I’m happy to be accepted for a three month guest residency at the Rijksakademie van beeldende kunsten Amsterdam to develop new work during February-April 2017.
‘Zile tests these components of identity against the realities and outcomes of the most efficient methods of mass communication available to the artist, and others, today. They converge with overbearing entertainment, unfixed place, the separation of bodies in social contact, heightened demands for personal expression and enraptured capitalism. In Zile’s practice, corporeal realities, philosophical consideration and intimate expressions of love and loss flick at the force of digital mass. The artist undermines fantasies of fulfilment through boundless media and technological output, consumption and connectivity, conceding meaning to the bent tread and vulnerable closeness of the hungry human body.’
Digital Communion Elise Routledge
UN.magazine article issue 10.2, Melbourne 2016
Full article online at:
Everyday Machines #1
Sunday October 16 2016
Alaska Projects [William St], performances from 6:30pm
73-75 William St Darlinghurst
Alaska Projects in collaboration with Tom Smith presents Everyday Machines. This performance series brings together artists exploring the tyranny and poetics of everyday machines through performance.
GET TO WORK
Performance of identity. Mental collapse. Marketing move. Within the YouTube monologue of ex-Social Media star Essena O’Neill we hear an earnest call to arms to defend reality and remove oneself from the fracturing of the self as enabled by social media. Emile Zile uses this monologue (and subsequent call for donations) as a present day ‘everyman/everywoman’; Essena’s yearning for authenticity is our yearning for a life removed from pretence, consumption and image-management. Yet all is not what it seems and through an intertextual performative commentary on the monologue Zile descends into the Egoic hall of mirrors that we navigate online.
Jannah Quill will perform several text to speech translations simultaneously, and feed the resulting audio through pitch correction software. Jannah’s performance attempts to correct the uncorrectable, to extract the musical from randomised language, and to generate the new from the digitally banal.
Tè will perform their recent work 100_PERCENT_HITS. 100_PERCENT_HITS continues an investigation into the form and the production of the ‘pop song.’ The idea of the ‘radio-ready’ track—increasingly defined by standardised production, duration and audio quality—is here further condensed, examining what traces remain in the re-contextualisation of musical forms. 100_PERCENT_HITS is a performance that explores the generic—both as a standard and a site for the production of novelty.
GET TO WORK
In their new work ‘Racey Texts’ Get to Work explore texting and sexting as modes of communication that result in intimate/impersonal experiences. The work further explores how cultural identity is represented through ringtones, emojis and phone paraphernalia.
Image credit: Ikea Roof Terrace detail, Joe Hamilton 2014
Experimenta Social is a series of talks, discussions and demos to provide proximity to some of Australia’s most adventurous contemporary artists, researchers and creative technologists.
This artist led series is curated and hosted by Emile Zile in collaboration with Experimenta and explores practices at the nexus of Art and technology, science, culture and design. You will hear from artists sharing their latest projects and researchers presenting projects that grapple with the concerns of our time. Beyond inconsequential debates over the role of Media Arts in a post-media world, Experimenta Social will combine activated audiences drawn from contemporary art, social research, electronic art and non-professional spheres for lively debate and discussion.
Experimenta Social will take place every second Wednesday from mid-August 2016:
17th and 31st August, 14th and 28th September, 12th and 26th October
ACMI X Studio, Level 4, 2 Kavanagh Street, Southbank, VIC 3006.
Session 6: Australiana, The Mongrel and Amnesia
For the last Experimenta Social in this series we invite Philip Brophy and Eugenia Lim to reflect on Australian identity, place and belonging. Using pop cultural forms as a lens to view Australian society, both Eugenia and Philip uncover latent meanings and interpretations through their video works, writing and installation. Expanding on his AFTRS Classics of Australian Cinema book that uses Priscilla Queen of the Desert as a map of Australian identity, Philip Brophy will deliver an expanded illustrated version of this book.
Philip Brophy After a series of experimental mixed-media works exhibited in art and non-art contexts over many years, Philip Brophy has consolidated his interests to produce a range of audiovisual works focussing on his key interests in pop, sex and music. Brophy continues to lecture and present on film sound and music internationally, specializing in horror, sex & exploitation, film sound & music and Japanese animation. He is widely published in all three areas, and his book 100 MODERN SOUNDTRACKS has been translated and published in Japan.
Eugenia Lim is an Australian artist who works across video, performance and installation. Interested in how nationalism and stereotypes are formed, Lim invents personas to explore the tensions of an individual within society: alienation and belonging in a globalised world.
