Hello from TIE!
This newsletter reflects just a few of our many extensive exhibitions from the lat 15 months as well as previews of upcoming exhibitions in Vienna and Portland. Enjoy!
Letters from TIE in Buenos Aires|
"I just wanted to tell you how much I enjoyed the film screenings of TIE at the MALBA museum in Buenos Aires last Saturday. For appreciators of experimental cinema like myself it is a rare chance to see these films in their original format... I had never seen seen the films by the Argentine filmmakers in their original celluloid format, except the ones by Claudio Caldini. It is a whole different experience, not just because of a much richer texture and color of the images but also because the use of this fragile pre-digital technology, like the Super 8 projector, gives me a sense of a forgotten past coming back to haunt the digital age with a kind of ghostly aura. I really hope you can be back with TIE in Argentina soon!"
- David Leda, Argentina
"The projection was absolutely great and I really enjoyed each and every frame of every film. Thank you for being there and here to. We are not alone in universe making experimental films! "Come back soon!"
-Gabriel Gonzalez Carreño, Argentina
(Filmmakers' Claudio Caldini and Macarena Gagliardi pictured; TIE at MALBA)
Reviews of "Film (Parkour)"; Buenos Aires|
"...folky but experimental tinge...both images and sound, projector and instrument shared a rawness that matched perfectly and gave the "characters" and "story" onscreen an added layer of meaning which at times was warm, funny, odd, contrasting, insightful."
"We know that this is the first time in history that this type of Parkour material makes it into film; and this project does an incredible job at highlighting the deepest values that move our lives, leaving behind all superficiality."
-Walter Bongard, founder PKA, Asociación Argentina de Le Parkour
(Photo by Lucas Averbuj)
TIE (Pikes Peak) Christmas|
TIE returned to the Pikes Peak area of Colorado with new Super-8 and 16mm programs. The exhibition featured an eclectic range of experimental films that featured several highlights from recent TIE festivals (held in Uruguay, Argentina, U.S., and Canada), as well as new TIE film premiers, including "A Hallow Kiss for Mark Lapore" by Luther Price and "Kids and Pets" by Frank Biesendorfer.
Several of the artists were in-person to conduct Q&A. Among them Alexandre Larose, Scott Banning and James Prange. Cine Parkour participant, Rachel Cole, Director of the Dikeou Collection, conducted an enlightening conversation with traceur's Jimmy Gable and Dan Mincini before the expanded cinema piece that featured the two Colorado Springs based traceur's.
TIE-Uruguay included over forty films. Several filmmakers were in person to discuss their work. The exhibition blended thoughtfully programmed and diverse experimental cinema while producing a vital gathering of creative minds.
"It was very exciting to present and curate an outstanding and inherently exotic selection of international experimental cinema for Cinemateca Uruguaya to help further film exhibition as an art form in TIE’s first festival in a Spanish speaking country.”
- Christopher May
"For me, it was an unforgettable experience, and if I could volunteer for the festival in Uruguay, it would be even more rewarding and enriching."
-Martin Abdul, Uruguay
TIE: Paonia Edition|
Filmmakers' Standish Lawder, David Gatten, Sandra Davis, Dirk De Bruyn, and Günter Zehetner, among others, gathered for an intensive festival of film and intimate discourse in Paonia, Colorado. As with every TIE exhibition, the projection was sublime; the conversation intimate and programming astoundingly, innovative, creative and thoughtful.
Austrian Film Museum: April 22-24, 2009|
Unlike their ancestors, Maya, Kenneth, Stan, Andy, and Michael, the younger generations of the experimental American cinema whom are hardly known in Europe. This thriving independent filmmaking remains: Even in an era in which digital tools and aesthetics as a mainstream standard applied, the conscious, advanced work with film in America experienced a new upswing. This upturn can be seen not only in the striking new works by artists who emerged in the last decade, but also in new cultural initiatives, citical reception (especially among younger critics who publish online) and in the arts sector, where Film projections today, are a paradoxical "vanguard role" to the ubiquitous video game art.
