve.

Come check it out!🔊🔊🔊

Instant Harm (@wingrobbie & Dominic Coles)
@joshua_mastel & @videograms_ (expanded 16MM set)
@reganalana
@kitekitekitekitekite
& who knows who else will show up and make some noise 👀

Ty to @zackhandle for the graphic🔥🔥🔥

I made a short film 🌞 (a trilogy of shorts to be exact!!) and it’s premiering at @filmdiarynyc on Tuesday January 23rd, 6PM at Millenium Film Workshop…My own little bday screening :) 🌆

Check out tickets via the Film Diary IG

Tres Ejercicios Solares/Three Solar Exercises
2023 14:46’

The pithy summary is:

Three films shot over the span of a year, all trying to recreate the spirit of a sunrise. 🌻🌻🌻

A huge thank you to so many but must single out thank you to @davidvbritton for sound mixing☀️, @sinaischild for your incredible music ☀️☀️, and @joshua_mastel for pushing me through the finish line ☀️☀️☀️

I made a short film 🌞 (a trilogy of shorts to be exact!!) and it’s premiering at @filmdiarynyc on Tuesday January 23rd, 6PM at Millenium Film Workshop…My own little bday screening :) 🌆

Check out tickets via the Film Diary IG

Tres Ejercicios Solares/Three Solar Exercises
2023 14:46’

The pithy summary is:

Three films shot over the span of a year, all trying to recreate the spirit of a sunrise. 🌻🌻🌻

A huge thank you to so many but must single out thank you to @davidvbritton for sound mixing☀️, @sinaischild for your incredible music ☀️☀️, and @joshua_mastel for pushing me through the finish line ☀️☀️☀️

I made a short film 🌞 (a trilogy of shorts to be exact!!) and it’s premiering at @filmdiarynyc on Tuesday January 23rd, 6PM at Millenium Film Workshop…My own little bday screening :) 🌆

Check out tickets via the Film Diary IG

Tres Ejercicios Solares/Three Solar Exercises
2023 14:46’

The pithy summary is:

Three films shot over the span of a year, all trying to recreate the spirit of a sunrise. 🌻🌻🌻

A huge thank you to so many but must single out thank you to @davidvbritton for sound mixing☀️, @sinaischild for your incredible music ☀️☀️, and @joshua_mastel for pushing me through the finish line ☀️☀️☀️

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