GAMESCENES

EVENT: VIDEO GAMES? ART AND TECHNOLOGY (OCTOVER 6 - JANUARY 29 2023, GRANDE PRAIRE, CANADA)

Video Games? Art and Technology 

Curated by Manar Abo Touk, Curator, Exhibitions & Collections

Oct 6, 2022 to Jan 29, 2023

Art Gallery of Grande Prairie 103-9839 103 Ave, Grande Prairie, Alberta T8V 6M7

Canada

(780) 532-8111

[email protected]

press release (excerpt)

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.)

LINK: Video Games? Art and Technology

EVENT: MARTINA MENEGON (SEPTEMBER 30 - OCTOBER 13 2022, ONLINE)

when you are close to me I shiver

video recording of live simulation

digital video/machinima (1920 x 1080), color, sound, 7’ 47”, 2020, Italy

Created by Martina Menegon

Sound design by Alexander Martinz

Introduced by Luca Miranda

vral.org

when you are close to me I shiver is an algorithmically controlled live simulation, hereby presented as a video recording, that is, a real-time generated virtual experience that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary Our Planet narrated by David Attenborough and produced by Silverback Films, the project proposes a scenario encompassing ongoing environmental and personal crises. The video depicts a desolated island populated by 3D-scanned clones of the artist herself. Through these perceivable avatars, the artist creates a new identity that arises out of plurality, proprioceptively renegotiating the fragility of both the physical and the virtual self and its realities.

Martina Menegon (Italy, 1988) is an artist working predominantly with Interactive and Extended Reality Art. In her works, Martina creates intimate and complex assemblages of physical and virtual elements that explore the contemporary self and its phygital corporeality. She experiments with the uncanny and the grotesque, the self and the body and the dialogue between physical and virtual realities, to create disorienting experiences that become perceivable despite their virtual nature.

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EVENT: THE VISIBLE CITY - THE CITY AT PLAY (SEPTEMBER 20 - 23, VALENCIA, SPAIN)

 

La ciudad jugable - la ciudad en juego (The visible city - the city at play)

Curated by Luca Carruba and Dr.a Eurídice Cabañes, produced by Meritxel Ahicart

Main Hall, Faculty of Philosophy and Educational Sciences

Universitat de València, Spain

Av. de Blasco Ibáñez, 13, 46010 València, Spain

 

Produced in the framework of the 7th International Conference on Videogames and Education (September 20-22 2022) in Valencia, Spain, the exhibition is organized by the Chair Gamification and Open Government (according to the agreement signed between the University of Valencia and the City Council) and the International Group of Researchers Association ALFAS. The works on display include video games, board games, video art, documentary, and digital photography, focusing on the theme of art, the city, and video games. According to the curators, the goal of the exhibition is to open up a space for dialogue between Art and the City in their relation with video games.

 

Curators' statement (translated from Spanish)

The city is built in many ways. Through material manipulation, but also through languages and constructions of symbolic worlds that operate and shape it. Different artifacts and technologies amplify this effect. Our entire relationship with reality is technologically mediated, and if there is one technology (and one language) that has become the spearhead of this interaction, it is clearly the video game.

Beyond leisure, the video game has changed our ways of generating and interacting with knowledge about reality, it has become a tool with great potential for collective decision making, to disseminate different values and to experiment imagining new worlds and systems.

We propose an exhibition that allows us to look at the video game from its potential to transform the city, without forgetting to provide a critical perspective on the medium that also makes visible the problems that we face and that it is important that we solve in order to exploit the full potential of the medium in an ethical, fair and diverse way.

The full program is available on the official website.

