Exhibition Pixar in Caixaforum Madrid

If anytime you have had curiosity of knowing which is the creation process hidden behind an animation product, this is you opportunity of knowing if from the inside and let yourself get surprise. Do not get confused, this is not only an exhibition for kids.

 

 Mike y Sullivan en Monsters University

Mike y Sullivan en Monsters University

Many times we don't perceive the hours of work that are behind an animation product. To a certain point we reduce the effort saying: "alright, but this is made by computer", as if this wonderful machines, that have come to revolutionize work and production guidelines, didn't have behind the intellectual support and effort of man throughout the entire creation process. We think that they are not made films like "Fantasy" or "Snow White" of Disney, industriously hand painted. However, and even though the result can lead to error, the animation modern films are clearly debtors of those first ones, prepared almost in a handcrafted way with mime and care. Media have changed, technique has changed, but the work of conception, design and preparation are still loyal to their origins.

Ricky Nierva. Estudio de color para Mike. (Monstruos, S.A., 2001). Rotulador y lápiz sobre fotocopia

The exhibition "Pixar" that comes to CaixaForum Madrid, from the 21th March to the 22th June of 2014, allows us to know from the inside this unknown universe of which many times we only realize the visible result. Pixar has been a pioneer enterprise in digital animation sector, moving ahead in a premature way what seemed to be a transgressive future, first, revolutionary, after, and finally prosperous and promising, that is now recognised as a mark with its own personality and identity.


As a little window opened to the mysteries of digital animation world, the exhibition is a didactic tour about the process of a Pixar film's creation, from the characters's design, mockups's elaboration made of resin or the proofs of the storyboard to check the impact and reception of script. You will be surprised of seeing the quality and variety of previous artworks, made in different plastic techniques, much before that the first digital line has been sketched on a computer. In addition, the exhibition room hides two interesting dark rooms: a zooscope's mockup with Toy Story characters that without any doubt will make you think about the technical functioning of this optic effect, and a projection room of Pixar's first short films, all a delightful for sector lovers.

 
 Bob Pauley. Woody y Buzz (Toy Story, 1995). Reproducción a rotulador y lápiz.

This exhibition for all public does not have any waste, and once you were inside you will discover (as I did) that you have seen many more Pixar's films than you remembered... Do not miss complementary activities, there are interesting chats about cinematographic script or preparation and definition of characters in this kind of films.

 

More information:

Opened from Monday to Sunday: from 10 to 20 h.

http://www.agendacentrosobrasociallacaixa.es/es/caixaforum-madrid/exposiciones-temporales-caixaforum-madrid/pixar

 

 

 

 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.