Emile Zile leads a collaborative workshop on (mis)using the internet for the purpose of art/lulz. Through a range of participatory exercises Zile will demonstrate techniques to detourn everyday social media and search engines in dynamic performative ways that offer new perspectives on these ready-to-hand tools.
#cavemanVJ #expandedhomecinema #officeworksavantgarde #postitnotebrut
With his history of performances that engage with popular culture and consumer technology Emile Zile recently premiered OMG_Sisyphus. The Greek mythology of Sisyphus, a tale of burden and absurdity, is used as a prop on which to enact a contemporary performance situation: being on YouTube. The performance happens in the midst of laptops, amplifiers, digital cameras, projectors and a heavy looking stone that the artist carries in from outside. In recent performances of OMG_Sisyphus at (Open Archive Melbourne, 30 November 2011, Palais Paradiso Amsterdam 16 February 2012) Zile enacts a humorously calculated switch. In his treatment we begin to understand that the laptop/webcam is now a rock, or vice versa. Its physical presence, weight, and texture become entwined in a passage of worship, as the ubiquitous Apple product is now something more equivalent to a Chinese scholar stone (Gongshi). Throughout the whole performance it is as if through some application of post-production what we should be seeing as a computer (the adored gateway to online audiences) is now a small volcanic boulder. Simultaneous slips between live action and published content begin, as Zile sits staring at the rock we imagine him staring at his computer, alone in a room while addressing an imagined YouTube audience. In doing so the actual live audience sitting in the gallery space is distanced, even denied.
At some points in the piece we are made to feel the joys of web 2.0 publishing, light relaxation muzak plays, we are all connected by technology. But the gallery space begins to fall out of step as the artist struggles against what appears to be self-doubt and loneliness. The rock remains motionless on a small table under lamplight. Is real life different to projected life? Maybe it used to be. Zile seems to suggest a new friction is built in this crossover rather than a seamless merger. Whilst various elements of the performance are online, the crux of this work hinges on being present live in the gallery space – where multiple facets of contemporary being are felt and fired simultaneously. As it happens we are pointed toward a space where states of alienation, corporation and intense connectivity collide into a state of indivisibility.
– Ry David Bradley, February 2012
Saturday October 4, 10am – 1pm.
Capacity is limited and bookings can be made through the MCA at http://www.mca.com.au/events/reschool-emile-zile-internet/
Cinedans: Dance on Film festival Amsterdam
SHORTS 8: Urban Film
Sunday 16 March
CINEMA 2, EYE Amsterdam
Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex creative landscape of Melbourne.
This ambitious and far-reaching exhibition across The Ian Potter Centre: NGV Australia and NGV International presents the various ways in which visual artists and creative practitioners profoundly contribute to the society in which we live, and to Melbourne as a city with a unique and dynamic cultural identity.
‘As part of our critical forum, Video Art in the Internet Era, we asked a series of artists, curators and video brains to send us “video letters” responding to the provocation of our critical forum: how can video artists orient themselves towards or against the complex backdrop of networked technology, smart phones and prosumers of our current world?
Riffing on the YouTube genre of “unboxing”, Emile Zile performed a “boxing” of some usurped analogue technology, the detritus of many a media artists studio.’
October 4, 17.00 – 19.00
Royal Academy of Art, Den Haag
Performance: Emile Zile
OMG_sisyphus and *best*RapidEssayNSFW!! by Amsterdam-based Australian artist, resident of the Rijksakademie. Live video essays with online and prepared video sources from YouTube, 24hour news streams, scientific trials, viral marketing blips, social software and monologues by .com-era cult leaders to weave an audiovisual portrait of contemporary culture and its acceleration of signs. With tutorials, self-portraiture, factory presets, the ecstasy of viewing and the sadness of YouTube.
Lecture Almila Akdag (UVA)
A theoretical view on the nature of (high/low) art and the art market, and its relation to online art communities. Almila Akdag, from the University of Amsterdam, has received a Veni awardfrom NWO to conduct her own research for 3 years. The project is a combination of the application of various scientific methodologies (mostly social network analysis and analysis of image archives). In this lecture she will talk about DeviantArt, an online community of artists and art appreciators, that plays a nowadays role of the Salon des Refuses. She will show the history of this initiative and highlight its social and organizational structure as well as its impact on the art education for the next generation of artists.
Christopher LG Hill‘s paper and usb publication Endless Lonely Planet, launching Friday May 4 at World Food Books Melbourne.
WORLD FOOD BOOKS The Nicholas Building, Studio 19, Level 337 Swanston Street, Melbourne 3000, Victoria, Australia
Endless Lonely Planet is a yearly periodical in print and data featuring Christopher L G Hill, Nicholas Mangan, Evergreen (Olivia Barrett and James Deutsher), Alex Vivian, Joshua Petherick, Kate Newby, Y3K, Review Swapper, Discipline, Bunyip Trax, Matthew Benjamin, S.T. Lore, Virginia Overell, Nicholas Selenitsch, Darren Banks, Elizabeth Newman, VDO, Theodore Whong, Oliver Van Der Lugt, Hessian Jailer, Jason Heller, Olle Holmberg, Justin K Fuller, Matthew Brown, Ardi Gunawan, Counterfeitness First, Emile Zile, Fictitious Sighs, Porpoise Torture, Bum Creek, Simon Denny… and others
Self published by contributors and Christopher L G Hill, and each copy coming with 4GB of data. A special launch price of $15 (AUD) will apply tomorrow night, it will then continue to be available for $20 (AUD) from World Food Books in store and online.