GAMESCENES

CALL FOR ENTRIES: FILE 2023 (DEADLINE: FEBRUARY 15 2023)

 

One of the most exciting digital arts festivals in the world, FILE - Electronic Language International Festival has recently launched its 2023. After a three years hiatus, FILE is back in grand style. Applications will be open from December 19th to February 15th.

 

The 22nd Edition of the Electronic Language International Festival will take place at the FIESP Cultural Center, in São Paulo, from July 5th to August 27th 2023. The selected projects will also be able to collaborate in parallel events in different states of Brazil, also taking place in 2023. The submission is free of charge.

FILE 2023 focuses on four  categories: Electronic Sound, Interactive Art, Digital Language (including video games and machinima, VR and AR) and Educational.

Click here for more information about the submission process. (Thank you Clarissa!)

EVENT: I’LL BE YOUR MIRROR: ART AND THE DIGITAL SCREEN (FEBRUARY 12-APRIL 30 2023, FORT WORTH, TEXAS)

Nam June Paik, Video Flag Y, 1985. 84 ten-inch television sets, three Plexiglas cases, fans, LaserDisc players, LaserDiscs, and video tapes. 72 x 144 x 50 inches. JPMorgan Chase Art Collection. © Estate of Nam June Paik.

I’ll Be Your Mirror: Art and the Digital Screen
February 12–April 30, 2023

Curated by Alison Hearst 

The Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, Texas 76107 USA

press release

The Modern Art Museum of Fort Worth presents the landmark I’ll Be Your Mirror: Art and the Digital Screen, a thematic group exhibition that examines the screen’s vast impact on art from 1969 to the present. This exhibition surveys more than sixty works by fifty artists over the past five decades. The artists included examine screen culture through a broad range of media such as paintings, sculpture, video games, digital art, augmented reality, and video. Organized by Curator Alison Hearst, I’ll Be Your Mirror: Art and the Digital Screen will be on view at the Modern February 12 through April 30, 2023.

Screens affect nearly every aspect of life today. Their pervasiveness has bred a 24/7 breaking news cycle, the looming corporate-sponsored virtual-reality “Metaverse,” unlimited accessibility and content, and an ease in how ideas and images are distributed, undoubtably shaping culture in profound ways. This exhibition starts in 1969—the year of the televised Apollo moon landing and the launch of the internet’s prototype, ARPANET—as this was the watershed year where collective connectivity through screens was first mobilized in modern society. This era forged what the media theorist Marshall McLuhan presciently deemed in the 1960s a “global village,” a place where distance is collapsed and people from across the world readily interact. Following this trajectory, contemporary life is hybrid and increasingly mediated through screens. These flat and finite surfaces embody more than what meets the eye—they hold up a mirror to society and contribute to forming meaning in life and mainstream culture.

I’ll Be Your Mirror: Art and the Digital Screen is organized into nine key themes:

liminal space: From the late 1960s to the late 1990s, several artists were working alongside the early major technological developments of the screen: Gretchen Bender, Nancy Burson, Harold Cohen, Vuk Ćosić, Peter Halley, Frederick Hammersley, Lynn Hershman Leeson, Eduardo Kac, Tatsuo Miyajima, Nam June Paik, Lillian F. Schwartz, and Andy Warhol. These artists’ works are highlighted in this section for their innovative processes.

connectivity: Screens connect us with incredible ease to friends, colleagues, a network of other users and players, apps, news, and streaming services. We share—and are shared with—through screens. As culture courses through society via these means, screens are at the axis of most of our interactions, and these connections are a topic interrogated by many artists, including Cory Arcangel, Liss LaFleur, Eva and Franco Mattes, Cassie McQuater, Jacolby Satterwhite, Frances Stark, and Wickerham & Lomax.

surveillance: While we find community through technology, we simultaneously become linked to broader systems of data extraction through our devices. Our information is captured for national security purposes, geo-mapping, and corporate surveillance capitalism, where targeted ads are deployed based on purchases and browsing history. Hasan Elahi, Electronic Disturbance Theater 2.0, Rafael Lozano-Hemmer, and Jon Rafman investigate the positive, negative, and humorous aspects of surveillance today.

the repository: Today’s constant stream of data has led to round-the-clock ingestion of content. This informational sphere is made even more accessible via handheld devices. Speaking to a vast and complex array of image and information circulation in the screen age are the artists Morehshin Allahyari, Kahlil Robert Irving, Trevor Paglen, Jason Salavon, Skawennati, and Penelope Umbrico.

