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Art I Animació Art and Animation

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Art I Animació Art and Animation Art i animació Art and Animation MARCEL PIÉ BARBA a tesis doctoral de l‘Anna Miquel es titula he title of Anna Miquel’s doctoral thesis Art i animació, una declaració d’intencions is Art i animació [Art and Animation]; it is an Ltan diàfana i honesta que mereix encapça- Topen and honest declaration, fully de- lar aquest text. Art va ser el que va fer durant tota serving of its place at the head of this text. Art la seva vida, amb una abnegació digne d’admira- was what she did her entire life, with a spirit of ció, i tot i que la pintura va ser la seva principal forma d’expressió, la seva associació amb el was her main expressive channel, her connec- camp de l’animació és inevitable. Ambdós disci- the inevitable about it. Both disciplines were with - her from the very start to the end of her artistic rebé sempre espais i discurs, moldejant una tra- career, almost always sharing the physical spac- jectòria manifestament rica en llenguatges. En es she worked in as well as her discourse, mould- - ing a career that would be so manifestly rich in na va fer durant tota la seva vida, a l’estudi, a la galeria i a la facultat, i ho va fer de la mateixa art and animation on the same plane her entire manera que va afrontar la pintura o la docència, life—in the studio, in the gallery and at the facul- amb sinceritat i valentia. ty—doing so in the same way that she ap- Aquest text vol ser un merescut reconeixe- proached painting and teaching, with sincerity ment a la seva tasca en el camp de l’animació, and courage. 83 ART I ANIMACIÓ ART AND ANIMATION escrit per un modest animador, que aprecia la The purpose of this text is to recognize her de- seva obra i estima la seva persona. Els records que guardo d’ella, dels moments que vam pas- by a modest animator who appreciated her work sar junts, estan en tot moment relacionats amb and loved her as a person. The memories I have l’animació. Amb ella vaig poder compartir la de- of her, of the time we spent together, are in every voció per aquesta tècnica, intercanviar idees, re- ferents, descobriments i reptes. Per aquesta raó devotion to this technique, exchanging ideas and crec que el millor homenatge que li puc fer és references, discoveries and challenges. For this parlar d’animació, de la seva trajectòria, de les Per fer-ho analitzarem la seva obra i el seu re- corregut, indagarem entre els seus referents, i To do this we will analyse her work and her repassarem el seu llegat. Per començar direm career, exploring her references and reviewing the full value of her legacy. Let us start by simply molt bon exemple del que ha passat en el camp de l’animació experimental a Espanya durant - mental animation in Spain during the last part of - the twentieth century. Nowadays we refer to this perimentals, d’autor, independents o no conven- cionals, però crec que ella hagués preferit que independent or non-conventional, although I be- parléssim simplement d’animació. L’Anna Miquel lieve that Anna would have preferred for us to sempre va imaginar aquesta disciplina de forma speak simply of animation. Anna Miquel always expandida, per això defensava una terminologia sense adjectius restrictius o adulcorants, per a which is why she defended a terminology free ella aquesta tècnica mereixia ser afrontada en from both linguistic restrictions and terminologi- totes les seves conseqüències. Pel mateix motiu, - l’Anna no parlava mai de cinema d’animació o di- ered as it was, with all its consequences. For the buix animat, ambdós termes li semblaven exclo- same reason, Anna never spoke of animated cin- ents, i és que no tota l’animació utilitza el suport ema or animated cartoons, as both terms seemed - ques- ni està feta tan sols mitjançant el dibuix take optical games and toys—while much of it is -pensem amb l’stop motion o la pixilació-. Aques- not based on drawing either, here thinking of ta era una mirada singular que contrasta amb la stop motion and pixilation. She had a unique view visió predominant de l’animació espanyola dels of things that contrasted with the predominant setanta i vuitanta, un cas excepcional que de- tendency in Spanish animation in the 1970s and mostra la clarividència de la seva proposta, una 1980s; she was an exception case, as seen in the forma de treballar lliure de prejudicis. Per tot això, clarity of her proposals and her completely unbi- més que d’animació parlerem tan sols d’art, l’art ased way of working. For this reason, instead of de les imatges que es mouen o l’art de les imat- speaking