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Michèle Saint-Michel

Filmmaker, Intermedia Artist, and Poet

  • Film
  • Books
  • Music
  • Selected Works
  • Shop
  • Contact
  • About
  • Press

Michèle Saint-Michel’s Inhale–Exhale to Screen at The Museum of Modern Art in New York

Long Live the Underground! Celebrating Six Decades of the Film-Makers’ Cooperative and Millennium Film Workshop, presented at The Museum of Modern Art, New York, September 23–October 8, 2026.

The multidisciplinary artist and experimental filmmaker will present her moving-image work at MoMA as part of Long Live the Underground! Celebrating Six Decades of the Film-Makers’ Cooperative and Millennium Film Workshop.

NEW YORK, August 2026 — Artist, filmmaker, writer, and curator Michèle Saint-Michel will screen her experimental film work Inhale–Exhale at The Museum of Modern Art (MoMA) in New York this September.

The presentation marks Saint-Michel’s first screening at MoMA and places her work within a lineage of radical personal cinema shaped by filmmakers including Stan Brakhage, Jonas Mekas, Shirley Clarke, Ken Jacobs, and Gregory Markopoulos. Presented as part of Long Live the Underground! Celebrating Six Decades of the Film-Makers’ Cooperative and Millennium Film Workshop, the series traces the history of New York’s experimental film movement from the American avant-garde of the 1950s and 1960s through contemporary moving-image practice.

Bringing together filmmakers whose work has been fostered, distributed, or exhibited by two of New York’s foundational experimental-film organizations, the series traces a living history of personal, non-commercial, and formally radical cinema. Its programmes span the emergence of the American underground in the 1960s through contemporary experimental filmmaking.

Poster for Michèle Saint-Michel’s Inhale–Exhale, screening at The Museum of Modern Art in New York as part of Long Live the Underground!, 2026.

Saint-Michel’s Inhale–Exhale is a meditative experimental film exploring the body as both image and instrument. Through recurring gestures of breath, tension, release, and repetition, the work considers embodiment as a shifting relationship between interior experience and outward form.

The film belongs to Saint-Michel’s wider multidisciplinary practice, which moves across experimental cinema, poetry, sculpture, installation, sound, and performance. Her work frequently examines memory, recursive experience, bodily perception, language, and the unstable boundary between the intimate and the technological.

“This screening feels particularly meaningful because my work has always grown from the belief that cinema can remain personal, strange, embodied, and resistant to easy explanation,” says Saint-Michel. “To present Inhale–Exhale at MoMA within a history shaped by the Film-Makers’ Cooperative and Millennium Film Workshop is an extraordinary honour.”

Founded in 1961 by members of the New American Cinema Group, including Jonas Mekas, Shirley Clarke, and Gregory Markopoulos, the Film-Makers’ Cooperative established an artist-led system for distributing independent moving-image work. Millennium Film Workshop followed in 1966, providing filmmakers with access to equipment, production facilities, and an ongoing platform for personal cinema.

Together, the organizations helped create the conditions in which American avant-garde, underground, and experimental film could be made, circulated, and encountered outside conventional commercial structures. Both remain active in New York today.

MoMA’s Long Live the Underground! series is organized across seven thematic programmes: Anticipation of the (Opening) Night; Roots and Radicals; 1970s Streams; Quotidian Pleasures (1980s–2020s); Cinemas of Transgression (1980s–2020s); New York No Story; and Diaries, Notes, and Sketches.

The series is organized by Joe Wakeman, Executive Director of Millennium Film Workshop; Matt McKinzie, Artistic Director of the Film-Makers’ Cooperative; and David Schwartz, President of the Board of Directors of the Film-Makers’ Cooperative, with Ron Magliozzi, Curator, and Carson Parish, Associate Producer, Department of Film, MoMA, and Julia Curl, Marron Research Consortium Fellow, MoMA.

Exhibition and Screening Information

Michèle Saint-Michel, Inhale–Exhale
Part of Long Live the Underground! Celebrating Six Decades of the Film-Makers’ Cooperative and Millennium Film Workshop

Dates: September 23–October 8, 2026
Location: The Museum of Modern Art
The Debra and Leon Black Family Film Center
11 West 53rd Street
New York, NY 10019

Full programme and ticket information are available through The Museum of Modern Art at https://www.moma.org/calendar/film/5931

About Michèle Saint-Michel

Michèle Saint-Michel is a New York–based multidisciplinary artist, experimental filmmaker, author, curator, and cultural producer. Working across moving image, sculpture, installation, poetry, sound, and experiential forms, she creates works that examine embodiment, memory, repetition, language, technology, and the construction of interior worlds.

Her films and artworks have been presented internationally. Her moving-image work has screened at Prismatic Ground in New York, the Manchester International Film Festival, and other festivals and venues, while her sculptures and visual artworks have been exhibited at Cubitt Artists, APT Gallery, Hypha Gallery South Bank, and elsewhere in London. Her writing has appeared in five books spanning poetry and interdisciplinary art, including Grief is an Origami Swan (Bad Saturn, 2020), and the Bloomsbury publication A Map of All My Tender Places (2026).

Saint-Michel is also the founder of the Artist Film Club and the Experiential Producers Room, an international community connecting artists, producers, cultural programmers, creative operators, and other practitioners shaping contemporary live experience.

She lives and works in New York City.

About Inhale–Exhale

Inhale–Exhale is an experimental moving-image work by Michèle Saint-Michel. Using breath as both structure and subject, the film studies the body through cycles of expansion, contraction, exposure, and retreat. Its repeated gestures create an intimate visual rhythm in which physical presence becomes a form of language.

The film features original sound and experimental music by Sam Carr and Dr. Sophie Stone.


Press and Enquiries

For interviews, screening information, press materials, or image requests, please contact:

Michèle Saint-Michel
https://michelesaintmichel.com/contact

Monday 08.03.26
Posted by Michèle Saint-Michel
 

Michèle Saint-Michel Presents Will to Power at Hypha Gallery South Bank, London

In June 2026, multidisciplinary artist Michèle Saint-Michel presented Will to Power, a sculptural installation, as part of the inaugural exhibition at Hypha Gallery South Bank in London. Installed in the gallery's central atrium window, the work was featured in the opening exhibition of the new contemporary art space, introducing visitors to Hypha Gallery's inaugural program.

Visitor to Hypha Gallery South Bank views Michèle Saint-Michel’s sculpture during the private view in London in June 2026.

Will to Power is a sculptural poem that transforms language into a navigable structure. A text by poet Kenneth Rexroth is distributed across translucent planes, causing words and phrases to overlap, disappear, and reassemble as viewers move around the sculpture. No single viewpoint offers complete access to the work. Instead, meaning emerges through movement, perception, and the viewer's embodied experience.

Drawing on philosopher Friedrich Nietzsche's concept of the will to power as a continual process of becoming, the sculpture explores how language, identity, and knowledge are constructed through relation rather than certainty. Part sculpture, part poem, and part perceptual score, Will to Power invites viewers to participate in the work through changing perspectives and sustained attention.

The exhibition at Hypha Gallery South Bank marks an important presentation within Saint-Michel's broader contemporary art practice, which spans sculpture, installation, experimental film, poetry, and curatorial practice. Working between New York City and London, her work investigates perception, embodiment, and the structures through which we make meaning, often combining text, moving image, architecture, and performance into immersive installations.

The opening exhibition launched Hypha Gallery South Bank as a new destination for contemporary art in London. Time Out described the venue as "a shiny new contemporary arts venue... opening on London's South Bank," introducing the gallery to London's cultural landscape.

A huge turnout for the grand opening of Hypha Gallery South Bank in London.

Thursday 07.23.26
Posted by Michèle Saint-Michel
 

Experiential Producers Room Comes to London

Experiential Producers Room London

Experiential Producers Room—IRL: London was hosted at Protein Studios in Shoreditch, London. June 30, 2026

What started in New York has crossed the Atlantic.

Last week, the Experiential Producers Room hosted its first London gathering at Protein Studios in the Shoreditch Design Triangle, bringing together experiential producers, creative operators, strategists, fabricators, agency leaders, artists, cultural programmers, and independent makers from across the UK and beyond.

Experiential production has always been an unusually international practice. The agencies may compete, the clients may change, but the work is remarkably similar wherever you go. We build temporary worlds. We choreograph bodies through space. We solve impossible problems on impossible timelines. We become experts in places that won't exist a week later.

Yet there are surprisingly few places where experiential producers can simply meet one another without a brief, a pitch, or a deliverable waiting on the other side.

That is what the Experiential Producers Room was built to be.

The evening began, as every EPR gathering does, with a collective breath.

Not because breathing is novel, but because it's easy to forget that our work is ultimately about bodies in rooms. Before we're producers, strategists, fabricators, account directors, or creative leads, we're people trying to make meaningful experiences for other people. It felt right to begin there.

The rest of the evening unfolded slowly. Conversations stretched across disciplines. Agency producers spoke with independent artists. Fabricators met strategists. Newcomers met veterans. Introductions became ideas. Ideas became future collaborations.

That's the rhythm EPR is trying to protect.

We're deeply grateful to Protein Studios for hosting us, to the wonderful team at Bacchus for the drinks and hospitality, and to KSS for creating such a beautiful atmosphere through sound and lighting.

What began as an experiment in New York is becoming something much larger: a growing international community for experiential producers and the people who shape live experience.

