MARINA ZURKOW
Items tagged
Software
2024
Digital AI prints, generative software works
Software works in collaboration with James Schmitz
Exhibition presented by Wasserman Projects, Detroit, with generous support from the Knight Foundation,
Wasserman Projects (link)
Two-person show with Jasmine Murrell. Curation: Alison Wong Special thanks to Gary Wasserman, Ian Rummell, and John Charnota Photos by PD Rearick, courtesy Wasserman Projects
2023
Custom software (color, silent)
Edition of 5, 1 AP
The Breath Eaters 2.0 is an an animated, custom software artwork that visualizes PM2.5 pollutants produced by wildfire and fossil fuel plant emissions. Inspired by an open source AI image of a World War II propaganda map and presented as a live, generative composition, the work demonstrates how particulate pollution is carried into the high atmosphere…
2023
Custom software (color, silent)
In collaboration with James Schmitz
In collaboration with James Schmitz
Commissioned by Visions 2030: Earth Edition for CalArts, 2023
This version of The Breath Eaters (diptych) offers two varying views of the Earth using data. The work addresses human impact on earth systems, fire management practices, and the planetary poetics of wind.
2023
Custom software (color, silent)
Generative, non-interactive
93 editions, 6 artist editions, 1 publisher proof
In collaboration with Ira Greenberg
Oystercraft website design: Pat Shiu
Part of the exhibition “Chain Reaction” on Feral File, curated by Christiane Paul
Created for the online exhibition “Chain Reaction,” curated by Christiane Paul on the Feral File platform.
2022
Digital prints, generative software works
Software works in collaboration with James Schmitz
Exhibited at bitforms gallery, New York
bitforms gallery (link)
World Wind is an exhibition featuring artworks by Marina Zurkow and collaborative, generative pieces by Zurkow and James Schmitz.
2022
Custom software (color, silent)
Edition of 5, 1 AP
The Breath Eaters is an animated, custom software work that visualizes PM2.5 pollutants produced by wildfire and fossil fuel plant emissions. Inspired by a Midjourney image of a world map and presented as a live, generative composition, the work demonstrates how particulate pollution is carried into the high atmosphere and across the globe on currents…
2022
Custom software, color, silent
8K screen and computer
Dimensions approximately 40′ x 10′
In collaboration with Jim Schmitz
Animation assistance: Ewan Creed
Hudson River consultants: Hudson River Park’s River Project: Hudson River consultants: Carrie Roble, Tina Walsh, Siddhartha Hayes, Toland Kister
Worldbuilding consultants:Una Chaudhuri, Lafayette Cruise, Carolyn Hall, Clarinda Mac Low, Tony Patrick
Commissioned by Google for Pier 57
The animated software-driven work Hudson Follies is a site-specific commission by Google for the lobby of their event space occupying Pier 57 along the Hudson River in Chelsea, Manhattan. It explores an alternate, present-day Hudson River estuary in which happy social and biological ecosystems live in harmony, where humans can interact with the water in…
2022
Custom software, color, silent
Projection or monitor and computer
Dimensions variable
In this animated software-driven work, an alternate, present-day Hudson River estuary exists in which relatively healthy social and biological ecosystems live in harmony; where humans can interact with the water in intimate ways, and experience what is happening below the surface.
2021
Custom software animation, screens, custom poplar wood pallets
Sound Design: Scott Reitherman. Software: Sam Brenner. Animation: Marina Zurkow and Ewan Creed. Technology: James Schmitz. Documentation: Jakob Dahlin
Curated by Kendal Henry
Commissioned by @artsbrookfield
This work is part of the project:
2021
Custom generative animation software, sound, screens, marine debris, wall drawings, custom wood scaffolds
Sound Design: Scott Reitherman. Software: Sam Brenner. Animation: Marina Zurkow and Ewan Creed. Technology: James Schmitz. Scaffold architecture: Keith Edwards. Documentation: Phillip Rittermann
Commissioned by the ICA San Diego
This work is part of the project:
Text by Guusje Sanders, curator: Aided by the constructed marine debris island, visitors can see, smell, touch, hear and taste their presence within the ocean. The installation invites participants to re-imagine their connections to the ocean and challenge their conditioned perspectives. By slowing down in a complex space of systems, an opportunity arises to assume…
A set of three software-driven animation works that explore the ocean and its inhabitants as a fractal and restless repository of reflections and projections. The series offers an ocean poetics to produce new affections for the ocean at large—a cosmopolitan sea inclusive of graceful, filthy, tangled, and fantastic realities and imaginary churns. Custom software allows…
2020
Custom software, wall drawings, silkscreen prints, toilet, recycled nurdles, fishbowl fountain
bitforms gallery (link)
This work is part of the project:
Wet Logic, a collaborative exhibition by Marina Zurkow and Sarah Rothberg, presents a model of the world organized according to a wet, oceanic ideology rather than a dry, land-based paradigm.
