Watch Me Move - Exhibits Development Group

Transcription

Watch Me Move:
The Animation Show
Exhibition Handbook
Installation view - Watch Me Move entrance at the Barbican
Exhibition developed and curated by the Barbican Centre, London,
UK. Tour organized with Barbican International Enterprises,
London, UK, and distributed by Exhibits Development Group, USA.
international enterprises
Installation
Handbook
1 Introduction
2 Apparitions
3 Characters
4 Superhumans
5 Fables & Fragments
6 Structures
7 Visions
8 Objects 9 Further Info
10 Venue Checklist
11 Selected Press Clippings
Installation
Handbook
Introduction
Introductory wall panel text:
Exhibition overview:
In 1911, Winsor McCay prefaced his short animated film
Little Nemo Moving Comics with the invitation to ‘WATCH
ME MOVE’, introducing a cast of colourful archetypes in
a playful promenade. A century later, animation is one
of the most popular and prevalent of visual art forms, its
creative, narr ative and technical potential taken to levels
unimaginable in McCay’s day. A dual sense of wonder
and engagement with the artifice of the storyteller remains
central to animation’s appeal today.
The exhibition is divided into seven inter-related chapters:
The history of animation has paralleled and often led
the wider history of visual representation. Paleolithic cave
drawings are regularly invoked as the earliest forms of
animation, their primal, graphic forms given flickering
life through torchlit ceremonies. At the other end of the
timescale, the triumph of the digital in recent decades has
made animation a pervasive echo of lived experience.
The freedom and directness of the medium – allowing it
to explore submerged narratives of childhood and animal
nature, violence and humour, sentiment and pathos – have
sometimes allowed animation to be dismissed as trivial,
superficial or eccentric. Watch Me Move tells the story of
animation as a distinctive and highly influential element in
the dynamic of contemporary global culture, shaped by
its own evolving languages, technologies and economies
and considers key themes in animation across time and
geography.
1. Apparitions – the emergence of the animated image.
Film was born of animation. From pre-cinematic kinetic
objects to the flicker of the magic lantern, today’s digital
cinema is foregrounded by our restless desire for the illusive
and magical: the ability to breathe life into static objects. This
quest for wonder is illustrated here by early experiments and
contemporary artists’ work alike, their thematic concerns and
technological innovations remarkably similar.
2. Characters – animation’s ability to construct powerful,
complex personalities
Now smart, now foolish; now lithe, now clumsy; comic yet
tragic; cruel yet tender: animated characters reflect the dual
nature of their audience. We delight in their mockery and
their collusion – even occasionally stepping out of the frame
into our world. We’re fallible and so are they…but they always
survive the fall.
3. Fables – the recurring use of animation to re-present
existing myths and fables and invent new ones
Animation imagines the invisible and plumbs the unconscious,
forgoing literal representation to conjure a textured, multilayered world of metaphor and symbolism. Transcribing
the experiential and emotional, animated films tell the story
of the human interior, with simple fables and folk tales,
complex allegories and fractured, ambiguous narratives all
interrogating the human condition.
4. Structures – underlying formal and conceptual structures of
the medium.
Since the earliest days of cinema, artists have experimented
with its most basic properties – form, sound, movement and
duration – via animation. Access to the atomic structure of film
allows time and space themselves to be subverted. The limitless
palette offered here by abstraction and experimentation
demonstrates the strong affinity that animation shares with
music, sculpture and painting.
5. Fragments – animated narratives in a post-modern world
Watch me Move: The Animation Show
/Introduction
/4
Introductory technical notes:
From the replayed dreams of Fables, we move to a multiplicity
of possible worlds, which collide to uncover alternative
realities, parallel lives and prophetic visions. The history of
the twentieth century is here, fractured and recomposed:
political provocation alongside the liminal and surreal, the
autobiographical alongside the topographical.
6. Superhumans – the exaggerated, extended character
Heroes and villains, monsters and demons: the candied
colours and impossible feats of Japanese anime combine
with Hollywood’s steroidal supermen to examine extremes of
characterisation, and as ever the projection of cultural values.
With roots in the printed page – as manga, comics, or graphic
novels – these characters’ translation to screen is generally
loud, fast-paced and dramatic, while often allowing time for
intense introspection.
7. Visions – mapping animated worlds onto the ‘real’ world
turning full circle from abstraction to figuration, here
animation confronts the real – and responds with a pervasive
parallel reality that blurs the boundaries between fact and
fiction, physical and ethereal, individual and collective. Yet no
sooner is the hyperreality of high-end computer-generated
imagery applied, it is reappropriated and re-used to artists’
own ends, ushering in a new abstraction which sees the tools
of simulation conspire to create a world of total connection.
• In general, all equipment and major pieces of structure
are supplied with the exhibition, except where noted in the
individual works list and the venue checklist.
A selection of poles for projector mounts are provided with
the exhibition. If the venue ceiling heights require new poles,
they should be provided by the venue according to their venue
specifications. More information to determine pole lengths is
included in the Further Technical Info digital appendix.
• Wall graphics have played a heavy part of sections of the
show. Vinyls and graphics are not provided by venue but are
outlined in the Panels & Graphics digital appendix folder, for
venues to print their own.
• All notes and images refer to the original floorplan and
installation at the Barbican. Additional floorplans from
touring venues appear in the digital appendices. Venues
may request changes to the exhibition layout and design,
including presentation format of individual works, to suit venue
requirements, except a minority of pieces whose presentation
is not flexible. Where inflexible, this is noted and underlined in
the technical details of the individual work.
• Due to the amount of equipment supplied, the exhibition
draws significant power. Most equipment (projectors,
amplifiers) has 110v - 240v variable power but some
As animation is fundamentally about the moving image, the
equipment may require transformers to be provided by the
majority of the exhibition’s content will be short films or extracts venue. These are noted in the Further Technical Info digital
from feature films. However prominent attention will also be
appendix folder (AV Equipment List with Power Consumption
given to carefully selected two or three dimensional objects
document).
that take the viewer behind the dream-world of the finished
film to engage directly with its component parts – including
puppets, stage sets, background paintings, wire-frame
visualisations, cel and background images. Additionally, a
number of key installations will bring the world of animation
into the physical space of the viewer. The exhibition will
include classic works alongside lesser-known pieces that help
demonstrate the full intellectual and emotive power of the
medium.
