Philip Brophy
Screenic: Politicised Writings on Being Screened
290 pages, softcover, 110 × 180 mm
Edition of 700
ISBN 978-1-7635372-1-7
http://www.discipline.net.au

Discipline is pleased to announce its latest title, Screenic: Politicised Writings on Being Screened—an anthology of Philip Brophy’s writing on art over the last twenty-five years. The focus of the selection is on art that involves screens: projected as film in museums, digitised for installations in galleries, curated as documents within exhibitions, presented as outdoor illuminations on buildings, utilised for the production of VR and AI-generated content, and even wall murals derived from televisual screens. The driver for the writing of these articles is an interest in media literacy within fine art contexts. Together, the articles reinforce the view that ongoing changes taking place in the mediascape over the last two decades create challenges for artists, producers, curators, viewers, and critics—sometimes resulting in a rejuvenation of how media art can be imagined and presented, other times evidencing an anaemic grasp of the contemporary mediascape that whorls outside the white cube.

Screenic has been designed by James Vinciguerra and Duncan Blachford, and printed in Narrm/Melbourne by Documents on Call. It features a preface by Helen Hughes, an introduction by Emile Zile, and has been edited by Olga Bennett.

BAITHOUSE – Henry Lai-Pyne, Emile Zile, Audrey Pfister, Liam Wolfs, Babs Rapeport

https://www.acmi.net.au/whats-on/acmi-rmit-audience-lab/march-expo-2024/

BAITHOUSE is a 3D animated motion-capture livestream talk show. Using live motion capture, physical performance and animation, guests and hosts will be presented in a constructed digital world and in conversation with one another. As an expanded form of hybrid public programming, performance and critical discourse BAITHOUSE is a new digital and artistic platform that will host hyper-threaded conversations around networked technologies, contemporary aesthetics and new media. Accessible to view online and presented as a hybrid live event for local audiences BAITHOUSE invites guest artists, writers, academics, and designers from across Australia to engage in Q&As and discussion around swamp technology, digital life, and internet (sub-)cultures.

Session times: 11.30am, 1pm & 2.30pm
ACMI Fed Square 16/03/24

ACMI Gallery 5 – We Are As Gods
We Are as Gods explores the informal, spontaneous commentary that accompanies cooperative videogame streaming. Through a series of portraits of gamers in the act of live streaming, we hear dialogue that is simultaneously directed at the players themselves, at a remote audience, at a rival player of the game and at anonymous third parties. Using longform recording, stream of consciousness rants and animation, We Are As Gods seeks to find the human in the network, the flesh in the data packet.

Work commissioned through Gallery 5 will enter the ACMI collection.

Many thanks to Senior Curator Fiona Trigg for her focus and patience and Jini Maxwell, Isabella Hone-Saunders at Australian Centre for the Moving Image, Visual FX don Henry Lai-Pyne for being the best in the game, Web maestro Simon Lofler for the clickable NPC streaming interactivity, Flood Slicer for the green screen studio and all Mountain Dew drinkers out there preparing to raid.

Showing now online at ACMI; https://www.acmi.net.au/whats-on/emile-zile-we-are-as-gods/

I’m undertaking a Test Sites opportunity in October/November, supported by City of Melbourne. Generous support to test a public art idea and work with concepts of public space, private space, emotional engagement on the street, commercial and non-commercial interaction.

​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​The Test Sites program helps local artists test and develop their temporary public art ideas by providing practical advice, funding and support to work creatively in public space. The program increases local artists’ capability and confidence to work in the public realm through creative and professional development, support and mentoring, while engaging with the city, its sites and infrastructures as a place for creative expression.

https://www.melbourne.vic.gov.au/arts-and-culture/art-outdoors/public-art-melbourne/test-sites/Pages/test-sites.aspx

View this post on Instagram

A post shared by Public Art Melbourne (@publicartmelbourne)

LI-MA Presents: digital trees and talking machines
Saturday, 24 June, 2023 QUAI10 in Charleroi, Belgium
Programme: 20:30
Entrance: €6

https://www.li-ma.nl/lima/news/li-ma-presents-digital-trees-and-talking-machines-0

LI-MA has had the honor to curate a digital art program taking place at arts center Quai10 in Charleroi during the festival Canaux, Pays-Bas x Pays-Noir.

