I just found out that the amazing „Film Unframed. A History of Austrian Avant-Garde Cinema (edited by Peter Tscherkassky) is still available via sixpackfilm /Index (it’s sold out pretty much everywhere). It’s such a great read about individual artists (and I’m not only saying this because Steve Bates wrote this great piece on my work) and the entire development of experimental film in Austria. If you ever wondered why such a tiny country has produced so many leading figures in avant-garde cinema, you might find some answers here. Highly recommended!
will be part of the Female Shorts program at Filmarchiv Austria tomorrow Sat 26 at 8pm in Open Air Augarten and on Sun 27 at 7pm at Metro KinoKulturhaus.
edge of doom will be screened tomorrow 22.6.2021 at 20:00MEZ at Stadtkino im KĂĽnstlerhaus Viennain the KĂĽsse das Kino/ Kiss Cinema program. free entry!
I’m so honoured to be part of the overview effect exhibition in the Museum of Contemporary Art in Belgrade that „explores the complexity of the ecological problematics and the inseparable links between them and issues like corporate imperialism, indigenous sovereignty, gender, different kinds of extractivisms and the importance of decolonising not just history but also our concept of nature in order to reshape an inclusive mindset akin to a post-anthropocentric world.“
Thanks so much for including Antarctic Traces, Zoran Eric!
OVERVIEW EFFECTMuseum of Contemporary Art, Belgrade, June 19th – September 20th 2021 Opening of the exhibition: Saturday, June 19th at 1 pm
project and curatorial direction: Blanca de la Torre and Zoran Erić, assistant curator: Dušan Savić, production: Dragana Jovović, design: Katarina Popović, Andrej Dolinka (project logo)
blowfeld Rainer Gamsjäger. AT, 2004, DCP, color, 4 min LOSSLESS #5 & #3 Rebecca Baron, Doug Goodwin. US, 2008, DCP, bw, 3 & 10 min cityscapes Michaela Grill & Martin Siewert. AT, 2007, 35mm, bw, 16 min Twelve Tales Told Johann Lurf. AT, 2014, DCP, color, 4 min Freude Thomas Draschan. AT, 2009, 35mm, color and bw, 2 min She Puppet Peggy Ahwesh. US, 2001, DCP, color, 15 min A Movie by Jen Proctor Jennifer Proctor, US, 2010–12, DCP, color, 12 min Technology Transformation: Wonder Woman Dara Birnbaum. US, 1978–79, DCP, color, 6 min Kopierwerk Stefanie Weberhofer. AT, 2020, 35mm, color and bw, 7 min
The art of reclaiming and reworking found footage exploded into previously unimaginable dimensions with the invention of digital technology and its tools for image manipulation. „Shred, Scratch, Sync“ explores the consequences of this new vocabulary of special effects: channel combiner, curves, fill, exposure, linear wipe, noise, triton, set matte, venetian blinds, limiter effect, minimax, fractal noise, digital glitch, chromatic aberration, blur, de-noise, glow, sharpen, convert, plane to sphere, rotate, motion blur, bicubic sampling, transform, directional blur, drop shadow, fast box blur, gradient ramp, offset, find edges, mosaic, tint, invert, gaussian blur, 3D channel extract, depth matte, ID matte, EXtractoR, IDentifier, bilateral blur, reduce interlace flicker, compound blur, directional blur, smart blur, blend, compound arithmetic, remove color matting, shift channels, broadcast colors, change to color, color stabilizer, equalize, PS arbitrary map, vibrance, kernel, fit to comp width/height, scale, reduce noise, alpha, Bezier warp, bulge, corner pin, displacement map, liquefy, magnify, mesh warp, mirror, optics compensation, polar coordinates, reshape, ripple, smear, spherize, transform, turbulent displace, twirl, warp, bend, blobbylize, flo motion, griddler, ripple pulse, slant, smear, split, tiler, angle control, 4-color gradient, beam, cell pattern, checkboard, eyedropper, paint bucket, radio waves, ramp, scribble, stroke, vegas, write-on, glue-gun, light sweep, luma key, advanced spill suppressor, keylight, matte choker, roto brush, mocha shape, add grain, bevel alpha, color emboss, posterize, texturize, threshold, block load, burn, burn, burn… (Jurij Meden)
Special mention is given to edge of doom by Michaela Grill and Sophie Trudeau. An effective montage analysis shows the faces of the women in the film – and when there’s drama, women exaggerate as if the world is on the edge of doom. In addition to insights into the ways of acting in silent cinema and to the fascination with human face, viewers still have to ask themselves: why did filmmakers tell women to exaggerate in dramatic scenes as if it were the end of the world? Feminism in a three-minute found-footage movie comes when you least expect it.
I’m so thrilled to finally be able to perform with Philip Jeck and Karl Lemieux again! Watch our show tomorrow Friday 4th at 7.30pm EST/ 1.30 am MEZ at Suoni Per Il Popolo – Jour 2 / Day 2. It’s free and will be streaming on Facebook, Youtube and their website: https://suoniperilpopolo.org/…/2021-06-04-jeck-grill… It will be available in their archives afterwards. Thanks to the entire Suoni team for the invitation and all the hard work! The focus of our collaboration is the exploration of analogue-digital image worlds. More details about us can be found here: https://migrill.klingt.org/jeck-grill-lemieux I believe you can see/hear that we were burning to play life again.