Session 5: WORDS
Holly Childs and Christopher LG Hill deal with words, words as objects, words as recombinative forms. The internet and the street have conflicting voices, a sense of lawlessness, a place for infinite recombination and juxtaposition. Both these artists reflect the autonomous zones of the club, the artist-run initiative and the street in their writings, performances and installations. We are proud to invite Holly Childs and Christopher LG Hill to reflect on the impact of writing over networks, language as power, the power of networked speech at Experimenta Social 5.
Holly Childs is a writer and editor. Her work explores the use of digital networks in contemporary culture. Recent presentations of her work include: as art writer within Adam Linder’s choreographic service Some Proximity at MCA, Biennale of Sydney (2016); Danklands [Swamped in 3 voices] for Capitalist Surrealism curated by Liquid Architecture at NGV, Melbourne (2015) and as curator of both Quake II, Arcadia Missa, London (2014) and waterfalls.biz at Slopes, Melbourne (2014). She is the author of two books: Danklands, published by Arcadia Missa and No Limit, published by Hologram, Melbourne. She was an Associate Producer at Next Wave 2015-16, and founding editor of Next Wave’s online publication Worm Hole. In 2016-18 she is a Gertrude Contemporary studio holder.
Christopher LG Hill __________laces on shoes then some words biodegradable people of such in places hard ruptures some other words including Christopher L G Hill an artist untitled poet unknown everythings anarchist Y3K ignorant teacher porpoise torture bunyip trax collaborator friend facilitator curator lover anti
power dexta daps falling words scrolling noise wall gardener monochrome co-label boss walking sips a homebody mirriad dancer plate and platter considerate participator dishwasher wind and sounds from the currawong graffiti bencher fine food
eater exhibitions tweeter @clghill moorhenrafft fog fatiguée dj cognitive labour/gunic slack conversation comas or spittle independent representing our self and others born melbourne 1980c.e lives World new tab and window shopper expel binary
dialog dispersed library open doors
Session 4: AUTHORSHIP, THE NON-EXPERT AND SOCIAL ART
In the fourth Experimenta Social session we dive into working with community in the creation of artwork. What is the potential of working with non-artists in large-scale community work? Where are the fault lines between stakeholders, funding organisations, venues and audiences? Are distinctions between expert, artist and non-artist valid? What are the ethics of participation in the realm of the non-expert? How are new approaches to social practice being defined by leading practitioners in the field? We are proud to present the work of two independent Australian artists who also have elaborate and sustained engagement with the non-artist, James Hullick and Lara Thoms.
Lara Thoms recently received a two year Creative Australia Fellowship to explore site-specific and participatory possibilities in contemporary art. Lara was commissioned to create a large scale public work Ultimate Vision: Monuments to Us as part of the Museum of Contemporary Art’s C3WEST program, a publication of the same title was released by the MCA in 2014. Other works include ‘Exposition’ for the Melbourne Art Fair with Jason Maling, ‘The Experts Project’, (2011- 2013) where she spoke with 150 ‘unofficial experts’ as part of Local Positioning Systems at the MCA, and the ‘Funeral Party’ (2016), working with a funeral director to create an art event for Dark Mofo.
James Hullick is a composer, community arts worker, sound artist and producer. His projects have been presented internationally for a variety of ensembles and electronic formats. Innovative sonic terrains that James continues to work through include: recursive compositional techniques, perceptual music making, real time scores, sound making machines and community arts projects. In 2011 James founded The Click Clack Project, an organisation that combines community sonic artists with professional sonic artists. James recently completed a three-year Postdoctoral Fellowship at the University of Melbourne. He was awarded an Australia Council Fellowship (2015) and received the Michael Kieran Harvey Piano Scholarship (2015-16).
Session 3: ACCELERATION, LEGISLATION AND KNOWLEDGE-SHARING
The acceleration of networked communication has led to a proliferation of platforms for distribution and dissemination of knowledge. How do the disruptive efficiencies of digital distribution play against hundreds of years of copyright legislation that has known authorship and publishing in a very narrow channel? Where do the cracks in appear when a digital platform leverages it’s speed and efficiency against the monoliths of cultural gate-keeping? We are very happy to host Sean Dockray in the upcoming Experiementa Social to present alternative platforms for knowledge dissemination including aaaarg.org and The Public School.
