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Nicole Hewitt

Nicole Hewitt

Bereich: Film / Video

Key Facts

Nationalität

Kroatien, Großbritannien

Bereich

Film / Video

Wohnort

London, Zagreb

Empfehlende Institution

culture2culture

Zeitraum

August 2003 - August 2003

Born 21st April 1965 in Croatia.

EDUCATION 
 
1971-1978 
attended secondary school in Croatia

1978-1980 
studied privately for O and A levels in U.K.

1981-1982 
attended City and East College of Further Education - took A levels - English, Art and Serbo-Croat

1983-1986   
Brighton Polytechnic  - reading Expressive Arts - obtained B.A.

1988-1989 
British Council Post Graduate Scholarship specialising in Model Animation, Barandov Studios, Prague

2000-2002 
MA in Fine Art Media at the Slade School of Art

WORK EXPERIENCE 

1987 -1990 
Backround artist, designer and animator in Luna Film, Zagreb.

1990 - 1991 
Assistant animator at Animus Productions, London.

1992 - 1995 
Model maker, assistant animator, motion control operator at Animated Picture Company, London.

TRANSLATION 
 
1985 to present

Freelance translation including:
BBC Newsnight, Soros Centre for Contemporary Arts catalogue essays,   Museum of Contemporary  Art Zagreb catalogues, nu: The Nordic Art Review, Zagreb Bienale of Contemporary Music catalogue essays.

Books and publications:
Against Our Will, Susan Brownmiller, Naklada Ljevak, Zagreb 1995
Perceptual Art, Janka Vukmir, Meandar, Zagreb 1997.
Wors and Images, ed.SCCA, Zagreb,1996.

Plays:
Decadence , Stephen Berkoff, with Natasa Lusetic 1997
East , Stephen Berkoff 1999
Disco Pigs, Enda Walsh 2001

LANGUAGES 
 
English and Croatian  (bilingual), French (fair),   

FILMS 
 
1989 - 
HERMANÕS BURDEN, 5', 35 mm, cut outs and drawn animation, shown at festivals in Zagreb, Annecy, Edinburgh, Clermont Ferrand, Espinho, Bristol, Belgrade. Produced by Luna Film, Zagreb.

1991 -
NOTES ON CONTINUITY, 8', 35 mm, model animation, shown at Croatian Short Film Festival, International festivals in Zagreb and London, and screenings in Pula, Berlin. Produced by Luna Film, Zagreb.

1993 -
MEAT, 4', 35 mm, animacija predmeta. Produkcija Arts Council of
Great Britain.

1995 -
BLUE FILM, 3', 16 mm, stop frame animation for experimental theatre group project. Produced in Amsterdam and shown in Amsterdam, London, Ljubljana, Zagreb, Koper, Piotrkow and Skopje.

1995 -
SINGLE VIABLE FETUS, 3', 16 mm, stop frame animation. Own
production. Shown in Amstedam, London i Zagreb.

1997-
QUELL - 5', 16 mm, stop frame animation and live action for experimental theatre project by KUGLA, produced and performed in Vienna.

1999 -
IN/DIVIDU - 7' 33'', 16 mm, stop frame animation. Produced by Zagreb film. Winner of the first prize for animation at the Croatian Short Film Festival in Zagreb (March 1999). Awarded Special Mention at Split Festival of New Film and Video (September 1999). Selected by Siena International Short Film Festival 1999, Espinho Festival of Animation 1999, Alpe Adria Festival, Trieste1999, 12. Filmfest Dresden (experimental programme, April 2000), Annecy International Animation Festival 2000, Zagreb International Festival of Animation 2000.

2002 -
IN BETWEEN, 20Õ, live action and stop frame animation, produced by Zagreb Film. presented at Tate Modern, selected at Short Film Festival Zagreb 2002.

