GAMESCENES

EVENT: GIATH TAHA (AUGUST 30 - SEPTEMBER 12 2024, ONLINE)

BECOMING A GHOST

digital video (1920 x 1080), color, sound, 21’ 09”, 2022, Syria

created by Giath Taha

vral.org

Originally a four-channel video installation and presented on VRAL as a single-channel video, Becoming a Ghost documents Syrian-born artist Giath Taha’s emotional reunion with his brother in the online game PlayerUnknown’s Battlegrounds (PUBG). Separated for ten years due to the Syrian conflict, Taha and his brother reconnect in this digital warzone, which mirrors the real-life violence that forced Taha to flee Syria. Although the game involves players competing to be the last one standing, it paradoxically becomes a safe space for the brothers to discuss topics censored elsewhere. The work explores themes of presence and absence, reality and simulation, and how virtual spaces can offer temporary escape from harsh realities. Through their mediated interaction in PUBG, Taha and his brother create counter-narratives and find moments of connection despite their physical separation. Becoming a Ghost explores themes of presence and absence, reality and simulation, and the interplay between virtual and real-life experiences.

Giath Taha was born in Syria in 1982 and studied Photography and Applied Arts at the Walled Izzat Institute in Damascus and Literature at the University of Damascus, Syria. He subsequently graduated from the MA Artistic Research at the Royal Academy of Arts (KABK) in The Hague in 2021. He received both the MA Artistic Research Department Award 2021 as well as the Royal Academy Master Award 2021 for his graduation work Becoming a Ghost (2021). Taha lives and works in Amsterdam.

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EVENT: ALICE BUCKNELL (AUGUST 2 - 15 2024, ONLINE)

The Alluvials

digital video (1920 x 1080), color, sound, 38’ 05”, 2023, United States of America

Created by Alice Bucknell

 

The Alluvials is a seven-chapter video work — and video game — that delves into the politics of drought and water scarcity in a near-future Los Angeles. The narrative unfolds through diverse more-than-human perspectives, including the Los Angeles River, wildfire, a 400-year-old sycamore named El Aliso, and the ghost of the city’s famed mountain lion, P-22. Combining history, futurism, and speculative fiction, The Alluvials examines the complex interplay between engineered ecology, disaster capitalism, and nonhuman systems shaping Los Angeles. The story is presented across various media, featuring custom-built game environments, modified versions of the fictional city Los Santos from Rockstar Games’ Grand Theft Auto V, 3D scans of LA captured by drone, AI-generated “hallucinations” merging historical images of the River with future development proposals, and visualizations of GIS and pollution data of the LA River. The project acknowledges Indigenous unique relationships to water, particularly those of the Tongva People of the Greater Los Angeles Basin, emphasizing that nature is an intelligent system and a technology in its own right.

Alice Bucknell is a North American artist and writer based in Los Angeles. Working with game engines and speculative fiction strategies, their work explores interconnections of architecture, ecology, magic, and nonhuman and machine intelligence.In 2021, they founded New Mystics, a digital platform merging magic and technology. In 2022, they organized New Worlds, an experimental event series expanding on emergent worlding practices, held at Somerset House Studios in London. They have presented their work internationally, with recent exhibitions at Ars Electronica with transmediale, Arcade Seoul, the 18th Venice Architecture Biennale, Honor Fraser Gallery in Los Angeles, Gray Area in San Francisco, Basement Roma in Rome, Singapore Art Museum, The Museum of Modern Art in Fort Worth, Texas, Fiber Festival in the Netherlands, and Serpentine in London. Their writing appears often in publications including ArtReview, Flash Art, Frieze, e-flux Architecture, and the Harvard Design Magazine. They are currently faculty at SCI-Arc in Los Angeles and an Associate Lecturer in MA Narrative Environments at University of the Arts London. In 2023, they are a Supercollider SciArt Ambassador in Los Angeles, a resident of Somerset House Studios in London, and a resident at transmediale in Berlin. Bucknell studied Anthropology at the University of Chicago and Critical Practice at the Royal College of Art in London.