digital abstraction: While painters of all genres use technology in their work, artists such as Cory Arcangel, Wade Guyton, Jacqueline Humphries, Laura Owens, and John Pomara explore the intersections of the digital screen and formal abstraction. Historically compared to windows and mirrors, the often flat, rectangular format of paintings also acts like a screen in today’s world—a passageway that disrupts the viewer’s physical space or mirrors contemporary life.

the posthuman body: In the digital age, technology has become an extension of the body. Posthumanism, a concept arising from science fiction, is the idea that humans will be transformed by technological progress. Depictions of the human body in a media-induced world are far from monolithic, as demonstrated by the artists Caitlin Cherry, Petra Cortright, Huntrezz Janos, Guthrie Lonergan, Carson Lynn, Avery Singer, and Hito Steyerl, who traverse concepts of self and portraiture in the technological era.

automation and the loneliness epidemic: The relationship between man and machine is addressed by Cao Fei and !Mediengruppe Bitnik, specifically the tension of isolation in an increasingly automated world. Set in environments where human labor has been replaced by automation, Cao Fei’s and !Mediengruppe Bitnik’s works exemplify the paradoxes of human intimacy in the screen age.

ecology: Electronic debris, such as plastics, batteries, monitors, and phones, fills landfills and off-gasses toxins that contribute to water pollution. Several artists in this exhibition, including American Artist, Alice Bucknell, Simon Denny, Kristin Lucas, Rick Silva, and Elias Sime, demonstrate the complexities of ecology in the digital age.

turning a mirror on ourselves: Holding a mirror to society and ourselves, screens construct reality, molding many of the themes at the forefront of culture today. Through extraordinarily different works, the artists Arthur Jafa and Molly Soda make videos that shine a light on society through the lens of found, vernacular videos already circulating online.

More than 25,000 square feet of gallery space will be devoted to the exhibition, which will include iconic works by prominent national and international artists of the 20th and 21st centuries, such as Cory Arcangel, American Artist, Gretchen Bender, Lynn Hershman Leeson, Arthur Jafa, Nam June Paik, Hito Steyerl, and Andy Warhol, as well as several leading artists living in Texas, including Liss LaFleur, Kristin Lucas, and John Pomara. Several new and never-before-seen works by key artists Caitlin Cherry, Simon Denny, Hasan Elahi, and Kahlil Robert Irving will debut in this exhibition. This is the most in-depth show of its kind in the Southwest region and is one of only a few presentations exploring art and digital technology in the past decade at this scale.

Curator Alison Hearst notes, “Artists have long shone a light on the world and the human experience, and the artists in I’ll Be Your Mirror: Art and the Digital Screen respond to, challenge, and probe new technologies and the cultural conditions these technologies have shaped. Using the screen as a tool and formal device, many of the artists in this exhibition expand the parameters of artmaking through the digital language unique to their generation.”

Publication
The exhibition will be accompanied by a full-color catalogue featuring contributions by Alison Hearst, curator at the Modern Art Museum of Fort Worth; Dr. Omar Kholeif, director of collections at Sharjah Art Foundation; Dr. Tina Rivers Ryan, Assistant Curator at Buffalo AKG Art Museum; and professor and cyberpsychologist Dr. John Suler. 180 pages, 100+ illustrations; published by the Modern Art Museum of Fort Worth and distributed by DelMonico Books/D.A.P.

There will be an online platform for the exhibition.

Artists in the exhibition:
Morehshin Allahyari, Cory Arcangel, American Artist, Gretchen Bender, Alice Bucknell, Nancy Burson, Caitlin Cherry, Harold Cohen, Petra Cortright, Vuk Ćosić, Simon Denny, Hasan Elahi, Electronic Disturbance Theater 2.0, Cao Fei, Wade Guyton, Peter Halley, Frederick Hammersley, Lynn Hershman Leeson, Jacqueline Humphries, Kahlil Robert Irving, Arthur Jafa, Huntrezz Janos, Eduardo Kac, Liss LaFleur, Guthrie Lonergan, Rafael Lozano-Hemmer, Kristin Lucas, Carson Lynn, Eva and Franco Mattes, Cassie McQuater, !Mediengruppe Bitnik, Tatsuo Miyajima, Laura Owens, Trevor Paglen, Nam June Paik, John Pomara, Jon Rafman, Jason Salavon, Jacolby Satterwhite, Lillian F. Schwartz, Rick Silva, Elias Sime, Avery Singer, Skawennati, Molly Soda, Frances Stark, Hito Steyerl, Penelope Umbrico, Andy Warhol, Wickerham & Lomax

LINK: I’ll Be Your Mirror: Art and the Digital Screen

EVENT: GATHERING STORM (NOVEMBER 29 2022, LONDON)

Gathering Storm

Tuesday, 29 November

Delfina Foundation

29/31 Catherine Place

London SW1E 6DY

Book here

press release

Join our UK associate David Blandy to explore the impacts of colonial food production through a new collaborative world-building game.

