Ecstatic Truth III – Making Sense: Between Fantasy and Fact is the third in a series of symposia exploring the edges and areas of overlap between animation and documentary. We are interested in exploring the widest possible conceptualisation of documentary in conjunction with the widest possible interpretation of animation. This year, the organising team of Birgitta Hosea and Tereza Stehlikova has been joined by Pedro Serrazina and, therefore, the event will take place in Lisbon at the Universidade Lusófona.
The keynote speakers come from a range of approaches to documentary. Susana Sousa Dias is a documentary filmmaker, José Miguel Ribeiro is an animation director and Joan Fontcuberta a photographer: each engages with a notion of the ‘truth’ in differing ways within their practice. The other speakers have been selected through peer review to give presentations on topics ranging from the depiction of war and trauma, working with participants to create work that captures their own experiences and experimentation with a range of techniques from magic lanterns through to VR and drones.
To see more details and book a free place: https://www.eventbrite.co.uk/e/ecstatic-truth-making-sense-between-fantasy-and-fact-tickets-45640588228
Here is the programme of events:
EMPIRE II opened on the 12th June in Estonia for Tallin Arts Week. The latest version of this touring show of artists’ films, that has travelled from Brussels Art week to the Venice Biennale as well as as Berlin, London and Madrid, features a new installation Playing God – stills from imaginary films dreamt up by 100 artists. Curated by Vanya Balogh and on till 30th June at Haus Gallery, Tallin, this exhibition will also go to Zagreb, Paris and Hastings.
The exhibition features Erasure (2017, mixed media animation, 3 mins) and Untitled Hitchcock Still#1 (2018) by Birgitta Hosea.Click here to download the PRESS RELEASE.
Announcing a new book – Experimental and Expanded Animation: New Practices and Perspectives edited by Nicky Hamlyn and Vicky Smith for Palgrave Macmillan, for which I have written Chapter 13. Siting Animation: The Affect of Place.
My chapter is concerned with the experience of watching animation that has been created as a spatial experience for viewing in a particular location. Conventionally, animation is viewed from a fixed seat in a stationary position that the viewer stays in for the duration of the viewing experience without significant change in her angle of view of the images on the screen before her and, indeed, animation scholarship frequently refers to the single-screen animated film. This chapter considers non-narrative animation that has been created to be part of an expanded or site-specific experience in which the viewer must visit a particular location and walk around to experience the work. How does the viewing experience of animation differ if the work is installed in three-dimensional space as part of an art exhibition, museum display or visitor attraction rather than from a fixed seating position? Through reference to examples of works by artists Rose Bond, Birgitta Hosea, Pedro Serrazina and Xue Yuwen in which contemporary animations are displayed as an intervention in historic spaces, the affect of site and the impact of the communal viewing context on the embodied perception of an animation are investigated.
For more information about the book: https://www.palgrave.com/gb/book/9783319738727