Category: animation-installation

The project “animation-installation” was launched in July 2021, in the form of a pilot exhibition with works by regional artists.

Alain Bardet


Film, 3:03 min, screen, column, sound


“Rideau” is a video and sound installation, presented during the exhibition “Et Refleurir Vos Tombes” at the old aluminium factory in Martigny (CH) in 2022. It is part of the theme ” La Fin Est Proche” gathering the tapestries, the graphic novel “FUZZ MODERN” and the installation installation “En-Pire” which will be presented in 2024 at the Manoir de Martigny (CH).

“Rideau” is a generic term for a curtain, which symbolizes the end of the world. The installation presents snapshots of life that highlight the most significant moments of the world’s history, each containing one or more unsettling elements that offer a deeper level of interpretation. As you engage with the installation, the sounds and visuals immerse you into a surreal and eerie experience that is both captivating and unsettling. The credits for “Rideau” acknowledge the contributions of the different participants and express gratitude to those responsible for bringing the installation to life. The exhibition was a testament to the power of art and creativity in confronting and exploring difficult topics, leaving a lasting impression on all those who experienced it.

Display in Martigny, 2022

About Alain Bardet


As a visual and sound artist, he has a deep-seated concern for ecological issues and the potential apocalyptic consequences of our actions. Through my ongoing work on FUZZ MODERN and previous artistic endeavors, he has decided to devote all of his future work around this theme of “La Fin Est Proche,” (“the end is near”) using his art as a means to question and explore our ability to survive in a rapidly changing world. Through my creative impulses, I seek to provoke thought and encourage action towards a more sustainable future. By taking a stand on these issues, I hope to inspire others to join in the fight against climate change, social inequality, and other forms of injustice that threaten our world’s survival. Overall, his dedication to this issue through my art is a powerful reminder of the urgent need for collective action for a more sustainable and just future.

Graduated in Narrative Art in 2009, Alain Bardet publishes in 2017 his first graphic novel “Forban” published by Le Lombard. The collaboration with screenwriter François Troukens, known to have been “Public Enemy No. 1”, he made a noticeable entrance on the French-language comic scene. This first book will betranslated successively into Spanish and English.

Meanwhile he appears in the rock band Robber Joy as guitarist and composer. A band with which he played in many halls of French-speaking Switzerland. In 2020, he published “Kaleidoskop”, the first two episodes of FUZZ MODERN, a post-apocalyptic soap opera adventure featuring two heroines who pursue a quest for revenge.

These narrative works have the particularity of integrating didactic pages where you can learn tips for surviving the apocalypse. These first two episodes were the subject of a personal exhibition at DOCKS, Lausanne.

In 2021 in the midst of the covid crisis, Alain continued the FUZZ MODERN adventure thanks to
a research grant that allowed him to develop this universe no longer as a adventure in paper format but as a total work of art that can be told through a multitude of mediums such as music,
film, animation or installation.

Some pieces of this work have been the subject of public presentations, notably at the Manoir de la Ville de Martigny and the old aluminium factory of Martigny. Alain Bardet is one of the founding members of the Villa Mirage project, led by the association Avocat Studio and award winner of the 2022 Fonds Transformation.

Ylvis Lindenbaum


Seating landscape, projection, sound


Since the beginning of this year, Ylvis Lindenbaum has been process-orientedly  recording ideas for pictures in his sketchbook, which he encounters every day in analog and digital world of images. Observations of nature as well as encounters in urban space or discoveries in social media often manifest themselves emblematically on the pages of the book. These image sequences usually ambivalently trace the tension between abstraction and figuration. The essence of the original pictorial impulse is often not reflected at all in the final result of the work; yet each intermediate step remains pictorially decisive, because the painterly revisions remain inscribed in the book page. Thus petals become crescents, while the informel of a circular geometry can form the sun. Like this, little by little, the picture becomes an image through the accumulation of painterly decisions visible as revisions. As a pictorial fiction, however, this also creates a pictorial narrative that remains unsolved as a frozen present.

For this reason, he transfers the analog book pages into virtual space, creates an image setting for them, and animates them to trace the untold narrative of the pictorial fiction.

