Proto Anime Cut – Spaces and Visions in Japanese animation

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21 January – 06 March 2011
Künstlerhaus Bethanien, Berlin, Germany (more…)

09 July – 09 October 2011
HMKV im Dortmunder U, Dortmund, Germany (more…)

8 February – 8 April 2012
Espai Cultural de Caja Madrid, Barcelona, Spain (more…)

5 July – 23 September 2012
La Casa Encendida, Madrid, Spain (photo gallery)

7 February – 19 May 2013
KUMU Art Museum of Estonia, Tallinn, Estonia

8 June – 27 October 2013
Cartoonmuseum Basel, Switzerland

The exhibition Proto Anime Cut presents original drawings of the most important directors and illustrators of Japanese animated films.

The action-packed hero stories and the visionary science fiction of Japanese Anime are set in impressive worlds that are constructed in painstaking detail. Looking at the creative processes, the filmmakers appear as architectural dreamers who operate  with virtuosity at the borders of credibility, fiction and utopia. The exhibition focuses on the development of these arenas of action and narrative scenarios. Numerous background paintings, storyboards, drafts, sources of inspiration and film excerpts provide insight into the working methods of the most successful animation artists of the last two decades. Proto Anime Cut presents them for the first time in Europe.

The exhibition includes work by Hideaki Anno (director, Neon Genesis Evangelion), Haruhiko Higami (photographer), Koji Morimoto (director, Dimension Bomb), Hiromasa Ogura (art director), Mamoru Oshii (director, Patlabor, Ghost in the Shell) and Takashi Watabe (layout). The presented artists have played key roles in the development of Anime. By cooperating closely in different production studios in Tokyo they gave their distinctive signatures to many films and developed the prototypical Anime style.

A project by Les Jardins des Pilotes (Berlin) in cooperation with 2dk (Tokyo)
Curated by Stefan Riekeles and David d’Heilly
Co-produced by Obra Social CajaMadrid (Madrid)

Der 1.000.050ste Geburtstag der Kunst im Museum der Unerhörten Dinge, Berlin

Programm Freitag 18.1.2013

Kuratiert von Andreas Broeckmann (Les Jardins des Pilotes) und Miya Yoshida

18:45 Traumfilme der „Coney Island Amateur Psychoanalytic Society“ (1926-1972)
Die Mitglieder der „Coney Island amateur-psychoanalytischen Gesellschaft“ stellten ihre Träume in Filmen dar, die sie einander jedes Jahr im Rahmen eines Traumfilm-Wettbewerbs zeigten. (Mit Dank an Zoe Beloff)

19:30 Einführung, Roland Albrecht, Andreas Broeckmann, Miya Yoshida

19:45 Ayumi Matsuzaka: „All My Cycles“ (Projektpräsentation, siehe unten, Ausstellung)

20:30 Karin Lucas: „Formate des Essens“ (Projektpräsentation)
Karin Lucas interessiert sich für Nahrungsmittel und das Essen im globalen Zusammenhang. Systematisch geordnet lassen sich alle Gerichte der Welt (Genussmittel und Getränke ausgenommen) auf fünfzehn Formate zurückführen.

21:00 Roland Albrecht: „Vor 1.000.050 Jahren“ (Vortrag)

21:30 „Grußadresse an eine Akademie“ – Texte von Heiner Müller und Peter Handke liest Detlev Schneider

22:00 Dick Verdult: „Dibujos Pasajeros“ (Diaschau, Zeichnungen mit Musik)
„Die ‚Dibujos Pasajeros‘ („Passagier-“ oder „En-passant-Zeichnungen“) entstehen auf meinen Flugreisen in Lateinamerika. Sie werden, denke ich, auf dreierlei Weise genossen: wegen der Art und Weise, wie sie gezeichnet sind, und was sie zeigen, aber auch von der Person, die beim Zeichnen im Flugzeug neben mir sitzt und die sich deutlich bemüht zu zeigen, dass sie nicht guckt und nicht verblüfft ist.‘‘

Ausstellung

Sandra Kuttner: „In der Zeit-Lupe“ Installation, 2001/2013
Die „amerikanischen Bilder“ von Sandra Kuttner basieren auf Ereignissen, über die in den Medien berichtet wurde. Das veröffentlichte Material wird in die ‚entschleunigte Zone‘ ihrer Sammelbücher geleitet und in Zeichnungen, Texten und experimentellen Szenarien unter die Zeit-Lupe genommen.

