online catalogue

A collection of audio-visual Haiku poems. Stop-motion poetry, oscillating between animation, documentary and experiment. Transforming Haiku poetry based on 5-7-5 syllables to the audio-visual form using a 5-7-5 second shot structure. The author made the film during a two-month art residency in Japan and uses typical local motifs, which he often puts in unusual contexts.

The authors, both focusing on stop-motion animation, present a short but impressive film. The Garden was made to commemorate the 100th anniversary of the foundation of independent Czechoslovakia and the authors managed to fit these hundred years into a single minute.

The author sees his project as a candy with a filling made of interacting ingredients. The first one is post-apocapitalism, the second temporality, the third posthumanism and the fourth the Anthropocene and Capitalocene. The last ingredient is a binding agent called the internet – saliva flowing all over the ingredients and giving them all an unpleasant taste.

This advertisement is advertising the electromagnetic radiation in wavelengths of around 0.1 to 15 kHz that naturally occurs in the atmosphere. With the help of Stephen P. McGreevy's huge recordings archive and using ordinary drywall and simple space illusion we can see this untraditional field of human interest and fascinating natural phenomena.

An infinite number of everyday objects is brought to life in a very specific way. The author instils new life in them by drawing them on paper with documentary precision. Thousands of objects can then parade on the screen in meticulous choreographies. They overlap, shrink, multiply and create a true visual symphony which gradually culminates until the very end of the film.

In his film, the director combines two seemingly contradicting techniques – real footage and hand drawn animation on paper. He chose this unusual approach to re-establish his relationship to his hometown of Belluno in Northern Italy. Rapidly moving black and white drawings can be perceived as flowing memories with real places in the town acting as a background.

Don’t Know What combines elements of mainstream cinema, like an entertaining dramaturgy, slapstick-like surprise effects, etc., with strategies of avant-garde cinema, like the short-cut technique or the formal and aesthetic reduction of the imagery. The audience is then left to find their way between humour and seriousness in this strange “genre-hybrid”.

This contemplative film by the renowned American animator David Ehrlich pays homage to the magic of nature. Growth and metamorphoses depicted with classic animation evoke the processes that the forest goes through. As the seasons change, the trees change with them. Everything is accompanied by traditional Chinese music.

The Thing Is Lost is an abstract, audio-visual experience, inspired by the monotonous, yet overwhelming and omnipresent existence of the internal dialogue. This film is an emotional journey through expressions, confusion, colours and affects. A journey undertaken to "find" or to "be found", yet "the Thing is Lost".

Two young authors use their film as a tool to explore the pure architectonic beauty of Hong Kong’s buildings. Instead of a boring concrete greyness, they find a pulsating rhythm in this urban jungle. The movie takes the concrete buildings and landscape to re-create an urban playground by animating shape, forms and colours extracted from drone footage.

The Sun’s energy circulates through the Earth, feeding the cycle of life. Everything is connected in a natural loop, which repeats, like the circular discs of magical optical toys. This perfectly balanced rhythm is disrupted by human excess, throwing the cycle out of orbit. The author uses the rediscovered technique of zoetrope.

On 6 August 1945, there were two suns over Hiroshima. One was the dawn of a new day. The second was the nuclear bomb code-named Little Boy. The author uses hints to allude to a human failure – the devastating catastrophe. The viewers find themselves inside the explosion, as if in the centre of the second “Sun”. They watch eruptions and energy transfers animated by an impressive technique and accompanied by an interesting score.

Half Asleep presents a silent relationship between two half bodies in a poetic way. It reduces the narrative but enhances mixed feelings of anxiety, pleasure, struggle and endurance. Despite using minimalist methods such as flickering hints of the bodies, subtle symbolism and an elaborate score, the author has created a mesmerizing film.

Anyone who has felt a desire for a beautiful and strong two-wheeler is bound to understand the author of this film. Hundreds of motorbikes are animated frame by frame in this homage to the iconic motorcycle design and culture of the 1950s and 60s. A rider prepares his bike and departs on an idealised journey into the countryside and into the future.

Once upon a time in a deserted parking lot, in a galaxy far far away, everything turns rainbow, rainbow, and rainbow… The US-based experimenter returns with another unsettling vision made by unmistakeable 3D animation. His typical motifs undergo morphing as does the whole continually divided screen.