FILE 2023 focuses on four categories: Electronic Sound, Interactive Art, Digital Language (including video games and machinima, VR and AR) and Educational.
FILE 2023 focuses on four categories: Electronic Sound, Interactive Art, Digital Language (including video games and machinima, VR and AR) and Educational.
Posted by Matteo Bittanti on 01/02/2023 in 3D ANIMATION, ANIMATION, AR, ART GAME, CALL FOR ARTWORKS, DEVICE ART, EVENT, GAME, GAME ART, HARDWARE, INSTALLATION, MACHINIMA, NEWS, OPEN CALL, SOUND, VIDEO, VIRTUAL REALITY, VR | Permalink
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
Posted by Matteo Bittanti on 12/21/2022 in 3D ANIMATION, ANIMATION, ART GAME, CONCEPTUAL, DEVICE ART, EVENT, GAME ART, INSTALLATION, MACHINIMA, MIXED MEDIA, MUSEUM, NEWS, PERFORMANCE, PHOTOGRAPHY, VIDEO | Permalink
Curated by Manar Abo Touk, Curator, Exhibitions & Collections
to
Video Games? Art and Technology is a group exhibition featuring Pippin Barr, Sandee Moore, and artist collective SpekWork (Cat Bluemke and Jonathan Carroll), that examine video games as an artform for design and self- expression. From computer art to digital art, to animation, web-based art, photography, film, AR and VR, and video games. The Art and Technology movement of the 1960s provided artists the tools to mix technology, art, and science.
As technology advanced and progressed, gaming design grew as an artistic practice. In the 1990s digital artists explored the historical dimension of the computer and its development as a creative medium. Video Game creation allows artists to play with technological tools and game mechanics to question our perception of the physical world. How can Video Games shape and contribute to the way we learn history and understand issues in the contemporary world? such as the representation of female skateboarders, architecture and labour, or philosophical mythology.
Video Games? Art and Technology aims to create a digital artistic experience that reflects on how technology and art are used to examine design structures and societal themes through re-interpreting classic video games and offering a new way of seeing in our digital age.
(Let’s Play: Ancient Greek Punishment game, Pippin Barr, 2011)
(The Mixer: The Ultimate Sk8 Activity Centre, 2001, electronics, sculpture, household paint, modified video game, single-channel video. Photo courtesy of the Dunlop Art Gallery.)
Posted by Matteo Bittanti on 10/01/2022 in ART GAME, DEVICE ART, EVENT, GAME, GAME ART, INSTALLATION, MIXED MEDIA, NEWS, PIXEL ART | Permalink
Second Life: Habitat, a collaborative piece by Cheng and Chang Ting-tong (張碩尹), consists of a high-temperature box containing 8,000 mosquitoes that fed on the blood of the artists and a video game that electrocutes the insects when it is played. Think Damien Hirst with a gaming component. Second Life: Habitat, is currently on display in Taipei, as part of the exhibition Transistors at the Museum of Contemporary Art, which showcases 11 contemporary artists challenging the very idea of boundary:
Second Life: Habitat is an art installation that aims to construct controlled ecological life support systems and consists of three large glass tanks, and it is a collaborative work by artists CHANG Ting-Tong and CHENG Hsien-Yu and a laboratory. During the exhibition, the artists will breed over 8000 Asian tiger mosquitoes and provide several hundred grams of their own blood on a daily basis to sustain the mosquitoes. A mosquito trap is placed by the installation, and when the mosquitoes come into contact with the trap, signals indicating their demise will be sent to a computer, which will be converted into avatars shown in the adjacent computer installation. Each of these avatars has a lifespan of 10 hours, and members of the audience can control the avatars in a game, ordering them to eat, drink, sleep, roam around, or even die during their lifespan. However, since the lives of these avatars are supported by real living beings and are connected to human blood or dead mosquitoes, can this game still be considered a form of entertainment? Through the artwork, the audience is caught in a moral dilemma with virtuality and reality entangled.