As part of this season’s Politics of Food programme, Delfina Foundation UK associate artist David Blandy has been exploring his familial link to colonial food production and the legacy of agriculture as a tool to consolidate authority. David’s paternal grandfather was involved in the Swynnerton Plan, a British colonial scheme initiated in the 1950s with the aim of creating an African middle class in Kenya: a form of social engineering through agriculture.

Emerging out of his work in recent years around group world building, at Delfina Foundation David has been developing a tabletop game as a means to embark on a collaborative exploration of his research around the legacies of the Swynnerton Plan.

For this workshop, we invite you to watch or play an early version of Gathering Storm, the collaborative world-building game created by David. Players will take it in turns to add elements to a map, imagining a post-colonial sci-fi world and then creating a set of characters to inhabit this space. They will then respond to prompts, coming to terms with hidden histories and present injustices. No previous experience of tabletop gaming is necessary to play.

The evening will commence with an introduction to the game by artist David Blandy. Guests will then break into groups to play, supported by specially invited guests Susuana Amoah, Annie Jael Kwan and Jamie Sutcliffe.

Complementary alcoholic and non-alcoholic pineapple-based drinks will be provided to the audience.

Please book via Eventbrite. If you have any questions, please contact us on [email protected]

This game is a starting point for a wider project David is developing, incorporating text, installation, games and moving image.

The monsters’ time is over. But some still remain along with the alien fruit that fills pockets and their bellies. We strive for another world. Perhaps the world from before. But the world from before is gone. So we must grow something new.

Biographies

Susuana Amoah is the University of Sussex Stuart Hall Foundation Fellow (2021/2022). She is a Brighton-based cultural activist, artist-curator, and PhD researcher at Goldsmiths, University of London. Her practice encompasses socially-engaged art, fugitive feminism, decolonial praxis and exploring creative ways of highlighting narratives and social movements by marginalised groups.

Annie Jael Kwan is an independent curator and researcher based in London and working between the UK, Europe and Asia. Her exhibition-making, programming, publication, and teaching practice is located at the intersection of contemporary art, cultural and pedagogicalactivism with an interest in archives, feminist, queer and alternative histories and knowledges, collective practice and solidarity. She co-leads Asia-Art-Activism, the interdisciplinary research network, and is the founding council member of Asia Forum that unfolded across digital gatherings in 2021 and an inaugural programme in Venice at the Fondazione Querini Stampalia in 2022.

Jamie Sutcliffe is a writer, curator, and co-director of Strange Attractor Press. His work explores artistic encounters with science fictive fabulation, the politics of gaming, animation and its multiple entanglements with developments in the life sciences, haunted media, the digital uncanny, and the persistence of myth, all understood as technologies of selfhood. He is the editor of Documents of Contemporary Art: Magic, published by The Whitechapel Gallery and The MIT Press, and his essays, reviews, and interviews have been featured in Art Monthly, Frieze, The White Review, Rhizome, Art Review, The Quietus, Art Agenda, Bricks From The Kiln, and IsThisIt, amongst other

Politics of Food

This event is part of the public programme of Delfina Foundation’s fifth season of the Politics of Food, in partnership with Gaia Art Foundation and with additional support from a range of individuals and partners.

LINK: Delfina Foundation

EVENT: HYPERSCAPES – VIRTUELLE LANDSCHAFT ALS SEHNSUCHTSORT? (NOVEMBER 25 2022 - JANUARY 29 2023, BERN, SWITZERLAND)

Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?

