Matteo Bittanti is the co-author of GameScenes, art in the Age of Videogames with Domenico Quaranta. This website, which explores game-based artistic production, distributions, and discussion, was introduced in 2005.
COLLABORATION
I learned of Rewell’s death today, more than a year after it happened, through an article by Ray Sanchez for CNN.According to the journalist, his body had been found in the Hudson River in June 2024, unrecognisable after weeks in the water. For a long time, no one
EVENT
Urbain Altéré digital video (3840 x 2160), colour, sound, 3’ 25”, 2024, Switzerland created by Pascal Greco vral.org In Urbain Altéré (2024), Pascal Greco expands his investigation into the aesthetic and conceptual potential of game environments by shifting from still in-game photography to machinima. Created entirely within Stray (BlueTwelve
EVENT
Estelle Flores: Contém Ingredientes de Verdade May 17 - July 26 2025 MuMA Digital Art Center (Rua República Argentina, 3430 – Portão, Curitiba – PR) Curated by biarritzzz The Digital Art Center of the Curitiba Municipal Art Museum (MuMA) is currently hosting the exhibition Contém Ingredientes de Verdade (“Contains Real Ingredients”) by
CONCEPTUAL
Rhythm Zero Los Santos digital video (1920 x 1080), color, sound, 112’ , 2019, Germany created by Jonas Blume What happens when an artist surrenders all agency in a game space designed for violence? In Rhythm Zero Los Santos (2019), Jonas Blume stages a durational performance inside Grand Theft Auto Online,
ARCADE
Standing before The Voyeur of Utter Destruction (As Beauty), one is confronted by the chilling absurdity of purchasing the right to obliterate a city. In this interactive installation, Dutch Collective WERC lays bare the uneasy, visually seductive appeal of spectacular violence. The participant, posed as a player and a consumer,
ANIMATION
Call for Contributions: The Almanac of Artificial Seasons Edited By Delta Ark/World Engines Lab & Ilan Manouach w/ the support of Src Material (Seattle) and Echo Chamber (Brussels) What are the (synthetic, mental, etc) landscapes that emerge from the deregulation of climate, the acceleration of machine learning technologies and
3D ANIMATION
A Poet in the (Parallel) World digital video (3840 x 2160), color, sound, 7′ 45”, 2023, Italy. created by Luca Miranda, Riccardo Retez VRAL June 20-July 3 2025 A Poet in the (Parallel) World reimagines the relationship between poetry, photography, and virtual environments. Part of an ongoing series examining remakes
3D ANIMATION
Exhibition identity artwork: Keiken & Gabriel Massan, Uxkme / Morphogenic Angels: I know who I am, although I have forgotten who I am (2025) Console Spirituality Curated by LAN Party (Vienna Kim & Benoit Palop) Feral File June 24 2025 press release (abridged) Opening June 24th on Feral File, Console Spirituality
ANALOG
Described as an experimental work, Kent Sheely’s Frameworks (2025–ongoing) reanimates the visual grammar of early 3D video game modelling through a process that is simultaneously manual, sculptural, and painterly. Each composition begins with a stitched wireframe, embroidered directly onto raw canvas, evoking the skeletal geometry of polygonal modelling
3D ANIMATION
Intrusion digital video (3840 x 2160), color, sound, 15’ 42” seconds, 2021, Taiwan created by Poyuan Juan vral.org Intrusion draws upon the server migration incident that occurred between 2007 and 2011, when a large number of Chinese World of Warcraft players relocated to Taiwan servers following regulatory conflicts and
3D ANIMATION
The Analogy of Space digital video, color, sound, 12’, 2022, Ukraine created by Oleksandr Hoisan May 23-June 5 2025 vral.org The Analogy of Space (2022) is a 12-minute machinima made with/in Grand Theft Auto: San Andreas (Rockstar Games, 2004), utilizing the CamHunt plugin to enable articulate, fluid cinematography
EVENT
Pascal Greco Nature Numérique: Photographier le jeu vidéo par Pascal Greco May 21 - June 5 2025 Musée Suisse du Jeu Rue du Château 11 1814 La Tour-de-Peilz, Switzerland (English below) Dans les années 1990, les mondes numériques ont souvent été pensés comme dissociés du réel : d’un côté, la