Max Hattler

An inspiring 75min DIY documentary film on new art and the young artists behind it. It was all filmed on the heat of live action of the first NOVA Contemporary Culture Festival, July and August 2010 in São Paulo, Brazil.

A complex choreography of re-animated miniature soldiers moving to the exquisitely synchronised command of a master manipulator. Toy soldiers against toy soldiers in the satirical animated short Spin

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

A complex choreography of re-animated miniature soldiers moving to the exquisitely synchronised command of a master manipulator. Toy soldiers against toy soldiers in the satirical animated short Spin

A complex choreography of re-animated miniature soldiers moving to the exquisitely synchronised command of a master manipulator. Toy soldiers against toy soldiers in the satirical animated short Spin

A complex choreography of re-animated miniature soldiers moving to the exquisitely synchronised command of a master manipulator. Toy soldiers against toy soldiers in the satirical animated short Spin

A complex choreography of re-animated miniature soldiers moving to the exquisitely synchronised command of a master manipulator. Toy soldiers against toy soldiers in the satirical animated short Spin

Night vs. light, music vs. motion, figuration vs. abstraction. Experimental video artist Max Hattler utilises distorted urban imagery and neon glare to create this entrancing short

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

Drift by Max Hattler sees the body as a metaphorical landscape. Eerie and sometimes too close for comfort the film manages to transform the familiar and mundane into something poetic and mysterious. A narrative grows out of what at first seems like nothing, but by the time the journey is over the viewer is left wanting more. What has happened is uncertain and maybe unimportant. The mood is at the heart of this piece. One part horror film and one part nature study certainly makes for a compelling mix.

Drift by Max Hattler sees the body as a metaphorical landscape. Eerie and sometimes too close for comfort the film manages to transform the familiar and mundane into something poetic and mysterious. A narrative grows out of what at first seems like nothing, but by the time the journey is over the viewer is left wanting more. What has happened is uncertain and maybe unimportant. The mood is at the heart of this piece. One part horror film and one part nature study certainly makes for a compelling mix.

Drift by Max Hattler sees the body as a metaphorical landscape. Eerie and sometimes too close for comfort the film manages to transform the familiar and mundane into something poetic and mysterious. A narrative grows out of what at first seems like nothing, but by the time the journey is over the viewer is left wanting more. What has happened is uncertain and maybe unimportant. The mood is at the heart of this piece. One part horror film and one part nature study certainly makes for a compelling mix.

"An exciting experiment in the tradition of Oskar Fischinger (Komposition in Blau, 1935), Dwinell Grant (Composition No. 1, 1940) and Slavko Vorkapich (Abstract Experiment in Kodachrome, 1950s). Max Hattler presents a well-done interaction between music and moving images. Space is turned upside down and the animated objects become faceless dancers in a constructivist ballet." Vienna Independent Shorts 2010, jury statement by Anton Fuxjäger

"An exciting experiment in the tradition of Oskar Fischinger (Komposition in Blau, 1935), Dwinell Grant (Composition No. 1, 1940) and Slavko Vorkapich (Abstract Experiment in Kodachrome, 1950s). Max Hattler presents a well-done interaction between music and moving images. Space is turned upside down and the animated objects become faceless dancers in a constructivist ballet." Vienna Independent Shorts 2010, jury statement by Anton Fuxjäger

"An exciting experiment in the tradition of Oskar Fischinger (Komposition in Blau, 1935), Dwinell Grant (Composition No. 1, 1940) and Slavko Vorkapich (Abstract Experiment in Kodachrome, 1950s). Max Hattler presents a well-done interaction between music and moving images. Space is turned upside down and the animated objects become faceless dancers in a constructivist ballet." Vienna Independent Shorts 2010, jury statement by Anton Fuxjäger

A short film that shows a man striking bizarre poses has been interpreted as a comical representation of behavior on the soccer field

Do you need more proof? Sensational crystal-clear footage of shape-shifting UFOs recorded under the influence in Farra di Soligo, Veneto, Italy!

Do you need more proof? Sensational crystal-clear footage of shape-shifting UFOs recorded under the influence in Farra di Soligo, Veneto, Italy!

1925 aka Hell is a animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage. 1925 is based on Lesage's painting 'A symbolic Composition of the Spiritual World' from 1925.

1925 aka Hell is a animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage. 1925 is based on Lesage's painting 'A symbolic Composition of the Spiritual World' from 1925.

