Mining the Cloud
A series of desktop documentaries
Thursday May 26, 7pm
81 Rupert St. Collingwood
Interval presents Mining the Cloud: a series of desktop documentaries by local and international artists.
Charting the multitude of the Internet through the desktop interface, these films and performances record the virtual as real, traversing landscapes that fall outside our visual circuits. From abandoned virtual realities to electronic dumping grounds of Ghana, this is the detritus of late capitalism in a time of rapid technological change.
The desktop documentary is an emerging practice drawing from the disciplines of ethnography, archaeology and contemporary art. Using desktop browsers as both lens and edit suite, these films and performances excavate artefacts from under the “cloud”. These artists respond to the human impulse to navigate, archive, interpret and ultimately control the world around us.
Lettres du Voyant by Louis Henderson (UK)
Lettres du Voyant is a documentary-fiction about spiritism and technology in contemporary Ghana that attempts to uncover some truths about a mysterious practice called “Sakawa” – internet scams mixed with voodoo magic. Tracing back the scammers’ stories to the times of Ghanaian independence, the film proposes Sakawa as a form of anti-neocolonial resistance.
All that is Solid by Louis Henderson (UK)
A technographic study of e-recycling and neo-colonial mining filmed in the Agbogbloshie electronic waste ground in Accra and illegal gold mines of Ghana. The video constructs a mise-en-abyme as critique in order to dispel the capitalist myth of the immateriality of new technology – thus revealing the mineral weight with which the Cloud is grounded to its earthly origins.
Utopia 1.0: Post Neo Futurist Capitalism in 3D! by Annie Berman (US)
A first-person expedition to Second Life, the once thriving virtual 3D online world, in search of what remains. Given the invitation to come build anything imaginable, what is it that we chose to create?
A performance by Emile Zile (AU)
Emile Zile’s performances use new-age healing apps, YouTube monologues and algorithmic portraiture to create audio-visual meditations on augmented spirituality and networked representations of the self.
Emile Zile solo show Desktops at Fort Delta Melbourne 5 November – 21 November 2015
Performance 21 November
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
Mildura Biennale listening project 2-5 October 2015
Linked by a pair of ear bud headphones, a couple sit before the camera. I ask them to each select a piece of music, that they are emotionally linked to. They then listen to the music together, one ear each, linked via the extended earbud. I begin the camera rolling and leave the room, telling them to listen to both songs and be seated in front of the camera. The amount of body language they express to the camera is up to them.
Portraits of ‘love and music’ from Mildura ABC News
James Cameron’s Avatar feature length performance September 19 2015
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)
My 140-character tweet review of the Ryan Trecartin show at NGV, re-presented by NGV social mediators.
I am a monk. I am a tourist. Within the street I see the stage for every human conflict and negotiation. Specifically for this video I was interested in contrasting the buddhist principles of mindfullness, meditation, removing yourself from time to the act of photography, grasping for permanence, embalming a moment. The last shot of my 2012 film Jack is a solitary figure passed out in a half-finished Buddhist temple in Footscray, Australia. This film is an oblique sequel.
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
Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex creative landscape of Melbourne.
This ambitious and far-reaching exhibition across The Ian Potter Centre: NGV Australia and NGV International presents the various ways in which visual artists and creative practitioners profoundly contribute to the society in which we live, and to Melbourne as a city with a unique and dynamic cultural identity.
Amsterdam Art Weekend at IDFA
30 Nov 2PM-4PM, Cinema Tuchinski Amsterdam
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.