
13 Jun 2006

Trash Talking
A showcase of Paper Rad's individual and group creations in the form of Trash Talking, a show for kids with bizarre characters trying to find their place in the world.
Individual elements from a carrier of visual information have been isolated and used to construct alternative visual reagents. Repetition is administered as a binder to tame the wild particles in motion, achieving a golden ratio in the mind's eye.
13 Jun 2006
A showcase of Paper Rad's individual and group creations in the form of Trash Talking, a show for kids with bizarre characters trying to find their place in the world.
01 Jan 1979
Enigmatic, stop-motion, animated story of a man's day.
20 Jun 1984
In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.
01 Jan 1985
Stop-motion animated short film in which a puppet on a trike captures a puppet bird-man.
01 Jul 1986
A puppet, newly released from his strings, explores the sinister room in which he finds himself.
01 Jan 1988
Stop-motion animated short film in which, among other things, a man made of wire looks malevolent.
11 Oct 1991
A porcelain doll’s explorations of a dreamer’s imagination.
09 Apr 1993
The Quays' interest in esoteric illusions finds its perfect realization in this fascinating animated lecture on the art of anamorphosis. This artistic technique, often used in the 16th- and 17th centuries, utilizes a method of visual distortion with which paintings, when viewed from different angles, mischievously revealed hidden symbols.
21 Oct 2000
A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come."
01 Jun 1993
Near an extraordinary chair with many legs, a hand is visible gripping an edge. The hand is weathered, the fingers cracked and scarred. The end of a rifle appears and a shot fires. The bullet is visible whirling through space; it caroms and then goes through a pine cone. A long spoon emerges from a drawer in the chair and stretches toward the hand. The bullet is on the spoon. Later, the hand holds the bullet between two fingers; another shot is fired.
31 Dec 1993
Short animated film featuring the song "Can't Go Wrong Without You" by His Name Is Alive.
26 Jun 2003
A display at the strange and wonderful artifacts in a collection of medical curiosities.
05 Feb 1969
Computer Movie No. 2 is a CGI animation created in advance of video-editing software. CTG programmed graphics on an IBM computer, filmed the screen with a 16mm camera, and assembled the frames as an animated film.
27 Apr 2004
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
31 Aug 1992
Stop-motion animated short film with a white ball, a rabbit, and a girl, and a voice singing "Are We Still Married".
10 Sep 1991
“When he shot Une seconde (4 min., 20 sec.), a video animation without computer graphics, Richard Angers tried to adapt Norman McLaren’s animation techniques to video shooting and editing. A long-term solitary task, in which images are moved by hand, centimetre by centimetre, in which one plays with the number of images per second, and in which the ± pure quest for effects is more important than the message”. BLANCHARD, Louise. “Les vidéastes sont au ‘rendez-vous’”, Le Journal de Montréal, Montreal (9 February 1992), p. 38.
01 Jan 1995
Two men seek to negotiate an agreement of international significance.
01 Jan 1991
With harpsichord music in the background, a dandy, seated at a table, plucks a quill pen from a ceiling full of them above him, dips it in ink, thinks, then draws a straight line down the page in front of him, out of which sprout six more quill pens, each held by a hand. The calligrapher moves all the hands and pens in unison, drawing an elaborate feathered wing, which comes to live, peeling off the page, and, now a quill pen, slips in to his hand. He tucks it behind his left ear.
27 Mar 1976
Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.
10 Apr 1980
Writes Kobayashi, "In 1972 I started a series of participatory performances where the first person performs an ambiguous action in front of a recording camera; the next person watches the recorded footage and imitates the action in front of a recording camera; the third person repeats the same procedure using the second person's video recording, and so on. Within the repetition of recording and action, the original gesture is transformed by the participants' misunderstanding, interpretation, and memory."