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Tscherkassky was born in 1958 in Vienna. From 1977 to 1979, he studied journalism and political science at the University of Vienna.
In January 1978 he attended a five-day lecture series by P. Adams Sitney at the Austrian Film Museum : this was his first encounter with avant-garde film.
In 1979, he began studying philosophy at the Free University Berlin and at the University of Vienna. He then acquired a Super-8 equipment and in December 1979, started the shooting of ‘Kreuzritter’. He would go to the cinema “Arsenal“ for the weekly program, usually compiled by Alf Bold. At the same time, he was keen on music of the 20th century (John Cage, Iannis Xenakis, John Zorn and many others), and especially in contemporary electronic music (Pierre Henry, Bernard Parmegiani, Michel Chion, etc.).
In 1982 he became a founding member of the newly constituted Austria Filmmakers Cooperative, and resigned in 1993.
In 1985/1986 he wrote the dissertation “Film + Art: Toward a Critical Aesthetics of Cinematography” at the Vienna Institute of Philosophy. He was awarded a PhD in philosophy in 1986.
In May 2002 the CinemaScope trilogy is presented at the
Cannes Film Festival in the series “Quinzaine des réalisateurs”.
In parallel, he started in 1984 a curatorial work with presentation of the two-part program “überBlick – Super-8-Filme aus Österreich” at Kutscherhaus, Berlin. From 1987 to 1991 he curated programs and retrospectives of Austrian avant-garde film in Berlin, Lucerne, Lisbon, Karlsruhe, Skövde (Sweden), Hannover, Strasbourg, Budapest, Warsaw and Kremsir (CSFR). He conceived and curated with Martin Arnold in 1990 the symposium and festival “Im Off der Geschichte” at the Stadtkino Wien (avant-garde films from the UK, Germany and Austria) and in 1993, the retrospective “Austrian Avant-Garde Film from Kubelka to the Present“ in Berlin, among other exhibitions.
He edited the book “Peter Kubelka” with Gabriele Jutz in 1995.
From 1989 to 2002, he taught artistic filmmaking at the Linz University of Arts and Industrial Design. Since 1998 he teaches “Audiovisual Communication/Film” at the Vienna University of Applied Art. The common point of his diverse production dwells in the structural critic of the conventions that rule narrative cinema.
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THE EXQUISITE CORPUS
2015 / 35mm / b&w / sound / single screen / 19' 05 / 80 € distribution: 35mm or DCP on CRU disk or DCP on server |
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COMING ATTRACTIONS
2010 / 35mm / b&w / sound / single screen / 25' 10 / 105 € distribution: 35mm |
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INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE
2005 / 35mm / b&w / sound / single screen / 17' 00 / 55 € distribution: 35mm or DCP on server or Digital file on server |
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DREAM WORK
2001 / 35mm / b&w / sound / single screen / 11' 00 / 43 € distribution: 35mm or DCP on server or Digital file on server |
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OUTER SPACE
1999 / 35mm / b&w / sound / single screen / 10' 00 / 41 € distribution: 16mm or 35mm or DCP on server or Digital file on server |
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L'ARRIVÉE
1998 / b&w / sound / single screen / 3' 00 / 20 € distribution: 16mm or 35mm or DCP on server or Digital file on server |
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HAPPY-END
1996 / color / sound / single screen / 12' 00 / 43 € distribution: 16mm |
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PARALLEL SPACE: INTER-VIEW
1992 / b&w / sound / single screen / 18' 00 / 58 € distribution: 16mm |
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SHOT - COUNTERSHOT
1987 / b&w / silent / single screen / 0' 30 / 18 € distribution: 16mm |
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MOTION PICTURE -LA SORTIE DES OUVRIERS DE L'USINE LUMIÈRE À LYON
1984 / b&w / silent / single screen / 3' 00 / 20 € distribution: 16mm |