Festival international des Arts multimédia GAMERZ 14ème édition
AIX-EN-PROVENCE | MARSEILLE, FRANCE
NOVEMBER 8 – DECEMBER 2018
Festival international des Arts multimédia GAMERZ 14ème édition
AIX-EN-PROVENCE | MARSEILLE, FRANCE
NOVEMBER 8 – DECEMBER 2018
Montana, Jane Veeder, Video, 1982. Courtesy of Jane Veeder and VGA Gallery
University of Illinois at Chicago
Art and Design Hall, First Floor
400 South Peoria Street (at Van Buren Street)
Chicago, IL 60607
Chicago is not often thought of as a center for new media art, technology, or industry, yet the city was home to some of the earliest and most important experiments in new media in the late 20th century. Chicago New Media 1973–1992 explores the rich exchange between industry and academics during this heady time, chronicling the under-recognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago's (UIC) Electronic Visualization Laboratory (EVL), the School of the Art Institute of Chicago (SAIC), and at Midway and Bally games from 1973–92. Generations of now well-known and acclaimed artists, scholars, designers, developers, curators, and organizers have moved through UIC and SAIC, all of whom shaped the development of new media locally as well as on the burgeoning international stage. Chicago New Media 1973–1992 will exhibit a range of ephemera documenting this period of industry incubation and globalization and its connections to new media art.
WHAT IS WITHOUT THE HAND THAT WIELDS IT: X REDUX
Festival of Dangerous Ideas, Sydney, Australia
Saturday November 3 2018
11:30 AM - 5:30 PM
Performance times/Saturday (3 Nov):
11:30AM – 12PM
2:30PM – 3PM
5:30PM – 6PM
The performance is repeated on Sunday November 4
A landmark of Game Art returns a decade later.
In 2007/2008 Harmon created What it is Without the Hand That Wields It, an electronic mechanical sculpture that was connected to modified version of the first-person shooter video game Counterstrike. When gamers on the internet killed one another, the sculpture manifested the virtual kills physically by releasing small amounts of blood into a gallery, thereby bridging the two realities. Now 10 years later, Harmon stages WIIWTHTWI: X Redux – a resurrected slipstream version of the work manifesting the gamer commentary in the form of an endurance performance and new electronics. This new version has escalated with time – however what, if anything, has changed?
Riley Harmon is a US artist working in the Netherlands and his creative activity originated growing up in community-oriented theatre. Central to his practice is a process of weaving truth, fiction and magical realism into works and narratives that offer an uncanny distorted mirror to our reality – which take shape in performances, films, objects, live experiences, installations and collaboration with other artists. His current artistic practice traverses the social psychology phenomenon of 'terror management theory'; or how symbolic actions both mediate against, yet also reinforce mortal terror. His projects and collaborations have been internationally written about in such publications as Rolling Stone, Wired, American Theatre Magazine and he has exhibited, performed, and screened works internationally – at such venues as the Nederlands Instituut voor Mediakunst (Montevideo), FACT (Foundation for Art and Creative Technology) in Liverpool, de Appel, EYE Film Museum, Schin Kunsthalle, among others – as well as self-made contexts.
LINK: Riley Harmon
Exhibition: Jon Rafman. The Mental Traveller
Curated by: Diana Baldon
Curatorial Assistance: Chiara Dall’Olio
Institutions: Fondazione Fotografia Modena and Galleria Civica di Modena
Location: Palazzina dei Giardini, Corso Cavour, 2, Modena
Exhibition Dates: 14 September 2018 to 24 February 2019
Opening: 14 September 2018 at 6pm
Press View 12 September 2018 at 11am
Wednesday, Thursday and Friday: 11am to 1pm; 4pm to 7pm
Saturday, Sunday and Holidays: 11am to 7pm
Opening Hours for festivalfilosofia 2018:
Friday 14 September: 9am to 11pm
Saturday 15 September: 9am to 12am
Sunday 16 September: 9am to 9pm
Jon Rafman, Dream Journal 2016-2017, 2017, Colour HD video with stereo sound. Music by James Ferraro and Oneohtrix Point Never, Runtime: 49’17”, Courtesy of the artist and Sprüth Magers
FONDAZIONE MODENA ARTI VISIVE is delighted to present The Mental Traveller, the first large-scale exhibition of works by Jon Rafman to be shown in an Italian contemporary art institution. Curated by Diana Baldon and presented by Fondazione Fotografia Modena and the Galleria Civica di Modena, the exhibition will open at the Palazzina dei Giardini on Friday 14 September 2018, to coincide with this year’s festivalfilosofia, the theme of which is truth.