Sean Dockray is a Melbourne-based artist, a founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of autonomous knowledge-sharing platforms The Public School and aaaarg.org. With a focus on social systems, time, and impermanence, Dockray’s practice often emphasizes an active, critical engagement with technology. As a recent research fellow the Post-Media Lab at Leuphana University, he explored the physical infrastructure of the sharing economy, focusing on Facebook’s new northern European datacenter. His written essays address topics such as online education (Frieze), the militarization of universities (in Contestations: Learning from Critical Experiments in Education), property within “the cloud” (in Undoing Property), book scanning (Fillip), traffic control (Cabinet), and radio (Volume). Between a BSE in Civil Engineering and Architecture from Princeton University and an MFA from UCLA (Design|Media Arts), Dockray worked for Plumb Design in New York and consulted for a variety of cultural producers including Laura Kurgan Architecture, the Center for Land Use Interpretation, the Not a Cornfield public artwork, and the Milosevic trial video archive.
Session 2: DRAMATURGY OF NEW MEDIA
Uniting dramatic energy and new media technologies is not a new challenge. Artists have consistently explored the overlap of technology and drama. From Italian Futurists privileging the new sounds of 1910s new media, namely the car and the machine gun, to 1960s developments around democratised broadcast technologies and the opening of video art to the body as exemplified by Nam-June Paik and Charles Atlas. Working at the intersections of performance, installation and new technology Martyn Coutts and Matthew Sleeth will unpack their elaborate individual practices and delve into what rehearsal decisions make technology invisible, how do technical advances drive creative decision making and what is the potential for media art on stage.
Matthew Sleeth is an Australian artist living and working between Melbourne and New York City. His conceptually driven practice uses a range of media, including sculpture, photography, video and public installation. In 2015 Sleeth directed A Drone Opera which featured unmanned aerial vehicles in an experimental multimedia performance featuring
drones, their pilots and opera singers, combined with a new sound score, laser light design and moving image. A Drone Opera also featured collaborators Kate Richards, Robin Fox, Phil Samartzis, Susan Frykberg.
Martyn Coutts is an Australian interdisciplinary artist concerned with ideas of the live, the interactive and the mediated body. His work has been shown in theatres, online, public space and galleries throughout Australia and the Asia Pacific. His works include Operation, Computer Boy and I Think I Can with Blood Policy, the Wayfarer series of works with Kate Richards, Thrashing Without Looking with Aphids, Visible City (the keynote project of the 2010 Melbourne Fringe) and SAC35 for Salamanca Arts Centre.
Session 1: MAPPING AND TRACKING GLOBAL SYSTEMS
Citt Williams is currently a PhD candidate at Digital Ethnography Research Centre RMIT and is researching large-scale mapping of global systems such as climate change, animal migration and ecosystem modification. With a background in filmmaking, policy development and environmental science she has developed and shot independent documentaries in India, Nepal, Tajikistan, Siberia, Japan, Papua New Guinea, France, Borneo and Australia. From 2003-2005, Citt was the Executive Producer at the Central Australian Aboriginal Media Association.
Joe Hamilton is a Melbourne-based artist working at the intersections of big data, global imaging and Capitalist Realism. Hamilton is part of a new movement of post-photographic artists that have less use for a camera than a database. Sourcing raw material from stock photography, open source mapping data and a 3D scanning techniques, Hamilton’s work uncovers a sense of contemporary visuality that privileges machine processing over the lens’ humanist inheritance.
This is a free event.
This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx
Memory Machine II – A series of exhibitions, debates, performances & publications on cultural memory & identity, initiated by Castrum Peregrini Amsterdam.
Exhibition & public program
Things to Remember
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27 February – 25 March
With works by Mehraneh Atashi, Dayna Casey, Amie Dicke, Nickel van Duijvenboden, DNK Ensemble, Maria Guggenbichler with Margit de Sad, Romy A. More, Egbert Alejandro Martina and others, Jonas Lund, Antoine Viviani, Emile Zile. Curated by Radna Rumping
How are digital media, endless storage space and new ways of communicating shaping the way we capture, share and retrieve our personal memories? The things we want to remember, do they still fit in a shoebox or are they floating around somewhere in ‘the cloud’ amongst the thousands of e-mails and images that our external memory can contain nowadays?
Saturday 27 February 2016, 16.00 – 17.30
Free entrance. A conversation with Amie Dicke, Simultaneous/Synchronous (Song) Performance DNK Ensemble (Koen Nutters & Seamus Cater), Performance Emile Zile
Mining the Cloud
A series of desktop documentaries
Thursday May 26, 7pm
81 Rupert St. Collingwood
Interval presents Mining the Cloud: a series of desktop documentaries by local and international artists.
Charting the multitude of the Internet through the desktop interface, these films and performances record the virtual as real, traversing landscapes that fall outside our visual circuits. From abandoned virtual realities to electronic dumping grounds of Ghana, this is the detritus of late capitalism in a time of rapid technological change.