LINK: La ciudad jugable - la ciudad en Juego (in Spanish)

EVENT: VOLUNTARY ATTEMPTS TO OVERCOME NECESSARY OBSTACLES (SEPTEMBER 23 - OCTOBER 29 2022, NEW YORK)

Robert Yang, The Tearoom, Video Game 2017

Voluntary Attempts to Overcome Necessary Obstacles

On View: September 23 – October 29, 2022

Opening Reception: Friday, September 23, 2022, 6-8 PM

curated by Nicholas O’Brien

The Elizabeth Foundation for the Arts
323 West 39th Street
New York, NY 10018
P: (212) 563 5855 x244
E: [email protected]

Featured artists

Pippin Barr
Jeremy Couillard
Charity Porpentine Heartscape
Nathalie Lawhead
Everest Pipkin
The Escape From Woomera Collective
Studio Oleomingus
Angela Washko
Robert Yang

press release (excerpt)

EFA Project Space presents Voluntary Attempts to Overcome Necessary Obstacles, a group exhibition of artists, designers, and developers exploring the boundaries of games as an artistic medium. This exhibition attempts to sidestep the reactionary debates of whether “games can be art” and instead highlights works that have already put an end to this question. By bringing these works together at EFA Project Space, curator Nicholas O’Brien, wants to show contemporary art audiences how games have been having parallel (or shared) conversations about politics, society, history, and identity in equally nuanced, poetics, and critical ways.

Studio Oleomingus, Folds Along a Separation, Video Game, 2022

LINK: Voluntary Attempts to Overcome Necessary Obstacles

GAME ART: MARIO MU'S SITES OF ENCOUNTER (2022)

Sites of Encounter is composed of three short films exploring the intersection between spatial memory and architecture within games. The narrative follows an intimate dialogue between a group of characters as they navigate contemporary labour conditions, using spatial structures to activate an archive of memories. The structure of the work in many ways resembles a theater piece. There are three acts divided into three scenes. Each part of the trilogy is a self-contained dramatic unit, although the endings of the first two acts lead naturally into the play that follows them. Sites of encounter deals with issues related to contemporary work conditions, video games and man-made environment, whether it is architecture or space of video games themselves.

The artistic practice of Croatian artist Mario Mu revolves around projects which are often constructed as extended gaming platforms. In addition to sound and drawing, his preferred media often include elements of game design, 3D animation, and performance. A student of Hito Steyerl, Mu received an MFA in Berlin from the University of the Arts (UdK) in Berlin in 2017, a BFA with a major in Painting from the Academy of Fine Arts in Zagreb, in 2015, and an MA from the Faculty of Graphic Arts in 2012 from the same institution. Between 2016 and 2017, Mu was an active member of the Research Center for the Proxy Politics in Berlin. He has been working on several LARP events as an author, collaborator and/or performer at Play Co London and Zagreb, Pakhuis de Zwijger in Amsterdam, Galerie gr_und, Acud, and UdK in Berlin. Mu is currently working on a new game project initiated by the Portuguese artist Odete and supported by Maat Museum and Boca Bienal.

Mario Mu, Sites of Encounter, video installation, color, sound 1920 x 1080 3 × 18', wood panels, 2022 (images courtesy of the artist) Solo exhibition Gallery Nova, Zagreb. WHW Collective , Curated by Ana KovacicPhoto credits Sanja Bistricic

LINK: Mario Mu

GAME ART: CHANG TING-TONG × CHENG HSIEN-YU'S SECOND LIFE: HABITAT (2016)

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

EVENT: NEVER ALONE: VIDEO GAMES AND OTHER INTERACTIVE DESIGN (SEPTEMBER 10 2022 - JULY 16 2023, NEW YORK)

Upper One Games, E-Line Media, and Ishmael Angaluuk Hope. Never Alone (Kisima Inŋitchuŋa). 2014. Video game software. The Museum of Modern Art, New York. Gift of E-Line Media. © 2022 E-Line Media

