Please join us for the launch of Rewind Forward at the Victorian Archives Centre Gallery, featuring the work of our 2025 Creative in Residence artists: Emile Zile, Sam Wallman, Shannon Slee, Susan Fitzgerald, and Queer-ways.

Each artist has delved deep into Public Record Office Victoria’s collection to examine local histories that resonate with them on a personal level. Through historic photographs, criminal inquest records, original artifacts and hand written documents, they’ve explored Victoria’s past and created works about the relevance of history on contemporary issues.

Comics journalist, and dock worker Sam Wallman has looked into the impact of automation on the docks. Textile artist Shannon Slee is highlighting the historical violence on women’s bodies due to state laws that prohibited access to safe reproductive health care. Graphic designer Susan Fitzgerald has immersed herself in the history of transport ticket design and the lost manufacturing processes. LUCIANO and George Keats, who work collectively as Queer-ways have brought to life the outfits that landed people in the courts for gender non-conformity in the early 20th century. And video and performance artist Emile Zile has discovered the traces his own family have left behind in the archives.

Opening night: 5-7pm Thursday 29 May 2025
99 Shiel Street, North Melbourne, Australia

https://prov.vic.gov.au/whats/public-exhibitions/rewind-forward

Please join us for a drink to celebrate the launch of Philip Brophy’s new book Screenic. There will be a reading from Emile Zile, and more…

Conners Conners
Fitzroy Town Hall
201 Napier Street Fitzroy
Saturday, November 30, 4-6pm

https://www.connersconnersgallery.com

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

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/

https://adelaidefilmfestival.org/expand-2023-participants/

Adelaide Film Festival (AFF) announced today the 30 participants selected to take part in AFF EXPAND Lab 2023. This intensive five-day Lab brings together some of Australia’s most creative and inventive artists, filmmakers and XR and VR practitioners in a development and commissioning process to foster new ideas for moving image artworks.

Following a national call for Expressions of Interest, 95 applications were received for the 30 places in the Lab (15 South Australian and 15 national participants). Participants will form teams during the Lab and develop concepts to pitch for the AFF/Samstag $100,000 Moving Image Commission. In addition, two projects will be selected for mentoring by Illuminate Adelaide and the Art Gallery of South Australia.

The mentors for 2023 AFF EXPAND Lab are time-bending digital artist DANIEL CROOKS, theatre maker & media artist ROBERT WALTON, highly respected moving image & film producer BRIDGET IKIN with video artist and filmmaker AMOS GEBHARDT joining as a mentor for the first part of the lab.

AFF EXPAND Lab is an initiative of Adelaide Film Festival with Samstag Museum of Art, Art Gallery of South Australia and Illuminate Adelaide. It is supported by Principal Partner The Balnaves Foundation and Arts South Australia.

Tully Arnot (NSW) – Visual Artist, Media Artist, XR/VR Creator

Max Brading (SA) – Visual Artist, Media Artist, XR/VR Creator

Jake Bresanello (SA) – Visual Artist, Media Artist, Filmmaker

Thom Buchanan (SA) – Visual Artist

Linda Chen (ACT) – Writer, Performer

Marcus Chong (VIC) – Visual Artist, Filmmaker

Chloe de Brito (NSW) – Visual Artist, Filmmaker

Miles Dunne (SA) – Visual Artist, Media Artist

Nisa East (NSW) – Filmmaker, Cinematographer

Deborah Kelly (NSW) – Visual Artist

Isobel Knowles (VIC) – Visual Artist, Media Artist, Filmmaker, XR/VR Creator

Bryce Kraehenbuehl (SA) – Visual Artist, Filmmaker, Videographer

Anna Lindner (SA) – Visual Artist, Filmmaker, Writer

Liang Xia Luscombe (VIC) – Visual Artist, Media Artist, Filmmaker

Chris Luscri (VIC) – Filmmaker

Charlotte Mars (NSW) – Filmmaker

Orlando Mee (SA) – Visual Artist, Media Artist, XR/VR Creator, Games Creative

Conor Mercury (SA) – Filmmaker

Kim Munro (SA) – Media Artist, Filmmaker

Yasemin Sabuncu (SA) – Visual Artist, Media Artist, Videographer, Games Creative

Ryan Sahb (SA) – Visual Artist, Media Artist, Filmmaker, Videographer

Cynthia Schwertsik (SA) – Visual Artist, Performance

Liam Somerville (SA) – Media Artist, Filmmaker, XR/VR Creator, Games Creative

Van Sowerwine (VIC) – Visual Artist, Media Artist, Filmmaker, XR/VR Creator

Will Spartalis (SA) – Visual Artist, Media Artist, Filmmaker, Composer

Kate Vinen (NSW) – Filmmaker

Yandell Walton (VIC) – Visual Artist, Media Artist, XR/VR Creator

Raymond Zada (SA) – Visual Artist, Media Artist, XR/VR Creator

Emile Zile (VIC) – Visual Artist, Media Artist, Filmmaker

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.

Entering the final stretch of my practice-based PhD at Digital Ethnography Research Center RMIT. Presentation to outside assessor occurred on 5 July 2021, no revisions required.

Next steps;
– Revise and rewrite chapters on public performance works ‘4500 Lumens’, ‘Audience / Performer / Lens (after Dan Graham)’, ‘Becoming The Icon’
– Write concluding chapter and refine introduction chapter
– Confirm public screening and talk in late 2021 at ACMI Cinemas