of animation we will refer to art, the art 84 MARCEL PIÉ BARBA of moving images or the art of images in trans- que permet la hibridació entre imatge, temps i so, formation, of a discipline conducive to the hy- un camp excepcional per a l’experimentació amb bridization of image, time and sound, an excep- la llum i el color. Tot això veia l’Anna en l’art de l’animació, parlem d’aquesta relació. perceived all these traits in the art of animation, a La trajectòria de l’Anna en el camp de l’anima- connection we need to address quite directly. ció és estimable en termes de producció. L’Anna - tion if we consider her many productions. She was activa durant els deu primers anys, en els quals a proliferous director, especially active during the peces. El primer treball que coneixem és Joc de Joc de línies línies (1971), [Play of Lines] (1971), - Tornarà a utilitzar aquesta tècnica en les obres loid. She would use this technique again in Estudi Estudi de complementaris (1972), Joc de lletres de complementaris [Complementary Studies] (1973) i estudi matèric (1973). El procés és el se- (1972), Joc de lletres [Game of Letters] (1973) and Es- - tudi matèric [Material Study] (1973). The process onar en alguns casos o pel·- tres -, l’Anna dibuixa, pinta i rasca buscant la sincronització entre les formes, el color i la músi- draw, paint and scratch to set up a synchrony of - shapes, colour and music. Her interest in treating lització del cel·luloide com a suport sobre el que - ceix en ella el cineasta Len Lye (1901 - 1980). La Len Lye (1901-1980). His work opened up for her a seva obra li mostra una forma diferent de veure i direct relation with what makes up the palpable amb allò que conforma la matèria palpable del que les primeres obres de l’Anna anessin enca- focussed on questioning the material substance of minades a qüestionar la matèria mateixa, la gè- nesis del mitjà, doncs és una forma molt pictòri- was a highly pictorial way of approaching cinema. ca d’aproximar-se al cinema. A més a més, la Furthermore, Anna’s painting was always very con- pintura de l’Anna sempre va ser molt matèrica, cerned with materiality, so that her beginnings in també molt corporis. Per altra banda, en aquests primers passos es pot intuir ja una aproximació courageous approach to sound and its relationship valenta al so i a la relació que aquest estableix amb la imatge en moviment. No seria d’estranyar - - - ressin també els pioners del cinema abstracte, makers Viking Eggeling (1880 - 1925), Hans Richter 85 ART I ANIMACIÓ ART AND ANIMATION ESTUDI DE COMPLEMENTARIS COMPLEMENTARY STUDIES 1972 86 MARCEL PIÉ BARBA 87 ART I ANIMACIÓ ART AND ANIMATION 88 MARCEL PIÉ BARBA 89 ART I ANIMACIÓ ART AND ANIMATION 90 MARCEL PIÉ BARBA els avantguardistes Viking Eggeling (1880 - 1925), along with cubist painters like Leopold Survage - 1941) o els pintors cubistes Leopold Survage (1879 - 1968) and Fernand Léger (1881 - 1955). Sy- (1879 - 1968) i Fernand Léger (1881 - 1955). La - sinestèsia com a camp de cultiu del cinema, un mental space related to the exploration of the ex- espai d’experimentació relacionat amb l’explora- pressive capacities of music, rhythm and melody in ció de les capacitats expressives de la música, el dialogue with shapes and colours. This more or ritme i la melodia en relació a les formes i els less explicit interest in the visualization of sonority is la visualització de la sonoritat estarà present en Let us return to the works themselves. Joc de línies Però tornem a les obres. Joc de línies (1971), la grattage s un senzill treball de didgeridoo music. It was a clear statement of in- grattage tentions, suggesting that from the very start her negre amb música de didgeridoos. Una clara de- claració d’intencions, que demostra que la seva animation without compunction. The second incursió en aquesta disciplina serà ja des del prin- piece, Estudi de complementaris (1972), is an in- cipi una apel·lació a l’animació sense complexos. teresting play of right-angled shapes attached to La següent peça, Estudi de complementaris (1972) és un interessant joc entre les formes quadrades play of movements and shapes in transforma- adherides a la cinta i els traços de tinta que les - uneixen, joc de moviments i formes en translació, efectes de parpelleig o construccions abstractes Amidst these pieces, Anna made (1972), an 8mm production where she refers to peces l’Anna realitza one of the subjects she would deal with most of- 8mm en la que fa referència a un dels temes més ten in her pictorial career, urban signs. Even tractats durant la seva trajectòria pictòrica, el de - la senyalètica urbana.
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