Animate ProjectsExperiments in animation

Tad’s Nest © Petra Freeman

Ever the home of the brilliant, the infuriating and the startling...

— Time Out London

Animate has consistently facilitated cutting edge animation in the UK, making the UK an international focal point for animated filmmaking.

— David Shrigley, artist

Animate Projects is the only arts organisation in the UK dedicated to championing experimental animation.

Animation permeates contemporary culture and is at the forefront of creative and technological digital innovation. Artists increasingly embrace animation principles and techniques to reflect on experience of the world.

We have an international reputation

for the artistic quality of the work we support, and the Animate Collection, is renowned as the premier online resource of experimental animation –www.animateprojects.org.

We are dedicated to engaging the public, so they can appreciate and debate this most contemporary of artforms.

We offer cutting edge animators the space to take creative risk, to explore new forms, tools and processes so they

can extend and redefine what animation is, and create radical new work.

In this booklet, we will tell you more about what we do, the talent we support, how we reach out to the public and our ambitions for the future.

If you would like to talk to us, please contact us at:

info@animateprojects.org or on +44 (0)20 7407 3944.

Our mission

Cowboys: Outrage © Phil Mulloy

Animate began in 1990, as an Arts Council/Channel 4 collaboration, becoming a byword for experimentation in animation. Animate Projects was founded in 2007 to build on this track record of creative innovation and artistic success.

Our small team has extensive experience in commissioning, producing, exhibiting and programming artists’ moving image and animation. We operate virtually, without the overheads of an arts space.

Gary Thomas, Director, was previously Head of Moving Image at Arts Council England, working with artist filmmakers,

arts and film organisations, and initiating strategies for archive and digital. He has worked as a consultant and advisor for the Arts Council, UK Film Council, Creative Scotland and Brighton Film Festival.

Abigail Addison, Assistant Director, worked at Arts Council England, working on the development of Turning Point, its 10-year strategy for visual arts, and the Artists’ Moving Image Legacy and Learning initiative. At the UK Film Council, she worked in the Strategic Development Unit.

Tarnia Gracie, our part time Fundraising and Marketing Assistant, graduated in

Fine Art: New Media from Winchester School of Art and is a practicing artist. The DCMS Jerwood Creative Bursaries Scheme supports her post.

We work closely with our Board of Directors: Liz Barnsdale, Business Director of integrated marketing agency, Archibald Ingall Stretton; Ben Cook, Director of moving image agency LUX; and Caroline Smith, independent arts consultant.

Animate Projects is a founder member of Animation Alliance UK – which campaigns to increase awareness of animation as an artform and its vital part within the UK’s creative industries.

Who we are

Partnerships

Make it snow! make it snow! make it snow! © Manu Luksch

PartnershipsAnimate Projects was absolutely fantastic to work with. So knowledgeable, so professional, so energetic, so supportive.

— Michaela Crimmin, curator and Head of Arts, RSA (1997 - 2010)

Collaboration is fundamental to how we work and the partnerships we forge bring opportunities for artists to make work in new contexts and for different audiences.

We share our expertise in commissioning, project management, production support,

technical delivery, and curating. In turn, we benefit from our partners specialist experience.

Our partners include the BFI, Channel 4, National Trust, Crafts Council, Tate Modern, Jerwood Charitable Foundation

and Arts Council England.

On the following pages are examples of our co-commissions and where organisations have sought out our unique expertise to deliver projects on their behalf.

A Letter to Uncle Boonmee, Apichatpong Weerasethakul, image © Chaisiri Jiwarangsan, courtesy of Kick the Machine Films

This multi-platform project by Thai filmmaker Apichatpong Weerasethakul comprises two short films, a large scale gallery installation, an artist’s book, and the feature film, Uncle Boonmee who can Recall his Past Lives, winner of the Palme d’Or at the Cannes Film Festival 2010.