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GAME ART: ED FORNELIES’S INSIDE OUT 2 (2024)

Installation View, Ed Fornieles, Inside Out 2, Carlos/Ishikawa, 2024
Image © Ed Fornieles, courtesy Carlos/Ishikawa, London. Photographer: Damian Griffiths

Installation View, Ed Fornieles, Inside Out 2, Carlos/Ishikawa, 2024
Image © Ed Fornieles, courtesy Carlos/Ishikawa, London. Photographer: Damian Griffiths

Recently presented at Carlos/Ishikawa gallery in London between May 23 – July 6, 2024, Ed Fornieles’s Inside Out 2 is an ambitious exploration of the intersections between corporate structures, personal relationships, and digital interactions, presented through a richly narrative-driven multimedia approach. This project extends Fornieles’ continuous investigation into the dynamics of digital and social spheres, previously exemplified in his Dorm Daze project, where participants inhabited fictional Facebook profiles, blurring the lines between personal and fictional identities.

Central to Inside Out 2 is the conceptualization of a company, Fini, as both a work of art and a corporate entity, challenging traditional notions by positioning the company as a medium that generates value through engagement rather than tangible products. The narrative intricately weaves the concept of friendship into corporate dynamics, prompting profound questions about the nature of relationships within commercial and digital contexts. Drawing on the Brazilian Anthropophagy movement, which advocated for the cultural digestion and transformation of colonial influences, Fornieles illustrates how digital and corporate cultures can be absorbed and reinterpreted.

Installation View, Ed Fornieles, Inside Out 2, Carlos/Ishikawa, 2024
Image © Ed Fornieles, courtesy Carlos/Ishikawa, London. Photographer: Damian Griffiths

The gallery space, referred to as The Zone, acts as a transformative environment where objects and concepts are recontextualized, allowing viewers to engage in a suspension of disbelief. Fornieles provocatively suggests that shared hallucinations, or mutual agreements on perceived realities, form the basis of our understanding of the world, thereby challenging the stability of reality itself. The project employs a range of narrative techniques, from cute aesthetics to speculative fiction and historical revisionism, creating a multilayered experience that defies conventional boundaries between fiction and reality.

Installation View, Ed Fornieles, Inside Out 2, Carlos/Ishikawa, 2024
Image © Ed Fornieles, courtesy Carlos/Ishikawa, London. Photographer: Damian Griffiths

Envisioning future expansions, Fornieles introduces the Oom app, positioned at the intersection of messaging and mobile gaming, and a movie that combines live-action with animation, further extending the project  "narrative universe. By discussing the role of venture capital in the growth of new companies, Fornieles draws intriguing parallels between the ambitions of artists and venture capitalists in their shared pursuit of world-building, highlighting the economic and philosophical challenges of sustaining such an innovative endeavor. Inside Out 2 is a complex work that invites viewers to interrogate contemporary culture through the lenses of corporate structures, digital identities, and personal relationships, urging a reconsideration of how we engage with the so-called “digital”.

LINK: Ed Fornieles’s Inside Out 2

EVENT: FILE 2024: QUBIT AI (JULY 3 - AUGUST 25 2024, SÃO PAULO, BRAZIL)

FILE 2024: QUBIT AI

July 3 - August 25 2024

Centro Cultural FIESP

Avenida Paulista, 1313 Em frente a estação Trianon-Masp do Metrô

Bela Vista, São Paulo - SP, 01311-200, Brazil

 

In the heart of São Paulo, at the FIESP Cultural Center, the FILE 2024 festival unfurls a groundbreaking intersection of art and technology through its latest exhibition, QUBIT AI: Quantum Computing and Synthetic Artificial Intelligence. Curated by Ricardo Barreto and Paula Perissinotto, the exhibition, running from July 3rd to August 25th, promises to redefine the boundaries AI-inspired/co-generated digital art.

At the core of QUBIT AI is the revolutionary potential of quantum computing. This avant-garde technology, characterized by quantum superposition and entanglement, introduces novel creative avenues for artists. Barreto and Perissinotto articulate this paradigm shift in their curatorial text, emphasizing that quantum computing heralds an unprecedented frontier for both computer science and the arts.

For the first time, an art exhibition features a fully operational Quantum Computer. This cutting-edge inclusion is complemented by two pioneering Brazilian projects: Quantum Photography by Gabriela Barreto Lemos and Sounding Qubits by Eduardo Reck Miranda. Lemos’ work explores the visual possibilities inherent in quantum phenomena, while Miranda's installation translates the enigmatic behaviors of qubits into an auditory experience.

