Past Screenings

The Girl With Stories In Her Hair, Rotting Artist and Of Unknown Origin

11 – 15 September 2014

ANIMATE PROJECTS TRIPLE BILL

Phoebe Boswell

The Girl With Stories In Her Hair

2010, 2′ 52″

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PHOEBE BOSWELL ON THE GIRL WITH STORIES IN HER HAIR

” ‘The Girl With Stories In Her Hair’ was my final student film at Central St Martins. It was made in collaboration with the National Gallery Education department, as part of a commissioned programme called ‘Transitions’, where we were asked to choose a painting from the permanent collection as inspiration for our final films. I chose Edgar Degas’ La Coiffure and focused on the contradictive nature of Degas’ voyeuristic, misogynistic manner through which the painting was conceived, juxtaposed with the conveyed warmth and intimacy of the painting itself, and also memories of my mother combing my hair as a child.”

 

LINKS

Artists Website

 

CREDITS

A film by Phoebe Boswell

Music by Andrés Franco Medina-more

Music Performed by El Grupo De Musicos (Flute and artistic direction – Oscar Romando, Oboe – Francisca Ettlin, Cello – Fabiola Flores)

Poem written and performed by Phoebe Boswell

 

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Ann Course and Paul Clark

Rotting Artist

2002, 3’10”

 

SYNOPSIS

People try it on in the Croxley bunkers, and when the head of the household shoves his bendy cane brush right up the chimney we would do well to run to the other side of the road and watch it appear out the top for…

 

LINKS

LUX Artist Profile – Ann Course 

Vertigo Interview

 

CREDITS

Directors Ann Course & Paul Clark

Line Producer Steve Connolly

 

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Edwin Rostron

Of Unknown Origin

2010, 3’00”

 

SYNOPSIS

Electronic Voice Phenomena (EVP) recordings present messages ‘of unknown origin’ heard in radio frequencies and background noise, and possess a distorted, unearthly quality. Many researchers into the EVP believe they are the voices of the dead. Through a series of fragmentary scenes rendered in pencil and watercolour animation we enter into an unsettling territory somewhere between the real and the abstract. We hear the strange sounds of the EVP, and Cass himself talking about his work. But the film is not ‘about’ Cass, instead it takes the details of his life and work, and the recordings themselves, as a route to explore the hidden realms of the unconscious mind. The film mirrors the uncanny, inexplicable nature of the EVP, the mystery and poetry of the recordings, and challenges rational explanations.

 

LINKS

Artists Website

Artists Vimeo

Filmography available here 

 

CREDITS

Director Edwin Rostron

Music Supreme Vagabond Craftsman

Sound Design Edwin Rostron

Featuring the following recordings by Raymond Cass – Raymond Cass, Aircraft Intercept, Radio Luxembourg, Out of this World, Tramping, Dead Machines and Una from the album The Ghost Orchid (PARC CD1) published by Touch Music [MCPS] and Section One and Section Three from parc.web.fm

Thanks to The Raymond Cass Foundation.

 

Carroll / Fletcher would like to thank Abigail Addison and Animate Projects for their collaboration in the programming of this season of films

Cubic Limit, Square Roots and Complimentary Cubes

4 – 10 September 2014

Manfred Mohr

Cubic Limit 

1973-74, 4’01”

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Manfred Mohr

Square Roots

1972-73, 3’48” 

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Manfred Mohr

Complimentary Cubes 

1973-74, 5’39” 

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SYNOPSIS

In Cubic Limit a single large cube rotates in 3-D until it slowly breaks into 25 embedded cubes, they continue to rotate and diminish until the edges form a superstructure. Both Square Roots and Complimentary Cubes can be seen as sketches in the build up to Cubic Limit. Square Roots was one of Mohr’s first attempts at using a computer to create a short film, whilst Complimentary Cube was originally written for Cubic Limit but was not included in the final edit of the film.

Since the late 1950s, Manfred Mohr has been making rigorously minimal paintings, drawings and moving-image works.  During the 1960s, Mohr’s practice evolved from abstract expressionism towards a more hard-edged geometric painting. By 1968, in pursuit of a ‘real rational art’ he had begun to develop a ‘programmed expressionism’ in which algorithms were used to generate art that formalised his vision in a new, logical way. In 1969, Mohr gained access to one of the first computer-driven drawing machines or ‘plotters’ at the Paris Institute of Meteorology. With this plotter, Mohr developed a series of computer programs based on certain algorithms that provided a controlled system through which new visual forms could be explored. In 2000, he introduced colour and animation to give fuller expression to the incredible richness of the multiple, complex variations within the higher dimensions of the cube and their artistic potential as a system of two-dimensional visual signs or ‘êtres graphiques’.

