HeK House of Electronic Arts Basel Freilager-Platz 9 CH–4142 Münchenstein/Basel
The international group exhibition Radical Gaming presents a selection of artists who investigate the structures, technologies and aesthetics of a global gaming industry. Their works are characterised by a particularly unconventional approach to employing the immersion and interaction inherent to video games, whose common narratives and stereotypes they subversively undermine.
Artist: Danielle Brathwaite-Shirley, Leo Castañeda, Sara Culmann, Debbie Ding, Keiken, Lawrence Lek, Mikhail Maksimov, Cassie McQuater, Sahej Rahal, Nicole Ruggiero, Jacolby Satterwhite, Eddo Stern, Theo Triantafyllidis, Miyö Van Stenis, Lu Yang
The best review so far is, unsurprisingly, from We Make Money Not Art. Here's an excerpt:
The interactive experiences of this avant-garde sub-genre also differ from mainstream contemporary gaming: instead of being purely adrenaline-fuelled, the rules of engagement involve meditative states, involvement of multiple senses, modified controllers, etc. They deviate from what the industry normally offers/sells. But that doesn’t mean that they are not fun, in their own, strange ways.
i.Mirror by China Tracy (AKA: Cao Fei), Second Life Documentary Film, 2007
Cao Fei. My Future is not a Dream Selected Works from the Collection
September 10, 2021–January 9, 2022
Espace Louis Vuitton München
Maximilianstraße 2a
80539 Munich Germany
Hours: Monday–Friday 12–7pm,
Saturday 10am–7pm
press release
On the occasion of its new exhibition within the framework of the Fondation Louis Vuitton “Hors-les-murs” programme, the Espace Louis Vuitton München presents My Future is not a Dream, a selection of Cao Fei’s works from the Collection. This exhibition carries out the Foundation’s mission to showcase holdings of the Collection to an international audience at the Espaces Louis Vuitton in Tokyo, Munich, Venice, Beijing, Seoul and Osaka.
Born in 1978 in Guangzhou by the Pearl River Delta in China, Cao Fei has made a name for herself with her multimedia installations and videos. She takes inspiration from popular and traditional sources (the cinema, advertisements, manga, and theatre) to explore the relationship between real life, the collective utopia, and the personal aspirations of a younger generation immersed in a new urban culture marked by an industrial and commercial boom and Internet exposure. The economic dynamics of her native region, and its proximity to Hong Kong and Taiwan, gave rise to a generation with a decidedly modern lifestyle. A recurrent theme of her work since Imbalance 257 (1999), Cao Fei captures a world inhabited by her friends, subjugated by entertainment, consumption and television, where adolescents disguise themselves as manga or video game characters to play out a fictional life. Presented here, Whose Utopia (2006), which mixes documentary elements with fiction, explores the contrast between the real life of the workers at a factory and their dreams and aspirations.
Cao Fei, Whose Utopia (2006), video, projection, colour and sound (stereo), 19' 58"
Fascinated by the internet’s endless possibilities, Cao Fei began in 2007 to experiment with the virtual world of Second Life, the 3D-based user-generated content platform created in 2003. There she designed a virtual city (RMB CITY: A Second Life City Planning, 2007) where she settled her own avatar, China Tracy (Live in RMB City, 2009). The spaces she developed mingle some typical symbols of the Chinese culture (bicycles, pandas, a Mao bust etc.) with an unbridled proliferation of international characteristic everyday objects and architecture in an unrelenting flow of traffic, portraying the past, present and future of a community undergoing major change, in a country at the mercy of uncompromising modernization. Isolation, the division of the classes, and the projected decline of international capitalism are key subjects of Cao Fei’s work, which continuously draws on a wide variety of sources from both Western and Eastern worlds.
Cao Fei, RMB City: A Second Life City Planning by China Tracy (aka: Cao Fei), Color video, with sound, 6 min.
The three works presented here, which belong to the Collection, were displayed at Fondation Louis Vuitton in 2016 for the exhibition Bentu. Chinese Artists in a time of turbulence and transformation.
