Breaking Ground

60 Years of Austrian Experimental Cinema
10 film & video programs
curated by Brent Klinkum



25.-29.april 2014
Moskow Museum for Modern Art
in cooperation with coolconnections and
Austian Cultural Forum Moskow

Vilnius / Estonia
from 26.mai 2014
Centre of Contemporary Art CAC

Seoul - KU Cinematheque
5.-23.november 2013

IVAC Valencia

Filmoteca Zaragoza

Copenhagen Cinematheque @ Danish Film Institute
6 Programme
20.1.2013 + 23.2.2013 + 21.3.2013
invited guest: Siegfried Fruhauf

Paris Centre Pompidou
10 Programme
8.2.2013 - 27.3.2013
invited guests: Josef Dabernig, Michaela Grill,
Brent Klinkum, Gerald Weber

Caen - Cinematheque
4 Programme
14.2.2013 + 21.2.2013
invited guests: Brent Klinkum, Gerald Weber

Buenos Aires Bafici Independent Film Festival
10 Programme
10. - 21.4.2013
invited guests: Brigitta Burger-Utzer, tba


Vienna, Filmhaus Spittelberg, February/March 2012
Ljubljana, Kinoteka, March 2012
Tokyo, Image Forum, April 2012
New York, Anthology, September 2012
Madrid, Semana de Cine Experimental, November 2012







Sonne halt! Sun Stop!
Ferry Radax, 1959-1960

Film ist. - 9 Eroberung Film Is. 1 – movement and time
Gustav Deutsch, 2002










In the twentieth century Austria’s film industry was particularly active, with directors like Fritz Lang, Joseph von Sternberg, Billy Wilder and Otto Preminger, all of whom emigrated to the United States, and more recently Michael Haneke, Ulrich Seidl, Barbara Albert and Jessica Hausner. Less known and recognized outside the festival circuit and museums are the various forms of avant-garde moving images that without a doubt have been one of the key artistic forms in Austrian culture these past fifty years and continue to play an increasingly important role in the remarkable richness and diversity of Austrian cultural identity. This identity goes far beyond the clichés of Viennese cafés, Baroque palaces, waltzes and classical music to encompass the radicalism of writers like Thomas Bernhard, Elias Canetti, Franz Kafka and Elfriede Jelinek, and artists such as Oskar Kokoschka, Gustav Klimt, Hermann Nitsch and Egon Schiele, not to mention the architects and philosophers who have engendered major influences on the world stage. This selection continues in the same vein with cutting-edge films and videos.
These ten programs have been constructed from avant-garde films and videos produced between 1955 and 2010 in which virtually every technique and genre imaginable are employed. The selections range from formalist and structuralist works conceived by major figures on the world scene, like Peter Kubelka, Peter Weibel, Peter Tscherkassky and Martin Arnold, to the contemporary generation of artists pushing boundaries yet further into unique visual realms with such directors as Siegfried A. Fruhauf, Johann Lurf, Norbert Pfaffenbichler and Virgil Widrich. At the same time the radical veins of work produced by performance-based artists like VALIE EXPORT, Mara Mattuschka and the Viennese Actionists visualized through the highly condensed filmic documents of Kurt Kren have not been ignored. Special attention has also been devoted to artists whose work has regrettably become neglected over the years, for example Marc Adrian, Maria Lassnig, Hans Scheugl, Alfred Kaiser, Ernst Schmidt Jr. and Herbert Vesely. Interspersed amongst these historical and contemporary “classics” will be works revisiting architecture, commissioned film festival trailers and television commercials, the distinguished use of found footage in various chapters of Gustav Deutsch’s Film ist. series, and some examples of mesmerizing sonic art with artists like Tina Frank, Karoe Goldt, Michaela Grill, Michaela Schwentner and Billy Roisz, as well as others. These works epitomize in many aspects the highly collaborative nature of Austrian avant-garde moving images. By appropriating digital technology, the artists have expanded the notion of collaboration, in which the “artist” and the “musician” play equal and complementary roles, and are often influenced by graphic artists, webmasters and designers. The common defining factor visible in all these independent, if not underground, films and videos is an unmistakable idiosyncratic visual grammar.
These selections are born of a collective desire to explore different means used in the making of screen works, both “classics” and the undeservedly little-known oeuvre of both renowned and emerging artists. Ignoring certain formal canons and underlining the visual and musical poetry are these programs’ leitmotifs. Bouncing back and forth between historical, social and aesthetic questions and purely formal works that wreak havoc with the retina, this panoramic, non-inclusive selection is an attempt to define a poetic edge within the vast array of production while underlining links and relationships between several generations of artists, (re)discovering new ways of entering into the “material” and the frame, and examining the mechanics of cinema.
(Brent Klinkum)

