GAMESCENES

EVENT: THOMAS HAWRANKE AND LASSE SCHERFFIG (JANUARY 6-19 2023, ONLINE)

COLOSSAL CAVE ADVENTURE – THE MOVIE

Digital video (1024 x 1024), sound, color, 55’ 33”, 2022, Germany  

Created by Thomas Hawranke and Lasse Scherffig

January 6 - 19 2023

Introduced by Matteo Bittanti

vral.org

 

An adaptation sui generis of an early text-based adventure games, Colossal Cave Adventure - The Movie remediates the program developed by Will Crowther in 1976 based on the architecture of the Mammoth Cave complex in Kentucky. The original game used text to describe the environment whereas the animated film uses AI-generated visuals. Every eight seconds, the AI system receives a new textual description, taken from Colossal Cave Adventure’s source code, comprising 379 inputs ranging from narrative descriptions of nature to jargon from the vocabulary of speleologists to single words meaning an object, a compass direction, or an exclamation. The camera constantly moves downwards, digging through geological layers and exposing new cave spaces again and again.

Born in 1977 in Bergisch Gladbach, Germany, Thomas Hawranke is a media artist and researcher whose practice investigates the influence of technology on society and the impact of computational logic onto human-animal-machine relationships. In his eclectic interventions, Hawranke operates at the intersection of performance and video art: a central concern of his is bringing to the surface the ideologies that inform everyday life. Hawranke graduated in Media Art at the Academy of Media Arts Cologne and received a PhD from the Bauhaus-University in Weimar, Germany, with a dissertation on the modification of video games, also known as modding, as a method for artistic research. Since 2005, he has been a member of susigames, an independent art label founded in 2003 that investigates alternative gaming’s approaches, and he is the co-founder of the Paidia Institute in Cologne. His works have been presented at several exhibitions and festivals, including the zkm_gameplay in Karlsruhe and the RENCONTRES INTERNATIONALES PARIS/BERLIN. Hawranke lives and works in Cologne, Germany.

Lasse Scherffig is an artist and scientist with a background in cognitive science/machine learning and computer science. Scherffig is interested in the relationship of humans, machines, and society; cybernetics and the technological infrastructures of communication and control; and the cultures and aesthetics of computation and interaction. His work oscillates between computer science and experimental artistic practices, engineering and amateur/DIY methods, science and humanities. A professor of Interaction Design at Köln International School of Design, he previously served as the Department Chair of Art and Technology at San Francisco Art Institute, where he taught as assistant professor. Scherffig co-founded the artist group Paidia Institute and off topic, magazine for media art. His art projects have been shown at numerous exhibitions. Lasse holds a doctoral degree in Experimental Computer Science from KHM, Academy of Media Arts Cologne.

WATCH NOW

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: KAMILIA KARD (DECEMBER 2 2022, 9 PM CET, LIVE PERFORMANCE, ONLINE)

The MILAN MACHINIMA FESTIVAL is delighted to announce its first machinima live performance on its brand new Twitch channel. Curated by Gemma Fantacci, the inaugural show is Kamilia Kard’s Toxic Garden - DANCE DANCE DANCE. Join us tonight Friday December 2 at 9 pm Central European Time (CET)! 

Toxic Garden - DANCE DANCE DANCE is an online participatory performance created within Toxic Garden, a unique map designed by the artist for Roblox (Roblox Corporation, 2006) in which participants can perform a common dance by donning custom skins that change randomly. A visual commentary on toxic human behaviors, DANCE DANCE DANCE is inspired by the defense mechanisms of poisonous plants. Its development took place during the residency at Lavanderia a Vapore and it involved dancers who contributed in the creation of the choreography. Designed and developed by Kamilia Kard, aka KKlovesU4E. Music of the Performance by Raffaella Bresciani. Sound design of Toxic Garden’s map by Cristina Katja Angeloro.