/Introduction
/5
Installation view - Apparitions (A) section
/Apparitions
/6
Installation
Handbook
1
2
3
4
5
6
7
8
9
10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Objects Further Info
Venue Checklist
Selected Press Clippings
Installation view: Apparitions (A) section
Watch me Move: The Animation Exhibition
/Apparitions
/8
Installation
Handbook
Apparitions
Section wall panel text:
Section technical notes:
The origins of animation date back to the birth of visual
representation and the magic of the still image springing into
life remains powerful today. The technologies we now
describe as animation emerged from scientific observations of
human and animal locomotion by the ‘chronophotographers’
Eadweard Muybridge and Étienne-Jules Marey at the end of
the nineteenth century. Muybridge’s method of breaking action
down into split-second frames allowed him to reassemble
still images into life-like portrayals of movement,which he
then took on the road as educational entertainment with his
travelling Zoöpraxiscope, an early projector.
This section’s layout is divided into several technical (not
curatorial) subsections:
A. Dense fabric and string labyrinth for 16 projected films
B. 2 x single channel projections for Quay and Kentridge work
C. ‘Dinosaur Room’: Jurassic Park projection accompanied by
two monitor-based dinosaur films
Walls and carpet (optional, but used for sound containment)
are violet throughout (NCS-S-5040-R60B), to be supplied/
prepared by venue.
A comparison of the Lumière Brother’s dancing skeleton
of 1897 and Ub Iwerk’s Skeleton Dance of 1929 – for
Walt Disney’s Silly Symphonies series – shows how quickly
animation developed in technical possibility and narrative
complexity. Winsor McCay used his pen to breathe life into
Gertie the Dinosaur (1914) – the drawing coming to life – a
frequent conceit in early cinema that retains its power to
amaze and amuse as in Zhou Xiaohu’s short film The Gooey
Gentleman (2002). Willis O’Brien, in The Dinosaur and the
Missing Link: A Prehistoric Tragedy of 1915, initiated a long
history of special effects designed to recreate whole worlds of
pre-history or mythology, which Steven Spielberg took up using
emerging CGI technologies in Jurassic Park (1993).
The Brothers Quay combine live-action and manipulated
moving image in their film In Absentia (2000) in which a simple
room becomes a site of psychic exploration and even daylight
appears to have a purposeful agency of its own. One of John
Lasseter’s earliest works, and Pixar Animation Studios’ first
production, Luxo Jr. (1986), attests to the abiding power of the
apparition – the simple visual image laying claim to life
and emotional resonance – just as the technology of film
began to cede to that of the computer.
/Apparitions
/9
Installation view - Apparitions at Glenbow Museum, Calgary
Apparitions A - Technical Notes:
• Screens in this sub-section hung in dark room, in maze-like configuration seperated by fabric and string curtains (see Further Techical
Info digital appendix for lengths of panels and poles to determine floorplan at each venue)
• Fabric and string curtains hung from poles hung vertically on ceiling, can be shortened by ‘roller blind’ curtain mechanism
• Maximum fabric/string height - 4m
• Section lit by blacklights provided with exhibition
• Labels printed on uncoated card to be illuminated by blacklight (see Panels & Graphics digital appendix)
ID: 112
Percy Smith
The Birth of a Flower (1910)
Film transferred to digital
6 minutes total
Equipment:
Installation:
Audio: Screen size: Watch me Move: The Animation Exhibition
/ Apparitions
BenQ MP772ST short throw projector
HD-110 digital player with media pre-loaded & VGA cable
Unicol projector/player ceiling mount
Projection onto hanging fabrics in dense configuration
None
80cm x 60cm or variable
/10
ID: 124
Etienne-Jules Marey
Falling Cat (1894)
Chronophotograph transferred to digital
27 images
Equipment:
Installation:
Audio: Screen size: BenQ MP772ST short throw projector
None
ID: 115
Emile Reynaud
Pauvre Pierrot (1892)
6 minutes total
Equipment:
Installation:
Yes, via projector speakers
ID: 110
Etienne-Jules Marey
Body Motions (1890)
Chronophotograph transferred to digital
Equipment:
Installation:
None
ID: 111
Segundo de Chomon
El Hotel Electrico (1908)
7 minutes total
Equipment:
Installation:
/ Apparitions
None
/11
ID: 119
Cecil M. Hepworth
Explosion of a Motor Car (1900)
1 minute 37 seconds total
Equipment:
Installation:
None
ID: 113
Emile Cohl
Fantasmagorie (1908)
Equipment:
Installation:
None
ID: 116
Max Fleischer
Out of the Inkwell - Modelling (1921)
5 minutes total
Equipment:
Installation:
None
ID: 118
Georges Melies
Le Melomane (1903)
3 minutes total
Equipment:
Installation:
/ Apparitions
None
/12
ID: 125
Xiaohu Zhou
The Gooey Gentlemen (2002)
Equipment:
Installation:
Yes - via projector speakers
ID: 109
Lumiere Brothers
The Serpentine Dance (1896)
45 seconds total
Equipment:
Installation:
VGA cable
None
ID: 117
Lumiere Brothers
Le Squelette Joyeux (1897)
33 seconds total
Equipment:
Installation:
VGA cable
None
ID: 120
Walt Disney
Silly Symphonies - Skeleton Dance (1929)
6 seconds total
Equipment:
Installation:
/ Apparitions
Yes - via projector speakers
/13
ID: 123
Winsor McCay
Little Nemo (1911)
Equipment:
Installation:
None
ID: 126
Pixar Studio/ John Lasseter
Luxo Junior (1986)
2 minutes total
Equipment:
Installation:
VGA cable
Sound
ID: 114
J. Stuart Blackton
Humourous Phases of Funny Faces (1906)
3 minutes total
Equipment:
Installation:
/ Apparitions
None
/14
Apparitions (B) - Technical Notes:
• Each of the following works are presented in seperate contained spaces, to contain sound and to accomodate artist presentation standards.
