Breaking Ground

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

 

 

 

August / September 2012
UCLA Film & Television Archive Los Angeles
and LA Filmforum
Anthology Film Archive NY


 

 

 

Programms

Credits


 



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)

 

 


   





Los Angeles
(UCLA Film & Television Archive
and LA Filmforum)
New York (Anthology Film Archive)



01

Action!
(71 min)





August 17:
UCLA Film & Television Archive Los Angeles
September 7:
Anthology Film Archive NY

 



02

Concrete Forms
(90 min)





August 25:
UCLA Film & Television Archive Los Angeles
September 8:
Anthology Film Archive NY

 



03

Cinema Revisited
(81 min)





September 7:
UCLA Film & Television Archive Los Angeles
September 13:
Anthology Film Archive NY

 



04

Daily Business
(67 min)





August 18:
UCLA Film & Television Archive Los Angeles
September 7:
Anthology Film Archive NY

 



05

From A to Z and back...
(71 min)





September 6:
UCLA Film & Television Archive Los Angeles
September 12:
Anthology Film Archive NY


 



06

Here's Looking at You
(73 min)






September 30:
Los Angeles Filmforum
September 9:
Anthology Film Archive NY

 



07

In Awe

(71 min)






September 23:

Los Angeles Filmforum
September 8:
Anthology Film Archive NY

 


08

Passing Time

(78 min)




September 15:
UCLA Film & Television Archive Los Angeles
September 9:
Anthology Film Archive NY


 



09

Whose Reality?
(73 min)






September 22:
UCLA Film & Television Archive Los Angeles
September 11:
Anthology Film Archive NY

 



10


Visiting our Neighbours
(101 min)

 





September 21:
UCLA Film & Television Archive Los Angeles
September 10:
Anthology Film Archive NY

 

 

 

 

 

 

 

 

01

 

August 17:
UCLA Film & Television Archive Los Angeles
September 7:
Anthology Film Archive NY

next

 

 

Action!

 

 

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

   
 

Schönberg

 

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

Subrosa

 

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

   
 

Wisla

 

Josef Dabernig
1996, 16mm, sw, 8 min

   
 

Body Politics

 

VALIE EXPORT
1974, video, sw, 3 min

Instructions for a Light and
Sound Machine

 

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

     

 

 

 

 
02  

August 25:
UCLA Film & Television Archive Los Angeles
September 8:
Anthology Film Archive NY

next

 

 

Concrete Forms

 

 

quadro

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

   
 

Besenbahn

 

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

   
 

Hyperbulie

 

VALIE EXPORT
1973, video, sw, 7 min

   
 

Random

 

Marc Adrian
1963, 16mm, sw, 5 min

   
 

Chronomops

 

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

The_future_of_
human_
containment

 

Michaela Schwentner
2002, 35mm, sw, 5 min

Sea Concrete Human
(Malfunctions #1)

 

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

   
 

Machination 84

 

lia
2010, video, col, 5 min

 

 

 

 

 

03

 

September 7:
UCLA Film & Television Archive Los Angeles
September 13:
Anthology Film Archive NY

next

 

 

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

   
 

Borgate

 

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

   

 

 

 

 

04

 

August 18:
UCLA Film & Television Archive Los Angeles
September 7:
Anthology Film Archive NY

next

 

 

Daily Business

 

 

Hernals

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

   
 

Byketrouble

 

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

   
 

Bodybuilding

 

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

   
 

Livingroom

 

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

Danke, es hat mich sehr gefreut

 

Mara Mattuschka
1987, 16mm, sw, 2 min

 

 

 

 

 

05

 

September 6:
UCLA Film & Television Archive Los Angeles
September 12:
Anthology Film Archive NY

next

 

 

From A to Z and back...

 

 

l'arrivee


L’Arrivée

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

 

VALIE EXPORT
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

     

 

 

 

 

06

 

September 30:
Los Angeles Filmforum
September 9:
Anthology Film Archive NY

next

 

 

Here's Looking at You

 

 

Neon

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

   
 

Spucken

Spitting

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

Maria Lassnig Kantate

 

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

   
 

Pullover

 

Gunter Brus
1967, 16mm, sw, 3 min

8/64 Ana – Aktion Brus

 

Kurt Kren
1964, 16mm, sw, 3 min

   
 

November

 

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

Copy Shop

Copy Shop

 

Virgil Widrich
2001, 35 mm, sw, 12 min

 

 

 

 

 

07

 

September 23:
Los Angeles Filmforum
September 8:
Anthology Film Archive NY

next

 

 

In Awe

 

 

Exposed

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

Adebar

Adebar

 

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

   
 

Schwechater

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

Iris

 

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

 

VALIE EXPORT
1970-73, 16mm, col, 10 min

   
 

22/69 Happy End

 

Kurt Kren
1969, 16mm, sw, 4 min

     

 

 

 

 

08

 

September 15:
UCLA Film & Television Archive Los Angeles
September 9:
Anthology Film Archive NY

next

 

 

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

   
 

NightStill

 

Elke Groen
2007, 35mm, col, 9 min

Kunst & Revolution

Art & Revolutionn

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

   
 

55/95

 

Gustav Deutsch
1994, 16mm, sw, 1 min

   
 

Ein drittes Reich

A Third Reich

 

Alfred Kaiser
1975, 16mm, sw, 29 min

Tito-Material

 

Elke Groen
1998, 16mm, col, 5 min

cityscapes

 

Michaela Grill &
Martin Stiewert

2007, 35mm, sw, 16 min

   
 

20/68 Schatzi

 

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

 

 

 

 

 

09

 

September 22:
UCLA Film & Television Archive Los Angeles
September 11:
Anthology Film Archive NY

next

 

 

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

   
 

Forst

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

Somewhere,
late afternoon

 

Ella Raidel
2007, video, col, 11 min

     

 

 

 

 

10

 

September 21:
UCLA Film & Television Archive Los Angeles
September 10:
Anthology Film Archive NY

back

 

 

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

   
 

Ostafrika

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

Passagen

Passages

 

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.

 

 

 
 

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