About Ylvis Lindenbaum


Ylvis Lindenbaum (born 1991, Riga / Latvia) is member of the artistic staff at the Institute of Art and Material Culture of the Department of Painting, Digital and Expanded Painting at TU Dortmund University, which is headed by Prof. Tillmann Damrau. In addition to his studies in art at TU Dortmund University, which he completed in 2019 with a focus on painting, he also studied free art with Gregor Schneider at the Kunstakademie Düsseldorf from 2018 to 2023. As a founding member of the artist group Neuer Graben, he won the Art Award in 2013 and the Special Mural Award of the TU Dortmund in 2018. Most recently, his works were on display in Dortmund in 2021 (GO LOCAL – Künstlerhaus Dortmund), in Stuttgart in 2020 (Dialogue with Youth – AKKU project space) and in Berlin in 2019 (* – Projektraum Bethanien). Furthermore, in 2019 the artist worked as set designer for the Milano Design Week for Alex Chinneck and in 2016 he developed murals for the sporting goods manufacturer Nike in the context of the Furniture Fair ibidem.

Studio Liebe


Azujelos (portuguese tiles), part of a boat, screen, projection 2:35 min

2021 / 2023

ERMO is a maritime thriller, an abstracted version of the fairy tale “Undine” by Fouqué. The gloomy atmosphere tells a story of getting lost and being overwhelmed in face of the overpowering. It is about the longing for adventure, for distant lands and the sea. The work was partly created in Portugal. There, the tiles on houses are as much a country-specific feature as the connection to the sea. For us as artists, they symbolically represent longing, just like the sea with its infinite vastness.
The video is a rotoscoped frame by frame animation. From found footage we first created a template film, whose individual frames were then printed on A4. We then painted over 1800 frames with tempera paint, acrylic chalk and colored pencils. The result was a moving painting, a challenge for the eye and a lasting impression on the viewer.

About Studio Liebe


Studio Liebe is a young German artist duo consisting of Elisabeth and Benjamin Geyer. The two playfully explore the broad fields of film, animation and music, and their staging in space.
Their paths first crossed while studying communication design at THWS Würzburg under Henning Rogge Pott, where they developed their interdisciplinary understanding and playful approach to animation. From there, they moved together to Weimar for a media art and design master’s degree at Bauhaus University. Their first animated film ERMO (2021) gained great recognition and was shown at ITFS, Kurzsüchtig and various festivals in Germany and abroad. The music-film project was funded by Initiative Musik a program of the German Ministry of Culture for aspiring young artists. A year abroad at the Escola das Artes of the Universidade Catolica Porto, strengthened the free artistic tendencies of Studio Liebe, where they participated in two major exhibitions in Portugal, among others.

Marie-Luise Meister

Echos und Zukunftsgeflüster in verwunschenen Zeiten

(Echoes and whispers of the future in enchanted times)

Room installation with video, sound and sculpture


I take the term building literally and understand places as living beings that house life, take on different forms of use and (have to) submit to human decisions. Especially below the surface of the visible, everything is in a perpetual process of change from one state of being to another.

The elements of this installation emerge from such a process: the artist’s own watercolors of organic structures are both used as a data set for a self-trained neural network and developed into videos, and deconstructed and processed into the physical mass for the creaturely sculptures. The sound subtly takes aspects of the site and its history and interweaves them with others. An encounter between the rigid and the living, the solid and the fluid, and the blurring of these boundaries.

The work speaks to the collective need to redefine our role as part of a whole. In doing so, it does not provide answers, but shows a search for aliveness and connection. An arrival in the unknown. A spatial installation in which the past, current events and imaginary future scenarios intermingle and recompose themselves away from human-centered narratives.

About Marie-Luise Meister


Marie-Luise Meister is an interdisciplinary artist, originally from Berlin and currently living in Leipzig. She studied at the Royal Institute of Art in Stockholm, at the Hochschule für Grafik und Buchkunst in Leipzig and has a professional background in theater, music and project management. She has been artist in residence in China, Slovakia, Georgia, Italy, and Palestine, and has been a Rosa Luxemburg Foundation fellow since 2017. In her current work, she combines digital processes such as self-trained neural networks (AI) with analog techniques such as painting and sculpture to create situations in which historical events and imagined future scenarios overlap and refract in space. Thematically, she explores symbiotic evolution, epigenetics, and storytelling, weaving the various strands together in an ongoing series of site-specific spatial installations that include video, sound, text, painting, and sculpture.