This experimental animation approaches Hong Kong’s built environment from the conceptual perspective of celluloid film, by applying the technique of film animation to the photographic image. The city’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips: Serial Parallels.

This experimental animation approaches Hong Kong’s built environment from the conceptual perspective of celluloid film, by applying the technique of film animation to the photographic image. The city’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips: Serial Parallels.

Night vs. light, music vs. motion, figuration vs. abstraction. Experimental video artist Max Hattler utilises distorted urban imagery and neon glare to create this entrancing short

An attempt to visualize higher dimensions and unearthliness, taking into account these concepts' heightened awareness, when attempting to process or predict the end of the world.

Motion creation, energy transmission and kinetic combustion. An audiovisual collaboration.

Taking inspiration from 20th-century avant-garde experiments in graphical sound generation, the entire image in O/S functions as an optical soundtrack. Abstract motion becomes sound.

This experimental animation approaches Hong Kong’s built environment from the conceptual perspective of celluloid film, by applying the technique of film animation to the photographic image. The city’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips: Serial Parallels.

This experimental animation approaches Hong Kong’s built environment from the conceptual perspective of celluloid film, by applying the technique of film animation to the photographic image. The city’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips: Serial Parallels.

Shot entirely from an apartment on the 36th floor of a high-rise building, the images in this experimental stereoscopic animation survey large parts of Hong Kong's cityscape.

Shot entirely from an apartment on the 36th floor of a high-rise building, the images in this experimental stereoscopic animation survey large parts of Hong Kong's cityscape.

Shot entirely from an apartment on the 36th floor of a high-rise building, the images in this experimental stereoscopic animation survey large parts of Hong Kong's cityscape.

Shot entirely from an apartment on the 36th floor of a high-rise building, the images in this experimental stereoscopic animation survey large parts of Hong Kong's cityscape.

Shot entirely from an apartment on the 36th floor of a high-rise building, the images in this experimental stereoscopic animation survey large parts of Hong Kong's cityscape.

A minimalist optical sound meditation on simplicity and repetition building complex arrangements of audio-visual oneness, where the most basic geometric shapes draw intricate visual and sonic patterns.

A minimalist optical sound meditation on simplicity and repetition building complex arrangements of audio-visual oneness, where the most basic geometric shapes draw intricate visual and sonic patterns.

A minimalist optical sound meditation on simplicity and repetition building complex arrangements of audio-visual oneness, where the most basic geometric shapes draw intricate visual and sonic patterns.

A minimalist optical sound meditation on simplicity and repetition building complex arrangements of audio-visual oneness, where the most basic geometric shapes draw intricate visual and sonic patterns.

A minimalist optical sound meditation on simplicity and repetition building complex arrangements of audio-visual oneness, where the most basic geometric shapes draw intricate visual and sonic patterns.

Taking inspiration from 20th-century avant-garde experiments in graphical sound generation, the entire image in O/S functions as an optical soundtrack. Abstract motion becomes sound.

The weird hand creatures undergo different transformations in synchrony with the music.

Hand drawn animation by Ho Tsz Wing is a creation of an imaginary and magical forest

A colourful "fountain performance".

Using photographic reanimation, a decaying crazy golf course becomes a mesmerizing split-screen rapture.

A soundtrack of nature gives way to motors and machines, then an explosion, followed by sounds of explosions and gunfire. On the screen are images as if in a kaleidoscope - of red, white, and blue shapes and of black and green shapes. Islamic and U.S. patterns appear and disappear. Is the collision one of dissonant colors, shapes, and images? Is warfare inevitable?

A swirling and receding mandala for the digital age recalls cosmic motions.

Meshed plays with layers of concrete textures, exposing meshes of geometric transformation. Composed of photographic stop motion sequences captured at West Kowloon Cultural District in Hong Kong, this film focuses on the surfaces of architectural buildings. Through this intimate account, the work fundamentally questions the underpinnings of our physical world.

This experimental animation approaches Hong Kong’s built environment from the conceptual perspective of celluloid film, by applying the technique of film animation to the photographic image. The city’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips: Serial Parallels.

A very brief encounter with the world of the stars.

This short film was created in support of a United Nations treaty to regulate the arms trade between countries and reduce worldwide killings by firearms.

short film

One of two animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage (1876-1954). Based on Lesage's painting A Symbolic Composition of the Spiritual World from 1923.

In this film, various lens and monitor test charts were animated across seven chapters to create visual hallucinations and graphical sound. All sound is generated by directly reading the film's image as an optical soundtrack.