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LIAF 2017: Edge of Frame – You, Me, Them

December 2, 2017
7:30 pm

Following the sell-out success of our partnership with Edge of Frame during LIAF 2016, we’re returning with three curated programmes of work at the intersection of animation, experimental film and artists’ moving image. Specially curated by Edwin Rostron – the London-based Artist, Animator, Writer, Curator, Editor of Edge of Frame blog and Festival Juror this trio of programmes seeks to celebrate this incredibly rich and vibrant, yet often marginalised and hard to define art form.

You, Me, Them presents ten films exploring disconnection and the limits of communication. Language and images can be misleading and inadequate but when recontextualised, distorted or ruptured, we can sometimes glimpse what lurks behind the surface.

You can enjoy more Edge of Frame Programmes during LIAF 2017 with Edge of Frame: After Nature (Part One) and Edge of Frame: After Nature (Two)

At Close Up Film Centre book tickets

Rotting Artist (Ann Course & Paul Clark, UK)

Rotting Artist, Ann Course, Paul Clark, LIAF, London International Animation FestivalPeople try it on in the Croxley bunkers, and when the head of the household shoves his bendy cane brush right up the chimney we would do well to run to the other side of the road and watch it appear out the top for the lucky sight of it.

4’00, 2002

Bus Stop (Andrea Gomez, USA)

Bus Stop, Andrea Gomez, LIAF, London International Animation FestivalAn animated ride through an American urban landscape in the early 1980s.

7’30, 1983

Broken Tongue (Mónica Savirón, USA)

Broken Tongue, Mónica Savirón, LIAF, London International Animation FestivalBroken Tongue is an ode to the freedom of movement, association, and expression and a heartfelt tribute to avant-garde sound performer Tracie Morris and her poem Afrika.

3’00, 2013

Analysis of Emotions and Vexations (Wojciech Bąkowski, Poland)

Analysis of Emotions and Vexations, Wojciech Bąkowski, LIAF, London International Animation FestivalThis movie is a representation of my spirit’s volatile state. I used animation with poetic comment to analyze my emotions and vexations. I used pencil drawings in translucent frames to show a state of lightness. – WB

14’00, 2015

Plum (Stephen Sutcliffe, UK)

Plum, Stephen Sutcliffe, LIAF, London International Animation FestivalA meditation on disingenuousness.

4’30, 2012

Vicki✿ (Natalia Stuyk, UK)

Vicki✿, Natalia Stuyk, LIAF, London International Animation FestivalVicki✿ is a comment on vacuous social media and Deep and Meaningful online self-expression. A text generator was used to produce the monologue, which was then copied and pasted into a text-to-speech app and recorded. The sound and imagery also have procedural and generative origins.

3’30, 2017

Happenstance (Part One of Many Parts) (Gary Hill, USA)

Happenstance (Part One of Many Parts), Gary Hill, LIAF, London International Animation FestivalA kind of choreography of thought, which gives rise to an area of tension between the images and the spoken or written texts. Musical and sound elements underscore the character of the individual passages and the complex intertextuality of the work.

6’30, 1982-83

Still Life (Kevin Eskew, USA)

Still Life, Kevin Eskew, LIAF, London International Animation FestivalEt tu doggy?

3’30, 2015

601 Revir Drive (Josh Weissbach, USA)

601 Revir Drive, Josh Weissbach, LIAF, London International Animation FestivalA series of spatial limits are defined while a maker imbibes. Interdependence is inherited after a substance cannot be shook. An animal carefully guards an outlined space as a river runs backwards. Showing on a 16mm print.

9’00, 2017

Orpheus (Outtakes) (Mary Helena Clark, USA)

Orpheus (Outtakes), Mary Helena Clark, LIAF, London International Animation Festival“Using footage from Cocteau’s ‘Orphée’, Mary Helena Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.” – Andrea Picard. Showing on a 16mm print.

6’00, 2012