Film screenings organized by Lauren Graycar and myself. The first four programs, shown at Bruce in Los Angeles, paired various films in dialogue with selected works by German filmmaker Peter Nestler. Visit site.

Confined within the rooms of a municipal building in Izamal, Mexico, the film traces the material reality of a local bureaucracy, documenting the unending routines of its workers as they operate under the habitual weight of daily processes. The film emerged from a filmmaking lab in the Yucatán Peninsula, led by Pedro Costa. Pending release.

Directed by Nathan Rickard. Cinematography, Editing, and Sound by Nathan Rickard. Produced by Estephiana Bonnett (Playlab Films). Consultant: Pedro Costa.

Made to accompany the Delphi 2 flexi disc released with Kima.

Album artwork for Delphi 2 on Kima. 7 inch flexi disc pressed with a rendition of Franz Schubert’s Ständchen, arranged for piano by Franz Liszt and played by Sergei Rachmaninoff. Each watercolor is unique.

Pollen is an ongoing container for collected text fragments. Operating by association, the fragments are organized to evolve and accumulate over time, producing a patchwork in which multiple voices intersect. Visit site.

Documents the existence of Zhou Bao Yang, an 86-year-old immigrant from Guangdong, China, who resides in the suburban outskirts of Los Angeles. The absences in Zhou’s life are only alluded to, and the causes of her discontent, if any, remain concealed. Originally translated from German into English, the film features passages translated into Chinese and narrated in Taishanese, Zhou’s spoken dialect. The words belong to the fictional schoolboy of Swiss author Robert Walser, who notes, “A boy can speak words of great wisdom and great stupidity at practically the same moment.” Released by Arcadia.

Directed by Nathan Rickard and Lauren Graycar. Cinematography, Editing, and Sound by Nathan Rickard. Excerpt translations by William Pan. Coordinator: Pauline Woo.

Portrait of my stepsister, Tracy, and her mother, Trang – both recent Arizona residents who moved from Vietnam after Trang married my father. The film documents their daily life amidst the environment that links us: my father’s home. In opposition to a script, the construction of the film was determined by narration written and recited by Tracy. Released by Arcadia.

Directed by Nathan Rickard and Lauren Graycar. Written by Tracy Nguyen. Cinematography, Editing, and Sound by Nathan Rickard. Art Direction by Lauren Graycar.

Stills from three Peter Nestler films, paired with a diary entry about optics by Goethe.

Images from Hans Jürgen-Syberberg’s diary, paired with excerpts from Maurice Blanchot’s essay about Hölderlin, Madness par excellence.

Solo exhibiton at Mrs. Wong’s in Los Angeles. The title of the show inherits its name from a character in Allan King’s documentary, Memory for Max, Claire, Ida and Company, in which “elderly residents of a Toronto nursing home cope with loss, loneliness and other heartbreaking challenges of growing old, as the home’s staff work tirelessly to provide an environment of dignified, compassionate care.” Thank you Harsh, Lauren, Alison and Mrs. Wong.

Photography by Ma Tzu-Yuan, taken in Taiwan.

Extracted titlecards from selected Frederick Wiseman documentaries.

Photo series published by Kima.

Companion mix for TW 82. All music from Taiwan.

Film screening organized by Lauren Graycar and myself, shown at Folder Studio in Los Angeles. The program presented a compilation of clips from Taiwanese films released post-1982 (‘Taiwan New Wave’ and after). The selection was influenced by personal experiences living in Taiwan; the ambition was not a comprehensive overview of a national cinema.

Music video for my friend Tzusing. Released by PAN.