Experimental Animation

Edge of Frame & Animate Projects present Discussion Screenings

at Whitechapel Gallery & Close-Up Film Centre 9 - 11 December 2016

1 2 Introduction

The Edge of Frame Weekend is a celebration of the vibrant art of experimental animation, bringing together many varied and extraordinary films, from bold personal visions to intricate and visually stunning formal experiments, mixing contemporary works with classic and rarely screened masterpieces, from over 50 British and international artists, spanning the last 50 years.

The weekend presents five curated screening independent animation, visual arts, histories programmes over three days, taking place and institutions. at Whitechapel Gallery and Close-Up Film I began Edge of Frame as a blog in Centre, and featuring a diverse range of 2013, to provide an online space devoted animation techniques including drawing, to experimental animation. As an artist collage, scratching on film and CGI to name and animator I was frustrated with the way just a few. Films from historical visionaries work in this area was often marginalised or like Robert Breer, Jeff Keen and Margaret Tait misunderstood. Through the blog and its show next to those of contemporary pioneers development into screening events earlier such as Peter Millard, Jodie Mack and Shen Jie. this year, I have tried to address this marginal The broad scope of the programme reveals status and to increase the visibility of artists connections and threads running through the working with animation. many forms of independent and experimental The Edge of Frame Weekend, taking animation, whilst celebrating the hybrid, place as part of London International boundary-crossing nature of the medium. Animation Festival, during a William Kentridge The first screening, Elemental Animation, exhibition at Whitechapel Gallery, provides focuses on work by artists engaging physically an ideal focal point for varied, overlapping with the material of film itself. Journeys audiences, practitioners, organisations and into Experimental Animation is a day-long educators to come together and develop screening event featuring three programmes, our common understanding of this often including a guest-curated selection from overlooked area of practice. Eyeworks Festival of Experimental Animation. The Edge of Frame Weekend is curated Eyeworks co-director Alexander Stewart will by Edge of Frame and Animate Projects – be in attendance, and also introduces the final the UK’s foremost champions of innovative programme of the weekend, Push and Pull: animation practice. It is supported by Jerwood Films by Lilli Carré and Alexander Stewart, Charitable Foundation, Royal College of Art, a selection of the Eyeworks curators’ own and using public funding by the National moving image work. The Weekend begins with Lottery through Arts Council England. Edges: An Animation Seminar, led by Gary Edwin Rostron Thomas of Animate Projects, with speakers addressing questions of where experimental animation practice sits in relation to Left Jennifer Reeves, ‘Landfill 16’

2 3 Vicky Smith: Performance Throughout history animators 14.00 - 17.00 have referenced the act Friday 9 December 2016 of animating in their films. Whitechapel Gallery Taking this reflexive tendency further, experimental animators enact the process of animated filmmaking to Experimental animation is a term we use because a live audience, expanding others won’t do. It differentiates a practice from our understanding of where popular animation forms, but as the range of work animation lies and positing presented in the Edge of Frame Weekend evidences, that the unusual movements as a category, it’s diverse, and unconstrained. of the animator are as significant as the films we make. Vicky Smith has been making and teaching experimental María Palacios Cruz: To a general audience, these animation since 1990. (UN)MOVING? techniques may facilitate beefbristol.org/staff/vicky- In the digital age, every image greater appreciation. smith is crafted; according to Lev Paul Taberham is a teacher, Barnaby Dicker: Flicker Edges: Manovich, cinema is now scholar, occasional filmmaker. Due to its openness towards just a category of animation. Paper tiger with radioactive frame-by-frame processes, an This presentation considers teeth. works that defy and reject experimental animation is conventional animation the privileged custodian Animation techniques as well as film of cinematographic flicker. and video technologies, Intense – almost sculptural – Seminar challenging the relationship Above and below Stefan Gruber, Kevin attention to frame intervals between animation and Glick & Leinors Allen, ‘Light Weight’ and the kinetic visual rhythms the moving image and their definitions. María Palacios Cruz is Deputy Director of LUX and co- The Edge of Frame seminar addresses these founder of The Visible Press, questions of definition and location, exploring where London. experimental animation practice sits – in relation to independent animation, visual arts, histories, Paul Taberham: Native The appreciation of visual institutions – at the ‘edges’. music does not always depend on a wholesale rejection of naturalistic perceptions. The use of synchronisation, Led by Gary Thomas, web-like geometric patterns Co-founder and Director at Animate Projects and symmetry all appeal to and Film Programme Manager, British Council. familiar, native capacities.

