Since 2001, Bruce Checefsky has directed more than a dozen short films based on lost or unrealized scripts of the European avant-garde. Checefsky’s works are in the collections of the Museum of Modern Art, Whitney Museum of American Art, and the Brooklyn Museum of Art, among others. His films have been screened internationally in more than 30 countries, including the Spielberg Theatre at the Egyptian, New York Jewish Film Festival at Lincoln Center, Museum of Modern Art NYC, Museum of Modern Art Warsaw, Tel Aviv Museum of Art, Tel Aviv Center for Contemporary Art, Museum of Fine Arts Budapest, Location One NYC, Anthology Film Archives, Filmmakers Coop, Berkeley Art Museum & Pacific Film Archive, National Museum of Photography and Film London, Cinematheque Ontario Canada, Cleveland Cinematheque, Eye Film Museum Amsterdam, ZKM Museum of Contemporary Art Germany, Contemporary Museum Baltimore, Wexner Center for the Arts Columbus Ohio, Hallwalls Contemporary Art Center Buffalo New York, EXIS Experimental Film & Video Festival Seoul Korea, 20th European Media Arts Festival Osanbruck Germany, Los Angeles County Museum of Art, Leopold Museum Vienna, Rotterdam International Film Festival, Toronto International Film Festival, Cranbrook Museum of Art, Museum of Modern Art Vienna, Houston Film Festival Texas, TATE Britain, Russian Institute of Cinematography, Kunsthalle Darmstadt Germany, and others.
His writings have been published by Intellect Press, Bristol, UK; MIT Press; Focal Press, London; CAN Journal; Bridge Magazine; Angle Arts Magazine; New Art Examiner; Art Papers; American Society of Media Photographers; Center of Contemporary Art, Warsaw, Poland; Detroit Institute of Arts; Plain Dealer; Free Times; Papers, and other art journals and magazines. He’s lectured extensively on the role of The Artist as Curator.
Checefsky is Director of the Reinberger Gallery at the Cleveland Institute of Art, where he has curated over 80 national and international exhibitions of contemporary art, film and design. He also teach courses in film and museum studies.
He received Ohio Arts Council Individual Artist Excellence Award for Photography in 2017, and Individual Artist Excellence Award for Film in 2013 and 2007. In 2009, Checefsky was awarded a Creative Workforce Fellowship from the Community Partnership for Arts and Culture. He is recipient of the 2013 Judson Award for Cultural Contributions and 2012 Medal of Excellence from the Cleveland Institute of Art. He is a four-time recipient of CEC Artslink International Fellowships to Poland, Russia, Bulgaria, and Hungary, and was artist in residence at the Center for Contemporary Art, Warsaw in 2005, where he directed an experimental film written by Polish filmmaker Andrzej Pawlowski.
Bruce Checefsky currently lives and works in Cleveland.
WITCH'S CRADLE/2014/digital/b&w/sound/10:22 min.
In 1943, experimental filmmaker Maya Deren (1917-1961) collaborated with Marcel Duchamp on the film 'Witch's Cradle'. 'Witches Cradle' was filmed in Peggy Guggenhiem's 'Art of This Century Gallery' at 30 W. 57th Street in New York City. A choreographed set of movements between the figure (played by Duchamp) and the camera, the film was intended to be an exploration of the magical qualities of objects in Peggy Guggenheim’s Art of this Century Gallery, a space where Duchamp also exhibited. ‘Witch’s Cradle' remains unfinished and is considered lost.
A WOMAN AND CIRCLES
2004/35mm/black & white and color/found film/sound/9:38
In 1930 while living in Paris, Polish avant-garde poet Jan Brzekowski wrote a short non-narrative film script titled "A Woman and Circles" in the French magazine "Cercle et Carree" (The script was later translated into Polish and published in "Linia."). This non-narrative film reveals a random succession of negative and positive images preceded by a glowing circle that overtakes the film frame then reduces to two smaller bouncing balls that later become minuet dancers. While using found footage from 1960's instructional films like "What is Rain?" AWAC is not considered a remake or reconstruction - Brzekowski never produced his film. A WOMAN AND CIRCLES was filmed using a 1940's hand wound 35mm camera with black and white film stock from the period in which the script was originally published.