2019
Custom animation software, custom bathing suits, screens, shipping crates, plaster, 3D prints, mycelium, plexi shelving, custom wallpaper
In collaboration with Sarah Rothberg and Surya Mattu<br>
Software: Sam Brenner <br>
Web development: Neil Cline
Solo exhibition at Jugendstilsenteret og KUBE, Ålesund, Norway
This work is part of the project:
Part of the group exhibition, “Edge of the Sea”
2019
Custom bathing suits, custom wallpaper, custom postcards, custom website, laptop, desk, mannequins, postcard rack, salt
In collaboration with Sarah Rothberg and Surya Mattu<br>
Web development: Neil Cline
Group exhibition “Ici Sont Les Dragons” at Maison Populaire, Montreuil, France
https://www.maisonpop.fr/ici-sont-les-dragons-2-3-venez-comme-vous-etes
This work is part of the project:
2016
Custom animated software in custom powder-coated steel housing
Production: Sarah Rothberg<br>
Software: Sam Brenner
Commissioned in part by Borusan Contemporary
This work is part of the project:
Unifying the disparate commodities from large port nations into a phantasmagoric depot, MORE&MORE: China, India, Japan, Mexico, Turkey, USA, Russia, and Brazil are eight sculptural animations with custom algorithmic software generating hypnotic patterns of export products. These exports are both material trade items as noted in the Harmonized System (HS) tariff code and the nations’…
2016
Custom animated software in custom steel powder-coated housing, sculptures, shelving, crates, bathing suits, website, books
Production: Sarah Rothberg
Bathing suit/web site collaborators: Sarah Rothberg, Surya Mattu
Software: Sam Brenner
Web development: Neil Cline
Studio assistance: Ariana Martinez
Commissioned in part by Borusan Contemporary
This work is part of the project:
The ocean makes up 71 percent of our planet’s surface. So, how is it that we know more about Mars than the marine environments of Earth? As impenetrable as the deep oceans are to humans, we imperviously live in a black box of international shipping, reducing the ocean to a surface rather than an environmental…
2017
Custom animated software, custom powder-coated steel boxes, hardware, plywood plinths
This work is part of the project:
Fidelity International corporate art collection purchased a complete set of the eight More&More (the invisible oceans) software sculptures.
2014
Software-driven animation, outdoor projection
Add’l animation: Sarah Rothberg
Software: Sam Brenner
Commissioned by SPUrban, Sao Paulo, Brasil
São Paulo was built on top of the Mata Atlântica, a formerly vast forest habitat that, in spite of the radical reduction to 8% of its original land cover, still contains a large proportion of unique (endemic) species. In the software-driven animation Mesocósmico (Paulista), aspects of urban life and the surrounding Brazilian rainforest–trees, animals, water–are…
2014
Software-driven animation. 73-hour year-long cycle (never repeats).
Triptych. Color, animation, sound
Format: Flash player/projector on (intel) MacPro with 3 monitors / projections
Dimensions variable
Animators: Marina Zurkow, Sarah Rothberg
Software Developer: Sam Brenner
Sound: Lem Jay Ignacio and Marina Zurkow
Add’l Software: Yotam Mann
Commissioned by The Museum of Biblical Art, New York
Mesocosm (Times Square, NY) is an algorithmic work that represents the passage of time in a speculative, hybrid Times Square. 12 minutes of real world time elapse in each minute of screen time, one year lasts 73 hours. No cycle is identical to the last, as the appearance and behavior of the human and non-human characters,…
2012
Single-channel animation, color, silent
Qucktime renders of Processing sketches, custom computers, speedrail, mirror
12 minutes each
Edition 1/5
This work is part of the project:
NeoGeo I-IV is a series of 12-minute Quicktime video captures of algorithmic, moving image work created using the software language Processing. The work visually represents the work of an oil drill as it penetrates through an infinite series of geological layers. The layers of sediment continually auto-generate based on pre-programmed parameters. The videos are mounted and hung…