Founded by curator, Christopher May, TIE, The International Experimental Cinema Exposition is an exemplary platform for these new generations of filmmakers (and rediscoveries from earlier decades). After his numerous and enthusiastic exhibitions in North and South America, Christopher May, at the invitation of the Film Museum, will present in Europe for the first time. May personally curated four programs with a total of 46 films by excellent artists that illuminate the continuing vitality and beauty of celluloid.
Continual Repositions: The Art of Celluloid|
April 11-12, 2009
Portland, Oregon's Cinema Project welcomes guest curator Christopher May from TIE, The International Experimental Cinema Exposition. TIE, founded in 2000 in Telluride, Colorado, recognizes experimental and avant-garde film from around the world. Through an international focus, TIE programs are also dedicated to exploring the specific art of celluloid.
The selection of films challenges their very medium. From reworked found-footage pieces to humorous, spellbinding, and provocative works, this two night presentation surveys work from both past and present. Each film in these two programs will be presented on 16mm.
Part 1: Repositions
The Influence of Ocular Light Perception on Metabolism in Man and in Animal
Thomas Draschan and Stella Friedrichs
(2005, 16mm, sound, 6min, 24fps, Austria/Germany)
A found footage piece that uses film from the 1960's and 70's to create an active visual test directed at the audience. The film is synchronized to an Italian adult cinema soundtrack from the sixties, which only adds to the eroticizing of the "squeaky clean" imagery. Draschan's film is reminiscent of the Russian montage film, combining unlike images to create a new meaning from them.
-Logan Corcoran, TIE
(2006, 16mm, optical, 7 min, 24fps, USA)
"Heartbeat. Out of a sick morass of reds and yellows, blacks, burns, and direct-to-film scratches, arises the (post) post-industrial terror of our collective oil-stained subconscious. Only three color tones are necessary to conjure up a veritable prehistoric nightmare or The Element of Crime. The primordial fire gives way directly to digital-age carnage and re-enforced titanium imperialist ambition. Dripping. Syrupy glimpses of fighter pilots. Glassy eyes. Spindly towers waver in the nuclear breeze. Preparation for battle against comet field super nova background. Image would be clearer without the toxic pyro-fog. But instead, it's heat without season, drought without cycle; this moment is the unforeseen arrival, the final annihilation. Chirp your last, all precious consumer-constituent. Representation becomes survival, as the farce of authority crumbles along with every other vestige of a frantic, deluded civilization. The sun has burst open wide and spills out a thick, sweaty mix of techno-warfare and rich, fleshy industry. This is what man-made hell looks like. Echoes. Sci-fi meets hearts of darkness. It's a vision for rapture obsessives. But ecology replaces old time religion. Only no one's listening. We are the Hindenburg, the Titanic, the World Trade Center. A figure appears in the lower right corner, arms outstretched, a stand-in for humanity: Welcoming?…Challenging?"
- JT Rogstad, TIE
Shudder (top and bottom)
(2001, 16mm, optical, 3min, 24fps, USA)
The source for this work is a found piece of 35mm film which was cut down and re-perfed for 16mm projection. Each frame of the original 35mm image covers two 16mm frames, with the top half of the original image on one frame and the bottom half on the next frame. The film is a kind of shuddering optical toy, with a dense, collagist soundtrack that rubs against the complicated visual weave of the images. It scratches at the fiction of the original footage, leaving behind, in its phosphene-laden after-image, a throbbing world of lonely danger.
(2003, 16mm, optical, 4min, 24fps, USA)
"A nostalgic evocation of boyhood and summer camp, induces creepy psychosexual feelings."
(2005, 16mm, optical, 10min, 24fps, USA)
"Epileptic static strain into grays of machancal fetish tube socks and kenetic clown S and M cascading objects caress and fondle."