25/11/22 — 29/01/23 (Vernissage: 24.11.2022, 18:30 Uhr)

Ausstellung
Stadtsaal 1. OG

Bern, Switzerland

 

Kuration: Nicolas Kerksieck
Marlene Wenger
Christian Schnellmann

Press release (English below)

Mit der Loslösung des Menschen von der Natur änderte sich die Bedeutung von Landschaft. Die ehemals bedrohliche Wildnis wurde zum Sehnsuchtsort für den Ruhesuchenden, die Touristin, den Wanderer oder die Öko-Aktivistin. Landschaft ist heute Natur, gesehen aus dem Blickwinkel des Menschen, ein Ort, den wir immer ästhetisiert wahrnehmen und der uns anzieht. Diese Entwicklung spitzt sich in den digitalen Räumen zu. Hier gestalten wir Landschaftsräume in Videogames oder im Metaverse genau nach unseren Wünschen und Bedürfnissen. Die echte Natur liefert uns eine immer fernere Vorlage dazu.

Die Ausstellung «Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?» interessiert sich für die Flucht in menschgemachte hybride und digitale Landschaftsräume. Was suchen wir da? Und finden wir, was wir suchen? Hyperscapes ermöglicht dem Publikum, selbst in künstliche Landschaftsräume einzutreten, deren Wirkung zu erfahren und eine reflektierte Haltung einzunehmen.

Die Ausstellung konzentriert sich auf Landschaften als idealisierte Sehnsuchtsorte. «Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?» geht insbesondere der Frage nach, wie sich diese Idealisierung der Landschaft im digitalen Raum fortsetzt. Ausgehend von der Beobachtung, dass virtuelle Räume in der digitalen Kunst und im Game Design als natürliche Landschaft gestaltet werden, möchte die Ausstellung der Beschaffenheit dieser gestalteten Landschaften nachgehen.

Dabei sind zwei Tendenzen zu beobachten: einerseits sehr mimetische, naturalistisch bis hyperrealistische Landschaften, die an die traditionelle Landschaftsmalerei und die aus menschlicher Sicht möglichst naturgetreue Darstellung von Natur anknüpfen. Andererseits eine freiere, total der Fantasie überlassenen Gestaltung von digitaler Landschaft, die sich den bekannten physikalischen Gesetzen und Vorstellungen entledigt und neue, spekulative Landschaften entstehen lässt. Gerade im digitalen Raum haben die Freiheiten so weit zugenommen, dass sich Landschaft ganz abgekoppelt von Natur den individuellen Wünschen der Gestaltenden fügt.

Die Ausstellung «Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?» möchte zeigen, auf welche unterschiedliche Weise wir uns die Landschaft im virtuellen Raum vorstellen und bauen und wie wir uns darin bewegen.

Ein Ausstellungsprojekt organisiert durch das Kornhausforum Bern in Zusammenarbeit mit der Berner Design Stiftung.

Ausgewählte Künstler:

Alice Bucknell

Mélanie Courtinat

Deer Hunter / WizardWorks

dribnet

Pascal Greco

Gabriel Lory (Vater und Sohn)

Mélodie Mousset

David O'Reilly

Christiane Peschek

Jakob Kudsk Steensen

Studer / van den Berg

Terra Nil / Free Lives

Walden, a Game / Tracy Fullerton and the Walden Team

---

With the detachment of man from nature, the meaning of landscape changed. The formerly threatening wilderness became a place of longing for the peace seeker, the tourist, the hiker or the eco-activist. Today, landscape is nature as seen from the human perspective, a place that we perceive in an increasingly aestheticized way and that attracts us. This development comes to a head in digital spaces. Here we design landscape spaces in videogames or in the metaverse exactly according to our wishes and needs. Real nature provides us with an increasingly distant template for this.

The exhibition "Hyperscapes - Virtual Landscape as a Place of Desire?" is interested in the escape into man-made hybrid and digital landscape spaces. What are we looking for there? And do we find what we are looking for? Hyperscapes allows the audience to enter artificial landscape spaces themselves, to experience their effect and to take a reflective stance.

The exhibition focuses on landscapes as idealized places of longing. "Hyperscapes - Virtual Landscape as a Place of Longing?" specifically explores the question of how this idealization of landscape continues in digital space. Based on the observation that virtual spaces in digital art and game design are designed as natural landscapes, the exhibition aims to investigate the nature of these designed landscapes.

Two tendencies can be observed: on the one hand, very mimetic, naturalistic to hyper-realistic landscapes that tie in with traditional landscape painting and the representation of nature that is as true to nature as possible from a human perspective. On the other hand, a freer design of digital landscape, totally left to the imagination, which gets rid of the known physical laws and ideas and allows new, speculative landscapes to emerge. Particularly in digital space, the freedoms have increased to such an extent that landscape, completely detached from nature, conforms to the individual wishes of the designer.

