Hiraki Sawa Did I?, 2011
Alan Warburton, Z (2012)
Katy Shepherd, Film (2001)
A programme of short animated films from the Animate Collection that use or reference photography and the hyperreal.
Curated and introduced by Gary Thomas, Associate Director of Animate Projects from the Animate Collection.
Gary Thomas was previously Head of Moving Image at Arts Council England, where he initiated the Single-Shot and Necessary Journeys projects with the BFI and the UK Film Council, and the Artists’ Moving Image Legacy and Learning programme. His consultancy includes work with the Brighton Film Festival and the Crossing Boundaries report on media centres (with Tom Fleming Associates) for the UK Film Council. Gary works as a Film Adviser at the British Council, developing international touring programmes and overseeing film activities in the UK, East Asia and China. He makes films with Tim Shore, including Fits and Starts of Restlessness for Film London’s Dickens 200.
booking essential, £4/ £2 concs
Richard Wright Heliocentrum, 1995, 11’15”
Combining elements of political documentary, techno-culture and a virtual simulation of Louis XIV’s pleasure palace at Versailles, the film constructs a riotous history of our fascination with digital special effects, surveillance and addiction to media spectacle.
Hiraki Sawa Did I?, 2011, 9’13”
Fragmented ideas of home, memory and the spaces between reality and fiction are the starting points for an exploration of the mind and how it loses things.
Katherina Athanasopoulou Engine Angelic, 2010, 2’ 45”
A disused gasworks yard in Athens becomes an infanticidal mother that ravages her offspring. The film deals with cruelty and the re imagining of an industrial space.
Sebastian Buerkener Blur Belt, 2008, 8’54”
Five chapters, each beginning with an 'establishing shot' to suggest the same location, accompanied by an evocative soundtrack that playfully refers to a history of filmmaking from Hitchcock to Lynch. The filmic associations, combined with the basic approaches of creating animated form such as pattern, line and blur are used to suggest particular emotional states, resulting in a work that acts almost like a psychological experiment.
Inger Lise Hansen Proximity, 2006, 3’43”
An upside-down time-lapse camera moves along a beach, inverting the sand and sky as the weather changes. The result is a disorienting and mysterious space where the originally solid ground at the top of the frame appears to be sliding past like a lava stream.
James Lowne Our relationships will become radiant, 2011, 8’52”
Three narratives unfold together. Inside a vast nature reserve sits a solitary building, a café, where an important meeting is being held by executives. Outside in the park, the collective singular lounge about wearing fancy garments. Images are exchanged, participation simulated: the interminable present. Meanwhile, the dormant wildlife fades away.
Tim Macmillan Ferment, 1999, 4’37”
In a quiet city square an old man clutches his chest and falls to the ground, and time stands still. We travel from the square, down streets, through buildings – the human condition unfolds in glimpses of frozen moments. A film by time-slice pioneer Tim Macmillan.
Dryden Goodwin Flight, 2005, 7’43”
A fugitive escape path across five interlinked spaces. The artist’s interventions in the live action journey suggest an evolving relationship between an unseen protagonist and their surroundings as we are propelled from overcrowded urban vistas towards isolation in wide-open space.
Alan Warburton Z, 2012, 3’
Does history reveal or obscure the truth? Will it repeat itself? Are we in control? Z is comprised entirely of Z-depth images, a black & white data-driven format native only to CG animation: details are lost at either end of the spectrum.
Tal Rosner Without You, 2008, 4’42”
Inspired by a poem by Josef Albers, Without You focuses on outer London locations where the natural and manmade environments lie side by side in harmonic indifference. The film follows a colour-coded and surface-determined path, where identifiable or 'simple' forms are sculpted and submerged into one another, resolved only through abstraction.
Susan Collins Love Brid, 2009, 3’32”
An animated postcard, a loving tribute to the timeless charms of the seaside, and a colourful rollercoaster ride through the coastal town of Bridlington (Brid) in North Yorkshire and its many unique attractions recorded on location over a few days in August 2009.
Katy Shepherd Film, 2001, 3’30”
“Film appears to be shot by a hand-held cine camera zooming in and out, gaining and losing focus. It starts by examining a still photo. As you look, different parts of the photo begin to come to life. Sometimes it all moves together, as if to mimic a movie. It seems to me that when you look at a family snapshot you bring a lot of your own needs and memories to the reading of that photo and that over the years, as your life moves on and family members are lost, these change. The result is a sort of Chinese whispers effect. The image involves you.”
20 Feb 2014
7:00pm - 9:00pm