Never Alone: Video Games and Other Interactive Design

September 10, 2022 - July 16, 2023

Museum of Modern Art

11 West 53 Street, Manhattan, New York

Curated by Paola Antonelli, Paul Galloway, and Anna Burckhardt

 

press release

The Museum of Modern Art announces Never Alone: Video Games and Other Interactive Design, an exhibition that will investigate how interactive design informs the way we move through life and conceive of space, time, and connections, well beyond the game screen. On view in the Museum’s street-level gallery from September 10, 2022, through July 16, 2023, the exhibition will bring together notable examples of interactive design from MoMA’s collection, including computer interfaces, icons, apps, and 35 video games, 10 of which visitors will be able to play. This exhibition is grounded in the Museum’s history and commitment to collecting interactive design, from 1960s computer terminals to MoMA’s first selection of video games (acquired in 2012) to the websites of today. Never Alone: Video Games and Other Interactive Design is organized by Paola Antonelli, Senior Curator, Paul Galloway, Collection Specialist, and Anna Burckhardt, Curatorial Assistant, Department of Architecture and Design.

“The interfaces we use to access the digital universe are visual and tactile manifestations of code that both connect and separate us, and shape the way we behave and perceive life,” says Paola Antonelli. “Design is all around us, goes the adage, in everything we touch, use, feel, eat. Ever since digital tools have become ubiquitous, interactive design has become the conduit to systems of all kinds, from communication and information to transportation, supply, and more. It is in the touch commands on the screen of an ATM machine or of a smartphone, and in the interface of an ICU monitor. Interactive design runs a great part of our lives.”

Taking its name from the newly rereleased video game Never Alone (Kisima Inŋgitchuŋa) (2014), the exhibition will be organized into three sections: the Input, the Designer, and the Player. The first section, the Input, will focus on users’ physical interactions with the digital world through tangible objects like keyboards, joysticks, and touchscreens. The second section will examine the Designer’s impact on players’ experiences through early apps like John Maeda’s The Reactive Square (1994) and video games like Lucas Pope’s Papers Please (2014). These first two sections explore different aspects of the interface–where the user meets the machine—making clear that the design of the tangible object and digital experience are fundamental to the success of any interactive design, especially video games. In the third section, the exhibition will explore how the Player’s performance, choices, and interpretation define and reshape games and apps. Video games such as SimCity 2000 (1993) and Minecraft (2011) will be on view as examples of how players can create their own personalized worlds. These works demonstrate that a great part of the success of a game might depend on the player, not only on the designer.

The objects, interfaces, icons, and video games featured in this exhibition were selected as trailblazing examples of interactive design. The criteria for selecting video games were based not only on the aesthetic and narrative quality of each, but also on many other aspects—from the elegance of the code to the choreography of the player’s behavior—that pertain to interactive design. The criteria also focus on how the digital space is designed, flows, and morphs in time; how the game receives and conveys instructions and information via screens and input devices; and how a person interacts with them, whether digitally or physically.

The accompanying publication, Never Alone: Video Games as Interactive Design, written by Paola Antonelli, Anna Burckhardt, and Paul Galloway, explores the impact of interactive design by examining 35 video games created between 1972 and 2018—from Space Invaders (1978) and Pac-Man (1980) to The Sims (2000) and Minecraft. An overarching essay presents the pioneering criteria by which MoMA has selected these video games for its collection, as well as the protocols for their acquisition, display, and conservation. The richly illustrated plate section is divided into three sections that analyze input devices, game designers, and players.

Toru Iwatani. Pac-Man. 1980. Video game software. Published by NAMCO LTD. (currently BANDAI NAMCO Entertainment Inc.). The Museum of Modern Art, New York. PAC-MAN TM & © 1980 BANDAI NAMCO Entertainment Inc.