While quantum computing represents a nascent technological revolution, synthetic artificial intelligence is already reshaping artistic landscapes. Synthetic art, produced through AI in collaboration with human creativity, parallels the radical shifts of early modernity, offering new methods of creation across diverse media.

The exhibition's synthetic art section is divided into four thematic areas: Sound Synthetics, Aesthetic Synthetics, Cinematic Synthetics, and Architectural Synthetics. One of the standout installations, INTERATOR, is a three-dimensional cinema without VR glasses. This immersive experience allows viewers to navigate a space filled with simultaneous synthetic video projections, creating an interactive dialogue between the audience and the art.

Highlighted artists within Sound Synthetics include Dennis Schöneberg, whose works such as Bodydub and Transparenza blend visual and auditory stimuli to craft a multisensory narrative. The Spanish collective Iskarioto's dystopian AI films, paired with AI-generated music, further push the envelope of what synthetic art can achieve.

QUBIT AI’s interactive installations invite visitors to become active participants in the art. Klaus Obermaier's EGO uses the concept of alienation from psychoanalyst Jacques Lacan to distort the viewer's reflection, examining the tension between reality and symbolism. "The Forgettable Art Machine" places the visitor at the nexus of art and technology, turning each interaction into a personalized masterpiece.

Elizabeth Kolbert's influence is evident in Speculative Evolution, Prototype 1, an AI-driven simulator that allows visitors to create new species within a speculative ecosystem. Marc Vilanova’s Cascade immerses viewers in the hidden frequencies of waterfalls, transforming auditory experiences into a sensory exploration of environmental soundscapes.

Seph Li's Everything Before, Everything After transforms collective touch into a dynamic digital painting, capturing the fluidity of interaction in a visual symphony. Holly Herndon’s AI voice model, Holly+, stars in the music video Jolene, featuring Sam Rolfes, which showcases the capabilities of synthetic performers and their impact on contemporary music.

Complementing QUBIT AI, the FILE LED Show 2024 illuminates Fiesp's facade with innovative creations from USP Visual Arts Course and IED São Paulo students. Under the guidance of Dr. Silvia Laurentiz and Daniel Grizando, these collaborations highlight the interdisciplinary nature of design and the transformative power of university partnerships

QUBIT AI at FILE 2024 is not merely an exhibition; it is a visionary journey into the future of art. By integrating quantum computing and synthetic AI, it challenges and expands our understanding of creativity, inviting us to explore the uncharted territories where art and technology converge.

LINK: FILE 2024: QUIBIT AI

EVENT: ELIZABETH DESINTAPUTRI (MAY 24 - JUNE 6 2024, ONLINE)

Elizabeth Desintaputri

Ascending Men

digital video, color, sound, 1’ 44”, 2024, Indonesia

May 24 - June 6 2024

introduced by Matteo Bittanti

vral.org

 

In Ascending Men, Elizabeth Desintaputri exploits the virtual topography of Grand Theft Auto V as a canvas for digital experimentation, interweaving modding techniques with the capabilities of Rockstar Editor. This approach not only challenges the boundaries of the game’s inherent visual and technical capacities but also recontextualizes the medium itself as a tool for artistic creation. The work is a digital simulacrum, where the interface between player and creator blurs, reflecting on the fluidity and permeability of contemporary digital identities.

Elizabeth Desintaputri is a photographer and digital media artist born and raised in Indonesia, now based in Lucerne, Switzerland. Her work intricately weaves together cultural, political, and social themes, with a particular focus on social commentary. Desintaputri’s artistic inquiry extends into the capabilities and societal impacts of digital media, exploring and challenging the cultural and social aspects embedded within it. Currently, she is pursuing a Bachelor of Arts in Camera Arts at Hochschule Luzern (HSLU) in Design, Film und Kunst, with an expected graduation year of 2024. Prior to this, she completed a foundational course at Zürich Hochschule der Künste (ZHdK) in 2021, where she began to hone her skills in visual storytelling and digital arts.

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EVENT: STEFFEN KÖHN (MAY 10 - 23 2024, ONLINE)

Platform

digital video (1920 x 1080, Arri Alexa), color, sound, 16’ 20”, color, sound, 2021, Germany.

