Often, behind successful creative careers stand friendship, a shared cause, and the youthful enthusiasm to challenge the status quo — the very spark that ignites it all. Such is the case with the conference and the platform behind it, Pictoplasma. In 2004, Peter Thaler and Lars Denicke launched the now-renowned Pictoplasma conference, a key event in creative circles dedicated to animated and illustrated characters.
We spoke with our colleague Lars Denicke — whom we've known for several years as a respected expert in cultural and festival management — about the beginnings of their joint venture and the success they’ve achieved to this day. We learn that back in 2000, Peter, who was working in the field of animation, grew disillusioned by the lack of imagination and fresh content in the industry. In response, he created the website pictoplasma.com, where he began collecting and archiving all kinds of contemporary graphic icons.
"Let’s not forget that this was before the era of Web 2.0, when using photos online was difficult because they were large files and took a long time to load. At that time, graphic icons became a valid alternative and quickly entered online culture," Lars tells us.
Following the success of the website, two printed editions of Pictoplasma were published, which proved to be defining for the early years of the 21st century and received global recognition. Not long after, Lars joined Peter, bringing with him academic experience in cultural studies and a strong interest in developing a clearer definition of the visual image. This collaboration helped propel the organization of the first conference.
We meet with Lars as he prepares for the upcoming 21st edition of Pictoplasma in Berlin, taking place from May 1–4, 2025.
What makes Pictoplasma a different type of event compared to the more traditional animation festivals around the world?
Animation is undoubtedly an important source of inspiration, but for us, it has always been about pushing against the established norms — about a new style of animation. Our understanding, our concept, is that everything begins with character creation. People often think that the first image in history is the bison painted in a cave. But I believe that’s not true. There are many theories suggesting that the earliest images were something entirely different — for example, a carved stone that served as a talisman or an object of symbolic significance. In other words, it’s about a spiritual connection to the invisible, to what we cannot directly see. And characters play a key role in precisely that, because creating them is a universal cultural trait.
We don't limit ourselves to specific media or genres. We are interested in what is happening now. It's exactly this focus on content that sets us apart from traditional animation circles.