Avstrijski avantgardni film in video / Austrian Avantgarde Film and Video

ADEBAR

Peter Kubelka

Avstrija/Austria, 1957, 35mm, 1'30''

Avtor v filmu uporablja le določene dolžine posnetkov, te pa povezuje v skladu s specifičnimi pravili. Priča smo na primer dosledni menjavi pozitivov in negativov. Filmske slike so izjemno kontrastni, črno-beli posnetki plešočih postav; slike so razgaljene do svojega črno-belega bistva in tako služijo konstrukciji skoraj grozljivo natančne kombinacije podobe, gibanja in ponavljajočega se zvoka.

Fred Camper

In Adebar, only certain shot lengths are used and the image material in the film is combined according to certain rules. For instance, there is a consistent alternation between positive and negative. The film's images are extremely high contrast black-and-white shots of dancing figures; the images are stripped down to their black-and-white essentials so that they can be used in an almost terrifyingly precise construct of image, motion, and repeated sound.

Fred Camper

SCHWECHATER

Peter Kubelka

Avstrija/Austria, 1958, 35mm, 1'

Poseben dosežek Kubelke je v tem, da je sovjetsko montažo popeljal korak naprej. Medtem ko je Eisenstein kot osnovno enoto uporabljal posnetke, iz teh pa ustvaril pomene tako, da jih je montiral v vzorec, se je Kubelka vrnil nazaj k samostojni statični sličici kot fundamentu filma. Dejstvo, da je projiciran film nič drugega kot 24 negibnih slik na sekundo, je temelj njegove umetnosti.

Fred Camper

Kubelka's achievement lies in that he has taken Soviet montage one step further. While Eisenstein used shots as the basic units and edited them together in a pattern to make meanings, Kubelka has gone back to the individual still frame as the essence of cinema. The fact that a projected film consists of 24 still images per second serves as the basis of his art.

Fred Camper

31/75 ASYL

Kurt Kren

Avstrija/Austria, 1975, 16mm, 8'

Kamera s senčnikom je montirana na masiven stativ, ki stoji pred oknom. Od tod 21 zaporednih dni snema zunanji svet. Snemalec vsak dan uporabi drugega za drugim iste tri kolute filma (skupaj 90 m), medtem ko masko, ki pokriva lečo, vsak dan zamenja. Vsaka od 21 črnih kartonastih mask ima štiri ali pet pravokotnih odprtinic: vse te odprtine bi skupaj razkrile celoten pogled.

A camera with a sun shade is mounted on a heavy tripod in front of a window. Over 21 consecutive days the view outside is filmed from this perspective. The same three rolls of film (totalling 90m) are used one after the other each day while the mask in front of the camera lens is changed every day. Each of the 21 masks made of black cardboard has four or five small rectanglular openings: all these openings together would clear the full view.

15/67 TV

Kurt Kren

Avstrija/Austria, 1967, 16mm, 4'

Pristop filma se tako po načinu kot po tempu razlikuje od tistega, kar najdemo v večini avtorjevih prejšnjih del. Namesto da bi deloval prvenstveno na kinetični ravni ali z deročim ritmom percepcije, zvabi gledalca v konceptualen in refleksiven proces. Gre za pet kratkih posnetkov, sestavljenih iz približno 8 (sic!) sličic in posnetih iz ene same perspektive v pristaniški kavarni.

In TV, the system is different in kind and pace to that which exists in much of his other work. Instead of operating primarily at the kinetic level, or with rapid perceptual rhythm, this film involves the audience in a conceptual and reflexive process. Five short sequences each about 8 (sic!) frames long are all shot from the same viewpoint in a quay-side café.

12 UHR MITTAGS - HIGH NOON

Ernst Schmidt jr.

Avstrija/Austria, 1977, 16mm, 4'

Človek presedi celih 24 ur pred kamero. Vsakih deset minut kamera zabeleži kratek izsek, 8 sličic na sekundo (ta je nato projiciran s hitrostjo 24 slik na sekundo). Utrujajoča počasnost 24-ih ur, skrčena v 4 minute.

E.S.ml.

A person sticks it out for 24 hours in front of the camera. Every ten minutes a short clip is recorded, 8 frames per second (which is then projected at a speed of 24fps). The tiredness of 24 hours in a time lapse of 4 minutes.

E.S.jr.

SCHÖNBERG

Sabine Hiebler, Gerhard Ertl

Avstrija/Austria, 1990, 16mm, 3'

Film se poglablja v optične in akustične elemente alpske predstave o "domu".