ID: 504
Stephen and Timothy Quay
In Absentia (2000)
19 minutes total
Equipment: Installation: Audio: Screen size: BenQ MX812ST short throw projector
Vision Techconnect 20w amplifier & phono-3.5mm jack lead
2 x Vision speakers with cabling
Single channel front projection onto screen-painted wall
Speakers mounted on the wall above the screen
No flexibility - must be shown in this configuration
Yes
300cm x 225cm or variable ID: 127
William Kentridge
Shadow Procession (1999)
Film transferred to DVD
7 minutes total
Equipment: Installation: Audio: Screen size: Watch me Move: The Animation Exhibition
/ Apparitions
BenQ MX812ST short throw projector
No flexibility - must be shown in this configuration
Yes
/15
Apparitions (C)
ID: 122
Steven Spielberg
Jurrasic Park (1993)
2 minute 40 seconds excerpt, 127 minutes total
Equipment: Installation: Projection size: Audio: BenQ MX812ST short throw projector
2 x Vision SP-1300 speakers with cabling
Projector sits on a shelf or ceiling mounted
Speakers are wall mounted above the screen.
Yes
ID: 106
Winsor McCay
Gertie the Dinosaur (1914)
Equipment: Installation: `
Audio: 32” Mitsubishi LCD screen
Screen hung at viewing height
Player is hidden from view above the screen
16:9 screen has a 4:3 MDF blanking box mounted over (painted purple)
Silent
ID: 121
Willis O’Brien
The Dinosaur and the Missing Link (1915)
Black & white film transferred to digital
Equipment: Installation: `
Audio: 32” Mitsubishi LCD screen
Screen hung at viewing height
Player is hidden from view above the screen
16:9 screen has a 4:3 MDF blanking box mounted over (painted purple)
Silent
Installation view - Characters (background, blue) and Superheros (foreground, black)
/ Characters
/17
Installation
Handbook
1 Introduction
2 Apparitions
3 Characters
4 Superhumans
5 Fables & Fragments
6 Structures
7 Visions
8 Objects 9 Further Info
10 Venue Checklist
11 Selected Press Clippings
Installation
Handbook
Characters
The 1930s saw a shift from early, experimental animation to
more standardised formats designed to attract larger and
more loyal audiences. Key among these was the short film
built around identifiable characters. Disney’s Silly Symphonies
introduced Donald Duck and Pluto, and Mickey Mouse grew
in popularity after his first appearance in Steamboat Willie in
1928. Max Fleischer’s character Betty Boop first appeared in
theTalkartoons series (1929–32).
This section’s layout is divided into three technical subsections:
Mickey Mouse, Felix the Cat, Tom and Jerry, and Bugs Bunny
provided clearly delineated characters with recognizable
attributes and strong audience identification. Their more
knowing progeny, notably The Simpsons and the cast of South
Park, not only introduced reflexivity and social commentary,
but also allowed for the development of themes over time.
A. Single channel compilation of the majority of Characters
clips, with 4 x blue seating pods housing amplifier and
headphones
B. 3 x 24” monitors showing three independent artist/animator
films, with covering built locally for 3:4 size
C. A selection of Characters images printed on foam board
• Walls are painted blue throughout (NCS S 1560-R90B).
• Seperate ambient audio track is heard in the space.
• Section uses heavy vinyl graphic imagery throughout the
space as part of exhibition design - see Panels & Graphics
appendix folder
A second type of character to flourish in animation was
the more sustained personality whose motivations could
mature through longer films. Woody in Pixar’s Toy Story
(1995/1999/2010) is first among equals in this regard in both
technical and narrative sophistication. The number of distinct
facial movements he was programmed to make is evidence
of the technological innovations designed to satisfy a new
audience appetite for ever more complex and compelling
virtual beings. More edgily, Ralph Bakshi’s Heavy Traffic (1973)
takes a picaresque and unflinching look at 1970s urban
culture through the lives of a group of strongly articulated if
supremely dysfunctional characters.
Peter Lord pioneered in-depth character portrayal in Going
Equipped (1989), using clay animation to embody a young
petty criminal, the subject’s actual recorded voice providing
the narration. Lord was co-founder of Aardman Animations,
whose short films, such as Nick Park’s Creature Comforts
(1989), remain unmatched for their humour and humanity.
/Characters
/19
Installation view: Characters section at the Barbican Centre
Characters (A) - Technical Notes:
• All of the following works are on a single, compiled projection, screen size 417cm X 642cm or variable
• All works are running from 1 x HD-110 digital player
• Accompanying sound via headphones: amplifier hidden under 4 x seating pods, 2 x headphones each
• Trunking to hide cabling into seating pods (visible on floor in above photo) to be provided by the venue as necessary
ID: 206
Ub Iwerks
Steamboat Willie (1928)
Equipment: Audio: Watch me Move: The Animation Exhibition
/ Characters
part of compilation reel - see sub-section notes Characters (A)
via headphones
/20
ID: 209
Dave Fleischer
Betty Boop: Ha! Ha! Ha! (1934)
1 minute 54 seconds excerpt, 9minutes total
Equipment: Audio: part of compilation reel - see sub-section notes Characters (A)
via headphones
ID: 210
Chuck Jones/ Warner Brothers
Bugs Bunny: Sahara Hare (1954)
51 seconds excerpt, 7 minutes total
via headphones
ID: 212
Richard Williams
Who Framed Roger Rabbit (1988)
3 minutes 53 seconds excerpt, 104 minutes total
via headphones
ID: 213
William Hanna and Joseph Barbera (MGM)
Mouse Trouble - Tom & Jerry (1944)
34 seconds excerpt, 7 minute 25 seconds total
/ Characters
via headphones
/21
ID: 214
Nick Park/ Aardman
Creature Comforts: The Circus (2003)
3 minutes total
via headphones
ID: 216
Pixar/ John Lasseter
Toy Story 3 (2010)
via headphones
ID: 217
William Hanna and Joseph Barbera (MGM)
The Flintstones Season 1 Episode 6: The Monster from the Tar Pits (1960)
via headphones
ID: 218
William Hanna and Joseph Barbera
The Jetsons Season 1 Episode 1: Rosey the Robot (1962)
/ Characters
via headphones
/22
ID: 219
William Hanna and Joseph Barbera
The Yogi Bear Show Season 1 Episode 7: Bears and Bees (1961)
via headphones
ID: 220
Matt Groening
Futurama Season 1 Episode 8: A Big Peice of Garbage (1999)
via headphones
ID: 221
Jim Reardon/ Kim Keeler
The Simpsons Season 12 Episode 9: HOMR (2008)
via headphones
ID: 222
Parker and Stone
South Park Season 1 Episode 5: An Elephant Makes Love to a Pig (1997)
/ Characters
via headphones
/23
ID: 225
Ralph Bakshi
Heavy Traffic (1973)
via headphones
ID: 202
Pat Sullivan/ Otto Mesmer
Felix the Cat: Feline Follies (1919)
1 minute 53 seconds excerpt, 5 minute 39 seconds total
via headphones
ID: 231
Julian Opie
Jen Walking (2008)
LED lightbox
Size: 217 x 102 x 14cm
Equipment: Installation: Watch me Move: The Animation Exhibition
/ Characters
Standlone LED lightbox
Wall mounted with standard 13amp plug.
