Peter Tscherkassky started making films in 1979. Today he is acclaimed as one of the most significant film artists in the world. His films have been honored with more than 50 awards including the Golden Gate Award (San Francisco), Main Prize at Oberhausen, and Best Short Film at the Venice Film Festival in 2010. Tscherkassky earned his PhD. in philosophy in 1986 with a dissertation entitled "Film as Art. Towards a Critical Aesthetics of Cinematography", and started teaching in 1988. He has organized several film festivals and curated countless film programs. Since 1984 he has published numerous essays on avant-garde film and in 1995 co-edited "Peter Kubelka" with Gabriele Jutz; in 2012 he edited the book "FILM UNFRAMED: A History of Austria Avant-Garde Cinema". In 1990 he co-founded the film distribution company sixpackfilm and serves as its president. For a full biography please visit Peter Tscherkassky's official website.
Kreuzritter, 1979/80, Super 8, 15 min, colour, sound
Portrait, 1980, Super 8, 12 min, colour, sound
Rauchopfer, 1981, Super 8, 20 min, colour, sound
Aderlass, 1981, 16mm (S 8 blow up), 11 min, colour, sound
Erotique, 1982, Super 8, 1 min 40 sec, colour & b/w, sound
Liebesfilm, 1982, 16mm (S 8 blow up), 8 min, b/w, silent
Sechs über Eins, 1982, Super 8, 3 min, b/w, silent
Ballett N†3, 1982, 16mm, 7 min, b/w, sound
Urlaubsfilm, 1983, 16mm (S 8 blow up), 9 min 15 sec, colour & b/w, sound
Freeze Frame, 1983, 16mm (S 8 blow up), 9 min 38 sec, colour & b/w, sound
Partita, 1983, Super 8, 10 min, colour & b/w, silent (lost)
Miniaturen – viele Berliner Künstler in Hoisdorf, 1983, Super 8, 15 min 45 sec min, colour & b/w, sound
Ballett 16, 1984, Super 8, 4 min, b/w, silent
Motion Picture (La Sortie des Ouvriers de l´Usine Lumière à Lyon), 1984, 16mm, 3 min 23 sec, b/w, silent
Manufraktur, 1985, 35mm, 2 min 54 sec, b/w, sound
kelimba, 1986, 16mm (S 8 blow up), 10 min, colour & b/w, sound
Shot-Countershot, 1987, 16mm (S 8 blow up), 22 sec, b/w, silent
Daniel Paul Schrebers Stimmvisionen and Schizo-Schreber, 1987/88, 16mm (S 8 blow up), á 4 min, colour & b/w
Brehms tierisches Leben, 1988 , Super 8, 12 min, colour & b/w, sound
tabula rasa, 1987/89, 16mm (S 8 blow up), 17 min 02 sec, colour & b/w, sound
à jour, 1988/89, Super 8, 20 min, colour, sound
Parallel Space: Inter-View, 1992, 16mm, 18 min 20 sec, b/w, sound
Denkwürdigkeiten eines Nervenkranken, part 3 (as director), after Ernst Schmidt jr. (posthumous), 1993, 16mm, 30 min, colour & b/w, sound
Happy-End, 1996, 35mm (S 8 blow up), 10 min 56 sec, colour & b/w, sound
L'Arrivée, 1997/98, 35mm CinemaScope, 2 min 09 sec, b/w, sound
Outer Space, 1999, 35mm CinemaScope, 9 min 58 sec, b/w, sound
Get Ready (Viennale '99-Trailer), 1999, 35mm CinemaScope, 1min 04sec, b/w, sound
Dream Work, 2001, 35mm CinemaScope, 11 min, b/w, sound
Instructions for a Light and Sound Machine, 2005, 35mm CinemaScope, 17 min, b/w, soundtrack: Dirk Schaefer
Nachtstück (Nocture), 2006, 35mm, 1 min, b/w, sound
Coming Attractions, 2010, 35mm, 25 min, b/w, soundtrack: Dirk Schaefer
The Exquisite Corpus, 2015, 35mm & DCP, 19 min, b/w, soundtrack: Dirk Schaefer
Ballet 16 (Orig.) / 1984 / Østrig / 4 min
In the case of Ballet 16, 256 frame enlargements of a continuous dance movement were dissected into 16 segments, each consisting of 16 frames. These segments were rearranged and rephotographed frame-by-frame. The resulting synthetic composition of movement was rephotographed off a screen running at twice its normal speed in order to accelerate the final film...