Lina Walde

Anyu – or how Stalin lost his nose

Projection on Drawings, 7:52 min

2016 / 2023

Anyu is a film between animated film, experimental film and animadoc. It is an approach to the biography of the filmmaker’s mother and grandmother. It gets to the bottom of the essence of memory and visualizes it in a collage-like way.

A long, long time ago in Eastern Europe, mother and child are separated by the consequences of an uprising against the Soviet occupation. While the mother is forced to leave the country in a clandestine escape, the child is raised by a group of geese. After 5 years, the child sets out to meet her mother again in exile and faces her as a stranger. Anyu, means “mother” in Hungarian and is a story about the inner life of a child who has fled. Anyu is also a story about the difficulty of a mother to stand between family and revolution and to be exposed to a completely different external pressure than a father. The latter goes home a hero and the former a bad mother.

About Lina Walde


Lina Walde works at the intersection of experimental and applied art.

She is an animator and illustrator as well as a curator for short film screenings at City Kino Wedding. She works in motion design, graphic recording and projection mapping for plays. She is also a musician and sound artist. She taught 2D animation to students and was a freelance lecturer at the UdK Berlin and the Kunsthochschule Weißensee. Her latest short film “Desert Critter” is currently screening at numerous film festivals worldwide. She studied at the Kunsthochschule Kassel in the classes Animation Film and Virtual Realities with Martina Bramkamp and Bjørn Melhus.

Hanna Noh

An uncontacted tribe

Screen, sound, projection, 20:03 min


An uncontacted tribe is an experimental film that undertakes a ritual journey to endangered faunas combining dance, 3D graphic animation, and sound. Following the concept of the “Transboundary protected area “, the DMZ (the Korean Demilitarised Zone between South Korea and North Korea) becomes an “unexpected paradise” for endangered animals. The shaman is possessed by the spirit of a red-crowned crane, a central symbol in Korean culture. The spirit invites us on a magical flight to experience unexplored territory beyond our physical limits. There is a documentation of the original installation which combined the film with large paper cuts.

About Hanna Noh


Hanna Noh is an interdisciplinary artist and filmmaker living and working in Germany. Noh’s multidisciplinary art practice combines media art, film, and performance. She explores the blurred boundaries between the mental and the physical, the virtual and the material.

Noh creates digital objects combining them with real objects used in performances thus reflecting her academic training both in Fine Arts and Media.

Most recent works include “Internal Other” (2019) and “An Uncontacted Tribe” (2022) both venturing into the realm of the supernatural where the soul encounters the human body and the animal spirit.

Saskia Tamara Kaiser


Xontrector, metal cube, black light spotlight, screen, X-Suits, Xeroboots, film 1:40


Xi-1000y-Q is a gloomy vision of the future which is set in the sci-fi genre. In the future, people will have to be regularly ventilated, because the catastrophes and environmental events that have happened so far have made the world uninhabitable for humans and other beings that need oxygen. However, the very people who could not afford to emigrate to Mars have stayed behind on Earth and are kept alive artificially by a large Tec company of the future. Fiona is an avatar that Saskia Kaiser modeled in the 3D program Blender. Through the program Faceware it was possible to map a video she took of herself to the face of her avatar. So that instead of her own face, it speaks the text that she has written:

“I cannot live in a world where I have no oxygen. 2312, Man has learned to get along with less. He had to, because the world has changed. Our ancestors made sure that the oxygen level in the air was very low, so low that we needed help. Help to breathe, to live, to exist. I am Fiona, I am the Ai of Xi-1000y-Q. We have managed to extract oxygen from metamorphic rock using a black light reacting substance and a top secret transcending atmosphere process. Carabonate and silicate minerals are filtered through Xi-, the compound of plastic and rock. Xi- is the amount of oxygen we extract per minute through the process. Through Xi-1000y-Q, it is possible to continue to inhabit the planet Earth. Through a cooperation with the Transnational Foundation we can offer you a daily use 24 hours a day of our Xi-1000y-Q for the price of 300 oq. My name is Fiona and thank you for your attention. If you have any further questions, please contact the cooperating Ai or people in the field. Thank you.”

About Saskia Tamara Kaiser


Saskia Tamara Kaiser is a graphic and object designer, glass finisher with a focus on stained glass and art glazing, has a bachelor’s degree in free art glass from Koblenz University of Applied Sciences and has been studying at the Düsseldorf Art Academy in the class of Gregor Schneider since 2019.

