180208: Working on the motion picture

Galerie nächst St. Stephan – Peter Tscherkassky – From a Dark Room Working on the motion picture Peter Tscherkassky’s film work seems to transform the work of his critics into a frenzy of language: it raves, lurks, creeps, bangs or skids in every text. As if the experimental filmer and Master of Philosophy is trying to prevent any additional verbal tests of this sort, he displays some of his worldwide renowned and prize-winning film works in a gallery in such a way that the focus is on the process of how it developed: terminals show film excerpts on DVD. In the light boxes placed next to these terminals the physical film material is displayed, which corresponds to the respective film excerpt shown. The visual analysis of these motion pictures brings about a two-fold disillusionment: lacking their optimal presentation-environment, frame by frame a striptease is performed. Every discipline has its own myths, its own special ambience. The ambience of a movie is the dark movie theatre, which Tscherkassky only rarely does without. In opposition to the continuous advance of generating digital film he focuses on the physique of the medium. Found footage serves as the source material – such as Sergio Leone's classical Italo Western “The Good, the Bad and the Ugly”. In his exhibit he clearly shows how he uses it frame by frame. The instruments of his work are presented in a glass showcase – and you will not find a camera or any other optical apparatus. Numerous light boxes show how the material was fashioned by hand or with a laser pointer: such as clippings from Tscherkassky’s films “L’Arrivée (1997/98), “Outer Space” (1999), “Dream Work” (2001) and “Instructions for a Light and Sound Machine” (2005). Two works under the title “motion picture” were combined as installations. “Motion Picture”, his oldest work, clearly shows the main idea behind his oeuvre: here you will see a single frame from the first film ever produced, Louis Lumières “La sortie des usines Lumières”, made in 1895, copied onto a rectangle of frames arranged next to one another. The abstract film, which developed out of the fragmentation of one picture into numerous consecutively played pictures, is shown here. In contrast, Tscherkassky’s later movies are extremely sensuous; even if, or maybe because of, the manually or consciously unequal light effects, sometimes distorted frames, deferred sound tracks, and inserted objects such as thumbtacks or the filmmaker’s hand. The reference to Man Ray and photography is obvious. Tscherkassky follows the historical Avantgarde concept and through the twofold acquirement – methods and material – he creates something new - an exciting ambiguity. Galerie nächst St. Stephan 1010 Vienna, Grünangergasse 1 / 2, until 23.02.08

Galerie nächst St. Stephan Rosemarie Schwarzwälder
1010 Wien, Grünangerg. 1/2
Tel: +43 1 5121266, Fax: +43 1 5134307
Email: galerie@schwarzwaelder.at
Öffnungszeiten: Di-Fr: 12-18h
Sa: 11-16h

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