Ayumi Matsuzaka: „All my Cycles“ Mixed Media, 2010-
Matsuzaka is interested in the idea of making one‘s own personal soil and investigates methods of micro-composting. She presents a compost starting kit that adopts a method called „Terra Preta“ of Amazonian black soil, and exhibits a documentation of the process – from making fertilizer out of her own excreta and planting vegetables in the fertilizer to harvesting them to eat.

Eric Muzzy: „how blue ? how sad ? how small ? how white ? how far ?“ Photographien, 2012
Eric Muzzy ist Tischler, Filmemacher, Programmierer, Photograph. Er geht diesen Beschäftigungen in keiner besonderen Reihenfolge nach.

Joseph Beuys: „Ja Ja Nee Nee“ Sound, Performance-Dokumentation, 1968

Anonyme Sammlung von Photos, auf denen „nichts drauf“ ist.

Proto Anime Cut.
Visiones y espacios en la animación japonesa

Ju 05. Julio – Do 23. Septiembre, Cada dia, 10:00h – 21:45h
La Casa Encendida
Ronda Valencia, 2, Madrid
Precio: Entrada libre

Las películas de Anime, desde el éxito obtenido por Akira (1988) y Ghost in the Shell (1995), son hitos de la cultura pop global. Esta es la primera exposición fuera de Japón que presenta estas obras como testimonios de una creación artística individual e inspiradora que se desarrolla en la frontera entre el cine, las artes plásticas y la cultura pop.

La producción de Anime es un trabajo realizado en equipo por desarrolladores de conceptos, narradores, dibujantes y animadores.

Por lo general, trabajan en un sistema industrializado en el que la obra personal de cada uno de los artistas desaparece tras la perfección artesana y técnica del producto final. Proto Anime Cut, comisariada por David d’Heilly y Stefan Riekeles, reúne dibujos originales de algunos de los artistas japoneses de anime más destacados, como: Hideaki Anno, Haruhiko Higami, Koji Morimoto, Hiromasa Ogura, Mamoru Oshii y Takashi Watabe. Todos ellos forman parte de una generación, en el que el anime se dibujaba casi exclusivamente a mano.
Con el tiempo, la infografía ha adquirido cada vez más importancia pero para el estilo y las visiones fílmicas de estos artistas, el dibujo realizado a mano sigue desempeñando un papel básico.

Los seis artistas seleccionados para esta muestra, han trabajado juntos en diferentes combinaciones, traducidas en grandes proyectos cinematográficos que han marcado considerablemente lo que hoy en día consideramos el estilo típico del Anime. Sus obras, fechadas entre 1989 y 2009, se muestran por primera vez como resultado de un arte autónomo y con independencia de su función dentro de la producción cinematográfica.

Image gallery

All photographs, except the exterior views of the building, by Michael Sauer.

In co-operation and with the support of

21 January – 06 March 2011
Künstlerhaus Bethanien, Berlin, Germany (more…)

09 July – 09 October 2011
HMKV im Dortmunder U, Dortmund, Germany (more…)

8 February – 8 April 2012
Espai Cultural de Caja Madrid, Barcelona, Spain (more…)

5 July – 23 September 2012
La Casa Encendida, Madrid, Spain (photo gallery)

7 February – 19 May 2013
KUMU Art Museum of Estonia, Tallinn, Estonia

8 June – 27 October 2013
Cartoonmuseum Basel, Switzerland

The exhibition Proto Anime Cut presents original drawings of the most important directors and illustrators of Japanese animated films.

The action-packed hero stories and the visionary science fiction of Japanese Anime are set in impressive worlds that are constructed in painstaking detail. Looking at the creative processes, the filmmakers appear as architectural dreamers who operate  with virtuosity at the borders of credibility, fiction and utopia. The exhibition focuses on the development of these arenas of action and narrative scenarios. Numerous background paintings, storyboards, drafts, sources of inspiration and film excerpts provide insight into the working methods of the most successful animation artists of the last two decades. Proto Anime Cut presents them for the first time in Europe.

The exhibition includes work by Hideaki Anno (director, Neon Genesis Evangelion), Haruhiko Higami (photographer), Koji Morimoto (director, Dimension Bomb), Hiromasa Ogura (art director), Mamoru Oshii (director, Patlabor, Ghost in the Shell) and Takashi Watabe (layout). The presented artists have played key roles in the development of Anime. By cooperating closely in different production studios in Tokyo they gave their distinctive signatures to many films and developed the prototypical Anime style.

