Games about painting are becoming the trend du jour. Consider, for example Palette Parade, where you get to meet Gustave Courbet, Vincent van Gogh, and Pierre-Auguste Renoir, among others or the indie game Passepartout: The Starving Artist.
Brian Cullen's "You Are Not A Banana: A walkthrough of a Retro Style Video Game accompanied by Artists notes", courtesy of Gamasutra, is a compelling read.
Chicago's Videogame Art Gallery has received full funding and it's now alive and kicking.
They're planning a series of shows about, you guessed, art and games. The first two are:
- $13,000 -- Sound - Art - Games (December 2017 - February 2018): A collection of sound-focused art games that seeks to find the parallel between two distinct but interconnected feedback loops: the video game loop between operator and machine and the loops of concatenating sound generatively composed through digital audio processing.
- $16,000 -- Gun Ballet: the Aestheticization of Violence in Video Games (March - July 2018): Violence has a ubiquitous presence in video game history. This exhibition explores why this characteristic is so appealing among gaming demographics. It also examines the various styles of violence -- ranging from extremely graphic to the acrobatic and balletic -- that serve various expressive goals on the part of studios. The title of this exhibit is a reference to the work of filmmaker John Woo, who directed Chicago-made Midway Games' title Stranglehold in 2007, the spiritual sequel to Woo’s classic Hong Kong action film Hard Boiled (1992).
The inaugural exhibition for the new brick and mortar location is titled Savior - Josuhe Pagliery & Johann Armenteros and opens August 11. So what is Savior?
Savior is an experimental videogame, the first to be developed for wide independent release out of changing cultural and political landscape of Cuba. With a unique story about metaphysics and deconstruction of the game world, a gothic art style and an existential tone, Savior challenges cultural expectations, as well as formal understanding of games.
Pagliery & Armenteros' Savior, Image courtesy od VGA
Rachel Rossin, Scrubbing 1, Maquette, 2017. Virtual reality installation. Dimensions variable.
Rachel Rossin is after Michelangelo. Antonioni, that is. In VR, too. Here's the description of her latest project, Scrubbing 1 courtesy of Postmasters Gallery in NY:
Scrubbing 1, Maquette brings the explosive denouement of Zabriskie Point point into contemporary focus within the political context of the exhibition. VR enables the participant to enter a scene and become the narrative agent, setting off explosions or spinning these actions into reverse. Like Antonioni's cathartic explosives that blast away every pristine and empty promise of consumerism, there is a similar impulse in Rossin's work located in our current moment.