The desktop documentary is an emerging practice drawing from the disciplines of ethnography, archaeology and contemporary art. Using desktop browsers as both lens and edit suite, these films and performances excavate artefacts from under the “cloud”. These artists respond to the human impulse to navigate, archive, interpret and ultimately control the world around us.
Lettres du Voyant by Louis Henderson (UK)
Lettres du Voyant is a documentary-fiction about spiritism and technology in contemporary Ghana that attempts to uncover some truths about a mysterious practice called “Sakawa” – internet scams mixed with voodoo magic. Tracing back the scammers’ stories to the times of Ghanaian independence, the film proposes Sakawa as a form of anti-neocolonial resistance.
All that is Solid by Louis Henderson (UK)
A technographic study of e-recycling and neo-colonial mining filmed in the Agbogbloshie electronic waste ground in Accra and illegal gold mines of Ghana. The video constructs a mise-en-abyme as critique in order to dispel the capitalist myth of the immateriality of new technology – thus revealing the mineral weight with which the Cloud is grounded to its earthly origins.
Utopia 1.0: Post Neo Futurist Capitalism in 3D! by Annie Berman (US)
A first-person expedition to Second Life, the once thriving virtual 3D online world, in search of what remains. Given the invitation to come build anything imaginable, what is it that we chose to create?
A performance by Emile Zile (AU)
Emile Zile’s performances use new-age healing apps, YouTube monologues and algorithmic portraiture to create audio-visual meditations on augmented spirituality and networked representations of the self.
Emile Zile solo show Desktops at Fort Delta Melbourne 5 November – 21 November 2015
Performance 21 November
For his exhibition Desktops at Fort Delta, Zile further explores our attraction to communications technology and their ability to translate and encode our lived experience through a series of assemblages, constructed from office furnishings and other objects related to white-collar labour, self-help eBooks and online gaming communities. Zile has created desktop assemblages – each desktop signifying the absence of an occupant. The desktops themselves appear isolated from domestic or workplace environments and exude their own atmospheric qualities. They simultaneously suspend and assume narratives intrinsic to their inhabitants for us to ponder in the same way we might suppose the identity of someone we communicate with online, where they are, and what it looks like.
Accompanying these 3D assemblages is a suite of digital prints Zile has produced for the exhibition. These works appear as computer screen captures, search term collages and algorithmic portraiture. They build narratives within and between disparate collections of images selected and composed by Zile. By making his source material visible to us on the immediate and live platform of his computer desktop, Zile also reveals the performative framework for online viewing and consumption as a highly selective and editable one, where image-poetics emerge through the creative transparency of the screen.
Zile’s interest in activating site-specific performativity is also explored in Desktops through his request to insert the Gallery’s office desk into his allocated exhibition space. By revealing a commonly private and ancillary zone to us as a juxtaposed physical situation, ZIle allows for gallery administration and commerce to activate and inform his exhibition in real time – enabling a playing-out of site-specific performance politics to coalesce as real and represented exhibition content.
Mildura Biennale listening project 2-5 October 2015
Linked by a pair of ear bud headphones, a couple sit before the camera. I ask them to each select a piece of music, that they are emotionally linked to. They then listen to the music together, one ear each, linked via the extended earbud. I begin the camera rolling and leave the room, telling them to listen to both songs and be seated in front of the camera. The amount of body language they express to the camera is up to them.
James Cameron’s Avatar feature length performance September 19 2015
In the Epoch of the Near and Far invites contemporary audiences to reframe discussions on digital media. Flipping the much talked-about suggestion that emerging technological forms distort reality on it’s head, the exhibition proposes a relationship which sees our physical and digital lives mutually support and influence each other. Comprising the work of six Australian and international digital and performance artists, In the Epoch of the Near and Far is running as part of the Channels Festival for Australian video art.
The exhibition opens September 19 with a performance from Emile Zile, the Australian born Netherlands based artist whose work is informed by his own navigation of a technologically mediated reality. Featured artist Keith Deverell will also run an Artist in Conversation session on September 24 alongside art historian Dr. Grace McQuilten and exhibition curator Amelia Winata.
In the Epoch of the Near and Far runs from the 18-27 of September at Grey Gardens Projects in Fitzroy and features work from:
Petra Cortright (USA)
Heath Franco (AUS)
Marian Tubbs (AUS)
Emile Zile (AUS/NL)
Keith Deverell (UK/AUS)
Aaron Christopher Rees (AUS)