Animation in visual arts - 3D animations, eletronic noises, animated drawings and photos
Tamás Waliczky: Marionett
computer programmed aniation, 2007, 24'00"
animation and direction: Tamás Waliczky
artictic advisor: Anna Szepesi
courtesy of Katalin Spengler and Zsolt Somlói
Yves Netzhammer: Sweet Wind in One’s Face
video / 3D animation, 2004, 29'00"
represented by: Gallery Anita Beckers
Gigi Scaria: Amusement Park
video / animated photos, 2009, 5'24”
Tamás Komoróczky: A Nothing Poem
video / morphed photos, 2009, 3'00"
Eszter Szabó: People
video / animated water colors, 2009, 0'40" - 1'00"
Rosa Menkman: Radio Dada
video / errors in electronic images
Within the Processes exhibition series we present single-channel videos. After last year's topic Real Image we chose animations for this year.
About the artists and the works exhibited
Although the genre of animation is used for a varety of purposes, the present exhibition showcases works that reflect a specifically artistic approach. The six artists presented here work with various media: animation is only one of the tools they use as a vehicle for their themes. Individual artistic strategies are reflected in these animations, sometimes resulting in solutions that are unusual in this genre. The spectrum ranges from 3D animations to animated drawings, to eletronic noises, vector movements, to animated photos.
(50), living mainly in Germany since the 1990s, creates animations, installations and CD-ROMs as well as computer works. His animations of virtual spaces are, in fact, simulations of movements and occurrences in the real physical space.
The theme of Marionettes
is motion, moving bodies, forces affecting the body, which sometimes accumulate, and sometimes neutralise each other. To bring the human body to motion, or to make a marionette move, one has to resist the most general force, gravitation. If Earth's gravity is stronger, the body collapses. For human beings, the sight of a collapsing body bears a suggestive and dramatic power that takes us far beyond the natural laws of physics.
(40) frequently uses the human body as a motif in his works. The Swiss artist creates video installations, animations and drawings. He studied architecture and visual design; the strong abstraction and the reduction of figures and their environment to simple geometric forms evokes the sterile world of architectural design software. The figures moving among basic forms and primary colours enter into absurd interactions, creating surreal scenes. Yves Netzhammer is represented by Gallery Anita Beckers
An enchanted landscape, in this case the panorama of a town comes to life, becomes animated in Gigi Scaria's
work. The artist from India works with various media. His artistic commentaries on the human condition are philosophical and ironic, but also humorous and subtle at the same time.
Videospace Gallery presented Gigi Scaria at the Volta New York art fair
In his video presented in the Processes exhibition, Tamás Komoróczky
(46, Berlin, Budapest) ventures to present yet another ultimate stage of abstraction and reduction. The artist currently explores the philosophical theme of nothing. A very expressive product of his experiments is the artist's morphed portrait staring into Nothingness. The accompanying voice, also distorted, cites non-professional poems.
The human types depicted by Eszter Szabó
(30, Budapest) are much closer to everyday reality. Her animations are based of traditional painting techniques, such as watercolour. The adaptation of the highly sensitive, precise paintings into the world of digital technology creates a tension, which Szabó makes emphatic: the manual, indistinct, lyrical line-and colouring system is confronted with digitalized, perfectly repeated gestures. Humour and irony are also present in these works.
The presented People series was shown at the FIAC in Paris
in 2009, with a great success.
(NL) is an artist and VJ, whose work focuses on technology. Her works are based on the accidental or artificial errors and malfunctions of digital technology. Cutting these glitches from their original environment, she creates independent signs and works. She calls this method 'machine poetry' or 'digital error art'.
Text: Andrea Berg
Special thanks to
Katalin Spengler, Zsolt Somlói, Anita Beckers