April 11, 2009
Part II: Early 16mm Films by Paul Bartel
(1962, 16mm, optical, 17 min, 24fps, Italy)
"This film was made in Rome in the Spring of 1962 during my Antonioni period. I was on a Fulbright at the time, studying directing at the famous Centro Sperimentale di Cinematografia, and I wanted to sum up in a film some of my observations as a cinema student in Rome. So I made a film about two aspiring actors studying at the Centro who wanted to come to the Actor's Studio in New York and become movie stars overnight, and who actually believe that this is going to happen to them. The point of the film is that these actors are really incapable of acting in either sense of the word. but they certainly know how to go through the motions and are beautiful to look at and to listen to, if you don't mind Italian(s). When Oscar Werner saw Progetti in Paris in the fall of '62 he became very excited and showing for Truffaut and Clouzot, who were also reportedly enthusiastic about the film."
The Secret Cinema
(1968, 16mm, optical , 30min, 24fps, USA)
The Secret Cinema is a black-comic tale of a woman whose fears that her life is being filmed for the entertainment of her friends turn out to be true. The film presaged the sardonic tone of most of the maker's later work (Eating Raoul), though he would mostly abandon The Secret Cinema's experimental aspects in favor of linear narratives with perverse touches.
April 12, 2009
Part III: Continual
(2001, 16mm, optical, 13min., 24fps, Taiwan/Austria)
Brush is slowly choking a brewery which was apparently closed long ago, like a subway tunnel at the end of which one can see the sections still in use. This is surrounded by everyday life focusing on a short-order restaurant.
Vom Innen; Von Aussen
(2006, 16mm, silent, 20min, 24fps, Austria)
This film is a wonderfully unnerving, scrutinized, study of the human body within the context of its environment. The film opens with an empty apartment set in motion, revolving around a fixed point. This introduces the kinetic fixation that Sackl explores thoroughly within the film, the revolution. Implications of the revolution within man's own self image and man's historic worldview seem to be the larger conceptual concerns of the work. Ultimately, the film has a truly meditative quality, a meditation that encompasses our notions about our bodies and the rules that govern it, both environmental and self-imposed.
The Parable of the Tulip Painter and the Fly
(2008, 16mm, silent, 4min, 24fps, USA)
An intoxicating flower; a metaphorical insect; a longing reach across the centuries. The film is a philosophical search drenched in luminous colors and sparkling light. The film was shot on color reversal, entirely hand-processed.
Steifheit 1 & 2
(1997-2007, 16mm, silent, 6min, 24fps, Austria)
A Caravaggio-esque lighted coming-of-age experiment. After 10 years, Albert Sackl repeated the same experiment in front of the camera as in 1997: how long could he maintain his stiff cock?
(2006, 16mm, optical, 3min, 24fps, USA)
"...the overall effect being that of a pet dog's POV on acid in a field of beautiful flowers.'
- JT Rogstad, TIE
(2001, 16mm, optical, 24fps, 7min, Austria)
Paito seems to lie on the edge of Taipei. At least, we see mostly hilly countryside and meadows, with a wind which permits life to take form, and Schreiner in the foreground, surrounded by the wind, as he reacts, and then later as he remembers, seeing things in a new light through his material: layers of experience, the beauty between experience and memory, taking on meaning in this fracture.
Nothing Is Over Nothing
(2008, 16mm, optical, 16min, 24fps, USA/Israel)
There were other places where the lord fell, and others where he rested; but one of the most curious landmarks…we found…was a certain stone built into a house…so seemed and scarred that it bore a sort of grotesque resemblance to the human face. One of the pilgrims said, "But there is no evidence that the stones did cry out." The guide was perfectly serene. He said calmly, "This is one of the stones that would have cried out."
– from Mark Twain, The Innocents Abroad.
TIE-2009 CALL FOR ENTRIES|
TIE seeks films that challenge popular and conventional modes of the moving image. From difficult and hand-made films to extraordinarily radical and obscure compositions, TIE selects only outstanding celluloid cinema from the outer-spaces of contemporary screen-culture.
If a submitted film is selected, the exhibition print must be film (8mm, Super-8, 9.5mm, 16mm, 35mm). All lengths are considered. Films from any era and year of completion are considered. A nominal entry fee is required. Films from any country are considered. Films are considered on an ongoing basis.
Click here for Submission Form
Thank you to all who participated and attended our recent events. Look forward to TIE e-news reviews of other recent exhibitions that were simply left out this time around because we need more space to fit it all in.