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Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival. Ranging from home movies to political essays, musical sketches to abstract studies, these “little films” form a unique anthology of cinematic moments. 20 Little Films collects a selection of these works, premiering together for the Viennale’s 50th anniversary at the Locarno Film Festival.
"Serene Velocity (1970) created a stunning percussive head-on motion by systemically shifting the focal length of a stationary zoom lens as it stared down the center of an empty institutional hallway – thus playing off the contradiction generated by the frames’ heightened flatness and the compositions’ severely overdetermined perspective. Without ever moving the camera, Gehr turned the fluorescent geometry of this literal Shock Corridor (in the then – new State University of N.Y at Binghamton) into a sort of piston-powered mandala. If Giotto had made action films it would be this." – J. Hoberman
2022. USA. Directed by Ernie Gehr. Digital. 8 min.
"The other Gehr installation, Modern Navigation, is a two-screen piece that shows people looking at fish in an aquarium. It is dark and mysterious, and seemed to me to be a witty and even slightly ironic comment on museum-going and art viewing in museums, which interpretation Gehr confirms was part of his intent. It's a good idea to see it from different positions, including from different upper-level locations at the top of the ramp." - Fred Camper
“The eyes may be attracted to look left and right – and please let them – but the center is also intriguing and not separable from the rest. Among other things, a side view is transformed into a frontal view, but of course, that is not all.” - Ernie Gehr
"a five-minute film of the view west across the Soho street to a brick building. Gehr sat there from one day from 10:00 a.m. to 4:00 or 5:00 p.m. and shot it with his Bolex camera, one frame at a time. It conveys the settled relief of being home, as against the pace of the monochromatic working day seen in the three prior films. It is closer to his earlier films in its abstraction of forms and play with time-lapse and film speed. In the beginning, the forms are screamingly reddish-orange and incomprehensible, but as the afternoon progresses shadows slip across the surfaces and windows, fire escapes, and bricks become visible: a world is revealed with the clarity of Vermeer’s famed Little Street (1657-8)." - Jason Rosenfeld
An ode to digital interlace, which is to video what intervals between frames are to film…
American avant-garde master Ernie Gehr’s stunning Waterfront Follies (USA) is a work of extended sublime that presents a view of the Brooklyn harbour as it is continuously interrupted by the flow of human interaction. The film’s structure and soundtrack work as a reminder of the constant intersections between life’s impulsiveness and beauty. - Peter Knegt
Ernie working his magic.
The ever changing Lower East Side.