The Everden | 2013 | PXL2000 | 16:33
Synopsis
Conflicted emotions about the city. Fears and anxieties surrounding movement and travel. Fragile dreams become nightmarish realities. Shot on a broken PXL2000 in 5 movements.
Critical Discourse
“Clint Enns’ The Everden (2013), illustrates the precarity of urban existence through the use of a broken camera that renders his landscape at once foreboding and fragile. The ghostly fields and glitchy vistas captured on Enns’s camera intimate a dystopian future that is uninhabited and inhospitable. Traces of humanity remain but are quickly erased by the noise that engulfs the screen.” – Shauna Jean Doherty, “Urban Decay” Program Notes, VIVO Media Arts Centre (2015).
“De eigentijdse vervreemding komt beter en dreigender tot zijn recht in Clint Enns The Everden waarin de kunstenaar gebruik heeft gemaakt van een speelgoed camcorder die spookachtige en grofkorrelige zwart-wit beelden produceert. Enns registraties van een stadslandschap hebben een post-apocalyptische lading alsof de straten zijn bedolven onder radioactieve fall-out. De beklemmende sfeer wordt nog eens versterkt door een begeleidende rauwe soundscape die je verder in een onwerkelijk domein zuigt. [The contemporary alienation is better and more menacing in Clint Enn’s The Everden in which the artist has used a toy camcorder that produces ghostly and coarse-grained black-and-white images. Enns recordings of a cityscape have a post-apocalyptic charge as if the streets have been buried under radioactive fallout. The haunting atmosphere is enhanced by an accompanying raw soundscape that sucks you further into an unreal realm.]” – George Vermij, “The Secret Self,” Metropolis M (April 29, 2015).
“Clint Enns’ The Everden uses the decayed video format of the Fisher-Price PixelVision camera— a 1980s-era toy camera that recorded onto audio cassette tapes—to turn his first impressions of Toronto into a glitched technological phantom.” – Chris Kennedy, “From Far” Program Notes, TIFF Free Screen (October 14, 2014).
Screenings/Exhibitions
November 13, 2016. Ostera, San Diego Underground Film Festival, San Diego, California.
December 4 – 6, 2015. Festival Ovni, Objectif Vidéo Nice, Hôtel Windsor, Nice, France. Presented by Le Collectif Oodaaq.
August 19, 2015. Urban Decay, EMMEDIA, Calgary, Alberta. Curated by Shauna Jean Doherty.
June 17, 2015. Urban Decay, VIVO Media Arts Centre, Vancouver, British Columbia. Curated by Shauna Jean Doherty.
May 20 – 24, 2015. Patchwork, Festival Oodaaq, Les Ateliers du Vent, Rennes, France.
March 22 – May 10, 2015. The Secret Self, Nest, The Hague, Netherlands. Curated by Yasmijn Jarram).
October 17, 2014. From Far, TIFF Free Screen, Toronto, Ontario. Curated by Chris Kennedy.
April 26, 2014. Facing the Sun, European Media Art Festival, Osnabrück, Germany.
January 14, 2014. Toronto Strikes Back, Open City Cinema, Winnipeg, Manitoba. Curated by Stephen Broomer.
May 22, 2014. PXL THIS 23, Echo Park Film Centre, Los Angeles, California. Organized by Gerry Fialka.
November 28, 2013. Broadcast Schedule, Tele Visions, Performance Space, Sydney, Australia.
November 2, 2013. Gephyrophobia, Antimatter [Media Art], Deluge Contemporary Art, Victoria, British Columbia.
August 26, 2013. The Wrecking Ball on Your Pillow, PUFF, Portland, Oregon.
May 25, 2013. Ende Tymes Festival, Silent Barn, Brooklyn, New York.