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.

In late May I will be in Los Angeles for the Saas-Fee Summer Institute of Art at Otis College of Art and Design Los Angeles.

— Art and Politics in the Age of Cognitive Capitalism —

http://saasfeesummerinstituteofart.com

Saas-Fee Summer Institute of Art (SFSIA) is a nomadic, intensive summer academy with shifting programs in contemporary critical theory academy that originated in Saas Fee, Switzerland in 2015 and moved to Berlin in 2016. SFSIA stresses an interdisciplinary approach to understanding the relationship between art and politics. This year, in addition to the Berlin academy, we are hosted in Los Angeles by Otis College of Art and Design with participation of the MA Aesthetics and Politics in the School of Critical Studies at CalArts.

The academy was founded by fine artist and theorist Warren Neidich, is co-directed by art critic and poet Barry Schwabsky. Sarah Beadle is Director of Administration. It was conceived in 2014 as part of an ongoing effort to engage contemporary artists in political, socio-economic, philosophical and historical discourses concerning the power of art. Importantly it realizes that art plays both a generative and emancipatory role in producing theory while at the same time being aware of Neoliberal capitalism’s recuperative prowess.

The program runs two weeks and is structured with half-day seminars, deep readings, and workshops. In the evening SFSIA holds a lecture series, which is open to the public.

Faculty
Alva Noë, Andrew Culp, Arne De Boever, Barry Schwabsky, Candice Lin, Ed Finn, Eleanor Kaufman, Florencia Portocarrero, Graham Harman, Jason Smith, Jennifer Teets, Johanna Drucker, John C. Welchman, Juli Carson, Kenneth Reinhard, Mary Kelly, N. Katherine Hayles, Nima Bassiri, Renee Petropoulos, Reza Negarestani, Sanford Kwinter, Suparna Choudhury, Warren Neidich.

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.

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

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.

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

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).

http://www.c3artspace.com.au/talk-3-july-1st/
http://abbotsfordconvent.com.au/whats-on/events-exhibitions/c3-talks-unpacking-sound-text-speech

My 140-character tweet review of the Ryan Trecartin show at NGV, re-presented by NGV social mediators.

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

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

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

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/

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

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/