Ho conosciuto Max Hattler durante il LAGO FILM FEST, lo scorso luglio. Max era il presidente di giuria del festival e, a dispetto della carica che portava addosso, se ne è stato tutto il tempo in silenzio, sempre concentrato, con quel tipo di sguardo attento di chi mentre fa qualcosa di quotidiano tipo mangiare o guidare una macchina, ha dentro la testa tutt’altro; ha figure geometriche che si muovono, caleidoscopi di colori e forme, azioni rallentate o velocizzate. Non si tratta di avere la testa tra le nuvole, si tratta di avere una mente d’Artista. E Max è innegabilmente un Artista, che sviluppa video astratti e ipnotici, bellissimi e profondi con una dovizia di particolari e una concentrazione davvero rari.
Gli ho chiesto di ripercorrere la sua carriera attraverso 5 video, e di raccontare a DATE*HUB quali sono stati i suoi di “movimenti” interiori, le dialettiche e le connessioni che l’hanno portato alla realizzazione delle diverse opere. Lui, preciso e metodico come una forma geometrica, ha risposto dopo pochi minuti, così…
Collision (2005) was my graduation film from the Royal College of Art. It takes Islamic patterns and American quilts, and the colours of the respective flags, to create an abstract space for reflection on world politics. By reducing the protagonists to basic shapes and colours, the idea is to focus on similarities – an underlying humanity – rather than the differences between cultures.
AANAATT (2008) is a collaboration with Japanese electronica artist Jemapur. This is how Italian Invideo festival described it in their 2010 catalogue: “Hattler proposes an unusual stop-motion animation, where objects of abstract shape and unknown function move in a space that bears no relationship to any kind of real experience. The various elements move within this three dimensional space, like parts of a dynamic painting that condenses a whole series of references to contemporary art: from the constructivism of Moholy-Nagy, to the historic abstracts of Mondrian and Klee, and on to the more recent experience of conceptual and kinetic art. Changing shapes, plays of colour and transforming surfaces compose a dynamic universe that is both alienating and fascinating at the same time.“
Spin (2010) develops some aspects of Collision and puts them into a the wider context of war in general. Referencing the extravagantly choreographed Hollywood musicals of Busby Berkeley on the one hand, and military parades and rallies on the other, Spin attempts to comment on the mediatisation of war and its packaging as entertainment, from kids’ toys and computer games to movies and bite-size evening news.
X (2012) was first presented at the King’s Cross Filling Station on Regent’s Canal in London. The conceptual starting point for this abstract animation work was oil and water, referencing Regent’s Canal and the history of KXFS as a petrol station. Oil and water as essential opposing elements struggling for balance. This then developed more broadly into visualizing the balancing of different elements within a system, while focusing on a visual treatment – sci-fi laser love! – that best works with the hologram aesthetic of the water screen. The end result is completely abstracted into the kinetic relationships of geometric shapes and the movement and energy balances between them.
A Very Large Increase in the Size, Amount, or Importance of Something Over a Very Short Period of Time (2013) is inspired by organic growth, bifurcation processes, fractals and chaos theory. The project came about through an invitation from Multivision Festivalin St. Petersburg. Sync won the award for Best Video Installation there in 2011, and they were aware of my previous works 1923 aka Heaven and 1925 aka Hell, which I directed with a group of animators and CG artists at The Animation Workshop in Denmark. So Multivision invited me to St. Petersburg for five days to create this new piece with a team of amazing young Russian animators, which was then immediately shown at Erarta museum in St. Petersburg. [Here's a video interview by Cinemire Blog done at Erarta on the opening night of the exhibition]. The soundtrack was made by Dutchman Julien Mier and it’s a perfect fit. Julien is currently working with ideas around the sonification of abstract creatures, and when I showed him the project he immediately jumped at it.
BIOGRAPHY • Moving image artist Max Hattler was educated in London at Goldsmiths and the Royal College of Art. He has had solo exhibitions at Tenderpixel Gallery, Playgrounds Festival, Lumen Eclipse, Media Art Friesland, and Someonesgarden Tokyo, and retrospectives at Go Short Nijmegen, Image Forum Festival, Fredrikstad Animation Festival, Lago Film Fest, Branchage Film Festival and International Short Film Festival Detmold, among others. His works have been shown at hundreds of film festivals as well as in museums and galleries such as Erarta Museum, MOCA Taipei, the Marl Video Art Award, Yota Space and Gasworks Gallery. Awards include Multivision Festival, St. Louis Film Festival, Premio Simona Gesmundo, Visual Music Award, Animate OPEN Digitalis, London International Animation Festival, Videofestival Bochum, Videologia, 700IS Art Film Festival, and many more. Hattler’s films have been included in the touring programmes of Videoformes, Videoholica, onedotzero, the European Media Art Festival, Euroshorts, Shorts Attack, Fairecourt, 700IS, The Animation Show, L’Alternativa, Animac, AURORA, and the British Animation Awards. Max Hattler has collaborated with music acts such as Basement Jaxx, Jovanotti, Pixelord, The Egg, and Jemapur, and he has presented his audiovisual live performances around the world, including the Museum of Image and Sound in Sao Paulo, Electrovisiones Mexico City, the European Media Art Festival, Cimatics Festival, Donaufestival Krems, Filmfest Dresden, SuperDeluxe Tokyo, The Big Chill Festival and London’s Institute of Contemporary Arts. He teaches in London at Goldsmiths and the University of the Arts, Chelsea, and is studying towards a Doctorate in Fine Art at the University of East London.
WEB* maxhattler.com • Facebook • Twitter
La foto in home è di Lucy Pawlak