Animate Projects was lead commissioner on the short film A Letter to Uncle Boonmee, selected for more than 80 international film festivals and winner of the Grand Prize at Oberhausen Short Film Festival. And Phantoms of Nabua, an online film and installation, exhibited around the world, including Museum of

Contemporary Canadian Art, Musée d’Art Moderne de la Ville de Paris, BFI Gallery, London and the São Paulo Biennial.

Partners: Animate Projects; FACT Liverpool; Haus der Kunst, Munich; Illuminations Films; Kick the Machine Films, Bangkok.

Primitive Animate Projects is one of the most important organisations in contemporary media culture. Many of my peers are great admirers and look at it as a model for creativity and education.

— Apichatpong Weerasethakul, artist and filmmaker

Mr Panz at Lake Leman, notes on m, (notes on mammals and habitats) © Edwina Ashton

An online and gallery exhibition, with new works co-commissioned with The Drawing Room for gallery and online, by British artists Edwina Ashton and Ann Course and Canadian artist Barry Doupé.

The commissioned works premiered online at animateprojects.org in January

2010, to coincide with their presentation as part of the Shudder group exhibition at The Drawing Room gallery.

An essay by Esther Leslie, Professor in Political Aesthetics at Birkbeck, University of London, was commissioned to accompany the exhibition.

Partners: Animate Projects; The Drawing Room, London

Shudder

Unfolding the Aryan Papers © Jane and Louise Wilson

Animate Projects invited Jane and Louise Wilson to make work in response to the Stanley Kubrick Archive.

Unfolding the Aryan Papers premiered at BFI Gallery, London in February 2009 and its 10,000 visitors were a record for the gallery. Further exhibitions

include Talbot Rice Gallery as part of the Edinburgh Art Festival and Calouste Gulbenkian Foundation, Lisbon.

The artists drew on their Kubrick research for the script of their first short narrative film, Songs for My Mother, for the UK Film Council and Film4.

Partners: Animate Projects; BFI Southbank; London College of Communication; Stanley Kubrick Archive

Unfolding the Aryan PapersUnfolding the Aryan Papers was a defining and important work for us. And the support from Animate Projects in conceiving and creating the project was amazing.

— Jane and Louise Wilson, artists

Stop. Watch.For the RSA’s Arts and Ecology programme we asked artists to make short films that explore ecological themes. This was our first opportunity to work with artists outside the UK.

Artists: Jordan Baseman, Phil Coy, Manu Luksch, Christine Ödlund (Sweden), Elodie Pong (Switzerland), Simon Woolham, and Young-Hae Chang Heavy Industries (Korea//USA).

Initially intended for online exhibition only, the films were also made available through iTunes and toured to galleries and public screens across the UK and in Germany, Scotland, Wales, Australia, Colombia and India.

Atlantis © Christine Ödlund

CoastcardsFor the Commission for Architecture and the Built Environment (CABE) - as part of their Sea Change regeneration project - we asked artists to make short films “that evoke a sense of place and explore the unexpectedness of the seaside”.

The artists - Susan Collins, Andrew Kötting, Kayla Parker & Stuart Moore - made films about Bridlington, Hastings and Teignmouth.

The films are available online and through iTunes, and screenings have included an international conference on regeneration, on a Park and Ride bus in Bridlington, and BBC Big Screens.

Teign Spirit © Kayla Parker and Stuart Moore

Artists

Who I Am and What I Want © David Shrigley and Chris Shepherd

Animate Projects supports artists to take creative risks, develop their practice and push boundaries - embracing advances in digital technologies or reinventing the possibilities with traditional craft skills.

Their work offers new perspectives on the world we live in, challenging our perceptions, and delighting us.

All kinds of creative talent make animation: fine artists, digital artists, independent

animators, those working in animation studios who want to develop their personal artistic projects, free of commercial constraint.

We work with established, mid-career, and emergent artists, who work with a range of techniques – drawing, painting, sculpture, 3D computer animation, photography.

We often develop a continuing a dialogue with artists, offering advice in one-to-one

sessions and promoting new projects through our marketing activities or online exhibition programme.