Created by Steffen Köhn

 

Platform draws from documentary interviews with freelancers on online delivery platforms, weaving their real-life experiences with elements from Neal Stephenson’s seminal 1992 cyberpunk novel, Snow Crash, which has gained iconic status in Silicon Valley. The film examines how the dystopian capitalist visions depicted in the novel mirror current capitalist dynamics. The narrative seamlessly blends the true stories of the research participants with fictional scenarios inspired by Snow Crash, creating a cyclical storyline that blurs the lines between documentary and fantasy. This technique plunges viewers into the complexities and paradoxes of modern work environments. Departing from traditional documentary styles, the film stages the drivers’ stories within a sci-fi framework, portraying their daily work struggles, prerogatives, and aspirations. Platform utilizes machinima to juxtapose live-action footage with video game based animations. This stylistic choice not only highlights the fading distinction between work and leisure but also prompts a deeper reflection on immaterial labor and value creation in today’s digital economy.

Steffen Köhn is a filmmaker, video artist, and assistant professor of multimodal anthropology at Aarhus University. He utilizes ethnography to delve into contemporary socio-technical landscapes. Köhn is the author of Mediating Mobility. Visual Anthropology in the Age of Migration (Wallflower Press, 2016). In his video and installation works, Köhn collaborates locally with gig workers, software developers, and science fiction writers to probe alternative models of technological access and power distribution. His works have been exhibited at prestigious venues including the Warsaw Biennial, Academy of the Arts Berlin, Kunsthaus Graz, Vienna Art Week, Hong Gah Museum Taipei, Lulea Biennial, The Photographers’ Gallery, and the ethnographic museums of Copenhagen and Dresden. Additionally, his films have been featured at major international festivals such as the Berlinale, Rotterdam International Film Festival, and the World Film Festival Montreal.

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EVENT: THE PHOTOGRAPHER’S GUIDE TO LOS SANTOS (MAY 25 - JUNE 23 2024, LENZBURG, SWITZERLAND)

Mattia Dagani Rio, Los Santos, 2023

 

The Photographer’s Guide to Los Santos

May 25 - June 23 2024

Curated by Marco De Mutiis and Matteo Bittanti

address:
Dammweg 19
5600 Lenzburg
Switzerland

Opening hours:
Thu-Fri: 2-5 PM
Sat-Sun: 10 AM–5 PM

 

The Photographer’s Guide to Los Santos is an official exhibition of the Lenzburg Fotofestival in Lenzburg, Switzerland, and will be accessible from May 25 to June 23, 2024.

The Photographer’s Guide to Los Santos interrogates the ontological boundaries between physical and virtual spaces through an examination of photographic practices within the context of Rockstar North’s record-breaking 2013 video game Grand Theft Auto V. Situating Los Santos as a simulacrum of Los Angeles — the epicenter of global image production —, the exhibition explores the emergence of this fictional locale as a site of artistic experimentation and critical inquiry.

Curated by Marco De Mutiis, Digital Curator at the Fotomuseum Winterthur, and Matteo Bittanti, Associate Professor in Media Studies at IULM University in Milan, the exhibition explores the influence of video games — encompassing their aesthetics, logics, and tools — on photography, through the works by artists working at the intersection of post-photography, video games and art, including 2girls1comp, Raphael Brunk, Alan Butler, Mattia Dagani Rio, Elizabeth Desintaputri, Claire Hentschker, COLL.EO, and Georgie Roxby Smith.

Through meticulous in-game capture techniques and cunning manipulations of code, this cadre of international artists rupture the veneer of mimetic realism that shrouds Los Santos, opening fissures wherein the underlying algorithms and tacit ideological assumptions underpinning these contested spaces are hijacked. At once playful and critical, the featured projects — several of which have never been presented before — challenge the stability of categories such as the virtual, the real, and the hyperreal within an increasingly gamified culture.

The exhibition will be accompanied by an online resource and a database detailing significant post-photographic interventions within Grand Theft Auto V and, later on, a “how-to-photograph-the-virtual” critical guide.

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CFA: NOUVELLE BUG VOL. 3 (DEADLINE: JUNE 15 2024)

Il Varco and Lago Film Fest are delighted to announce the third edition of the internationally acclaimed residency, Nouvelle Bug. This unique program is dedicated to the exploration and production of cinema within the realms of video games and Artificial Intelligence. Set against the picturesque backdrop of Revine Lago, this intensive week-long experience combines webinars and live lessons designed to immerse participants in the experimental frontier of Cinema. Under the guidance of the most renowned filmmakers in this niche, attendees will not only gain invaluable insights but also actively engage in the creation of avant-garde short films. Arrive with ideas and leave with a masterpiece that pushes the boundaries of traditional filmmaking.

