GAMESCENES

EVENT: WORLDGLIMPSING: ROLE PLAY AND THE DESIGN OF ALTERNATE REALITIES (OCTOBER 3 2025 - AUGUST 16 2026, STIOCKHOLM, SWEDEN)

Reinis Hofmanis, Britta Hoyer as Youa the Manwolf, LARP series, 2011. Courtesy of ArkDes. © Reinis Hofmanis

Worldglimpsing
Role Play and the Design of Alternate Realities
October 3, 2025–August 16, 2026

ArkDes
Skeppsholmen
Exercisplan
Stockholm
Sweden

Hours: Tuesday–Sunday 10am-6pm,
Tuesday and Friday 10am-8pm

 

press release

ArkDes and Nieuwe Instituut are excited to announce Worldglimpsing: two exhibitions that shine light on the ways in which we inhabit our reality through designed worlds.

Across 2025 and 2027, Worldglimpsing invites you to envision and embody alternate ways of nurturing our identities, our communities, and the planet at large. From live action role play (LARP) and game design to film, animation and avatarism, the exhibition explores social and artistic approaches that are guiding us to other possible futures—today.

Engage with sophisticated worlding efforts that marshal the potential of empathy through speculation and serious play. Outlining an emerging creative field that blends visual art, design, architecture, performance, fashion and more, this participatory exhibition highlights forms of creativity that foreground role play and the design of alternate worlds as civic and political acts. Worldglimpsing introduces you to a series of extraordinary experiments—human, machine, and otherwise—at the bleeding edge of contemporary culture.

At the heart of the exhibitions: Our Brood
Conceived and created by OMSK Social Club, Our Brood is an expansive and embodied RGP (“Real Game Play”) experience. Combining immersive role play with AI interaction, it explores themes of motherhood and care in the context of ecological and technological crises. Here, the power of play becomes a tool to navigate complex contemporary scenarios. Envision alternate futures of yourself—and the worlds that you design.

OMSK Social Club is a stewarded practice of collective storytelling. It involves a specific immersive improvised methodology, which they coined in 2017 as “Real Game Play”, encompassing collective immersion and speculative worlding. From these live iterations, they harvest media relics such as films, scripts, and large-scale video installations invoking states and gateways that could potentially be fiction or an as-of-yet unlived reality. The living installations that they create examine virtual egos, popular experiences, and cautionary tales.

Worldglimpsing: Role Play and the Design of Alternate Realities is a collaboration between two national museums with a shared focus on investigating an expanded field of design. The first chapter of the exhibition, hosted by ArkDes in Stockholm, will open on October 3, 2025. The second chapter, hosted by the Nieuwe Instituut in Rotterdam, will open in Autumn 2026.

LINK: Worldglimpsing: Role Play and the Design of Alternate Realities

LINK: OMSK Social Club 

EVENT: ZEROED IN: BETWEEN WORLDS. VIDEO GAMES AND THE PHYSICAL (JANUARY 24 2025, CHICAGO, ILLINOIS)

𝔃𝓮𝓻𝓸𝓮𝓭 𝓲𝓷

Student Final Work from ART 250: Between Worlds, Video Games and the Physical @ University of Illinois Chicago

Friday, January 24, 2025
6:00 PM 9:00 PM
VGA Project Lab 2233 South Throop Street #843
Chicago, IL, 60608 United States

curated by

Jared Kelley-Hudgins, UIC ART 250 Instructor

Eleanor Schichtel, VGA Director of Exhibitions

with works by Avery Chang, Shawnie Higuera, Cristiana Salerno, Dante Moore

Amid hard deadlines for as many as five other college courses, the students featured in this exhibition developed intriguing projects in the feverish context of the late semester crunch. What’s more, these projects stand out in particular for demonstrating genuinely original inspiration from the beginner tutorials they received in creative coding, video game design, and augmented reality. These delightfully weird and unpretentious early works are a testament to experimentation in new media art education.