The exhibition "Hyperscapes - Virtual Landscape as a Place of Desire?" wants to show the different ways in which we imagine and build the landscape in virtual space and how we move within it.

An exhibition project organized by the Kornhausforum Bern in collaboration with the Berner Design Stiftung.

Featured artists:

Alice Bucknell

Mélanie Courtinat

Deer Hunter / WizardWorks

dribnet

Pascal Greco

Gabriel Lory (Vater und Sohn)

Mélodie Mousset

David O'Reilly

Christiane Peschek

Jakob Kudsk Steensen

Studer / van den Berg

Terra Nil / Free Lives

Walden, a Game / Tracy Fullerton and the Walden Team

LINK: Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?

EVENT: PLAY THE PAST: A GAMING FOCUS (OCTOBER 26 - NOVEMBER 11 2022, BERLIN/ONLINE)

Play the Past: A Gaming Focus

26.10.–6.11.2022 / HAU3, HAU4 (online)

With machina eX and The Mycological Twist

Games create a multitude of worlds. The HAU is bringing together three different game projects that connect the past to the present day. They create scenes where the players playfully learn something both about socio-historical developments as well as make decisions about the course of events on their own or in groups. Games thus become source of inspiration and media for discourse. The experienced game developers from machina eX who have produced at the HAU for many years and the artist duo The Mycological Twist, who combine ecological and social practices with digital culture, will examine the artistic potential of games together with the audience in HAU3. In addition, the games expert Melanie Eilert recommends “Through the Darkest of Times” by the renowned Berlin-based indie studio Paintbucket for those at home, a historical strategy game about the resistance against National Socialism that she subjects to an accessibility test.

HAU4 is the digital stage of HAU Hebbel am Ufer.

LINK: Play the Past

NEWS: SEPERTINE'S FUTURE ART ECOSYSTEMS 3 (2023)

Serpentine is delighted to have selected Tezos, the energy-efficient blockchain for Artist Worlds 2023, an experimental commission series that utilises virtual world-building to provide insight into an artist’s practice and expanded worldview. 

Following the inaugural Artist Worlds commission, Primal Tourism, produced in 2021 by Jakob Kudsk Steensen, Serpentine will unveil a multilevel downloadable game and a complementary blockchain-based project developed with Brazilian artist Gabriel Massan and a team of collaborators. Third World, is described by Massan as a ‘consciousness-raising game that explores Black-Indigenous Brazilian experiences.’ Itwill launch in February 2023 online via Steam and onsite at Serpentine and amplify Serpentine’s commitment to gaming projects. 

Third World invites players to activate a fantastical and disorienting world populated with Massan’s digital sculptures, bespoke animation, films, camerawork, and sound developed by his collaborators. The game utilises world-building and collaborative storytelling to challenge colonialist concepts of ‘exploration’, ‘nature’ and ‘knowledge’ and encourage a different kind of wayfinding.

Powered by Tezos, Third World’s Web3 strategy will expand the game’s reach into online player communities by building an active and ongoing archive of gameplay.

Developed in dialogue with the artist’s interests in decentralised knowledge exchange, fictional archaeology, ecology, and the critical role that collective memory plays in constructing futures, Third World is a platform for Massan’s collaborations with artists, technologists and thinkers including Castiel Vitorino Brasileiro, Novíssimo Edgar, LYZZA, Carlos Minozzi, Masako Hirano, Marcio Manga, Ralph Morais and Alexandre Pina.

LINK: FA3

LINK: Gabriel Massan

EVENT: THE ART OF GAMING AT DA-Z 2022 (OCTOBER 20 - 30 2022, ZÜRICH, SWITZERLAND)

The Art of Gaming

October 20 - 30 2922

Limmatquai 31

8001 Zürich

Switzerland

 

DA Z is an international festival dedicated to current and socially relevant contributions of digital culture. Our aim is to combine the highest artistic quality with discourse on global social developments and the influence of digitalization on our lives. The 2022 edition, taking place between October 20 - 30 2022 all over Zurich, includes a killer program on Game Art titled The Art of Gaming featuring games with outstanding content and artistic design. As the curators write, "The aim is to show that there is a gaming culture that moves far beyond the so-called first-person shooters."

