Akinori Oishi, “Drawaholic”
Prepoznaven in mednarodno uveljavljen japonski umetnik, stripar, ilustrator in oblikovalec, katerega zaščitni znak so flomastri in pa skrajno preprost likovni minimalizem, bo kot rezidenčni umetnik mednarodnega festivala animiranega filma Animateka letos v naših logih polno zaseden. Kot gost festivala bo Kinodvorovo Galerijo preobrazil v svojevrsten teater sproščenega režanja: razstava, na kateri bo Aki demonstriral ves svoj arzenal likovnih veščin in znanja, se bo osredotočila na avtorjev prepoznavni motiv 'srečnega Akijevega nasmeha', ki širi skrajno nalezljivo in nevarno vedrino. Smejalni virus razstavnega projekta se bo iz Kinodvorove Galerije razširil še v Kavarno, od tam pa na številne lokacije po prestolnici. Z Akinorijem, članom festivalske žirije in avtorjem njegove likovne podobe, ki bo v Ljubljani doživel tudi izdajo svojega flip-booka z naslovom One happy moment (Srečni trenutek), se bo dan po odprtju razstave pogovarjal Igor Prassel. Animateka v čast njegovemu obisku predstavlja tudi slovensko premiero celovečernega filma Volčji otroci, ki je delo najpopularnejšega avtorja japonskega animiranega žanra anime Mamoruja Hosode.
Kinodvor, Ljubljana, 8.–14. december 2014
pogovor z avtorjem
Kinodvor, Ljubljana, 9. december 2014 ob 12. uri
likovna delavnica: Kako ustvariti lik z značajem?
Vetrinjski dvor, Maribor, 6. december 2014, 10.00–18.00
kino Udarnik in mestne izložbe v centru Maribora, 15. december 2014, 9.00–18.00
The famed, internationally acclaimed Japanese artist, comics creator, illustrator and designer, whose signature style includes marker pens and the utterly simple artistic minimalism, will have his hands full during his stay in Slovenia as artist-in-residence of the International Animation Film Festival Animateka. As a festival guest he will turn the Kinodvor gallery into a unique theatre of easy-going grinning: the exhibition where Aki puts his entire arsenal of artistic skills and knowledge on display, will focus on the author’s signature-style theme of “happy Aki smile”, spreading highly infectious, hazardous perkiness. The smile virus of the exhibition will spread from the Kinodvor gallery into the café, and from there on to a myriad of locations across the Slovenian capital. A day after the exhibition opening, Igor Prassel will host a Q&A with Akinori, who is also a member of the festival jury and author of its identity and will have his flip-book One happy moment published during his stay in Ljubljana. To honour his visit, Animateka presents the Slovenian premiere of feature film Wolf Children by Japan’s most popular anime director Mamoru Hosoda.
Kinodvor, Ljubljana, 8–14 December 2014
Q&A with author
Kinodvor, Ljubljana, 9 December 2014 at 12 Noon
Creative Workshop: Creating a character with personality
Vetrinjski dvor, Maribor, 6 December 2014, 10 am to 6 pm
Udarnik Cinema and display windows in Maribor city centre, 15. December 2014, 9 am to 6 pm
The Hidden Face of Colombian Animation
The history of Colombian animation is still young. It is possible to say that in our country animation as an artistic expression started in 1986 with ”The Passenger of the Night” by Carlos Santa, artist and animator of big importance. After this first film, Santa was able to strongly articulate a unique language by combining the styles of a wide range of artists and art forms in various stages of his animations. By proposing a type of animation based on philosophical underpinnings, he influenced an evolving generation of other Colombian animators.
There are few distribution opportunities and limited economical support, but this has fortunately been changing thanks to new government laws to support filmmaking and the economic support that allows participation in international festivals. Due to the absence of animation schools, many young people decide to study and work abroad. For this reason, many Colombian artists around the world have established a strong network of communication to combine their ideas with those of the locals they encounter. This resulted in a unique collaborative history full of shades and contrast, which is quite possible to appreciate in the internet platform Moebius Animación, thanks to the remarkable work by Juan Camilo González and Cecilia Traslaviña, who collected the pieces of the dispersed puzzle of the Colombian Animation.