The Room now spans New York, London, and an active online community connecting experiential professionals across North America, South America, the UK, Europe, and beyond. Between gatherings, members share production advice, vendor recommendations, opportunities, introductions, and the kinds of hard-earned knowledge that rarely make it into case studies.

If you're an experiential producer, event producer, creative producer, production manager, strategist, fabricator, artist, or anyone working to bring live experiences into the world, we'd love to meet you.

The next EPR London gathering is planned for October. New York returns soon after. The Room is just getting started.

Join the EPR Recommends newsletter to hear about upcoming events and ways to get inside.

tags: Experiential Producers Room
Tuesday 06.30.26
Posted by Michèle Saint-Michel
 

Experiential Producers Room Gathers for the Second Time in NYC

On the Room

Touch is the embodiment of a sense that acquiesces to the unchartable qualities of a body in motion. Erin Manning wrote that. I've been thinking about it in relation to what those of us in experiential do and why it's so difficult to name.

I came to this field from fine art. Installation, film, gallery pieces. The phenomenological questions that drove my practice: how bodies move through space, how encounters register somatically, how meaning accrues not in the mind but in the flesh. These turned out to be the same questions at the heart of experiential production and design.

Most experiential folks arrive here laterally. Party promoters who became producers. Sculptors who became fabricators. Designers who became creative directors. Artists who became account managers. Journalists who became reps. We learn on the job, in the gap between the brief and the build, solving problems that didn't exist until we were standing inside them. What we share is not a credential but a practice. And a practice that is fundamentally cinesthetic: embodied, sensuous, irreducible to its documentation.

Experiential Producers Room gathering at Wythe Hotel in Williamsburg, Brooklyn, NY. May 4, 2026

We produce bodies moving in space. We set the conditions for encounters that register as lived memory: as wonder, as awe, as the particular charge that comes from being in a room where something real is happening. Laura U. Marks calls this haptic visuality: the way certain images and experiences invoke a tactile response, collapsing the distance between observer and event.

Experiential production, at its best, is that collapse.

I started the Experiential Producers Room because the field lacked a space where this could be spoken about directly. Not another industry platform where there's pressure to perform certainty, but a low-noise room that functions more like a threshold than a conference, where distinct practices and people overlap and something new becomes possible.

Last month, close to 200 experiential producers, creative operators, strategists, fabricators, cultural programmers, agency leads, artists, and makers gathered on a garden terrace at Wythe Hotel in Brooklyn as the sun went down over the city.

I stopped the party at its peak and asked everyone to breathe with me.

Because it's easy to forget what we actually do and what we actually are: bodies in space.

That's the Room. And it's growing delightfully — next up for the EPR—IRL: London.

Join the EPR Recommends newsletter to hear about upcoming events and ways to get inside.

tags: Experiential Producers Room
Monday 05.18.26
Posted by Michèle Saint-Michel
 

Jouissance: Experimental Film, Performance, and Installation Exhibition in Brooklyn

 
 

Jouissance is a New York City experimental film and performance exhibition running April 3–9, 2026 at the storied Millennium Film Workshop. Curated by Michèle Saint-Michel, the exhibition brings together 45 international artists working across installation, moving image, live performance, and artist publishing.

Positioned at the intersection of experimental cinema, contemporary art, and immersive installation, Jouissance explores how time-based media engages pleasure, embodiment, and sensory intensity.

Jouissance refers to a form of pleasure that exceeds stability or satisfaction and moves toward intensity, rupture, and transformation. In this exhibition, the concept is used to frame how experimental film and performance operate on the body, producing sensation as much as meaning.

Across installation, film, and live work, Jouissance examines how image, time, and physical presence intersect, making it a key exhibition for audiences interested in avant-garde film, interdisciplinary art, and embodied media practices in New York City.

When and Where to See Jouissance in Brooklyn

The exhibition takes place at Millennium Film Workshop, a historic venue for experimental film and media art in NYC.

  • Dates: April 3–9, 2026

  • Opening Reception & Artist Book Launch: April 3, 7:30 PM

  • Experimental Film Screening Program: April 3, 7:30 PM

  • Gallery Hours: April 6–9, 11AM-5PM

For visitors searching for things to do in Brooklyn April 2026, Jouissance offers a concentrated program of exhibitions, screenings, and performances in one location.


Installation Exhibition: Contemporary Artists Working Across Media

The gallery exhibition includes works by Aitor Ibáñez, Eileen Ramos, Lucy Swan and Christina May Carey, Lynn Loo, Matthew Berka, and Rozina Pátkai.

These artists work across projection, sculptural installation, text-based work, and participatory formats, treating the body as both subject and medium.

Lynn Loo’s Loops and Lines combines 16mm film loops with digital projection, contrasting hand-scratched film emulsion with contemporary image capture. The work foregrounds the tension between analog gesture and digital systems, a central concern in experimental film practice.

Lucy Swan and Christina May Carey’s 1001 Over Simplifications takes the form of a large-scale textual installation built from accumulated statements. Drawing on conceptual writing traditions, the work moves between contradiction and clarity, creating a shifting field of interpretation.

Rozina Pátkai’s Mammary introduces interactivity, adapting a familiar game format to confront visual norms of the body within consumer culture. The piece situates the viewer inside the work, producing an encounter that is both playful and destabilizing.

Throughout the exhibition, small gestures such as scratching, writing, and recording are treated as forms of embodied image-making, reinforcing the exhibition’s focus on materiality and perception.


Experimental Film Screening in NYC

The opening night includes a curated experimental film program in Brooklyn, featuring artists including Dan Sokolowski, Erin Wilkerson, Fanny Aboulker, Kelly Gallagher, Miguel Toledo Menéndez, Nate King, Nina Sarnelle + Julia Gladstone, Piero Fragola, Priyanka Sarkar, Samuel Karow, Steph Provost, Timothy Nohe, Wenwen Zhu, and Zorica Čolić.

The program spans analog film, poetic montage, and experimental self-portraiture, positioning moving image as a tool for exploring memory, sensation, and subjectivity.

For audiences searching for experimental film screenings in NYC, this program offers a concentrated selection of international contemporary practices.


Artists Featured in Jouissance

Installation and Exhibition Artists—Aitor Ibáñez, Eileen Ramos, Lucy Swan, Christina May Carey, Lynn Loo, Matthew Berka, and Rozina Pátkai.

Experimental Film Program Artists—Dan Sokolowski, Erin Wilkerson, Fanny Aboulker, Kelly Gallagher, Miguel Toledo Menéndez, Nate King, Nina Sarnelle, Piero Fragola, Priyanka Sarkar, Samuel Karow, Steph Provost, Timothy Nohe, Wenwen Zhu, and Zorica Čolić.

Artist Book Contributors—Abigail Hendrix, Alice Shapiro, Annis Joslin, Carmen Gray, Clare Archibald, Dana Teen Lomax, Jennifer Helminski, Kevin Chen, Mandy Eugeniou, Maya Ivona Peiu, Michael Betancourt, Ryan Hooper, Sermon Jeff, Sybil Xyshen, Trish, Wendy Oberlander, Yates, Zach Hammer, and Zoey Solomon.


Artist Book Launch: Experimental Publishing and Performance

The exhibition includes the launch of the Jouissance artist book, published by Bad Saturn Media.

Designed as both a publication and a live event, the book incorporates experimental binding and real-time production, extending the exhibition into print form.

The publication features contributions from over twenty artists and writers, positioning it within the growing field of artist books and interdisciplinary publishing in contemporary art.

tags: Curation by Michèle Saint-Michel
Tuesday 03.17.26
Posted by Michèle Saint-Michel
 

Grief Is an Origami Swan Celebrates Five Years with a New Hardback Edition

 
Hardback edition of Grief Is an Origami Swan by Michèle Saint-Michel, an artist book exploring grief, ritual, and embodied reflection.
 

Grief Is an Origami Swan, the artist book by filmmaker and interdisciplinary artist Michèle Saint-Michel, marks its five-year anniversary this winter with the release of a new hardback edition. First published in 2020, the book has become a quiet companion for readers navigating grief, transition, and emotional recovery through ritual, reflection, and embodied practice.

The hardback edition will be released on the Winter Solstice, December 21, 2025, offering an archival form for a work that has continued to circulate through personal libraries, gift exchanges, and therapeutic contexts over the past five years.


 
Hand-folded origami swan ornament hanging on a tree, referencing the ritual practice taught in Grief Is an Origami Swan.

Origami as ritual and offering.

 

About Grief Is an Origami Swan

Grief Is an Origami Swan is an illustrated artist book that explores grief as a process of attention, patience, and transformation. Blending text, visual art, and guided practices, the book teaches readers how to fold an origami swan as a tactile ritual for holding loss, memory, and care.

Rather than offering prescriptive advice, the book creates space for readers to move at their own pace, returning to its pages during moments of emotional upheaval or quiet recalibration. Since its initial release, the book has been shared widely as a gift, particularly during periods of mourning, illness, and personal transition.


New Hardback Edition

The 2025 hardback edition of Grief Is an Origami Swan represents a shift into a more durable, archival format. Designed to be held and revisited over time, the hardback edition reflects the book’s continued relevance and its role as a foundational work within Saint-Michel’s broader artistic practice.

A limited number of signed hardback copies will also be made available directly through the artist, marking the five-year anniversary with a small, intentional run.