Brent Klinkum has directed Transat Vidéo since it’s creation in 1994. Based in Caen, France, Transat Vidéo proposes yearly around a hundred different screening programs in cafés, galleries, museums, cinemas, festivals, fine art schools, in the countryside. With few exceptions programs are inspired by themes in relation to the context in which they are screened. Flipbooks, photos, performances, sound works, readings by actors regularly accompany the films and videos. Transat Vidéo also curates several exhibitions every year, co-produces installations and videos. Amongst his parallel activities Brent Klinkum has been jury member of numerous international film and media art festivals, jury member of Fine Art school diplomas (Le Fresnoy, École Sup de l’image Angoulème) and participated in the preselection comitees of various festivals. Since 2004 he is member of the New Media collection of the Centre Georges Pompidou in Paris. His curatorial activities includes exhibition and audiovisual programs in Paris, Caen, Zürich, Amien, Vienna, Brussels, Berlin, Zagreb, ...
(Brigitta Burger-Utzer)

















Film ist.
1 – Bewegung und Zeit

Film is.
1 – movement and time

The cameras rolling and we’ve boarded a rollercoaster of visual and sound voyages. This opening program combines an excitingly eclectic range of artistic modes and represents both an introduction to what have become the hallmarks of Austrian experimental cinema and the perfect place to begin ten adventures into cinema and its history. Whether reconstructing found footage, using sophisticated multiple points of view, restaging documentaries or undertaking structural explorations, these techniques all become rhythmic tools for our aural and visual pleasure.


Gustav Deutsch
1998, 16mm, sw, 15 min




Sabine Hiebler & Gerhard Ertl
1990, 16mm, sw, 3 min


Yes? Oui? Ja?

Thomas Draschan
2002, 16mm, col, 4 min


Mirror Mechanics


Siegfried A. Fruhauf
2005, 35mm, sw, 7 min



Karoe Goldt
2004, video, col, 3 min


Arnulf Rainer


Peter Kubelka
1960, 35mm, 6 min

Die Geburt der Venus

Birth of Venus


Moucle Blackout
1970-72, 35mm, sw, 5 min

Sunset Boulevard


Thomas Korschil
1991, 16mm, col, 8 min




Josef Dabernig
1996, 16mm, sw, 8 min


Body Politics


1974, video, sw, 3 min

Instructions for a Light and
Sound Machine


Peter Tscherkassky
2005, 35mm cs, sw, 17 min










Concrete Forms




Though the title doesn’t mention architecture explicitly, this discipline is omnipresent in all its diversity in both the objectification of structures and descriptions of space. From the Adriatic coast to California, utopian concrete masses take on a form of their own, or even as humorous vehicles to sell shoes. Sound-driven works, from a younger generation of collaborative audiovisual artists in particular, accompany abstract and animated forms with vigor and intelligence.


Lotte Schreiber
2002, video, sw, 10 min




Dietmar Offenhuber
2001, video, col, 10 min


Humanic Spot – Würfel 1

Humanic Spots – Cubes 1

Axel Corti
1971, video, col, 0:30 min

John Lautner – The Desert
Hot Springs Motel


Sasha Pirker
2007, video, col, 10 min


Void.Seqz 5


n:ja (Annja Krautgasser)
2009, video, col, 5 min

Humanic Spot – Würfel 2

Humanic Spots – Cubes 2


Axel Corti
1971, video, col, 00:30 min




1973, video, sw, 7 min




Marc Adrian
1963, 16mm, sw, 5 min




Tina Frank
2004, video, col, 2 min


Humanic Spot – Und immer
wieder die Würfel

Humanic Spots – Cubes Again


Axel Corti
1973, video, col, 00:30 min



Michaela Schwentner
2002, 35mm, sw, 5 min

Sea Concrete Human
(Malfunctions #1)


Michael Palm
2001, 35mm, col&sw, 29 min


Machination 84


2010, video, col, 5 min












Cinema Revisited



Alone. Life Wastes Andy Hardy

Revisiting classical cinema in order to reinvent and create entirely new artistic visions is an attribute of Austrian avant-garde audiovisual production over the past twenty-five years, and it also represents a source of fascination for today’s curious filmgoers. Here, images of Barbara Stanwyck are reappropriated, Anna Magnani’s voice accompanies scenes of Italian suburbia, Mickey Rooney and July Garland are vivisectioned, Barbara Hershey is attacked by the apparatus, and the poetry of early cinema is resurrected in all its beauty in Film is. All this, in addition to material taken from hundreds of other sources, contributes to the creation of unique cinematographic languages.


