PNCA Press Center
PNCA Presents Boundary Crossings Animation Institute
Release date: 07/15/13
FOR RELEASE ON
July 14, 2013
Lisa Radon, Communications Specialist
Becca Biggs, Director of Communications
PNCA Presents Boundary Crossings Animation Institute
2013 theme of this biannual institute is Cyber Folklore
PORTLAND, OR – July 14, 2013 – Pacific Northwest College of Art (PNCA) presents the third biannual Boundary Crossings Institute in Animated Arts this summer from July 29 through August 9, 2013. Recognizing that the traditional boundaries between live action, animation, and images are no longer fixed and that hybrid moving images continue to change and morph with the development of digital technologies, this two-week institute explores digital animation and an expanded notion of the screen through the lenses of technology itself, fine art practices, and critical theory. The Institute features hands-on making, group and individual critiques, lectures and screenings, and a collaborative creative environment. Boundary Crossings culminates with a public exhibition of animated installations created during the Institute on August 9 in Swigert Commons in PNCA’s Main Campus Building.
“As screens proliferate and the digital moves into urban spaces, architecture, and our cyborged selves, new territories open for artists engaged in making images move beyond the traditional frame,” says Rose Bond, Director of Boundary Crossings Institute. “Boundary Crossings is a place to experiment, to risk, and to experience creative community.”
The public is welcome to many of the free programs that will be part of the Institute including the panel discussion, Queering the Picture, on Wednesday July 31, 6:30pm at PNCA; a lecture by Kota Ezawa on August 5 at Lumber Room; and an exhibition of Czech and Polish Animators in PNCA’s Swigert Commons. The non-credit enrollment fee is $1,790; 3-credit under-graduate enrollment: $3,609; 3-credit graduate enrollment: $3,609. Participants can register online at https://cereg.pnca.edu/p/adult/s/326f.
The theme of the 2013 Boundary Crossings Institute is Cyber Folklore. This year’s participants rethink folklore as a framework for animation that reflects not only national and ethnic traditions but also the new acquired and mixed cultural backgrounds of a generation that came of age around computers. Artistic movements such as Balinese puppet theatre, Eastern-European animation, or Japanese Micropop are investigated as examples of the wide range of possible interpretations of folklore. The main purpose of the Institute is to provide a platform for artists to develop animations that embrace diverse traditions as well as new forms.
Faculty for Boundary Crossings includes Rose Bond and Kota Ezawa. Institute Director Rose Bond produces work at the juncture of animation, architecture, and the street. She has received honors from the American Film Institute, The Princess Grace Foundation, and the National Endowment for the Arts. Her large-scale, site-specific installations navigate the allegories of place. In 2012 she completed a prototype for a media installation in the Smithsonian’s Arts & Industries Building. Other installations include “Broadsided!” at Exeter Castle 2010; “Intra Muros”, shown during the 2007 Platform International Animation Festival and reprised for the Holland Animation Film Festival, Utrecht, 2008, and Nuit Blanche, Toronto 2011. She is an associate professor and department chair in Animated Arts at the Pacific Northwest College of Art.
Kota Ezawa is a kind of media archeologist, excavating images that are buried in archival films and other media. He has produced animations, sculptures and two-dimensional work. In this work he has referenced well known and obscure historic events including the reading of the OJ Simpson Verdict, the assassinations of JFK and Abraham Lincoln, and the notorious honeymoon vacation tape of Pamela Anderson and Tommy Lee. Public art installations of his work have been on view at Vancouver Art Gallery Offsite and Madison Square Park in New York. He has participated in group exhibitions at the Museum of Modern Art in New York, Metropolitan Museum of Art, San Francisco Museum of Modern Art, Andy Warhol Museum in Pittsburgh, and Musée d’Art Moderne de la Ville de Paris among others. Ezawa lives in San Francisco.
Visiting artists for 2013 include Katya Bonnenfant (Old Boys Club), Miriam Harris (24 Czech & Polish Animators), and Marina Zurkow.