Order a Signed Edition

Community Reception and Review Milestone

As part of the anniversary, Saint-Michel is inviting readers to contribute public reviews of Grief Is an Origami Swan in order to help the book reach new audiences. Reviews play a critical role in the visibility of independent publications, particularly artist books and small-press works that circulate outside traditional commercial channels.

The current goal is to reach 200 five-star reviews, reflecting the collective impact the book has had over its first five years in circulation.

Add Your 5-Star Review

Availability

The hardback edition of Grief Is an Origami Swan will be available beginning December 21, 2025. Signed copies and additional details can be found here.

Wednesday 12.10.25
Posted by Michèle Saint-Michel
 

Heat from a Whisper in Your Ear | Introducing Studio Saint-Michel

​A new season is beginning to take shape, and I wanted you to have the first look. Studio Saint-Michel has been forming quietly for months, and today marks its arrival. For now, the Studio is a seed, a place for artists to gather, develop, experiment, and eventually to connect with collaborators who value thoughtful, sensorial, boundary-pushing work.

​This update brings you into that beginning with new programming, two open calls, and the first exhibition announcement for 2026.


​Looking Ahead

​Studio Saint-Michel will continue to grow in 2026 with workshops led by additional artists and filmmakers whose practices align with the Studio’s direction in a constellation of offerings that span audio and editing, sculptural approaches, grant writing and development, and other experimental methods: all disciplined, exploratory, and unafraid to stretch the contours of form and process.

​Over time, the Studio will expand into a connective space for artists and moving-image artists as a future site for representation, collaboration, and commercial partnerships at an intimate, experimental scale. This is the beginning of that arc.

​Additionally, a site-responsive project shaped by film, place, and light is already underway for late 2026. When it's ready, you’ll be the first to receive the signal.

​Thank you for being here at the beginning. I can't wait to see what we make together.

Wednesday 12.03.25
Posted by Michèle Saint-Michel
 

Skin in the Game: A Two-Day Celebration of Experimental Film, Performance, and Poetic Embodiment

What does it mean to put your body—your real, pulsing, breakable body—on the line?

Promotional image for “Skin in the Game,” a two-day program of experimental film, performance, and poetry curated by Michèle Saint-Michel at Millennium Film Workshop, Brooklyn (October 24–25, 2025).

Skin in the Game was a two-day program of screenings, performances, and a group exhibition curated by Michèle Saint-Michel, filmmaker and film curator. Presented at Millennium Film Workshop in Brooklyn, the event gathered twenty-one international artists, filmmakers, and poets exploring the body as archive, threshold, and offering.

Bringing together experimental film, sound, performance, poetry, and sculpture, the program asked how art might hold space for vulnerability, resistance, and repair. The works examined embodiment as both a political act and a site of intimate knowing, where sensation becomes story, and care becomes form.


Friday, October 24 — Gallery Opening & Experimental Film Screening

The first night of Skin in the Game opened with a gallery reception and film screening (also simulcast online). The exhibition featured works by Audrey Coombe, Charlotte Cooper, Jess Challis, Kondo, Marwa Eltahir, and Tim Feeney, alongside a curated program of experimental films exploring contact, risk, and embodied memory.

About the Film Program

The films gathered for Skin in the Game bring us into proximity with the body, its pulse, its thresholds, its ways of knowing. Across documentary, poetry, and experimental form, these works move through sensation and risk, asking what it means to carry memory in skin, to film from inside feeling, to translate touch into light.

From Luiza Parvu’s intergenerational dialogue on womanhood and migration to Tempest Creation’s trans-speculative fabulation, the program traced a continuum of embodiment where tenderness meets endurance, and vulnerability becomes a mode of power. Each filmmaker turned their gaze inward and outward at once, locating the body as both document and instrument, boundary and bridge.

Program Lineup

  • Luiza Parvu – Eggshells – 11:40

  • Arielle Estrada – Pellicula – 3:34

  • Billy Palumbo – Write Your Sunlight on My Skin – 3:41

  • Dominic Angerame – A Small Fragment of a Day That Belongs to 20 Years Ago – 7:30

  • Arun Sood – An Da Shealladh – 4:08

  • Tempest Creation – Birth of the Hive Queen – 8:43

  • Anne Whitehurst / Mike Stubbs – Denial – 6:00

Intermission

  • Lynne Sachs – Girl in a Daunting Now – 3:00

  • Matt McKinzie – Embryonic Journey – 4:43

  • Delfin Lev & Sebastián Vásquez Cipriani – Waking Theory – 9:09

  • Mahda Purmehdi – Noli Me Tangere – 4:29

  • Zora Arose Ritz, Evgenia Chetvertkova, Kayu Yeung – Blessed Are Those Who Grieve – 14:20

  • Julia Brown – Birds Talk to Humans All the Time – 4:31

Saturday, October 25 — Poetry, Performance, and Somatic Acts of Witnessing

The second night began in language and ended in body, unfolding as a descent from reading to ritual.

Lottie McCrindell opened the evening with a reading of new poems that weave together fashion, textile, and touch, illuminating how materials can remember tenderness. Her poetry attends to the fine seams between beauty and labor, art and care.

Jess Challis, whose artist book body less was featured in the gallery, followed with readings from her new chapbook. Her work merges poetry and visual art, exploring absence, witness, and the ghostly contours of embodiment.

Saskia Globig’s performance millions of billions then pushed the boundaries of intimacy and exposure. Engaging the audience through acts that blurred the line between private and public gesture, she turned bodily function into ritual, transforming what is often hidden into a mirror of shared vulnerability. The performance asked what it means for the body to carry both pollution and possibility, how fluids, plastics, and emotion circulate through us as shared matter.

Artist Saskia Globig performing millions of billions at Millennium Film Workshop during Skin in the Game (2025), curated by Michèle Saint-Michel.

Saskia Globig performing “millions of billions” at Skin in the Game, an exhibition curated by Michèle Saint-Michel at Millennium Film Workshop (Brooklyn, 2025). The performance transformed private acts into ritual, confronting intimacy, ecology, and the porous boundaries of the body.

Closing the night, Tim Feeney performed Dowsing, a meditation on deep time and endurance. Through sound and exertion, Feeney placed his body within an imagined landscape of the Burren, County Clare, Ireland, exploring care, decay, and connection across geological time. His performance unfolded as both an act of listening and a gesture of persistence.

Tim Feeney performing “Dowsing” at Skin in the Game, an exhibition curated by Michèle Saint-Michel at Millennium Film Workshop (Brooklyn, 2025). The work used sound and physical endurance to explore care, decay, and the body’s relationship to time and terrain.

The evening concluded with the release of a Bad Saturn Media risograph poetry leaflet featuring new work by Lottie McCrindell and Ryan Hooper. McCrindell’s poems extended her interest in collaborative fashion writing, while Hooper’s contribution reflected on chronic illness, collective trauma, and ecological grief through prose, sound, and collage.

Participating Artists

Audrey Coombe, Charlotte Cooper, Jess Challis, Kondo, Marwa Eltahir, Tim Feeney, Arielle Estrada, Arun Sood, Billy Palumbo, Delfin Lev & Sebastián Vásquez Cipriani, Dominic Angerame, Julia Brown, Luiza Parvu, Lynne Sachs, Mahda Purmehdi, Matt McKinzie, Mike Stubbs and Anne Whitehurst, Tempest Creation, Zora Arose Ritz, Evgenia Chetvertkova, Kayu Yeung, Saskia Globig, Lottie McCrindell, and Ryan Hooper.

About the Curator

Michèle Saint-Michel is an interdisciplinary filmmaker, curator, and creative director based in New York. Her curatorial practice spans film, performance, and publication, often exploring embodiment, intimacy, and care as resistant forms. Through her work with Millennium Film Workshop, Bad Saturn Media, and Studio Saint-Michel, she creates immersive environments that merge poetic inquiry with rigorous production design.

Michèle also leads 1:1 creative direction sessions and teaches her signature Poetry Film Course, guiding artists and filmmakers to develop deeply personal, conceptually rich projects that bridge experimental cinema and the poetics of touch.


About Millennium Film Workshop

Founded in 1966, Millennium Film Workshop has been a cornerstone of New York’s experimental film community for nearly six decades. As both a screening venue and a hub for independent creators, Millennium has fostered generations of artists pushing the boundaries of the moving image.

About Bad Saturn Media

Founded in 2020 by Michèle Saint-Michel, Bad Saturn Media is a small press and publishing initiative dedicated to experimental books, poetry collections, and collaborative zines for a more care-full world. Bad Saturn releases projects that merge visual art, writing, and sound to reimagine intimacy and attention as political acts.

Event Details

Dates: October 24–25, 2025
Location: Millennium Film Workshop, 167 Wilson Ave, Brooklyn, NY
Curator: Michèle Saint-Michel
Program: Two-day screening series (in-person and simulcast), gallery exhibition, live performances, and poetry leaflet release.
Artists: 21 international artists, filmmakers, and poets.