4 5 and patterns they can create within museum collections of software? What strategies exposes the ‘pulse’ of through reinterpretation and do they adopt to interpret cinematography, the limits re-appropriation. It gives software and software 20.00 of ‘animation’ and offers a alternatives to experiencing culture? Friday 9 December 2016 valuable opportunity to re- the object, in relation to Alan Warburton is an artist Close-Up Film Centre assess our relationship to the established museum curating. interested in the aesthetic heavy image flow of our multi- From the margins, it explores and political affordances of screen culture. the strange agency of an computer-generated imagery A programme of works which use the material of object, its histories and its Dr Barnaby Dicker is a (CGI) and the software used to film itself as a canvas. These visceral, vibrant films relation to the viewer. lecturer in Illustration at create it. alanwarburton.co.uk feature camera-less techniques such as scratching, Cardiff School of Art and is an art historian Claire Mead painting and printing onto the filmstrip, subjecting Design at Cardiff Metropolitan and recent graduate from Stuart Hilton: Wrongdoings University; his research the MA in Curating the Art Experimental animation film to decay and decomposition, and affixing revolves around conceptual Museum at the Courtauld is a fuzzy and faintly odd materials such as letraset or insects to its surface. and material innovations Institute, where she practice – ask anyone. It can in and through graphic researched ways of curating be infuriatingly opaque and technologies and arts. experimental animation within aggressively uncompromising. the art museum. It’s difficult to fund. Difficult Birgitta Hosea: clairemead.wordpress.com to watch. Difficult to explain. Beyond Noumenon So why bother? Because Edge Presenting the work of Katerina Athanasopoulou: working at the margins of Mi Chai, Tianran Duan Ecstatic what might be called meaning of and Tingting Lu, three Ecstasy (from the Ancient can produce just the right contemporary Chinese artists Greek ἔκστασις) can mean kind of wrong. Frame: pushing at the boundaries of to be moved outside oneself Stuart Hilton: director with animation who were featured and into another space and FAQ, animator, filmmaker, Elemental in Beyond Noumenon, time. CGI seduces the viewer musician, light removals. the recent exhibition of into entering a convincingly stuarthilton.com experimental and expanded familiar, yet completely made Animation animation at Sichuan Institute up world - whether new or Adam Pugh: Nothings of Fine Arts, Chongqing, reconstructed. Is there some Beyond representation, China. necessary agony in order to beyond material, never achieve that? Dr Birgitta Hosea is a London- becoming a thing or needing The remarkable visions created through these based media artist and Katerina Athanasopoulou to refer to things in order diverse approaches fill the frame with dynamic curator whose work explores is a London-based artist to exist: is it possible for textures and colour, and many will be presented presence, affect and digital filmmaker using digital an artwork to exist entirely materiality through post- animation to create work for hermetically; to fully inhabit on 16mm and 35mm prints. Seen in the cinema, animation and is Head of cinema and gallery space. only its own language? these works achieve a powerful effect, immersing Animation at the Royal College kineticat.co.uk Adam Pugh is a writer, us in strange and previously unseen worlds, and of Art. birgittahosea.co.uk curator and designer based in displaying the breadth and scope of abstract film. Alan Warburton: Experimental Norwich. adampugh.co.uk Claire Mead: Software Practice Curated by Edwin Rostron (Edge of Frame) Re-interpretation How do experimental Experimental animation animation, contemporary art provides subjective ways of and commercial animation giving new life to objects differ in their apprehension