The workshop is designed to familiarize participants with cutting-edge techniques, supporting them through the development and production phases of their short film projects. Moreover, these projects will have the opportunity to compete for awards offered by prestigious partners such as Gargantua Distribution, Gioia Film, Sayonara Film, and Lago Film Fest.

Participants will explore new aesthetics and solutions introduced by the widespread use of artificial intelligence, learning to adopt a machine-like perspective. This approach not only opens up new vistas for storytelling but also prompts a reflection on humanity’s god-like role in software creation and its implications for our future.

Through this workshop, filmmakers will embark on a journey to discover and harness the unique narrative power of digital worlds, translating them into compelling cinematic experiences. Nouvelle Bug stands as a beacon for those eager to pioneer the fusion of technology and art, offering a platform to redefine the essence of storytelling in the digital age.

TUTORS

The tutors for the workshop include:

• Andrea Gatopoulos, a Rome-based film producer and director with a background in Modern Literature from Sapienza University, Rome. His work, which explores virtual environments, includes the project Bit-Reality and the short film Happy New Year, Jim, presented at the 54th Quinzaine des Réalisateurs in Cannes. His productions have been featured in over 100 festivals worldwide, such as Cannes, Venice, Rotterdam, and Camerimage.

• Ismaël Joffroy Chandoutis, an artist and filmmaker trained at Le Fresnoy, known for exploring the intersection of identity, technology, and the virtual world. His work Maalbeek,a deep dive into the fragmented memory of a Brussels terrorist attack victim, was selected for the 59th La Semaine de la Critique and won the 2022 César for Best Short Documentary.

• Total Refusal Crew, a pseudo-Marxist media guerrilla group focusing on the artistic intervention within mainstream video games to expose their underlying political messages. Their films have been showcased at numerous festivals, including Berlinale and Locarno, and their research has been featured in museums and art fairs globally.

• Gala Hernández López, an artist filmmaker and researcher applying a feminist and critical perspective to analyze discourses within virtual communities. Her film La Mécanique des fluides won the 2024 César for Best Documentary Short Film and the 2023 Experimental Work Award from la Scam (France), among other accolades. She regularly conducts workshops and lectures at prestigious institutions and festivals.

IMPORTANT DATES

March 28th 2024 Opening of the call for entries

June 15th 2024 Closing of the call for entries

June 28th 2024 Announcement of the 30 selected directors

August 18th 2024 Start of the workshop

October 1st 2024Selection of the winning project

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Apply

EVENT: MMF MMXXIV (MARCH 11-17 2024, MILAN, ITALY)

press release

FOR IMMEDIATE RELEASE

Milan Machinima Festival MMXXIV unveils groundbreaking programs for 2024 edition

Milan, Italy - The Milan Machinima Festival MMXXIV is thrilled to announce its highly anticipated programs for the 2024 edition, showcasing the best in machinima art from around the world. The festival will feature four unique programs: Auteur Theory, Game Video Essay, Made in Italy, and Slot Machinima.

This year, a concurrent event is FOTOLUDICA, the first Italian conference on in-game photography (March 14-15 2024). Both are free and open to the public.

The Game Video Essay program will present thought-provoking pieces by Cat Bluemke and Jonathan Carroll, Guilhem Causse, Ekiem Barbier, and Quentin L'helgoualc’h, Gina Hara, and Yemen Liu that explore the intersection of gaming and critical analysis. These works delve into the cultural, social, and political implications of video games, offering fresh perspectives on the medium and its impact on society. The program aims to foster a deeper understanding of the potential of video games as a tool for artistic expression and social commentary. The Game Video Essay program will be screened on Thursday March 14, 2024, in the Sala dei 146 (IULM 6).

Made in Italy will celebrate the ingenuity and craft of young Italian machinima artists. This program features three films that showcase unique aesthetics and styles, highlighting the vibrant and thriving Italian machinima art scene. The featured filmmakers, Alberto Calleo, Simone Fiorentino, and Elia "marasma" Strazzacappa, utilize real-time computer graphics engines to craft artworks that challenge traditional notions of cinema and transgress the boundaries between virtual and real-world spaces. Made in Italy will be screened on Friday March 15, 2024, in the Sala dei 146 (IULM 6).