A project by Les Jardins des Pilotes (Berlin) in cooperation with 2dk (Tokyo)
Curated by Stefan Riekeles and David d’Heilly
Co-produced by Obra Social CajaMadrid (Madrid)

español / deutsch / english

image gallery

Proto Anime Cut.
Visiones y espacios en la animación japonesa

Del 8 de febrero al 8 de abril
Espai Cultural Caja Madrid
Plaza Catalunya, 9 (Barcelona)
De lunes a sábado de 10 a 21h
Domingos y Festivos de 10h a 14h
ENTRADA GRATUITA

Espai Cultural Caja Madrid presenta Proto Anime Cut. Visiones y espacios en la animación japonesa
Esta muestra, comisariada por Stefan Riekeles y David d’Heilly, presenta imágenes inéditas de obras de los artistas japoneses del anime

Barcelona, 26 enero de 2012.- El Espai Cultural Caja Madrid acoge, del 8 de febrero al 8 de abril de 2012, Proto Anime Cut. Visiones y espacios en la animación japonesa, una selección de dibujos de las fases de creación y de fondos de algunos de los anime de ciencia ficción más influyentes de la década de los 90, la época de mayor apogeo del género.

Proto Anime Cut. Visiones y espacios en la animación japonesa muestra la dificultad del trabajo previo a la producción de la película. La complejidad de los filmes de animación, y en concreto del anime, es difícil de apreciar. Cada fotograma conlleva un trabajo laborioso de localización de espacios, creación de personajes, diseño arquitectónico y realización de storyboards.

En analogía con la producción del cine tradicional, la gran mayoría de las obras expuestas formarían parte de lo que se conoce como diseño de producción, en japonés sekai-kan, es decir, la invención del universo donde el director desea rodar su película. Esta fase inicial de creación de escenarios es lo que se expone a lo largo de toda la muestra, dibujos de personajes y fondos de espacios ficticios, centrados en la visión de la ciudad y sus distintas deformaciones. Artistas como Hideaki Anno, Haruhiko Higami, Koji Morimoto, Hiromasa Ogura, Mamoru Oshii y Takashi Watabe exponen sus obras inéditas basadas en el interés por el real-kei, un anime de ciencia ficción basado en la construcción realista de mundos alternativos y el retrato de ciudades y paisajes futuristas.

Las obras, que es la primera vez que pueden verse en España, son bocetos y dibujos que permiten adentrarse en las bambalinas de la producción anime y observar cómo se crean sus universos prototípticos.

Proto Anime Cut. Visiones y espacios en la animación japonesa, comisariada por Stefan Riekeles y David d’Heilly, es una ocasión única para comprender el proceso de creación artística y disfrutar de la entidad propia de estos “dibujos preparatorios”.

Räume und Visionen im japanischen Animationsfilm

8. Februar – 8. April
Espai Cultural de Caja Madrid, Barcelona, Spanien

Die Ausstellung Proto Anime Cut präsentiert Originalzeichnungen der wichtigsten Regisseure und Illustratoren von japanischen Animationsfilmen.

Die aktionsgeladenen Heldengeschichten und die visionäre Science-Fiction des japanischen Anime spielen in eindrucksvoll und detailliert konstruierten Welten. Ein Blick auf den Gestaltungsprozess zeigt die Filmemacher als architektonische Träumer, die virtuos an den Grenzen von Glaubwürdigkeit, Fiktion und Utopie operieren. Im Mittelpunkt der Ausstellung steht die Entwicklung dieser Handlungsräume und erzählerischen Szenarien. Zahlreiche Hintergrundmalereien, Storyboards, Skizzen, Inspirationsquellen und Filmausschnitte geben Einblick in die Arbeitsweise der erfolgreichsten Animationskünstler der letzten zwei Jahrzehnte. Proto Anime Cut präsentiert sie zum ersten Mal in Europa.

Die Ausstellung zeigt Arbeiten von Hideaki Anno (Regisseur, Neon Genesis Evangelion), Haruhiko Higami (Fotograf), Koji Morimoto (Regisseur, Dimension Bomb), Hiromasa Ogura (Art Director), Mamoru Oshii (Regisseur, Patlabor, Ghost in the Shell) und Takashi Watabe (Layout).

