Andrew Hull
| Andrew Mackenzie Hull | |
|---|---|
| Born |
August 15, 1963 Oshawa, Ontario, Canada |
| Died | May 8, 2010 (aged 46) London, England |
| Education | Lakefield College School, Ontario |
| Alma mater | Carleton University, Ottawa |
| Occupation | Architect and film director |
| Years active | 1989 – 2010 |
| Partner(s) | Shaan Syed |
Andrew Mackenzie Hull (August 15, 1963 – May 8, 2010) was a Canadian born film maker, film director and architect. He was born in Oshawa, Ontario, Canada, and died in London, England.
Andrew Hull was the youngest of three children born to Ralph Hull, psychiatrist, and Margot Finley, artist. He spent his childhood in Ann Arbor, Michigan and Peterborough, Ontario, attended Lakefield College School as a boy, and studied architecture at Carleton University, Ottawa. During his studies in 1989 he won the AIA/ACSA Research Council-Otis Elevator International Student Competition for his mixed-use commercial, retail and residential design for a development in historic London. Despite this accolade his interests shifted to film and video. Being one of the first students to work with video at the School of Architecture, he graduated with an experimental video work about a cryptic symbol of a traced hand that appears in the urban environment. This first completed video marked his move from architecture into narrative film.
While working as an architect in Paris in 1991, Andrew Hull was invited to Germany by Carleton University colleagues Stephen Kovats and Ian Johnston to work on video and animation projects and to mentor students of the Bauhaus Dessau's international and multi-disciplinary 'Experimental Studio Dessau North'. In 1992 he was co-commissioned by the 'Werkstatt Industrielles Gartenreich' of the Bauhaus Dessau Foundation to make a documentary video about the 'Kulturpalast Bitterfeld', a Socialist Utopian model project of the German Democratic Republic, built in 1954. His collaborator in this video project was Stephen Kovats, media researcher, architect and artistic director of Transmediale. The film was entitled “Pay No Attention to the Man Behind the Curtain”. As a result of this collaboration, Hull moved to Germany, living first in Dessau, later in Berlin. He made films during this period and taught at the Bauhaus Dessau in the newly created Electronic Media Interpretation Studio. Hull's films from this time explored the genres of horror and comedy, the real and the fictional; they also documented and questioned the strained political and social transformations taking place in Germany after the fall of the Berlin Wall. In Dessau he made Earworm, a forty-three-minute film funded by both German and Canadian Arts Councils that told the story of a group of anarchist karaoke enthusiasts gripped by a mysterious virus that causes an addiction to techno music and a taste for sucking the inner ear out of unsuspecting victims. The film could be read as a metaphor and biting satire on the paranoia of communist era East Germany, intertwined with the politics around HIV/AIDS, and the growing gay underground club and rave scene in Germany in the late eighties and early nineties. Hull also presented the video installation Berlin Alexanderplatz at the Ostranenie International Video Festival at the Bauhaus Dessau.
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