2002 -
GLORIA, 1Õ3OÓ, 16mm film transferred and edited on video. Installed at Slade School of Art MA show and for exhibition CINEMANIA(C), Pula, July 2002.

AWARDS FOR IN/DIVIDU:

Winner of the first prize for animation at the Short Film Festival in Zagreb (March 1999).
Awarded Special Mention at Split International Festival of New Film and Video (September 1999).
Awarded Special Mention at Sitges International Film Festival 2000.
Awarded first prize for Experimental animation at Norwich Animation Festival 2001
Awarded Special Mention for Innovations in Animation at Hiroshima International   Animation Festival 2001.

COLLABORATIONS 

1992  Animation on TALKING TO A STONE, Independent Arts Council Production, dir, by Inger Lise Hansen.
1993  Producing film material, loops and texts for international theatre group KUGLA, HORSEÕS TAIL
1993  Exhibition of film and art works in TACHELES, Berlin.
1994  Animation on STATIC, Arts Council Production, dir. by IngerLise Hansen.
1995  Producing film loops and texts on 16 mm, for KUGLA project THE DOOR, Zagreb,     Amsterdam
1995  BASKETBALL FILM,  for KUGLA 3 min animation.
1996  Film and video material for multimedia project HAZARIAN LULLABY, Harrow College, London.
1996  Animation on HOUSE, Dir. by Inger Lise Hansen, San Francisco.
1996  Films and loops for KUGLA, THE SON.

SYMPOSIA 

2002  Panelist at Symposium on Art and Animation, Tate Modern, March 2002.

TEACHING AND EVENTS 

1997 to present  visiting tutor in experimental animation, Academy of Fine Art, Media Department, Zagreb.
1997 to present  organised following workshops:
Tim Web, RCA animation tutor, one week workshop, Zagreb. British Council, Zagreb Film, Academy of Fine Art.
Michael Gibbs, artist and writer, workshop in net.art. British COuncil, Academy of Fine Art Zagreb, Academy of Fine Art Split
Marc Mercier, video curator and festival director, 4 day seminar in contemporary video art, Institut Francai, Academy of Fine Art Zagreb, Academy of Fine Art Split.
Jon Thomson and Alison Craighead, sound workshop, in conjuction with British Council, MAMA media Zagreb, Multimedia Centre Rijeka, Art Workshop Lazareti, Dubrovnik.

Projektinfo

RESIDENCY PROPOSAL

THE WALTZ – a single screen gallery installation

In February 2004, the Croatian National Theatre will try to emulate the Viennese Opern ball by launching its own annual Ball. The Viennese Opern Ball has long been seen in Croatia as the pinnacle of high society, and Vienna as the heart of an imaginary Croatian cultural and political heritage – the Austro Hungarian Empire. The imaginary source shaping Croatian national identity is Vienna.

The venture is primarily a business venture, the commodity on sale (at a ridiculously high price) is the fantasy of an Imperial past, a colonised subject’s longing for belonging to the mother state. But what is the fantasy on sale in Vienna, itself – do both ex colonisers and ex colonised share in the fantasy of the past?

As, by a lucky coincidence the cameraman I have worked with on two previous films is the marketing director for the Croatian National Theatre I will have access to all the preparations – visits to Vienna to see the role model, meetings with potential sponsors, brainstorming sessions with marketing agencies, discussions with set and costume designers, orchestra recitals and ballroom dance school rehearsals. I hope to infiltrate both the Croatian and the Austrian ball organisations and film the preparations, especially the general rehearsals and the event itself.

The work I propose will be a gallery installation using documentary footage shot on location and later manipulated frame by frame. The audio will consists of all the clandestine recordings of the meetings and preparations.

As my primary practice is stop frame animation, and as my main interest lies in the distinction between ‘documentary’ and ‘illusionist’ cinema I will use my 16 mm bolex camera to document the fantasy of an Imperial Ball and to explore the complex post colonialist relationship between the two countries.

Dokumentation

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