Marina Zurkow - Elixir Series

Marina Zurkow - Elixir Series

Curated Artcast

Curated by Steven Sacks

Marina Zurkow’s 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.

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Steven Sacks

Founder/Director bitforms gallery

Steven Sacks is the founder and director of bitforms gallery, considered one of the leading galleries in the world focusing on new media. Founded in 2001, the gallery represents established, mid-career, and emerging artists critically engaged with new technologies. Spanning the rich history of media art through its current developments, the gallery’s program offers an incisive perspective on the fields of digital, internet, time-based, and new media art forms. Supporting and advocating for the collection of ephemeral, time-based, and digital art works since its founding, bitforms gallery artists are in the collections of the Museum of Modern Art, New York; Tate Modern, London; the Solomon R. Guggenheim Museum, New York; the Smithsonian American Art Museum, Washington, D.C.; the National Portrait Gallery, Washington, D.C.; Center for Art and Media (ZKM), Karlsruhe; Centre Pompidou, Paris; Victoria and Albert Museum, London; Stedelijk Museum, Amsterdam; and Borusan Contemporary, Istanbul, among other institutions internationally.

Marina Zurkow

Elixir I

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.

Marina Zurkow

Elixir II

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.

Marina Zurkow

Elixir III

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.

Marina Zurkow

Elixir IV

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.

Marina Zurkow

Artist

b. 1962, New York
Lives and works in New York
Marina Zurkow is a media artist focused on near-impossible nature and culture intersections. She uses life science, materials, and technologies – including food, software, animation, clay and other biomaterials – to foster intimate connections between people and non-human agents.

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