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Jul & Mat 

(*2008) are a French directing team for music videos, commercial, opening credits and motion design.

Talented double act Jul & Mat bring their fresh outlook to videos and commercials alike. The two directors burst on the scene with their film L’homme à 100 Têtes [The man with 100 faces], which won 3rd place at the Panasonic’Art 2008, got 2 million views on YouTube and inspired a commercial adaptation for Base (Orange Belgium).

Their music video career started in a similar fashion after they directed an unofficial video for Metronomy: On The Motorway. The band liked it so much that they ordered the second one for their track She Wants, which won a special distinction at the 2011 Barcelona music video festival and the Jury’s Prize at the 2011 International Festival of Video Art. The team specializes in conceptual films and excels in the elegant simplicity of graphic crafts and new narrative forms.

Source: Wanda Productions

 

Jul & Mat, design, handmade, Humor

Reading

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Len Lye (2009) co-edited by the curator Tyler Cann and the writer, critic and poet Prof. Wystan Curnow is a tribute to one of New Zealand’s most internationally acclaimed artists is the most comprehensive visual presentation of Len Lye’s art to date.

Over 1,000 new photographs were created and hundreds of them selected for this image-rich publication, presenting the full range of Len Lye’s work, from drawings and paintings right through to his photograms and kinetic experimentations. (Govett-Brewster)

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

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SEE ALSO

Eye 76 (2010) is Eye's first-ever special issue on the dynamic and continually inspiring sector of design for music. Designers are in a privileged position to add visual drama to music; to make it more understandable and enjoyable; to communicate the intangible essence of vibrating air molecules into the worlds of words, images and moving graphics. Design can make music look good, but when they really work together you have magic. (Eye magazine)

Shift (2010) by Max Hattler is a three minute animation and 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. Max 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. (Because Magazine)

Telefante is formed by Luis Negrón van Grieken and Juan Carlos Orozco Velásquez. They put all kinds of media, new, old, forgotten, obsolete, overused, commercial, useless, all over the table, as if we were making a transversal cut through history. Simply it is about tell stories (new and old) through several media (new and old), with the aim to forget this unproductive dialectic and be able to capture the most difficult: the present. (Telefante)

Blazes (1961) is a three-minute film directed by Robert Breer, a well-known avant-garde artist, animator, and film director. This short film displays Breer’s signature style: animation, playful abstraction, and fast-moving images. In Breer’s own words, Blazes is essentially "One hundred basic images switching positions for four thousands frames. A continuous explosion." Indeed, the film consists of stills resembling abstract paintings of basic shapes in basic colors, cut and combined in different ways and rhythms. (Kathleen Sun)

Transforma (Baris Hasselbach, Luke Bennett and Simon Krahl), a Berlin based video artist collective, combine the momentum of VJ improvisation with the power of highly composed imagery and narrative. Transforma started producing experimental video art in 2001 and have been taking their imageworld and production processes to higher levels of absurdity ever since. They have worked on promos, concert video and live cinema approaches, in collaboration with Apparat and Funkstörung among others, and have VJed in clubs in Berlin and around Europe. (CueMixMagazine)