Orchard Documents
Jeff Preiss
08.10.2026 — 13.12.2026
Opening Wednesday 7th October, 6pm-9pm
8th October–13th December 2026
Thursday–Sunday, 12-6pm
Jeff Preiss’ Orchard Documents are a series of experimental film collaborations the filmmaker made with other members of Orchard, a cooperatively run gallery that operated on New York City’s Lower East Side between 2005 and 2008. Filmed within the context of exhibitions organised by the gallery’s members, each document employs different cinematographic techniques and formats to represent artworks and exhibitions. The films do more than record an exhibition history: the Orchard Documents posit that documentation can be generative rather than purely representative.
For Preiss the gallery was a studio, and contained within it, the raw material from which to generate moving image works that fall somewhere between experimental film and documentary. Already a seasoned filmmaker and cinematographer by the time Orchard Gallery was founded, he was one of twelve members who co-ran the space; the others included artists, academics, and one anonymous member. Together they operated and organised the gallery, with each member eventually curating one exhibition of their choosing and another framing their own work. The programme reflected the members’ diverse interests, encompassing post-conceptual practices, painting, and film history. To some extent, Orchard’s collective structure has a direct and intentional lineage to historic film cooperatives, such as The Film-Makers’ Cooperative and The Collective for Living Cinema.
Formed as an act of resistance to the helplessness felt by George W. Bush’s re-election as president, Orchard’s three-year lease on an empty property (at 47 Orchard Street) in Manhattan ran up until the onset of the global financial crisis in 2008. Yet it was also firmly entrenched in its locality. When the gallery opened, the Lower East Side was beginning to attract a new generation of downtown galleries and alternative spaces, including Reena Spaulings Fine Art and Participant Inc. By 2008, however, the neighbourhood had become a primary destination for artists to live and work. This broader history of New York’s art world is essential to understanding Orchard’s place within it and often fed into its programming.
At Cell Project Space, all seven Orchard Documents will be presented according to their original specifications. Among them are two collaborations with artists Nicolás Guagnini and Andrea Fraser, shown alongside Preiss’ own, singular document as they were first installed as a triptych in Spring Wound, Preiss’ 2008 exhibition at the gallery—the last to be held there. Positioned between Fraser’s Orchard Document: May I Help You? (text 1991) (2005) and Guagnini’s Orchard Document: Discharge (2005–06), Preiss’ Orchard Document: Spring Wound (2005–08) assembles footage shot over the course of Orchard’s programme using a manually operated 16mm Bolex relentlessly panning from right to left to right.
As well as showcasing Preiss as a filmmaker, the Orchard Documents can also be seen as counterpoints to what has become an increasing condition within contemporary art, whereby the standardisation of installation views that often proliferate online today typically flattens exhibitions into images. In this sense, the show proffers new readings of art and exhibition histories, revealing aspects of artistic practice that typically remain unseen in conventional forms of documentation. In Preiss’ own words: ‘All documentation faces the question of whether to reveal itself as an outer layer of perspective. It is within the framework of that question where I open space for other narratives.’
Jeff Preiss is a New York-based filmmaker, cinematographer, and visual artist active since the 1980s. A founding member of the experimental gallery Orchard and former co-director of Films Charas, Preiss’ work spans narrative and experimental cinema, with films preserved by Anthology Film Archives and the Andy Warhol Foundation. His projects have been shown internationally at venues including ICA, London and the Stedelijk Museum, Amsterdam and have involved collaborations with artists such as Joan Jonas, Andrea Fraser, Josiah McElheny, and Anthony McCall. He was Director of Photography for Bruce Weber’s ‘Let’s Get Lost’ (1989), and his 2014 feature Low Down won the Sundance Cinematography Award.
Currently on the board of Light Industry, his film ‘The Secret World’ (2023), made in collaboration with the artist Josiah McElheny, was screened at MoMA in 2024.
A public programme of events will accompany the exhibition throughout October and November.
Curator Saim Demircan
Supported by
