Garage Screen: Punto y Raya. Abstract Film & Animation Festival

Date

Schedule

21:00–22:30

Place

Garage Screen summer cinema

DESCRIPTION

Punto y Raya Festival, the benchmark event for abstract film and animation, arrives for the first time in Russia with the Best of PyR 2018 program.

The selection features the 18 finalist and awarded films from the festival’s latest edition in Poland. They encompass a remarkable variety of approaches and techniques: from hand-drawn animation with pen and paper to top-notch generative art; from traditional stop-motion or video-feedback to silent 16mm film developed in matcha tea.

The evolution of abstract film and animation over the past century resonates deeply with some of the main concerns in Russian pictorial traditions such as Suprematism and Constructivism. When the sound and visual tracks work cohesively, viewers may tend to introspection or gaze beyond the film in search of poetry and meaning. In contrast, when artists employ dissonance or produce a constant stream of novel situations, they can hijack viewers’ senses and trap them inside the film from beginning to end.

Launched in 2007 by the Barcelona non-profit association MAD, Punto y Raya invites people around the world to explore pure form, motion, color and sound, avoiding direct representation. It recaptures the spirit of Cinéma Pur and Absolute Film formulated by the European avant-garde in the 1920s, exploring this unique artform at the intersection of fine art and media.

This film screening has been organized with the support of the Instituto Cervantes in Moscow.

GARAGE SCREEN PARTNER

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tickets

Standard: 350 RUB
Student: 250 RUB*

BUY TICKETS

 Garage Members: 175 RUB

Concessions for pensioners, veterans, large families, under 18s, and visitors with disabilities (with one carer): 175 RUB**

To book members’ tickets, call +7 (499) 345-10-00 or email members@garagemca.org. Booked tickets must be paid for no later than 30 minutes before the screening.

* For students of 18 to 25 years old with student ID
** Please bring proof of eligibility

Schedule

The Time Tunnel Remix

The Time Tunnel Remix is a vertiginous ride through circular compositions built from 250 cropped photos of wheel rims. Boosted by Boris Blank’s song, the hypnotic spinning motion draws the viewer into a whirlpool of sensations, that either spring out or sink deeper into the screen. 

The Time Tunnel Remix
Director: Dirk Koy
Switzerland, 2015, 2' 35''

Discretization

The Moscow-based duo Stain continue developing their visual music explorations with Discretization. This mesmerizing film explores the limits between a continuum and quantized space and sound, exploring the evasive nature of reality and our perception of it.

Discretization
Director: Stain
Russia, 2018, 6' 45''

Snowflakes

Snowflakes is a film from the Basque Country by Aitor Oñedera Aguirre, an analog pixelated film created from hand-drawn geometric and organic shapes colored with acrylic. The curious and playful compositions, brought together in digital postproduction with rhythmic patterns of African inspiration, seek to induce some kind of “ancestral psychedelia” in the viewer.

Snowflakes
Director: Aitor Oñedera Aguirre
Spain, 2018, 3’

Mesophase

Espen Tversland’s expanded painting explores the relationship between humans and nature. In Mesophase other-worldly yet eerily familiar swaying textures and colors engulf the viewer in a completely sensory experience. Inner and outer space break down into an infinite, multi-layered membrane of an organic fiery entity. At times, it may suggest a comforting fuzzy skin, or perhaps the pits of hell or warm-blooded existential angst.

Mesophase
Director: Espen Tversland
Norway, 2018, 4' 30''

Geist

Geist by Matt Abbiss brings back with full force the power of minimal black-and-white hand-drawn visual music, recreating with a stylus on a Wacom tablet the look and feel of the earliest experiments traditionally drawn or scratched on film. The fantastic expressiveness of this accomplished work, set to a drum solo by Steve Gadd, suggests playful characters and narratives that guarantee pure joy for all audiences.

Geist
Director: Matt Abbiss
United Kingdom, 2018, 2' 20''

Function

Victoria Bylin proposes a rhythmic exploration of organic versus inorganic processes in her film Function. This hypnotic animation, with a very particular color palette and minimal shapes waving gently in a seemingly weightless universe, is masterfully complemented with an ambient score that emphasizes the oneiric character of the landscape.

Function
Director: Victoria Bylin
USA, 2018, 5' 7''

Sobling

In Sobling by Sune Petersen, an invisible circle creates a constant pulse that feeds a visual feedback loop, which in turn creates images that evolve organically. This feedback loop is continuously modified to create the overall structure. From signal to noise, from structure to seeming chaos, this film offers an intense and ever-changing experience, impossible to anticipate given the non-deterministic character of the system behind it.