The exhibition brings together a selection of multimedia installations, presented for the first time in Italy, tracing the arc of the Canadian artist’s practice from 2011 to the present. Employing a variety of media – including photography, video, sculpture and installation – Rafman explores how reality and simulation have become increasingly homogenized in contemporary society in artworks that blur the boundaries between the virtual and the tangible, between physical bodies and technological replicas.
Born in 1981 in Montreal, where he lives and works, Rafman studied literature and philosophy at McGill University before graduating in film, video and new media from the School of the Art Institute of Chicago. Since his earliest career, Rafman has investigated the ramifications of our reliance on technology on our perceptions of reality.To create Kool-Aid Man (2008–11), Rafman spent three years exploringthe virtual-reality platform Second Life, in the guise of the titular avatar, to discover the myriad incarnationsof its digital ‘inhabitants’. Rafman neither judges nor criticises his Second Life cohabitants: rather, his intention is to document how technology enables people to create entirely new versions of themselves in fantastical environments, giving them the freedom to invent new identities and iconographies.
Rafman also drew from the Internet and its multiple online communities as archival resources for the three videos comprising his Betamale Trilogy (2013–15) – Still Life (Betamale), Mainsqueezeand Erysichthon – which are among the installations included in this exhibition. As in the novels of Georges Bataille, where the narrative arc implodes in the claustrophobic and catastrophic arena of the writing, this leads to a proliferation of narrative strands and interpretations. Watching the Betamale Trilogy, the viewer feels trapped in a vortex of scenarios that are traumatic yet seductive. Rafman skilfully conveys the ambiguous lure of the Internet, which seemingly promises freedom and the discovery of new worlds, yet, in reality, imprisons you in a space tracked by algorithms and monitored by agencies that process, then sell, your navigational data.
Rafman’s extensive research on both the Internet and the deep web has enabled him to assume the mantle of amateur anthropologist and digital flâneur. He investigates the epistemic collapse in recent years of the distinction between digital and authentic worlds, between reality and its virtual representation. In his videos, a poetic and hypnotic off-screen voice invariably accompanies a sequence of images taken from the Internet, videogames or online chat forums.
Memory figures as a major theme in many works. In A Man Digging (2013), which comprises footage from videogames including Max Payne 3, the main character speaks of the intrinsic mutability of memory and how it allows for the rewriting of individual and collective history. While the narrator nostalgically drifts along in search of his fragmented past, Rafman transports us, via the glinting surfaces of memory, to the furthest reaches of reality. The video Remember Carthage (2013)tells the story of a man who sets sail on a ship bound for Tunisia in search of a mythical city in the Sahara Desert that existed at the same time as Carthage. Despite its legendary status as the ‘Las Vegas of Maghreb’, however, no trace of the city remains. Composed of footage from Second Life and the videogame Uncharted 3, the film again features an off-camera voice detailing the sublime architectural beauty of ancient civilisations. Remember Carthage explores not only memory but the contemporaneity of history, since – thanks to technological developments such as videogames and Second Life– even history can now find a different form and influence.
The video Dream Journal (2016–17) comes from Rafman’s habit of animating his dreams using amateur 3D software, and has a soundtrack composed by James Ferraro and Oneohtrix Point Never, with whom the artist has previously collaborated. Two young female protagonists – a stereotypical millennial and a child warrior – set off on a Dantean journey within a dystopian universe. The narrative interweaves imaginary scenes with characters from classical epic tales to yield a series of darkly surreal incidents: this is Rafman’s unconscious mind, augmented by online surfing, rendered visual.
Greeting visitors at the entrance of the Palazzina is the artist’s latest work, Legendary Reality (2017). In this he leads us on a voyage into ‘inner space’. An anonymous protagonist narrates a journey through what appears to be a sci-fi landscape – although he could just as easily be sitting at a computer screen on which historical depictions have become conflated with virtual experiences.
