%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Collector's Edition Glitch, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
%2c%20eddie%20clemens.jpg "Racket abuse P.W.D, Eddie Clemens, 2014")
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
Edited on iMovie 10.0.2, Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Collector’s Edition Glitch
iMovie (censored version played at Papakura Art Gallery)
Duration: 9 minutes
Medium: Mild Metal, Powder coating (Billion Silver), Papakura Art Gallery’s 43inch Samsung Plasma Display (Model: PS43E450A1M, Vesa Spec 400 x 400 M8 wall mounting), Sandisk Ultra (Memory stick), M5 316 Jaw/Jaw Pipe Turnbuckles, M10 x 40 Coach Galv Screws, 3mm Stainless Steel Wire Rope, Stainless steel Ferrules, IEC (Jug) lead, Black extension lead
Dimensions: (Right-hand side as you walk up ramp) Bannister length, width and height including Samsung 43inch Plasma Display: 2200mm x 725mm x 1396mm
Exhibition: Carpet Burn, Curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
iMovie source material:
Terminator 2 Judgment Day: Ultimate Edition DVD 1991, Directed by James Cameron
Omitted scenes: T1000 “glitch” hazard hand, T1000 searching John Connor's Bedroom – commentary from James Cameron
Titanic: Special Collector’s Edition DVD 1997, Directed by James Cameron
Chroma keying: Making the music video (Celine Dion - My heart will go on), I’m the king of the World, Iceberg
Avatar (Extended Collector’s Edition) DVD 2009, Directed by James Cameron
Chroma keying: Halo table, Set extension (deleted scene), “A Message from Pandora” (Amazon watch), Stuntmen haka
Aliens (Two-Disc Collector's Edition) DVD 1986, Directed by James Cameron
Get away from her you bitch, Chroma keying: Queen Alien ejected into space
Aliens: Kicking Ass with the Power Loader, Filmnstuff, Uploaded on Oct 13 2008
www.youtube.com/watch?v=ogvM9U4N8wc
Awesome Boss Battles, Aliens (C64), Filmnstuff, Uploaded on Nov 10, 2012
https://www.youtube.com/watch?v=jZWKFqVAWIk
Iphone5s Unboxing, TechnoBuffalo, Published on Sep 20, 2013
https://www.youtube.com/watch?v=0eOA1c9Fyeg
Apple - iPhone 5s - TV Ad - Metal Mastered, Apple, Published on Oct 20, 2013
www.youtube.com/watch?v=xYsSiaBZmRk
Titanic 100: New CGI of How Titanic Sank (commentary from James Cameron), National Geographic Published on Apr 5, 2012
www.youtube.com/watch?v=xYsSiaBZmRk v=FSGeskFzE0s
Painted “glitch” hazard hands recorded at home on a blue Formica kitchen table
Footage recorded on a G12 Canon Camera and an iPhone5s
CGI: Blender 2.69
Edited on iMovie 10.0.2
Macbook Pro 2.5 Ghz Intel Core i5
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Racket abuse P.W.D
Medium: Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP)
Dimensions: (Individual head average) Height: 350mm Width: 280mm Depth: 20mm
Exhibition: Carpet Burn, curated by Rebecca Boswell and Anya Henis
Location: Papakura Art Gallery, Auckland
2014
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
Papakura Art Gallery, Auckland
Photo by Sam Hartnett
CARPET BURN
Eddie Clemens / Charlotte Drayton / Richard Frater / David Hofer / Christopher L G Hill & Joshua Petherick / Louise Tu'u / Alex Vivian / and a collaborative project between Ashlin Francis Raymond, Phoenix Puleanga, Rebecca Ann Hobbs and Samson Vaotuua – with credit to Lil B The Based God, the master chief
Curated by Anya Henis and Rebecca Boswell
22 March — 3 May 2014
Opening Saturday 22 March, 10.30am
Papakura Art Gallery
Carpet burn is a new exhibition that has been curated by Anya Henis and Rebecca Boswell for Papakura Art Gallery. The group show features new artworks from a number of local artists and recent work from several Melbourne practitioners, in addition to a collaborative project led by Rebecca Ann Hobbs.
Carpet burn seeks to explore the way narratives of nostalgia and optimism are found, stored and created in the objects, spaces and sites we consume or experience. Artists have been asked to respond to the idea that the present can be viewed through a history of affect. Contained by this provocation is the notion that our attachments to things in capitalist society are produced by an economy of desire that commodifies life as excess to necessity; it is constructed and therefore, marketable. At an individual level, this desire is a complex relation. English professor Lauren Berlant poetically captured this conflict in our relationship to things with the term ‘Cruel Optimism’. For Berlant, “all attachments are optimistic”, yet the promises we attribute to the objects or ways of life that so allure us, may not elicit pleasure or hope, but anxiety and pain – such as when “what you desire is actually an obstacle to you flourishing".
The curators have reflected upon the way these contradictory, yet co-existing impulses of desire and degradation may inform or find expression in contemporary art practice. Together with the artists, they have also considered the recent history of the local area of Papakura, making visits to the museum and spending time in the shopping high street. In response, the Papakura Art Gallery has been conceived of as an empty building or abandoned shop. Grouping artworks that exhibit an ambivalent relationship to the material world and its cultural impulses towards taste and function, Carpet burn seeks to create a space where visitors are invited to consider their relationship to objects and, through this, uncover the playful and entropic processes – of degradation, resistance, deconstruction and repetition – at work in the production of nostalgia and narratives of optimism, past and present.
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