Elixir I, II, III, IV,
Series of four works
(4) 5:00 minute loops
Editions of 7
Format: Dimensions variable; custom framed 24″ monitor with MPlayer, or MPlayer only for 1920×1080 projection or monitor
Sound for installation versions by Pat Irwin.
The Elixir pieces describe impossible landscapes: cut-crystal bottles bob and toss like buoys in the ocean, beacons bearing potions, poisons, messages, genies. Each bottle contains an animated figure engaged in a repeated, metronomic action. In Elixir I, a woman is rowing; Elixir II, a blindfolded man stumbles to stay upright. Elixir III holds a little girl trying to fly with paper wings; and in Elixir IV, a high diver twists and arcs, while the bottle presses forward in an Antarctic landscape. The highly layered video treatment pays tribute to the 19th century Russian painter Ivan Aivazovsky, whose portentous, luminous paintings of tiny ships on huge swells of ocean both mesmerize and terrify the viewer.
“Zurkow plays with motion and fixity, the graticule projecting from its enlightenment centering and creating, drawing out and forth a landscape that never has existed quite: but that may now be describing a new polar circumferencing. And the possibilities of this landscape are also internal, or not seen on official maps.”
– Elena Glasberg, notes from The Anthropogenic Landscape and Feminist Art Practice
Zurkow’s bio can be found on the About Page.
Monster Movie by Takeshi Murata
2005, 3:55 min, color, sound
Takeshi Murata continues to push the boundaries of digitally manipulated psychedelia. In Monster Movie Murata employs an exacting frame-by-frame technique to turn a bit of B-movie footage (from the 1981 film Caveman) into a seething, fragmented morass of color and shape that decomposes and reconstitutes itself thirty times per second.
Title rented from EAI.
Murata’s bio can be found on the About Page
Initial Encounters: like meets like, glacier and iceberg
2016, 2-channel video
From his essay “From Things Flow What We Call Time,” Timothy Morton writes: “Ecology is weird because it is the uncanny realization that there were always already other beings. Awareness of ecological beings – a meadow, a city, a coral reef, a microbe – is in a loop”
Initial Encounters explores strategies for establishing relationships between objects— the landscape and that which inhabit it (humans, rocks, trees, water, etc). The work utilizes performance, video, and textiles to propose a location for dialogue— for a non-anthropocentric social engagement. As a material foundation, handwoven flags serve symbolically as both marker of territory and representative object. Set in the Arctic— the glacial north of Alaska’s Wrangell St. Elias National Park and Icelands glacial lake, Jökulsárlón— notions inherent to ice, such as, permeance, state change, and slipperiness meander into the field of questioning.
Erika’s bio can be found on the About page.
From Wikipedia: Written and directed by J. Searle Dawley, this 16-minute short film was the first motion picture adaptation of Mary Shelley‘s Frankenstein. The unbilled cast included Augustus Phillips as Dr. Frankenstein, Charles Ogle as Frankenstein’s monster, and Mary Fuller as the doctor’s fiancée.
For many years, this film was believed to be a lost film. In 1963, a plot description and stills (below) were discovered published in the March 15, 1910 issue the film catalog, The Edison Kinetogram.
In the early 1950s, a print of this film was purchased by a Wisconsin film collector, Alois F. Dettlaff, from his mother-in-law, who also collected films. He did not realize its rarity until many years later. Its existence was first revealed in the mid-1970s. Although somewhat deteriorated, the film was in viewable condition, complete with titles and tints as seen in 1910. Dettlaff had a 35 mm preservation copy made in the late 1970s. He also issued a DVD release of 1,000 copies.
BearManor Media released the public domain film in a restored edition on March 18, 2010 alongside the novel, Edison’s Frankenstein, which was written by Frederick C. Wiebel, Jr.