The artists Sarah Burger and Ceel Mogami de Haas are initiating an audio exhibition in relation to their ongoing project Tu’i Malila based on their common interest in the film Blade Runner by Ridley Scott (1982). For the occasion of this procuration at the Médiathèque they relate their research to the polymorphic work of Chris Marker as it is collected in the Fonds Christophe Chazalon at FMAC and invite eight artists to question, redistribute, and interpret it. The exhibition is introduced by Terence Broad’s video work Blade Runner – Autoencoded
Sarah Burger, Matthias Gabi, Ana María Gómez Lopez, Alexis Guillier & Méryll Ampe, Arvo Leo, Ceel Mogami de Haas & Mathieu Arbez-Hermoso, Lena Maria Thüring, Emile Zile
With the support of
Ernst und Olga Gubler-Hablützel Stiftung, Fondation Leenards, ProHelvetia, Fondation suisse pour la culture
Fonds d’art contemporain de la Ville de Genève (FMAC)
Rue des Bains 34
Ouverture du mardi au samedi de 11h à 18h, ou sur rendez-vous
Ouvert pendant les fêtes du 26 au 30 décembre 2017
T +41 22 418 45 40
Join Emile Zile and Philip Brophy for a conversational and unmoderated exchange as they select, screen and discuss each other’s video work. Both artists move horizontally between visual art, filmmaking and performance, working beyond the confines of strict categorisation. Their methods and tools are post-cinematic: scavenging and re-presenting the moving image material that surrounds them.
11 September 2017, 6.30pm
Free entry, bookings requested
Australian Centre for the Moving Image, Federation Square Melbourne
Diego Ramirez on Another Space groupshow Dumb Brunette blog 20 July 2017
Speaking of gestures, Emile Zile performed a live reading with a video component on the closing night of Another Space at Testing Grounds. This performance featured the artist standing up and reading from a laptop as he projected his image with enlarged eyes on the wall behind him. Like a Skype video conference, the audience could see Zile’s alien reflection in conversation with an overbearingly utopian background that resembled a Mac desktop stock image. His reading was ironically aligned with a post-4k rhetoric, seemingly welcoming us to a future that already seems dated. As Emile Zile’s performance unraveled, flashbacks of Zile’s past works came to mind: particularly the logo miming in Five Production Company Logos in 3d (2010), where he pantomimed a succession of hyperbolic logos, and his equally idiosyncratic performance OMG_sisyphus (2011-13) – in which he treated a heavy stone like his laptop in a ritual of futile dis-connectivity. The artist’s hands now seemed forced to stay still, carrying the weight of an actual laptop that kept him from gesticulating his words. Suddenly, Emile Zile’s proclamations made me aware of my sore back, strained computer vision and the IRL social anxiety that comes after my ‘sassy’ tweets. Indeed, the bodily effects of banal technologies, like the snapchat filter on Zile’s face, became manifest.
Melissa Loughnan’s new book ‘Australiana to Zeitgeist: an A to Z of Australian Contemporary Art’ is now available in stores, published by Thames and Hudson.
I’m contained within V for Video but equally happy with S for Spam Filter, N for Networked Performance, P for Pathos of Social Media or C for Caveman Home Cinema.
Within the framework of the exhibition “Liquid Cooled: new works by Emile Zile”, LIMA organises a public screening and discussion night. The artist Emile Zile and art historian and critic Sven Lütticken will talk about Zile’s work within the context of the LIMA Collection – ranging from early gems from the seventies (Douglas Davis, Dan Graham) to Zile’s current body of work. Performance on television, social media and the performativity of the mass media will be recurrent themes.
Entrance: € 7,50 / 5,-
Free entrance with: Cineville pass
Arie Biemondstraat 111
1054 PD Amsterdam
+31(0)20 389 20 30
This programme is part of the exhibition Liquid Cooled: new works by Emile Zile
LIMA is proud to present its first exhibition of new works by the Australian artist Emile Zile. Liquid Cooled will present prints, video works and a performance by the artist who currently has a residency at the Rijksakademie voor Beeldende Kunsten.
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.
Thursday 15 September 2016 5pm
RMIT Design Hub, Level 3