Ting Tong Chang (b.1982, Taipei, Taiwan) is an artist who lives and works in Taipei and London. Chang is known for his collaborative projects through a variety of media including installation, video, and theatre. After receiving his MFA at Goldsmiths, University of London in 2011, Chang has exhibited internationally. He held solo exhibitions at the Cube Project Space, the Museum of NTUE and Taipei Fine Arts Museum and has participated in group shows and commissioned projects in Guangzhou Triennial, Taipei Biennial, Saatchi Gallery, Compton Verney Art Gallery and Wellcome Trust. Chang’s major awards include the 19th Taishin Arts Award, Taipei Art Award 2020, Hong Kong Art Central RISE Award 2016, VIA Arts Prize 2016, and Royal Society of Sculptors Bursary Award 2015. His works can be found in the Taipei Fine Arts Museum, Art Bank, Hong Foundation, Embassy of Brazil London, JM SR Collection Mexico and private collections in Europe and Asia. Second Life: Habitat was created in collaboration with the National Taiwan University’s Department of Entomology.
LINK: Chang Ting-tong × Cheng Hsien-yu
LINK: Transistors
Posted by Matteo Bittanti on 08/14/2022 in ART GAME, CONCEPTUAL, DEVICE ART, EVENT, INSTALLATION, MIXED MEDIA, SECOND LIFE | Permalink
InterAccess is pleased to announce the program for Vector Festival 2022: Glitch. This year’s festival centres around the enticing, joyous, infinite possibilities offered by glitch. Drawing inspiration from Legacy Russell’s Glitch Feminism the festival considers glitch as a necessary, protective force for interrupting the machinic workings of patriarchy, capitalism, and racism. Counterintuitively, through its multitudinal ruptures and refusals, glitch becomes a generative site for envisioning new ways of existing beyond current sociopolitical operating systems.
Through a hybrid online and in-person program of exhibitions, performances, screenings, workshops, talks, and community events, this 10-day festival invites artists and audiences to come together in celebration of failure and all its potentials.
All Vector Festival events will be offered for free or pay-what-you-can. Registration for all festival events will be released on July 4, 2022.
Vector Festival 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.
The festival was founded in 2013 as the “Vector Game Art & New Media Festival” by an independent group of artists and curators: Skot Deeming, Clint Enns, kris kim, and Katie Micak, who were later joined by Diana Poulsen and Martin Zeilinger.
Among the highlights are VECTOR's first-ever hybrid game and hardware jam, presented in partnership with Hand Eye Society and TRANZAC, an evening showcase of experimental musical performances by Erin Corbett, Myriam Bleau, and Hex-A-Decimal centred around gaming, identity, and future feminisms curated by Sofie Mikhaylova. Also not to be missed is Keep it Strange, a beginner’s workshop will delve into a buffet of tiny experimental programs that require little to no coding experience, such as Flickgame, Sok Worlds, and Bitsy.
LINK: VECTOR Festival
Posted by Matteo Bittanti on 07/01/2022 in ART GAME, COLLABORATION, DEVICE ART, EVENT, GLITCH, INSTALLATION, LECTURE, NEWS, PERFORMANCE | Permalink
How to win at Photography
Photographer's Gallery
June 23 - September 25 2022
16-18 Ramillies Street, London
W1F 7LW England
How to Win at Photography will open June 23 2022 at The Photographer's Gallery in London and will remain open until September 25. A "multimedia exhibition" featuring 30+ artists, How to Win at Photography, "questions the very meaning and function of photography today". Expect a plethora of collateral events regarding all things post-photography - including in-game photography - starting with a killer conversation featuring John Hilliard and Justin Berry on June 24 202 about the ever-changing nature of photography.
