Heroes and Illusions
Animated video art and video installations Multivision Festival exhibition
25 October – 4 December 2017
Multivision Festival continues to examine animation as a form of visual art. “The Best Video Installation” nomination has been part of the Festival competition for seven years now. This category features the animations that are far more reminiscent of a painting, sculpture or scenery set in motion rather than a film. Every year the competition receives the increasing number of interesting works, which makes it more and more challenging to choose the best ones. The finalists — 23 video pieces from around the world — as well as several out of competition artworks, are presented at the exhibition in the Erarta Museum.
Having chosen “Heroes and illusion” as its subject, the exhibition explores the way in which subjectivity and the will of an individual, the plot engine in a movie, function in the realm of non-narrative animation. After all, it seems to lie much closer to the visual arts such as painting and sculpture rather than to the cinematic traditions. These works rely on the kaleidoscopes of colours and shapes, which, nonetheless, don’t necessarily imply the absences of the heroes.
«Inner Heroes» (Andrey Sikorsky /Russia/2017)
To understand someting about himself, an artist should take out from inside heroes that he collected all his life and see how they changed with time. These heroes are different characters, from Titanic to Snow Wite, from Lenin to Pinnoccio. From where they came and where they are going?
WireLess (реж. Szandra Pataki/ Hungary/2016/6’40)
Experimental movie about a world made of an infinite steel wire. We are all connected and we are all dependent on each other.
The Realm of Deepest Knowing (реж. Seung Hee Kim/Republic of Korea/2017/ 3’30)
One digs beneath the surface of the other to reach the deepest place of his heart during struggles. It lightens up the darkness. They fulfill one another within the sense of oneness.
Nœvus (реж. Samuel Yal/ France/2016/7’57)
Fragments of porcelain, enamels and rust … Nœvus explores the mystery of femininity and choreographs a metamorphosis.
Too Tame! (реж. Rebecca Bloecher/ Germany/2017/6’41)
Seven protagonists, stuck inside the box, are trapped in their clichés and their recurring daily routine. Their individuality is only an apparent one, because far too easy their autonomy can be taken away – even if they gamble with life. But show must go on and money is rolling in. Applause!
Mark Lotterman – Happy (реж. Alice Saey/Netherlands/2017/6’35)
People should be happy. Even this Egyptian goose, who tries to cast a spell on us with a seductive dance. Its gracious and clumsy movements captivate us. But it’s not the only one to master the dance. Three flocks of geese each led by their guru goose also share the pond; all of them torn between their desire to express their own individuality and the urge for group behavior. Soon the water begins to rise. Never mind. The geese will keep on dancing for us until they drown. A video about the search for ones own identity through seemingly audacious self-expression on the one hand and the undeniable drowning into the masses on the other.
Virtual actors in chinese opera (реж. Tobias Gremmler/ Hong Kong, Taiwan/ 2016/ 3’25)
Created for a theater production that fuses Chinese Opera with New Media, the virtual actors are inspired by shapes, colors and motions of traditional Chinese costumes and dance. The project explores how costumes and motions can virtually reshape a human body.
Battle of San Romano (реж. Georges Schwizgebel/ Switzerland/2017/2’25)
A movement within a painting, which begins with the savagery of a battle and comes to a halt in a rendition of a masterpiece of the 15th Century; The Battle of San Romano by Paolo Uccello.
The Laughing Spider (реж. Keiichi Tanaami/Japan/2016/ 7’24)
Born in 1936 in Tokyo, Tanaami has been among the most avant-garde animated filmmakers since his debut in 1965. While still studying design at the Musashino Art University (Tokyo), he gained wide recognition, winning a special commendation from the JAAC (JapanAdvertising Artists Club), one of the most prestigious design awards. Although design has since been his main domain of activity, he has worked in a broad and diverse range of media, including painting, sculpture, printing, editorial design, performance and film.
Re-Organization (реж. Osi Wald, Ricardo Werdesheim/Israel/2017/11’)
Re-organization A trippy animated journey through the hundreds of catalogues printed by the Israel Museum over the last 50 years. The catalogues are an endless source of inspiration – Art of any type and time, Archeology, Brides from Afghanistan, scattered texts, butterflies, a cabbage, Bauhaus, cigarette ads, limbs, squares of color… We scanned, cut, filed, tore and read. We found ourselves reorganizing the catalogues over and over, Recognizing connections and dismissing them. The more we broadened our research, the more the film became personal. At the end we realized the film no longer deals with the art we absorbed but with the way we look at it, the space between the artist the text and the observer, the gap between the art pieces and the catalogues .
The Plume (реж. Huang Ying/China/2017/9’09)
THE PLUME is China’s first 4K 3D stereoscopic painting art film. Using the 3D animation software and visual effects tools, show the traditional Chinese painting of flowers and claborate-style painting exquisitely loving hyper-realistic texture and image features of modern claborate-style painting landscapes. Using smooth lens language combined with three-dimensional space to create a set of four seasons alternately beautiful peace and love of artistic conception. National musical instrument and orchestra mutual fusion make the film more internationalization temperament. Grey mean the end of the month in the lunar calendar, the name of The Plume is emphasize optional what happened one day. The short points in four sections: spring to meet, summer to play, autumn to build their nests ,winter in distress. But this is not a sad story, finally is a feather fairy brought large members of the ending.
