voiceover from cd rom:
"Hi there, this is my electronic time travelling costume I
first made in order to visit the Russian Revolution. In 2017 the
Institute sent all its employees there for a centenial celebration...I
made a film based on a fictional account of the event...check out
my file for info on it. What in reality happened was somewhat different.
my first attempt I ended up on the set of Dr Zhivago in 1965. It
was great meeting Omar Sharif and we went to some amazing bars.
times I ended up in remote parts of Russia but finally I made it
and joined a column of Bolsheviks marching through the streets.
I got taken away because my costume just didnt fit in and
someone sent me off to look after postal and telegraphic communications
under Bubnov. While I was there I sent myself some postcards home...only
one of them arrived.
operate the costume I just flick the switch on my belt. Attached
to my arms are prayer boxes but they dont always work. All
the wires connect up to equipment in my attaché case which
I have to pre-program before I leave, with departure and return
times too. It gets to be pretty annoying sometimes when I have to
disappear midway through a conversation. On one trip I hung around
for hours until I eventually met Lenin and just when he was telling
me about his favourite food the beeper went and I got transported
back to the Institute."
1994 Rosalind Brodsky made a film, semi-autobiographical, about
an incident at the Institute.In 2017 the Institute celebrated the
centenary of the Russian Revolution by sending all of its employees,
including Brodsky, to a virtual simulation of Moscow in the year
Due to overloading of the equipment there is a technological dysfunction
and Brodsky's body rematerialises in the year 1995. Her body, aged
forty seven, walks around in a seemingly trance-like state, passing
easily through cars, people and architecture within a certain area
Brodsky is unaware of being in London as her eyes are reading digital
information which tells her she is moving around a simulation of
Moscow in the year 1917.
This drifting body is inevitably sighted and photographed by journalists
and members of the public, one of whom turns out to be Rosalind
Brodsky aged twenty five. Brodsky stalks this/her own body and maps
the paths taken, noting abrupt turns, the mounting and descending
of stairs where there are none, the places of interaction with invisible
others, the 'opening' of doors, the boundaries of the area traversed.
Brodsky is in no doubt that there is a parallel space being negotiated.
She constructs a map of this parallel space and after much research
identifies it as the space within the Kremlin at the time of the
Brodsky has since made works , related in part, to ideas brought
up by the