Featured artists: Cory Arcangel, Aram Bartholl, Justin Berry, Alan Butler, Gloria López Cleries & Sive Hamilton Helle, Joan Pamboukes, Tabor Robak, Constant Dullaart, Yuyi John, Emma Agnes Sheffer, Coralie Vogelaar, Jon Haddock, Roc Herms, Sherrie Levine, Lorna Ruth Galloway, Ed Ruscha, Ai Weiwei, Harun Farocki, Dorothée Elisa Baumann, Dries Depoorter & Max Pinckers, Christopher Graves, John Hilliard, Steven Pippin, Ria Patricia Röder, Akihiko Taniguchi, Claude Cahun, Cibelle Cavalli Bastos, Aneta Grzeszykowska, Andy Kassier, Cindy Sherman, Petra Szemán, Danielle Udogaranya.
Posted by Matteo Bittanti on 06/13/2022 in ART GAME, COLLABORATION, DEVICE ART, EVENT, GAME, GAME ART, INSTALLATION, MACHINIMA, MINECRAFT, MUSEUM, NEWS, PERFORMANCE, PHOTOGRAPHY, PIXEL ART, SCREENSHOT, VIDEO, VIDEO ESSAY | Permalink
STURTEVANT, Pacman, 2012, HD Video, 1′15″, color, sound. Video still. Courtesy of the Estate of STURTEVANT and Galerie Thaddaeus Ropac, Paris/Salzburg/London.
WORLDBUILDING: GAMING & ART
15th anniversary exhibition of JSC Düsseldorf
Curated by Hans Ulrich Obrist
June 5, 2022–December 10, 2023, JSC Düsseldorf
Opening: Saturday, June 4, 2022, 12–6pm
JULIA STOSCHEK COLLECTION
Schanzenstraße 54
40549 Düsseldorf, Germany
press release
Computer and video games have found their way into popular culture and nearly every part of society. Curated by Hans Ulrich Obrist to celebrate the 15th anniversary of the Julia Stoschek Collection, this group exhibition examines the relationship between gaming and time-based media art. Early works from Julia Stoschek’s holdings will be shown with more recent works, some of which were commissioned especially for the exhibition. This juxtaposition will provide an archeological view of video games and art that bridges the past and the present. Recent developments in moving images as well as the potential of interfaces between computer games and art will be considered. The anniversary exhibition will constantly change over the course of its one-and-a-half-year run and will be accompanied by a varied program, both online and on-site. A comprehensive exhibition catalog will investigate various perspectives on the phenomenon of gaming.
With works by Peggy Ahwesh, Rebecca Allen, Cory Arcangel, Ed Atkins, Meriem Benanni, David Blandy & Larry Achiampong, Danielle Brathwaite-Shirley, Ian Cheng, Cao Fei, Basmah Felemban, Ed Fornieles, Sarah Friend, Kim Heecheon, Institute of Queer Ecology, Rindon Johnson, Keiken, Lawrence Lek, Gabriel Massan, Lual Mayen, Sondra Perry, Jacolby Satterwhite, Frances Stark, Sturtevant, Theo Triantafyllidis, Suzanne Treister, Angela Washko, Lu Yang, among others.
The JULIA STOSCHEK COLLECTION Düsseldorf opened to the public in June 2007. On the occasion of its 15th anniversary in June 2022, Hans Ulrich Obrist is invited to curate an exhibition with works from the collection. This group exhibition will explore the relationship between gaming and time-based art and also include new works. Julia Stoschek’s collection comprises moving image works from the 60s and 70s in addition to works by younger artists active today. Obrist is fascinated with the idea of creating an archaeology of video games with these early works and building a bridge from the past to the present by uniting them with more recent pieces. Bringing together these works that—in various ways—deal with the video game aesthetic, presents both the recent trajectory of moving image art, and the potential of bridges between gaming and art.
Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of the Serpentine Galleries in London, Senior Advisor at LUMA Arles, and Senior Artistic Advisor at The Shed in New York. Prior to this, he was the Curator of the Museum d’Art Moderne de la Ville de Paris. Since his first show World Soup (The Kitchen Show) in 1991, he has curated more than 350 shows-
Cory Arcangel, The Making of Super Mario Clouds, 2004, video, 76′, color, no sound. Video still. Courtesy of the artist and Electronic Arts Intermix, New York.