Die vorgestellten Künstler sind Schlüsselfiguren in der Entwicklung von Anime. Durch ihre enge Zusammenarbeit in verschiedenen Produktionsstudios in Tokio haben sie einer Vielzahl von Filmen ihre persönliche Handschrift verliehen und den für Anime prototypischen Stil entwickelt.

Ein Projekt von Les Jardins des Pilotes (Berlin) in Kooperation mit 2dk (Tokio)
Kuratiert von Stefan Riekeles (Les Jardins des Pilotes, Berlin) und David d’Heilly (2dk, Tokio)
Koproduziert von Obra Social CajaMadrid (Madrid)

Spaces and Visions in Japanese animation

8 February – 8 April
Espai Cultural de Caja Madrid, Barcelona, Spain

The exhibition Proto Anime Cut presents original drawings of the most important directors and illustrators of Japanese animated films.

The action-packed hero stories and the visionary science fiction of Japanese Anime are set in impressive worlds that are constructed in painstaking detail. Looking at the creative processes, the filmmakers appear as architectural dreamers who operate  with virtuosity at the borders of credibility, fiction and utopia. The exhibition focuses on the development of these arenas of action and narrative scenarios. Numerous background paintings, storyboards, drafts, sources of inspiration and film excerpts provide insight into the working methods of the most successful animation artists of the last two decades. Proto Anime Cut presents them for the first time in Europe.

The exhibition includes work by Hideaki Anno (director, Neon Genesis Evangelion), Haruhiko Higami (photographer), Koji Morimoto (director, Dimension Bomb), Hiromasa Ogura (art director), Mamoru Oshii (director, Patlabor, Ghost in the Shell) and Takashi Watabe (layout). The presented artists have played key roles in the development of Anime. By cooperating closely in different production studios in Tokyo they gave their distinctive signatures to many films and developed the prototypical Anime style.

A project by Les Jardins des Pilotes (Berlin) in cooperation with 2dk (Tokyo)
Curated by Stefan Riekeles (Les Jardins des Pilotes, Berlin) and David d’Heilly (2dk, Tokyo)
Co-produced by Obra Social CajaMadrid (Madrid)

Image gallery

The work of Hideaki Anno in the basement.

The opening, 08 February 2012

From left: Carmen Cruañas (Espai Cultural Caja Madrid,  Barcelona), Izumi Shibasaki (Japan Foundation Madrid), Stefan Riekeles (curator), Ryusuke Hikawa (anime critic, Tokyo), Hiromasa Ogura (illustrator, Tokyo), Lucía Casani (La Casa Encendida, Madrid)

In co-operation and with the support of

09 July – 09 October 2011
HMKV im Dortmunder U, Dortmund

Venue:
HMKV im Dortmunder U (3rd floor)
Leonie-Reygers-Terasse
44137 Dortmund

The exhibition was presented in parallel with the Japan Media Arts Festival Dortmund 2011 which ran on the 6th floor of the Dortmunder U from 10 September to 02 October 2011 and was also curated by Stefan Riekeles.

© all images by Hannes Woidich, 2011.

Hardcover
20,5 x 26 cm
296 pages
234 color and b/w ills.
German/English and Spanish/English
ISBN 978-3-86828-253-5
2011

The publication Proto Anime Cut Archive presents original drawings of the most important directors and illustrators of Japanese animated films. Numerous background paintings, storyboards, drafts, sources of inspiration and film excerpts provide insight into the working methods of the most successful animation artists and production designers of the last two decades.

Proto Anime Cut Archive presents, for the first time in a European publication the work by Hideaki Anno (director, Neon Genesis Evangelion), Haruhiko Higami (photographer), Koji Morimoto (director, Dimension Bomb), Hiromasa Ogura (art director), Mamoru Oshii (director, Patlabor, Ghost in the Shell, Innocence) and Takashi Watabe (layout).

The presented artists have played key roles in the development of Anime. By cooperating closely in different production studios in Tokyo they gave their distinctive signatures to many films and developed the prototypical Anime style.

Editor: Stefan Riekeles

Layout and Design: Laleh Torabi (http://spookymountains.com/)

German/English edition published by Kehrer Verlag (artbooksheidelberg.de)

Order the German/English edition here.

The Spanish/English edition will be available from ACTAR soon. Until then, please send us an email and we ship the book directly to you.