The Auteur Theory program will highlight three exceptional works by leading machinima creators — Jacky Connolly, Lawrence Lek, and Total Refusal — examining the role of the individual artist in shaping the medium. This program celebrates the unique visions and styles of these artists, emphasizing their distinctive contributions to the field of machinima. The Author Theory program will be screened on Friday March 15, 2024 in the Sala dei 146 (IULM 6).

The Contemporary Exhibition Hall will host Slot Machinima, an immersive program featuring eight video installations that will be presented in a loop from March 11-15, 2024, featuring works by renowned artists such as Adonis Archontides, Steven Cottingham, Kara Güt, Thomas Hawranke, Andy Hughes, Carson Lynn, Stephan Panhans and Andrea Winkler, and Bram Ruiter. This special program is designed to immerse viewers in often absurd and deranged virtual environments within the video game imaginary, showcasing the incredible range and depth of avant-garde machinima.

“We are excited to present these groundbreaking programs that showcase the incredible talent and diversity within the machinima avant-garde community,” said festival director Matteo Bittanti. “The Milan Machinima Festival MMXXIV aims to push the boundaries of what is possible with this medium and inspire both artists and audiences alike. Through these four distinct programs, we hope to foster a deeper appreciation for the art of machinima and its potential to shape our understanding of the world around us.”

These year’s submission were judged by an international panel of scholars, critics, artists, and curators: Marco De Mutiis, Henry Lowood, Jenna Ng, and Martin Zeilenger.

The poster of the 2024 edition was designed by artist and musician Babak Ahteshamipour. Babak’s vivid new poster design epitomizes the festival’s ethos of propelling machinima into unmapped creative frontiers. Electrifying colors and fantastical shapes blend gaming visuals with mysterious organic shapes, suggesting unexpected artistic dimensions virtual worlds could unlock.

For more information about the Milan Machinima Festival MMXXIV and its programs, please visit the official website at https://milanmachinimafestival.org

About Milan Machinima Festival:

The Milan Machinima Festival MMXXIV is an annual celebration of the art of machinima, featuring works by established and emerging artists from around the world. The festival aims to promote the creative potential of real-time computer graphics engines and foster a global community of machinima creators and enthusiasts.

Contact:

Artistic director: Matteo Bittanti

Communication Manager: Colleen Flaherty

IULM Eventi: Caterina Angeretti

Directions to IULM University

News:

For updates, follow us on Patreon, Instagram, Twitter/X and the Festival’s website.

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Would you like to get involved? Drop us a line!

EVENT: 30 LIVES (JANUARY 31 - MARCH 31 2024, MANILA, PHILIPPINES)

30 LIVES

31 January to 31 March 2024

Museum of Contemporary Arts and Design, GF De La Salle-College of Saint Benilde Design + Arts Campus, Dominga Street, Malate, Manila, 1004

Free to the public, the museum is open Tuesdays–Saturdays, 10 AM–6 PM; and Sundays, 10 AM–2 PM, except holidays.

An art world "extra life" arrives as the Museum of Contemporary Art and Design (MCAD) Manila opens 30 Lives—the famed trove of bonus chances that unfold in video games upon keying the fabled "Konami code." Metaphorically, the exhibition explores society's myriad approaches toward play and gaming, those immersive escapes governed either loosely (play) or firmly (games) by boundaries and social contracts. Such temporary spheres divert attention from daily tedium, constructing pockets—be they physical spaces like courts or conceptual ones like board and video games—where critique and subversion germinate.

LuYang, Wrathful King Kong Core, 14' 48", 2013.

From 31 January through 31 March 2024, 30 Lives beckons audiences into this fertile terrain to traverse temporalities: from antique pastimes to video art harnessing gaming's storytelling power for philosophical ends. Long derided for frivolity, these mediums emerge as vital crucibles. Featured works by Harun Farocki (Parallel I-IV, 2012-2014), Lu Yang (Wrathful King Kong Core, 2013), Heecheon Kim (Cutter III, 2023), Ikoy Ricio (Drop Dead or Die) and Miguel Inumerable are complemented by original games developed by De La Salle-College of Saint Benilde's Interactive Entertainment and Multimedia Computing program.

Ultimately, the exhibition dares viewers to locate themselves across spectra from delight to challenge, skill to memory, strategy to knowledge, simulation to dystopia, roleplay to narrative indulgence, and all liminal spaces between.

LINK: 30 LIVES