September
24-25, 2009
Mary Riepma Ross Media Arts Center
Lincoln, Nebraska
Recommended
hotels (within walking distance to the Ross):
The
Cornhusker
Embassy
Suites
In contrast to their predecessors like Maya Deren, Kenneth Anger,
Stan Brakhage, Peter Kubelka, and Andy Warhol, the younger generations
of experimental cinema are perhaps defined by new cultural and geographical
alliances. Innovative work with original celluloid-based film is undergoing
a renaissance across the world. This revival manifests itself not
only in the captivating works of new artists who have broken onto
the scene, but also in film-cultural initiatives, in critical reception
(particularly among young online writers) and in the art world, where
film projections are again playing a paradoxical "avant-garde
role" vis-à-vis the omnipresence of video installations.
Join
us for the new edition of TIE, a presentation that illuminates the
continuing vitality of experimental cinema with new 35mm and 16mm
films from Argentina, Germany, Finland, USA, Spain, Netherlands, and
Austria . A special presentation of the 1965 classic avant-garde film,
Vinyl, by Andy Warhol, concludes the program.
TIE
curator, Christopher May, will be present to introduce the programs
and answer questions.
Una
forma estúpida de decir adiós
Paulo Pecora (35mm, 5 min., Argentina, 2004)
This film justly arranges its own contradictions. It brings steady
images to life, and uses movement to film the vacuum. On the present's
background, a man caresses his past, the memories of an agitated life
that has never been frozen. Does the rotation of these steady images
from the past explain through its movement the inevitable outcome?
And even though the film makes one believe in a chronology of its
events, it becomes evident that the end is the beginning. It seems
impossible to talk about this film without going around in circles.
Freude
(Delight)
Thomas Draschan (35mm, 3 min., Austria, 2009)
A filmic Larg Hadron Collider that let's images explode in the viewer's
head. Micro and macrocosm, sex and religion, old Egypt and the Space
Age are juxtaposed in this purely cinematic 35mm piece.
Opening
Night
Tim Leyendekker (35mm, 5 min., Netherlands,
2009)
And a voice said: "Hope comes in many forms, but for tonight,
you're on your own."
Trypps
#5 (Dubai)
Ben Russell (16mm, 3 min., USA/UAE, 2008)
"APP APPAP APP APAPPAP APP APP APP APAPPAPAPPAP APPAP APP"
A
short treatise on the semiotics of capital, happiness, and phenomenology
under the flickering neon of global capitalism.
Polterabend
Friedl vom Gröller (16mm, 3 min., Austria,
2009)
Polterabend (Austria) is an atypical portrait of female aging, made
just prior to the artist’s wedding. Six older women of various
ages are filmed, first in static tableau, then in a panning camera
individualizing each face in a series of uncontrolled and disarming
reciprocal gazes.
Color
by Technicolor
Noah Stout (35mm, 1 min., USA, 2008)
This large, noisy and colorful yet carefully
disciplined handmade film explores the materiality of the medium in
ways in which the viewer's retina is strangely
provoked.
Käfig
(Cage)
Karl Kels (35mm, 14 min., Germany, 2009)
In 35mm black and white is Karl Kels’s Käfig,
an incredible, archaic burlesque dance of rhinoceroses that uses high-contrast
and positive-negative juxtapositions to blend notions of domesticity
and wilderness.
Exactly
Sami van Ingen (35mm, 8 min., Finland, 2008)
"Exactly is some re-arranged found footage with its
original sound track re-united. By omitting just the name of the protagonist
I have turned this recycled strip of film (cut for recycling purposes
from a 35mm screening print into a 16mm leader by an unanimous lab
years ago- thus the undulation of images) in to three meditations
on the international market economy."
Film
Quartet / Polyframe
Antoni Pinent (35mm, 9 min., Spain, 2008)
Film quartet / Polyframe is a small cinematographic bomb
hurled against the concept of the frame as the minimum unit of time.
The experiment aims to deconstruct the theory of metric montage and
take a step beyond the simple recycling of film material through the
appropriation of the period material used.
#37
Joost Rekveld (35mm, 31 min., Netherlands, 2009)
“Andronicos says that in a certain place in Spain one finds
small, scattered stones which are polygonal and grow spontaneously.
Some of them are white, others are like wax and pregnant of smaller
stones similar to themselves. I kept one to verify this myself and
it gave birth at my place, so the story is not a lie.”
Trypps
#6 (Malobi)
Ben Russell (16mm, 12 min., USA/Suriname, 2009)
"From the Maroon village of Malobi in Suriname, South America,
this single-take film offers a strikingly contemporary take on a Jean
Rouch classic. It's Halloween at the Equator, lightning bolts for
the jungle set..."
Burning
Palace
Mara Mattuschka, Chris Haring (35mm, 32 min.,
Austria, 2009)
"A stage, marble columns, the red curtain closes: “You
only have a split second of a pose to multiply your transgression.”
This first statement introducing the opening sequence sounds like
provocative instructions. The game of five figures ensnared in erotic
innuendos is more appearance than reality: the pornographic poses
can be interpreted as sexual simply by the shadows they cast. In the
glowing light, they are actually five protagonists warming up for
a night in the “Burning Palace” Hotel.
Precise physical work with the body has seldom experienced such a
condensed cinematic counterpart as it does in Mattuschka’s/Haring’s
new film. In subtle tableaux vivants sweaty bodies awake from a turbulent,
dream-filled night at the hotel, loll male and female bodies out of
grotesque poses into a scene of border transgression: between objects
and bodies, sounds and melodies, and genders arise those categorical
transgressions and shifts so typical for Mattuschka. A mimetic communication
takes place between the beings (are they really people?) populating
this palace in an urgency of gestures entirely characteristic of the
filmmaker, which is seemingly produced through the immense, yet astonishingly
discrete proximity of the camera to the bodies.
The alienated soundscape of breathing, singing, and speaking provides
the logical architecture for the visual development, and determines
the chronology of the events, the carnivalesque of the gestures, and
the materiality of the bodies with an increasing uncanniness (the
palace as hotel, as heterotopia). From “Paris is Burning”
to this Burning Palace: it’s just a stone’s throw."
- (Andrea B. Braidt) / Translation: Lisa Rosenblatt
***********************
Q&A & Intermission
***********************
Vinyl
Andy Warhol
(16mm, 70 min., USA, 1965)
EDIE SEDGWICK appeared in Vinyl with an otherwise all male
cast, including GERARD MALANGA, JOHN MCDERMOTT and ONDINE.with the
general concept by playwright RONALD TAVEL. Vinyl was Andy’s
interpretation of A Clockwork Orange with Gerard as a juvenile delinquent
in leather saying lines like ‘Yeah, I’m a J.D. - so what.”
Warhol had paid $3,000 for the rights to the book. Vinyl was
first shown to the public on June 4th, 1965 at Jonas Mekas' Cinematheque.
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The
full festival schedule will be shown both nights starting at 7:00
PM.
$9.00 General Admission / $7.50 Students/Children / $6.50 Seniors
/ $6.00 Ross Members
(Box Office Opens 30 Minutes Before Showtimes)
__________________________
www.experimentalcinema.org
Contact TIE: 303.408.4623