Vector Festival 2019's Open Call for Submissions is now up!
Deadline: February 01, 2019
An event organized by
LINK: Vector Festival 2019
Vector Festival 2019's Open Call for Submissions is now up!
Deadline: February 01, 2019
An event organized by
LINK: Vector Festival 2019
Festival international des Arts multimédia GAMERZ 14ème édition
AIX-EN-PROVENCE | MARSEILLE, FRANCE
NOVEMBER 8 – DECEMBER 2018
The Victoria and Albert Museum
Curated by Marie Foulston
8 September 2018 - 24 February 2019
Advance tickets: £18. Tickets go on sale today.
The Victoria and Albert Museum will host one of the most ambitious exhibitions about videogames, art, and design of the last decade.
Titled Videogames: Design/ Play/ Disrupt, the show will open in the Fall of 2018 and will examine the most diverse and eclectic manifestations of gaming, including indie productions, eSports, and politics. The stated goal is to fully and deeply explore the social, cultural, and artistic impact of games. It is a relief to hear that the exhibition won't follow a chronological order, opting instead for a thematic display of artworks. Artifacts will cover a twenty year period (2000-2018).
Organized into three sections - hence the subtitle, Design, Play and Disrupt - the exhibition will cover aspects related to the production of innovative original narratives like The Last of Us and Journey, the ascent of bedroom and indie coding, the new DIY arcade scene (represented, for instance by Robin Baumgarten's Arcade Backpack), and the typologies of game spaces.
Cardboard Computer, Kentucky Route Zero, 2013-.
It will also juxtapose traditional/modern art with modern interpretations, for instance Rene Magritte’s 1965 painting La Blanc Seing will be shown beside a section of the 2013 Cardboard Computer's game Kentucky Route Zero, which it inspired. There will be also interactive installations of spectacle and performance.
The exhibition will feature several games focusing on themes such as sexuality, capitalism, and globalization through the lenses of indie projects like Nina Freeman’s How do you do it?– in which a young girl explores sex using plastic dolls – and Molleindustria’s Phone Story – which focuses on child exploitation and worker suicide within the production of Apple smartphones. The game, as you know, was banned by Apple in a typical Silicon Valley autocratic move a few years ago.
Nina Freeman, How do you do it?, 2014
Alongside the exhibition, the V&A will be hosting a video games residency for a UK-based artist or designer involved in the videogames scene who wishes to develop their practice through working with the V&A’s curators and learning team in order to develop new work and engage with the public. Additional information on that can be found on the museum’s website.
The exhibition will be previewed on Saturday September 7 2018. More details here.
Read an interview with curator Marie Foulston here.
FULL EXHIBITION OVERVIEW
The first section of the exhibition will examine the design inspirations, craftsmanship and creative practice behind a series of individual games. These are created by a new generation of designers from large established studios to solo independent designers, as well as from a range of other creative disciplines such as new media and music composition. Highlights include character design sketches, a motion capture suit, animations and working notes of the creative director from The Last of Us from Naughty Dog. A visually stunning post-apocalyptic blockbuster, this title is comparable to a Hollywood production in ambition and scope. Other exhibits include prototypes, design drawings and desert research footage from Journey, a smaller independent game, demonstrating how videogames can evoke emotional concepts of friendship, connection, positivity and love. Also shown will be works that have influenced creators such as Magritte’s painting Le Blanc Seing, the inspiration for the parallax scenography of Kentucky Route Zero.
Videogames have the potential to consider complex and sensitive subject matters such as representation, race, sexuality and geo-politics. As tools to make games have become more available and distribution has broadened, game designers have begun to engage more widely with social and ethical debates. The next section will present interviews and opinion from influential game makers and commentators who are leading this discussion such as developer Rami Ismail and advocate Tanya de Pass. Here ideas about videogames and what they should be are challenged – as well as how this relates to society as a whole. A selection of works will illustrate such themes including how do you Do It, a semi-autobiographical game by Nina Freeman which tackles the discovery of sexuality through dolls and Phone Story by Molleindustria, a satirical mobile video game which invites players to consider negative effects of their consumption on people in the globalised world.