Jacky Connolly, Anhedonia (full length feature), 2017, HD-video, 18′, color, sound. Courtesy of the artist and Daata, London.
Cao Fei, i.Mirror by China Tracy (AKA: Cao Fei), 2007, video, 28′, color, sound. Video still. Courtesy of the artist and Creative Vitamine Space, Guangzhou.
Hito Steyerl, Factory of the Sun, 2015, single-channel HD video installation, 23′, color, sound. Video still, © VG Bild-Kunst, Bonn 2021. Courtesy of the artist.
Ian Cheng, BOB (Bag of Beliefs), 2018–2019, artificial lifeform, infinite duration, color, sound. Video still. Courtesy of the artist, Gladstone Gallery, Brussels/New York and Pilar Corrias, London.
Posted by Matteo Bittanti on 02/21/2022 in 3D ANIMATION, ART GAME, DEVICE ART, EVENT, GAME, GAME ART, MACHINIMA, MUSEUM, NEWS, VIDEO | Permalink
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LIPSTRIKE
live recording of online performance
digital video (1280 x 720), sound, color, 10’, 2021 [2016], France
Created by Chloé Desmoineaux
vral.org
Originally created in 2016, Lipstrike is an online performance in Counter-Strike that uses an unusual device as a weapon: a lipstick. Each time the artist applies cosmetics on her lips, her gun unleashes a torrent of bullets. She broadcast her performances on Twitch, receiving thousands of snarky comments by angry gamers, which were subsequently collected and published in a limited edition booklet. Five years later, the artist has updated the original iteration for VRAL. One question remains: has anything changed since #Gamergate?
Interested in tactical media, hacking culture, and cyberfeminism, Chloé Desmoineaux creates media experiments through performances, installations, and hijacked video games. She is particularly concerned about the place given to women as well as dissident and “minority” people in the video game industry and she tries to create spaces of visibility and reflection to discuss these issues. She is a member of the Freesson Collective which focuses on supporting creative practices and electronic music. It also organizes events and workshops on digital art and culture. Co-organizer of the Art Games Demos (2017-2019) initiative with Isabelle Arvers, Desmoineaux has curated several exhibitions about the culture, aesthetics and ideology of gaming in the past decade. Her work has been exhibited internationally. She led several workshops on alternative controllers, glitch aesthetics, interactive animations, and video games. Desmoineaux lives and works in Marseille.
Posted by Matteo Bittanti on 11/26/2021 in DEVICE ART, EVENT, GAME ART, GAMEPLAY, INSTALLATION, INTERVIEW, MACHINIMA, PERFORMANCE, VIDEO | Permalink
On view Sept. 2 – Nov. 20 2021
The Bonnier Gallery
3408 NW 7th Avenue
Miami, Florida33127
Yucef Merhi is the Nam June Paik of Game Art. OPEN is his unmissable retrospective at the The Bonnier Gallery in Miami.
"The Bonnier Gallery is pleased to announce Yucef Merhi's upcoming solo exhibition "OPEN" will be on view from September 2nd - November 20th, 2021. Throughout his 30+ year journey, Merhi's work has remained front and center in the current thinking about art and technology. Opening up a panoramic view of Merhi’s inner worlds, the upcoming exhibition consists of works from five different series that capture the far-reaching consequence of Merhi's orbit around contemporary culture and map out his creative diaspora.
In 1985, when pioneer digital artist Yucef Merhi was only eight years old and growing up in Caracas, he reverse-engineered his ATARI 2600 and turned it into a programmable computer. He used the Atari Video Computer System to produce generative videos based in language instructions. A leading art critic at the time saw this and proclaimed: “What you have created here, Yucef, will be considered a work of art in years to come.” Decades later, Merhi’s seminal creations would be exhibited at the New Museum in New York and would travel all over the world in international exhibitions, celebrated as the first works of art crafted from a videogame console. Watch a video that demonstrates one of these original 1985 works. One year later, at the age of nine, Merhi figured out how to calibrate the atomic clock of Venezuela, and the National Ministry of Defense commended him for achieving this breakthrough.