Achim Robert Kirsch

Pillow Pooh

Textile sculptures, hologram projections


“Pillow Pooh” is a system in which (textile) bodies and extremities meet in constantly new variations, they are found in ensembles, in installations, in moving images and interventions. They are figurative bodies and moving forms, made of originally textile material, which can be found in the exhibition space. They symbolize an intervention that brings restlessness, movement, and a strangeness to the system into a seemingly fixed structure. The textile figures that one encounters in the exhibition are emblematic of this intervention and show references to Michel Serre’s theory of the parasite in shape, form and content. The parasites are sewn from used laundry fabrics, bed sheets, pillowcases or comforter covers. They are survivors of everyday life, which by their existence will challenge rooms and bring them into a new order. Their form was deliberately designed from a context of intimacy and familiarity. The finished figures were animated and arranged as 3D models in different augmented reality scenes. Additionally they were projected as holographic fan projections and thus became an integral part of the installation.

About Achim Robert Kirsch


Achim Kirsch’s artistic focus lies on performative multimedia installations with a distinct relation to the moving image (animation).
2019 Master of Fine Arts / Performative Installation
2018 Lectureship in the Department of Fine Arts at Muthesius Academy of Fine Arts Kiel.
2017 Bachelor Muthesius Academy of Fine Arts Kiel, focus on film and illustration.
2015 Teaching position for drawing, animated film and urban interventions at the Akademie Artig
2014 Artistic director at the art-therapeutic project “Sichtweise” of the Kämgen Foundation
2014 Lectureship for art education/animated film at the University of Cologne
2013 Studies at the Alanushochschule Alfter and Ecosign Cologne free art / sculpture.
2013 Lecturer for Aesthetic Strategies at the University of Cologne / Monday Foundation
since 2011 art teacher and lecturer in Dormagen, Cologne, Kiel and Bredstedt and Eckernförde
since 2008 lecturer at the Cologne Institute for Cultural Work and Further Education, KIK for Basics of Drawing Techniques, Experimental Printing Techniques, Design Strategy and Animated Film
freelance animated film productions for the “Sendung mit der Maus”, WDR, among others
permanent exhibition activity in the gallery artclub Melchiorstraße 14
since 2003 freelance animator, animated film artist and director for various film and animated film projects
2002 advanced training program at the international film school Cologne in the field of animation
2000 studies at the KHM, Academy of Media Arts, Image and Movement –
with Prof. Michael Graham-Smith

Alica Khaet

Be on guard

Projection 3:13 min, Sound

Animation, editing, effects: Alica Khaet
Sound: Joanna Schulte


The audiovisual installation “Be on your guard” was created in collaboration with sound artist Joanna Schulte during their joint residency at Kunstverein Röderhof e.V. in March-May 2022. Caused by the war in Ukraine, the animation work critically processes seemingly personal themes such as “violence in relationships”, “partnership”, “intimacy”, “physicality”, “individuality”, “birth”, “threatening and fear” with a pinch of painful irony.

About Alica Khaet


Alica Khaet was born in 1988 in Rostov-on-Don, Russia. In 2006 she emigrated to Israel, where she studied at Bezal’el Academy for Art and Design in the department of animation (animated film) in 2006-07. In 2009 she came to Germany. Since 2009 she lives and works as an independent artist, performance artist and animation producer in Halle Saale.
Alica Khaet studied at Burg Giebichenstein Kunsthochschule Halle from 2011 to 2018 and graduated with a diploma. She also completed a semester abroad at the Academy for Architecture, Art and Design in Prague, Czech Republic in 2015.
Her work has been supported and awarded by Frauenmuseum Bonn, Kunstverein Röderhof e.V. and Kunststiftung Sachsen-Anhalt, among others, and her works are included in the public collections of the Haus der Geschichte der BRD and Hennebergisches Museum Kloster Veßra.

Eva Schmeckenbecher



Screen on the floor, stop motion, sound 2:02


There is a monitor on the floor.
You can see the animation of a carpet,
connected with spoken text passages
from a dream.

About Eva Schmeckenbecher


1977 in Tübingen, studied architecture and urban research at the Academy of Fine Arts Nuremberg, painting as well as intermedial design at the State Academy of Fine Arts Stuttgart and completed a basic educational theater training at the LAG Theater und Schule in Reutlingen. Since 2000, her work has been presented in solo and group exhibitions at home and abroad.