6 7 Linear Dreams then I hand-painted the film which the image is the sound Richard Reeves to give it new life. —J.R. track, the sound track the Canada 1997 7’ (16mm) image. A film document.’ —L.R Images from the Mind’s Eye. Something Between Us Music from the Mind’s Ear. Jodie Mack USA 2015 9’30 Primal A pulsating heartbeat gives (16mm) Vicky Smith life to a motion painting A choreographed motion UK 2016 10’ (16mm) experience. study for twinkling trinkets, ‘I began with the urgent beaming baubles, and glaring method of direct animation, Queen’s Quay glimmers. using a roll of 16mm unpro­ Stephen Broomer cessed fogged negative Canada 2012 1’11 (16mm) Mothlight and my own body. Emulsion Red, green, blue, and yellow Stan Brakhage softened with saliva rubbed grids track the horizon, left USA 1963 4’ (16mm) away to reveal textures and right. The colours collide ‘Brakhage made Mothlight impressed upon the film and mix. without a camera. He just surface.’ —V.S. pasted mothwings and flowers Landfill 16 on a clear strip of film and Sunset Strip Jennifer Reeves ran it through the printing Kayla Parker USA 2011 9’ (16mm) machine.’ —Jonas Mekas UK 1996 4’15 (35mm) Exhumed 16mm film from my A day-by-day animated diary very own landfill in Elkhart. Dresden Dynamo of a year’s sunsets, recorded I temporarily buried the Lis Rhodes directly onto a continuous lacquer and ink, to create Colour Poems footage to let enzymes and UK 1971-1972 5’ (16mm) strip of 35mm film using a a dazzling expression of the Margaret Tait fungi in the soil begin to ‘Dresden Dynamo is a film that variety of materials such as visual music revealed by 365 UK 1974 12’ (digital) decompose the image, and I made without a camera—in magnolia petals, net stocking, setting suns. ‘Nine linked short films. Memory, chance observation, Deep Red and the subsuming of one Esther Urlus in the other... Some images Netherlands 2012 7’ (35mm) are formed by direct-on-film Dense, addictive, multi- animation, others are ‘found’ pass, colour printing with by the camera.’ —M.T. trees shorn of their leaves transformed into thirty six Little Boy layer deep technicolour. Jordan Baseman UK 2014-2016 3’45 (digital) Get Set Little Boy is an abstract, stop- Ian Helliwell frame animation of the sky, UK 2005 3’20 (digital) recorded at the Hiroshima A direct animation film made Peace Museum, within the over a period of 3 years, using detonation site of the first clear Super 8 covered with atomic bomb. ink and overlaid with various Letraset shapes. Left Esther Urlus, ‘Deep Red’ Above Jennifer Reeves, ‘Landfill 16’ Right Richard Reeves, ‘Linear Dreams’

8 9 11.30 - 18.00 Saturday 10 December 2016 Whitechapel Gallery

A special day-long screening event, celebrating the vibrant field of experimental animation. From bold personal visions to intricate and visually stunning formal experiments, this expansive screening programme mixes contemporary animation by British and international artists with classic and rarely seen historical works. Showcasing animation at the cutting edge of moving image practice, the programme reveals connections and threads running through the many forms of experimental animation.

Mind Frame conversations, transitory Journeys Journey One Jake Fried sights, crowds, rain-lashed USA 2016 1’ (digital) windows. Curated by Edwin Rostron into (Edge of Frame) Hand-drawn animation with ink, white-out and coffee. The Poetry Winner Experimental Jennifer Levonian Save Me USA 2012 7’30 (digital) Animation A selection of intricately Stuart Hilton This animated film is based constructed animations UK 1994 6’10 (digital) on an epiphany in a college student’s life. The semester charting the multi- Found messages, notes Journeys into Experimental Animation features has ended and it’s time to go layered spaces we and doodles are blended three screening programmes of international artists’ with manipulated footage home for the summer and exist within, at once animation. Two of these programmes are curated and appropriated domestic deal with parental meddling inside our heads and vs. self-actualization. by Edwin Rostron of Edge of Frame, and one has sounds to create a semi- outside our bodies; been specially curated by Lilli Carré and Alexander abstract mixed media film that social, psychological attempts to explore everyday Enough to Drive You Mad Stewart, co-directors of Eyeworks Festival of and geographical. These perils through the partial Karen Yasinsky Experimental Animation. Alexander and Edwin will USA 2009 3’ (digital) overlapping planes of disclosure of a fantastic introduce the programmes, and a number of the experience are brought event. An automatic, careening filmmakers will be present. response to a still from Robert to vivid life through Eaves Apart Bresson’s film Au Hasard these unexpected and Sebastian Buerkner Balthazar. exhilarating visions, UK 2015 4’55 (digital) showing the dynamic A kinetic journey on the potential of animation as 38 night-bus; a brilliantly Above Sebastian Buerkner, an art form. coloured collage of overheard ‘Eaves Apart’

