Metamorphose into Mediocrity

The Metamorphosis by Franz Kafka (2012) - The Quays

I understand embracing video technology by artists have strong visual aesthetics. It's cheaper, easier, less time consuming, etc. For me, Lynch's Inland Empire was a major disappointment. His strong suit has always been painstakingly planned mise-en-scene and breathtakingly beautiful cinematography. Even more visual emphasis should be put on when we talk about the world of The Brothers Quay. Obviously, beauty of the Quay films had almost entirely relied upon the intricacy in their stop-motion animation trained craft. After their stint with a DSLR camera last year with On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets. And this time, they are taking on Kafka's The Metamorphosis. One would think this is a perfect marriage. And what a missed opportunity it is- minimal effort, muddy images, lazy realization, this version of Metamorphosis looks like a half-assed High School video project. But it's KAFKA! Even if it was just a commissioned easy money project, how can they justify the quality of this dreadful work?  How can a conscientious artist not look at their work objectively, side by side, with something marvelous like Streets of Crocodiles and say wow, this is unacceptable!

Only saving grace of this screening was music of Leoš Janáček live accompaniment by pianist Mikhail Rudy. But what a major disappointment!

Brothers Quay at MoMA

Starting August 12, 2012 through January 7, 2013, The Museum of Modern Arts (MoMA) is presenting a comprehensive look at the work of the renowned moving-image artists and designers the Quay Brothers. Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets features over 300 pieces including never-before-seen cross-disciplinary works and a complete film and video retrospective.

From MoMA's press release:

The Museum of Modern Art presents Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets, the first major retrospective encompassing the full range of work by the Quay Brothers, August 12, 2012 - January 7, 2013. The identical twin brothers have labored together in their London studio, Atelier Koninck, for over 30 years, creating avant-garde stop-motion puppet animation, live-action films, and graphic design that challenge easy categorization. Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets presents full scope of their achievements: animated and live-action films (including never-before-seen early work), puppets, décor, drawings, paintings, graphic projects, calligraphic works, and installations. The exhibition is organized by Ron Magliozzi, Associate Curator, Department of Film, The Museum of Modern Art.

Early years: The twins with their mother

This massive exhibition tells an improbable narrative of aspiring illustrator twins from Philadelphia ending up in the stop-motion animation field- all because on their way to Amsterdam, their final destination, they were sidetracked in London by getting a grant for an animation project from the British Film Institute. Lucky for us fans of their amazing stop-motion work, they basically fell into it.


This Unnamable Little Broom, Little Songs of the Chief Officer of Hunar Louse, décor

Not only their work, but the exhibition devotes a large portions to their early influences- the works of naturalist painter Rudolf Freund, Polish surrealist posters, the Polish film director/animator Walerian Borowczyk and of course, the Czech master Jan Svankmajer.


Stille Nacht II: Are We Still Married? puppets


Duet Emmo, Or So It Seems


The Calligrapher

Occupying MoMA's two floors, On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets' labyrinthine set up is filled with their paintings, drawings, book and record covers, puppets, scale set designs and a great number of cabinets of curiosities- seen through magnifying holes, and projections of their short film and video work, add to that the screenings of their entire filmography- shorts, two feature length live-action films, commercials, dance films, music videos, documentaries; one should prepare spending a whole day in the museum.


Doll Funiture, from The Piano Tuner of Earthquakes, décor


Black Drawings


O Inevitable Fatum, Rehearsals for Extinct Anatomies, décor

At the brief Q & A session with the press, the Quay Brothers appear reserved and thoughtful in their measured responses. With their long and lean figures, the twins possess a distinct other-worldliness. When asked if they ever argued while working on a project, they said they never disagree. Often finishing each others sentences, they always seem to be in perfect sync.


Stephen and Timothy Quay

Bradley Rust Gray's film Jack and Diane (which will be released in the fall) features new stop-motion animation sequences by the Quays.

Prior to the exhibition's opening on Aug 12, there will be a screening of the new 35mm print of the Quay Brothers' luminous first feature (and one of my all time favorites), Institute Benjamenta, or This Dream Which People Call Human Life, on Aug 9, 7pm.

For more information and tickets, please visit MoMA website

Cabinet of Curiosities

Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) (2011) - Brothers Quay


Stephen and Timothy Quay's Through the Weeping Glass: On the Consolations of Life Everlasting (Limbos & Afterbreezes in the Mütter Museum) was shown at The Museum of Modern Art over the weekend (Sept. 24th), with the brothers in attendance as part of limited 3-city tour (Philadelphia, LA and New York). It had a world premiere at The College of Physicians of Philadelphia on Sept. 22nd and will be shown at Cary Grant Theater, Sony Pictures Studios, LA, hosted by The Museum of Jurassic Technology on Sept. 27th. Subsequent to the premiere screenings, the film will be available for purchase on DVD with an accompanying booklet.


When I first heard about the Brothers Quay Mütter Museum project, I couldn't think of any filmmaker who's more fitting. Situated in The College of Physicians of Philadelphia, Mütter Museum hosts medical oddities, anatomical and pathological specimens, medical equipments and grand volumes of medical books. It's literally a cabinet of curiosities; a perfect playground for visionaries like Brothers Quay. Known for their Eastern European influenced, breathtakingly beautiful, found object stop motion animation shorts in the early 90s and the two gorgeous, feature length literary adaptations- Institute Benjamenta, or This Dream That One Calls Human Life (1995, from Robert Walser's Jacob von Gunten) and Piano Tuner of Earthquakes (2005, from Adolfo Bioys Casares' The Invention of Morel, of which, Alain Renais' Last Year at Marienbad was also loosely based on), Through the Weeping Glass is the London based (from Philadelphia originally) twin filmmakers' first American project.


The film opens with a young woman visiting a skeleton on display. The skeleton belongs to Harry Eastlack, a young man died of rare disease called Fibrodysplasia Ossificants Progressiva, where cartilage in your bones ossifies and you slowly become immobile. We are told by the narrator (narrated by Derek Jacobi) that young Harry could only move his lips when he died. The young woman is his sister, looking at a skeleton through a two way mirror, showcasing stunning visual sequences.


The brothers make use of the museum's many artifacts: the flip human anatomy books, photos, the skulls and fetuses in jars. But their approach is not of the morbid fascination of a teenager, but a compassionate one. They are aware that there are stories behind each skeleton, each body. The film ends with the story of famed conjoined twins Chang and Eng Bunker as we see the plaster cast of their bodies and their preserved shared liver.


Shot on HD video and lasting mere 31 minutes, Through the Weeping Glass is not quite up to par with their previous films. Starting as animators working mostly in miniature, their strength always has been their visual precision and impeccable craftmanship in creating painstakingly detailed netherworld. Even with the 35mm transfer from digital (thanks to MoMA), their visual elegance suffers greatly here. It is revealed through the Q & A session and following the 'making of' documentary that there was no funding available for shooting 35mm for them in a long while. So they resorted to using a small DSLR camera. Shooting in the narrow corridors and limited space of the museum also posed many challenges.


Next year, MoMA is planning the Brothers Quay retrospective, chronicling all of their works including their sculptures and drawings. Hopefully it will garner more interest in their works and make funds available for their future endeavor.