Animation in its purest form. A collection of in-competition, recently released films focusing entirely on abstract and experimental animation. Outstanding examples of non-narrative, highly imaginative cinematic art and some of the most intriguing, challenging and rewarding films in competition.
Read an extended article on this programme by LIAF Director, Nag Vladermersky here
At Barbican book tickets
I Already Know What I Hear / Ja Vec Znam Sto Cujem (Darko Masnec, 2012)
Communication is a gap that I can sense between the things I’m unable to say. But this gap is not an empty divide; it is a space that fills itself.
Croatia, 5’00
Shift (Max Hattler, 2012)
Using the New Age idea of a ‘dimensional shift’ as inspiration, Shift combines science fiction themes through abstract, stop-motion animation of objects and colour.
UK, 3’00
Split Ends (Joanna Priestley, 2012)
Inspired by French and English wallpapers from the 1900’s and North American wrapping papers from the 1960’s, a delicate series of colourful patterns.
USA, 3’35
Virtuoso Virtual (Thomas Stellmach, 2013)
Hand-crafted ink drawings inspired by the opera ‘The Alchymist’ by the early German romantic composer Louis Spohr.
Germany, 7’20
Limitations (Jeanette Bonds, 2012)
A wonderful visual enigma extrapolated from a 15 foot film loop of animated scratch film, shot not frame-by-frame but created incrementally, one millimetre at a time.
USA, 2’40
Big Signal (Evelien Lohbeck, 2012)
When many undesired signals accumulate, the wanted signal is suppressed and overtaken by the unwanted noise.
Holland, 1’50
Boy (Steven Subotnick, 2012)
Three letters in search of a boy. A simple enough proposition.
USA, 1’45
Roundabout (Peter Byrne, 2010)
An inquiry into landscape, memory, movement and flow that employs gesture, layering, randomness, pattern and colour to evoke a fragmented sense of place.
USA, 7’38
A Direct Film Farewell (Oerd Van Cuijlenborg, 2012)
Working directly on filmstock, Van Cuijlenborg has created an abstract, light-footed universe in which colour, form and movement become primary visual elements again.
Holland, 5’39
X (Max Hattler, 2012)
A canal commission for the Vauxhall Ampera Season to create a water projection on Regents Canal, London.
UK, 6’00
Broken Time (Johannes Gierlinger, 2011)
Using highly modified strips of live-action film, random glimpses of the everyday get a second chance to speak to us and exist cinematographically, the way they were originally created to be.
Austria, 1’00
Heavy Eyes / Schwere Augen (Siegfried Fruhauf, 2011)
A film of abstraction and Neo-Expressionism. Ghostly and mask-like faces appear and immediately disappear again in the digital fog, eerily duplicated, electronically cloned.
Austria, 10’00
Pinball / Fliper (Darko Vidackovic, 2012)
A dynamic pinball game, where the trajectory of the ball is undetermined.
Croatia, 7’30
Snail Trail (Philipp Artus, 2012)
A snail invents the wheel and goes through a cultural evolution to finally get back to its origin.
Germany, 3’00
The End (Ülo Pikkov, 2013)
It is said a dying man sees his life racing before his eyes. What does a 100-year-old film strip see before it gives way to the digital realm? Broken frames, scratched filmstock or something else?
Estonia, 5’42
When The Sun Turns Into Juice (Steven Woloshen, 2011)
Inspired by Woloshen’s four-year-old daughter’s metaphor for a sunset and originally created as an art gallery installation housing a 200-foot-long acrylic filmstrip painting, this is the perfect way to close the programme.
Canada, 1’44