Jon Rafman (Montreal, 1981) is an artist who explores digital culture and subcultures, exposing the desires, obsessions and fetishes triggered by the use of technological devices. Recent solo shows in international contemporary art institutions include:I have ten thousand compound eyes and each is named suffering, Stedelijk Museum, Amsterdam (2016); Jon Rafman, Westfälischer Kunstverein, Münster (2016); Jon Rafman, Zabludowicz Collection, London (2015); The end of the end of the end,Contemporary Art Museum St. Louis (2014); Remember Carthage, First Look: New Art Online, New Museum, New York (2013); The Nine Eyes of Google Streetview, Saatchi Gallery, London (2012); Jon Rafman, online exhibition, Palais de Tokyo, Paris (2012). He has also participated in numerous group shows, including: I was raised on the Internet, Museum of Contemporary Art Chicago (2018); Alone together, Musée d’art contemporain de Montréal (2018); ARS 17: Hello world!, Museum of Contemporary Art Kiasma, Helsinki (2017–18); Jon Rafman / Stan Vanderbeek, Sprüth Magers, Los Angeles (2017); Manifesta 11, Zurich (2016);Welcome to the Jungle, KW Institute for Contemporary Art, Berlin (2015);Speculations on Anonymous Materials, Fridericianum, Kassel (2013); NineEyes, Moscow Photobienniale (2012); Screenshots, William Benton Museum of Art, University of Connecticut (2012); From Here On, Les Rencontres de la photographie d’Arles, Arles (2011).
Together with Museo della Figurina, Fondazione Fotografia Modenaand Galleria Civica di Modena are part of FONDAZIONE MODENA ARTI VISIVE, an institution dedicated to the presentation and promotion of contemporary art and visual culture, directed by Diana Baldon.
Jon Rafman, Remember Carthage, 2013, Colour HD video with stereo sound, Runtime: 13’43” Courtesy of the artist
Jon Rafman, Remember Carthage, 2013, Colour HD video with stereo sound, Runtime: 13’43” Courtesy of the artist
CULTURE ARCADE OPENING
Thursday 30 August 2018 17.00 - 20.30
Dates: 31 August - 12 October 2018
Opening hours: Wednesday and Thursday 13:00 - 17:00, Saturday 10:00 - 17:00
Free Admission - RSVP
Prince Claus Fund Gallery
Herengracht 603 Amsterdam The Netherlands
Funded by the The Prince Claus Fund and theVALUE Foundation (a Dutch Foundation that works internationally to design, facilitate, and conduct research, development, and outreach on the crossroads of gaming and academia), Culture Arcade is a new space and series of events in Amsterdam dedicated to games and Game Art. Through video games and narratives, players can enter the reality of people they may know little about, particularly in the countries where the Fund is active, in Africa, Asia and Latin America.
Opening on August 30 2018, Culture Arcade will feature the work of Pakistani artist Omar Gilani. A digital artist, illustrator and designer from Peshawar, Pakistan, Giliani was trained as an engineer, with an MSc in Mechanical Design and an MPhil in Robotics. He decided to build a career that is more in line with his interests and started working as a visual designer and consultant in various fields including corporate design, mobile games and apps, animated TV series and product marketing campaigns. Gilani was supported by the Prince Claus Fund in 2017.
Additionally, during a unique educational programme, you can visit the Culture Arcade to reconstruct destroyed heritage using Minecraft. The reconstructions are inspired by the Prince Claus Fund’s previous rescue operations of heritage threatened by natural disasters or conflict situations.
LINK: Culture Arcade
Am Zollhafen 3-5, 55118 Mainz, Germany
Eva & Franco Mattes
Nicole Ruggiero & Molly Soda
“And now that things are
changing for the worse
see, it‘s a crazy world were living in
And I just can‘t see that half of us
immersed in sin
Is all we have to give these
Futures made of virtual insanity now
Always seem to, be governed
by this love we have
For useless, twisting, our new technology
Oh, now there is no sound, for we all live underground” (Jamiroquai)
Installation View: Eva und Franco Mattes, My Generation, 2010, Fotomuseum Winterthur, Schweiz, Photo: Christian Schwager
Virtual Insanity was the title of the song with which
Jamiroquai stormed the international music charts in
1996. The song heralded the dawn of a new era,
capturing its spirit both vocally and tonally. The
accompanying video has taken on legendary status
for its use of what at the time were spectacular images
to encapsulate the feeling of having the rug pulled
from under your feet, and the instability of people and
situations. While the term “virtual insanity” itself has
not stood the test of time, its meaning certainly has.
The accelerating slide into virtual realities is leading
to ever more sensory disorders, escapism and
brutalization. Simulator sickness or motion sickness is
the name given to the exhaustion and dizziness
experienced when someone’s actual physical
movements do not match what they visually perceive –
for instance, when wearing VR glasses. Thanks to VR
glasses, augmented reality applications, and perhaps
special contact lenses soon, too, the future has long
conquered the present.