Press & Contact

For interviews, images, or collaboration inquiries:
Michèle Saint-Michel
Curator, Skin in the Game
michelesaintmichel@gmail.com

Follow Michèle on Instagram for updates on upcoming exhibitions, filmmaking workshops, and creative mentorship opportunities.

tags: Curation by Michèle Saint-Michel
Monday 11.03.25
Posted by Michèle Saint-Michel
 

Desire & Dystopia: The Personal Cinema of Lisa Crafts

Desire & Dystopia: The Personal Cinema of Lisa Crafts
Curated
by Michèle Saint-Michel
September 12, 2025, 7:30PM (Doors)
Millennium Film Workshop
, Brooklyn, NY
Tickets: https://www.millenniumfilm.org/event-details/personal-cinema-lisa-crafts

Millennium Film Workshop is proud to present Desire & Dystopia: The Personal Cinema of Lisa Crafts, a rare evening devoted to the films and animated works of visionary artist Lisa Crafts. Curated by Michèle Saint-Michel, the program surveys nearly five decades of groundbreaking work that spans erotic cel animation, ecological poetics, and multidisciplinary experiments in moving image.

poster-socials-lisa-crafts.jpg

From her infamous 1979 debut Desire Pie, a bold erotic cartoon seized by Cambridge police the very day it opened, now housed in the Museum of Modern Art, to her most recent animated installations exploring environmental precarity, Crafts has continually redefined the very language of animation. Her practice refuses boundaries: cel and cut-out animation, live performance collaborations, installations, and hybrid works that blur still life, landscape, and dream worlds. The result is a cinema that is as sensual as it is dystopian, where humor coexists with chaos, beauty with collapse, and desire is a profound expression of liberation.

Saint-Michel writes: Lisa Crafts’ work is fiercely personal yet insistently collective. She reveals not only the erotic and the catastrophic, but the fragile threads of resilience in between. These films feel simultaneously like missives from a lover and dispatches from another dimension where imagination is a survival tactic and intimacy is a common tongue.

Crafts’ career includes animated contributions to Sesame Street, The Electric Company, and independent documentaries, yet it is her independent work, darkly poetic, richly rendered, and quietly subversive, that has established her as a singular figure in the history of experimental animation. A 2012 Guggenheim Fellow and professor emerita at Pratt Institute, her films and installations have screened worldwide, from Europe and Asia to galleries and festivals across North America.

Event Details
Date: Friday, September 12, 2025
Time: 7:30 PM (Doors)
Location: Millennium Film Workshop
167 Wilson Ave, Brooklyn, NY 11237


About Lisa Crafts

Lisa Crafts is an animator and moving image artist whose multidisciplinary work is characterized by richly rendered images, a dark poetics, and quiet wry humor. Themes explored include environmental uncertainty, sexuality, creativity and chaos.

The work has changed form to fit each project. Her earliest work, Desire Pie, is an unabashedly explicit erotic cel (cartoon) animation. The day it opened, the theater was closed down by the Cambridge, MA. police. Desire Pie now resides in the collection of the Museum of Modern Art. Glass Gardens is a black and white cut-out animation film about the role creativity plays in the survival of the human spirit. After drawing the artwork, Crafts built her animation stand to be able to film it, a bit like building one’s own car. The Octopus’s Exultation was a one-hour live music/animation performance in collaboration with composer Caleb Sampson.

For the past 15 years, her work has focused on questions surrounding the environmental crisis. Blending animation, video, photos, drawing and sculpture, her work inhabits the blur between what is seen and what is imagined. The work is structured in the form of animated still lifes, landscapes and portraits. Her current work, Drive-In Movie for Leaf Litter is an animated installation that pulls us into the fecund and mysterious world of the forest floor and the precarity of this ecological and political moment.

Crafts’ work has screened in festivals, theaters, galleries and museums in Europe, Asia, and throughout North America. In addition to her independent work, she created animated segments for Sesame Street and The Electric Company; and has animated dreams, memories and hallucinations for many independent documentaries.

Over the years, Crafts has had a side practice of practice of drawing and painting. Her current drawings are Stainboys, pareidolic portraits of perceived creatures that seep up to the sidewalk.

She is a 2012 Guggenheim Fellow, and has received grants and fellowships from the Jerome Foundation, New York State Council for the Arts, New York Foundation for the Arts, and MacDowell.


About Michèle Saint-Michel

Michèle Saint-Michel is a filmmaker, poet, and curator whose work explores power, feminist ecologies, somatic memory, and the poetics of care. Her films and interdisciplinary projects have screened and exhibited internationally at venues including Hypha Studios, Cubitt Artists, APT Gallery, Prismatic Ground Festival, Derapage, Lumifest, Fisura International Festival, and Maysles Documentary Center. She is the founder of Bad Saturn Media and curator at Millennium Film Workshop, where she develops large-scale exhibitions and multi-author publications. Her recent projects include Grief is an Origami Swan: An Artbook on Grief and Quantum Intimacies, an exhibition on embodiment and resistance. Saint-Michel holds an MA in Artists’ Film & Moving Image (distinction) from Goldsmiths, University of London, and is based in New York City.


About Millennium Film Workshop

Founded in 1966 by filmmaker Ken Jacobs, Millennium Film Workshop has been a cornerstone of New York’s experimental film community for nearly six decades. Through low-cost equipment rentals, workshops, screenings, and its influential Millennium Film Journal, Millennium has supported generations of independent filmmakers. From early programs with artists like Hollis Frampton, Su Friedrich, and Todd Haynes to ongoing exhibitions in its new Brooklyn home, Millennium remains dedicated to expanding access to the tools and ideas of non-commercial cinema.

tags: Curation by Michèle Saint-Michel
Monday 09.01.25
Posted by Michèle Saint-Michel
 

Open Call: Skin in the Game — Group Exhibition & Poetry Publication

Curated by Michèle Saint-Michel
Risograph publication via Bad Saturn Media
Hosted at Millennium Film Workshop, Brooklyn, NY — October 24–30, 2025

Bold pink and gold risograph-style poster featuring the title "Skin in the Game" with layered apples and two hands exchanging a pear. Text reads: "Films, Art, Performance & Poems. Curated by Michèle St. Michel. Millennium Film Workshop. Bad Saturn."

Skin in the Game, a group exhibition and poetry publication curated by Michèle St. Michel. October 24–30, 2025 at Millennium Film Workshop, Brooklyn. Poster design by Bad Saturn.

Skin in the Game is a group exhibition, screening, and risograph poetry collection, exploring what it means to put your body—your real, pulsing, breakable body—on the line. In love. In labor. In protest. In performance.

The works in this show will speak from the surface of the skin and the space just beneath it: the site of contact, vulnerability, memory, and commitment.

We are currently accepting submissions from artists, filmmakers, writers, performers, poets, and interdisciplinary creators. We’re especially interested in work that engages somatic and surreal processes—work that treats the body as both map and threshold. Pieces may lean into vulnerability, trace pain, track sensation, or reflect states of transformation.

You might be working in movement, sound, moving image, sculpture, text, or something that refuses to stay in one category. We welcome both tender and feral approaches—work that speaks from love, grief, protest, performance, memory, or metamorphosis.

We are especially interested in:

  • embodiment as resistance or risk

  • somatic memory, wounds, and healing

  • surreal or speculative approaches to self-mapping

  • clothing, fabric, or veils as material containers for the body

  • gestures of intimacy, care, rupture, resistance, or emotional exposure

  • the body as archive, battlefield, altar, or document

This is not a metaphorical call for neat ideas dressed in flesh. This is a call for the messy, the tender. Artists who are living their questions. Work that holds a pulse. Presence and exposure. The body as archive. The body as question. The body as offering.


Submission Categories

Short Film & Video Art
Runtime: Up to 15 minutes
Main screening on Friday, October 24

Installation, Visual Art, & Sculptural Work
For gallery display. The venue is small and best suited for 3 to 8 works.
Please outline technical and spatial needs.

Sound / Performance / Movement
Live or embodied pieces will be programmed for Saturday, October 25.

Concrete Poetry for Risograph Publication
Bad Saturn will publish a curated collection of concrete, visual, and somatic poetry in conjunction with the exhibition. Please submit up to 2 poems or 2 pages total, formatted to fit 5.25 x 8 inches, portrait or square. Accepted work will be printed via risograph and released during the show.

Key Dates

  • Submission Deadline: Friday, August 1, 2025 at 5pm EST

  • Notification of Acceptance: September 8, 2025

  • Installation: Thursday, October 23, 2025

  • Main Screening & Opening: Friday, October 24, 2025

  • Performance Night: Saturday, October 25, 2025

  • Gallery Exhibition Run: October 24–30, 2025

  • Deinstallation: Thursday, October 30, 2025

We have a limited number of sponsored entries available for those with financial need. To request a fee waiver, email michelesaintmichel@gmail.com with a brief note.

tags: open call
Thursday 07.31.25
Posted by Michèle Saint-Michel
 

Poetry in Motion: Poetry Filmmaking Workshop with Michèle Saint-Michel (July 23, Brooklyn + Online)

Poster for a poetry filmmaking workshop with Michèle Saint-Michel.

Poetry in Motion: A Hybrid Workshop with Michèle Saint-Michel

Exploring the intimate space where image and language meet
July 23 · 7–9 PM ET · In-Person (Brooklyn) + Online
Sliding Scale: $15 ·

Poetry films don’t ask to be explained. They ask to be felt.

They breathe. They shimmer. They hold contradiction. They allow for the fragmented, the elliptical, the quiet. In this spirit, artist and filmmaker Michèle Saint-Michel will lead Poetry in Motion—a hybrid workshop on July 23 that invites participants to explore filmmaking as a poetic and collaborative gesture.

Offered both in-person at Millennium Film Workshop in Brooklyn and online, this two-hour session is an expansion of Saint-Michel’s own practice: working at the edge of language, grief, and gesture to create soft, layered forms that speak across time.