This work’s availability is subject to lender agreement.
/24
Characters (B) - Technical Notes:
• Following three screens shown in a bank (plus option to show 1 screen from Superheros section - Astroboy, shown far left)
• 16:9 screens have a 4:3 MDF blanking box mounted over (painted light blue) fabricated by venue to fit venue architecture
ID: 232
Nick Park/ Aardman
Getting Equipped (1989)
Equipment: Installation: Audio: Watch me Move: The Animation Exhibition
/ Characters
24” Iiyama ProLite E2409HDS LCD monitors
ART HeadAmp4 headphone amplifier
Granite Sounds headphones
monitor wall mount
16:9 screen hung at viewing height in bank of three in 4:3 blanking box fabricated by venue
Player is hidden from view in blanking box
via headphones
/25
ID: 228
Bob Sabiston
Snack & Drink (2000)
Rotoshop transferred to digital
4 minutes total
Equipment: Installation: Audio: 24” Iiyama ProLite E2409HDS LCD monitors
monitor wall mount
via headphones
ID: 230
Tim Webb
A is for Autism (1992)
11 minutes total
monitor wall mount
via headphones
ID: 608
Osamu Tezuka
Astro Boy Episode 21: Satellite R-45 (1963)
monitor wall mount
16:9 screen hung at viewing height in bank of three in 4:3 blanking box fabricated by venue (can be shown near similar Characters bank)
Inflexible - must be shown on its own screen, not part of reel
via headphones
*note that Astro Boy is curatorially part of Superhumans section, but for installation, can be
grouped with these works as they are similar formats, as long as distinction is made (on a
seperate wall, with larger spacing, black framing not blue, etc.) - or shown seperately.
/ Characters (B)
/26
Characters (C) - Technical Notes:
Optional series of A2 portraits of Characters, to be hung near characters projection - in the style of a portrait gallery
Graphic files can be provided if venue wish to print other sizes
Portraits are designed to fit into vinyl graphic housing
/ Characters (C)
/27
Installation view - Superheros (with Characters)
/ Superhumans
/28
Installation
Handbook
1
2
3
4
5
6
7
8
9 10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Venue Checklist
Installation
Handbook
Superhumans
Characters with extraordinary powers are a staple of post-war
animation: Marvel and DC Comics elaborated an initial lineup, while a parallel, more diverse roll-call was generated
by the Japanese manga and anime industries. These
‘superhumans’ are typically all-too ordinary humans
possessed or traumatized in some way, thereby drawn out of
the realm of normal experience. So Popeye eats spinach to
become supernaturally strong, while the Hulk is an ordinary
young man whose body is chemically altered, giving him
remarkable
strength coupled with a profound sense of alienation.
For all their iconic brilliance, American superheroes struggle
to compete with their Japanese counterparts for variety,
psychological depth and formal imagination. Astro Boy,
created as a manga character in 1952 by the legendary
Osamu Tezuka, was one of the first, and he retains his
heroic status. Another popular anime series, Sailor Moon
(1992–1997) features a seemingly ordinary teenage school-girl
endowed with magical powers who battles the forces of evil
that threaten Earth.
destruction on the whole world, including her own people.
This section’s layout is divided into two technical subsections:
A. Single channel compilation of the majority of Superhumans
clips, with 4 x black seating pods housing amplifier and
headphones, and custom lighting rig for graphic titles
B. Lighting rig with custom graphics to accompany (A).
• Walls are painted black throughout.
• Seperate ambient audio track is heard in the space.
• Section uses heavy vinyl graphic imagery throughout the
space as part of exhibition design - see Panels & Graphics
appendix folder
The global appeal of these figures is remarkable. Japanese
anime has gained enormous popularity right across
continental Europe and South America, despite its unwavering
cultural specificity. The longevity of the superheroes of the
West is also notable. The Hulk, for example, first appeared in
comic form in 1962, the product of the paranoid admiration
that surrounded scientific research in the dark days of the
Cold War. His co-creator, Stan Lee, also associated him with
Frankenstein’s monster and Golem of Jewish mythology. The
character has been powerful enough to appear in comics,
several cartoon and live-action television series, and two
feature films (2003 and 2008).
Hayao Miyazaki’s Princess Mononoke (1997) demonstrates
the breadth of motivation possible in the animated superhero.
Ashitaka has been possessed by an evil spirit for killing a giant
boar, giving him superhuman strength that destines him to
death. San, or Princess Mononoke, is a human girl who has
been adopted by wolves and shares many of their qualities.
Finally, Lady Eboshi, the ruler of Iron Town, is possessed of
such self-assurance and will that she is prepared to bring
/Superhumans
/30
Superhumans (A): Technical Notes
• All of the following works are on a single, compiled projection, screen size 417cm X 642cm
• All works are running from 1 x HD-110 digital player and Panasonic PT-DZ-6700 projector with VGA cabling
• Accompanying sound via headphones: amplifier hidden under 4 x seating pods, 2 x headphones each.
