From: TIE (email suppressed)
Date: Thu Sep 03 2009 - 22:23:13 PDT
TIE, The International Experimental Cinema Exposition
September 24-25, 2009
Mary Riepma Ross Media Arts Center
Join us for the new edition of TIE, a presentation that illuminates the
continuing vitality of experimental cinema with 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, will conclude the program.
Recommended hotels (within walking distance to The Ross):
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.
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.
Tim Leyendekker (35mm, 5 min., Netherlands, 2009)
And a voice said: "Hope comes in many forms, but for tonight, you're on your
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.
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.
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.
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
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..."
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 this Burning Palace:
it’s just a stone’s throw."
- (Andrea B. Braidt) / Translation: Lisa Rosenblatt
Q&A & Intermission
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'
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)
Contact TIE: 303.408.4623
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.