Thanks to communication technologies working at the speed of light, we are everywhere, all the time. We are in constant contact with each other, but what does that mean, and what are the consequences? In this video screening programme, artists ask themselves and us how we are connected to each other and the surrounding landscape in technological times. Curator Sanneke Huisman selected six video works made between 1970 and now, which are each from the LI-MA collection. Together they show a broad palette of new relationships between people, landscape and technology through the lens of video art. A colorful procession of analogy tricks and digital techniques breaks through existing boundaries of the natural and the artificial. Find yourself surprised by early experiments with the video camera, get lost in a dilapidated digitized primeval forest and become familiar with the strangest AI creations. With works by Steina, Broersen & Lukács and Emile Zile, and more!

This event is made possible with the support of ‘Embassy of the Kingdom of the Netherlands in Belgium’.

4500 lumens
Emile Zile

Continuing with his ongoing interest in light as a carrier of information, be it the projected image, shadow play or expanded cinema performance, Emile Zile presents a new performance in the Gothic and Medieval galleries of NGV International for Triennial EXTRA. Referencing the scientific measurement of light and the once-new technology of the candle as a participant in the development of the Western artistic tradition, his new performance takes place in a subdued, dark environment surrounded by five hundred year old devotional wood carvings.

Emile Zile is an artist, filmmaker and performer. Utilising a darkly comical re-use of media broadcasts, communication protocols and online platforms, his work reflects a distributed humanity, a yearning for transcendence and the limits of language. Emile Zile is a PhD candidate at Digital Ethnography Research Centre RMIT and is profiled in ‘Australiana to Zeitgeist: an A to Z of Australian Contemporary Art’ 2017 Thames & Hudson and ‘Companion to Mobile Media Art’ 2020 Routledge.

Jan 29, Feb 3, 6, 8, 10, 12
8:00 – 8:20pm
Gallery 13 Level 1

Becoming The Icon is a film in which the language of power manifests in familiar yet uncanny ways. Echoing the rhythms of political speech and gesture, artists Lilian Steiner and Emile Zile reveal the ways in which truth and conviction are more than abstract concepts, instead finding surprising roots in our embodied experience.

As debate and propaganda, intimidation and manipulation are all played out through posture, stance and gesture, the secret vocabulary of power is made apparent.

Both intimate and distanced, Becoming The Icon invites you into a seductive realm with a hidden agenda.

Becoming The Icon is the feature project of BLEED between 17 August – 30 August. New works and content will be going live throughout the feature dates.

http://www.bleedonline.net

https://www.li-ma.nl/lima/news/unfold-audienceperformermirror

On the 15th of January 2020 LIMA invites Keren Cytter, Jan Robert Leegte and Emile Zile to present their version of Dan Graham’s performance and video work Audience/Performer/Mirror. Reinterpretations by Adad Hannah, Ian Forsyth & Jane Pollard, and Judith Hopf will be exhibited as well.The works together show the possibilities of reinterpretation and give an artistic anthology, and criticism, of the work of Graham. Gabriella Giannachi (researcher & professor of Performance and New Media at the University of Exeter), Annet Dekker (curator & researcher, assistant Professor of Media Studies University of Amsterdam) and Willem van Weelden (curator & researcher, tutor media theory Gerrit Rietveld Academie,) will reflect upon reinterpretation as both an artistic as preservation strategy. Moderated by art historian & dramaturgist Suzanne Sanders.