Video Still: Cao Fei (SL avatar: China Tracy), Live in RMB City, 2009, Courtesy of the Artist and Vitamin Creative
Computer-communicated realities, mixing real and
virtual realities, extending our real surroundings with
additional artificial elements such as avatars or
virtual objects – these are all spaces for encountering
something entirely new, where human perception and
experience can be changed and expanded. They are
just a few examples to demonstrate that our reality is
steadily growing – and how it is doing so. Scientists
have already started attempting to redefine the
concept of “reality” – in a much freer and more
general sense as whatever makes an impact. But
what effects might computers and technology
precipitate in their interaction with human beings?
How will they be noticeable, and when?
Video Still: Jon Rafman: Dream Journal 2016-2017, 2017, Copyright Jon Rafman, Courtesy the Artist and Sprüth Magers
The exhibition Virtual Insanity examines the extension
of reality and its shadowy underbelly. Growth and
change are the driving forces of human thought and
social change; they stimulate us, they provide
meaning, and they can be necessary. At the same
time they can activate things or trigger thoughts and
actions which are neither wanted nor controllable.
When contemporary artists address present-day
issues and phenomena they are making an important
contribution towards understanding these themes.
Video still: Tabita Rezaire, Premium Connect, 2017, Courtesy of the Artist and Goodman Gallery, Johannesburg
In Virtual Insanity they are creating documents, writing
reports and narratives, developing scenarios, they
are practicing an entirely unique approach to the
technical innovations and lifestyle brought about by
the digital revolution. The side effects listed above of
a virtual or expanded reality have long formed an
important component of the questions asked and
research conducted by international contemporary
artists. They vocalize what science conjectures: that
a high degree of immersion can change not only
consciousness but also people. The stronger the
feeling we have of “presence” within the virtual world,
the more convincing is the illusion of being part of it
and of turning one’s back on the physical world, and
the more overwhelming and profound the impact. And
this impact is not merely limited to thoughts and
feelings, but can also be physically measured. Since
the introduction of the World Wide Web around twenty-
five years ago, digital technologies have permeated
our everyday lives and with breathtaking speed have
radically transformed the way we live with each other.
What happens when we immerse ourselves in unknown
worlds but can’t emerge out of them again? What do we
take with us and what remains of us? The artists
participating in Virtual Insanity will be exploring these
questions, and many more besides.
LINK: Virtual Insanity
I Only Hope to Fall Asleep Before I Fall Apart
Art Contemporary Club
01.08.2018 – 31.08.2018
Art Contemporary Club is proud to present I only hope to fall asleep before I fall apart, the debut online exhibition of Twee Whistler. Known for her multiple representations of Jon Rafman by way of an avatar on her Instagram account, Twee Whistler dives deeper into the universe of the Canadian artist by creating a highly cinematographic and delightful fanfiction charged with guilty pleasures and carefully calculated obsession. Her work lies at the intersection of Marker’s La Jetée and Polanski’s The Tenant, acting as a self-reflexive twist on Rafman’s 2015 artwork Neon Parallel 1996.
Fanfictioning offers girls the opportunity to both experiment with their sexuality and to create a utopia in which they no longer embody the subordinate role that they have been educated to incarnate. In this context, Twee Whistler is free to document her own sex fantasies: she is no longer the mere object of a male sexual desire. It is a statement that is both emancipatory and self-empowering.
Driven by symbolism, psychoanalytic theories, and studies of the subconscious, the young artist evokes canonical moments in these disciplines, such as Lacan's reading of Freud’s Father can't you see that I'm burning? dream interpretation, and Slavoj Žižek reading of Lacan’s. In this particular case, a patient hopes to find relief from an unpleasant situation, but instead faces a even more significant trauma in his dream, and is ultimately forced to return to reality. This circular structure, replayed multiple times in cinema, from David Lynch’s Lost Highway to Vincent Gallo’s Brown Bunny, repeats itself once again in Twee Whistler’s one of a kind huis clos–a closed meta-universe.
I only hope to fall asleep before I fall apart explores cross-dressing as an homage to Currer Bell, Charlotte Brontë’s male pseudonym. Twee Whistler engages in a never-ending costume change, where she candidly switches between identities. Dreams and fantasies joyfully mingle into a saturated referential scenery. Honoring Rafman’s fetish for obsolescence and antiquated tech, Twee Whistler takes over Art Contemporary Club’s website with an aesthetic that can recall the dawn of the Internet Age or early Sega Genesis platform games.