Our innovative models of good practice provide clear contractual arrangements that allow artists to retain rights in their work and ensure that artists are paid when their work is shown.

On the following pages we feature just a few of the artists we have worked with.

ArtistsYou can’t have a cutting edge animation industry if you don’t support its practitioners’ most artistic endeavours.

— Chris O’Reilly, Producer and Co-Founder, Nexus Productions

I was commissioned by Animate at a critical stage in my artistic development and with their support I was able to explore and develop a visual language that still underpins much of my work.

— Andrew Kötting, artist

Magnetic Movie © Semiconductor

Semiconductor

Semiconductor - artists Ruth Jarman and Joe Gerhardt - explore the material nature of our world and how we experience it.

They have been awarded fellowships with the Gulbenkian Galapagos, Smithsonian Artists Research and the NASA Space Sciences, and have shown work at the Venice Biennale, the Royal Academy,

London and the Exploratorium, San Francisco.

In Magnetic Movie, descriptions by NASA scientists are imagined and visualised through animation layered over photographs of the research labs. The film has been viewed by more than one million viewers via broadcast and online -

the largest audience for an Animate film.

Magnetic Movie is in the collection of The Smithsonian’s Hirshhorn Museum. Festival awards include the Nature Scientific Merit Award, Imagine Science Film Festival, New York and a British Animation Award for Best Film at the Cutting Edge.

Animate Projects is leading an emerging field – opening up new, important dialogues, providing a platform for appraisal and discussion, and inspiring and challenging future artists and possibilities.

— Semiconductor

Rabbit © Run Wrake

Run Wrake

Run Wrake has worked as a freelance animator since graduating from the Royal College of Art in 1990, making commercials, concert visuals and music videos, notably for Howie B, U2 and The Charlatans.

Rabbit - his second Animate commission - brings to life educational stickers, found in a junk shop, to tell a dreamlike but dark story of lost innocence.

Awards include: Grand Prix, Holland Animation Film Festival; McLaren Award,

Edinburgh International Film Festival; two British Animation Awards and a BAFTA nomination. Rabbit is in the Barbican Gallery’s international touring exhibition Watch Me Move.

Animate has been absolutely key in my development as an animation director. It allowed the kind of experimentation nigh on impossible in the commercial field, and in doing so, helped to develop approaches and techniques which I could then apply to all areas of my work.

— Run Wrake

The Black Dog’s Progress © Stephen Irwin

Stephen’s graduation film from Central St Martin’s - Dialog - won him the Best Emerging Talent Award at Berlin’s Emergeandsee Festival in 2006. He has since been commissioned to make films by UK Film Council, Film London and BBC New Music Shorts and he was one of Animation Magazine’s Top

10 Rising Stars of Animation in 2009.

The Black Dog’s Progress uses flipbooks to tell a sad tale whose different episode unfold within the single frame. It won two British Animation Awards and its 45 festival screenings include Edinburgh

International Film Festival, Ann Arbor Film Festival and Rotterdam International Film Festival.

We were delighted when Stephen approached us for advice with his next film, Horse Glue, and were pleased to acquire it for the Animate Collection.

Stephen IrwinI’d followed AnimateTV for many years and been impressed by the range of work. The commission gave me a real chance to explore exactly what I wanted to do.

— Stephen Irwin, interviewed in Shots Magazine, March 2009

did i? © Hiraki Sawa

Hiraki Sawa

Hiraki Sawa was born in Japan and now lives and works in London. He studied at the Slade School of Fine Art and won the East International Award in 2002 with his graduation film. He has also received a deciBel Visual Arts Award in 2006 and the Gotoh Memorial Prize in 2011. His solo exhibitions

include Chisenhale Gallery, London and the National Gallery of Victoria, Melbourne. Hiraki made did i? as a continuation of a body of work that explores the phenomenon of amnesia and the devastation of severe memory loss.

did I? was commissioned by Animate Projects with support from the James Cohan Gallery, New York, where it was shown as an installation in spring 2011. It has also been shown at artclub1563, Seoul, Brighton Japan Festival, art:gwangju:11 and Whitworth Art Gallery, Manchester.