Bennett Foddy. Getting Over It with Bennett Foddy. Video game software. The Museum of Modern Art, New York. Gift of the designer. © 2022 Bennett Foddy

Lucas Pope. Papers, Please. 2013. Video game software. The Museum of Modern Art, New York. Gift of the designer. © 2022 Lucas Pope

Markus “Notch” Persson. Minecraft. 2011. Video game software. Published by Mojang. The Museum of Modern Art. New York. © 2022 Mojang

Jenova Chen (Xinghan) Chen. Flower. 2012. Video game software. Published by thatgamecompany. The Museum of Modern Art, New York. Gift of Sony Interactive Entertainment LLC. © 2008 Sony Interactive Entertainment LLC. “Flower” is a registered trademark of Sony Interactive Entertainment LLC. Developed by thatgamecompany

LINK: Moma

EVENT: ULTRA UNREAL (JULY 22 - OCTOBER 2 2022, SYDNEY, AUSTRALIA)

Lu Yang, installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022. Image courtesy and © the artist. Photograph: Alex Davies

Ultra Unreal
New myths for new worlds
July 22–October 2 2022

Curated by Anna Davis

Museum of Contemporary Art Australia
Circular Quay West
140 George Street
Sydney NSW 2000
Australia
Hours: Tuesday–Sunday 10am–5pm,
Wednesday 10am–9pm

press release

Ultra Unreal at the Museum of Contemporary Art Australia (MCA) features the works of six artists and collectives. Club Ate (Sydney), Korakrit Arunanondchai and Alex Gvojic (Bangkok & New York), Lawrence Lek (London), Lu Yang (Shanghai), and Saeborg (Tokyo) create worlds that blend myth and reality, simulating more-than-human futures, evolving belief systems and fluid frameworks of being.

The fantastical worlds created by these artists are grounded in personal experience and politics. Populated by hybrid creatures and genderfluid beings, their worlds are spread across physical and virtual spaces at the MCA.

Ultra Unreal reflects on the relevance of mythmaking and its role in navigating complex realities of the present. Drawing inspiration from Ning Ken’s theory of the ultra-unreal, it examines how mythologies can be used to reveal hidden histories and reorientate visions of the future.

Works by Club Ate and Saeborg have emerged from the politics of the dancefloor, embodying the vitalities of underground and LGBTQIA+ nightclub communities. Works by Arunanondchai and Gvojic, Lek, and Lu, similarly pulse with late-night energy and investigate ideas that include Sinofuturism, reincarnation, empathy and nonhuman consciousness.

Curator Anna Davis says, “The artists and collectives in Ultra Unreal ask questions about belief and technology, empathy and consciousness. In our complex present, thinking critically about the worlds we want to create and inhabit is more important than ever before.”

Lawrence Lek, Geomancer, 2017. Installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022. Dingle-channel video, HD, colour, sound. Image courtesy and © the artist. Photograph: Anna Kučera

Exhibition highlights include:
Club Ate’s new video, sound and textile installation Ang Idol Ko / You are My Idol (2022) draws on Filipinx mythologies and club cultures to evoke queer, trans and animist idols for today. The installation combines ancestral figures from the Buwaya (crocodile) and Kinnari (bird) mythologies, and draws on historical accounts of the Babaylan; queer and trans shamans in the Philippines who act as intermediaries between visible and invisible worlds.

The brightly coloured rural world in Saeborg’s installation Slaughterhouse (2021–22) masks a darker commentary on gender roles and stereotypes in Japan. Using the role of livestock as an analogy for society’s treatment and expectations of women, Saeborg aims to highlight issues of gender-based power and control in human and nonhuman lives. Slaughterhouse began as a series of costumes and performances for the Tokyo nightclub Department H.

Lu Yang creates virtual environments to contemplate the nature of consciousness, suffering, death, and rebirth. “I imagine my worlds to be open-ended, non-binary and multi-dimensional” says Lu, whose digital worlds are populated with genderless avatars. Lu has been working on his latest avatar DOKU for several years. In this new series of works, DOKU appears in six different environments, each representing one of the six realms of rebirth and existence in Buddhist cosmology.

Exhibited for the first time in Australia, No history in a room filled with people with funny names 5 (2018) is from a series of works Korakrit Arunanondchai has been developing for the past decade. This fifth episode examines unseen forces shaping our reality, and relationships between humans and more-than-human beings in the context of contemporary Thai mythology. Made in collaboration with Alex Gvojic, the immersive installation features Tosh Basco as the Naga, a recurring character inspired by a mythical serpent and anarchic spirit that can take human form.

