8 – 23 May 2015
ANGLE ON ITS HAND as it touches a railing in passing. The railing is covered with O.S.H.A. yellow-and-black safety tape. The hand turns yellow and black, the color fading to normal by about the elbow. It rips the hand from the railing with difficulty. [TERMINATOR 2: JUDGMENT DAY revised final shooting script]
Clemens’Screen Used comprised an array of artifacts from recent engagements with the extended cultural architecture of Nightmare on Elm Street and Terminator 2: Judgement Day:
Clemens “unauthorised” interventions draw on the power of cinema as a communal cultural language but also destabilise it, rewriting a read-only surface. A hybrid Clemens-Krueger kayaks along Auckland’s waterfront; an unboxing video of a Hollywood collectible is interspersed with tui calls. These recombinations start to unflatten the screen, teasing out the collapsed layers into distinctive strands: film as commercial enterprise, as cultural narrative, as collector’s commodity. Like the wounded T-1000 becoming entangled with other objects, these unstable entities draw from a mixture of sources, shifting the purity of the silver screen into reanimated alloys which twitch and glitch.
Eddie Clemens is an Auckland-based artist who works at the interface of digital media, sculpture, and performance. Recent exhibitions include Total Internal Reflection, Gus Fisher Gallery, Auckland, 2012; Obstinate Object, City Gallery Wellington, (group) 2012; Wes Craven Marina, Gloria Knight, Auckland 2014; Collector’s Edition Glitch (Viewing Bridge), Adam Art Gallery, Wellington, 2014; and A World Undone Auckland Art Gallery (group) 2015.
Photos by Sam Hartnett