Mirjam Tally/Ülo Pikkov Video SE/EE 2013


Mirjam Tally (1976) Sound is central in Tally’s creations. Her music is a flow of playful contrasts where a sense of humour and poetic use of sound are blended to mix. Beside writing works for contemporary music scene, she is active as a film composer. Her earlier works are mainly for chamber ensembles and electronics. In recent years, importance of orchestral music has increased in her oeuvre. Sometimes she uses elements of jazz, folk and pop, Nordic or exotic instruments (Estonian kannel, didgeridoo, tanpura, accordion and others) and treats sound material with a modernist open mind.

She has graduated from the Estonian Academy of Music as a student of Lepo Sumera in 2000. Since 2006, Tally lives on the island of Gotland, Sweden. Her work Turbulence (2006) for symphony orchestra and electric guitar, has received some international recognition. In 2008, Turbulence was performed at the ISCM’s World New Music Days (later at the Venice Biennale and selected as a recommended work at Rostrum). For Turbulence, she was awarded the Little Christ Johnson Prize in 2008. In 2009-2010, she was Composer in Residence at Swedish Radio P2 channel. Since 2012, her orchestra works are published by Gehrmans Musikförlag.

Ülo Pikkov (1976) is a cineaste of Estonian animation movies. In 1998 he graduated from the Turu Academy of Art (in Finland) and in 2005 from the Institute of Law, University of Tartu (in Estonia). He has created several animation movies, which have won international prizes. Together with composer Mirjam Tally he has done several movies, such as “The Taste of Life” (2005), “The Tablemat of Baltic Sea” (2007), “Dialogos” (2008), “Body Memory” (2011) and “The End” (2012). He has published caricatures, comics and illustrations in press as well as written and illustrated books for children. Ülo Pikkov works as a docent of animation department at Estonian Academy of Art.

The End (2012) experimental film by Ülo Pikkov, music by Mirjam Tally "Last year's sun still glitters in the drop of water", edited version. P: Anna Svensdotter (flute) + electronics.

Experimental animation by Ülo Pikkov. Estonia / 6 min

In modern times, audiovisual culture spreads and develops more than ever, but the classical film print as a material is forced to back down in the face of digital solutions. Film stock, which was once synonymous with film, is destined to disappear. It is thought that when a person dies, his whole life runs before his eyes. But what would a century-old filmstrip see before it finally looses its standing to digital media? Is it cut- off film frames, a filmstrip scratched to shreds, or something else?

The experimental animation film THE END is an homage of sorts to film as a material. The name of the film - THE END - is the key to understanding its concept. As a rule, films end with the title frame THE END and then the film is gone... but if digital films really do end with the frame THE END, then films on film prints don't - after the final frame, the film continues for about 5-6 seconds. This is technical material that isn't meant for the viewer, but to help the projectionist, and thus it carries different technical markings. THE END presents the viewer with the visual world that exists after the film has officially ended.

THE END exposes the film print as a material, the nature of the many layers of emulsion and color, possible different framings and the signs of wear that are created by repeated screenings. The base material for THE END is the remains of film prints that have been written off. They come from different cinemas and archives. They are the worn frames from the beginning and the end, which weren't ever meant for the viewers' eyes. Unlike modern digital film media, every screening of a classical film print leaves at least some scratch on the material. This is a film about time and it's ephemeral nature.