Someone behind the door knocks at irregular intervals © James Lowne

Awards

Animate Projects commissions films that win awards around the world. Animate films have received 11 British Animation Awards and 5 BAFTA nominations.

We also welcome other opportunities to acknowledge excellence in the artform, and we have been honoured to support several festival awards.

Dick Arnall Award at Aurora Festival, Norwich - named after Dick Arnall, who ran Animate from 2001-2007. Winners: Jean-Gabriel Périot (2007), Paul Abbott (2008).

Animate Award at Encounters, the UK’s premier short film and animation festival. Winners: Edouard Salier (2006), Jean-Gabriel Périot (2007).

Best Experimental Film Award at London Short Film Festival. Winner: Kiron Hussain (2011).

Animate OPEN: Digitalis, online exhibition at animateprojects.org. Jury Prize Winner: James Lowne and Audience Prize Winner: Max Hattler (2011).

It means a great deal after having worked so hard on the film. I am an avid follower of Animate Projects and think it is such an amazing facility and space for artists and animators.

— James Lowne, on winning the Animate OPEN 2011

Residencies and participationThe extra life given to commissioned works via the Animate website has been a valuable addition to the residency programme, extending the reach of the projects and finding new audiences. The advice and support offered by the Animate team was vital for the artists throughout their residencies.

— Ben Roberts, Programme Co-ordinator, Camden Arts Centre

Minema Cinema: Keep Going © Tim Hope Identity Slice © Sebastian Buerkner Everything Must Go shoot, image © Ben Roberts

Residency projects offer artists valuable time to develop new ideas and to make work in collaboration with people from other disciplines and with the public.

Many artists we work with also engage the public in the actual making of their work. Tim Hope’s Minema Cinema animated scripts written by children at London’s Scene & Heard theatre group. And for their film As the Crow Flies, Carolina Melis and Susanne Flender used drawings made by 500 participants who took part in drawing workshops held in locations from Brighton to Aberdeen.

Animate Artists in Residence at London College of Communication, University of the Arts LondonIn 2007, three artists - Sebastian Buerkner, Jane Cheadle, Riccardo Iacono - spent a term each with the Animation Department at LCC, running

workshops with the students and developing their own practice.

Magic Lantern residencies at Camden Arts Centre In 2008, Alex Schady ran workshops with local children and featured their experiments in an anarchic animation. In 2009, Finnish artist Jani Ruscica shot his film Travelogue in the gallery itself, and after the residency went on to win the AVEK Award for media art.

Each artist selected a programme of films from the Animate Collection for family screenings in the gallery as part of their residency.

Garden of Reason at the National Trust’s Ham House and Garden Artist Carolina Melis is leading workshops with a local multicultural women’s group and will then make a film considering the history of the garden, working with cultural historian

Elizabeth Lebas. The film will be presented at Ham House and online in April 2012.

We are also working with Ham House to mentor students from the Animation Department at London College of Communication to make films in response to the Garden as part of a ‘live’ project.

Exhaustion, in partnership with the North East’s AV FestivalRichard Fenwick’s project explores the human body under duress, and the limits of exertion, from the perspectives of scientists, artists, athletes and the public. He is working with Dr Paula Ansley at Northumbria University, and athletes at a clinic for rehabilitating chronically fatigued athletes. The work will be presented at the AV Festival and online at animateprojects.org in 2012. The project is supported by The Wellcome Trust.

Audience

Allegory of Mrs Triangle © Noriko Okaku

Audience

It’s a great hub for animation and artist films - allows me to get a good overview of what’s going on - in fact in reminds me why I love animation, artist film, creativity and why I should be making more effort producing my own films!Survey response

We engage with a diverse community of people who have a passion for animation and the arts and a desire to learn more about the artform.

Our annual survey tells that the majority of our audience is made up of arts

practitioners, art professionals, curators, programmers and researchers.

