13/10 (Sat 六) – 26/10/2018 (Sun 日)
12:00 – 19:00


198 Tai Nan Street, Sham Shui Po

video on loop

Free admission on a first-come, first-served basis.

Introduction 活動簡介

Outstanding Shorts from Ars Electronica Animation Festival 2017: MUSIC & VISUAL
Ars Electronica動畫節2017短打: 音樂與視覺

The music video genre too has undergone considerable expansion in recent years. Visual music and sound art, performances and installations, and complex technological experiments highlight this program.


  • Codex | Glenn Marshall (UK 英國) | 04:48
  • The Mylar Topology Mylar 拓撲結構 | Paul Prudence (UK 英國) | 04:52
  • XXX – Flight Attendant XXX — 空服員 | Mattis Dovier (FR 法國) | 03:51
  • Frank Riggio – TTTT | Mert Kizilay (TR/US TR /美國), Frank Riggio (FR 法國) | 03:56
  • Cumhur Jay – On & On – “Dyschronometria” | Akihiko Taniguchi 谷口明彥 (JP 日本) | 05:30
  • Collide (Making-of) 碰撞(製作) | onformative (DE 德國) | 02:56
  • I Can’t Die – Fresh Snow 我不能死 - 新雪 | Benjamin Portas (AU 澳洲) | 04:59
  • Young Juvenile Youth “Animation” 青少年青少年「動畫」 | Kosai Sekine / Taiyokikaku TOKYO (JP 日本) | 04:48
  • Takeshi Nakatsuka – JAPANESE BOY | Hironori Sugie (JP 日本) | 04:13
  • Rawtekk – Here’s to them Rawtekk - 這是給他們的 | denial of service (GR 希臘) | 04:34
Background 活動背景

About Ars Electronica Animation Festival 2017
關於Ars Electronica動畫節2017

The nearly 1,200 entries submitted for prize consideration to the Prix Ars Electronica’s Animation category in 2017 posed a substantial quantitative challenge to both the organizational staff and the jurors. An elaborate round of preliminary screenings involving the jurors as well as the Animation Festival curators succeeded in reducing the field to a manageable level. The outcome was a rather short list of 212 films that were screened by the jury. These also formed the basis of the eight themed programs in Animation Festival 2017.

Conceptually, technologically, formally and substantively, the works submitted to the Prix in 2017 cover the entire fascinating spectrum of what computer animation is and does today.

Impressive above all are the works that also demonstrate alternative presentation possibilities, those that somewhat loosen the bonds of a cinematic narrative’s screen-based nature. Large-format mappings — whether open-air or in the context of a museum — have become significant factors in the artistic event realm. Installations as well as performance projects are expanding long-prevailing concepts of what constitutes computer animation. Due to technologies that are now more affordable than ever, VR has become a new field for artists. And gaming, a hybrid at the nexus of art and play — as the 2017 Golden Nica winner David O’Reilly demonstrates in Everything — is another step in opening up this genre to media art.

2017年提交給Prix Ars Electronica電子藝術大獎的近1200個參賽動畫作品對組織工作人員和評審員構成了巨大的數量挑戰。一系列精心的初步篩選,包括評審員和動畫節策展人,成功地將該領域縮小到可控水平。結果是由評審團篩選的,相當短的212部電影名單。這些也是2017年動畫節2八大主題節目的基礎。


令人印象深刻的是那些也展示了替代演示可能性的作品,這些作品有點放鬆了基於屏幕性質的電影敘事的紐帶。大型格式的映射 —— 無論是露天或是在博物館的背景下 —— 這已成為藝術活動領域的重要因素。安裝和性能項目正在擴展構成電腦動畫的長期概念。由於現在的技術比以往更加實惠,VR已成為藝術家的新領域。而遊戲、藝術和遊戲的混合 —— 正如2017年尼卡金獎得主David O’Reilly在《Everything》中展示 —— 是向媒體藝術開放這一類型的又一進步。