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LIAF 2019: Happiness Machine + panel discussion (15*)

December 3, 2019
6:30 pm

An innovative, Pan European project that connects women animators and composers in the crafting of new work. Twenty artists were asked by Klangforum Wien and Tricky Women to consider our current economic system in light of the Economy for the Common Good social movement. The films reflect on various aspects of this movement – its opportunities and challenges, and its theory and practice.

Here are the resulting ten animations that explore themes of consumption, greed, solidarity, equality, responsibility, and revolt. They consider how the machine we operate within can be destroyed and rebuilt.

Ranging from the abstract and experimental, to fairy tales, documentary approaches, and the satirising of society, this collection brings together an incredible variety of voices and techniques.

The screening will be followed by a Q&A led by Producer Abigail Addison with Austrian animators Eni Brandner and Susi Jirkuff, and British animators Elizabeth Hobbs and Samantha Moore about the collaborative process and the themes of the films.

Find out more about The Happiness Project here

At Barbican book tickets

With Special Thanks to Austrian Cultural Forum




Abigail Addison

Abigail is a Producer, and is a Director of arts agency Animate Projects that works at the intersection of animation, film and art. She has produced many innovative projects and was nominated for the BAFTA British Short Animation 2019 for Elizabeth Hobbs’ experimental short, ‘I’m OK’. She also independently produces films, and co-produced Chris Shepherd’s multi award winning ‘Johnno’s Dead’.

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Eni Brandner

Eni Brandner is a filmmaker, multimedia and video artist who lives and works in Vienna as writer, director, animator and visual effects consultant. After studying Multimedia Art in Salzburg and classical animated film in Zagreb, she is mainly focused on finding experimental approaches in connection with the creation of narratives in the interdisciplinary field between film, music and performing arts.

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Elizabeth Hobbs

Elizabeth Hobbs is an animator based in London, UK, whose films include ‘I’m OK’, ‘The Emperor’, ‘The Old, Old, Very Old Man’, ‘The True Story of Sawney Beane’ and ‘G-AAAH’. Her films are notable for their strong narratives and use of diverse techniques including ink on bathroom tile, watercolour on paper, butterfly prints, and use of typewriters and rubber stamps. The films are often based on unusual and overlooked historical stories and figures. Elizabeth has won many awards, including the McLaren Award in 2005.

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Susi Jirkuff

Susi Jirkuff is based in Vienna and is an artist working with drawing, animation and installation. She has undertaken residencies in London, Los Angeles and at Taipei Artist Village, Taiwan. Susi was rewarded with Hilde Goldschmidt Preis 2006, the Staatsstipendium Bildende Kunst 2007, the Margret Bilger Grant, Upper Austria 2012, the Gabriele Heidecker Preis 2015, the Outstanding Artist Award for Experimental Film 2016, and an award of the state of Kärnten 2017.

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Samantha Moore

Sam Moore is an animated documentary maker who is passionate about the ability of animation to convey insights into tricky documentary topics. She has made work about competitive sweet pea growing, twins and multiple births, audio-visual synaesthesia, micro-biology, archaeological finds, and now the manufacturing of knickers. Sam’s films have won awards all over the world and she has a Ph.D. about the way animation can be used to document perceptual brain states, such as phantom limb syndrome and face blindness.

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The Flounder (Elizabeth Hobbs, UK)

LIAF, London International Animation Festival, The Flounder, Elizabeth HobbsOne day a humble fisherman catches an enchanted fish. Can the fish help him and his wife improve their lot?

2019, 6min

Hierarchy Glitch (Vessela Dantcheva, Bulgaria)

LIAF, London International Animation Festival, Hierarchy Glitch, Vessela DantchevaVisual patterns are tied up in hierarchical behaviour that restrains the full potential and mobility of each individual element until the matrix collapses.

2019, 6min

Music Box (Joanna Kozuch, Slovakia)

LIAF, London International Animation Festival, Music Box, Joanna KozuchAn ensemble of acrobats tries to create a perfect pyramid. However, one of them has problems with his hand so that the pyramid collapses.

2019, 6min

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Pantopos (Eni Brandner, Austria)

LIAF, London International Animation Festival, Pantopos, Eni BrandnerA journey to a surreal place where nothing is as it used to be.

2019, 8min

Bloomers (Samantha Moore, UK)

LIAF, London International Animation Festival, Bloomers, Samantha MooreThe story of a lingerie factory in Manchester. Workers recount the history of Headen & Quarmby, UK manufacturing, and traditions of making.

2019, 10min

Generator/Operator (Andrea Schneider, Switzerland)

LIAF, London International Animation Festival, Generator/Operator, Andrea SchneiderTranslating the ideas of cooperation, trust, sharing and solidarity into separate working microcosms that run in an endless loop.

2019, 6min

The Happiness Machine (Ana Nedeljković, Serbia)

LIAF, London International Animation Festival, The Happiness Machine, Ana NedeljkovićA simulation of a non-existent video game concerned with the business practices of a company which at first sight seems ideal.

2019, 7min

Lickalike (Rebecca Blöcher, Germany)

LIAF, London International Animation Festival, Lickalike, Rebecca BlöcherSomeone disappears and a tree is upside down. In search of the roots, people are torn from their usual order and reassembled.

2019, 8min

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Measuring the Distance (Susanne Jirkuff, Austria)

LIAF, London International Animation Festival, Measuring the Distance, Susanne JirkuffExploring urban edges as they correspond with the marginality of the social groups who inhabit them.

2019, 7 min

Suggestion of Least Resistance (Michelle Kranot, Denmark)

LIAF, London International Animation Festival, Suggestion of Least Resistance, Michelle KranotA depiction of the July Revolt of 1927 (Der Brand des Wiener Justizpalastes), a monumental episode that is still acutely relevant.

2019, 5min

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