Philip Brophy — Screenic: Politicised Writings on Being Screened

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.

RMIT ACMI AudienceLab

BAITHOUSE – Henry Lai-Pyne, Emile Zile, Audrey Pfister, Liam Wolfs, Babs Rapeport

https://www.acmi.net.au/whats-on/acmi-rmit-audience-lab/march-expo-2024/

BAITHOUSE is a 3D animated motion-capture livestream talk show. Using live motion capture, physical performance and animation, guests and hosts will be presented in a constructed digital world and in conversation with one another. As an expanded form of hybrid public programming, performance and critical discourse BAITHOUSE is a new digital and artistic platform that will host hyper-threaded conversations around networked technologies, contemporary aesthetics and new media. Accessible to view online and presented as a hybrid live event for local audiences BAITHOUSE invites guest artists, writers, academics, and designers from across Australia to engage in Q&As and discussion around swamp technology, digital life, and internet (sub-)cultures.

Session times: 11.30am, 1pm & 2.30pm
ACMI Fed Square 16/03/24

Adelaide Film Festival, EXPAND Lab 2023

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

ACMI Podcast interview

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

ACMIOnline · Making dark comedy with Emile Zile

Pandemic Playlists

During Plague 2k20 *the big PAUSE* I have been having conversations with Melbourne-based artists, writers and creative operators about their responses to COVID-19 and what media they are consuming while under quarantine, lockdown, isolation and/or temporary hiatus… While our bodies are slowed and our antennas are raised I’ve tried to capture some of the social histories of CV-19.

Subscribe on all major podcast platforms [Apple, Spotify, Google, WWW, RSS]

https://pandemicplaylists.simplecast.com
pandemicplaylists@protomail.com

Sound by Carl Anderson, Graphic by Lauren Messina.
Pandemic Playlists is supported by the City of Melbourne Covid19 Quick Response Art Grants.

Becoming The Icon – Premiere August 19

Becoming The Icon is a film in which the language of power manifests in familiar yet uncanny ways. Echoing the rhythms of political speech and gesture, artists Lilian Steiner and Emile Zile reveal the ways in which truth and conviction are more than abstract concepts, instead finding surprising roots in our embodied experience.

As debate and propaganda, intimidation and manipulation are all played out through posture, stance and gesture, the secret vocabulary of power is made apparent.

Both intimate and distanced, Becoming The Icon invites you into a seductive realm with a hidden agenda.

Becoming The Icon is the feature project of BLEED between 17 August – 30 August. New works and content will be going live throughout the feature dates.

http://www.bleedonline.net

Response to Metahaven exhibition Field Report for RMIT Design Hub

 

REFLECTING ON FIELD REPORT We have been reflecting on Metahaven: Field Report through the words and voices of contributors drawn from across Melbourne’s diverse creative community.

Metahaven: Field Report reflection series: Local Melbourne-based artist, filmmaker and performer Emile Zile recalls his experiences of the exhibition from the perspective of isolation.
Created as a response to Metahaven: Field Report (7 March – 9 May, 2020), exclusively developed for RMIT Design Hub Gallery, RMIT University and presented in collaboration with the National Gallery of Victoria (NGV).

Field Report was conceived and designed by Metahaven, Netherlands.

Guest exhibition curators: Brad Haylock (RMIT) and Megan Patty (NGV).

designhub.rmit.edu.au/exhibitions-programs/metahaven-field-report/

Panel discussion for Bleed at Australian Performing Arts Market 2020

Panel discussion with Amrita Hepi and Angela Goh on the networked body, new intimacies, post-Isolation psychologies and the what it means to make digital art.

https://apam.org.au/event/local-player-arts-house/

Listen to Arts House Artistic Director Emily Sexton in a panel discussion with artists Amrita Hepi, Angela Goh and Emile Zile on new practices that focus on the intersection between live and digital forms, and what this can mean for new partnerships, touring and residency approaches. What is the live experience in a contemporary world where the relationship between on- and offline is totally blurred? How is performance reckoning with the rise of the Golden Age of streaming television? How is the intimacy of watching performance in a dark room with strangers shifting?
BLEED Echo is a public program responding to and ricocheting from the five artist projects and curatorial conversations of BLEED.

My work with Lilian Stiner ‘Becoming The Icon’ will premiere at Bleed in August 2020.
Check bleedonline.net for more info.

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

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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.