During their month-long residency at Obsidian Coast, Soda_Jerk worked intensively with their longtime collaborator Sam Smith on the final stages of post-production on their feature film TERROR NULLIUS. Part political satire, eco-horror and road movie, TERROR NULLIUS is a political revenge fable which offers an unwriting of Australian national mythologies. Binding together a documentary impulse with the bent plotlines of Australian film texts, Soda_Jerk's revisionist history opens a willful narrative space where cinema fictions and historical facts permeate each other in new ways. The apocalyptic desert camps of Mad Max 2 become the site of refugee detention, feminist motorcycle gangs rule the highways, and flesh-eating sheep are recast as anti-colonial insurgents.
Since its launch in March 2018, TERROR NULLIUS has screened at major film festivals and museums in every state of Australia as well as international art institutions including the Museum of Contemporary Art Chicago; Wexner Centre for the Arts, and City Gallery Wellington. TERROR NULLIUS has also screened worldwide in cinemas and festivals in Amsterdam, Auckland, Austin, Bangkok, Berlin, Berwick, Bristol, Cleveland, Frankfurt, Helsinki, Lisbon, Madison, Marseille, Morelia, New York, Philadelphia, San Francisco, San Marcos, Seattle, Toronto, Uppsala, Victoria and Winnipeg.
Soda_Jerk will undertake a second residency at Obsidian Coast in early 2020 to collaborate with Smith on the post-production for their next feature film project Netsploits.
Formed in Sydney in 2002, Soda_Jerk is a two-person art collective who work at the intersection of documentary and speculative fiction. They are fundamentally interested in the politics of images: how they circulate, whom they benefit, and how they can be undone. Predominantly working with video and lecture performance, their sample-based projects have also taken the form of cut-up texts, manifestos and screensavers. Based in New York since 2012, they have exhibited in galleries, cinemas and institutions including the Barbican Centre, London; Videotage, Hong Kong; National Gallery of Art, Washington DC; Museum of Conentemporary Art, Chicago; Hartware Medien KunstVerein, Dortmund; Wexner Centre for the Arts, Columbus; and Anthology Film Archives, New York.