Diego Ramirez on Another Space groupshow Dumb Brunette blog 20 July 2017
Speaking of gestures, Emile Zile performed a live reading with a video component on the closing night of Another Space at Testing Grounds. This performance featured the artist standing up and reading from a laptop as he projected his image with enlarged eyes on the wall behind him. Like a Skype video conference, the audience could see Zile’s alien reflection in conversation with an overbearingly utopian background that resembled a Mac desktop stock image. His reading was ironically aligned with a post-4k rhetoric, seemingly welcoming us to a future that already seems dated. As Emile Zile’s performance unraveled, flashbacks of Zile’s past works came to mind: particularly the logo miming in Five Production Company Logos in 3d (2010), where he pantomimed a succession of hyperbolic logos, and his equally idiosyncratic performance OMG_sisyphus (2011-13) – in which he treated a heavy stone like his laptop in a ritual of futile dis-connectivity. The artist’s hands now seemed forced to stay still, carrying the weight of an actual laptop that kept him from gesticulating his words. Suddenly, Emile Zile’s proclamations made me aware of my sore back, strained computer vision and the IRL social anxiety that comes after my ‘sassy’ tweets. Indeed, the bodily effects of banal technologies, like the snapchat filter on Zile’s face, became manifest.
Melissa Loughnan’s new book ‘Australiana to Zeitgeist: an A to Z of Australian Contemporary Art’ is now available in stores, published by Thames and Hudson.
I’m contained within V for Video but equally happy with S for Spam Filter, N for Networked Performance, P for Pathos of Social Media or C for Caveman Home Cinema.
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
Unpacking Sound, Text & Speech
This talk and presentation will look at the staging of sound based works in gallery and non-gallery contexts, and the relationship between sound, language and visual representation. Featuring Emile Zile, Speak Percussion’s Eugene Ughetti and their Artist-in-Residence, Kaylie Melville, Alice Hui-Sheng Chang and Philip Samartzis (facilitator).
My 140-character tweet review of the Ryan Trecartin show at NGV, re-presented by NGV social mediators.
Emile Zile witfully uses the ‘truth’ of video in constant movements of distanciation that reaffirms our position as spectators—in the gallery and in the world—to draw us back with the question: where is the individuality of our self-expression, in a banal act of connectedness?
– Anabelle Lacroix, Curator
Opening reception and artist in Q+A: Saturday 30 May, 3pm
Dates: Friday 29 May – Saturday 13 June 2015
Venue: MARS Gallery, Black Box, 7 James Street, Windsor VIC 3181
Cinedans: Dance on Film festival Amsterdam
SHORTS 8: Urban Film
Sunday 16 March
CINEMA 2, EYE Amsterdam
14 March – 26 April 2014
Opening 13 March, 6-8pm
Ground Floor, 30 Guildford Lane, Melbourne
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