Kamilia Kard is an artist and scholar based in Milan. Her research explores how hyper-connectivity and new forms of online communication have modified and influenced the perception of the human body, as well as our gestures, feelings and emotions. Her practice spans from digital paintings to websites, from video installations to 3D printed sculptures, from interactive virtual environments and video games to AR facial filters. Her work has been exhibited internationally in museums, galleries, public spaces and online venues. Highlights include: A.dition Gallery, South Korea (2022), Careof, Milan (2021); Marséll, Milan (2021); Museo Pino Pascali, Polignano a Mare (2021); Milan Machinima Festival (2021); Galerie Odile Ouizeman, Paris (2020); Sorbonne Nouvelle, Paris (2020); Dimora Artica, Milan (2020); Olomouc Museum of Art (2020); Metronom, Modena (2018, 2019 and 2020); EP7, Paris (2019); Victoria and Albert Museum, London (2018); iMAL, Brussels (2018); Digitalive @ REF, Rome (2018); Fotomuseum Winterthur, Switzerland (2017); Triennale di Milano (2017); Centro Cultural São Paulo (2017); La Quadriennale di Roma (2016); Ludwig Museum, Budapest (2015); Hypersalon, Miami (2015); The Wrong Biennial, online (2014); Museo del Novecento, Milan (2013). She is the author of Arte e Social Media. Generatori di sentimenti (Postmedia Books 2022) and the editor of Alpha Plus. An Anthology of Digital Art (Editorial Vortex 2017). She often lectures about her artistic practice and research. She has a Ph.D in Digital Humanities (University of Genova), and she teaches Multimedia Communication and Aesthetics of New Media at Accademia di Brera in Milan, Italy.

To watch the perform, please visit

MMF_VRAL on Twitch

Kamilia Kard

Toxic Garden - DANCE DANCE DANCE

December 2 2022 at 9 PM CET

free

EVENT: SCREEN IMAGES. IN-GAME PHOTOGRAPHY, SCREENSHOT, SCREENCAST (BOOK PRESENTATION, PERFORMANCE, FESTIVAL, DECEMBER 10 2022, BERLIN, GERMANY)

Screen Images. In-Game Photography, Screenshot, Screencast

Edited by Winfried Gerling (Hg.), Sebastian Möring (Hg.), Marco De Mutiis (Hg.)

Release date: December 2022

Publisher: Kadmos Berlin

Pages: 376

ISBN 978-3-86599-535-3

 

This volume examines historical and contemporary image practices and phenomena, including screenshots, screen photography, screencasts and in-game photography. The individual chapters pose questions relating to the status, ontology and aesthetics of such practices and phenomena and also analyse their cultural and artistic significance. Artistic works explore these questions in the form of various image practices. The authors and artists investigate the potential for a new area of research at the intersection of a range of disciplines, such as media studies, media aesthetics, media history, image studies, photography theory, game studies, media art and game art. As one of the first publications to address these phenomena, this book speaks to a varied audience in the realms of media studies, game studies and cultural studies as well as to members of the general public interested in historical and contemporary practices associated with visual and digital media.

The book presentation is scheduled for December 10, 2022 at 11:15 am (Berlin time) at C/O Berlin, Amerika Haus, Hardenbergstraße 22-24, 10623 Berlin

Following the presentation, the In-Game Photography Competition "Who Did It Better in In-Game Photography World Championship 2022" will take place at 12:30 pm.  Jon Uriarte (Photographer’s Gallery London) and Marco De Mutiis (Fotomuseum Winterthur) will present artistic projects that have been created using in-game photography. They will select the best ones together with the visitors by addressing questions of photorealism, simulation and photographic practices in video games:

The book presentation and online performance are part of the first annual program of C/O Digital festival, which takes place at the Amerika Haus, Hardenbergstraße 22-24, 10623 Berlin on Dec 9 and 10, 2022.

In the context of talks, workshops and participatory events, visitors are invited to partake and join in the discussion of the questions raised in 2022. C/O Digital’s annual theme was New Values, focusing on the redefinition of the term ‚value’ beyond the market, and the use of gaming strategies to rehearse worlds grounded on the different understandings of value. Ayoung Kim, Debbie Ding, and Keiken, from the incubator program have challenged the term value through artistic research in exchange with their mentors Geert Lovink, MetaObjects, and The New Design Congress. Their artistic projects will be on view at C/O Berlin.

All events are presented in English. Free admission More about the program online at C/O Digital

LINK: Book page

LINK: Book presentation details

LINK: In-Game Photography Competition "Who Did It Better in In-Game Photography World Championship 2022

LINK: C/O Digital 2022

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!)