July 29-August 9
Queering the Picture
Wednesday, July 31, 6:30pm
Swigert Commons, PNCA
Queering the Picture presents four media artists who challenge the normative perception of animation. Just as queer theory moved the debate away from gay/straight in order to question the binary division of gender itself, these artists are explicitly interested in challenging notions of screen/viewer, subject/object, human/other, and nature/culture. Their works are hybrid, intended to upend the traditional perpendicular viewing plane of the cinema, choosing instead to inhabit crevices and crania, and to span parlors and pockets. The works may be looked up into, peered down upon, or seen in otherwise unexpected relationships to the body and space, taking on life outside of the orderly contexts in which animation is permitted to play.
Panelists: Marina Zurkow, Old Boys Club, Rose Bond, Miriam Harris
Czech and Polish Animators
First Thursday, August 1
Swigert Commons, PNCA
Selected short animated films from these two former Communist countries. Some works from under the Communist era, others from the age of privatisation. The exhibit explores the characteristics of animation from different generations. Both countries have enjoyed a particularly rich animation tradition, which often features absurdity, playful irreverence, black humour, and profound reflections on the human condition.
Curator Miriam Harris will give Gallery Talk at 7pm.
Inside Czech and Polish Animation
Lecture/Screening by Miriam Harris, Hollywood Theatre
Friday, August 2, 7:30pm
For those film lovers familiar with independent animation, the words “Czech & Polish animation” might evoke images of animated puppet films rich in artistry, atmosphere, absurdity, and profundity. Curator Miriam Harris traveled to Czech Republic and Poland to garner works from the veterans, the mid-careerists, and emerging forces. Her selected screening offers a refreshing alternative to English-speaking perspectives while drawing on qualities such as absurdity, black humour, philosophical speculation, and romanticism.
Program introduced by curator Miriam Harris.
Visiting Artist Lecture
Monday, August 5, 6:30pm
Artist talk with Kota Ezawa. Kota Ezawa’s practice uses animated video to reconsider images from art history and popular culture, slide projections, light boxes, collages, and prints. His work has been shown in solo exhibitions at Hayward Gallery Project Space (London), Artpace San Antonio, and Wadsworth Atheneum Museum of Art. He has participated in group exhibitions at Museum of Modern Art in New York, Whitney Museum of American Art, Warhol Museum, and Musée d’Art Moderne de la Ville de Paris.
Exhibition of Animated Installations
Friday, August 9, 7 – 9:30 pm
Swigert Commons, PNCA
Boundary Crossings participants rethink folklore as a framework for animation that reflects not only national and ethnic traditions but also the new acquired and mixed cultural backgrounds of a generation that came of age around computers. Artistic movements such as Balinese puppet theatre, Eastern-European animation, or Japanese Micropop are investigated as examples of the wide range of possible interpretations of folklore. This public exhibition of animated installations completed during the two-week institute embraces diverse traditions as well as new forms and current issues.
About Boundary Crossings
PNCA’s biennial Boundary Crossings aims to foster innovation and creativity by exploring animated spaces, expanded screens, and cinema. This two-week institute embraces the hybrid moving image by combining digital technology, fine art practices, and critical theory.
With a faculty of internationally renowned teachers, scholars, and practitioners, the two -week institute includes hands-on making, intensive tutorials, skills-based learning, lectures and screenings, and theory and practice sessions. The goal is to provide an intensive experience of being on the cutting edge of animation and fine arts. Boundary Crossings culminates with a public exhibition of animated installations created during the two-week Institute.
About Pacific Northwest College of Art
As Oregon’s flagship college of art and design since 1909, Pacific Northwest College of Art has helped shape Oregon’s visual arts landscape for more than a century. PNCA students study with award-winning faculty in small classes. In the last seven years, PNCA has doubled both the student body and full-time faculty, quadrupled its endowment, and added innovative undergraduate and graduate programs. PNCA is now embarking on its boldest venture yet by establishing the Arlene and Harold Schnitzer Center for Art and Design as an anchor for the College’s vision of a new campus home on Portland’s North Park Blocks. Focusing on the transformative power of creativity, the capital campaign, Creativity Works Here, was launched in June 2012 with a lead gift from The Harold & Arlene Schnitzer CARE Foundation of $5 million. PNCA’s new home will be a bustling hub for creativity and entrepreneurship, reflecting the influential role of art and design in our 21st century economy – both in Portland and beyond. For more information, visit pnca.edu.
Call or Email
Follow PNCA ...
By month ...