Since its inception in 2008, animateprojects.org has welcomed over 812,000 visitors, with an average of 24,000 unique visitors per month - more than four times as many visitors as our peer organisations (mycake.org).

70% of our audience surveyed in 2010 had recommended the site to a friend or colleague. We campaign through social networking sites to spread the word about new commissions, events

and opportunities.

Our offline events take our work to other contexts, where people can engage with the team, our artists and films, outside the virtual space.

Animate Projects aims to grow the audience for experimental animation by encouraging debate and discussion about both the history of the artform and new ideas and techniques that are emerging. We do this through our website and a range of curatorial initiatives.

Animation is the art of the interval. It all depends upon the eyes and the open mind of the viewer, the participation of each individual in the audience. It is a matter of spectatorship.

— Edwin Carels, curator

Phantom Museum © Quay Brothers

animateprojects.org

Our website is our primary exhibition space and has an international reputation as a place to encounter outstanding work by British artists.

It is a curated space, presenting artists’

work in an illuminating context, and is a unique and substantial educational resource, providing background and contextual materials that offer an insight into the creative processes and how artists work. We offer production

materials such as storyboards, test footage, project updates, interviews with artists, and commissioned essays for our audience to enjoy.

animateprojects.org has made the richness of this strand of art available to a wide and appreciative audience. I refer people to the site when they ask, ‘Where can I see interesting animation?’

— Ruth Lingford, artist and Professor of the Practice of Animation, Harvard University

Sketch for Phantoms of Nabua © Apichatpong Weerasethakul

Suky Best interviewed in her studio Michael Aubtin Madadi’s studio during production of Tear Drops Blossom

The Animate Collection

Established in 2007 with the 102 films commissioned by Arts Council and Channel 4, the Animate Collection includes work by many of the key figures in contemporary British animation. New commissions and acquired films add

to the Collection, building on its status as the primary online space and living archive for experimental animation.

Through Animate programmes at festivals and galleries, we introduce fresh

audiences to the Animate Collection. In the past year, screenings have included Brisbane International Film Festival, Arnolfini Gallery in Bristol, and the Animateka festival at the Slovenian Cinematheque, Ljubljana.

Animate’s portfolio reads like a Who’s Who of British film artists.

— Reinhard W Wolf, Oberhausen Short Film Festival, Germany

What She Wants © Ruth Lingford 3 Ways to Go (storyboard) © Sarah Cox His Comedy © Paul Bush

Allegory of Mrs Triangles © James Lowne

Curatorial

We curate screening events and exhibitions for other organisations.

Works for Television — a programme of artist film and video works made for TV, shown in a mobile cinema van around Newcastle, Middlesbrough and Sunderland, for AV Festival (2008).

Salvage — an art & ecology film

programme for Margate Rocks Festival of Contemporary Visual Art (2008).

Landings: re-viewing the world — a gallery exhibition of works by artists Inger Lise Hansen, Simon Faithfull and Tal Rosner at Spacex, Exeter (2011).

Start Making Sense — a programme at Haifa International Film Festival in Israel, at

the invitation of the British Council (2010).

Hands On —a programme for the Crafts Council’s COLLECT Fair at the Saatchi Gallery, London.

An Evening with Animate Projects — a gallery talk, screening and panel discussion for the Barbican Gallery’s Watch Me Move exhibition (2011).

Animation Breakdown symposium An international one day symposium on artists’ animation (2009), in collaboration with Tate Modern, The Drawing Room, London, and London College of Communication. Artists and curators discussed the relationship between drawing and moving image, and the influence of digital technologies on animation.

Computer Baroque programmeAn international selection of rarely seen, defining works in the history of artists’ digital moving image, shown at Tate Modern and at animateprojects.org (2009). Curated with Richard Wright.

Forking Paths, Mirrored Chambers courseIn autumn 2011 we are running our first evening course, led by curator and writer Adam Pugh, held in association with LUX. The participants will use the Animate Collection and other materials to unlock the history of experimental animation.