Coming Attractions (Orig.) / 2010 / Østrig / 25 min
A negative image of a man's eyes in a car's rearview mirror. The countershot shows a smiling woman, and her wholly unambiguous facial expressions call our attention to the image's left-hand side, where film clips take shape in a flickering split screen. They show models, cups and various types of vehicles, which are then worked over thoroughly in the next 25 minutes: Coming Attractions. The title refers to both the nature of advertising films and early cinema, the 'cinema of attractions.'...
Dream Work (Orig.) / 2001 / Østrig / 11 min
Dream Work, in CinemaScope and black & white, is the same length as a period of deep sleep. The moment at which a woman enters a building, removes her shoes and then her panties (the framing is lascivious), she inevitably becomes both the subject and object. When she falls asleep, she not only falls deeper into the film, the latter penetrates her...
Erotique (Orig.) / 1982 / Østrig / 2 min
One can determine a line in Tscherkasskys oeuvre which turns around a game with filmic presentation, with degrees of recognisability - with the only-just and the not-any-more. Just to see desire. An example of this is Erotique. One sees swirling pictures, parts of a woman's face, red lips, eyes in cyclical fragments of movement...
Happy-End (Orig.) / 1996 / Østrig / 11 min
Happy-End is a found footage film: the re-working of someone else's home movies from the 60s and 70s. The sequences selected are taken from many hours of the staged private life of Rudolfand Elfriede, pivoting on demonstrative celebrations, alcohol and cake consumption together...
Instructions for a Light and Sound Machine (Orig.) / 2005 / Østrig / 17 min
The hero of Instructions for a Light and Sound Machine is easy to identify. Walking down the street unknowingly, he suddenly realizes that he is not only subject to the gruesome moods of several spectators but also at the mercy of the filmmaker...
L'Arrivée (Orig.) / 1998 / Østrig / 3 min
A white screen. Tabula rasa. Panavision. L'Arrivée shines on you like pure projected light, like the white surface still waiting for the marks of the filmmaker. In L'Arrivée, Peter Tscherkassky goes back to the beginning, back to lumière and the Lumières who, once upon a time, made a film of a train arriving...
Manufracture (Orig.) / 1985 / Østrig / 3 min
A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production.
Masterclass - Peter Tscherkassky (Orig.) / 2014 / Tjekkiet, Østrig / 82 min
Master Class of Peter Tscherkassky starts with the screening of Instructions for a Light and Sound Machine, premiered at Cannes IFF as part of the independent section, Quinzaine des réalisateurs. The Master Class itself focuses on an analysis of this film...
Miniatures – Many Berlin Artists in Hoisdorf (Orig.) / 1983 / Østrig / 16 min
On a weekend in June 1983, in what was deemed a "country outing," an impressive number of artists from Berlin went to a small village in Schleswig-Holstein; their intention was to give the local residents a taste of Berlin's avant-garde art. This event included presentations of dance, music, performance art, painting, land art and film...
Motion Picture (La sortie des Ouvrier de l´Usine Lumiére á Lyon) (Orig.) / 1984 / Østrig / 3 min
In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des Ouvrier de l´Usine Lumiére" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.
Nachtstück (Nocturne) (Mozart Minute 09) (Orig.) / 2006 / Østrig / 1 min
Wolfgang Amadeus Mozart, according to his biographers (and his letters confirm this fact), was an extremely sensuous person, and Nachtstueck (Nocturne) was intended to refer to this aspect of his personality: We glide into "Eine kleine Nachtmusik" a bit, then abandon standardized paths of conventional representational film and encounter a few seconds of passionate sensory filmæan example of something I would like to call "physical cinema." The thesis: Herr Mozart would have enjoyed it.
Outer Space (Orig.) / 1999 / Østrig / 10 min
A premonition of a horror film, lurking danger: A house – at night, slightly tilted in the camera´s view, eerily lit – surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered...
Parallel Space: Inter-View (Orig.) / 1992 / Østrig / 18 min
Parallel Space: Inter-View is made with a photo camera. A miniature photo 24 by 36mm is exactly the size of two film frames. Originally, I had a strict, formal concept. The visual space of the Renaissance locked in the optics of the film and still camera...