During Plague 2k20 *the big PAUSE* I have been having conversations with Melbourne-based artists, writers and creative operators about their responses to COVID-19 and what media they are consuming while under quarantine, lockdown, isolation and/or temporary hiatus… While our bodies are slowed and our antennas are raised I’ve tried to capture some of the social histories of CV-19.

Subscribe on all major podcast platforms [Apple, Spotify, Google, WWW, RSS]

https://pandemicplaylists.simplecast.com
pandemicplaylists@protomail.com

Sound by Carl Anderson, Graphic by Lauren Messina.
Pandemic Playlists is supported by the City of Melbourne Covid19 Quick Response Art Grants.

On March 21 2019 I was in Amsterdam to present my performances ‘I follow Yoko and Yoko Follows Me’ 2012 and ‘Audience / Performer / Lens (After Dan Graham)’ 2018 at Transformation Digital Art conference at LIMA Amsterdam. As it was a meeting of media archivists, museum workers, cultural shephards and technologists I spoke specifically around the idea of reinterpretation of historical performance art as a form of preservation, oral history and unrequited commentary. Alongside panelists Anne Marie Duguet (University Paris 1 Panthéon-Sorbonne), Adam Lockhart (University of Dundee) with moderation provided by Serena Cangiano (University of Applied Sciences and Arts of Southern Switzerland).

‘Wearing the Skin Suit: Interpretation and Reperformance of Historical Performance Art’
Transformation Digital Art 2019 LIMA media art platform.

Thanks to Gaby, Manique and all at LIMA. March 21 2019. Photos by Jose Miguel Biscaya.

Becoming The Icon development with Lilian Steiner at Artshouse North Melbourne, CultureLAB City of Melbourne.

Becoming The Icon is a new performance duet created and performed by Lilian Steiner and Emile Zile.

Through an exploration of gesture, two bodies explore political speech and the body as a conduit of thought, emotion and truth.

Concept/Performers: Lilian Steiner & Emile Zile

The first development of Becoming The Icon occurred in October 2018 with the support of the Arts House Culture Lab residency program (with financial support by City of Melbourne). The second stage development will take place in May 2019 at Arts House North Melbourne followed by a public presentation in 2020.

On Saturday 11 August I’ll be performing a version of Dan Graham’s
1975 work; Performer / Audience / Mirror.

A performer faces a seated audience. Behind the performer, covering the back wall (parallel to the frontal view of the seated audience), is a mirror reflecting the audience.

In late May I will be in Los Angeles for the Saas-Fee Summer Institute of Art at Otis College of Art and Design Los Angeles.

— Art and Politics in the Age of Cognitive Capitalism —

http://saasfeesummerinstituteofart.com

Saas-Fee Summer Institute of Art (SFSIA) is a nomadic, intensive summer academy with shifting programs in contemporary critical theory academy that originated in Saas Fee, Switzerland in 2015 and moved to Berlin in 2016. SFSIA stresses an interdisciplinary approach to understanding the relationship between art and politics. This year, in addition to the Berlin academy, we are hosted in Los Angeles by Otis College of Art and Design with participation of the MA Aesthetics and Politics in the School of Critical Studies at CalArts.

The academy was founded by fine artist and theorist Warren Neidich, is co-directed by art critic and poet Barry Schwabsky. Sarah Beadle is Director of Administration. It was conceived in 2014 as part of an ongoing effort to engage contemporary artists in political, socio-economic, philosophical and historical discourses concerning the power of art. Importantly it realizes that art plays both a generative and emancipatory role in producing theory while at the same time being aware of Neoliberal capitalism’s recuperative prowess.

The program runs two weeks and is structured with half-day seminars, deep readings, and workshops. In the evening SFSIA holds a lecture series, which is open to the public.

Faculty
Alva Noë, Andrew Culp, Arne De Boever, Barry Schwabsky, Candice Lin, Ed Finn, Eleanor Kaufman, Florencia Portocarrero, Graham Harman, Jason Smith, Jennifer Teets, Johanna Drucker, John C. Welchman, Juli Carson, Kenneth Reinhard, Mary Kelly, N. Katherine Hayles, Nima Bassiri, Renee Petropoulos, Reza Negarestani, Sanford Kwinter, Suparna Choudhury, Warren Neidich.

I’m pleased to announce in February I will be embarking on PhD study at the Digital Ethnography Research Centre (DERC), Royal Melbourne Institute of Technology, Australia.

A 3.5 year practice-based research period to study lens-based performance on video sharing networks, gesture and interface online and the influence of algorithmic cultures on the social body.

The support offered by a Design and Creative Practice ECP scholarship for the duration of the study will greatly support my practical outcomes, including new performance work, large-scale film making projects and exhibitions.

My research blog camerashy.video is now online and serves as a public platform for outcomes related to the PhD.

DERC focuses on understanding a contemporary world where digital and mobile technologies are increasingly inextricable from the environments and relationships in which everyday life plays out.

DERC excels in both academic scholarship and in our applied work with external partners from industry and other sectors.

DERC approaches this world and how we experience it through innovative, reflexive and ethical ethnographic approaches, developed through anthropology, media and cultural studies, design, arts and documentary practice and games research.

Our research is incisive, interventional and internationally leading. Going beyond the call of pure academia we combine academic scholarship with applied practice to produce research, analysis and dissemination projects that are innovative and based on ethnographic insights.

DERC partners and collaborates with a range of institutions in Australia and globally, including other universities, companies and other organisations. This includes collaborative research projects, conferences, symposia and workshops, and international visits, fellowships and publications.

The Digital Ethnography Research Centre (DERC) was established in December 2012 by Larissa Hjorth and Heather Horst with the aim of consolidating and further developing RMIT’s strength in international digital innovation. The Centre is now Directed by Sarah Pink who will be taking it into its second stage of development from 2016.

DERC members are aligned into Labs to represent their research interests, DERC Labs include:

Data Ethnographies Lab
Design+Ethnography+Futures (D+E+F) Lab
Bio Inspired Digital Sensing-Lab (BIDS-Lab)
Digital Transformations Lab
Visual Impact
Migration and Digital Media Lab

Diego Ramirez on Another Space groupshow Dumb Brunette blog 20 July 2017
http://www.dumb-brunette.com/another-space

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.

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
Language: English

LIMA
Arie Biemondstraat 111
1054 PD Amsterdam
The Netherlands
+31(0)20 389 20 30
http://www.li-ma.nl

https://www.facebook.com/events/356797314716082

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.

Thursday 15 September 2016 5pm
RMIT Design Hub, Level 3