Rather than focusing on polished technique or technical jargon, the session centers presence, attention, and creative intuition. It’s about image as sensation. It’s about sound as memory. It’s about making something small together, and letting it ripple.

What to Expect

Participants will co-create a collaborative short film using their own submitted footage. Each person is invited to shoot and send a short (one minute or less) video on their phone in advance of the workshop. This video should include:

— one poetic object
— one scene of life

It can be abstract or literal, quiet or vivid. There’s no right way to film—only the invitation to notice differently.

To participate, please send your video to info@millenniumfilm.org by July 16. You’ll then be included in the collective piece we’ll build during the session.

This workshop is open to all—whether you’re a filmmaker, poet, dancer, dreamer, or someone who simply wants to explore new ways of seeing. No prior experience is required. Just a phone, a little time, and a willingness to make something honest.

About the Artist

Michèle Saint-Michel is a filmmaker, intermedia artist, and poet whose work explores power, feminist ecologies, quantum mechanics, somatic memory, and the poetics of grief. Trained in both dance and writing, she works across film, installation, sound, and text to create emotionally resonant works that foreground care, resistance, and nonlinear time. Her work has been shown internationally at festivals and galleries including Prismatic Ground, hARTSlane, Fisura, APT Gallery, and Biodromo, and she currently curates art and film programs in New York City.

Poetry in Motion
Date: Tuesday, July 23
Time: 7:00–9:00 PM Eastern
Location: In-person (Brooklyn) + Online
Sliding Scale: $15
RSVP & Footage Submission: info@millenniumfilm.org by July 16

This is a workshop for the soft-hearted. The bold quiet ones. The ones who want to make something real.

tags: Workshops
Monday 07.07.25
Posted by Michèle Saint-Michel
 

Quantum Intimacies: An Exhibition on Entanglement, Memory, and the Unseen Forces That Shape Us

Yue Hua performing Bluebird, a five-projector live video piece at Quantum Intimacies, curated by Michèle Saint-Michel at Millennium Film Workshop in Brooklyn, 2025. Experimental media performance exploring memory, light, and embodiment.

Yue Hua’s Bluebird, a five-projector live-feed performance at Quantum Intimacies. Presented at Millennium Film Workshop and curated by Michèle Saint-Michel, the piece layered live video and projected gesture into a spatial meditation on memory, presence, and perceptual shift.

Curated by Michèle Saint-Michel at Millennium Film Workshop, Brooklyn, NY

June 19–25, 2025
Screenings • Installations • Poetry • Live Performance
Presented by Millennium Film Workshop + Bad Saturn Media

How do we touch across time? How does longing refract across parallel selves?
Quantum Intimacies is not an exhibition about intimacy—but an intimate exhibition. One that extends care, insists on slowness, and recognizes softening as resistance. It asks not just how we touch, but how we are touched—by each other, by time, by the things we cannot see but always feel.

Curated by artist-filmmaker Michèle Saint-Michel, Quantum Intimacies is a week-long exhibition and screening series drawing from quantum mechanics, somatic memory, and poetic speculation to explore the architectures of intimacy: those ephemeral structures built between bodies, across distances, and within absences.

Presented at the storied Millennium Film Workshop in Brooklyn, the exhibition invites viewers to consider presence as porous and relational. Here, grief, desire, and connection are not simply emotions—but energetic states.


Quantum Intimacies screening at Millennium Film Workshop, curated by Michèle Saint-Michel. Featuring over 60 international artists exploring intimacy, somatic memory, and the metaphysics of time through experimental film, poetry, and performance.

Featured Works: Screenings, Installations, and Performance

Over 60 international artists contribute to the project across experimental film, installation, poetry, and live performance. Works explore how intimacy endures, flickers, or ruptures through gesture, memory, ritual, and time-based media. These are not sentimental encounters but quantum ones: uncertain, vibrating, entangled.

SCREENING PROGRAMS

Program A (Approx. 65 minutes)

  • The Beach – Tom Faber – 12:14

  • The 8th of April, 2024 – Patrick Marshall – 2:57

  • JC Retell – Molly Miller – 4:58

  • A robin in the room – Nicolás M. Pintos – 8:37

  • November Inside: Hommage á Miroslav Tichy – Réka Szűcs – 3:10

  • When I Look at the Sun – Mahesh Subramaniam – 7:14

  • du soleil, que ça existe – Charlotte Clermont – 9:05

  • body parts_ – Paula Stuttman – 2:26

  • Hold – Erica Schreiner – 6:44

  • Mom’s Story – Chanika Svetvilas – 3:24

  • Confetti – Amanda Bonaiuto – 4:15

  • Night Music – Edwin Rostron – 3:25

Program B (Approx. 65 minutes)

  • Blue Alchemy – Benett Holgerson – 11:30

  • Slowly, We Drift Apart – Sogol & Joubeen – 9:57

  • Telephones – Copper Giloth – 4:31

  • 4622 Stillwater Circle – Kati Rehbeck – 11:18

  • closure – sierra francesca enea – 3:08

  • Hollowgram – Laura Iancu – 7:00

  • Incubating Home – Soyeon Jung – 3:15

  • Dream Sequence: Stasis – Adam E. Stone – 2:40

  • pre occupation – Tashrika Sharma – 7:24

  • we will find a way – Maya Ivona – 6:01

  • Pilote – Sidney Mandros & Giancarlo M. Sandoval – 10:36


THEMATIC LOOPS

Wave Particle Duality

Non Films, Clay Steakley, Maya Ivona, Long Pham, Saif Alsaegh, Anna Maguire & Kyle Greenberg (STUPID CO), Danielle Vishlitzky, Lula O'Donnell, Ao Lei, Peter Whittenberger

Superposition

Carlos Vásquez Méndez, Kasper Klop & Morwenna Spagnol, Ye Mimi, Scott Turri, Mark Street, David Baeumler, Sara C. Sun, Cheryl Maeder, ayla khan, Marcie Begleiter

Entanglement

Barry Hollow, Zhiqian Wang, stephanie barber, Matthew Berka, Eric Souther, Alex Schuurbiers, Tumí Johnson, Wenwen Zhu, Cali M. Banks, Jacklyn Brickman


Reuben Son installing After Orpheus at Quantum Intimacies. Suspended by wire and tension, the piece explores sonic resonance, memory, and the edge between matter and vibration. Curated by Michèle Saint-Michel at Millennium Film Workshop, Brooklyn.

Reuben Son installing After Orpheus at Quantum Intimacies. Suspended by wire and tension, the piece explores sonic resonance, memory, and the edge between matter and vibration. Curated by Michèle Saint-Michel at Millennium Film Workshop, Brooklyn.

GALLERY INSTALLATIONS

Audrey Coombe – State Change
Single-channel video loop (4:39 min)
A meditation on quantum thresholds through water’s shift from liquid to vapor, observing change as a slow accumulation of micro-events.

Evangeline LaRue – Delicacy
Fabric installation (~3x3 ft)
A surrealist quilted work on fragility, soul-body disconnection, and gendered embodiment by a disabled, genderqueer artist.

Reuben Son – After Orpheus
Mixed media sculpture (metal and ceramics)
A suspended vessel vibrating between memory and materiality, exploring cinematic time and physical resonance.

Payá (Anna Fern and Vida Zamora) – A Letter
Film installation with hand-built sculpture and organic materials (20 min)
A poetic excavation of time and correspondence, questioning anthropocentric timelines and proposing collective care.

Eileen Ramos – Correspondence
Dual rolodex sculpture
Paired ephemeral cards shuffled by viewers to reveal layered, unexpected entanglements—multitemporal, accidental, and intimate.

Katrina Slavik – Ghost in the Supply Chain
Textile wall works
Human-sea life hybrids stitched into soft panels to illuminate empathy, consumption, and displacement across species lines.


LIVE EVENTS

Poetry Reading & Live Projection Performance
Thursday, June 19 at 8PM
Featuring a five-projector live-feed performance by Yue Hua and poetry by Kristen Tomanocy, fusing language and light across thresholds of grief and gesture.

Gallery Opening & Main Screening
Friday, June 20 at 6:30PM & 8PM
Simulcast and in-person screening featuring international artists working across experimental film and time-based poetics.

Artbook Launch: a collapsible mercy

Published by Bad Saturn

Staple-bound reader editions of a collapsible mercy, created to accompany the original hand-sewn artbook by Michèle Saint-Michel. Published by Bad Saturn for Quantum Intimacies, these versions allow viewers to engage with the poetry without handling the fragile silk-bound object.

a collapsible mercy is a limited edition poetry-artbook that expands the exhibition into tactile form. Each poem is sewn into teabag paper and veiled in hand-dyed organza silk—an origami wave that must be folded to be read. Some words remain hidden, like meaning in a quantum field. This is not a book but an event: a moment of fragile, folding intimacy.

Featured Poets:

  • Kristen Tomanocy – NYC-based poet and educator, writing on grief, cosmos, and loss.

  • Riverstone (Yuying Song) – London-based poet of myth, dream, and gender-liminality.

  • Alexis Krasilovsky – Famed feminist poet and filmmaker, author of Watermelon Linguistics.

  • Kate Fahey – Irish artist and PhD, merging image-making with poetic fragility.

Artbook Designer: Michèle Saint-Michel—filmmaker, poet, and intermedia artist whose work includes handmade rituals of care, folding, and somatic memory.


