23 Aug — 16 Nov 2024
RMIT Gallery, 344 Swanston St. Melbourne

Lifting its title from a misheard line in a 1980 song by The Fall about a reclusive dog breeder whose ‘hideous replica’ haunts industrial Manchester, this experimental project—an admixture of artworks, performances, screenings, workshops, a ‘replica school’ and other uncanny encounters—adopts monstrous replication as a tactic, condition and curatorial framework for exploring algorithmic culture, simultaneously alienating, seductive and out-of-control.
Exhibition includes works by Amy May Stuart, Angie Waller, Anna Vasof, Debris Facility, Diego Ramirez, Emile Zile, Joshua Citarella, Liang Luscombe, Loren Adams, Masato Takasaka, Matthew Griffin & Heath Franco and Mo Chu.
Performances, talks and workshops by Catherine Ryan, Chloe Sobek, Jennifer Walshe, Joel Sherwood Spring, Machine Listening, McKenzie Wark, Roslyn Helper, Tomomi Adachi and more.

Curated by Joel Stern and Sean Dockray.
This Hideous Replica has been produced by RMIT Culture and supported by the ARC Centre of Excellence for Automated Decision-Making and Society (ADM+S) and the RMIT Design and Creative Practice Enabling Impact Platforms. This project is a part of the City of Melbourne’s Now or Never festival. This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body and by the Victorian Government through Creative Victoria.

Image: Mochu, GROTESKKBASILISKK! MINERAL MIXTAPE, 2022, digital video (still), Image courtesy of the artist.

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.

The reader is the audience. The reader is the market. The reader is the critic. The reader is the buyer. The reader is the voice in your head.

Over the course of the Stallholder Fair, Emile Zile will read publicly, privately, obviously, convulsively, discreetly, silently, annoyingly, desperately, lazily.

https://artbookfair.melbourne

Melbourne Art Book Fair
23 May – 02 June
Great Hall, NGV International
180 Saint Kilda Road, Southbank Melbourne, VIC, Australia

In the early 00’s I made a video about my experience of appearing on The Price is Right television game show. You can watch it on Vimeo; Larry Emdur’s Suit.

Today at 5pm AEDT [November 1 2023] I’m appearing on Channel 9’s Millionaire Hotseat with Eddie McGuire. My lifelong meta-artwork to be on every TV gameshow continues.

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)

Amber Gibson interviewed me about humour, performance, technology and gesture in her ongoing series that profiles artists working at ACMIX.

https://www.acmi.net.au/whats-on/inside-acmi-x-podcast/episode-10-making-dark-comedy-with-emile-zile/

https://podcasts.apple.com/au/podcast/making-dark-comedy-with-emile-zile/id1016322772?i=1000582208788

20 JULY 2022. MISCELLANIA 2/401 SWANSTON ST MELBOURNE VIC.

Curated by Mark Andrejevic, Laura McLean, and Joel Stern, this free experimental program at Miscellania club features artists, musicians, writers and researchers thinking with and against the logic of digital automation, algorithmic culture, and AI in order to trouble and subvert systems that extract, aggregate, model, and predict.

With performances and presentations by Monica Lim, Sean Dockray, Mara MacDonald, Vaughan Wozniek O’Connor, Roslyn Orlando, Emile Zile, Zacharius Szumer, Jathan Sadowski, Tom Smith, Sahej Rahal, Shareeka Helaluddin, Karen Ann Donnachie and Andy Simionato.

Logical Conclusions/Automation Effects is part of the 2022 ADM+S Symposium ‘Automated Societies: What Do We Need To Know?’ showcasing the Centre’s distinctive cross- and multi-disciplinary approach to automated systems and exploring a range of critical current and emerging problems, challenges, and conceptual questions.

Logical Conclusions/Automation Effects is presented by the ARC Centre of Excellence for Automated Decision-Making and Society and Liquid Architecture.

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