The third section celebrates the dazzling imagination and collaborative creativity shown by videogames players in real and virtual communities, transcending the role of the designer to democratise design on a vast scale. The double-height exhibition space in this section will feature a dramatic and immersive installation that explores the role of the player as co-creator. This will show the astonishing feats of engineering and construction undertaken in Minecraft from the recreation of the continent of Westeros in Game of Thrones to the mass spectacle of esports tournaments such as League of Legends World Championships. There will be examples of fan art and cosplay created by enthusiasts who interpret the medium in their own style and create costumes and accessories to represent themselves, or even their pets as characters.
The playful finale will look at the rise of the grassroots DIY arcade scene, showcasing handmade arcade cupboards and interactive installations of spectacle and performance. Unusual and remarkable games made by DIY enthusiasts and creatives will be shown such as Bush Bash by SK Games, played in a sedan car cut in half and fitted with a display for two players to shoot and drive. Visitors can also play games such as Line Wobbler by Robin Baumgarten. Created from a custom-made spring controller and a several metre-long ultrabright LED strip display, it was inspired by a viral video of a cat playing with a door-stopper spring.
LINK: Victoria & Albert Museum
As part of the Nuage Numérique Festival in connection with the presentation of TALOS, a show by Arkadi Zaides, on December 16, 2017 at the Subsistances in Lyon, Art Games Demos launches a new call for projects dedicated to the theme of borders and migration.We are looking for creations in the following categories: video creation; 2D, 3D, 4D, VR; machinima; glitch, hacks, alternative controllers; independant/experimental/under development videogames; installations; prototypes; performances; music.
Send your proposals to: [email protected]; [email protected]; [email protected]
CALL FOR SUBMISSIONS
Vector Festival 2018
Topic: Born Digital
Deadline: Saturday, December 23rd 2017 (midnight)
Now entering its sixth year, Vector Festival is a participatory and community-oriented event showcasing artistic practices that engage critically with new media and digital game technologies. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, panels, and workshops, Vector Festival acts as a critical bridge between emergent digital platforms and new media art practice. In recent years, the festival has broadened its scope to include a wider spectrum of works critically engaging with many aspects of emerging digital technologies. The festival is proud to be a participatory and community-oriented initiative organized by InterAccess in Toronto, Ont.
Since 2013, Vector Festival has developed an active presence in regional and international communities related to co ntemporary art and critical game cultures. Curators Martin Zeilinger and Katie Micak invite you to contribute artworks for consideration toward festival programming, which will include a feature exhibition at InterAccess throughout the month of July and August, along with off-site screenings, performances, workshops, and panels from July 12-15, 2018. Note that Vector Festival does not charge submission fees to artists applying to participate.
This iteration of the festival turns its focus on the births (and deaths) of the digital. What might it mean to witness the birth of a new technology, or to be ‘born digital’? How does the term ‘digital native’ function in relation to this? How can technologies mold or inform identity? How do artists adopt, advance, hack, or dismantle digital technologies, to critically reflect on their meanings and implications? How does analogue detritus live on in the digital? What comes after the digital, how do post-human ist, post-digital, and post-Internet artistic perspectives inflect these questions?
Invoking everything from endlessly spawning game avatars to ‘permadeath,’ from media-archeological excavations to futurological speculation, from generative digital creation to the digital purgatories of discussion boards and spam, we invite emerging and established artists from diverse perspectives and backgrounds to contribute their critical explorations of these and related concerns and interests.
The curators seek works for the following programs:
Artworks (including interactive installations, experimental game mods, sculptural work, screen-based work, sound art, etc.) for the festival flagship exhibition
Digital artworks that can be exhibited online
Film/video/machinima works for the festival screening
Performance-based propos als (including sound art, live coding, chipmusic concerts, as well as performances and interventions in virtual and public spaces.
