Gut Renovation

Contributor's Note

Until 2005, Williamsburg was a modest neighborhood in Brooklyn that was home to working- and middle-class Italians, Hispanics and Poles, to many small industries, and increasingly to artists who were fleeing Manhattan real estate prices. It was also my home; in 1989, we moved into and renovated an abandoned loft, which we rented and shared with a changing assortment of three roommates.

By the late ‘90s we noted the increasing changes—the sushi restaurants, the organic shops, the boutiques. Gentrification had taken hold, but it wasn’t until the City Council passed a rezoning ordinance in May 2005 that all hell broke loose.

Developers were given twenty and even twenty-five year tax abatements for building; everything that was available was purchased, and almost everything that wasn’t yet available was gradually made so through evictions or skyrocketing rents.

In late 2005, I began to systematically record all the demolitions and constructions. Over the next three years, in an area bounded by the East River and the Brooklyn-Queens Expressway—an area 6 blocks wide by 17 blocks long—I recorded 173 sites. And in late 2008, I also began to record what was happening in our own home, since it was becoming clear that we would also have to leave, as had so many other artists already.

In making Gut Renovation I was primarily concerned with documenting the two central aspects of my experience as the neighborhood collapsed around me. These were the physical changes—the heart-rending loss of so many beautiful old industrial buildings, as well as the men and women who worked in them—and the change in our lives—the equally painful loss of our living and working space and the friendships we forged with our roommates and neighbors.

This excerpt, “Auf Wiedersehen,” focuses on the industrial spaces, while later parts of the film focus more on the residential buildings and our loft.

Expected completion: early spring 2012
Expected length: 90 minutes
Directed, shot, edited and sound edited by Su Friedrich

 
Su Friedrich

Friedrich began filmmaking in 1978 and has produced and directed eighteen 16mm films and videos, including From the Ground Up (2007), Seeing Red (2005),The Head of a Pin (2004), The Odds of Recovery (2002), Hide and Seek (1996), Rules of the Road (1993), First Comes Love (1991), Sink or Swim (1990), Damned If You Don't (1987), The Ties That Bind (1984), and Gently Down the Stream (1981). Her films have won many awards, including the Grand Prix at the Melbourne Film Festival and Outstanding Documentary at Outfest. Friedrich has received fellowships from the Rockefeller and Guggenheim Foundations as well as numerous grants from the Jerome Foundation, NYFA, NYSCA and ITVS, and in 1995 she received the Cal Arts/Alpert Award. Her work is widely screened in the United States, Canada and Europe and has been the subject of retrospectives at the Museum of Modern Art, the Whitney Museum of American Art, the Rotterdam International Film Festival, The London Lesbian and Gay Film Festival, The Stadtkino in Vienna, the Pacific Cinematheque in Vancouver, the National Film Theater in London, the Buenos Aires Festival of Independent Cinema, the New York Gay and Lesbian Film Festival, the First Tokyo Lesbian and Gay Film Festival, the Cork Film Festival in Ireland, the Wellington Film Festival in New Zealand, The Bios Art Center in Athens, Greece, and the Anthology Film Archives in New York. Friedrich is the writer, cinematographer, director and editor of all her films, with the exception of Hide and Seek, which was co-written by Cathy Quinlan and shot by Jim Denault. Her work is screened and distributed widely throughout the US, Canada and Europe. She teaches film & video production at Princeton University. Her DVD collection is distributed by Outcast Films.

Photograph by David Godlis

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