10 11 Untitled Futon Journey Two Oliver Laric Yoriko Mizushiri Germany 2014-2015 6’ (digital) Japan 2012 6’ (digital) Curated by Alexander Stewart and Lilli Carré Repetition, recycling, and re­ Wrapped in the futon...Memo­ (Eyeworks Festival of invention. A rhythmic, morph­ ries are coming up to the Experimental Animation) ing flow of graphic bodies. mind, the future is imagined, senses are recaptured, Eyeworks Festival Trial Balloons physical feelings as a woman Robert Breer are deeply ingrained... focuses on abstract USA 1982 5’30 (16mm) Everything melts pleasantly all animation and ‘Like Breer’s other work, it together. unconventional character is associative, and manages animation, drawing on to simultaneously suggest The Presentation Theme the lineage of avant- spontaneity and elegance.’ Jim Trainor garde cinema as well as —Amy Taubin USA 2008 14’ (16mm) the tradition of classic A Peruvian prisoner of war character animation and 1984 (Music for finds himself outmanoeuvred cartooning. This specially Modern Americans) by a hematophagous Susan Young & Emma Calder priestess. Based on a true curated programme UK 1984 12’ (digital) story. Lazy Daze Nightclub GREEN | RED features films selected Brian Smee Jonathan Hodgson Peter Burr A film commissioned by and from past Eyeworks USA 2016 4’ (digital) UK 1982 6’02 (digital) USA 2014 10’ (digital) using the drawings of Eduardo Maxwell’s Demon screenings, and will be James Duesing Dog in the land where the Based on sketches made Our eyes flicker to life and Paolozzi. A non-narrative film presented by festival USA 1990 7’30 (digital) good life takes you. in Liverpool drinking clubs. we’re thrown into a shape- focusing on Paolozzi’s themes The film observes human shifting world where the co-director Alexander about modern man. In a world that has shifted Velocity behaviour in a social situation, sidewalks are endless, the Stewart. to being information and Karolina Glusiec hinting at the loneliness felt radio is playing electric and service-based, industrialists UK 2012 5’53 (digital) by the individual lost in the the night-sky’s broken open I always thought I had a crowd. by a cataclysm of shuddering perfect memory. I wanted to stars. Here we channel The show these drawings to you. Little Red Giant, The Monster Zone in a flow of primordial That I Was color, space and decay. Jukebox Laura Harrison Run Wrake USA 2016 16’02 (digital) Such a Good Place to Die UK 1994 4’55 (digital) An unhinged artist goes Onohana Japan 2015 3’13 (digital) ‘Two years in five minutes... berserk at a barbeque How old are you?’ Employing and lands herself in prison Landscapes moving like a montage of xeroxed images, where she is finally given a living beings. A flow of forms paintings and sound, Jukebox sympathetic audience to in constant change. In this is a personal journey through the story she tells about her landscape animation, all forms fragmented experience. Forever Wolf art. of memories are dancing.

Above Oliver Laric, ‘Untitled’ Left Jake Fried, ‘Mind Frame’

12 13 Two Space Larry Cuba USA 1979 8’ (digital) Two dimensional patterns, like the tile patterns of Islamic temples, are generated by performing a set of symmetry operations (translations, rotations, and reflections) upon a basic figure or tile.