Named after a fictional drug for forgetting sorrow in ancient Greek mythology, Lawrence Lek’s series Nepenthe explores connections between memory, virtual worlds, and environments geared towards healing. Nepenthe AR is a new augmented reality (AR) project commissioned by the MCA Australia that invites visitors to discover a series of restorative worlds on each level of the Museum. Nepenthe AR (2022) was inspired by the phenomenon known as the “doorway effect”; when people forget why they have walked into a room as they enter it.

The exhibition includes daily screenings of Lu Yang’s Delusional Mandala (2015) and DOKU—Documentary (2020); Lawrence Lek’s Sinofuturism (1839–2046 AD)(2016), and Saeborg’s Pigpen Movie (2016).

LINK: Ultra Unreal

LINK: John McDonald's review of the exhibition

EVENT: YALOO AND SIAN FAN MY GARDEN, MY SANCTUARY (JULY 21 - OCTOBER 9 2022, LIVERPOOL)

View of My Garden, My Sanctuary, FACT Liverpool, UK, 2022. Photo: Rob Battersby.

Yaloo and Sian Fan
My Garden, My Sanctuary
July 21–October 9, 2022

Curated by Carrie Chan

FACT Liverpool
88 Wood Street
Liverpool L1 4DQ
UK
Hours: Tuesday–Sunday 11am–6pm

press release

FACT launches the summer exhibition My Garden, My Sanctuary: a collection of new, immersive artworks by Yaloo and Sian Fan—two artists using creative technology to tell stories of ancestry and self-discovery in a hyperconnected world.

Presented by FACT’s 2022 Curator-in-Residence, Carrie Chan, My Garden, My Sanctuary immerses visitors in playful, watery worlds. From anime and K-pop, to lotus flowers and seaweed, artists Yaloo (South Korea) and Sian Fan (UK) weave commodified symbols of east Asia throughout their work to reclaim their cultural identities, and remix their coming-of-age stories. The new commissions transform the galleries, taking shape as large-scale animated installations and interactive gaming environments.

Combining ancient Korean traditions and beliefs with family histories, Yaloo presents a mystical installation environment. Birthday Garden (2022) begins with a temple-like gateway, leading visitors into an underwater seaweed garden and giant, animated sheet mask. The work explores the challenge of shaping self-identity and cultural stories against the commercial context of Korean culture within global media.

As part of FACT’s work around how young people craft and embody digital identities, Yaloo expands on the themes in her work to include young people’s views and critique of popular culture and social media. A series of conversations with members from the University of Liverpool’s K-pop Society, and a group of young people from Liverpool, will result in a K-pop inspired dance, public performance and a podcast documenting their creative process.

Sian Fan, Lotus Root, 2022

Sian Fan combines imagery found in anime and fantasy video games with commercialised depictions of East-Asia. In her new commission Lotus Root (2022), Sian presents an anime fantasy video game set in a sanctuary of lotus flowers and lily pads. Hyper-real avatars are nestled within the space, inspired by the characters from anime series Sailor Moon and video games Final Fantasy and Grandia. Deity (2022) is a shrine to the virtual self. Multi-angle ‘mirrors’ wrapped in root-like sculptures present a digital performance, combining motion capture and physical movement. An avatar of the artist responds to audience interaction, revealing the connection with our virtual selves. The immersive installations challenge romanticised ideas of East-Asian culture and standards of femininity found in gaming and animation.

Sian Fan, Deity, 2022

Established in 2019, FACT’s annual residency programme invites curators to develop their ideas and research into a major exhibition and public programme of events. Carrie Chan, 2022 Curator-in-Residence at FACT, said: “The exhibition has been curated to feel like a rite of passage: a journey where visitors encounter two artists whose works reflect on their own identities and cultural heritage within a technology-driven, alternative world. My residency at FACT has enabled me to explore diverse curatorial approaches in narrating stories on ancestry, identities and belonging, and has given me the opportunity to bring two acclaimed digital media artists to Liverpool – a city with a strong history of Asian immigrants and diaspora.”