Don't miss a series of killer concerts featuring Alexandra Cárdenas (COL), Ben Kaczor & Niculin Barandun (CH), Angelo Repetto & Marco Repetto (CH), Bruno Spoerri & Gabriel Schiltknecht (CH), Nicolas Stocker (CH) & Maarja Nuut (EST) & Timon Christen (CH) - more artists to be announced.

Check out the full program and schedule of The Art of Gaming here

Additionally, the main exhibition at Dynamo (Wasserwerkstrasse 21, 8006 Zürich) features work by CONCEPTUAL AND INSTALLATIVE: Sara Culmann (RUS), Anna Fries & Malu Peters (CH), Francois Knoetze (ZAF), Noah Latif Lamp (NL), Ani Liu (USA), Lauren Moffatt (AUS), Psychasthenie Studio (USA), Molly Soda (PRI), Theo Triantafyllidis (GR), Ricardo Miranda Zúñiga (USA) - more artists to be announced. CONCEPTUAL VIDEO- AND FILM: Kadir Kayserilioğlu (TUR), Mikhail Maximov (RUS), Sahej Rahal (IND) LIVE CODING: Lina Bautista (ES), Alexandra Cárdenas (COL), Timo Hoogland (NL), Flor de Fuego (ARG), Mynah Marie (ISR), Nesso (IT), Antonio Roberts (UK), Lizzie Wilson (UK)

LINK: DA Z 2022

EVENT: THE PIECES I AM (SEPTEMBER 30 2022 - JANUARY 8 2023, SHANGHAI)

panGenerator, Infinity, 2020

The Pieces I Am

Curated by Douyin Art 

September 30 2022 - January 8 2023

UCCA Edge
2F, No.88 Xizang Bei Lu,
Jing'an District, Shanghai

press release

SHANGHAI, China — From September 30, 2022, to January 8, 2023, UCCA and Douyin Art present the group exhibition “The Pieces I Am,” focused on humanity’s existence in the digital age. The exhibition features 27 artists and groups from China and abroad who use and/or explore technology in their works. The Chinese exhibition title takes its inspiration from the idiom 吉光片羽(jíguāngpiànyǔ), which metaphorically refers to fragments of treasured ancient relics, and changes the first character to the homophonous 集 (jí) to alter the meaning to suggest a collection of precious, beautiful, and enlightening “pieces” drifting down from the digital world. “The Pieces I Am” offers a possible starting point for understanding our digitized reality, interpreting and disenchanting the contemporary digital age through a wide range of art that traverses between digital and real, authentic and virtual, natural and technological, and logical and emotional. In doing so, it seeks to offer us new ways of recognizing the self, the world, and the relationship between the two in our fragmented contemporary context. “The Pieces I Am” is curated by UCCA Lab Curators Liya Han and Yoojin Tang together with special guest curator Iris Long, designed by Shen Ruofan, and organized by the UCCA Lab team.

Exhibition co-organizer Douyin Art has specially developed an online exhibition space as well as interactive viewing experiences for the offline exhibition. Douyin Art also hosted a special opening livestream including the premiere of an eponymous exhibition concept film starring art ambassadors selected by UCCA. Please find more information on the opening and film below.

Works in the exhibition

Participating artists include Pascale Birchler (b. 1982, Einsiedeln), Ian Cheng (b. 1984, Los Angeles), Chun Shao (b. 1987, Hangzhou), Guo Cheng (b. 1988, Beijing), Ann Veronica Janssens (b. 1956, Folkestone), Lawrence Lek (b. 1982, Frankfurt am Main), Lin Ke (b. 1984, Zhejiang province), Liu Di (b. 1985, Shaanxi province), Jiayu Liu (b. 1990, Liaoning province), Rafael Lozano-Hemmer (b. 1967, Mexico City), David OReilly (b. 1985, Kilkenny), panGenerator (formed 2010), Pete Jiadong Qiang (b. 1991, Shaanxi province), Shinseungback Kimyonghun (formed 2012), Shi Zheng (b. 1990, Jiangsu province), Yehwan Song (b. 1995, Seoul), Studio Above&Below (formed 2018), Sun Yitian (b. 1991, Wenzhou), Tang Chao (b. 1990, Hunan province), Coralie Vogelaar (b. 1981, Delft), Wu Ziyang (b. 1990, Xuzhou), Xin Yunpeng (b. 1983, Beijing), Ye Xuan (b. 1989, Hunan province), Yin Yi (b. 1978, Shanghai), Young-Hae Chang Heavy Industries (formed 1999), Wenxin Zhang (b. 1989, Hefei), Payne Zhu (b. 1990, Shanghai)