Hammam Florence Miailhe France 1992 9’ (digital) Two young girls who are going to the baths for the first time, guide us through the labyrinth are corralled on a reservation animated journey through the of steam baths, showers, and named Lorado, to sell plastic image world of the Tibetan fountains. things as remnants of their Book of the Dead. past culture. Journey Three Soft Crash Flaws Light Weight Alan Warburton Josh Shaffner Tanka Stefan Gruber, Kevin Glick Above Jim Trainor, ‘The Presentation UK 2016 5’48 (digital) USA 2014 2’52 (digital) Curated by Edwin Rostron David Lebrun & Leinors Allen Theme’ Below Florence Miailhe, A full CGI meditation on the An animated short made from ‘Hammam’ Right Alan Warburton, (Edge of Frame) USA 1976 9’ (digital) USA 1999 3’ (digital) financial collapse of 2008 and a series of 18 drawings. The ‘Soft Crash’ A cyclical vision of ancient Pixillated choreography with the subsequent public bank story is an autobiographical Overleaf Martha Colburn, ‘Myth Labs’; gods and demons; an two performers. Lauren Gregory, ‘Lauren Gregory’s TV’ bailouts, austerity economics rant about years spent in the The animations in this and recent trend towards service industry as a waiter. programme address dif- nationalist isolationism. Monkey ferent kinds of systems; Six God Alphabet Peter Shen Jie from structures of op- Peter Millard China 2015 5’09 (digital) pression and control UK 2016 7’30 (digital) One of the three monkeys died. to modes of classifica- Please wake up Peter. Please tion and categorisation. wake up. You need to learn Gray Hairs Through a wide variety of your alphabet now Peter. Annapurna Kumar techniques these art- USA 2015 2’ (digital) ists channel forces of Taxonomy In 2013, the Apache subversion, destruction, Karen Aqua helicopter’s targeting systems USA 2011 4’08 (digital) celebration or acquies- were updated from standard cence, showing how we The animal, vegetable, and definition black and white mineral kingdoms reside to high-resolution colour use these systems, react in a state of constant video, touted as a boost to against them, or simply flux, reflecting a world of pilot safety and U.S. military attempt to survive within transience, mutability, and dominance. their grasp. impermanence.

14 15 Lauren Gregory’s TV Lauren Gregory USA 2009 1’54 (digital) In Lauren Gregory’s TV, the viewer gets lost flipping through channels of a strange television world where everything is rendered in oil paint.

Jessica Amy Lockhart USA 2014 5’ (digital) Jessica is stuck in the house The Classroom the West. It suggests that with the baby. A paper puppet Masha Krasnova-Shabaeva conservative thinking around and cut out animation. Netherlands 2012 2’58 (digital) the displacement and ‘I’ve always been interested movement of people, as well Cineblatz in the Soviet and Post-Soviet as responses to the financial Jeff Keen educational systems. Every crisis, unavoidably affects us UK 1967 3’ (digital) authoritarian state needs to all and leads to an erosion Sculpted radio static washes control people in all aspects of both social and moral over a rush of animated sup­ of their life. Of course school frameworks. er­­heroes, advertisements and is an ideal place where you even the House of Lords. Over can teach people what they Second Sun twenty discrete bright anima­t­ can be and can do, and what Leslie Supnet ions in less than three minutes. they can’t.’ Canada 2014 3’10 (digital) The rising sound of drums Yield More Dangerous Than imbues flashes of lights, Caleb Wood a Thousand Rioters vis­ions of the cosmos and a USA 2014 1’40 (digital) Kelly Gallagher post-Apocalyptic birth of a In this film roadkill deaths are USA 2016 6’19 (digital) new sun. documented, and collectively An experimental animated animated. documentary exploring Easyout the powerful and inspiring Pat O’Neill USA 1971 9’ (digital) Myth Labs life of revolutionary Lucy Martha Colburn Parsons and her countless ‘Easyout takes its title from USA/Netherlands 2008 8’ contributions to the struggles a machine tool used to (digital) against capitalism, sexism, extract broken bolts from ‘Myth Labs’ interweaves and racism. engine blocks and other Puritan visions, folk art, relig­ castings. I made the (oblique) ious allegories and victims of Austerity Cycle analogy with the extraction the current Methamphetamine Jonathan Gillie of a broken consciousness epidemic. This is a film about UK 2016 3’35 (digital) through the experience of the ecstatic.’ —P.O fear, paranoia, faith and loss A critique of current ethical of faith and salvation. and economic policies in