However there is a common background to our animations: the social conflict in the country lasting for more than 50 years; because in addition to the urban violence that is common to other Latin American countries, Colombia has been experiencing a deep-rooted armed conflict that has seen many transformations over the past 5 decades. Many generations of Colombian people have grown up in it, some of them as direct victims and others as indirect ones. In the contemporary Colombian animation we can see some aesthetic and narrative characteristics similar to animations from other regions under tough social circumstances (e.g. animation from the Eastern European countries under the Soviet control). This is precisely what the animations selected for Animateka have in common, the conflict seen in its real cruelty or in symbolic interpretations.
Laura Victoria Delgado, 2014.
Andreas Hykade: The Essence
Andreas Hykade (Germany) is the director of personal, moving films like We Lived in Grass (1995), Ring of Fire (2000), The Runt (2006), Love & Theft (2010) and Nuggets (2014). He learned to draw in the bar, while his father was playing cards with friends, and he studied at the Kunstakademie Stuttgart and the Filmakademie Baden-Württemberg.
From the moment Hykade went to work for Studio Film Bilder, he has been steadily building on an astonishing oeuvre of commissioned films, including countless prize-winning commercials, music videos and the television series for children TOM & the Slice of Bread with Strawberry Jam & Honey. In addition he teaches animation and gives workshops.
Andreas Hykade’s retrospective programme displays a superb development of a true author filmmaker. His observations go to the heart of the matter, sometimes almost casual, sometimes distinctly raw, sometimes funny. Sometimes confronting and uncomfortable, but often with a certain wistfulness and compassion. He has a characteristic and intense style of animation with a determined line-work. His earlier work in black-and-white or rich colour palette with expressive shadows has developed into his current trademark style with simple lines and saturated colour planes. The unique character design, immaculate timing and combination with sound fits wonderfully. Whether it concerns a somewhat pained coming of age in Ring of Fire – in which two young cowboys explore sexual desire, waiting for beauty from somewhere way beyond – and Runt – in which a young child learns to take care of a runt only to have to kill it after a year – or a non-narrative parade of transforming icons that explodes aggressively into colours in Love & Theft or Hykade’s latest film Nuggets, a very effective film because of its elegant simplicity, about an addiction that gets out of control. Throughout the programme parts of his new series Myself (Shot, Smoke, Universe) are shown, very short funny minimalist films in which the filmmaker addresses the audience directly, asking for help to quit smoking, for instance, or to discover the secret of the universe together.
Anet ter Horst
Holland Animation Film Festival
Tess Martin: Contemporary Independent Animation from Seattle
The Pacific Northwest has more than its share of curious creatures. This series of animated films, curated by Tess Martin, showcases the relationship between humans and the natural world in the wet and wild city of Seattle. Whales, owls, bumblebees, frogs, cats, dogs and the hairy forest-dwelling giant known as Bigfoot inhabit these flights of fancy created by award-winning members of the Seattle Experimental Animation Team, themselves a rare breed: truly independent creators who push the boundaries of animation, followed by three of Tess Martin's latest works.
John Canciani presents: Wonderland has transformed into Walt Disney’s Nightmare
Walt Disney has probably followed us throughout our childhoods. Didn’t we all sob when Bambie’s mother died and didn’t we all sing with Baloo in the Jungle Book? Walt Disney was a master of American animation, which was part of the American film studio system producing films to entertain People, and has become an icon of mainstream culture. Disney had an impact on film history. For example, hybrid forms like The Reluctant Dragon, Mary Poppins or Pete’s Dragon. When it comes to 3D-Animation, Disney pushed the limits within technology.
But overall, even if we all list up the Disney films we like, they often follow the same concept of narration: everything has to be beautiful and merchandising seems to become the main motivation. A lot of critique targets Walt Disney about his conception of the World, but this alone would fill several essays. Alice in Wonderland seems to be an exception within the Disney Productions. The narration is different, it doesn’t have the typical structure and good and bad are not always clear or characters can’t be defined by what they stand for. The characters seem to follow the concept known from the Japanese Anime.
The Program “Wonderland has transformed into Walt Disney’s Nightmare” is my appreciation of Alice in Wonderland, but also a selection of animated films that are opposite to what Disney stands for. The animations in this programme are made by independent filmmakers with a strong signature style, working on the fringe of film and animation art. These works didn’t run at our festival but they stuck in my mind and I’ve been waiting for a chance to curate them and put them into context, to make it a unique, mind-blowing and crazy, but also eccentric experience. This programme will hopefully challenge the idea of narration and aesthetics and trigger interesting discussions after the screening.
Artistic Director Internationale Kurzfilmtage Winterthur