Martin Arnold
1998, 16mm, sw, 15 min




Lotte Schreiber
2008, video, col&sw, 15 min

Outer Space

Peter Tscherkassky
1999, 35mm cs, sw, 10 min


Film ist.
7 – Komisch


Gustav Deutsch
2002, 35mm, col&sw, 19 min

MOSAIK MÉCANIQUE (Notes on Film 03)


Norbert Pfaffenbichler
2008, 35mm cs, sw, 9 min

Picture Again


Linda Christanell
2003, 16mm, col, 10 min


Zwölf Boxkämpfer jagen Viktor
quer über den großen Sylter Deich 140 9

The quick brown fox jumps over the lazy dog


Johann Lurf
2009, 35mm, col, 3 min












Daily Business




Observations of everyday events and life are transposed with irony and humor through choreographic touches, performative actions or documentary real time. Static scenes become mini cinematographic voyages: a kiss enhanced through repetition and recreation, bicycles loaded into an elevator or being repaired, workers finishing their day, or bodybuilding as an artistic performance in itself. The ordinary is subtly tweaked to create wry visual motifs for our undisguised pleasure.


Hans Scheugl
1967, 16mm, col, 11 min




Carola Dertnig
1998, video, col, 5 min


pièce touchée

Martin Arnold
1989, 16mm, sw, 16 min

Hotel Roccalba

Nach “pièce touchée”


Albert Sackl
1998, 16mm, sw, 9 min

Hotel Roccalba

Hotel Roccalba


Josef Dabernig
2008, 35mm, sw, 10 min




Ernst Schmidt jr.
1965-66, 16mm, col, 9 min




Sabine Hiebler & Gerhard Ertl
1991, 16mm, col, 5 min

Danke, es hat mich sehr gefreut


Mara Mattuschka
1987, 16mm, sw, 2 min












From A to Z and back...





Inspired by the first film images ever shot in La Ciotat, to sophisticated references to Hitchcock, this program questions media, the passage of time and different technologies used to create moving images. From the horizontal to the vertical and at differing speeds, intensities or fluctuations, various modes of cinematographic dislocation are explored. And in doing so nearly every possible manner of moving from one place to another is employed, whether traditional or virtual.


Peter Tscherkassky
1997-98, 35mm cs, sw, 2 min

Luukkaankangas – updated, revisited


Dariusz Kowalski
2005, video, col, 7 min


mir mig men

Karø Goldt
2002, video, col, 5 min

Perfekt 2 – Tacoma, Washington


Dietmar Brehm
1982, 16mm, sw, 12 min


Film – An Exercise in Illusions II


Lisl Ponger
1983, 35mm, col, 4 min


Adjungierte Dislokationen

Adjunct Dislocations


1960, 35mm, 6 min


15/67 TV


Kurt Kren
1967, 16mm, sw, 4 min

Alpine Passage

Alpine Passage


Michaela Schwentner
2006, video, col, 8 min

Alpine Passage

Vertigo Rush


Johann Lurf
2007, 35mm, col, 19 min












Here's Looking at You




From the harsh lights illuminating the stage to the wonder of reproductive technology, these works elucidate the intimate through a delightful range of genres and techniques. The artists in this program have used self-portraits, documentary and fictional narrative methods, performance, animation and choreography to ask a question essential to cinema: Who’s looking at whom?


Nik Thoenen & Timo Novotny
2003, video, col, 5 min

Legal Errorist


Mara Mattuschka &
Chris Haring

2005, video, sw, 15 min




Friedl vom Gröller
2000, 35mm, sw, 2 min

Maria Lassnig Kantate


Maria Lassnig & Hubert Sielecki
1992, 35mm, col, 8 min




Gunter Brus
1967, 16mm, sw, 3 min

8/64 Ana – Aktion Brus


Kurt Kren
1964, 16mm, sw, 3 min




Hito Steyerl
2004, video, col, sw, 25 min

Copy Shop

Copy Shop


Virgil Widrich
2001, 35 mm, sw, 12 min












In Awe




Is there really an alternative to regarding one’s self or another without a sense of awe? Radical explorations of TV’s early beginnings, and sexual desire expressed and imagined off screen and framed in closeups, are major artistic contributions to the reputation of the Austrian avant-garde. This program brings together works that thematize cinema’s one-way communication and the codes normally involved, which turn the spectator into a naïve onlooker. When our “iris” dilates with the “famous women of Vienna,” you don’t necessarily need to “close our eyes” for the “happy end.” Can we maintain our voyeuristic gaze until the conclusion?