Aenigma (реж. Aris Fatouros/Antonis Ntoussias/Greece/2016/10’06)
A Greek stereoscopic CG animation inspired by the works of Greek surrealist painter Theodore Pandaleon. A requiem to Form, Feminine-Goddess, eternal Eve, Art. From idealization and sacred worship to delectation and insemination, to transformation and reproduction, to deterioration and decay, to desecration and vandalizing, to condemnation and subjugation, to the fall into timeless erebus. To the dream of regeneration.
Kaleidoscope (реж. Murat Sayginer/Turkey/2017/3’23)
Flying through a tunnel made of kaleidoscopic photographs.
Ten to the minus forty three second (реж. Clément Courcier/ France/ 2016/13’57)
An Instant in the universe: a few seconds above in space, a few minutes here below for a man, and how much for the plant staring at him… Little by little, these three journeys overlap, fuse with one another and plunge into the heart of matter. Un instant dans l’univers : quelques secondes là-haut dans l’espace, quelques minutes ici-bas pour un homme, et combien pour la plante qui le regarde. Ces trois parcours, petit à petit, se mélangent, se confondent pour plonger au cœur de la matière.
Оrogenesis (реж. Boris Labbé/ Spain/ 2016/7’51)
A trip towards abstraction, as an hypothesis on how mountains might have been formed.
Divisional Articulations (реж. Max Hattler/Hong Kong/ 2017/4’33)
Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, and spawn arrays of divisional articulations in time and space.
Five: Scherzo (реж. Max Hattler/Team Five/ Hong Kong/2017/17’43)
An abstract animation visualisation of the third movement of Gustav Mahler’s Symphony No. 5, created by Max Hattler with student animators at School of Creative Media, City University of Hong Kong.
Hummingbird Minuet (реж. Yu-Jhen Lin/Taiwan/2017/2’06)
This work was made base on the array graphics of styling jumping, and the film used the action of sucking the nectar and the super skills of flying by hummingbirds.
L’illusion de Joseph (реж. Pasquale D’Amico/Italy/2017/2’12)
Virtual reality, 360-degree videos, social networks, video games that look like movies and movies that resemble video games: I think that most of the entertainment`s world nowadays has become monstrous and it is no longer just eyes` illusion, but often illusion of the mind. I do not know about you but personally, among all these innovation`s turbines, I find myself still attracted by ancient methods and tools which continue to fascinate me. Some time ago I came across a phenakistoscope (also spelled as phenakistiscope or phenakitiscope or phantasmascope or phantascope), an antique optical instrument that displays animated images (practically current animated gif) invented in 1832 by Joseph Plateau. I then found some scans of these circles on the Internet and I began to digitally animate them. After a few attempts, I started to combine these animations trying to create something original and unpublished. Eventually, in order to stay on, I created a stop motion with paper toys from nineteenth-century that open and close the video. The music was carefully crafted by Al-Maranca. The result of all this work is called “L’illusion de Joseph” in honour of Joseph Plateau, inventor of phenakistoscope.
GastaLoops (реж. Nicola Gastaldi/ UK/ 2016/4’14)
Gastaloops are a personal project, a marathon that consists in creating 100 animations in 100 days, with three main colors (white, red and black). A blend of surreal and inventive GIFs that perfectly convey the atypical universe of the Londoner. The track Out worked seamlessly with the juxtaposition of the gifs, with no additional edit.
Eх Terrat (реж. Reinhold Bidner/ France/2016/5’45)
Experimental Animation based on Urban Exploring in Paris.The Idea was to feel inspired by this beautiful but also terrifying City & its Urban Landscapes. The focus was laid on Faces in this City that are on the darker side of the spectrum. These faces were collaged and animated in various Techniques.
Chase (реж. Páraic Mc Gloughlin/ Poland/2017/ 3’15)
Shot in Ireland and Poland – a journey that explores ideas of decision, choice,consequence,circumstance and time among other things, a personal perception on how we try to find whatever it is we are searching for.The film looks at objects,people,and places which share common properties,our connection with one another and our environments in the very similar yet very different paths we share.
Nutag-Homeland/ (реж. Alisi Telengut/ Canada/2016/6’0)
A visual poem and surrealist requiem for the Kalmyk people that were mass-deported by USSR from 1943-1957 and half of them died before they were allowed to return home. The film manifests itself as an archetype with frame by frame hand painted imagery, bringing back an example of human history on the eternal theme of diaspora and the loss of homeland, but more importantly, by referencing to the past and the lost, it poses a critical resistance to the current social political situations in the world.
Retro Future (реж. Mirai Mizue/Japan/2015/6’55)
The world of the future that I have imagined in childhood, different from the world of the future to visit now.