LINK: ZEROED IN

EVENT: HARRISON WADE REISHMAN (JANUARY 17-30 2025)

Ida B. Wells: A Red Record

digital video (1920 x 1080), color, sound, 39’ 34”, 2020, United States of America

created by Harrison Wade Reishman

 

Ida B. Wells: A Red Record is a biographical machinima that examines the life and contributions of Ida B. Wells, a trailblazing African American journalist and activist. Conceived during the Covid-19 lockdown through the innovative use of the Red Dead Redemption 2 game engine, the film transforms Wells’ seminal investigative journalism into a sophisticated cinematic narrative. By leveraging the intricate virtual environments of the game and employing a nuanced narration, the film reconstructs Wells’ relentless documentation of lynching atrocities in the American South during the 1890s, drawing extensively from her landmark publication, The Red Record. The production combines historical accuracy with the creative latitude afforded by video game aesthetics, deploying almost thirty characters to re-enact pivotal moments of Wells’ life. 

Hailing from Hurricane, West Virginia, Harrison Wade Reishman is an accomplished filmmaker and innovator in machinima whose work explores the confluence of traditional cinema and game-driven narratives. A graduate of the University of Virginia with dual degrees in Psychology and Marketing, Reishman combines narrative sophistication with technical expertise in his visual storytelling. His career trajectory includes roles as a UTA agent trainee and a television development executive at Entertainment One, where he contributed to acclaimed productions such as Hung (HBO) and Hell on Wheels (AMC). Transitioning to independent filmmaking, he received a Taliesin Nexus grant in 2018 to direct Crosswinds, and has since directed and produced a series of critically recognized short films. Currently based in Los Angeles, Reishman continues to push the boundaries of machinima as a transformative medium for storytelling.

WATCH NOW

EVENT: PLATFORM 101 VOL. 05: HIDDEN GEOMETRY & GLITCH ART (JANUARY 17 - APRIL 17 2025, TEHRAN, IRAN)

Platform 101 Vol. 05: Hidden Geometry & Glitch Art

Rischee 29 Art Gallery

No.31, Aghabozorgi Street, Fereshteh Street, Tehran, Iran

Friday, January 17, 2025 to Thursday, April 17, 2025

press release

The latest edition of Platform 101, Vol.05: Hidden Geometry & Glitch Art, will be hosted in the Mirror Box and Rhizom section of Rischee 29 Art Gallery in Tehran. Running from January 17 to April 17, 2025, this exhibition will showcase the works of 21 exceptional video artists from around the world, with a rotating selection of artists every two weeks, creating a dynamic exploration of glitch and fractal aesthetics.

Curated under the theme “Hidden Geometry & Glitch Art”, this video art series examines the intricate relationship between fractal geometry and digital glitches, redefining beauty and order through the lens of imperfection. Curator Mohammad Ali Famori invites audiences to explore how glitches expose the chaos beneath structured geometry, challenging perceptions of symmetry, harmony, and artistic creation. “Through this exhibition, we explore the unexpected beauty found in disruptions, revealing how glitches and errors can serve as catalysts for artistic innovation and new pathways of understanding,” says Famori. Inspired by the Glitch Manifesto, the exhibition emphasizes themes of disintegration, discontinuity and destruction, blending the precision of mathematical forms with the unpredictability of digital error. This exhibition features artists from 13 countries, including Iran, France, Japan, Italy, Argentina, USA, Peru, Singapore, Mexico, and South Korea.

Participating Artists
Abarca, Ali Ettehad, Arezou Ramezani, Arash Masoom, Claude Ciccolella, Diyufang, Eddie Lohmeyer, Franco Palliof, Franz Rosati, Hiroya Sakurai, Jorge Flores (frqnxy__), Kaoru Tanaka, Matteo Campulla, Melissa Faivre, Melissa Valipour, Niloufar Baniasadi, Muriel Paraboni, Reza Famori, Sadegh Majlesi, Shon Kim, and Yannet Villela Medina.

LINK: Platform 101 Vol.05: Hidden Geometry & Glitch Art

GAME ART: VOLNA’S THIRD CALL (2024)

Third Call is an innovative art-game developed by the VOLNA artists collective, created as part of the ongoing renovation of the Badisches Staatstheater in Karlsruhe, Germany. Commissioned for the theater’s 2025 season and spearheaded by its newly established Digital Theater division, the project offers players a unique opportunity to explore a reimagined interpretation of the theater's spaces. By merging architecture with gaming, Third Call invites audiences to engage with the evolving identity of the building through an interactive, artistic lens.