My Garden, My Sanctuary forms part of Radical Ancestry, FACT’s current year-long programme. Maitreyi Maheshwari, Head of Programme at FACT, said: “From ‘alternative museums’ of artworks that question how science and technology have shaped our understanding of the past, to the ways in which the stories and songs we inherit help define key moments in our lives, the Radical Ancestry programme is an exploration of our changing sense of self. This exhibition continues our journey from the past into a present in which the artists playfully remix symbols from their familial heritage with pop cultural references, creating new possibilities and hybrid identities. Carrie has introduced us to ambitious new artists whose outlooks and practices convey the energy and the difficulties in trying to forge a new way of being.”

My Garden, My Sanctuary is now open at FACT until October 9, 2022. The exhibition will be accompanied by a public programme of family friendly events including food-based workshops, curator tours, a talk exploring stereotypes and representation in gaming, and artist performances.

LINK: Yaloo And Sian Fan My Garden, My Sanctuary

EVENT: FILE. ELECTRONIC LANGUAGE INTERNATIONAL FESTIVAL 2022 (JULY 13 - AUGUST 14 2022, SAO PAULO, BRAZIL)

FILE: Electronic language international festival 2022 SUPERCRIATIVIDADE

July 13th to August 14th, 2022
Edifício Banco do Brasil /Torre Matarazzo
Av.Paulista, 1230, Bela Vista, São Paulo/SP

 The theme of the amazing Brazilian festival is SUPERCREATIVITY, which is described by the organizers and founders of FILE, Ricardo Barreto and Paula Perissinotto, as

Creativity overcomes obstacles and builds new realities. In each moment, as said in Philosophy, art lies confined in the cloister of its time. From time to time, however, creativity produces gaps that enable art to break through into new realms. And it’s almost a norm to say that creativity is an exclusive property of art.
Creativity is not limited to the arts. It also takes place in all disciplines of Culture. Thus, in the aesthetic sense, it ceases to be creativity and becomes Supercreativity: the sum of all creative engines that permeate and connect to our culture. In economics, we see it emerge in Joseph Schumpeter’s “destructive creativity” and Clayton Christensen’s “disruptive theory”. In mathematics, we see it in the creation of Alan Turing’s universal machine, in John von Neumann’s autonomous cells and in Claude Shannon’s logic electronic circuits. They created, along with many other creative geniuses, the intelligent machines that originated Artificial Intelligence. Supercreativity, however, is not a property of Artificial Intelligence, but its very inventor. Supercreativity, teaming with Artificial Intelligence or not, is and will be the main condition to the world’s development in all its nuances.

This year's program features an insane amount of terrific projects, including (but not limited to):

Lu Yang – The Great Adventure of Material World (China)

Jon Rafman – Disasters Under the Sun (Canada)

Leo Castaneda – Levels and Bosses – (United States, Colombia)

Save MeOh - Save Generosa (France)

Glasz DeCuir You Have NO CHOICE. Yes I saw an angel (Spain)

and many more...

Of huge interest for this space is a special program entitled

ANIMA+GAMES 2022 – Augmented Reality
FILE ANIMA+GAMES 2022

Featured artist: Raquel Meyers (Spain)

Conception: Ricardo Barreto

Curatorship: Clarissa Oliveira

Design: Estúdio Quadradão

Guest artist and performer Raquel Meyers talks about using obsolete technologies to create real-time animation, storytelling and 8-bit aesthetics.

Featuring works by

Melodie Mousset – HanaHana AR  (France, Switzerland)

Theo Triantafyllidis – Genius Loci AR(Greece)

Amanita Design – Samorost 3 (Czech Republic)

Dinosaur Polo Club – Mini Metro (United States)

Giant Squid – The Pathless (United States)

Joel McDonald – Prune (United States)

Ludopium Studio – Vectronom (Germany)

and many more...

LINK: FILE 2022