Editor

The International Experimental Cinema Exposition will open October 26, 2010 7:00 PM at the University of Wisconsin Milwaukee (UWM) Union Theatre, 2200 E. Kenwood Blvd., Milwaukee, WI (Free Admission)

Join us at The Union Theatre in Milwaukee, Wisconsin for the 2010 edition of TIE, The International Experimental Cinema Exposition on Tuesday, October 26 with an all-new, original program highlighting the work of internationally renowned artists' experimental films in 35mm, 16mm and Single-8mm cinema projection. (35mm: Simplex 35mm projector head, SuperLumex Lamphouse w. 2k xenon bulb. 16mm: Eastman 25 model (muti-speed modified), SuperLumex Lamphouse w. 1600 xenon bulb. Super-8: Elmo GS-1200.)

In an age with ever expanding electronic technologies for capturing moving images, the illusion of movement generated through traditional film remains a unique experience that is unmatched by more contemporary methods of moving image making.

Ground-breaking work on original celluloid-based film continues its invigorating revival around the world, ceaselessly increasing in ubiquity with each passing year.  The TIE programs draw attention to these intriguing works, bringing together internationally celebrated talents from different generations of filmmakers. 

TIE has held exhibitions and festivals on an intercontinental level, with venues in the United States, Canada, Argentina, Austria and Uruguay, exposing international audiences to avant-garde films and pioneering filmmakers of both historic and contemporary contexts. 

TIE's October 26 program was curated specifically for the Union Theatre's premier facility, presenting viewers with an exclusive opportunity to observe this once in a lifetime event. The original lineup includes captivating experimental films from several internationally acclaimed artists, each investigating complex themes and ideas through their innovative and poetic work.  Anticipation surrounding the event is palpably enthusiastic, as most of the films being screened are regional premiers with a few world and North American premieres.  Colorado native, Timoleon Wilkins' film Drifter uses fragments of his own life, recorded over a 14 year period, to take viewers on a voyage through each shot, cut and sensation of this atmospheric piece.  Austrian filmmaker, Peter Tscherkassky, utilizes found footage and an array of techniques such as solarization, multiple exposures and optical printing in Coming Attractions.  Claudio Caldini's Argentinean film, Lux Taal, examines the four seasons and climate change in a small town west of Buenos Aires.  San Francisco filmmaker, Nathaniel Dorsky, marks his first attempt to shoot in color negative with the visual poetry of one of his latest projects titled Aubade.  Malic Amalya's Drifting challenges viewers' understanding of perception through exposing photographic anomalies of film, while a live score from musician, Isaac Sherman, accompanies the visuals.

In addition, Phil Solomon's 1983 classic, What's Out Tonight is Lost, is beautifully re-presented, allowing audiences to re-experience this powerful inquiry of human emotion or discover it for the first time.  The American Film Academy has preserved and restored Solomon's original, with a stunning new 16mm print.  

With such an illustrious assemblage of avant-garde artists and films, TIE's October 26 program will undoubtedly dazzle viewers and provide insight into the enlightening experience that is experimental cinema.   

Christopher May is the founder and primary curator behind TIE, The International Experimental Cinema Exposition.  May has organized international conferences and festivals and has curated film programs for cultural institutions, museums, colleges and film societies around the world. May's programming is recognized for its unique filmic quality, challenging philosophical nature and international scope. 

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OFFICIAL PROGRAM

COMING ATTRACTIONS
Peter Tscherkassky (Austria, 2010, 35mm-1.66, Dolby Stereo, 25 min.)
Peter Tscherkassky's Coming Attractions (Austria) is a sly, sartorial comedy masterfully mining the relationship between early cinema and the avant-garde, by way of fifties era advertising. With references to Méliès, Lumières, Cocteau, Léger, Chomette, the film playfully explores cinema's subliminal possibilities using an impressive arsenal of techniques like solarization, optical printing and multiple exposures.

DRIFTING
Malic Amalya (USA, 2010, 16mm, live score, 18 min.)
"Drifting is both an homage to and a polemic on nostalgia for Americana. Shot on an optical printer, Drifting re-photographs frames from 8mm home movies that would have otherwise been thrown out due to broken sprocket holes, melded frames, light leaks, and jittering frame lines. By exposing the photographic anomalies of film, Drifting allows viewers to savor the patterns of light and the physicality of the media, while also asking them to consider how framing impacts their experience and understanding of images."