16 17 20.00 Sunday 11 December 2016 Close-Up Film Centre

Lilli Carré and Alexander Stewart are co- directors of Eyeworks Festival of Experimental Animation. Founded in Chicago in 2010 and now based in Los Angeles, Eyeworks’ pioneering curatorial approach is underpinned by Lilli and Alexander’s own acclaimed artistic practices. Push and Pull: Films by Lilli Carré & Alexander Stewart Jill What Birds of New York Lilli Carré Lilli Carré Lilli Carré Working individually and collaboratively, Lilli Carré and USA 2016 7’ (digital) USA 2015 1’30 (digital) USA 2015 3’ (digital) Alexander Stewart share a particular fascination with Jill explores the idea of the The language of hands. Created for the New York the history, processes and artefacts of animation. rebellious cartoon body. Times, to accompany a bird Their work encompasses a wide range of techniques, The piece speaks to power The Negotiation sound composition by Jeff from drawn and digital animation, to live-action film dynamics and the ambivalent Lilli Carré Talman. and video, printmaking, ceramics and comics. Edge relationship between creator USA 2013 6’ (digital) of Frame presents a selection of their moving image and creation, recalling Originally created as a two- Ode to Lumpy Gertie the Dinosaur and the works on video and 16mm. Alexander Stewart will channel installation, this Lilli Carré asymmetrical interaction of version places the two ever- USA 2014 4’ (digital) attend the evening for a Q&A after the screening. Frankenstein to his monster. morphing beings side by side, Circulation drawn on 20 in a phased conversation that pieces of paper. never resolves itself.

18 19 Information

The Edge of Frame Weekend is curated by Karen Yasinsky in October, with Karen in Edge of Frame and Animate Projects — the attendance to introduce her work. The Edge of UK’s foremost champions of innovative Frame Weekend this December is the largest animation practice. In association with event yet, bringing together over 50 artists’ Royal College of Art Animation Programme work spanning the last 50 years, celebrating and London International Animation Festival. this incredibly rich and vibrant, yet often Supported by Jerwood Charitable Foundation marginalised and hard to define art form. and using public funding by the National edgeofframe.co.uk Lottery through Arts Council England. Crux Film Fort Morgan Here There Edwin Rostron Lilli Carré & Alexander Stewart Alexander Stewart Alexander Stewart With thanks to Gareth Evans, Abigail Addison, Edwin Rostron is an artist, animator, writer USA 2013 5’ (digital) USA 2014 22’ (digital) USA 2015 5’ (digital) Shonagh Manson, Jon Opie, Alexis Stevens, and curator. He studied Fine Art at Sheffield Animated forms in moments Wing-Sie Chan, Damien Sanville. Fort Morgan uses animation Here There is a travelogue Hallam University and Animation at the Royal of transition loop and and live action footage to through the Croatian coast in College of Art. His work has been shown in interrupt one another. Designed by Adam Pugh thewaythingsgo.co examine the geometry, the summer of 2014 that gives exhibitions and film festivals around the world materials, and structure of a graphic form to memory’s including Ann Arbor Film Festival, Pictoplasma, Very Similar To Edge of Frame star-shaped brick fort on the malleable, straying lines. Fourth Wall Festival in Cardiff, and Carroll/ Alexander Stewart Edge of Frame was founded in 2013 by Alabama gulf coast. Fletcher Gallery’s Onscreen series. He was & Peter Miller Edwin Rostron. Beginning as an online space specifically for the discussion and exhibition a juror at this year’s Locomoción Festival of USA 2009 2’45 (16mm) Errata of experimental animation, the Edge of Frame Experimental Animation in Mexico City, and Mirror experiments to fold, Alexander Stewart blog www.edgeofframe.co.uk has featured for the 2016 London International Animation collapse, and refract a forest. USA 2005 6’ (16mm) interviews and articles with artists such as Festival. He is currently a visiting lecturer at An animation made using Jodie Mack, Jim Trainor, Peter Millard and the Royal College of Art, and runs Edge of 100 Foot Pull photocopiers. Each frame is Karolina Glusiec, and has become a valued Frame. edwinrostron.net Alexander Stewart a photocopy of the previous resource addressing an overlooked area of USA 2010 2’45 (16mm) frame. practice. Animate Projects, founded by Abigail Addison A camera is pulled 100 feet In 2016 Edge of Frame began putting and Gary Thomas in 2007, explores and across a field in the time it on screening events, with a series of three champions experimental animation, supporting takes to shoot 100 feet of programmes at DIY Space for London, production, exhibition, and the professional 16mm film. Rocks are attached featuring guest artists Jordan Baseman, Chris and artistic development of artists and to the camera to make it King and Vicky Smith, and UK premiers of work animators. You can access the Animate appropriately challenging. by Karissa Hahn, Dan Browne, and Isabelle Collection of 350+ films made from 1990 – Previous page Lilli Carré & Alexander Stewart, ‘Crux Film’ Aspin. This was followed by a screening of 2015, watch the films, see and read interviews, Top Lilli Carré, ‘Jill’ animated films by Baltimore-based artist and read essays, at animateprojectsarchive.org

