Saas-Fee Summer Institute of Art, Los Angeles

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.

Emile Zile and Philip Brophy in conversation

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

https://www.acmi.net.au/events/emile-zile-and-philip-brophy/

 

Australiana to Zeitgeist

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.

https://australiana-to-zeitgeist.com

UNmagazine article ‘Digital Communion’

‘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:
http://unprojects.org.au/magazine/issues/issue-10-2/emile-zile-digital-communion/

Performance at Castrum Peregrini

Memory Machine II – A series of exhibitions, debates, performances & publications on cultural memory & identity, initiated by Castrum Peregrini Amsterdam.

Exhibition & public program

Things to Remember
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27 February – 25 March

With works by Mehraneh Atashi, Dayna Casey, Amie Dicke, Nickel van Duijvenboden, DNK Ensemble, Maria Guggenbichler with Margit de Sad, Romy A. More, Egbert Alejandro Martina and others, Jonas Lund, Antoine Viviani, Emile Zile. Curated by Radna Rumping

How are digital media, endless storage space and new ways of communicating shaping the way we capture, share and retrieve our personal memories? The things we want to remember, do they still fit in a shoebox or are they floating around somewhere in ‘the cloud’ amongst the thousands of e-mails and images that our external memory can contain nowadays?

Saturday 27 February 2016, 16.00 – 17.30

Free entrance. A conversation with Amie Dicke, Simultaneous/Synchronous (Song) Performance DNK Ensemble (Koen Nutters & Seamus Cater), Performance Emile Zile

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Desktops solo show at Fort Delta

Emile Zile solo show Desktops at Fort Delta Melbourne 5 November – 21 November 2015
Performance 21 November

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For his exhibition Desktops at Fort Delta, Zile further explores our attraction to communications technology and their ability to translate and encode our lived experience through a series of assemblages, constructed from office furnishings and other objects related to white-collar labour, self-help eBooks and online gaming communities. Zile has created desktop assemblages – each desktop signifying the absence of an occupant. The desktops themselves appear isolated from domestic or workplace environments and exude their own atmospheric qualities. They simultaneously suspend and assume narratives intrinsic to their inhabitants for us to ponder in the same way we might suppose the identity of someone we communicate with online, where they are, and what it looks like.

Accompanying these 3D assemblages is a suite of digital prints Zile has produced for the exhibition. These works appear as computer screen captures, search term collages and algorithmic portraiture. They build narratives within and between disparate collections of images selected and composed by Zile. By making his source material visible to us on the immediate and live platform of his computer desktop, Zile also reveals the performative framework for online viewing and consumption as a highly selective and editable one, where image-poetics emerge through the creative transparency of the screen.

Zile’s interest in activating site-specific performativity is also explored in Desktops through his request to insert the Gallery’s office desk into his allocated exhibition space. By revealing a commonly private and ancillary zone to us as a juxtaposed physical situation, ZIle allows for gallery administration and commerce to activate and inform his exhibition in real time – enabling a playing-out of site-specific performance politics to coalesce as real and represented exhibition content.

‘onscreen explorer goes irl voyeur in emile zile’s ‘desktops” I-D Magazine

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James Cameron’s Avatar at Channels Festival

James Cameron’s Avatar feature length performance September 19 2015

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In the Epoch of the Near and Far invites contemporary audiences to reframe discussions on digital media. Flipping the much talked-about suggestion that emerging technological forms distort reality on it’s head, the exhibition proposes a relationship which sees our physical and digital lives mutually support and influence each other. Comprising the work of six Australian and international digital and performance artists, In the Epoch of the Near and Far is running as part of the Channels Festival for Australian video art.

The exhibition opens September 19 with a performance from Emile Zile, the Australian born Netherlands based artist whose work is informed by his own navigation of a technologically mediated reality. Featured artist Keith Deverell will also run an Artist in Conversation session on September 24 alongside art historian Dr. Grace McQuilten and exhibition curator Amelia Winata.

In the Epoch of the Near and Far runs from the 18-27 of September at Grey Gardens Projects in Fitzroy and features work from:

Petra Cortright (USA)
Heath Franco (AUS)
Marian Tubbs (AUS)
Emile Zile (AUS/NL)
Keith Deverell (UK/AUS)
Aaron Christopher Rees (AUS)

Western Digital at MARS Gallery, Melbourne

MARS_Email_EmileZile_Invite

Emile Zile witfully uses the ‘truth’ of video in constant movements of distanciation that reaffirms our position as spectators—in the gallery and in the world—to draw us back with the question: where is the individuality of our self-expression, in a banal act of connectedness?
– Anabelle Lacroix, Curator

Opening reception and artist in Q+A: Saturday 30 May, 3pm
Dates: Friday 29 May – Saturday 13 June 2015
Venue: MARS Gallery, Black Box, 7 James Street, Windsor VIC 3181

Residency at MES56, Jogjakarta Indonesia.

As part of the ‘Put Up a Signal’ Australia-Indonesia program I will be hosted at MES56 from 11-22 November to create new work and exhibit.

http://putupasignal.info/artist

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Nayla, Wok the Rock and me practising our wrestling press-kit team pose, 2011.

Thanks to Bus Gallery Melbourne, Mes 56 and Asialink Arts.