Siegfried A. Fruhauf
2001, 16mm, sw, 9 min




Peter Kubelka
1957-58, 35mm, col, 1:30 min



Peter Kubelka
1957-58, 35mm, col, 1 min



Maria Lassnig
1971, 16mm, col, 10 min


Le Barometre


Friedl vom Gröller
2001, 35mm, sw, 3 min


Berühmte Wieneriennen nackt: Die Geschichte des Pip-Ups

Famous Viennese Women naked: The History of the Pin-Up


Ernst Schmidt, jr.
1983, 16mm, col, 9 min


TV + VT Works


Peter Weibel
1969-72, video, sw, 17:30 min


Close Your Eyes


Billy Roisz
2009, video, col, 13 min

Mann & Frau & Animal


1970-73, 16mm, col, 10 min


22/69 Happy End


Kurt Kren
1969, 16mm, sw, 4 min












Passing Time




NS Trilogie Part II: Gefühl Kazet

The passage of time and a certain amount of distance were probably necessary before visual artists began questioning the reality and aftermath of Nazism. This program introduces several rarely screened works that directly confront recent Austrian history, and they had obvious and radical social, political and artistic repercussions for the Viennese Actionists and the student protests of May ’68. Time has passed over dark horizons, to also become permeated with transforming cities, or history in neighbouring countries through the use of judiciously chosen found footage.


Linda Christanell
1997, 16mm, col, 14 min




Elke Groen
2007, 35mm, col, 9 min

Kunst & Revolution

Art & Revolutionn

Ernst Schmidt jr.
1968, 16mm, sw, col, 2 min




Gustav Deutsch
1994, 16mm, sw, 1 min


Ein drittes Reich

A Third Reich


Alfred Kaiser
1975, 16mm, sw, 29 min



Elke Groen
1998, 16mm, col, 5 min



Michaela Grill &
Martin Stiewert

2007, 35mm, sw, 16 min


20/68 Schatzi


Kurt Kren
1968, 16mm, sw, 2:30 min












Whose Reality?



6/64 Mama und Papa

These four ‘choreographed’ documentaries play out in the interstices between inside and outside, public and private, visible and invisible, being in control and out of control, and they explore different aspects of the political arena. From a performance to an essay on the status of refugees and illegal immigrants in Fortress Europe, surveillance, public spaces and hyper-real public housing are questioned and traditional family models are undermined.


Kurt Kren
1964, 16mm, col, 4 min

Body Trail


Michael Palm, Willi Dorner
2008, video, sw, 8 min



Ascan Breuer, Ursula Hansbauer, Wolfgang Konrad
2005, video, col, 50 min

late afternoon


Ella Raidel
2007, video, col, 11 min












Visiting our Neighbours



An diesen Abenden

On those Evenings

Small or isolated countries have always had a disproportionate interest in the world surrounding them. The key issue in these works is analyzing the observation of “exotic” images, editing and re-editing material of the past and present. Fictional and documentary approaches and reconstructed found footage question social interactions within a 1950s farming community, moral and visual colonialism, the view of foreignness and a collective experience with migrants and refugees. Formally, they function by transposing sounds and images, and aesthetically through the displacement of communities and individuals.


Herbert Vesely
1952, 35mm, sw, 23 min



East Africa


Dietmar Brehm
1993, 16mm, col, 6 min

Sonne halt!

Sun Stop!

Ferry Radax
1959-60, 35mm, sw, 25 min

Key West


Thomas Aigelsreiter
2002, video, sw, 5 min


Film ist.
9 – Eroberung

Film is.
9 – Conquest


Gustav Deutsch
2002, 35mm, sw, 18 min




Lisl Ponger
1996, 35mm, col, 11 min

Unsere Afrikareise

Our Trip to Africa


Peter Kubelka
1961-66, 16mm, col, 12:30 min









Curator and Programme texts: Brent Klinkum
Organisation: Gerald Weber, Brigitta Burger-Utzer (sixpackfi lm)
Press agency: apomat (Andrea Pollach, Mahnaz Tischeh)
Graphic design: Karl Ulbl
Financial support:
Bundesministerium für Unterricht, Kunst und Kultur (Abteilung Film),
Fachverband der Film- und Musikindustrie der WKO,
Kulturamt der Stadt Wien.




Neubaugasse 45/13, A-1070 Vienna
Tel: +43 1 526 09 90 0 Fax: +43 1 526 09 92