Built using Unreal Engine, Third Call transforms the theater’s architectural blueprints into a fully immersive, first-person journey. The game plunges players into a surreal, deconstructed version of the theater, where they navigate a looping quest to find their seat in a not-yet-revealed futuristic performance hall. This narrative structure echoes the ongoing renovation, creating a metaphorical and real-time reflection on the interplay between the building’s historical legacy, its present transformation, and its speculative future.

Visually, the game masterfully blends the precision of architectural renderings with the eerie atmosphere of liminal spaces, crafting an aesthetic that feels both familiar and otherworldly. Drawing inspiration from seminal works like The Stanley Parable and the cyberpunk ethos of Blade Runner, Third Call establishes its own distinct identity, fusing clarity and ambiguity into a cohesive artistic experience. The result is a space where storytelling, architecture, and digital media converge, inviting players to contemplate the theater not just as a building but as a living, evolving concept.

As part of the Badisches Staatstheater’s initiative to integrate digital innovation into performance art, Third Call reimagines what theater can be. By turning the theater’s physical metamorphosis into an interactive journey, the game blurs boundaries between audience and performer, space and narrative, reality and simulation. This bold exploration of the intersection of digital media, architecture, and performance art challenges traditional notions of what constitutes "theater" in the 21st century.

As The Third Call clearly demonstrates, game engines like Unreal are increasingly central to digital art production, enabling creators to push the boundaries of interactivity and immersion in ways previously unimaginable.

Formed in 2016 as a loose cooperative of architects, artists, engineers, cultural workers and artisans, VOLNA is based in Karlsruhe, Germany. We have an extensive track record of successful collaborations with major museums, theaters, festivals, biennials, educational institutions, grassroots cultural initiatives, nightclubs, and corporate clients. Whether it's mechanical flowers under your feet or intricate environmentally sustainable art objects in the Alps, a dramaturgically designed immersive light forest for a choreographic performance or interactive light mirrors for a university bus stop, light set-ups for underground music venues or the entire architecture for a festival with 15,000 visitors, or even a virtual Kunsthalle with lifelike lighting effects, in all of our projects VOLNA creates unique and exciting artistic environments that integrate organically into each site with own unique context and specifics.

For more information, visit VOLNA Media’s official website.

Download the game here

Watch a teaser here

LINK: VOLNA (Special thanks to Nikita Golyshev/VOLNA)

EVENT: IVELINA IVANOVA’S LOW POLY FEVER DREAM (NOVEMBER 22 - DECEMBER 15 2024, SOFIA, BULGARIA)

Ivelina Ivanova's Low Poly Fever Dream

Curated by Andreya Gandeva and Vasil Vladimirov

November 22 - December 15 2024

KO-OP

17 Yanko Sakazov Blvd, Sofia Bulgaria

 

press release
Low Poly Fever Dream merges digital nostalgia with social critique in a multimedia project. At its heart is Bot Brother, an interactive video installation inspired by The Sims and early MMOGs. Bulgarian internet forums and social media comments are fed into an algorithm that generates dialogues for the characters, transforming the familiar virtual world into a stage for uncensored public discourse. Through a series of feedback loops that materialise in the space as objects and characters native to the world of Bot Brother, Ivanova explores how the quest for identity online unfolds as a recursive process, where individuals become both creators and examples of themselves. But as the line between virtual and reality fades, Low Poly Fever Dream questions: What happens when the boundaries dissolve entirely?