• Trunking to hide cabling into seating pods (visible on floor in above photo) to be provided by the venue as necessary
ID: 605
Dave Fleischer
Popeye: Blow me Down (1933)
Equipment: Audio: part of compilation reel - see sub-section notes Superhumans (A)
via headphones
ID: 606
Katsuhiro Otomo
Akira (1988)
/ Superhumans
part of compilation reel - see sub-section notes Superhumans (A)
via headphones
/31
ID: 607
Hayao MIyazaki/Studio GHibli
Princess Mononoke (1997)
via headphones
ID: 602
Ralph Bakhsi
Hey Good Lookin’ (1982)
via headphones
ID: 603
Peter Jackson/Weta Digital
Lord of the Rings Part 3: The Return of the King (2003)
via headphones
ID: 615
Ang Lee
The Hulk (2003)
/ Superhumans
via headphones
/32
ID: 616
Hideki Takayama/Toshio maeda
Urotsukidoji: Legend of the Overfiend (1989)
via headphones
ID:
Kenji Kamiyama
Ghost in the Shell (2002)
Excerpt, 82 minutes total
/ Superhumans
via headphones
/33
Superhumans (B): Lighting Rig Technical Notes
• An optional lighting system can be made to highlight the Superhumans character names when they appear on the projection screen
via a controlled RS232 lighting system.
• Lights and graphics are not supplied and lights must be capable of running off an IEC power cord
/Superhumans
/34
Installation
Handbook
1
2
3
4
5
6
7
8
9 10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Venue Checklist
Installation view: Fables & Fragments
/Fables & Fragments
/36
Installation
Handbook
Fables & Fragments
traces of received wisdom.
Animation has served as a repository of folk memory since its
genesis. As an art form it has proven uniquely able to interpret
fables, fairy tales and other forms of collective storytelling.
The phenomenon of animation was global and simultaneous.
Ladislas Starewitch released his first animated feature film,
The Tale of the Fox (1929–30), in 1937, the same year in which
Disney made history with his first feature, Snow White and the
Seven Dwarfs, based on the fairy tale by the Brothers Grimm.
Chinese animators, having partly embraced the Disney model
stylistically, turned to stories from Chinese myths and folktales
for content, to differentiate their output.
Transferring age-old stories to film was eased by the
persistence of traditional storytelling devices – notably puppets
and graphic illustrations – which could now be photographed
and animated. Lotte Reiniger’s The Adventures of Prince
Achmed (1926) was the most ambitious of her shadowpuppet animations. Sometimes, new technologies can give
form to stories that would otherwise be unlikely to leave their
communities of origin, as in Caroline Leaf‘s sand animation
The Owl Who Married a Goose: An Eskimo Legend (1974).
While such figures as Ray Harryhausen have used innovative
animation techniques to retell classic stories – The Story of
‘Rapunzel’ (1952) is shown here – both he and his mentor,
Willis O’Brien – The Lost World (1925) – have also used
stop-motion animation combined with live-action footage to
create whole new worlds of mythology, foils to our obsession
with modern life. Studio Ghibli, founded in 1985 by Hayao
Miyazaki and Isao Takahata, has carved out a unique place in
world culture with its hugely imaginative productions. Although
occasionally reworking myths, it has largely concentrated on
inventing its own. These include epic tales of conflict between
men with each other and with nature such as Nausicaä of the
Valley of the Wind (1984). As well as providing a medium to tell
tales drawn from folk memory, animation offers opportunities
to construct more individual narratives. Contemporary artists
Kara Walker and Nathalie Djurberg both use traditional
means for their highly personal engagements with collective
memory. Walker uses shadow puppets to capture the nearmythic past of the Reconstruction period that followed the
American Civil War, and fuses elements of historical fact with
/ Fables
Ari Folman’s Waltz with Bashir (2008) also addresses historical
trauma, this time through the lens of personal experience. The
nature of the material demanded new animation techniques,
so the entire film was shot as live action and then laboriously
transferred on to storyboards and illustrated. Folman’s film
is haunted by unseen physical presences, which lend his
animation a devastating human touch impossible to achieve
through a traditional dramatic format.
Jirí Barta’s Golem (pilot, 1993) also moves between the flatness
of filmrecorded time and the depth of animated memory, its
clay-animation technique adding literal weight to the liveaction footage Animation and film, the real and the imagined,
the past and the present – all collide in a melancholy
meditation on the soul of a community.
• This section’s layout is divided into 7 subsections (A-G)
which are largely the same - clusters of 2-3 projection screens
with viewing pods to watch the screens from, in different
configurations (exceptions for works 332, 514, 517 and 232).
• Pods are constructed with built in speakers and amplifiers to
contain sound, built of MDF and supplied with the exhibition.
• The projections in each section contains either one or two
clips on each reel, pre-loaded into the media player and
cannot easily be changed. However, it is expected that venues
will need to change the clustering of projections and pods to
suit their venues.
• Walls in each room are painted either light grey or dark grey
depending on colour of pods (to match). 23 pods in total, RAL
numbers noted on floorplans.
