{"id":3477,"date":"2002-11-23T18:00:50","date_gmt":"2002-11-23T18:00:50","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=3477"},"modified":"2018-01-25T15:00:41","modified_gmt":"2018-01-25T15:00:41","slug":"animation-and-assemblage","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/11\/23\/animation-and-assemblage\/","title":{"rendered":"Animation &#038; Assemblage"},"content":{"rendered":"<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p class=\"p1\"><b>ANIMATION &amp; ASSEMBLAGE<br \/>\n<\/b><b> <\/b><b> <\/b><b> <\/b><b> <\/b><b>Saturday 23 November 2002, at 6pm<br \/>\nGateshead BALTIC Centre<br \/>\n<\/b><\/p>\n<p class=\"p1\">An outstanding programme of animations by three filmmakers. \u00c5ke Karlung was a mixed media artist working on the fringes of the establishment, and made several remarkable works that densely combine collage and live action. The films of painter Erling Johansson are unique fusions of pop art, Swedish folklore and Sami culture. Jan H\u00e5fstr\u00f6m made two stately and timeless works which seem to exist outside of the modern world, being composed almost exclusively of still photographs, illustrations and engravings.<\/p>\n<p class=\"p1\"><strong>\u00c5ke Karlung, Aliena Kadabra, 1969, colour, sound, 6m<\/strong><br \/>\n<strong>\u00c5ke Karlung, Generalrepetition F\u00f6r Sj\u00e4lvmord, 1963, colour, sound, 3m<\/strong><br \/>\n<strong>\u00c5ke Karlung, Homo Ludens, 1964, colour, silent, 4m<\/strong><br \/>\n<strong>\u00c5ke Karlung, Det V\u00e4rdel\u00f6sa Leendet, 1964, colour, sound, 6m<\/strong><br \/>\n<strong>Erling Johansson, Anima Mundi, 1962-67, b\/w, sound, 12m<\/strong><br \/>\n<strong>Erling Johansson, Expulsi, 1969-70, b\/w &amp; colour, sound, 17m<\/strong><br \/>\n<strong>Jan H\u00e5fstr\u00f6m, Orienten, 1969, b\/w, sound, 16m<\/strong><br \/>\n<strong>Jan H\u00e5fstr\u00f6m &amp; Claes S\u00f6derquist, Le Genie Civil, 1967, b\/w, sound, 11m<\/strong><\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[116],"tags":[],"class_list":["post-3477","post","type-post","status-publish","format-standard","hentry","category-oyvind-fahlstrom"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3477","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=3477"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3477\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=3477"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=3477"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=3477"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}