Lurf's camera is as slick as it is removed: Constantly moving in circles on the one hand, it's forever distanced from the place it's observing on the other—and the closer we get, the further away we seem. As becomes increasingly clear, this isn't the kind of place we first thought it was. It's quite bedazzling.
Embargo – arguably the most accomplished world premiere on view across the whole festival – trains pin-sharp surveillance cameras on sinister factories producing weapons and surveillance equipment. Lurf’s stroke of brilliance is to accompanying these slowly gliding images with pullulatingly complex electronica that sounds like a possessed fruit-machine nearing orgasmic climax.
This composed space, presented as a single image, radiates a sort of uncanniness which emerges from the space itself, giving an almost drug-induced feeling of motion, and this artificial movement in time and space functions so well because it exploits the stereoscopic effect as it actually is, and not as it is imagined to be.