Audience/Performer/Lens (after Dan Graham) performance at LIMA Amsterdam

 

 

 

 

 

 

 

https://www.li-ma.nl/lima/news/unfold-audienceperformermirror

On the 15th of January 2020 LIMA invites Keren Cytter, Jan Robert Leegte and Emile Zile to present their version of Dan Graham’s performance and video work Audience/Performer/Mirror. Reinterpretations by Adad Hannah, Ian Forsyth & Jane Pollard, and Judith Hopf will be exhibited as well.The works together show the possibilities of reinterpretation and give an artistic anthology, and criticism, of the work of Graham. Gabriella Giannachi (researcher & professor of Performance and New Media at the University of Exeter), Annet Dekker (curator & researcher, assistant Professor of Media Studies University of Amsterdam) and Willem van Weelden (curator & researcher, tutor media theory Gerrit Rietveld Academie,) will reflect upon reinterpretation as both an artistic as preservation strategy. Moderated by art historian & dramaturgist Suzanne Sanders.

New light on iconic work
LIMA presents a new edition of UNFOLD, focusing on reinterpretation and Dan Graham’s iconic work Audience/Performer/Mirror, 1977, De Appel, Amsterdam. During this performance, Graham describes his own actions and the reaction of the audience. The work is questioning who or what motivates who to act and respond and is a reflection on time and direct feedback. All of this happens largely through language: Graham’s flow of words is unceasing, and betrays his background in stand-up comedy. The gaze of the camera, in addition to that of Graham and the mirror, plays an important role in this. The work is effective and layered in all its simplicity and has become an iconic work. The analogy that Graham uses in the work, both at the level of technology and that of language and physicality, has invited many artists to make a homage or a new version of the work. What does Audience / Performer / Mirror stand for today? How is the work experienced; which part of the work is still relevant, what needs to be ‘updated’? LIMA invites Jan Robert Leegte and Emile Zile to translate the work to contemporary time and its digital techniques. Keren Cytter is invited to present her subtle feminist critique on the work. UNFOLD: Audience/Performer/Mirror offers the opportunity to think about reinterpretation and provides insight into both their working methods and the lasting (attraction) power of Dan Graham’s work. This core may be somewhere else for every artist, and each new work will highlight a different aspect of the ‘original’.

About UNFOLD
Reinterpretation is a core concept in music, dance and theater. Every re-performance is a translation into a new, often contemporary, context. Re-performing a work based on documentation, a script, memory or score is an essential part of artistic practice. For complex works in the field of media art and digital art, this is not common, but just as urgent. Reinterpretation of media art can contribute to the preservation and better understanding of the work. Since 2016, LIMA has put reinterpretation on the map as an artistic and conservation strategy. In the interdisciplinary and international UNFOLD project contextualizing, documenting, analyzing, understanding, embodiment and transferring digital culture are central. Relevant questions are: What is the core and production method of a work? Which techniques are used in which context? How do we translate this artistic legacy, practice and knowledge to the next generation? How do reflect and learn from different interdisciplinary practises?

Programme
5 pm Doors open
5.30 – 6.15 pm Presentation Rietveld Students (*free entrance)
6.30 pm Opening exhibition (in collaboration with De Appel): Dan Graham’s iconic work and documentation material of Audience/Performer/Mirror, 1977 De Appel, Amsterdam. Reinterpretations by Adad Hannah, Performer Audience Remake, 2008; Ian Forsyth & Jane Pollard, Audience Performer Fuck Off, 2009, Judith Hopf, What Do You Look Like / A Crypto Demonic Mystery, 2006. (*free entrance)
6.30 – 9 pm Performances Keren Cytter (Performer/Audience/Mirror, 2012), Miron Galić reenacting Cursor, 2016 in Jan Robert Leegte’s Mirror (2020) and Emile Zile (Performer/Audience/Lens, 2018) + artist talks followed by a panel discussion with: Gabriella Giannachi, Annet Dekker and Willem van Weelden moderated by Suzanne Sanders (*a ticket is required for this part of the program).

Event
UNFOLD: Audience/Performer/Mirror
With works and contributions by Dan Graham, Keren Cytter, Emile Zile, Jan Robert Leegte, Gabriella Giannachi, Annet Dekker, Willem van Weelden, Adad Hannah, Ian Forsyth & Jane Pollard, Judith Hopf and students from the Rietveld Academy.
Wednesday 15 January, 2020
5 pm Doors open
5.30 – 6.15 pm Presentation Rietveld Students (free entrance)
6.30 pm Opening exhibition (free entrance)
6.30 – 9 pm Performances & artist talks Keren Cytter, Jan Robert Leegte and Emile Zile, followed by panel discussion (a ticket is required for this part of the program)
Entrance: € 7,50 / 5,- /Free with Cineville
LIMA/LAB111, Arie Biemondstraat 111, Amsterdam
Language: English
Facebook event

Exhibition
UNFOLD: Audience/Performer/Mirror (in collaboration with De Appel)
With works by Dan Graham, Adad Hannah, Ian Forsyth & Jane Pollard and Judith Hopf.
15 – 22 January 2020
Every day from 12 – 23 pm, entrance is free
LIMA/LAB111, Arie Biemondstraat 111, Amsterdam

Graphic design by Bin Koh.

UNFOLD Audience/Performer/Mirror is supported by De Appel, Rietveld Academie and the Mondrian Fund and is part of the collaborative research project Documenting Digital Art, supported by the Arts & Humanities Research Council.