UCCA EDGE: Opened in May 2021, UCCA Edge occupies 5,500 square meters over three levels of the new EDGE tower in Shanghai’s Jing’an District. Designed by New Yorkbased architecture practice SO – IL, the museum includes 1,700 square meters of gallery space as well as a wraparound outdoor terrace and public spaces including a lobby and auditorium. Situated just north of People’s Square and Suzhou Creek, and directly above the Qufu Lu station of the Shanghai Metro in a bustling revitalized neighborhood, UCCA Edge will quickly become an essential destination and an integral part of Shanghai’s vibrant cultural fabric.

David OReilly, Everything, 2017

Wu Ziyang, Pasig River 2030 - 6 Plus, 2022

Ian Cheng, BoB (Bags of Belief), 2018-2019

LINK: The Pieces I Am (Thanks, Gemma!)

EVENT: SLIP.STREAM.SLIP (PART 2) RESISTANCE AND VELOCITY IN GAME ENGINE CULTURE (OCTOBER 13 - DECEMBER 16 2022, MANCHESTER, ENGLAND)

Slip.Stream.Slip (Part 2)—resistance and velocity in game engine culture

Curated by Valentino Catricalà

Modal gallery at the School of Digital Arts (SODA), Manchester, England

October 13–December 16, 2022, Monday–Friday, 12–5pm

 

press release

Modal is a brand new digital gallery showcasing artists working at the forefront of creative technology, based at the School of Digital Arts (SODA) at Manchester Metropolitan University.

Join us for part two of our inaugural exhibition, Slip.Stream.Slip – focusing on game engine culture and the shift toward gamification as a model for understanding our lived experiences. The exhibition explores the tensions and contested spaces that open up when the micro politics of everyday living meet complex, simulated worlds.

Featured artists: Dara Birnbaum, Joseph DeLappe, Mishka Henner, Pierre Huyghe, Trevor Paglen, Quayola, Hito Steyerl, and a selection of DIS artists.

This is the follow up to Part 1  (24 June – 18 September 2022).

Joseph DeLappe, Killbox: A Game About Drone Warfare, Interactive Installation, 2015-2016

Hito Steyerl, The Tower, Three channel high-definition video installation, environment and sound, 2015

LINK: Slip.Stream.Slip (Part Two)

EVENT: PLAYING BEING – ART GAMES FOR LIFE (SEPTEMBER 25 2022 - JANUARY 8 2023, KOUVOLA, FINLAND)

Playing Being – Art Games for Life

Curated by Jaakko Kemppainen

September 25 2022 - January 8 2023

Poikilo-museums
Varuskuntakatu 11, Kouvola-talo
45100 Kouvola
Finland

The games industry is one of the fast-growing fields within the entertainment industry and in the world of business. Furthetmore, games are becoming a significant art form that is not afraid to make statements. The GamePoikilo exhibition focuses on surprising and less well-known works of game art that gaze into the future. GamePoikilo features central recent works of game art but does not ignore the new, experimental and meaningful contenders either. In addition to digital games, the exhibition will also showcase other means of creating game art. As the gamer has a central role in the world of game art, the exhibition guests also have an opportunity to play the exhibition pieces.

Curator and gaem designer Jaakko Kemppainen writes:

The exhibition includes 27 games that can be played at the exhibition. The main theme of the exhibition is “games looking towards reality” – games that handle or comment some real world issues or topics. Most of the games are digital and can be bought or downloaded from different internet services, like Steam or Itch.io. But there are also a couple of unique or rare installations, like Brenda Romero’s Train and Eric Zimmerman’s and Nathalie Pozzi’s Sixteen Tons."

He adds: "The exhibition is the main part of our Capital of Game Art project, which is a collection of different activities that exhibit, explore and expand games as an art form. Beside the exhibition we have e.g. light art festival, where most of the pieces are playable games or approach games from the interactive art. We are also organizing a “Free City of Games” pop-up event, in which there will be multiple exhibitions, workshops, installations, game demos, table top and live role-playing sessions etc through November, in a very visible space in the centre of Kouvola. Here’s some info about Capital of Game Art.

Here's more information about this wonderful initiative:

And some installation shots:

LINK: Playing Being – Art Games for Life (all images courtesy of Poikilo-museums)