 

MANFRED MOHR ON EXPERIMENTING WITH COMPUTER FILMS

“During my one-man show at the Museum of Modern Art in Paris in 1971, I met the CEO of C.G.M (La Companie Generale de Micromatique), a data storage and preservation company, which specialized in micro films. He invited me to experiment on their brand new machine DATAGRAPHIX 4460 to make computer animations. I gladly accepted and during the next 4 years I made several short computer films. It was a very painful experience since the process was very slow and the turnover dragged out over many months. 

For the film, each frame was drawn in high resolution with a light beam directly from the computer onto 16mm film to create the animations.” 

More information available here.

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LINKS

Artists Website

Interview with Manfred Mohr – White Review  

Scripted Variations – an essay by Alistair Rider

There is an extensive selection of interviews and talks with Manfred Mohr on Youtube, here is a talk with the artist in conversation with  Dr. Lida von Mengden filmed at Art Basel in 2013.

 

Carroll / Fletcher would like to thank Abigail Addison and Animate Projects for their collaboration in the programming of this season of films

The Black Dog’s Progress, Magnetic Movie and Anomalies

1- 3 September 2014

Stephen Irwin

The Black Dog’s Progress

2008, 3’14”

the-black-dogs-progress

SYNOPSIS

A series of flipbooks tell the sad story of the Black Dog.

The sad story of the Black Dog is told within a single shot using a series of flipbooks. The scene grows denser as looped scenes accumulate and the narrative develops.

The Black Dog, unwanted by his owner, is thrown out into an unwelcoming neighbourhood. On his journey he is corrupted by acts of violence and grows determined to live happily ever after back home. Unfortunately Mother has different plans and his story ends in tragedy.

LINKS

Artist’s website, about page – http://www.smalltimeinc.com/p/a-b-o-u-t.html

Stephen Irwin interview – http://www.animateprojects.org/films/by_date/films_2008/atv_s_irwin

The Black Dog’s Progress by Karen Alexander – http://www.animateprojects.org/writing/essay_archive/k_alexander_3

CREDITS

A film by Stephen Irwin

Music by Sorenious Bonk

 

 

Semiconductor, Magnetic Movie

Semiconductor

Magnetic Movie

2007, 4’42”

SYNOPSIS

Natural magnetic fields are revealed as chaotic, ever-changing geometries as scientists from NASA’s Space Sciences Laboratory excitedly describe their discoveries.

All action takes place around NASA’s Space Sciences Laboratory, UC Berkeley, to recordings of space scientists describing their discoveries. Actual VLF audio recordings control the evolution of the fields as they delve into our inaudible surroundings, revealing recurrent ‘whistlers’ produced by fleeting electrons. Are we observing a series of scientific experiments, the universe in flux, or a documentary of a fictional world?

LINKS

Creators project – http://thecreatorsproject.vice.com/en-uk/creators/semiconductor

Semiconductor website – http://semiconductorfilms.com/

Semiconductor interview – http://www.animateprojects.org/films/by_date/2007/atv_semi

CREDITS

A film by Semiconductor: Ruth Jarman & Joe Gerhardt

Photographed and Recorded at the Space Sciences Laboratory UC Berkeley

Space Physicists in order of appearance: Janet Luhmann, Bill Abbett, David Brain, Stephen Mende VLF Radio Recordings Stephen P McGreevy

 

 

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Atsushi Wada

Anomalies

2013, 2’59”

SYNOPSIS

We try to enrich ourselves through prayer, faith and devotion to someone or something ‘other’. Similarly, we believe in the existence of ‘anomalies’, such as unknowable and uncontrollable monsters. But can such beliefs advance us?

LINKS

Interview with Atsushi Wada – http://www.animateprojects.org/interviews/interview_with_atsushi_wada

IMDB Profile – http://www.imdb.com/name/nm3514433/

Art of the Absurd: An Interview with Atsushi Wada – http://nishikataeiga.blogspot.co.uk/2010/11/art-of-absurd-interview-with-atsushi.html

CREDITS

A film by Atsushi Wada Colour design Misa Amako

Sound design Masumi Takino

Music Miki Sakurai

Voices Yoshimi Tajima and Luiz Kruszielski

Produced by Abigail Addison

Mastering by VET

An Animate Projects production for Channel 4

Carroll / Fletcher would like to thank Abigail Addison and Animate Projects for their collaboration in the programming of this season of films