"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." Invideo 2010, Italy
"An exciting experiment in the tradition of Oskar Fischinger (Komposition in Blau, 1935), Dwinell Grant (Composition No. 1, 1940) and Slavko Vorkapich (Abstract Experiment in Kodachrome, 1950s). Max Hattler presents a well-done interaction between music and moving images. Space is turned upside down and the animated objects become faceless dancers in a constructivist ballet." Vienna Independent Shorts 2010, jury statement by Anton Fuxjäger
"Max, AANAATT is one of your most beautiful animations. I often show it as an outstanding example to my students. Above all, the work is NOT just another demonstration of technique or technology, but rather a classic in the field of Visual Music, and a unique example of creative ingenuity and elegant design." Robert Darroll, media artist, 2011
Gibson's Compass is an illusory performance video that explores and interprets tracks and traces across unfamiliar terrain in the Australian desert landscape. The work imagines traces left behind by early explorers in their search for the holy grail of Green English Pastures and the Useless Objects they took with them. Burke and Wills packed a piano… and Gibson searched for water for the Giles expedition with a compass he couldn't use!
Gibson's story inspired Gibson's Compass where I walk into the desert carrying a useless item on my head, leaving behind deep tracks in the mud. Could it be that Australians fear that their tracks and traces will disappear... that they will shrink and disappear into the emptiness... because... during their lifetime, 95% of Australians never visit the desert
Shift, an abstract sci-fi adventure by Max Hattler, 2012.
More info and full credits at maxhattler.com/shift/
Because Magazine review:
"There are certain moments created by artists where it becomes apparent that they have completed a period and are ready to shift up a gear; challenging themselves, challenging audiences and challenging the body of work that they have already produced. Filmmaker Max Hattler produced in 2010 a piece called Spin. This Busby Berkeley-style dance routine played out by plastic toy soldiers seemed to instigate a slight change in working practice, and he presents his latest work, open now, at Tenderpixel. This new installation of three moving image works is entitled (appropriately enough) SHIFT. Commissioned between Animate Projects and Channel 4, the work is the latest in a series of co-productions between the two organisations, in a strand called Random Acts, bringing the work of film and video artists to terrestrial broadcast television. SHIFT is a very strong work. The three minute animation exhibits influences as disparate as modernist abstraction to industrialisation and German Expressionism. The effect is jarring, and in the Tenderpixel basement a fitting mausoleum for sci-fi exploits played out under factory-esque, conveyor-belt conditions. Hattler's work has always been exuberant and anticipatory; SHIFT presents an abstract apocalypse, hearkening back to the fears of the modern age. It's beautiful, and it's scary, and it's utterly engrossing." (becauselondon.com/culture/2012/03/max-hattler-shift.aspx)
KXFS presents X by Max Hattler. The canal commission as part of Vauxhall Ampera Season #VXAmperaSeason @TheKXFS
Showing at KXFS, Goods Way, London, 6-16 September 2012 at 8pm, 9pm and 10pm.
Directed by Max Hattler, 2012. Animation by Matt Abbiss, Tony Comley, Valeria Fonseca, Max Hattler, Siobhan Mcelhinney, Luiz Stockler. Sound and music by Eduardo Noya Schreus. Special thanks to Sandra Sykorova.