Optical and acoustic elements of the alpine idea of "home" are worked out in Schönberg.

EXPOSED

Siegfried A. Fruhauf

Avstrija/Austria, 2001, 16mm, 9'

Exposed gradi na kratkem prizoru iz celovečernega filma, v katerem moški skozi ključavnico opazuje plešočo žensko. Gledalec vidi le del celotne slike, avtor pa mu prizor "ponovno razkrije", ko pred projektorjem povleče perforacijo filmskega traku, ki daje vtis nekakšnega premičnega sita.

In Exposed a short scene from a feature film — a man observes a dancing woman through a keyhole — is used as the raw material. Solely fragments of this tableau are visible to the viewer, and Fruhauf "re-exposes" the scene by passing the perforations of a strip of film in front of the projector so that they resemble a moving sieve.

ET IN ARCADIA EGO

Kerstin Cmelka

Avstrija, Nemčija/Austria, Germany, 2001, 16mm, 3'

Idiličen poletni prizor: speča ženska počiva, zleknjena med drevesoma, kolena ji prekriva slamnik. Postava ženske je nejasna, kot bi njena podoba s časom zbledela, kot bi bil to le oddaljen spomin. A kdo se koga spominja?

An idyllic summer scene: A sleeping woman reclines between two trees, a straw hat covering her knees. The woman's figure is somewhat unclear, as if her image had faded with time, as if this were only a memory from the distant past. But who is remembering whom?

TUCKER

Michaela Schwentner

Avstrija/Austria, 2004, BetaSP, 6'

Osrednja točka tega večplastnega umetniškega glasbenega spota je pojem gibanja: montaža ustvarja privid nenehnega premikanja s pomočjo spajanja podob, ki so same na videz popolnoma negibne. Film razkriva naklonjenost abstrakciji, ki se zgolj periferno, lahko bi rekli diskretno, dotika zunanjega sveta.

The concept of movement is central to this many-layered art music clip: The illusion of an incessant push forward is created by means of montage, in the joining of the images, which themselves seem to be completely motionless.

DIE LIEBENDEN / THE LOVERS

Johannes Hammel

Avstrija/Austria, 2004, BetaSP, 7'

Film predstavlja drugi del manjše trilogije o izumiranju spominov. V prvem delu, z naslovom Die Badenden (The Bathers), sta bila protagonista izpostavljena kemičnemu razkroju filmskega traku. V drugem filmu pa iz starega pornografskega filma, posnetega na superosmičko, nastane po eni strani tragična ljubezenska zgodba, po drugi grozljivka in, ne nazadnje, spomin, ki propada v notranjem svetu.

The Lovers is the second part of a small trilogy, dealing with the extinction of memories. In the first part, entitled The Bathers, the two protagonists were subject to the chemical decomposition of the film material. The Lovers, on the other hand, transforms an old Super8 porn film into both a tragic love story and a horror movie, and finally into a memory, that is being destroyed in the inner world.

CHRONOMOPS

Tina Frank

Avstrija/Austria, 2005, BetaSP, 2'

Film pred nami razgrne bleščeč, raznobarven prostor, ki je hkrati preobilnost barve, pobesnelost percepcije in pop vrtiljak. Abstraktna konstrukcija iz navpičnih barvnih drogov je ujeta v neskončno vrtenje, gradbeni material in stavbarski bloki medtem prosto krožijo po zraku, celotna postavitev pa prav tako rotira. Prisiljeno in občasno krčevito gibanje ustvarja digitalni vrtinec, ki potegne gledalca globoko v svojo notranjost.

Chronomops opens up a shimmering, colourful space that is simultaneously an excess of colour, frenzy of perception, and pop carousel. An abstract architecture of vertical colour bars is set in endless rotation, whereby the modules and building blocks fly around themselves — and the entire system likewise rotates. The forced, in part jerky movement forms a digital maelstrom whose suction pulls the observer deep into it.

CITYSCAPES

Michaela Grill, Martin Siewert

Avstrija/Austria, 2007, BetaSP, 16'

Sodobno predstavo mesta zaznamuje njegova minljivost in bežnost. Družbeni in arhitektonski konstrukti so fragmentarni in izginjajo pred našimi očmi. To misel skuša film prikazati skozi arhivske posnetke avstrijskega filmskega muzeja.

Michaela Grill, Martin Siewert

The perception of the city in the modern era is characterized by its fleeting and momentary nature. Social and architectural constructions are fragmented and dashing past. Cityscapes attempts to make archived recordings from the Austrian Film Museum legible along these lines.

Michaela Grill, Martin Siewert