20 21 Animate’s Silent Signal group exhibition is Whitechapel Gallery at Phoneix, Leicester, from 15 December 77-82 Whitechapel High St, London E1 7QX Schedule 2016 to Sunday 29 January 2017. Six newly 020 7522 7888 commissioned animated works that explore whitechapelgallery.org the science of genetics, cell biology, Friday 9 December Saturday 10 December Sunday 11 December immunology and epidemiology. William Kentridge: Thick Time silentsignal.org until 15 January 2017 animateprojects.org South African artist William Kentridge is 14.00 - 17.15 11.30 – 18.00 20.00 renowned for his animated expressionist Whitechapel Gallery Whitechapel Gallery Close-Up Cinema Eyeworks Festival of Experimental Animation drawings and films exploring time, the history Edges: an Animation Seminar Screening Screening The Eyeworks Festival of Experimental of colonialism and the aspirations and Edge of Frame: Push and Pull: Films by Lilli Animation is an invitational festival focusing failures of revolutionary politics. In this major Journeys into Experimental Carré and Alexander Stewart on abstract animation and unconventional exhibition of six large-scale installations by Animation character animation. Festival programs the artist, music and drama are ruptured by showcase outstanding experimental animation revolution, exile and scientific advancement. of all sorts, and include classic films and new 20.00 11.30 Close-Up Cinema Introductions works. It was founded in 2010 by Lilli Carré and Close-Up Film Centre Alexander Stewart, and was based in Chicago 97 Sclater Street, London E1 6HR Screening 11.45 until relocating to LA this year. Eyeworks 020 3784 7970 Edge of Frame: Elemental Journey One concentrates on works made by individual Close-Up aims to make film culture and history Animation Curated by Edwin Rostron, artists, drawing on the lineage of avant-garde accessible through its cinema, library and the Edge of Frame cinema as well as the tradition of classic online publication of Vertigo Magazine. Close- character animation and cartooning. The aim 13.15 Up’s film programmes present a series of films of Eyeworks is to present works that engage Break that shaped the art of cinema and its history. the enormous potential inherent in the art The Library’s collection of over 19,000 titles form of animation. eyeworksfestival.com 14.15 specialises in early cinema, classics, world ci­ Journey Two nema, documentaries, experimental films and Lilli Carré’s animated films have shown in fes­ Curated by Alexander Stewart video art. The book catalogue ranges from film tivals throughout the US and abroad, inc­­l­­­uding and Lilli Carré, Eyeworks theory, criticism and practice to history, bio­ the Sundance Film Festival, the Edinburgh Festival of Experimental graphy and periodicals. closeupfilmcentre.com International Film Festival, and the Ann Arbor Animation Film Festival. Her comics and illustration work London International Animation Festival 16.00 have appeared in the New Yorker, The New Founded in 2003, LIAF aims to dispel the Break York Times, Best American Comics and Best popular misconception that animation is just American Nonrequired Reading. cartoons for kids by screening the broadest 16.30 possible range of intelligent, entertaining and Journey Three Alexander Stewart’s short films have screened provocative current films on offer from all Curated by Edwin Rostron, internationally, including at the International around the world as well as retrospectives and Edge of Frame Film Festival Rotterdam, the Ottawa Internat-­ specialised sessions from countries ­ional Animation Festival, the Ann Arbor Film and animators who don’t normally elicit Festival, and Image Forum in Japan. He such attention. The annual festival includes curat­ed the film and video screening series at gala premieres, retrospectives, Q&A’s with Roots & Culture Contemporary Art Center in filmmakers, workshops, audience voting, and Chicago from 2006 to 2013. He teaches in the the Best of the Festival screening. liaf.org.uk experim­ental animation programme at CalArts, Los Angeles.

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