Sobling
Director: Sune Petersen
Denmark, 2017, 3' 7''

25/25

Awarded the Jury Second Prize + Audience Award, 25/25 by the duo KinoManual is a playful animation drawn by hand at 25 frames per second. Each drawing consists of micro-actions with their own sonic counterpart. The one-second loops are skillfully introduced to the audience, surrounded by an air of mystery and expectation. Seamlessly, they build up and lead us from the contemplation of each separate component to the absorption of the final composition in all its glory.

25/25
Director: KinoManual
Poland, 2018, 4' 20''

Little Boy

The devastating film Little Boy by Kristian Pedersen is named after the atomic bomb dropped on Hiroshima in 1945. In its forceful and impeccable execution, this work is a perfect example of the evocative power of abstract imagery and sound design. An intimate and unique experience for each viewer, the film arouses the senses and appeals to the gut, as we inwardly recollect one of the most nefarious incidents in human history.

Little Boy
Director: Kristian Pedersen
Norway, 2018, 5' 20''

Sillon 672

Sillon 672 by Bastien Dupriez was skilfully hand-drawn on vinyl records to the rhythm of a composition by Antoine Zuccarelli. Poetically reflecting on the intrinsic relationship between abstract imagery and music, the artist makes the most of the vinyl tracks’ textures, as his hand-painted shape and color compositions spin and increase in complexity using various digital compositing techniques.

Sillon 672
Director: Bastien Dupriez
France, 2015, 4' 35''

The Big Note

Shusaku Kaji’s The Big Note reflects on the nature of the moving image and the construction of space, focusing its attention on the processes of Oscillation and Evolution. The first oscillation in the film causes a gradation, which in turn calls for more oscillations, thus pushing the system forward. The experimental soundtrack adds new dimensions to the organic, glitchy forms, and help the overall structure break out from the two-dimensional screen.

The Big Note
Director: Shusaku Kaji
Japan, 2018, 3’

Katagami

For Katagami, Michael Lyons photographed and re-photographed kimono stencils and developed the film with matcha tea. The small variations in the repeating patterns, in conjunction with the flickering effect between positive and negative images, generate apparent motion.

Katagami
Director: Michael Lyons
Japan, 2016, 3' 15''

Silent Aesthetics + States of Matter

Fascinated by brutalist architecture, Peter Tomaszewicz brought together two of his motion studies on matter and structure under the title Silent Aesthetics + States of Matter. Solid, liquid, gas. The three states of matter and their phase change, as recreated through top-notch animation, allow the artist to endow the very realistic and “concrete” spaces with a highly graphic and abstract feel, suggesting an underlying dystopian narrative.

Silent Aesthetics + States of Matter
Director: Peter Tomaszewicz
United Kingdom, 2018, 2’

Keep that Dream Burning

Rainer Kohlberger keeps mesmerizing audiences with his breath-taking algorithmically generated graphics. Keep that Dream Burning is an overpowering experience that transports the viewer from granular textures springing from the vacuum of space to cosmic artefacts and mega-structures; from seeming chaotic motion in multi-dimensional static to hidden footage of explosions and debris.

Keep that Dream Burning
Director: Rainer Kohlberger
Austria, 2017, 8’

Arena

Awarded the Jury Third Prize for Arena, Páraic McGloughlin proposes a different approach to abstract imagery and composition. His film is built from the quick succession of thousands of Google Earth images, shot from kilometers away. The flattened natural and manmade structures are thus endowed with an abstract quality that focuses our attention on the pure shape and color compositions, as each image leads to the next through clever formal relations.

Arena
Director: Páraic McGloughlin
Ireland, 2018, 1' 30''

Quantum Fluctuations

Quantum Fluctuations by Markos Kay shows the complexity and transient nature of the most fundamental aspect of reality: the quantum world, which is impossible to observe directly. Making use of input from scientists at CERN in Geneva, particle simulations are used as the brush and paint to create abstract moving paintings, which seek to visualize the events that happen during a proton collision at the Large Hadron Collider.

Quantum Fluctuations
Director: Markos Kay
UK, 2017, 4' 10''

Energy off

Nikita Liskov’s Energy off pays homage to energy, exploring the evocative power of texture, light, and motion through black-and-white painted gestures. Based on a soundtrack by Bryan Eubanks and Jason Kahn, the film takes the viewer for a lovely ride through abstract mindscapes at the edge of night and day, heaven and earth, inner and outer space.

Energy off
Director: Nikita Liskov
Ukraine, 2017, 2' 45''

Study in Colour and Form I-IV

The Jury First Prize: Study in Colour and Form I-IV by Jonathan Gillie. This masterful series of studies uses a combination of analogue and digital moving image techniques to reflect upon the essence of form, color and motion. Structurally, the animations engage a multi-layered, quickly strobing succession of semi-constructed images, a technique that often relies on the persistence of image, the after-image retained briefly on viewing an object.

Study in Colour and Form I-IV
Director  Jonathan Gillie
UK, 2015, 3' 15''