Similar to the chat room conversation that sp1der_ and ang3l, the main characters of Rafman’s Neon Parallel 1996 are engaged in, the exhibition is accompanied by a real person fiction (RPF) called Sigmund Freud Diaries: in Conversation with Sandra Rafman, a crossover fictional dialogue between Sigmund Freud and Sandra Rafman. Played by Twee Whistler, the latter character is a nod to Robert Bloch’s and Alfred Hitchcock’s Psycho, where Norman Bates dressed as his mother, Norma Bates. This phantasmagorical reading enables Jon Rafman’s avatar to finally fill the oedipal gap by dressing as his very own mother.
Born in 1995 in Turin, Italy, Twee Whistler is currently graduating from Brera Academy. She has declined a few exhibition invitations due to social anxiety (งಠ෴ಠ)ง, but somehow managed to make it to CHAIN LETTER, a collective exhibition at Hutt Collective, Nottingham, in 2018. (´•u•`)ﾉ She now lives in Milan. (ღ˘⌣˘ღ)
LINK: Art Contemporary Club/Twee Whistler
Centro Cultural Las Cigarreras, Calle San Carlos 78, Alicante, Spain
August 2 - September 30, 2018
Negocio investigates the function and effectiveness of social critique expressed by alternative games and video games:
In the current context, where our freedoms and our civil rights are being challenged, games can become a powerful tool to subvert the world around us, to test mechanisms, roles, guidelines, utopias or dystopias in a way that escapes conventional ways of expression. This exhibition tries to find new ways of thinking about games, new ways to use games to reflect on the rest of the world. What does it take for a game to become an artistic means and how can art subvert the hierarchies of power?
Featuring Yoko Ono, Brenda Romero, Carlo No, Molleindustria, Ian Bogost & Jane McGonigal, Richard Hofmeier, Ricardo Miranda Zuniga, Rosa Lendinez, Alba Refulgente, Natalia Carminati, Abel Barroso, Joan Priego, Simon Evans & Simon Johnson, Anne-Marie Schleiner, Jason Rohrer, Paco Fernandez & Alejandro Perez, and Ralph Anspach.
JUNE 20, 2018/20 GIUGNO 2018
Università IULM (IULM 1)
Via Carlo Bo, 1
Filming: Lorenzo Mosna
In this talk, members of the collective AAA (Merle Leufgen, Gabriel Helfenstein, Troy Duguid, Chloe Langford, Jessica Palmer) will present their work and reflect on their collaborative practices which intent to propose an alternative to the often accepted thinking that the way we live and organize society is the only possible way. The aim of the talk will be to show how games and collaborative exchange in game development can help break the inertia resulting from the perceived lack of possibles disrupting the current status quo - in our everyday lives as well as in the production of art.
Active in Berlin, the AAA Collective comprises artists, designers, and creators from all over the world. Its founding members are Merle Leufgen, a software artist, curator and independent researcher, Gabriel Helfenstein, a French transmedia artist, curator, and writer, Troy Duguid, and Australian artist working with game engines, and Jessica Palmer, a Canadian multimedia artist interested in neuroscience.
LINK: AAA Collective
PART OF GAME TALKS 2018: gamedesign.university/game-talks-2018/
VIDEO CAPTURE AND FILMING: LORENZO MOSNA
foci + loci
Topos is a long-term WIP and a game art performance combining a two-channel video projection of artist-built game spaces. The piece examines the cultural shift from the mechanized, topographic 20th century to the topological experience of the digital era through virtual, kinetic portraits. Subjects will include modernist artists concerned with time and movement such as F.T. Marinetti, Claude Cahun, Scott Joplin and others. Navigating custom game spaces in real time, the performers will explore the grand shift from the physical to the virtual.
foci + loci evolved through a fascination with the malleability of virtual space paired with an interest in electroacoustic improvisation leading the duo (Chris Burke and Tamara Yadao) to design spaces that could be “played” as instruments. foci + loci received a NYSCA grant for 2013 to develop their full scale game art performance installation ‘Bal(l)ade’. Tamara received an American Composers' Forum grant in 2015 commissioning the music for foci + loci's "Another Kind of Spiral" which premiered at Cluster Festival in Winnipeg with a performance at Centre Georges Pompidou following soon after. Other performances and exhibits include GAME VIDEO/ART. A SURVEY, an official exhibition of the 21st Triennale of Milan, Vector Festival in Toronto, Babycastles, The Stone, and Joe's Pub in NYC.
LINK: foci + loci