/37
Fables & Fragments (A) - Technical Notes:
Pairing of the works are as follows:
• Tim Burton - single player/projection
• Caroline Leaf & Jim Trainor - single player/projection
• Ruth Lingford & Run Wrake - single player/projection
ID: 512
Tim Burton
Vincent (1982)
6 minutes total
/ Fables
Unicol Gyrolock projector/player ceiling mount
Seating pod with in-built speakers
Amplifier is hidden on top of the seating pod
Yes
250cm X 87.5cm or variable /38
ID: 331
Jim Trainor
The Presentation Theme (2008)
14 minutes total
Yes
250cm X 87.5cm or variable ID: 333
Caroline Leaf
The Owl and the Goose: An Eskimo Legend (1974)
Yes
Ruth Lingford
Pleasures of War (1998)
Yes
Run Wrake
Rabbit (2005)
5 minutes total
/ Fables
Yes
Fables & Fragments (B) - Technical Notes:
• Yuri Norstein - single player/projection
• Willis O’Brien & Winsor McCay - paired on single player/projection
• Paul Terry & Ofuji Naburo - paired on single player/projection
ID: 324
Yuri Norstein
Tale of Tales (1979)
29 minutes total
/ Fables
Yes
ID: 315
Willis O’Brien
The Lost World (1925)
92 minutes total
Silent
Winsor McCay
The Sinking of the Lusitania (1916)
Silent
Paul Terry
Aesop’s Fables: The Iron Man (1930)
Yes
Ofuji Naburo
Mura Matsuri (Harvest Festival) (1930)
/ Fables
Silent
Fables & Fragments (C) - Technical Notes:
• Hayao Miyazaki - single player/projection
• Lotte Reiniger & Walt Disney - paired on single player/projection
• Kenzo Masaoka & Wan Brothers - paired on single player/projection
ID: 316
Hayao Miyazaki
Nausicca of the Valley of the Wind (1984)
/ Fables
Yes
ID: 304
Walt Disney Studios
Snow White and the Seven Dwarfs (1937)
Yes
Lotte Reiniger
The Adventures of Prince Achmed (1926)
65 minutes total
Silent
Kenzo Masaoka
The Spider and the Tulip (1943)
16 minutes total
Yes
Wan Brothers
Princess with the Iron Fan (1941)
73 minutes total
/ Fables
Yes
Fables & Fragments (D) - Technical Notes:
• Ray Harryhausen & Starewicz Wladyslaw - paired on single player/projection
• Jan Svankmajer & Alexandre Alexeieff - paired on single player/projection
• Natalie Djurberg x 2 - paired on single player/projection, next to sculpture, in single screening room
• Kara Walker - screened on its own in single screening room
ID: 334
Ray Harryhausen
The Story of Rapunzel (1951)
11 minutes total
Yes
Starewicz Wladyslaw
Le Roman de Renard: The Tale of the Fox (1930)
65 minutes total
/ Fables
Yes
ID: 321
Alexandre Alexeieff
The Nose (1963)
12 minutes total
Yes
Jan Svankmajer
Dimensions of a Dialogue (1983)
12 minutes total
Yes
Natalie Djurberg
Rhinoceras and the Whale (2008) / Putting down the Prey (2008)
Film transferred to digital with puppet from film
2 x Vision speakers
Amplifier is hidden from view
Speakers mounted on wall above screen
Yes
Kara Walker
National Archives Microfilm Publication M999 Roll 34: Bureau of Refugees, Freedmen and
Abandoned Lands: Lucy of Pulaski
12 minutes 8 seconds total
/ Fragments
2 x Vision speakers
Amplifier is hidden from view
Speakers mounted on wall above screen
Limited flexibility - always must be shown as seperated screening space
Yes
Fables & Fragments (E) - Technical Notes:
Single work presented in own room/isolation
ID: 514
Francis Alys
The Last Clown (1995-2000)
Installation transferred to video
/Fragments
Rear projection screen
Vision Techconnect amplifier
2 x ZYP 50w speakers
Single channel rear projection and speakers sunken into wall
All equipment is hidden behind the projection wall - minumum 100cm must be accounted for in floorplan, and wall built by venue
Simple IKEA-style cream or mouse grey sofa to be provided by venue
Speakers - audio mini jack into bare wire
No flexibility - must be presented as above
Yes via speakers
100cm x 75cm
/46
Fables & Fragments (F) - Technical Notes:
• Robert Breer and Stan Vanderbeek - paired on single player/projection
• Frank Mouris and Patrick Bokanowski - paired on single player/projection
ID: 513
Robert Breer
Fuji (1974)
6 minutes total
/ Fragments
Yes
ID: 515
Stan Vanderbeek
Science Fiction (1959)
10 minutes total
Yes
Frank Mouris
Frank Film (1973)
9 minutes total
Yes
Patrick Bokanowski
La Plage (1992)
14 minutes total
/ Fragments
Yes
Fables & Fragments (G) - Technical Notes:
• Harun Farocki - as a single projection with bench and headphones
• Walerian Borowczyk - on single player/projection
• Jiri Trnka & Jiri Barta - paired on single player/projection
ID: 511
Jiri Barta
Golem (1993)
Film transferred to video
7 minutes total
/ Fragments
Yes
ID: 326
Jiri Trnka
The Hand (1965)
19 minutes total
Yes
Walerian Borowczyk
Les Jeux des Anges (1964)
Film transferred to hard drive digital
13 minutes total
Yes
Harun Farocki
Serious Games III: Immersion (2009)
Film transferred to two-channel video
20 minutes total
Equipment: Installation: Audio:
Screen size: Watch me Move: The Animation Exhibition
/Fragments
2 x BenQ MX812ST short throw projector
2 x HD-210 digital players with media pre-loaded & VGA cables
2 x Unicol Gyrolock projector/player ceiling mount
1 x ART HeadAmp4 headphone amplifier
2 x Granite Sound armoured headphones with extension cables
Dual channel front projection onto screen-painted wall
2 x players are synched via cat5 crossover cable
Audio fed from the 3.5mm jack socket from the right-hand digital player to the headphone amplifier which is hidden with player
2 x headphone extension cables with 1/4” sockets
connected underneath the wooden bench for headphones
No flexibility - must be shown as either dual projection or dual monitor installation and floorplan approved by artist
Yes
2 x 250cm X 87.5cm or variable /50
Installation view - Structures (B) section
/ Object Grid
/51
Installation
Handbook
1
2
3
4
5
6
7
8
9
10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Venue Checklist
Installation
Handbook
Structures
The magic of animation is inscribed in its power to transform
inert physical material into the illusion of life. Many animators
prefer to relegate the narrative and imaginative capabilities
of the medium to second place and to experiment with the
building blocks – the DNA of their art form for the sheer
pleasure of witnessing the results.
The Structures section is divided into two technical subsections.
They are:
Concerns with the integrity and material conditions of
animation bring it into dialogue with the early Modernist
movement, reminding us that alongside performance,
photography and film, animation played a notable role in the
development of the historic avant-garde. Fernand Léger and
Viking Eggeling in the 1920s, Oskar Fischinger and Stefan
and Franciszka Themerson in the 1940s, Stan Brakhage from
the 1960s, all pursued parallel experiments in the formal
possibilities of film.
A. 4 x ‘black box’ rooms, presenting works in single channel
with benches
B. A structures installation, with 9 films projected onto rear
projection screens suspended from ceiling.
Walls in this section are painted black throughout.