2001/35mm/black & white abstract photogram film/silent/4:36 min
PHARMACY is based on Stefan and Francizsk Themersons influential 1930 abstract photogram film APTEKA. The Themerson’s are considered the most influential filmmakers of the Polish avant-garde of pre-WWII Europe. A stunning black and white abstract film, Pharmacy is a chaotic, anarchic assemblage of chemistry lab measuring cups and spoons, various size test tubes, tweezers, eyeglasses, and a cornucopia of transparent pharmaceutical equipment seen as shadows only. Filmed in Budapest using a 1930s single frame camera, black and white film, and a reconstruction of the Themerson’s trick table based on an original drawing made by Stefan Themerson in the 1970’s.
2010/35mm/black & white/sound/5:43 min
An experimental film written by Hungarian Dada artist and avant-garde filmmaker György Gerö, and first published in 1924 in the DaDaist review IS. The original scene-by-scene film script and complete scenario of the film consist of three pages currently housed in the Hungarian National Library. The film was never made. Lajos Kassák's review of the Dokumentum (1924) includes a descriptive passage of Gero’s conceptual theory as well as several key filmmaking techniques. György Gerö, born in 1905, was a poet, editor, and the first Hungarian independent filmmaker.
IN NI (Others)
2005/Betacam/color/b&w/Polish with English subtitles/20:43/Part 1
In 1958, experimental filmmaker Andrzej Pawlowski wrote a script based on a 1941 diary written by a patient at a psychiatric hospital in Kobierzyn near Krakow. The original diary was found stashed in a wall, and in the early 1950’s, the director of the asylum gave it to Pawlowski. The diary chronicles the daily atrocities committed by the Nazi under the operation “Ausmerzung Lebensunwerten Leben” during the occupation of Poland. The diary survived the war but its author did not. Pawlowski submitted his script to the national film board in Warsaw but they failed to produce it before he died in 1986. Filmed entirely in Warsaw.
2006/16 mm/b&w/photogram film/sound/5:43
Stefan and Franciszka Themerson’s first sound film, "Moment Musical' (1933), was a three-minute commercial in which photograms of light-pierced jewelry, porcelain and glass were animated to music by Ravel.The Themersons' experimental techniques involved moving lights and shadows on objects. They evolved out of the Themersons' improvisations with the photogram. 1928-35. Most of the images were made on a "trick-table" improvised by Stefan Themerson. He placed various objects on a piece of translucent paper over a sheet of glass. The lights were above, and he photographed the images from below frame by frame. In 1934, T.Toeplitz from Kurier Polski wrote: " And finally I shall mention the Themersons, who shot a truly beautiful commercial – Moment Musical. This film moment is the only film that one cannot raise any objections to at all. The only positive point in the balance of Polish film production in 1933-34." "Moment Musical" was lost or destroyed during the Nazi occupation of Warsaw during the Second World War.
2005/Digital color animation/Silent/3:00 min
In the early 1910’s, painter, designer, and illustrator Leopold Survage sought to transcend the “immobility” of abstract painting by animating colorful forms through film. Survage, born Leopold Sturzwage, was a student at Moscow’s School of Fine Arts when he discovered French modernism, inspiring his move to Paris in 1908. Survage joined the city’s coterie of avant-garde artists, exhibited his work at the Salon des Independants, and attained the support of Guillaume Apollinaire. Contemporary developments in abstract painting propelled his experiments with rhythm-color “symphonies,” resulting in a series of hand-drawn colored abstractions (produced between 1912 and 1913), which he intended to transform into pulsating rhythmic forms using a team of animators and a three-color camera. Survage considered his Rhythm colore series an autonomous art form analogous to music. Survage considered his film analogous to music. Purely abstract colorful forms would kinetically interact creating in the viewers mind melodic and harmonic rhythm. His pioneering efforts to create the first abstract film were curtailed by the outbreak of World War I, and his color “plates” were never filmed. Survage continued to paint and produce designs and illustrations until his death.
A stunning black and white abstract film, TUAREG is a melodious assemblage of Alencon, Venetian, and Point D'espirit lace; artificial silk flowers, plants and trees seen as shadows cast by pocket, tube, and LED flashlights. Beautifully photographed in black-and-white on outdated twenty-five year old direct positive film, the resulting dense grain images evoke a veil of secrecy and tension surrounding the film’s meaning. The visible division of the screen in half, several simultaneous images, ruptures the illusion that the screen's frame is a seamless view of reality. TUAREG was commissioned by Hallwalls Center for Contemporary Art in Buffalo, New York.