Mining the Cloud

Mining the Cloud flyer final-1

Interval Projects
Mining the Cloud
A series of desktop documentaries
Thursday May 26, 7pm
Schoolhouse Studios
81 Rupert St. Collingwood
$15

ALL_THAT_IS_SOLID-4

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.

ALL_THAT_IS_SOLID-1

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.

James Cameron’s Avatar at Channels Festival

James Cameron’s Avatar feature length performance September 19 2015

in-the-epoch-of-the-near-and-far-has-a-fresh-screenshot-on-mediated-reality-body-image-1442473787

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)

Liquid Architecture tour 2014

Screened: new performance in Melbourne, Brisbane, Sydney and Singapore.

ez1_mailpromo

Liquid Architecture is an Australian organisation for events, exhibitions, performances and situations of the world’s leading artists working with sound.

Once a “sense-specific” festival, interested in listening and the depth of individual sound perception, Liquid Architecture is broadening its focus of concern to engage the social, cultural, political, economic as well as aesthetic frameworks in which sound takes place. Now in its 15th year, Liquid Architecture’s 2014 festival program brings together work from across a range of disciplines to audiences in Melbourne, Sydney, Brisbane, Perth and Singapore. Marking the new direction driven by curators Joel Stern and Danni Zuvela is the festival’s focus on social and conceptual questions, signalling a more sustained engagement with the discourse, sound and practices of contemporary art. This is a move into the investigation of the audible as an expression of the myriad, sometimes inaudible forces enframing, encoding, describing and producing what we hear – whether that is considered music, sound, or noise.

Talks program: public speaking, private thinking, social listening
http://www.liquidarchitecture.org.au/program/stutterances/

“Stop talking about talks” – Christof Migone

Christof Migone gives an artist talk, no a TALK ARTIST
Alessandro Bosetti demonstrates MASK MIRROR
New Waver loads up THE KING OF PPT
Ur 1st Luv propose A SOUND INVESTMENT
Johannes Kreidler adresses THIS TULIP OF WHICH I AM SPEAKING AND WHICH I REPLACE IN SPEAKING
Kusum Normoyle is SILT (Screaming In Lecture Theatre)
Emile Zile performs SCREENED
Makiko Yamamoto is UTTERLY SILENT, UTTER SILENCE, UTTERLY SOMETHING, OR UTTER SOMETHING, THINKING THINKING, UTTERLY LISTENING, UTTERLY UMMM.

Capacity limited to 250 people

RSVP http://www.eventbrite.com.au/o/liquid-architecture-6942295259

In partnership with NGV and ABC Radio National’s Creative Audio Unit.

Further performances of Screened will occur during the Liquid Architecture tour in Brisbane on October 1 at IMA, Sydney October 5 at UNSW Art and Design (COFA), Singapore October 10 at LaSalle College. Full details at http://www.liquidarchitecture.org.au/program/

LARCH_WWW_HEADER

I follow Yoko and Yoko follows me at MCA Sydney

yoko-ono-war-is-over

An invitation arrived to respond to Yoko Ono’s instructional film scripts. The suggestion of a film. Film as it exists in a proposition, an invitation, a request to think. ‘Visualise peace’ Yoko says. Visualise film. #summerofyoko

Q. Which Yoko piece(s) are you responding to and how?

A. I am taking Yoko Ono’s current day Twitter feed as an unrequited instruction set. I follow Yoko Ono and Yoko Ono follows me.

Q. If we imagine a spectrum in which predetermined structures, scores, instructions sit at one end and  spontaneity, intuition, improvisation at the other – where does your work sit in that spectrum? Or is that spectrum faulty to begin with?

A. I have a structure within the walls of the MCA. The technology of the image projection. The design of the seats. We have voice, light, human will. I feel energised by unbridled human energy in tightly controlled environments.

Postscript. I don’t believe in freedom in art. It can only be given by imposing a structure or rule set upon it. There is no freedom. There is no restraint.

New performance
‘I follow Yoko and Yoko follows me’
Museum of Contemporary Art Sydney
6 February 2014, 6:00-9:00pm

YOKO_SYD_EZILE1-475x367

http://www.mca.com.au/news/2014/01/31/interpreting-yoko-onos-film-scores/

http://otherfilm.org/ifollowyoko/

Subtitle Kino (Färgfabriken)

http://www.fargfabriken.se

August 18-19, 2012

Across one weekend in August, Australian contemporary art initiative BUS Projects will collaborate with Färgfabriken to present an international mobile cinema and contemporary art performance space. Making use of a parked van converted into a mobile event space, SOUTH/SÖDER is curated by Jared Davis and will present a new performative, video and sound-based work in the public site of Liljeholmstorget.

This project draws from an ongoing series of mobile contemporary art and performance events initiated by BUS Projects, that have seen works presented in public sites in Melbourne (State of Design Festival, 2011), Athens (ReMap3, 2011) and Sydney (SafARI, 2012).

For SOUTH/SÖDER, Australian-Latvian artist Emile Zile will exhibit for the first time in Sweden, continuing his work in the area of cinema as a social space, media archeology and live expanded cinema. Zile will present a new cinema-based audiovisual performance that will use three versions of the King Kong story (1933, 1976, 2005) to create a compressed re-telling of this famed cinematic narrative. Extracting separate subtitle tracks from the three feature films and recombining them within one frame, this is a formal observation of the mutations and re-animations of the same storyline in different epochs. The soundtracks of the three films will be mixed live by the artist during the performance. Zile will make use of the Swedish subtitle tracks of the films.

Photo credit: Åke E.son Lindman