Max Hattler 

(1976) is an experimental animator and media artist educated at Goldsmiths, Escuela de Cine de Madrid, and the Royal College of Art, graduating with an MA (RCA) in Animation in 2005.

Max Hattler has had solo exhibitions at Lumen Eclipse, Media Art Friesland, Nottingham Broadway and Someonesgarden Tokyo, and retrospectives at Image Forum Festival, Fredrikstad Animation Festival, MUMIA Festival and Branchage Jersey Film Festival. His works have been shown at hundreds of film festivals, as well as in museums and galleries such as MOCA Taipei, the Marl Video Art Award, Yota Space and Gasworks Gallery. Awards include St. Louis Film Festival, Visual Music Award, Animate OPEN Digitalis, London International Animation Festival, Videofestival Bochum, Videologia, Skepto Festival, San Gio Festival and 700IS Art Film Festival. Max Hattler's films have been included in the touring programmes of EMAF, Videoformes, onedotzero, Resfest, The Animation Show, L'Alternativa, Animac, AURORA, and the British Animation Awards.

Max has collaborated with several music acts including Basement Jaxx, Jovanotti, The Egg and Ladyscraper, and he has shown his audiovisual live performances around the world, including the Museum of Image and Sound in Sao Paulo, Electrovisiones Mexico City, Cimatics Festival, Filmfest Dresden, SuperDeluxe Tokyo, The Big Chill Festival and London's ICA.

Max teaches at Goldsmiths, and is studying towards a Professional Doctorate in Fine Art at the University of East London.


Source: Max Hattler



Max Hattler was born in Ulm, Germany. He is the son of Hellmut Hattler from Krautrock band Kraan. Max Hattler graduated from Goldsmiths in 2001, and with a Master of Arts in Animation from the Royal College of Art in 2005. He lives in London and Germany.


Source: Wikipedia



Max Hattler works on the thin line between abstraction and figuration, being able sometimes to create powerful political statements while eschewing the traditional constraints of narrative, choosing a poetics of implication over the mere construction of a discourse. In that matter, it is interesting to see how he is also able to mix the strategies of artistic practice with the techniques one would associate with the entertainment industry, creating pieces that can work on a variety of (sometimes) conflicting frameworks, from the gallery white cube to the dark walls of a nightclub, performing live in a film festival or spreading his interventions through the web.


Source: Hilda Magazine



Max Hattler, london


Optical Poetry (2004) by Dr. William Moritz is the long-awaited, definitive biography of Oskar Fischinger. The result of over 30 years of research on this visionary abstract filmmaker and painter. In addition to Moritz's comprehensive biography, it includes numerous photographs in colour and black and white (many never before published), statements by Oskar Fischinger about his films, a newly created extensive filmography, and a selected bibliography. (John Libbey Publishing)

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)



Simple Harmonic Motion study #5d (2011) by Mehmet Akten is an ongoing research and series of projects exploring the nature of complex patterns created from the interaction of multilayered rhythms. This version was designed for and shown at Ron Arads Curtain Call at the Roundhouse. This ultra wide video is mapped around the 18m wide, 8m tall cylindrical display made from 5,600 silicon rods, allowing the audience to view from inside and outside. (Mehmet Akten)

Dresden Dynamo (1971) by Lis Rhodes is the result of experiments with the application of Letraset and Letratone onto clear film. It is essentially about how graphic images create their own sound by extending into that area of film which is ‘read’ by optical sound equipment. The final print has been achieved through three, seperate, consecutive printings from the original material, on a contact printer. Colour was added, with filters, on the final run. The film is not a sequential piece. It does not develop crescendos. It creates the illusion of spatial depth from essentially, flat, graphic, raw material. (LUX)

Addictive TV was formed in 1992. The UK DJ/producers and audiovisual artists are the team behind Optronica - the visual music and VJ festival held at the NFT and British Film Institute IMAX in London, UK. In 2006, in the international publication DJMag annual poll, Addictive TV were voted #1 VJs in the world for a second time (the first being in 2004 in the magazine's first ever VJ poll alongside their Top 100 DJ poll). In 2009, they created official remixes of Oscar winning Slumdog Millionaire for film company Pathe and Vin Diesel movie Fast & Furious for Universal as alternative trailers. (Wikipedia)

Steve Reich: Second Movement (2006) - D-Fuse, in collaboration with director and designer César Pesquera performed with the London Symphony Orchestra for Steve Reich's 70th Birthday concert at the Barbican Hall featuring live video mixed to Reich's The Desert Music. (D-Fuse, PDF)

Art That Moves: The Work of Len Lye (2009) by Roger Horrocks, author of the best-selling and critically acclaimed 2001 Len Lye: A biography, shifts the focus from Len Lye's life to his art practice and innovative aesthetic theories about "the art of motion," which continue to be relevant today. Going beyond a general introduction to Len Lye and his artistic importance, this in-depth book offers a detailed study of his aesthetics of motion, analyzing how these theories were embodied in his sculptures and films. (Amazon)