> Haus der Geschichte, Otto Borst Saal
× Sunday, January 13, 2013
The hand is moving rhythmic and smooth, dominant or soft like a precision device and conducts the giant monsters of steel with minimal variations. Il Capo acts as an overture for the programme focusing on the power of the hands – even in their smallest gestures. I see this tender element in a very rough environment as a beautiful metaphor for animation in the rough climate of film and film production. How much intuition does an animator need to create perfect illusions – maybe even so perfect that they can replace digital ones or hardly be distinguished by them anymore? The battle for an analogue or digital way of work seems to have worked out in favour of the digital – or has it not?
Among animators it is mostly a question of belief as to how they work. One side swears by animation as an act of creation, breathing life into dead matter, made legitimate by a tradition of decades. Others create borderless worlds of images with the newest computer programmes and digital tools.
I would like to sing the praises of analogue animated (and other) films – with all its individual cadres, glass paintings and other tricks. The programme Intuition of the Fingers is a fine selection of works produced with analogue means but often delivering the perfect illusion of a digital look.
Yuri Ancarani, Italy 2010, 15’5 Min.
Man and machine are digging for marble in the quarries of Monte Bettogli. The interaction of workers and heavy machinery is coordinated by a language of gestures and signs. Leading this dangerous orchestra causes a paradox silence.
Björn Kämmerer, Austria 2011, 10 Min.
Abstract images, surfaces and lines move on screen in a programmed order. The colours are reduced and the image is organized in a seemingly ever-repetitive process. Only after some time the abstraction begins to break up and we are able to perceive an object – without really knowing what exactly we are observing there. “Turret is a film study in CinemaScope about space and surface, light and motion accompanied by the white noise of a mono tape.” (Stefan Grisseman)
Waves Vienna – Trailer 2012
nked, Austria 2012, 1’52 Min.
The WAVES Festival in Vienna – established in 2011 – asked the nked artists to produce a new festival trailer. The image design was completely analogue, however, the pictures look like they were digitally generated. The waving dark mass in the close-up seems to originate from a different planet – breathed to life by the music.
Adnan Popović, Austria 2011, 4 Min.
Animation. Perfection. In this age of digital exuberance, Adnan Popović choreographs with pinpoint accuracy, using mostly analog devices, and still manages to be convincing. A white corridor serves as the setting of a music video for the Viennese electronic duo Kilo. Every sample, every peak is given spatial dimension by means of objects, artwork and light. The detailed array of colors and shapes sparks associations of genres and trends, yet remains elusive, never ceasing to reinvent itself.
The Johnny Cash Project
2010, 5:47 Min.
Developed by: Aaron Koblin, Chris Milk, Radical Media, Animation: Various artists, Music: Ain’t No Grave von Johnny Cash
This project is both work in progress and a tribute to Johnny Cash’s music. Aaron Koblin and Chris Milk appealed for a new design and paint-over of every single frame of the original music video Ain’t No Grave. Thereby, a new animated version of the fans is created for the artist opening new levels of meaning. Much more than the original ever could have had.
Tuning the Instruments
Jerzy Kucia, Poland 2000, 16 Min.
Jerzy Kucia, one of Poland’s most famous animators creates fascinating worlds, feelings and states in his films. It is hard to understand from today’s perspective that this film was produced in many thousand single frames. Music and pictures dance around – sometimes the music sets the tone at other times the picture. A symphony for ears and eyes!
Max Hattler, Germany 2008, 4:45 Min.
Spiegelungen, Verschiebungen, Projektionen: Max Hattler legt ein genussvolles Verwirrspiel zwischen Abstraktion und Realismus hin, zwischen konstruktivistischem Design und manuell-analoger Raumerzeugung. Ein retro-futuristisches Kunstwerk, geerdet durch die Musik des japanischen Elektronikers Jemapur.
Reflections, adjournments, projections: Max Hattler indulges in a joyous charade back and forth between abstraction and realism, constructivist design and manual analogue spatial creation. A retro-futuristic piece of art – grounded by the music of Japanese electro-musician Jemapur.
White Light/White Heat
Rainer Kohlberger, Wilm Thoben, Germany/Czech Republic 2011, 7 Min.
WhiteLight/WhiteHeat was the title of The Velvet Underground’s second studio album – but this piece has not much to do with Velvet Underground’s music. This White Light is a laser carrying out a performance in a room while drawing various forms onto the black background. Hypnotic images and lines appear captivating the audience. The eye’s inertia is used to create a constant picture. It seems as if the video’s sound is generated by the movement of the laser light itself and its collision on the wall. A wonderful hypnotic experience.
The Bellows March
Eric Dyer, USA 2009, 5’30 Min.
Eric Dyer works with a three-dimensional version of a stroboscope panel und thus awakens figures on a roll. The figures march, change colours and as the device comes to a halt you can barely trust your eyes.
Rogier van der Zwaag, Netherlands 2010, 3 Min.
Music: Nobody Beats The Drum
An analogue reply to the digital vibrating and pounding of colours and shapes in the electro music video. Rogier van der Zwaag manages to create a perfect illusion of spaceless areas and then eventually bringing space back. A fascinating piece of miniature work!
Stuck in a Groove
Clemens Kogler, Austria 2010, 4 Min.
Clemens Kogler connects pop culture and its experiments on many record (-turntables) and images via a device developed for this very purpose: the phonovideo comprising record player, video mixer and vinyl with prints. Alongside the revolving record, a narrator’s voice is proclaiming constant returns; together they make up a hypnotic reflection of pop culture, analogue and digital ways of work as well as image production and the presence of images.