Artist in focus

Peter Tscherkassky
saturday 10 oct | 8 p.m. | filmmuseum münchen


AT 1997/1998   3 min | ohne Dialog | 35mm CinemaScope
”L’Arrivée” recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. (Tom Gunning)

The Exquisite Corpus

AT 2015    19 min | ohne Dialog | 35mm
While I derived most of my films near exclusively from a single found footage source, “The Exquisite Corpus” is based on several different films, referencing the surrealist “exquisite corpse” technique. You´ll find several rushes from commercials, an American erotic thriller from the 1980s, a British comedy from the 1960s, a Danish as well as a French porn film (both most likely from the 1970s), an Italian soft-core sex movie from 1979, and a (British?) amateur “nudist film”. (P. Tscherkassky)

Dream Work

AT 2001    11 min | ohne Dialog | 35mm CinemaScope 
Just like in a real dream, ”Dream Work” does not contain individual and unconnected images; although each image is radically arbitrary, the context is so compelling that an alternative is inconceivable. (Bert Rebhandl)

Instructions for a Light and Sound Machine

AT 2005   17 min | ohne Dialog | 35mm CinemaScope
Tscherkassky concentrates on central motifs from Sergio Leone’s classic “The Good, the Bad and the Ugly”, zeroing in on Eli Wallach stumbling across a vast cemetery and the anti-hero’s head as he dangles from the gallows. Tscherkassky intercuts the latter image with countdown leader, ironically delaying the saving bullet shot by Clint Eastwood. Hereby the very film tears and suddenly descends into pure, soundless whiteness. Only by way of its defects is the medium of film made tangible.
(Stefan Grissemann)

Outer Space

AT 1999   10 min | ohne Dialog | 35mm CinemaScope

A woman, terrorized by an invisible and aggressive force, is also exposed to the audience’s gaze, a prisoner in two senses. “Outer Space” agitates this construction, which is prototypical for gender hierarchies and classic cinema’s viewing regime, and allows the protagonist to turn them upside down.The story ends in the woman’s resistant gaze.
(Isabella Reicher)