New light on iconic work
LIMA presents a new edition of UNFOLD, focusing on reinterpretation and Dan Graham’s iconic work Audience/Performer/Mirror, 1977, De Appel, Amsterdam. During this performance, Graham describes his own actions and the reaction of the audience. The work is questioning who or what motivates who to act and respond and is a reflection on time and direct feedback. All of this happens largely through language: Graham’s flow of words is unceasing, and betrays his background in stand-up comedy. The gaze of the camera, in addition to that of Graham and the mirror, plays an important role in this. The work is effective and layered in all its simplicity and has become an iconic work. The analogy that Graham uses in the work, both at the level of technology and that of language and physicality, has invited many artists to make a homage or a new version of the work. What does Audience / Performer / Mirror stand for today? How is the work experienced; which part of the work is still relevant, what needs to be ‘updated’? LIMA invites Jan Robert Leegte and Emile Zile to translate the work to contemporary time and its digital techniques. Keren Cytter is invited to present her subtle feminist critique on the work. UNFOLD: Audience/Performer/Mirror offers the opportunity to think about reinterpretation and provides insight into both their working methods and the lasting (attraction) power of Dan Graham’s work. This core may be somewhere else for every artist, and each new work will highlight a different aspect of the ‘original’.

About UNFOLD
Reinterpretation is a core concept in music, dance and theater. Every re-performance is a translation into a new, often contemporary, context. Re-performing a work based on documentation, a script, memory or score is an essential part of artistic practice. For complex works in the field of media art and digital art, this is not common, but just as urgent. Reinterpretation of media art can contribute to the preservation and better understanding of the work. Since 2016, LIMA has put reinterpretation on the map as an artistic and conservation strategy. In the interdisciplinary and international UNFOLD project contextualizing, documenting, analyzing, understanding, embodiment and transferring digital culture are central. Relevant questions are: What is the core and production method of a work? Which techniques are used in which context? How do we translate this artistic legacy, practice and knowledge to the next generation? How do reflect and learn from different interdisciplinary practises?

Programme
5 pm Doors open
5.30 – 6.15 pm Presentation Rietveld Students (*free entrance)
6.30 pm Opening exhibition (in collaboration with De Appel): Dan Graham’s iconic work and documentation material of Audience/Performer/Mirror, 1977 De Appel, Amsterdam. Reinterpretations by Adad Hannah, Performer Audience Remake, 2008; Ian Forsyth & Jane Pollard, Audience Performer Fuck Off, 2009, Judith Hopf, What Do You Look Like / A Crypto Demonic Mystery, 2006. (*free entrance)
6.30 – 9 pm Performances Keren Cytter (Performer/Audience/Mirror, 2012), Miron Galić reenacting Cursor, 2016 in Jan Robert Leegte’s Mirror (2020) and Emile Zile (Performer/Audience/Lens, 2018) + artist talks followed by a panel discussion with: Gabriella Giannachi, Annet Dekker and Willem van Weelden moderated by Suzanne Sanders (*a ticket is required for this part of the program).

Event
UNFOLD: Audience/Performer/Mirror
With works and contributions by Dan Graham, Keren Cytter, Emile Zile, Jan Robert Leegte, Gabriella Giannachi, Annet Dekker, Willem van Weelden, Adad Hannah, Ian Forsyth & Jane Pollard, Judith Hopf and students from the Rietveld Academy.
Wednesday 15 January, 2020
5 pm Doors open
5.30 – 6.15 pm Presentation Rietveld Students (free entrance)
6.30 pm Opening exhibition (free entrance)
6.30 – 9 pm Performances & artist talks Keren Cytter, Jan Robert Leegte and Emile Zile, followed by panel discussion (a ticket is required for this part of the program)
Entrance: € 7,50 / 5,- /Free with Cineville
LIMA/LAB111, Arie Biemondstraat 111, Amsterdam
Language: English
Facebook event

Exhibition
UNFOLD: Audience/Performer/Mirror (in collaboration with De Appel)
With works by Dan Graham, Adad Hannah, Ian Forsyth & Jane Pollard and Judith Hopf.
15 – 22 January 2020
Every day from 12 – 23 pm, entrance is free
LIMA/LAB111, Arie Biemondstraat 111, Amsterdam

Graphic design by Bin Koh.

UNFOLD Audience/Performer/Mirror is supported by De Appel, Rietveld Academie and the Mondrian Fund and is part of the collaborative research project Documenting Digital Art, supported by the Arts & Humanities Research Council.

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.