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.

Performer / Audience / Lens (after Dan Graham)

On Saturday 11 August I’ll be performing a version of Dan Graham’s
1975 work; Performer / Audience / Mirror.

A performer faces a seated audience. Behind the performer, covering the back wall (parallel to the frontal view of the seated audience), is a mirror reflecting the audience.

Performer / Audience / Lens (after Dan Graham)
Emile Zile 2018

Export Happenings is a part of the MEL/NYC program, coinciding with the
2018 Melbourne Winter Masterpieces exhibition presented by the National
Gallery of Victoria in collaboration with The Museum of Modern Art in
New York.

http://nextwave.org.au/event/14471/

Emile Zile and Philip Brophy in conversation

Join Emile Zile and Philip Brophy for a conversational and unmoderated exchange as they select, screen and discuss each other’s video work. Both artists move horizontally between visual art, filmmaking and performance, working beyond the confines of strict categorisation. Their methods and tools are post-cinematic: scavenging and re-presenting the moving image material that surrounds them.

11 September 2017, 6.30pm
Free entry, bookings requested

Australian Centre for the Moving Image, Federation Square Melbourne

https://www.acmi.net.au/events/emile-zile-and-philip-brophy/

 

Emile Zile and Sven Lütticken in conversation

Within the framework of the exhibition “Liquid Cooled: new works by Emile Zile”, LIMA organises a public screening and discussion night. The artist Emile Zile and art historian and critic Sven Lütticken will talk about Zile’s work within the context of the LIMA Collection – ranging from early gems from the seventies (Douglas Davis, Dan Graham) to Zile’s current body of work. Performance on television, social media and the performativity of the mass media will be recurrent themes.

Entrance: € 7,50 / 5,-
Free entrance with: Cineville pass
Language: English

LIMA
Arie Biemondstraat 111
1054 PD Amsterdam
The Netherlands
+31(0)20 389 20 30
http://www.li-ma.nl

https://www.facebook.com/events/356797314716082

This programme is part of the exhibition Liquid Cooled: new works by Emile Zile
LIMA is proud to present its first exhibition of new works by the Australian artist Emile Zile. Liquid Cooled will present prints, video works and a performance by the artist who currently has a residency at the Rijksakademie voor Beeldende Kunsten.

Performance at Castrum Peregrini

Memory Machine II – A series of exhibitions, debates, performances & publications on cultural memory & identity, initiated by Castrum Peregrini Amsterdam.

Exhibition & public program

Things to Remember
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27 February – 25 March

With works by Mehraneh Atashi, Dayna Casey, Amie Dicke, Nickel van Duijvenboden, DNK Ensemble, Maria Guggenbichler with Margit de Sad, Romy A. More, Egbert Alejandro Martina and others, Jonas Lund, Antoine Viviani, Emile Zile. Curated by Radna Rumping

How are digital media, endless storage space and new ways of communicating shaping the way we capture, share and retrieve our personal memories? The things we want to remember, do they still fit in a shoebox or are they floating around somewhere in ‘the cloud’ amongst the thousands of e-mails and images that our external memory can contain nowadays?

Saturday 27 February 2016, 16.00 – 17.30

Free entrance. A conversation with Amie Dicke, Simultaneous/Synchronous (Song) Performance DNK Ensemble (Koen Nutters & Seamus Cater), Performance Emile Zile

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Mining the Cloud

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

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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.

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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

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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)

Residency at MES56, Jogjakarta Indonesia.

As part of the ‘Put Up a Signal’ Australia-Indonesia program I will be hosted at MES56 from 11-22 November to create new work and exhibit.

http://putupasignal.info/artist

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Nayla, Wok the Rock and me practising our wrestling press-kit team pose, 2011.

Thanks to Bus Gallery Melbourne, Mes 56 and Asialink Arts.

Reschooling: workshop at Museum of Contemporary Art Sydney

Emile Zile leads a collaborative workshop on (mis)using the internet for the purpose of art/lulz. Through a range of participatory exercises Zile will demonstrate techniques to detourn everyday social media and search engines in dynamic performative ways that offer new perspectives on these ready-to-hand tools.

#cavemanVJ #expandedhomecinema #officeworksavantgarde #postitnotebrut

With his history of performances that engage with popular culture and consumer technology Emile Zile recently premiered OMG_Sisyphus. The Greek mythology of Sisyphus, a tale of burden and absurdity, is used as a prop on which to enact a contemporary performance situation: being on YouTube. The performance happens in the midst of laptops, amplifiers, digital cameras, projectors and a heavy looking stone that the artist carries in from outside. In recent performances of OMG_Sisyphus at (Open Archive Melbourne, 30 November 2011, Palais Paradiso Amsterdam 16 February 2012) Zile enacts a humorously calculated switch. In his treatment we begin to understand that the laptop/webcam is now a rock, or vice versa. Its physical presence, weight, and texture become entwined in a passage of worship, as the ubiquitous Apple product is now something more equivalent to a Chinese scholar stone (Gongshi). Throughout the whole performance it is as if through some application of post-production what we should be seeing as a computer (the adored gateway to online audiences) is now a small volcanic boulder. Simultaneous slips between live action and published content begin, as Zile sits staring at the rock we imagine him staring at his computer, alone in a room while addressing an imagined YouTube audience. In doing so the actual live audience sitting in the gallery space is distanced, even denied.

At some points in the piece we are made to feel the joys of web 2.0 publishing, light relaxation muzak plays, we are all connected by technology. But the gallery space begins to fall out of step as the artist struggles against what appears to be self-doubt and loneliness. The rock remains motionless on a small table under lamplight. Is real life different to projected life? Maybe it used to be. Zile seems to suggest a new friction is built in this crossover rather than a seamless merger. Whilst various elements of the performance are online, the crux of this work hinges on being present live in the gallery space – where multiple facets of contemporary being are felt and fired simultaneously. As it happens we are pointed toward a space where states of alienation, corporation and intense connectivity collide into a state of indivisibility.

– Ry David Bradley, February 2012

Saturday October 4, 10am – 1pm.
Capacity is limited and bookings can be made through the MCA at http://www.mca.com.au/events/reschool-emile-zile-internet/

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Liquid Architecture tour 2014

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

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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/

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