Heliocentrum © Richard Wright &Jason White

Eggy © Yoichiro Kawaguchi The Phantom Museum © Quay Brothers

Flat Earth © Thomson & Craighead

Exhibition

Our 2011-2012 programme presents the work of more than 40 UK and international artists and includes solo artist and thematic group exhibitions, ensuring that Animate Projects continues to be an essential resource for anyone interested in animation and artists’ moving image.

We are working with other organisations as online exhibition partner, and with guest curators, to bring new artists into our Collection and attract new audiences to our work.

The programme includes:

Lament by Sean Vicary: A new work that examines ideas of landscape, identity and loss. Made in collaboration with folk musician Ceri Rhys Matthews. Supported by Arts Council Wales.

Belief by Thomson & Craighead: The final part of a triptych made using information found on the internet. Following the presentation of Flat Earth (an Animate commission) and A Short Film about War on animateprojects.org. Supported by Creative Scotland.

The Art of Gaming: A group show exploring how artists pay homage to gaming in their work and how games designers embrace artistic techniques. Curated with Iain Simons, GameCity Festival, Nottingham.

Guest curator Stoffel Debuysere has selected films that explore ideas of mapping, drawing, and Palestine.

María Palacios Cruz will be selecting films for children for the Animate Collection and writing interpretation notes suitable for a young readership.

I cannot emphasis enough the importance of the Animate Projects exhibition platform. It lets artists like myself connect and engage with a much wider audience. For my work to have a digital presence and reach its potential audience, the role of the online curator has never been more important.

— Sean Vicary, artist

Distribution

We make many of the works we commission available to festivals, cinemas and galleries aroundthe world.

Animate retrospectives have screened at many leading festivals including Melbourne International Animation Festival, Vienna International Shorts, Fest Anca in Slovakia

and London International Animation Festival.

In the last year over 118,000 people saw Animate Projects work at events, exhibitions and screenings worldwide at venues including Palacios des Artes, Belo Horizonte, Brazil; New Museum, New York, US; Laboral, Gijon, Spain;

LOOP Gallery, Seoul, Korea; and BALTIC, Gateshead, UK.

Several of our commissions exist as gallery works, available for touring, and with editions available for sale, including Hiraki Sawa’s did i?, Sebastian Buerkner’s Blur Belt and Apichatpong Weerasethakul’s Phantoms of Nabua.

Britain has been a world leader in producing stunning auteur animation. At the centre of this has been Animate Projects, an organisation dedicated to producing a stunning armada of brilliant films. Its alumni is a virtual roll-call of British animation royalty, rogues, mystics and jesters.

— Malcolm Turner, Director, Melbourne International Animation Festival, Australia Damaged Goods © Barnaby Barford

Writing

Animate Projects fosters critical debate with artists, curators, and our audience.

The animate! book, published by LUX in 2006, placed the AnimateTV commissioning scheme in context with essays and artist interviews.

From 2009-2011 we published APEngine, an online magazine that explored the range of independent filmmaking. Contributors included George Clark, Adam Pugh and Rosemary Heather. Artists and filmmakers interviewed include Clio Barnard, The Otolith Group, Hito Steyerl, Ben Rivers and Breda Beban.

We undertake interviews and commission essays for all of our online exhibitions.

Animate’s commissioning record is second to none, and I’ve been constantly impressed by writing they’ve been serving up.

— Nick Bradshaw, Sight & Sound

Damaged Goods © Barnaby Barford Purple Grey © Sebastian Buerkner

1923 aka Heaven © Max Hattler

Digitalis

Animation is at the forefront of digital innovation in creative and scientific fields; it is fundamental to, and pervasive in, digital creativity and culture, and our Digitalis strand sets out to explore, question, subvert or confound our expectations of art and ‘the digital’.

Animate OPEN: Digitalis Our first online exhibition selected from an open call for UK artists. We received over 200 submissions and selected

11 artists whose work explored digital technology, ideas of the ‘digital’, and their appropriateness to online exhibition and engagement.