DIARIO COLORADO

Pablo Marín (USA/Argentina, 2010, single-8-18fps, silent, 7min.)

"Democratic, multiple-exposed images of Colorado Springs in which everything put there by nature and men converge unordered, free. Dedicated to Chris, Frank and Jesse."

LUX TAAL

Claudio Caldini (Argentina, 2009, single-8-18fps, sound-on-cd, 7 min.)

En la era del cambio climático, las cuatro estaciones no llegan a tiempo.

Lux significa luz en latín y Taal ciclo o batir de palmas (clapping) en sánscrito.

Filmada en una localidad al oeste de Buenos Aires y editada en cámara entre 2006 y 2008, registra la única nevada en la región en los últimos 80 años.

La madera se enciende frotándola con otra madera. 

El metal, si se junta con el fuego, se hace fluido.

Cuando el Yin y el Yang se mezclan causan espanto en el mundo; 

de ahí proceden los rayos y los truenos.

El fuego, que está en el interior del agua, 

llega a quemar una corpulenta acacia.

Cuando de ambos lados se temen mucho los males, 

no hay dónde huir.

El corazón está al aire

como colgado entre el Cielo y la Tierra.

El gozo y la tristeza lo levantan y le sumergen alternativamente. 

Los bienes y los males se tocan en su corazón 

y producen grandes fuegos.

En esos fuegos se quema la armonía de las multitudes.

La calma nocturna no es capaz de apagar esos incendios.

- Chuang Tzu

traducción de Carmelo Elorduy 

TREE

Tony Balko (USA, 2009, 16mm, optical sound by Nick Falwell, 3 min.) 

Light, water and air coax a tree out of the soil in a manner foregrounding time's relativity to different forms of life on Earth.

OUVERTURE

Christopher Becks (France/Canada, 2010, 35mm-Cinemascope, silent, 5 min.)

"An in-camera song for a barn in Normandy."

- Christopher Becks

"[Ouverture] does more than observe a shape, it creates a shape, a

surrounding sphere, a refuge."

- Mark McElhatten

RAYNING - summer 2010

Robert Todd (USA, 2010, 16mm, optical sound, 6 min.)

One ray leads to another, building the dream destined to dissolve in the light of our mind's eye.

AFTER MORNING - summer 2010

Robert Todd (USA, 2010, 16mm, silent, 3 min.)

A single in-camera rolling moment of departure and arrival and departures arrived at through the velvet inclinations of a cinematic sweeper.

AUBADE

Nathaniel Dorsky (USA, 2010, 16mm-18fps, silent, 12 min.)

"An aubade is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me."

WHAT'S OUT TONIGHT IS LOST

Phil Solomon (USA, 1983, 16mm-18fps, print preservation by the Academy Film Archive, silent, 8 min.)

"The film began in response to an evaporating relationship, but gradually seeped outward to anticipate other imminent disappearing acts: youth, family, friends, time .... I wanted the tonal shifts of the film's surface to act as a barometer of the changes in the emotional weather. Navigating the school bus in the fog, the lighthouse in disrepair."

LIGHT LICK: DAILY CAMERA

Saul Levine (USA, 2010, 16mm-18fps, silent, 6 min.)

"Levine's latest film in his Light Lick series, DAILY CAMERA, is on one level a flickering, ecstatic, and lyrical portrait of Boulder, Colorado. On a deeper level, it is yet another exquisite manifestation of Levine's quest to merge the fundamental qualities of cinema (light and the arbitrary projection of individual frames) with life itself. This film is not about how the world is, but rather what the camera can turn the world into." 

-Frankie Symonds

DRIFTER 

Timoleon Wilkins (USA, 1996-2010, 16mm-18fps, silent, 26 min.)

"Fragments of the filmmaker's life, home and travels, recorded over a 14-year period. 'The glories of atmospheric light and colour, inward soul-drifting, and the literal sensation of drifting within and through each shot and cut."

TRANQUILITY

Siegfried A. Fruhauf (Austria, 2010, 35mm-1.66, Dolby Surround, 6 min.)

"In Siegfried Fruhauf's tranquility an image of a woman lying on her back in the sand, next to her an abandoned beach toy and nothing but sun and wind above, represents the point of departure for an adventurously long journey, one produced by the film material to be found here. tranquility could be regarded as a vacation daydream, a record of a flight of fantasy fluttering away, limitless consciousness raising which ends in a state of total relaxation, presumably like  that of the woman on the beach."

-Bert Rebhandl