About the Curator

Michèle Saint-Michel is a Brooklyn-based filmmaker, intermedia artist, and poet. Her work explores grief, metaphysics, and embodied memory through moving image, sound, and poetic form. As a curator, she creates multidisciplinary programs that hold space for experimental voices and reimagine intimacy across form and discipline.

About the Partners

Millennium Film Workshop
An artist-run space with a legacy dating back to 1966, Millennium has supported generations of experimental filmmakers through screenings, residencies, and equipment access.

Bad Saturn Media
An independent press publishing artist books, sonic projects, and poetic experiments. Dedicated to the strange, the vulnerable, and the radical edges of form.


Visit the Exhibition

Quantum Intimacies
Millennium Film Workshop
June 19–25, 2025
Location: 167 Wilson Ave, Brooklyn, NY
Programs, installations, and performances

tags: Curation by Michèle Saint-Michel
Thursday 06.19.25
Posted by Michèle Saint-Michel
 

Apparitions Compilation Release: Exploring Spectral Resistance in Art, Politics, and Memory

I’m thrilled to announce that my work is featured in the newly released compilation Apparitions, now available in the UK and Australia from tent.press.

Cover of Apparitions compilation featuring work by Michèle Saint-Michel, exploring spectral resistance and memory in art and politics.

The cover of Apparitions, a newly released compilation featuring work by Michèle Saint-Michel, explores the spectral, the remembered, and the resistant, offering a deep dive into how haunting can challenge dominant structures and open up new possibilities for memory and future.

Apparitions is a curated collection that brings together an exceptional array of poetry, essays, art, and imagery, delving into themes of the spectral, the remembered, and the resistant. The collection serves as both a site of lamentation and a portal to the generative nature of haunting. It invites readers to reflect on how the apparitional—those traces, visitants, and phantoms—might disrupt dominant structures and summon new forms of memory and future possibilities.

The works in Apparitions speak to the power of the spectral in our sociological imagination, asking: How does the presence of the unseen shape the way we understand the world? How do these spectral forces become tools for resistance, and how do they challenge entrenched narratives?

Interior spread of Apparitions compilation featuring poetry, essays, and art that explore the spectral, memory work, and resistance in art and politics.

A glimpse inside Apparitions, where poetry, essays, and visual art converge to interrogate the role of the spectral in the sociological imagination, memory work, and resistance. This collection offers powerful perspectives on the generative nature of haunting and its impact on art and politics.

This aligns closely with my own artistic and scholarly focus, where I examine the intersections of power, feminist ecologies, somatic memory, and quantum mechanics. My research investigates how memory, both somatic and cultural, influences our understanding of the past, present, and future. The concept of haunting, which threads through Apparitions, resonates deeply with my work, where I explore how these spectral forces—whether through art or memory—challenge dominant narratives and offer alternative ways of knowing and being.

As part of my ongoing engagement with visual culture and the politics of the image, I draw from my academic experiences, including my MA in Artists’ Film & Moving Image from Goldsmiths, University of London. My research and creative practice consistently interrogate the role of art in reshaping our perceptions of time, space, and memory. These interests inform my contributions to Apparitions, where the act of re-visioning—both personal and collective—is central to the work.

I’m deeply honored to be part of this collection, which brings together powerful voices and perspectives on spectral resistance. If you're in the UK or Australia, you can now grab your copy of Apparitions from tent.press and engage with this compelling body of work.

Let the ghosts speak.

Available now via Tent.press in the UK and Australia.

#capitalistrealism #ghostlymatters #allegoryofthecavepainting #visualculture #artandpolitics #memorywork #spatialpractice #Goldsmiths #artatGoldsmiths #spectralresistance #contemporaryart #artbook #artsandpolitics

tags: Books by Michèle Saint-Michel
Thursday 05.22.25
Posted by Michèle Saint-Michel
 

Unfolding Grief: How the Origami Swan Guides Us Through Loss

The Art of Healing

Grief is a complex emotion, often difficult to process through words alone. But what if art, rather than language, could provide a route to healing? Grief Is an Origami Swan by Michèle Saint-Michel introduces a unique way of coping with loss through the meditative and symbolic practice of origami.

Whether you are navigating the depths of personal loss or simply seeking a creative way to honor your grief, this guide offers gentle companionship on the journey toward healing.

Swans, known for their grace and loyalty, serve as powerful symbols of transformation during times of loss.

The Symbolism of the Swan in Grief

The swan has long been a symbol of grace, transformation, and resilience. In many cultures, the swan represents a deep emotional process—often related to the passage between life and death. Just as the swan sheds its feathers and enters a new season of life, we too can embrace the transformative power of grief.

Grief can be overwhelming, but like the swan, it can also be a quiet and sacred experience. The act of folding paper swans in Grief Is an Origami Swan mirrors the emotional journey of folding grief into something beautiful, offering a form of release and remembrance.

Origami: A Meditative Practice for Mourning

Origami, the art of paper folding, is much more than a craft. It’s a practice of presence, focus, and mindfulness—qualities that can be deeply healing during times of grief. In Grief Is an Origami Swan, Michèle Saint-Michel guides you through the process of folding paper swans as a meditative ritual.

Each fold represents a step in the grieving process: a gentle approach to the unfolding of emotions, memories, and healing. As you focus on the delicate art of paper folding, you’ll find a space where sorrow can be transformed into something tangible and beautiful.

Grief is an Origami Swan, a guide to grief by Michèle St. Michel in a reader's bed-side table

Each fold of the origami swan represents a step in the healing journey, offering a tangible way to process grief.

Get Your Copy of Grief Is an Origami Swan Today

Integrating Art into Grief Rituals

While grief is a personal journey, sharing the process with others can provide a sense of comfort and connection. By incorporating origami swans into personal or communal grief rituals, you create a space for collective healing. Whether you’re participating in a group therapy session, creating a personal memorial, or simply sharing your experience with a friend, the swan offers a tangible symbol of the journey.

Engaging in creative activities like art therapy can help express and process complex emotions associated with grief.

Consider organizing a small gathering where participants create their own origami swans as a way of processing grief together. This ritual becomes a shared experience—one that brings people closer while honoring the memory of those lost.


Embracing the Journey of Healing

Grief is not linear; it is a journey full of twists, turns, and moments of reflection. The act of folding origami swans in Grief Is an Origami Swan provides a beautiful and meditative way to mark this journey. With each fold, you move closer to healing—gently embracing your emotions rather than fighting them.

Step-by-step guide to folding an origami swan as a grief therapy ritual

If you’re ready to start your own healing journey through the art of origami, Grief Is an Origami Swan offers the tools, insight, and space to do so. Allow the origami swan to be your guide.

Free Origami Swan Folding Instructions | Grief Healing through Art

Download the free folding instructions for Grief is an Origami Swan and explore the healing power of origami. A meditative, tactile way to process grief and loss.

Download free folding instructions for Grief is an Origami Swan and embark on a tactile journey of healing through origami. These step-by-step instructions guide you in creating symbolic swans, each fold representing a step in the process of grief and recovery. Perfect for anyone seeking a creative and meditative way to navigate loss. Start folding today and transform grief into a meaningful, artistic ritual.

Step-by-Step Origami Swan Tutorial
Monday 05.12.25
Posted by Michèle Saint-Michel
 

Open Call: Quantum Intimacies – Submit Experimental Film, Poetry & Media ArtUPDATE: See the exhibition!

A Screening & Exhibition on Quantum Presence, Time, and Poetic Entanglement

Calling experimental filmmakers, poetic technologists, time-based media artists, and dreamers working across dimensions—Quantum Intimacies considers the forces that bind us beyond proximity, the echoes of presence in absence, and the paradox of being both here and elsewhere. Drawing from quantum mechanics, somatic memory, and poetic speculation, this exhibition and screening bring together works that explore relationality across distance, the fluidity of time, and the ephemeral architectures of intimacy.

Quantum Intimacies is a space where grief, longing, and love exceed their representational limits and take shape as forces in themselves. It asks not just how we touch, but how we are touched—by each other, by time, by the things we cannot see but always feel. Artists are invited to submit works that seemingly exist in multiple states at once: shifting, unfolding, and resonating across dimensions of time and space.

How do we touch across time? How does longing refract across parallel selves?

Submit here
Poster for "Quantum Intimacies," a time-based media exhibition exploring quantum entanglement, multitemporality, and poetic intimacy. Featuring a dreamy, layered composition evoking nonlinear time and digital touch.

Quantum Intimacies — a multi-sensory screening and exhibition exploring presence beyond the visible. June 19–20, 2025 · Curated by Michèle Saint-Michel · Hosted by Millennium Film Workshop and Sponsored by Bad Saturn Media, Brooklyn.

What We’re Looking For

We invite submissions from artists, collectives, filmmakers, writers, and creative technologists working in time-based media. We’re especially drawn to interdisciplinary, experimental work that engages with quantum themes, including but not limited to:

  • Non-Local Love & Entanglement: Long-distance intimacy, ancestral memory, or digital remnants of lost connections where time and space collapse.
  • The Poetics of Probability: Embracing randomness, uncertainty, and intention in quantum states and artistic creation.
  • Superposition & Multitemporality: Films that shift with each screening, fragmented narratives, or experiences shaped by the viewer.
  • Somatic Frequencies & Resonance: Interactive, body-responsive works using sound, heartbeats, or immersive environments to explore presence.