1. Project description and artist statement (2 pages maximum)
2. Documentation (maximum five images and one video; ideally, please provide an online streaming link)
3. Detailed description of technical requirements (please outline materials provided by the artist and materials expected from the exhibiting venue)
4. Current CV (3 pages maximum)
5. Artist biography (100 words)
Send your submissions by Saturday, December 23, 2017 at midnight to [email protected] using the subject line VECTOR 2018 SUBMISSION. Attachments should not exceed 15MB. Please indicate which program your submission falls under. All artists selected for participation will receive artist fees, as well as support to apply for external funding.
About Vector Festival
Founded in 2013, Vector F estival is a participatory and community-oriented initiative dedicated to showcasing digital games and creative media practices. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, and workshops, Vector acts as a critical bridge between emergent digital platforms and new media art practice.
Founded in 1983 as Toronto Community-Videotex, InterAccess is a non-profit gallery, educational facility, production studio, and festival dedicated to emerging practices in art and technology. InterAccess’s mission is to expand the cultural significance of art and technology by fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition. Annually we execute multiple exhibitions, a full curriculum of skill-building and critical theory workshops, and a broad range of discursive events that explore the impact of technology on the social, political and cultural aspect s of contemporary life. Our studio space facilitates the circulation of skills and techniques required to produce the work we exhibit in our gallery space.
InterAccess Gallery Hours
Tuesday - Saturday, 11-6
Open until 8pm each Wednesday
Admission is always free
9 Ossington Ave.
For more information contact:
Festival Curators, Martin Zeilinger and Katie Micak
Deadline: 2017-12-23 23:12:00
LINK: Vector Festival
A large scale exhibition during the 57th Venice Biennale (Arsenale Nord)
Preview days May 9 – 12, 2017
Open to the public from May 13 – October 30, 2017
The upcoming Biennial of Art in Venice, Italy will host the very first HyperPavilion, focusing on the latest and greatest in digital art. Expect, not necessarily in this order, large scale projections; a 360° immersive cinema, a hologram theatre, multi-screen installations, and hybrids artworks.
Curated by Philippe Riss-Schmidt, this group show will include several international artists whose works investigate the nature of simulation, virtuality, and simulacra: Aram Bartholl (Berlin), Vincent Broquaire (Strasbourg); Claude Closky (Paris), Frederik De Wilde (Bruxelles), Lab NT2 (Montréal), Lawrence Lek (London), Claire Malrieux (Paris), Théo Massoulier (Lion), Julien Prévieux (Grenoble), Paul Souviron (Strasbourg), and Theo Triantafyllidis (Athens).
All artworks are site specific and most of them were created specifically for this project.
Claire Malrieux, Climat général, 360 generative, preliminary drawings
According to curator Philippe Riss-Schmidt, "Right now, we are standing at the edge of a new age where the synthetisation of the past into a ‘perfect’ (neo-)future has begun. Cultural artefacts, images and data are mined like new gold, for machines to extract. We will consume it until it all blurs. Past, present and future will melt into each other. The digital and the internet are neither over nor surpassed, they are not a medium – it is the new era. Post-digital art is everywhere".
What can I say, it sounds very hyper.
Expect a full report in the next few months.
UPDATED ON APRIL 21 2017: The original line-up featured twelve artists. Andrea Crespo (New York); Ed Fornieles (Montréal); Angelo Plessas (Athens), and Julien Prévieux (Paris) are no longer included.
This is what happens when you mix The Endless Forest with VR.
Creative collective Marshmallow Laser Feast (MLF) delight in exploring the line between virtual and real-world experiences. In this work they use the mask of virtual reality to explore different perspectives of familiar landscapes. Through observing the function of animal sight - a dragonfly experiences life over 10 times faster than a human and in 12 colour wavelengths (a human in a combination of three) - the film & accompanying soundtrack are a speculation of an alternative reality. The forest & animals were captured using techniques such as lidar & CT scanning, photogrammetry and a bespoke-built 360º aerial camera. Footage was processed using custom software to create the landscapes explored in the work. The film is set to a binaural soundtrack using audio recordings sourced from the surrounding woodland.
