http://youtu.be/3TqB2iGr7Zo

Subtitle Kino (Färgfabriken)
August 18-19 2012
http://fargfabriken.se/en/right-now/item/613-south-söder

Across one weekend in August, Australian contemporary art initiative BUS Projects will collaborate with Färgfabriken to present an international mobile cinema and contemporary art performance space. Making use of a parked van converted into a mobile event space, SOUTH/SÖDER is curated by Jared Davis and will present a new performative, video and sound-based work in the public site of Liljeholmstorget.

This project draws from an ongoing series of mobile contemporary art and performance events initiated by BUS Projects, that have seen works presented in public sites in Melbourne (State of Design Festival, 2011), Athens (ReMap3, 2011) and Sydney (SafARI, 2012).

‘the handwriting each one of us will use to compose his own list of ‘things
that quicken the heart,’ to offer, or to erase’

– Sans Soleil 1983

https://youtube.com/watch?v=0OhGY66y3w4

http://www.fargfabriken.se

August 18-19, 2012

Across one weekend in August, Australian contemporary art initiative BUS Projects will collaborate with Färgfabriken to present an international mobile cinema and contemporary art performance space. Making use of a parked van converted into a mobile event space, SOUTH/SÖDER is curated by Jared Davis and will present a new performative, video and sound-based work in the public site of Liljeholmstorget.

This project draws from an ongoing series of mobile contemporary art and performance events initiated by BUS Projects, that have seen works presented in public sites in Melbourne (State of Design Festival, 2011), Athens (ReMap3, 2011) and Sydney (SafARI, 2012).

For SOUTH/SÖDER, Australian-Latvian artist Emile Zile will exhibit for the first time in Sweden, continuing his work in the area of cinema as a social space, media archeology and live expanded cinema. Zile will present a new cinema-based audiovisual performance that will use three versions of the King Kong story (1933, 1976, 2005) to create a compressed re-telling of this famed cinematic narrative. Extracting separate subtitle tracks from the three feature films and recombining them within one frame, this is a formal observation of the mutations and re-animations of the same storyline in different epochs. The soundtracks of the three films will be mixed live by the artist during the performance. Zile will make use of the Swedish subtitle tracks of the films.

Photo credit: Åke E.son Lindman

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.

Bill Drummond of the KLF / Timelords / K Foundation was in Amsterdam as guest of the Art Reserve Bank, an alternate currency project based in the Amsterdam Zuidas financial district.

We were The 17, a vocal project that has no audience only participants. A human ring around the financial district where one person after another would scream the word MONEY.

Waiting for the scream to come around, you are left thinking about the pre-crisis office architecture surrounding you, the consensual hallucination that art and banking is, the power of the voice and the trust involved in such a performance. When the scream comes to you it is more of a football chant or rural command, not singing, not melodious. As it passes it feels like the unity of a dance party, solitary individuals united by a moment. The energy of communal experience, a line that passes through acid house, singing in taverns, mosh pits, sport chanting and choirs. The voice – the very first thing and the very last thing.

The White Room was the first ‘grown up’ album I bought. The mythic qualities of the KLF seduced me. Masked pop stars. Sample heavy production. Symbolism and shadow. Read Drummond’s book 45. It’s a self-help text for me, in the same hallowed territory as my viewing of Tarkovsky’s Stalker every six months. Two weeks ago I came across a plastic-wrapped copy of 45 at a small departure lounge shop in Sandakan airport Malaysian Borneo. Sitting amongst Malay fashion and beauty magazines, looking solitary and bemused, it was some kind of omen. I made a photograph of it and took it with me to Amsterdam.

The Black Swan curatorial collective (De Appel Curatorial Programme 2011/2012) is proud to announce Three Artists Walk into a Bar…, a series of works and interventions that take place outside of the premises of the exhibition space, channelled through the website: www.threeartistswalkintoabar.com and framed by public Saturday events at de Appel Boys’ School.

Using the disruptive quality of humour to test the critical potentials of art for the analysis of social, political and cultural issues, this exhibition aims to build a community of peers who speak from and to the challenges of the present time. The commitment to humour stems from a belief in its inherently social capacity to bring subversive voices and unexpected perspectives to mainstream awareness.

My intervention/action will be recorded and uploaded to YouTube.

http://www.threeartistswalkintoabar.com

Camera: Ian Elson
Edit: Emile Zile

https://youtube.com/watch?v=c3b4s1JkYaM