Exhibition Details

Dates: June 19–20, 2025
Location: Millennium Film Workshop, Brooklyn, NY
Curated by: Michèle Saint-Michel

Submission Deadlines

  • Early Bird Deadline: Friday, April 18, 2025 (5 PM EST)
  • Final Deadline: Friday, May 16, 2025 (5 PM EST)
  • Notification Date: May 23, 2025

How to Submit

Complete the submission form and include the following:

  • Basic contact details
  • A short artist statement or bio (100 words)
  • A 100-word description of how your work engages with the exhibition’s quantum themes
Submit here

Media Submission Instructions

  • Film/Video: Submit a Vimeo or YouTube link (with password if applicable)
  • Gallery Installations: Email a proposal (PDF, up to 3 pages) with sketches to badsaturnmedia@gmail.com. Space is limited.
  • Performance/Movement/Multimedia: Email a proposal (PDF, up to 3 pages) with sketches to badsaturnmedia@gmail.com
  • Single Poem/Digital Artwork/Digital Poetic Instance: Send a 1–3 page PDF to badsaturnmedia@gmail.com

Multiple entries are permitted. Payments are accepted via Venmo and PayPal through our publisher. Submissions will not be reviewed until payment is received.

Contact

Questions? Reach out at badsaturnmedia@gmail.com.

tags: open call
Monday 05.05.25
Posted by Michèle Saint-Michel
 

Life and Death Are the Same Line: NYC Film Screening with Larry Gottheim, Clare Archibald, and Michèle Saint-Michel

Experimental film in NYC reaches a tender crescendo this May with Life and Death Are the Same Line Viewed from Different Sides — a powerful screening event curated by Michèle Saint-Michel at Millennium Film Workshop, featuring legendary avant-garde filmmaker Larry Gottheim and boundary-breaking multidisciplinary artist Clare Archibald.

Poster for Life and Death Are the Same Line Viewed from Different Sides, an NYC experimental film screening curated by Michèle Saint-Michel at Millennium Film Workshop

Life and Death Are the Same Line Viewed from Different Sides — an experimental film event on grief, memory, and becoming. Featuring work by avant-garde pioneer Larry Gottheim and Scottish filmmaker Clare Archibald, curated by Michèle Saint-Michel at Millennium Film Workshop.

Event Details
Location: Millennium Film Workshop, Brooklyn, NY
Date: May 9, 2025
Time: 8:00 PM (Screening + Conversation)

Where NYC Experimental Film Meets the Line

This special evening brings together three moving image works that contemplate grief, time, birth, and departure through a distinctly avant-garde lens. From Larry Gottheim’s timeless filmic grammar to Clare Archibald’s deeply somatic and tactile filmmaking, these works reject linearity and collapse the divide between presence and absence, arrival and departure.

Together, they form a curated meditation on mortality, memory, and transformation, offering a space where art confronts the most profound human experiences with honesty, intimacy, and invention.

The Screening Program: Avant-Garde Cineman at Its Most Profound

HARMONICA (1971, 10 min) – Larry Gottheim
A one-take marvel of cinema vérité, HARMONICA captures spontaneous breath as music, wind as improvisation. It's a landmark of early American experimental film — playful, elemental, and foundational.

A PRIVATE ROOM (2019, 14 min) – Larry Gottheim
A metaphysical coda from one of America’s greatest avant-garde artists. With references to quantum theory and psychic interiority, A Private Room offers a ghostly meditation on language, death, and the unseen.

CAN YOU HEAR THE INTERIM (2020, 21 min) – Clare Archibald
A film of rare emotional gravity, Can You Hear the Interim documents the unthinkable: the birth of a child expected to die. Filmed with ultrasound gel, baby toys, and heartbeats, Archibald crafts a tactile sonic landscape that holds space for grief, transformation, and embodied witnessing.

Why This Screening Matters: Curatorially, Historically, and Personally

This program is not only a tribute to film as an expressive force — it is a conversation across generations of experimental cinema. By pairing Larry Gottheim, a foundational figure in American avant-garde film, with Clare Archibald’s raw, contemporary feminist filmmaking, the evening draws a line between legacy and future, structure and surrender, theoretical inquiry and lived experience.

As curator, Michèle Saint-Michel — herself a poet-filmmaker known for work exploring grief, quantum entanglement, and somatic memory — creates a space of radical softness and fierce clarity, where experimental film doesn't merely reflect life, but moves through it.

"Grief, for me, is a medium as much as film or sound. These works don’t observe life and death from afar — they enact them. They breathe, they ache, they shimmer."
— Michèle Saint-Michel

About the Filmmakers

Larry Gottheim
A giant in avant-garde cinema, Gottheim has been making films since the 1960s. His practice, spanning single-shot film to digital meditations, centers perception, presence, and metaphysical inquiry. This screening pairs one of his earliest 16mm pieces with his final digital work — a rare and moving juxtaposition of youthful improvisation and late-life reflection.

Clare Archibald
Scottish writer-artist Clare Archibald works across media, using sound, text, and film to explore intimate geographies of experience. Can You Hear the Interim is both a stand-alone film and a chapter of her forthcoming book, The Absolution of Shyness. Her work is a beacon in contemporary feminist and autobiographical film practice.

About the Curator: Michèle Saint-Michel

Michèle Saint-Michel is a filmmaker, curator, and intermedia artist based in New York City. Her works explore grief, feminist ecologies, and quantum mechanics through somatic movement, poetry, and cinema. At Millennium Film Workshop, she curates programs that bring tenderness and rigor into conversation, foregrounding care, embodiment, and radical intimacy in experimental film.

Millennium Film Workshop

Founded in 1966, Millennium Film Workshop has supported generations of visionary moving image artists. A filmmaker-led nonprofit, it offers affordable access to film equipment, screenings, and community programming. It’s the place where avant-garde cinema is not only shown — but shaped.

Why You Should Attend

  • Discover rare and historic experimental films by icons of the avant-garde.

  • Witness a deeply moving contemporary work about motherhood, death, and love.

  • Be part of NYC’s experimental film scene, in conversation with curators and fellow cinephiles.

  • Sit in stillness, uncertainty, and awe — and find meaning in the flicker between life and death.

Reserve tickets now and witness what it means when avant-garde film dares to confront the most sacred transitions we face.

Buy Tickets

@michelesaintmichel | @millenniumfilm

tags: Curation by Michèle Saint-Michel
Monday 05.05.25
Posted by Michèle Saint-Michel
 

Grief is an Origami Swan by Michèle Saint-Michel: A Grieving Companion for the Impossible Days

When Grief Feels Impossible, Grief is an Origami Swan is Here to Hold You

There will be days when it feels impossible.
Days when the air is too heavy, the memories too sharp.

On those days, cling to the pages of Grief is an Origami Swan by Michèle Saint-Michel — a grief book unlike any other. Created for those who’ve loved deeply and lost, it offers softness, ritual, and presence when the world feels too loud.

A new reader recently shared:

“As I adjust to a life without them… it seems truly impossible. But your book is a handsome companion for the moment, something to literally cling to... Thank you very much. I’m really glad it made its way into my hands.”

If we live long enough and love deeply, grieving becomes a part of living. Many things end before we’re ready. But just as holidays and traditions mark our most meaningful connections, grief reminds us of how deeply we’ve felt — and how human that makes us.

You have loved.
You have lost.
And it hurts.

Let this book help you make space for that duality. Grief has no timeline. Your pain — rooted in love — belongs in the story of your life.

Grief is an Origami Swan book by Michèle Saint-Michel resting on a wooden table, symbolizing comfort and reflection

Grief is an Origami Swan by Michèle Saint-Michel — a gentle companion for those navigating love, loss, and the impossible days

On impossible days, cling to what keeps you here.
A page. A friend. A quiet moment. A folded paper swan.

Take a shower.
Water a plant.
Hug your fur friend.
Take a walk.
Fold another swan.

Keep going.
Do the impossible.

✨ Grief is an Origami Swan is available on Bookshop.org and Amazon.

📚 For more grief support, resources, and reflections from Michèle Saint-Michel, visit instagram.com/griefswan.

🕊️ Join our community of readers honoring the art of grieving, healing, and soft resistance.

#GriefHelp #GriefBooks #GriefIsAnOrigamiSwan #GrievingSwan #MicheleSaintMichel #BooksOnGrief #HealingThroughArt

tags: Books by Michèle Saint-Michel
Monday 04.28.25
Posted by Michèle Saint-Michel
 

Sold-Out Art Film Exhibition “Between a Frame and a Soft Place” Showcases Digital Body in NYC

Curator Michèle Saint-Michel at Millennium Film Workshop during the sold-out NYC exhibition "Between a Frame and a Soft Place" — where digital embodiment met experimental cinema.

Curated by experimental filmmaker and artist Michèle Saint-Michel, the hybrid event brought together global artists in a celebration of digital embodiment and avant-garde cinema.

Brooklyn, NY — April 11–17, 2025
Between a Frame and a Soft Place, a sold-out hybrid exhibition curated by Michèle Saint-Michel, transformed Millennium Film Workshop into a hub for experimental film, performance, and digital poetics.

Over the course of seven days, the program invited audiences to reimagine embodiment through a series of avant-garde film screenings, a boundary-pushing performance night, immersive gallery installations, and a poetry reading with an accompanying zine launch.

