Max Hattler

"Collision" (2005). Max Hattler's multi-award winning abstract political short film. Islamic patterns and American quilts and the colours and geometry of flags as an abstract field of reflection.

"Drift" (2007). This piece, according to the artist, "considers the body as landscape through close-up images of skin. The music likewise takes a close-up view of a series of harp chords and viola harmonics. Using real photography in extreme close-up creates a foreign yet familiar world, removed from reality, yet sometimes almost too close. In the music, this tension is mirrored. Original samples are exploded into a multitude of tiny elements before being reconstructed into a tight arrangement based on the Fibonacci series." The music is by Mark Bowden.

"Spin" - excerpt (2010). Winner of the Political Animation Award at KLIK! Amsterdam Animation Festival 2010.

Max Hattler performing with sound artist Ocusonic, live at Videomedeja, Novi Sad, in Serbia (December 2010). 40'00" live a/v performance, 4'14" excerpt (Noodle Soup).

Max Hattler is a multi-award winning London-based animation and video artist, born in Germany. He graduated from Goldsmiths College and the Royal College of Art, in London. Hattler has shown his work in a variety of galleries, festivals and institutions, such as the California Institute of the Arts (Valencia - U.S.), Centre Georges Pompidou (Paris - France), Solothurn Film Festival (Switzerland), St. Louis International Film Festival (U.S.), MOCA Taipei (Taiwan), Sculpture Museum (Marl - Germany), Cas Zuidas Festival (Amsterdam - Holland), Centro Andaluz de Arte Contemporáneo (Seville - Spain), Museu da Imagem e do Som (São Paulo - Brazil), Gasworks Gallery (London - England), Neue Berliner Initiative (Berlin - Germany), Lumen Eclipse (Cambridge - U.S.), among others.

Max Hattler works on the thin line between abstraction and figuration, being able sometimes to create powerful political statements while eschewing the traditional constraints of narrative, choosing a poetics of implication over the mere construction of a discourse. In that matter, it is interesting to see how he is also able to mix the strategies of artistic practice with the techniques one would associate with the entertainment industry, creating pieces that can work on a variety of (sometimes) conflicting frameworks, from the gallery white cube to the dark walls of a nightclub, performing live in a film festival or spreading his interventions through the web.