Digitalis CommissionsAn open call invited artists to submit proposals that explored the Digitalis theme. The selected artists are Adam Butcher, Lizzie Hughes, James Lowne and Matilda Tristram. Supported by the Jerwood Charitable Foundation.

Digitalis DialoguesPublic screenings and discussion events, including a premiere screening and panel for the commissions at BFI Southbank, and a symposium at the London College of Communication.

A free newspaper publication will feature information about the Animate OPEN and Digitalis Commissions and a series of commissioned essays about art and the digital space.

In development

We are currently developing and fundraising for two projects that will be our most ambitious and challenging to date.

Residencies in healthcare sites

We are working with the charity Paintings in Hospitals to develop opportunities for artists to undertake residencies in healthcare sites, taking creative workshops with patients, and making new work in response to their experience. The residencies will be documented online and the work will be exhibited online at animateprojects.org, at Paintings in Hospitals’ gallery space in London, and entered into their Collection.

We first worked with Paintings in Hospitals in 2009, selecting films from the Animate Collection with the help of young people from the Tate Collective, for their Children & Young People’s Collection.

Sites of Collective Memory

We are developing a challenging project to enable artists to work with communities or groups that have shared or related experience. The Sites project sets out to enable people who aren’t usually heard to find a voice, and to make those voices heard. New work will be made in collaboration with communities, and presented online alongside substantial contextual materials about the process and the partners.

As the Crow Flies © Carolina Melis and Susanne Flender

Future plans

We want to continue:

— To pursue opportunities for artists — To realise ambitious projects that — engage, provoke and excites us.— To inspire the public by making — excellent work readily accessible.— To develop initiatives that enable — artists and the public to work — together creatively.— To engage young people with — the creative possibilities that digital — technologies can offer.— To consolidate and grow the unique — Animate Collection and resource.— To uphold our reputation as — the premier online resource for — experimental animation.

The ways we will do this include:

— Developing residency and — participation projects in — new contexts.— Commissioning new artists — with new partners for multi- — platform projects.— Developing projects with a — particular focus on young people.— Establishing a student award for — the best graduate work.— Pursuing new broadcast — partnerships.— Developing the Animate Collection — through new acquisition and — interpretation initiatives.

Without You © Tal Rosner

Engine Angelic © Katerina Athanasopoulou

Sustain and Grow

We are small and efficient, delivering a substantial programme with three staff. As a not-for-profit organisation, we raise funds for our projects and earn some income through project management and distribution.

However, we have never received public funding for our core costs. And any contribution from project funding

and other income is never going to fully provide the relatively modest funds that we need to exist.

If we do not secure financial support, we will have to close. Which will mean the support and opportunities we offer artists will be gone. And a whole area of creative practice will lose its champion.

As a registered charity, we want to ensure the valuable resource that is the Animate Collection is available for future generations of artists and audiences.

If you would like to speak with us about how you might work with and support us, please contact Gary and Abigail at info@animateprojects.org or on +44 (0)20 7407 3944.

What is so impressive about Animate is not only the films – which have been internationally recognised and celebrated – but just as important, how they have found ways to present this work to a wide range of audiences, in both the UK and abroad. This provides revenue for the artists, brings critical attention, and leads to further commissions from other sources.

— Jayne Pilling, Director, British Animation Awards

3 Ways to Go © Sarah Cox

The AnimateTV DVD

In September 2010 we published the AnimateTV DVD to showcase the Animate Collection. The DVD draws together a unique selection of films to represent the incredible range of

experimental practice accomplished in the UK in the past 20 years.

The AnimateTV DVD is available to buy from the Animate Projects Shop, along

with a hand picked assortment of books and DVDs on experimental animation practice.

animateprojects.org/shop

These films are unashamedly artful, adult fare that implicitly call for a reappraisal of what the form is capable of… Highly recommended.

— Phil Harrison, Time Out London 5/5 stars

Sunset Strip © Kayla Parker

Experiments in animation — animateprojects.org

Contact us:

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Front cover: Magnetic Movie © Semiconductor