Bringing together more than 60 international artists working across moving image, performance, poetry, and installation, the exhibition investigated how the body mutates across digital landscapes and tangible realities. Featured artists included Lisa Crafts, Lili White, Sapphire Goss, Audrey Coombe, Ellen Gilbert, Fiona Jacobson-Yang, Jorge Suárez Quiñones Rivas, Soo Hyun Lee, Riley Tu, and members of the London-based Digital Bodies Collective.

Film work by artist Soo Hyun-Lee in the Gallery space at Between a Frame and a Soft Place.

Artist Jenna Caravello reinterprets digital embodiment through live movement at Michèle Saint-Michel’s NYC exhibition “Between a Frame and a Soft Place”.

The live performance night was a standout, featuring Jenna Caravello (Los Angeles), indexthumb and Aleth Berenice (London), and Mackenzie Rawls (Brooklyn), whose works pushed the boundaries of physical and virtual perception.

Poetry zine launch at Between a Frame and a Soft Place, NYC 2025

Poet Gabriela Michele with her copy of the limited-run poetry zine published by Bad Saturn Media launched alongside Michèle Saint-Michel’s exhibition Between a Frame and a Soft Place in NYC.

The limited-edition zine, published by Bad Saturn Media, featured poetry and visual art from 20 contributors and sold out during a special reading with Vincent Katz (NYC), Matt McKinzie (Brooklyn), Gabriela Michele (Scotland), Kate Mohanty (Brooklyn), Kevin Chen (Brooklyn), Jaime Yuan (London), Lauren Dana Smith (Taos, New Mexico) and others. Audience members praised the zine and event for offering a “sensorial soft space” where movement, memory, and media converged.


About the Curator: Michèle Saint-Michel

A new figure in NYC’s experimental film and artist film scenes, Michèle Saint-Michel creates curatorial and cinematic work that foregrounds power, grief, digital intimacy, and care-full futures. Her interdisciplinary approach weaves together feminist theory, quantum mechanics, and healing praxis, establishing her as a visionary voice in contemporary moving image art.

More about Michèle St. Michel

About Millennium Film Workshop

A cornerstone of New York City’s independent film scene since 1966, Millennium Film Workshop remains a vital hub for experimental media, supporting boundary-breaking filmmakers through screenings, workshops, and residencies.

About Bad Saturn Media

An artist-led publishing platform, Bad Saturn Media amplifies experimental voices through poetry books, hybrid zines, and artist collaborations that reshape the cultural conversation around identity, grief, and radical imagination.

A very few copies of the zine remain, grab one here.

Press Contact

Michèle Saint-Michel
📧 michelesaintmichel at gmail com
Bad Saturn Media
📧 badsaturnmedia at gmail com

tags: Curation by Michèle Saint-Michel
Tuesday 04.22.25
Posted by Michèle Saint-Michel
 

The 5 Stages of Grief: A Gentle Reconsideration

The five stages of grief—denial, anger, bargaining, depression, and acceptance—were introduced by psychiatrist Elisabeth Kübler-Ross in 1969. Originally, they described the emotional process of people facing their own terminal diagnosis. Over time, the framework was adopted more broadly to explain how people grieve after loss.

A poetic book spread from Grief is an Origami Swan by Michèle Saint-Michel, illustrating tender rituals of grief and healing through visual design and text.

A glimpse inside Grief is an Origami Swan, where visual poetry and ritual invite a soft approach to mourning and memory.

These stages are often interpreted as a linear path. But grief isn’t linear. It doesn’t unfold in tidy sequences. And it certainly doesn’t end once I’ve checked off a box labeled “healed” or "acceptance."

Many modern grief educators and therapists emphasize that these stages are not prescriptive. They aren't steps we must follow in order. Instead, they describe common experiences of grief—feelings that may come and go, overlap, or repeat.

But even these descriptions can sometimes feel limiting. In Grief is an Origami Swan, I suggest that grief is not a psychological riddle to solve, but a relational, embodied process. One shaped by memory, ritual, and creative care.

Here’s how I experience each stage, reframed through the lens of my own book, Grief is an Origami Swan:

1. Denial
Denial, to me, is a sacred pause. It's like folding the first paper swan—mechanical, slow, and detached—not because I don’t care, but because I need form before feeling. It’s a place where breath returns to the body.

2. Anger
Anger often arrives when my body remembers before my mind does. The rituals I practice give shape to that sensation. I let my grief be messy and defiant. A sharp crease in a delicate page. A shout into the folds. Anger doesn’t need to be feared; it needs to be witnessed.

3. Bargaining
I don’t see bargaining as futile. I see it as longing—for connection, for do-overs, for a different ending. My rituals don’t erase what happened, but create symbolic gestures that let me speak back to the silence. I fold an origami swan not to reverse time, but to hold time differently.

4. Depression
I don’t pathologize this stage. My sorrow is tender and poetic. It’s the ink soaking into handmade paper. The silence between lines. This isn’t a problem to fix—it’s a sacred presence. One that calls for stillness, breath, and gentle company.

5. Acceptance
To me, acceptance isn’t a tidy resolution. It’s a quiet ritual repeated. It’s remembering to light a candle on a certain day, or carrying a stone in my pocket. It’s folding another swan, not because I have to, but because it connects me to what was lost. Acceptance, here, is not closure—it’s continuity.

Grief as a Wave, Not a Ladder

The five stages can help name what I’m feeling. But they don’t capture the full complexity of grief. In truth, grief moves like a wave. It rises, falls, retreats, and returns. Some days, I’m flooded with emotion. Other days, the tide is quiet.

Instead of rushing to "complete" my grief, I try to make room for it. To listen. To soften around its edges. Grief is an Origami Swan reminds me that grief can be both ritual and rupture—folded gently into my life, one gesture at a time.

Resources for Gentle Grieving

If you're looking for compassionate tools for your grieving process, Grief is an Origami Swan offers a tender space of poetry, ritual, and art. You can learn more or order a copy here.

Monday 04.21.25
Posted by Michèle Saint-Michel
 

Now Shipping Worldwide: Between a Frame and a Soft Place

Limited-edition poetry zine by Bad Saturn Media at art film exhibition curated by Michèle Saint-Michel

Between a Frame and a Soft Place zine – Vellum cover, hand-bound with waxed linen thread.

Zine as Somatic Archive

Edited by Michèle Saint-Michel | Published by Bad Saturn Media | In collaboration with Millennium Film Workshop

A Tactile Artifact from the 2025 Exhibition

We’re proud to announce the wider release of Between a Frame and a Soft Place, the official zine of the 2025 exhibition at Millennium Film Workshop in New York City. Carefully edited by Michèle Saint-Michel and published by Bad Saturn Media, this hand-bound zine is now available for purchase online.

Originally available only in person during the exhibition, this limited-edition zine is now being distributed globally to bring its intimate reflections to a broader audience.

Handmade, Meant to Be Held

This is a small-run, hand-numbered zine:
– 44 pages
– Hand-sewn with waxed linen thread
– Bound in translucent vellum

It is meant not just to be read, but held. It carries the weight of process. Like the exhibition it extends, it dwells in slowness, attention, and deep feeling. Printed in a small batch with care and intention, this zine is a tactile extension of the exhibition’s ideas—meant to be held, felt, and revisited.

🖤 Print Edition: $14 USD
💻 Digital Edition: Pay What You Can (Suggested: $5)

Order the Zine

About the Zine

Curated as an intimate counterpoint to the gallery space, performances, and screenings, this zine explores how digital mediation reshapes our sense of reality. What happens when private experience becomes filtered through technological textures? What kind of intimacy survives in the digital blur?

This collection brings together artists and writers working at the edges of perception, grief, touch, and time. Through visual work, poetry, and prose, the zine holds space for both the ephemeral and the enduring—asking how we look, how we remember, and how we care.

Contributors

Contributors were invited to respond across form—writing, image, and poetic essay. Each artist brings forward their own interrogation of visibility, interiority, and trace.

Alexandra Mauriello, Andrea Hackl, Anton Lushankin, Christina Bauernfeind, Clara Chacón, Collette Rayner, Fran Hayes, Gabriela Milkova Robins, Gel Press, Ginny Darke, indexthumb, Jamie Yuan, Kevin Chen, Lauren Dana Smith, Maike Helbig, Matt McKinzie, Olivia Burgess, Rachel Sun E., Riley Tu, Riverstone, Vincent Katz, and Zara Joan Miller.

Order Now

💌 Print Edition – $14
Receive a hand-bound, vellum-covered, hand-numbered zine delivered directly to your door.
[Order the Print Edition →]

🌐 Digital Edition – Pay What You Can (Suggested $5)
Ideal for international readers and digital libraries.
[Download the Digital Edition →]

Why It Matters

This project reflects Bad Saturn Media’s ethos of care-full publishing—amplifying voices that engage with complexity and feeling. It also continues the mission of Millennium Film Workshop to support experimental practices through print, performance, and film.

Curator and Editor Michèle Saint-Michel brings together works that don’t shy away from difficult or delicate subjects—grief, rupture, dislocation—yet offer space for reflection, connection, and transformation.

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Rooted in embodiment, memory, and digital mediation, this publication asks how intimacy is refracted through technological systems—and how grief, tenderness, and perceptual distortion remain present in our bodies long after the moment of capture.

tags: Books by Michèle Saint-Michel
Friday 04.18.25
Posted by Michèle Saint-Michel
 
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© 2026 Michèle Saint-Michel