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Mark Dean, Christian Disco (Terminator), 2010, still from a color video, asynchronous loop.

Mark Dean

Beaconsfield

Mark Dean, Christian Disco (Terminator), 2010, still from a color video, asynchronous loop.

The phrase “Christian disco” might trigger cringe-making thoughts of buttoned-up adolescent parties monitored by censorious adults and lubricated with fizzy drinks and Cliff Richard hits; but that scenario couldn’t be further from Mark Dean’s grimly impressive video installation Christian Disco (Terminator), 2010. Crafted from a three-second fragment of the 1984 film The Terminator, it shows a young man and woman dancing in a disco, but, characteristically, Dean’s edit desynchronizes and loops the footage, distorting its colors and corrupting the outlines of the swaying bodies. Luridly hued skeletal afterimages trail behind the dancers, occasionally catching up with them and sketching skulls onto their youthful, unconcerned faces.

The work’s sound track cannibalizes the movie’s theme music with its clanging bells and driving beat, and stitches onto it two voices, one male and one

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