The exhibition is part of the official programme of KO-OP Art Space and is realised with the support of the National Culture Fund @nationalculturefund

Read an in-depth review/interview by Gerry Minkova at GameLeap

All images courtesy of KO-OP

Ivelina Ivanova (b.1995) is a Sofia-based new media artist. In 2017 she graduated with a BA(Hons) in Animation from the University of Westminster in London. Her animated short films are recognised by numerous international film and video art festivals, including Annecy International Film Festival and Pictoplasma. Upon her return to Sofia, she expands her field of practice towards live visualisations, projection mapping and interactive installations. Since 2018 she is a part of the team of Phormatik Visual Lab – a studio for digital art and immersive experiences. In 2022 she obtains a Master’s Degree in Digital Arts at the National Academy of Fine Arts in Sofia. Nominee for BAZA Award for Contemporary Art 2023.

LINK: Ivelina Ivanova

LINK: KO-OP

EVENT: ONE TETHERED BIRD (JANUARY 17 - FEBRUARY 21 2025, SEATTLE, WASHINGTON STATE)

Brent Watanabe: One Tethered Bird

The Behnke Family Gallery at Cornish

1077 Lenora Street

Seattle, WA 98121

Jan 17th - Feb 21 2025

 

Brent Watanabe's upcoming solo show at The Behnke Family Gallery at Cornish will include work covering the past two decades, including his Grand Theft Auto interventions (San Andreas Deer Cam, Community Cam, Possessions), several computer controlled installations, MINE VR, his Animal Crossing intervention, and the two new works.

 

Brent Watanabe, San Andreas Community Cam, 2017, studies for computer-controlled installation, Modified version of Grand Theft Auto V

 

Brent Watanabe, Possessions, 2018-19, animation, animation, modified version of Grand Theft Auto V

 

Brent Watanabe, Animal Crossing: All Mine, 2020, video game intervention in Animal Crossing: New Horizon

 

Stay tuned for more news about this monumental exhibition!

 

Brent Watanabe’s art practice defies categorization, fusing traditional techniques with cutting-edge technology to create installations that are at once visually arresting and intellectually engaging. Drawing on his extensive background in drawing and sculpture, Watanabe uses computer programming and electronics to create kinetic sculptures that are at the forefront of a new wave of digital art. Watanabe’s work has been recognized both nationally and internationally, with his groundbreaking 2016 project, San Andreas Deer Cam, receiving over 800,000 visitors in its first three months alone and being featured in publications such as New York Magazine, the BBC, and WIRED. In addition to his solo work, Watanabe has participated in group shows and screenings around the world, including Through Machine Eyes at the NeMe Arts Center in Limassol, Cyprus, Game Changers at MassArt Art Museum in Boston, and Playmode at the MATT Museum in Lisbon, Portugal. With recent solo exhibitions at prestigious venues such as SOIL Art Gallery, McLeod Residency, Jack Straw New Media Gallery, Gallery 4Culture, Anchor Art Space, and the Bumbershoot Music and Arts Festival, Watanabe continues to push the boundaries of what is possible in the realm of digital art. 

 

Read an interview about MINE VR

 

Read an interview about Animal Crossing: All Mine

 

LINK: Brent Watanabe

 

LINK: The Behnke Family Gallery at Cornish

EVENT: ANDY HUGHES (JANUARY 3-16 2025, ONLINE)

Shimmer

digital video, color, sound, 11’, 2024, United Kingdom

created by Andy Hughes

vral.org

 

Shimmer creatively combines photographic assemblage, archival footage, and video game imagery, to interrogate the vitality and agency of materials, positioning pollution and climate change as pivotal concerns while destabilizing the dichotomy between animate and ostensibly inert matter such as “plastics”.

Andy Hughes is a British artist whose practice centers on the littoral zone and the politics of plastic waste, with a significant focus on machinima as a medium to explore the ecological and philosophical implications of pollution, materiality, and human-environment relationships. Hughes studied fine art at Cardiff University and received a scholarship to study photography at the Royal College of Art, London. He was the first artist in residence at Tate Gallery St. Ives. For more than thirty years, he has collaborated with scientists, curators, publishers, NGOs, academics, other artists, and many communities sympathetic to those aiming to examine and consider our relationships with plastic and pollution-related matters. Recent work aims to transcend the conventional trope of “raising awareness” about plastic pollution, instead utilizing machinima as a tool to explore the intersections of weirdness, magic, and Timothy Morton’s philosophical concepts. Through this medium, Hughes reconfigures ecological narratives, positioning them within a broader ontological and speculative framework.