In Alone. Life Wastes Andy Hardy (1998), Martin Arnold uses
short clips from classic black-and-white feature films as his raw
material, editing and repeating fragments to create a wholly
new compositional paradigm. Zbigniew Rybczynski’s Tango
of 1980 is ostensibly figurative: people enter a claustrophobic
room until it fills with a crowd of atomic individuals, each
seemingly oblivious to their neighbours. The existential
challenge of this work is mirrored by its technical ingenuity.
Norman McLaren is well known for his abstract, musical
animations but is represented here by his remarkable
Oscarwinning film Neighbours (1952). Using stop-motion
filming with live characters and real-life props, McLaren
weaves a dizzying visual tapestry in which the two halves of
the picture seem to mirror each other in the ebb and flow of
the parable about escalating destruction. Form is similarly
inseparable from content in Chuck Jones’ Duck Amuck
(1953), which offers an improbable master class in structural
film-making by seamlessly merging popular cartooning and
conceptual game playing.
/Structures
/53
Structures (A) - Technical Notes:
• The following four works are presented as single channel screens in black box spaces.
• Two have sound and therefore need the sound containment - besides this consideration, the works could be shown in other
configurations if space did not allow for seperated rooms.
ID: 419
Chuck Jones
Duck Amuck (1953)
7 minutes total
Equipment: Installation: Audio: Screen size: BenQ MP772ST short throw projector
Yes
ID: 416
Zbigniew Rybczynski
Tango (1980)
/ Structures (A)
Yes
/54
ID: 407
Oskar Fischinger
Radio Dynamics (1942)
Film transferred to DVD
4 minutes total
Equipment: Installation: Audio: Screen size: BenQ MP772ST short throw projector
Silent and requires sound insultaton from other works as a requirement by the lender
No
ID: 413
Stan Brakhage
Dante Quartet (1987)
16mm film projection
7 minutes total
/ Structures (A)
16mm projector/looper Motion sensor
Motion sensor for limited film wear
16mm projector
Plinth for projector (131x57x45cms) to be provided by venue
Limited flexibility - must be shown as 16mm projection
Replacement prints provided for wear and tear, but repairs/
breakdowns must be handled by venue in conversation with the Barbican due to the specialist nature of 16mm projection
No
300cm x 225cm or variable /55
Structures (B) - Technical Notes:
• The following 9 works are presented in an installation of 9 rear projection screens hung from ceiling at various depths (see floorplan)
• At Barbican these were presented with the viewer behind a single viewing barrier running the length of installation. This barrier was
venue-specific and thus NOT included with exhibition. A barrier including audio and titling for this section must be provided by venue.
• 5 works have sound which is heard by headphones
• The following equipment is provided by the installation:
9 x BenQ MP772ST short throw projector
9 x HD-110 digital player with VGA cable and media pre-loaded
9 x Perspex rear projection screen
9 x Unicol projector/player ceiling mount
9 x Screen hanging kit
5 x Granite Sound armoured headphones (dismantled to provide two monophones)
5 x ART HeadAmp4 headphone amplifiers with 3.5mm mini-jack to phono cable
1 x title panel with flatlites (glass and MDF top provided - legs/support to be fabricated on site with venue)
• The screens need reinforcement with a third point of suspension in the top-center prodvided by fishing line, to prevent bowing
ID: 403
Viking Eggeling
Symphonie Diagonale (1924)
/Structures (B)
Part of Structures installation, see Structures (B) technical notes
No
/56
ID: 405
Fernand Leger
Ballet Mecanique (1924)
16 minutes total
Equipment: Audio: Part of Structures installation, see Structures (B) technical notes
No
ID: 401
Martin Arnold
Alone. Life Wastes Andy Hardy (1998)
15 minutes total
No
ID: 404
Len Lye
A Colour Box (1935)
4 minutes total
Yes, via headphones
ID: 422
Jules Engel
Train Landscape (1974)
4 minutes total
/ Structures (B)
Yes, via headphones
/57
ID: 421
Normal McLaren
Neighbours (1952)
Yes, via headphones
ID: 423
Harry Smith
Early Abstractions 1 -5, 7 & 10 (1941-57)
23 minutes total
No
ID: 415
Lumiere Brothers
Demolition d’un Mur (1896)
Film object transferred to digital
47 seconds total
No
ID: 425
Franciska & Stefan Themerson
Oko I Ucho (The Eye and the Ear) (1944-5)
10 minutes total
/ Structures (B)
Yes, via headphones
/58
Installation view - Visions (A) section with entrance to Igloo installation
/ Structures
/59
Installation
Handbook
1
2
3
4
5
6
7
8
9
10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Objects
Further Info
Venue Checklist
11 Captions & Wall text
Installation
Handbook
Visions
Where Apparitions showed how new moving image
technologies unleashed the emergence of the animated
subject, previously literally unseeable, Visions gives evidence
of animation’s extension in the late twentieth century into
whole virtual worlds. So pervasive has the animated image
become, and so compelling its technological capabilities – not
just in terms of CGI realism (breathtaking as this is) but in the
emotional persuasiveness of a whole variety of techniques
and styles – that the real and the imaginary come close to
fusion. Just as the tropes and formats seen in Apparitions were
derived in part from music hall and other forms of popular
entertainment, so the new immersive fictions explored here
draw on existing entertainment worlds. Disney’s pioneering
film Tron (1982) was inspired by the aesthetic and systems
of the nascent gaming industry as developed from the late
1970s, expanded into a whole world vision. London-based
performance/moving image artists Gibson/Martelli (igloo)
allow their viewers to navigate a virtual East End underworld
with the use of gaming technologies – effectively, they frame
the world as a game. Ryan Trecartin builds a disconcerting
reality-TV style community portrait, based on the conventions
and semantics of e-mail dialogue, which has apparently
replaced the temporal, linguistic and other behavioural
codes of the analogue world. Semiconductor’s Matter in
Motion (2008) presents a series of vignettes which began as
photo-documentary snapshots of the Italian city of Milan,
transformed as buildings and roads begin to disintegrate
and reform, as if their very molecular structures were being
reconfigured.
The Visions section is divided into three technical subsections.
