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Angefangen mit seinem ersten Film L’œil umfasst dieses Programm nahezu das gesamte, vielfältige Werk unseres diesjährigen Artist-in-Residence Nicolas Brault. Seine Animationen beschäftigen sich mit dem Körper, mit Erinnerungen und immer wieder mit Transformationen unterschiedlichen Ausmaßes. Mémoire entropique, letztjähriger Gewinner des Jurypreises im Wettbewerb Animation Avantgarde, steht dafür sinnbildlich: eine Reflektion des Vergessens anhand sich auflösender Fotografien. Es bietet sich die einmalige Chance, tief in das Werk von Brault einzutauchen. (mb)

Beginning with his first film The Eye, this programme spans almost the entire, multifaceted body of work by this year’s artist-in-residence, Nicolas Brault. His animations engage with the body, with memory and, time and again, with transformations of varying scale. Entropic Memory, last year’s jury prize winner in the Animation Avantgarde competition, is emblematic of this: a reflection on forgetting, told through the dissolution of photographs. This programme offers a rare opportunity to immerse oneself deeply in Brault’s work. (mb)

Vermino, having emerged from a fish, tries to shake off the flies buzzing around his head.

This short animation film takes place in a topsy-turvy land of ice, water and sky. What does the penguin think about on the barren ice floes? How can a cataclysm be triggered by its attempts to fly? We’ve all heard of the butterfly effect; now see what happens when a penguin takes to the air.

Combining figurative abstraction with magic realism, this animated short depicts a world in which whales fall out of the sky and fish turn into balloons. It is a black-and-white evocation of the real world, transformed by the director’s special sense of whimsy. With bold lines reminiscent of the stark simplicity of Inuit art, this cautionary tale is a reminder of the interconnectedness of all things. We are all affected by the fate of the Arctic, which each year is disappearing a little farther into the ocean.

At the hospital, a six-year-old boy wants to have a quiet moment with his sick mother, but a group of visitors unknown to the child, create obstacles.
Using rotoscoped drawings suggestive of charcoal sketches, as well as 3D and object animation techniques. The Circus compels viewing with its unsettling realism. Colour is employed metaphorically to subtly express the promise and the memory of maternal affection. Nicolas Brault’s highly personal film, suffused with poetic modesty, casts a poignantly sincere gaze on the heartbreak of a child facing the fearful, mysterious experience of his mother’s death.

This photographic exploration of family photo albums ravaged by water evokes hazy and indistinct memories, poignant witnesses of a fragile past. Foreign Bodies is based on the myth of the “transparent body” conveyed by modern medical imaging (CT, MRI, cryosection) to evoke in the viewer a feeling of strangeness that can sometimes inspire his own body.

Squame explores the skin as a sensitive envelope. Ephemeral animated desquamations, cast in sugar, evoke fragile landscapes at the edge of abstraction—somewhere between archaeological artifacts and macroscopic observations.

In his experimental animated film, Nicolas Brault explores the fragile nature of our memories. The starting point is a set of family photographs whose surfaces were damaged by water. These now-blurred images come back to life in the film—flowing, floating, always wavering between clarity and decay. An atmospheric short film with subtle sound design that gently invites us to make peace with forgetting. (ll)