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.

Alaska Projects performance Sydney

essena_promo

Everyday Machines #1
Sunday October 16 2016
Alaska Projects [William St], performances from 6:30pm
73-75 William St Darlinghurst

Alaska Projects in collaboration with Tom Smith presents Everyday Machines. This performance series brings together artists exploring the tyranny and poetics of everyday machines through performance.

EMILE ZILE
JANNAH QUILL

GET TO WORK

EMILE ZILE
Performance of identity. Mental collapse. Marketing move. Within the YouTube monologue of ex-Social Media star Essena O’Neill we hear an earnest call to arms to defend reality and remove oneself from the fracturing of the self as enabled by social media. Emile Zile uses this monologue (and subsequent call for donations) as a present day ‘everyman/everywoman’; Essena’s yearning for authenticity is our yearning for a life removed from pretence, consumption and image-management. Yet all is not what it seems and through an intertextual performative commentary on the monologue Zile descends into the Egoic hall of mirrors that we navigate online.
https://emilezile.com/

JANNAH QUILL
Jannah Quill will perform several text to speech translations simultaneously, and feed the resulting audio through pitch correction software. Jannah’s performance attempts to correct the uncorrectable, to extract the musical from randomised language, and to generate the new from the digitally banal.
http://www.jannahquill.com/


Tè will perform their recent work 100_PERCENT_HITS. 100_PERCENT_HITS continues an investigation into the form and the production of the ‘pop song.’ The idea of the ‘radio-ready’ track—increasingly defined by standardised production, duration and audio quality—is here further condensed, examining what traces remain in the re-contextualisation of musical forms. 100_PERCENT_HITS is a performance that explores the generic—both as a standard and a site for the production of novelty.
http://negativespaces.net/100-percent-hits/

GET TO WORK
In their new work ‘Racey Texts’ Get to Work explore texting and sexting as modes of communication that result in intimate/impersonal experiences. The work further explores how cultural identity is represented through ringtones, emojis and phone paraphernalia.
http://www.get-to-work.com/

Jessie Scott on Larry Emdur’s Suit (2002) and the death of analog television broadcasting in Australia.

There’s Emile, part Edward Scissor Hands/part Wu Tang Clan, ably filling the frame with studied awkwardness; not just in a video, On Television. The cognitive dissonance of seeing this for the first time was astonishing: it wasn’t just any TV – it was ultimate prime time chew-cud: The Price is Right. There he is cracking wise with plastic fantastic Larry, playing the game, not giving away the joke, carefully treading the line between performance and reality. A line that, in the wake of the 90s talk show phenomenon, and before reality TVs total dominion, had suddenly become very blurred. It was prescient – a death knell to hackish old analogue, sent from the past to the future, sincere, hysterical and knowing.

Full article available at http://televisionsproject.org/larryemdur/.

Watch Larry Emdur’s Suit at https://vimeo.com/24577604

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Jack screening at IDFA / Amsterdam Art Weekend

Amsterdam Art Weekend at IDFA
30 Nov 2PM-4PM, Cinema Tuchinski Amsterdam
http://www.idfa.nl/industry/tags/project.aspx?id=7ced2b08-a13f-46bc-97a3-702739bf3074

This screening will be a 2K DCP version in surround sound.

Melanie Bonajo – ‘Pee on Presidents’, courtesy the artist
Muzi Quawson – ‘Doll Parts’, courtesy Annet Gelink Gallery
Ursula Mayer – ‘Gonda’, courtesy Juliette Jongma, Amsterdam
Emile Zile – ‘Jack’, courtesy the artist

IDFA and the Amsterdam Art Weekend collaborate during the programme Paradocs, the festival’s line-up devoted to video art. Films submitted by galleries participating in this year’s Amsterdam Art Weekend, De Rijksakademie and De Ateliers, will be screened at the Tuschinski cinema.

10_JACK_EmileZile logo_idfa_share

Video Art in the Internet Era. Video Letter #2: Emile Zile

‘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.’

http://www.channelsfestival.net.au/program/forum-video-art-in-the-internet-era/