LINK: Mashmellow Laser Fest
Hado is both an augmented reality game and a virtual reality game developed by Japanese startup Meleap that transforms the mystical, new age concept of hado (a free-form energy, popularized by Masaru Emoto) into a game that evokes Dragonball-like fireball shots and Street Fighter combat. The equipment needed is conspicuous. Players wear a) a smartwatch, b) a head-mounted display and c) use a smartphone attached to the goggles. Interestingly, the HMD display works like Google Glass as it lets users see their environment with digital elements projected onto the camera feed. If it sounds convoluted, it is, but that's the (virtual) reality some now live in. On a purely aesthetic level, the result is oddly fascinating and weirdly psychedelic: playing Hado looks like dancing. As it happened with Microsoft Kinect and PlayStation Move, I think that hacking the system could produce much more interesting experiences than an expensive, high-tech game of tag.
LINK: Meleap (via Bruce Sterling)
October 7–November 10, 2016
50 Orange Street
New Haven, CT 06510
Check out the games here.
"Dubbed "an exhibition the size of a city," Artspace's annual City-Wide Open Studios festival creates platforms for artists and audiences to meet. Over each weekend in October, the geography of the festival changes and four New Haven neighborhoods take a turn at playing the role of host. Hundreds of typically off-limits spaces open—from private studios in artists' homes to shared work spaces in a former Erector Set factory and a historic 200,000 square foot Armory.
For the 19th year, Artspace has produced a series of commissioned works that question the terms of participation within the visual arts festival model. These commissions invite ten artists and artist collectives to explore points of connection between the visual arts, sports and games. With "Game On!" as the theme, the festival recognizes that art, like sports, presents structures and rules for play. Here, the rules and structures are reimagined, challenged and broken.
The commissioned projects include:
Megan Craig's The Way Things Felt, an immersive touch-based installation that invites up to 40 viewers to simultaneously collaborate on the creation of a 3D work made of felt.
Christie DeNizio's Competitive Volume, a site-responsive installation that connects the defunct basketball hoops of a court previously used to host the National Championship Basketball Tournament for High School Students.
Nadine Nelson's Harvest Mandalas, an art project, think tank, café, wellness lab and competitive game that turns food waste into works of art and encourages visitors to contemplate on their health.
Gordon Skinner's Urban Totems, a series of art-meets-milk crate basketball hoops installed in overlooked places around New Haven's historic Goffe Street Armory.
Scott Schuldt's Journey of Discovery, a scavenger hunt rooted in the history of the Lewis & Clark expedition, which requires participants to talk to artists to find clues.
Caitlin Foley and Misha Rabinovich's Total Jump, an arcade-style game that invites up to eight people to jump and land at the exact same time. (Visitors can practice with the free app at www.totaljumplive.com)
Robert Gregson and Melanie Carr's Puzzle People, an improvised game that invites strangers and friends to strap on 40 x 40 inch foam puzzle pieces and attempt to connect.
Martin Chaput and Martial Chazallon of Projet In Situ's La Ronde, an immersive sensory audio tour that leads festival-goers to the Amory's most evocative spaces. (The project is co-produced by the International Festival of Arts & Ideas. Tickets are available for tours running from October 8 through 16.)
Site Project's Find It! Friend It!, an online Pokémon Go style hunting game that tests players New Haven street smarts.
Adam Berkwitt & Phil Lique, Dr. Plinko, 2016
LINK: Game On @ ARTSPACE
“Are you a Gamer; Change the World!”
The Art - Science - Technology Festival is a new project by Helexpo, presented within the 81st Thessaloniki International Fair, in the context of the European programme “Artecitya. Envisioning the City of Tomorrow (2014-2018)”.