WATCH NOW

EVENT: GLORIA LÓPEZ CLERIES AND SIVE HAMILTON HELLE (DECEMBER 20 2024 - JANUARY 2 2025, ONLINE)

The Unreal

digital video, color, sound, 13’ 50”, 2019, Spain/Norway

created by Gloria López Cleries and Sive Hamilton Helle

December 20 2024 - January 2 2025

Introduced by Matteo Bittanti

vral.org

 

A machinima set within a seemingly alien landscape, The Unreal uses a first-person perspective to guide the viewer through the gleaming surface of an untouched mine. The ambient soundtrack, coupled with a soothing voice-over, cultivates a tranquil atmosphere that invites meditation, while subtly revealing the mineral origins of technology and the extractivist dynamics embedded within it. Employing a practice-based methodology, the artists have harnessed video game software to construct an artificial world and engage with the appropriation of visual and narrative conventions associated with techno-colonialism.

Gloria López Cleries works as an artist, educator and researcher at the intersection of artistic research, visual culture and pedagogy. Originally from Valencia (Spain), López is based in Gothenburg, where she teaches on the MFA Fine Art programme at HDK-Valand. She holds a Master’s in Contemporary Art History and Visual Culture (MNCARS, Madrid), as well as an MFA from HDK-Valand (Gothenburg University). Her work critically engages with neoliberal rhetoric surrounding emotional capitalism, online models of productivity, and the politics of care and collectivity. Through her projects, she challenges the vocabularies and iconographies of online social networks. Her recent work explores the spiritual discourses of materiality and techno-mysticism.

Sive Hamilton Helle is a filmmaker, visual artist, and lecturer based in Oslo. She holds an MFA in Film from HDK-Valand and a BA in Film from the London College of Communication. Hamilton Helle’s works have been screened and exhibited at venues such as The Photographer’s Gallery, Fotomuseum Winterthür and the Göteborg Film Festival. Known for her worldbuilding process, she often combines multiple perspectives and crafts narratives that blur the lines between fiction and reality. Recently, her work has focused on complex landscapes shaped by colonialism and industrial activity.

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GAME ART: MIKHAIL MAKSIMOV’S FLYOVER VR (2024)

Mikhail Maksimov’s FlyOver is a VR experience that merges meditative gameplay with a deeply existential narrative. By transforming players’ hands into wings, the game invites participants on a tranquil journey through surreal landscapes, including serene swamps and dreamlike vistas where reality and imagination blur. The journey is marked by discovery: abandoned VHS tape recorders, placed in the heart of a swamp, beckon the player to engage. By inserting old VHS tapes into these machines, players unlock cryptic movies that weave a narrative of memory, mortality, and transcendence.

Are they fragments of forgotten lives? Echoes of alternate realities? Or glimpses into a subconscious? At its core, FlyOver is a “game of overcoming death,” exploring the liminal space between life and the afterlife, where transgression becomes key. This sense of transition - what Maksimov describes as meeting oneself in a dream - captures the enigmatic beauty of FlyOver.

Mikhail Maksimov engages with the conceptual interplay between digital media and reality, employing advanced techniques such as simulations and 3D animation to interrogate potential alternative realities. His practice, grounded in the framework of ‘transmedia storytelling,’ traverses multiple platforms, including film, installation art, and mobile applications. Through these media, Maksimov rigorously examines and critiques ideological and philosophical constructs, situating digital interfaces as both a reflective medium and an active agent in shaping the relationship between creator and audience. He posits that if reality can be understood as modeling gaming principles, then digital forms such as animation and interactive artworks possess the capacity to reconfigure reality itself. Maksimov’s academic foundation includes studies at Moscow State Construction University and the Moscow School of Photography and Multimedia. His works have been featured in prestigious exhibitions and festivals, including the Moscow Modern Art Biennale, the Locarno Film Festival, Manifesta 10, the Venice Architecture Biennale, and DA Z Festival in Zurich.

Download the game here for Windows/Android platforms

LINK: Mikhail Maksimov