Koji Morimoto

Takashi Watabe

Haruhiko Higami

Hiromasa Ogura

Hideaki Anno

Browsing through. It’s a nice book.

From left to right: Hiromasa Ogura, Karin Nagao (interpreter), Koji Morimoto, Nora Mayr (Künstlerhaus Bethanien), Stefan Riekeles (Les Jardins des Pilotes), David d’Heilly (2dk)

Crowd at the opening on 20th January 2011.

Koji Morimoto signing posters.

Hiromasa Ogura signing posters.

Visitors looking closely at Koji Morimoto’s backgrounds for the music video clip EXTRA (1996).

Visitor watching an excerpt from Hideako Anno’s Evangelion: 1.0 You Are (Not) Alone (2007). In the background, photos by Anno which serve as source of inspiration.

All photographs by Aki Suzuki

21 January – 06 March 2011
Künstlerhaus Bethanien, Berlin, Germany

Screening of a clip from Evangelion: 2.0 You Can (Not) Advance (2009), Cut No. 467 – 575, Directors: Hideaki Anno (Chief), Masayuki and Kazuya Tsurumaki, Production: Studio Khara, 2009

Takashi Watabe
Layout for Evangelion: 2.0 You Can (Not) Advance (2009), Cut 710
With kind permission of Studio Khara and Universum Film

Watabe designed the entire room first as a three-dimensional computer model to clearly define the camera perspective. He then printed out the wire frame in red and added further details and highlights in pencil. The drawing was then scanned again, the red lines replaced with black lines, and the layout as a whole processed as a digital image.

Evangelion: 2.0 You Can (Not) Advance (2009)
Cut 710, still image
With kind permission of Studio Khara and Universum Film

Koji Morimoto
Image board for Dimension Bomb (2009)
With kind permission of Studio 4°C

Image boards define the colour palette and the lighting mood of the film. The designs come from an early stage of development and are not found in the final product.

Koji Morimoto
Cut 45 from EXTRA (1996), music video for Ken Ishii
Keyframe animation
With kind permission of Studio 4°C and R&S Records

Displayed are all keyframes of cut 45 from EXTRA (1996). The portrait of the main character is broken into three layers of animation: hair, face and neck. Each drawing is used in the cut once or several times. Information about the timesheet is given.

Screening of Tokyo Scanner (2003), Director: Matsu Hiroaki, Supervisor: Mamoru Oshii, Executive Producer: Toshio Yabe, Mori Building

© all photographs by Aki Suzuki, 2011.

The exhibition was kindly supported by:

]]> http://jardinsdespilotes.org/?feed=rss2&p=412 0 http://jardinsdespilotes.org/?p=163 http://jardinsdespilotes.org/?p=163#comments Mon, 01 Nov 2010 12:05:30 +0000 admin http://jardinsdespilotes.org/?p=163

Edited by Andreas Broeckmann and knowbotic research

In the society of late capitalism – whether we understand it as a society of consumption, of control, or as a cybernetic society -, visibility and transparency are no longer signs of democratic openness, but rather of administrative availability. Spaces of agency and spaces of social friction are absorbed into the surfaces of technical processes. Even when the games of visibility, of attention, and of the mechanisms of subjectivation, may not always be a matter of bare survival, they are still a matter of maintaining and appropriating heterotopic zones in which resistance, if not freedom, can be postulated.

This book deals with questions of public visibility and strategic camouflage. It hinges on the public performance project  ›macghillie – just a void‹ by the artist group knowbotic research, in which urban sites are visited by a figure, clad in a camouflage suit. The so-called ›Ghillie Suit‹ was originally invented in the 19th century for hunting and has since the First World War been used in military contexts all over the world. When worn in a contemporary public environment, its camouflage effects the anonymisation and the neutralisation of the person wearing it. The figure of the ›MacGhillie‹ oscillates between the hyperpresence of a mask, and visual redundancy. It traverses the modern urban environment in which conspicuity holds ambivalent currency, wavering between cumbersome affirmation and visual arbitrariness. In the project, the suit is made available to members of the public who can thus become macghillie for a while, testing the boundaries of subjectivity and identity.

Table of contents:
Eva Meyer: Me as MacGhillie
Matthew Fuller: The Cat Seemed to Think There was Enough of it Now in Sight
Andreas Broeckmann: action, en passant
Marcus Steinweg: Subject without a Face
Tiqqun: The Problem of the Head
knowbotic research: macghillie – just a void