Show Pixar Milan

The Pavilion of Contemporary Art presents the exhibition in Milan PIXAR – 25 years of animation, treated in Italy by Maria Grazia Mattei, promoted by the Municipality of Milan - Culture, Expo, Fashion, Design and produced by the PAC Pavilion of Contemporary Art, 24 HOURS Culture - Group 24 ORE e da Mattei Digital Communication/ Meet The Media Guru.

After the MOMA in New York and an international tour, from Australia to the Far East, the show finally arrives in Europe and previewed in Milan.

A path built over 500 works, a journey through the creative and digital culture as an innovative language applied to animation and film: from the first film dedicated to Luxo Jr..(1986) the great masterpieces as Monster & Co (2001), Toy Story (1, 2 and 3), Ratatouille (2007), WALL·It (2008), Up (2009) up to Cars 2 (2011) and anticipation of Brave, Output in 2012.

"Many do not know that most of the artists who work at Pixar use all the resources of Art - Design, tempera paints, pastels and sculpting techniques - such as digital media. Most of their works "- writes John Lasseter, chief creative officer di Walt Disney and Pixar Animation Studio e fondatore di Pixar (insieme a Steve Jobs) which will be in Milan 21 November for a public event - "come to life during the development of a project, while we are building a story as we watch a movie or just. The rich artistic heritage that is formed for each film rarely leaves our studies, but the end product - the film - which reaches every part of the world, would not be possible without this being artistic and creative ".

Maria Grazia Mattei, curator of the exhibition in Italy and expert on digital culture, recounts with satisfaction: "I know John Lasseter twenty years since then and I share his vision of the world of digital creativity. I am happy to arrive in Italy, in person, to inaugurate the exhibition of "his" Pixar. And Milan is actually more ready to accept innovation '.

The exhibition presents to the audience the last creative phase of the hidden masters of the world into four sections - People, Stories, Worlds and Digital Convergence - and two special installations and the Artscape Zoetrope, that use digital technology to revive the works on display in exhibition, designed by Fabio Fornasari, and recreate the excitement of animation.

The exhibitions of the annual CAP is made possible thanks to the support of TOD’S.

The catalog is published by 24 HOURS Culture - Group 24 HOURS.

WORKS ON SHOW

Typically when people think of Pixar, think of our films and compelling stories we tell. Think of the incredible technology and computer graphics. On the other hand, is not necessarily aware of the vital role that art and design play in our traditional process.

As a classically trained animator with, John Lasseter has always appreciated the traditional art that supports the visual narrative of the film. When, in 2004, The Museum of Modern Art in New York has invited us to exhibit the art of Pixar, We accepted with enthusiasm. John speaks often of the three essential aspects of a Pixar film: history, the character and the world. Pixar to devote an enormous amount of time in history. It is an iterative process that may continue during the four or five years that it takes to produce one of our films. In the history, the characters must be interesting and captivate the audience. In addition, these characters must exist in a world that is entirely only. As a result, the value of art can be admired in the exhibition comes primarily from the work of these design elements of our films.

The Pixar exhibition of objects in a museum exhibition has provoked the question whether it really works of art. What is the relationship of these objects with the art world? It is easy to confuse the concept of art and the questions instead concern the distribution and the public, losing sight of the object itself and its inherent artistic qualities. It is a good opportunity for studios like Pixar, which is a successful company of international repute, participate in a discussion with the world of museums on what is "art" and what is appropriate for display in a museum

Pixar artists speak with great modesty of what they do. In fact, almost none of them can even think of their work framed: let alone exhibited in a museum. This is partly due to the fact that design and concept art created in collaboration with the director and production designer. However, see these objects outside of the process of realization of the film, admiring them individually, may change our ideas. Since the art there is discussion about "what is art". If we define art as a process or product of organization and assembly of objects to create something that stimulates an emotion or a response, then it is clear that all objects in the exhibition are just that and Pixar, then, meet the definition of "art". Our films are made by artists and our artists, like any other artist, choose tools that allow them to express their ideas and their emotions more effectively. A wide variety of media and techniques are represented in the exhibition: drawings in pencil and marker, paintings in acrylic, gouache and watercolors; digital paintings; casts; models made by hand; and pieces in digital media. Some of our artists, traditional training, have added pictures to their digital collection to express something that could not express by any other means.

For the exhibition of 20 years of animation MoMa were also created two special installations, that continue to accompany the traveling exhibition of 25 age. Artscape is a multimedia, high-resolution, su widescreen, creata usando concept art e development art. Using the digital technology, Two-dimensional art is explored in a simulated three-dimensional movement.

The viewer can enter the details exquisite work of art, admiring. The changing of the images creates a charm that is hard to escape. The installation is a metaphor for the experience that our directors live when they see a work of concept art and imagine what it might become in movie. The visual effects are accompanied by an incredible soundscape, which complements the acoustics of our lavoro.Zoetrope Pixar Toy Story is the three-dimensional version of a previous invention that has been shown and described visually as a repeated image creates the illusion of movement. The Ghibli Museum, Mitaka had created and exhibited a magnificent three-dimensional Totoro Zoetrope, that inspired our team to do something like. This extraordinary object exemplifies the artistic and technical cooperation is an integral part of our work at Pixar. It was developed by scientists and artists and animators at Pixar, in close collaboration. Watching him run, you understand how it works magically animating. At Pixar, the concept of collaboration is essential and is actually put into practice. Although each piece of art is often attributed to a single artist, the process of its creation is collaborative. An idea can be developed at a meeting, with different people contributing to the discussion, or an artist can make a quick sketch that inspired then a second artist, while a third can provide a tip that can be incorporated into the idea.

It is with this type of interaction that works around our process, and not only in artistic creation. The creation of a film at Pixar is a continuous conversation. Computers do not make movies. To make the movies are the people: Artists, those skilled in the assembly, the animators, technical directors. All these people give life to everything that is done at Pixar.

This traveling exhibition has reached millions of people. The visitors were astonished before this work, discover with surprise that, Although the production of our films is technologically complex, it all begins, always, with a very simple gesture: a pencil on a sheet of paper.

Elyse Klaidman

Director, Pixar University and curator of the archives, Pixar Exhibitions

Original article: mostrapixarmilano.it