From data hacking as protest art against totalitarianism and police brutality, to his new vision called Retrocycling that rescues obsolete tech devices from landfills . . . from perfecting a universal language as new source code for planetary awakening, to digital interventions that make poems come alive . . . throughout his 30+ year journey, the artist’s work has remained front and center in the current thinking about art, and especially digital art. Opening up a panoramic view of Merhi’s inner worlds, the new show Yucef Merhi: Open at The Bonnier Gallery captures the far-reaching consequence of his orbit around contemporary culture. For the viewer experiencing Merhi’s art, this often results in mind-expanding encounters with language.
The gallery show presents 15 works, from five different series that map out his creative diaspora. The show ushers in the eagerly anticipated return of Miami’s Art Basel season, and opens on September 2 at the Bonnier Gallery in Allapattah, Miami’s burgeoning art district. “This new show will allow people to experience digital art that is of substance, as opposed to the speculative NFTs that seem to dominate that conversation,” says Grant Bonnier, the curator of this show and owner of the Gallery. “Yucef Merhi has packed the equivalent of several lifetimes leading up to this critical mid-career point of his trajectory,” adds Bonnier. “Merhi is poised at the leading edge of the technology and art.” Yucef Merhi has produced bodies of work that engage a wide spectrum including poetry, facial recognition, artificial intelligence, sound, virtual reality, hacking, and retro video games. By ensuring that his works always connect with the warmth of human engagement through language, Merhi’s momentum continues ahead of the curve."
LINK: Yucef Merhi: Open
LINK: Yucef Merhi
Posted by Matteo Bittanti on 08/30/2021 in ANALOG, ART GAME, DEVICE ART, EVENT, GAME ART, INSTALLATION, POETRY | Permalink
How to Win at Photography - Image-Making as Play
June 5 - October 10 2021
Fotomuseum Winterthur, Switzerland
Curated by Marco de Mutiis and Matteo Bittanti
How to Win at Photography – Image-Making as Play explores the relationship between photography and play. It investigates the notion of image play, creating unexpected connections between the history of photography, the gamification of the visible as well as practices of image making with and within computer games.
With works by: Cory Arcangel, Aram Bartholl, Dorothée Elisa Baumann, Justin Berry, Julius Brauckmann, Alan Butler, Claude Cahun, Cibelle Cavalli Bastos, Dries Depoorter & Max Pinckers, Philipp Dorl, Constant Dullaart, Harun Farocki, Christopher Graves, Aneta Grzeszykowska, Beate Gütschow, Jon Haddock, Emily Hadrich, Florence Henri, Roc Herms, John Hilliard, Yuyi John, Rindon Johnson, Andy Kassier, Sherrie Levine, Gloria López Cleries & Sive Hamilton Helle, René Mächler, Taiyo Onorato & Nico Krebs, Joan Pamboukes, Steven Pippin, Michael Reisch, Tabor Robak, Ria Patricia Röder, Lorna Ruth Galloway, Ed Ruscha, Emma Agnes Sheffer, Cindy Sherman, Guido Segni, Andrew Stine, Petra Szemán, Akihiko Taniguchi, Danielle Udogaranya, Coralie Vogelaar, Tamás Waliczky and Ai Weiwei.
In collaboration with the Lucerne University of Applied Sciences and Arts and the Centre for the Study of the Networked Image at London South Bank University.
There will be several events planned between now and October, some in situ, some online, so stay tuned for more.
Posted by Matteo Bittanti on 06/03/2021 in ART GAME, DEVICE ART, EVENT, GAME, GAME ART, INSTALLATION, MACHINIMA, PERFORMANCE, PHOTOGRAPHY | Permalink