They are:
/Visions
A. 3 x monitor-based works
B. An interactive installation by artists Igloo
C. A single-channel installation for Tron
Walls in this section are generally painted white throughout,
except where noted in Igloo and Tron installations.
/61
Visions (A)
ID: 703
Ryan Trecartin
Tommy Chat Just Emailed Me (2006)
Equipment: Installation: Audio: Screen size: Sony KDL46EX503 46” LCD display
HD-110 digital player with media pre-loaded
Wall mount
2 x Granite armoured headphones
Screen wall mounted at viewing height
Player is tucked behind screen out of sight
Yes, via headphones
46” LCD
ID: 702
Cao Fei
Live in RMB City (2009)
25 minutes total
Wall mount
Yes, via headphones
46” LCD
ID: 701
Semiconductor
Matter in Motion (2008)
Film transferred to HD installation
Wall mount
Yes, via headphones
46” LCD
Visions (B)
ID: 704
Igloo
SwanQuake: House (2007)
Interactive installation
Equipment: Installation: Audio: Watch me Move: The Animation Exhibition
/Visions
/63
o
Visions (C)
ID: 708
Steven Lisberger / Disney Studio
Tron (1982)
/ Visions
Panasonic PT-DZ570 projector
Vision Techconnect amplifier & phono-3.5mm jack lead
2 x Vision SP-1300 speakers
Single channel front projection onto hanging MDF screen built at 16:9 dimension (size variable), 50 cm from rear wall, painted white and white painted viewing bench (or other suitable seating) provided by venue.
Ideally contained in a room with laminate-coated plywood walls - for shine effect Speakers mounted on the rear wall above the screen
Yes
variable /64
Installation
Handbook
1
2
3
4
5
6
7
8
9
10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Objects
Further Info
Venue Checklist
Objects Notes
A specially curated selection of objects (drawings, sketches, comics, etc) can be added to the exhibition to supplement the show, in collaboration
with the venue. Objects will be selected depending on venue’s transportation/courier budgets, loan budgets, space, audience focus and
preference. List of objects provided with the exhibition to follow. Additional research into available objects is encouraged, or inclusion from venue’s
own collection.
/ Objects
/66
Installation
Handbook
1
2
3
4
5
6
7
8
9
10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Objects
Further Info
Venue Checklist
• Gobo light at introduction to the exhibition travels with the exhibition
• Most of the exhibitions projectors run from control systems to ensure projectors can be turned on and off with ease.
/Further Info
/68
• During Barbican exhibition, Watch Me Move also contained a cinema room showing films in their entirety. Venues are welcome to include a
cinema room in their exhibition, however, cinema structure and equipment does not travel with the exhibition, and education screening license
must be secured by venue (often not very difficult nor expensive - Film Bank is the licensor in the UK, and an education license for hundreds of
films costs total £400).
A Panasonic PT-DZ-6700 projector is provided for this purpose.
/Cinema
/69
• Control systems diagram - for switching on/off projectors
• Views of Unicol ceiling mount. Left, with HD-110 digital player tucked in. Right, with cabling.
/Further Info
/70
• Installation view of bank of screens with blanking box built to Barbican’s architecture, for Characters section (artworks 230, 228, 232) and
Superhumans section (far left, artwork 608.. To be provided by venue to suit layout and architecture.
• Close up view of above with HD-110 digital player cabled in and hidden.
/Further Info
/71
• Wiring diagram for Characters and Superhumans section - showing Superhumans projection linked to triggered lighting system; Characters
projection, and independent ambient audio track with speakers.
• Wiring diagram for clusters of viewing pods (2 pods for single projection in this instance). Ensure that speaker transformers are bypassed.
/Further Info
/72
• Structures (B) installation in progress view
• Structures (B) hanging installation diagram.
/Further Info
/73
Installation
Handbook
1
2
3
4
5
6
7
8
9
10 11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Objects
Further Info
Venue Checklist
Installation
Handbook
Installation Checklist
o
Exhibition layout designed and approved, distributed to installation team
o Graphics and graphic placements printed/planned
o Power plan designed and approved, power grid installed
o All walls in place and painted to guidelines throughout handbook. False rear projection walls built for Alys (514) and Igloo (704), leaving minimum 100cms to real wall
o Screen paint sourced and ready
o Poles lengths for projector mounts throughout exhibition identified, to match screen size and venue ceiling height. After discussion with Barbican, any new poles needed are to be sourced and ready.
o Lights identified and provided for Superhumans lighting rig (optional) - other lights and lighting plan prepared
o Basic tools provided for installation, especially extra ladders and drills for projector/
screen mounting, scissor lift
o Appropriate screws and fixtures for projector mounts available
o Cream/mouse grey sofa for work 514 sourced and ready
o Black painted benches for works 510, 419, 416, 407 and white painted bench for work 707 constructed and ready
o Plinth for 16mm projector in work 413 constructed/sourced and ready
o
Screen blanking/housing built and painted for works 228, 230 and 232
o 16:9 MDF screen constructed and ready for hanging with work 707 (Tron)
o
Glossy plastic coated panelling ordered and fitted for work 707 (Tron)
o Staffing - 6-8 installation technicians booked for installation period, including at least 2 A/V specialists, and 1 electrician on call
o
Forklifts, pallet trucks and dollies available as needed for load in/load out
/75
Installation
Handbook
1
2
3
4
5
6
7
8
9
10
11
Introduction
Apparitions
Characters
Superhumans
Fables & Fragments
Structures
Visions
Objects
Further Info
Venue Checklist
The Barbican, London, UK, 15 Jun - 11 Sep 2011 Watch me Move: The Animation Exhibition
/Selected Press Clippings
Elle Magazine, June Edition, 2011
/77
The Barbican, London, UK, 15 Jun - 11 Sep 2011
BBC London News , 6.30pm, 14 June 2011
/78
Time Out London , 6.30pm, 23 June 2011
/79
Eye Blog Magazine, 15 June 2011
/80
BBC GMT, 2.00pm, 16 June 2011
/81
Culture 24, 15 June 2011
/82
Grazia, 20 June 2011
/83
Art Review, 5 June 2011
/84
Evening Standard, 17 June 2011
/85
Financial Times, 18 June 2011
/86

Watch Me Move - Exhibits Development Group

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