About the Fondation Louis Vuitton
The Fondation Louis Vuitton serves the public interest and is exclusively dedicated to contemporary art and artists, as well as 20th-century works to which their inspirations can be traced. The Collection and the exhibitions it organises seek to engage a broad public. The magnificent building created by the Canadian-American architect Frank Gehry, and already recognized as an emblematic example of the 21st-century architecture, constitutes the Foundation’s seminal artistic statement. Since its opening in October 2014, the Fondation has welcomed more than six million visitors from France and around the world. The Fondation Louis Vuitton commits to engage in international initiatives, both at the Fondation and in partnership with public and private institutions, including other foundations and museums such as the Pushkin Museum in Moscow and the Hermitage Museum in Saint Petersburg (Icons of Modern Art: The Shchukin Collection in 2016 and The Morozov Collection in 2021), the MoMA in New York (Being Modern: MoMA in Paris), and the Courtauld Gallery in London (The Courtauld Collection. A Vision for Impressionism) among others. The artistic direction also developed a specific “Hors-les-murs” programme taking place within the Espaces Louis Vuitton in Tokyo, Munich, Venice, Beijing, Seoul and Osaka, which are exclusively devoted to exhibitions of works from the Collection. These exhibitions are open to the public free of charge and promoted through specific cultural communication.
Curated by Luigi Alberto Cippini (Armature Globale), Fredi Fischli and Niels Olsen (gta exhibitions, ETH Zurich Department of Architecture)
September 9, 2021–January 23, 2022
Fondazione Prada Osservatorio
Galleria Vittorio Emanuele II
20121 Milan Italy
press release
The exhibition project Sturm&Drang, a collaboration between Fondazione Prada and gta exhibitions, ETH Zurich, will take place at Osservatorio Fondazione Prada from September 9, 2021 to January 23, 2022 (press preview on September 8, 2021, from 10am–2pm).
Curated by Luigi Alberto Cippini (Armature Globale), Fredi Fischli and Niels Olsen (gta exhibitions, ETH Zurich Department of Architecture), Sturm&Drang explores computer-generated imagery (CGI) practices, experiences, and environments. CGI is the creation of still or animated visual content with imaging software.
This exhibition does not focus on the final product–the advanced digital image–or artworks adopting these techniques, it rather investigates the production methods behind this powerful image economy. Sturm&Drang is a conglomeration of four environments–quotes of both existing or imaginary spaces–that usually host the ‘making of’ or the fruition of the CGI programming in contexts such as video games, science fiction, and hi-tech engineering.
On the first floor of Osservatorio, the visitor is confronted with two autonomous spatial conditions. The first one is a prototype of a First Person Shooter (FPS) setting. Military First Person Shooter (MFPS) is weapon-based combat in a first-person perspective, widely used in video games design and in military training. The second environment pays homage to the science fiction novel Neuromancer written in 1984 by American-Canadian author William Gibson, and considered a milestone of the cyberpunk genre. In particular, drawing inspiration from the first chapters of Gibson’s novel, visitors will encounter a series of coffins/rooms of the Cheap Hotel in Chiba, from where the cyber-hacker Case, the main character of the novel, connects to cyberspace.
The second floor of Osservatorio is occupied with walls full of monitors and samples of technical apparatus proposing a method to exhibit CGI material in the context of a museum space. The first part of the display is devoted to online tutorials realized to educate users of CGI production software. The tutorial files on view have been all edited and post-produced, in order to visually deconstruct the informative use they were originally meant for. Another environment focuses on the simulation of architectural spaces employing CGI systems and specifically on rendering production and manufacturing of 3D environments. This space is a combination of technological optical tables and easily mountable sleep space, conceived in reference to those limbo hours in which the graphic employer is resting while his computer-machine is rendering. Other screens show works by students of “Strum&Drang Studio,” a university course addressed to students at ETH Zurich Department of Architecture and held from February to June 2021.
The exhibition Sturm&Drang is part of a one-year program with the same title that consists of several phases. The “Sturm&Drang Studio” course produced a series of digital conversations available on Fondazione Prada website. The exhibition “Sturm&Drang Preview Services,” presented by Prada with the support of Fondazione Prada at Prada Aoyama Tokyo until November 26, 2021, is a second development of the project that anticipated some of the themes of the Milan exhibition.
"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."
Atari Ex Machina, 2007
Atari 2600, cartridge, keyboard, TV
72 x 24 x 24 in. / 182.9 x 61 x 61 cm
Copyright The Artist
Photo: The Artist
Atari Poetry VI, 2006
Atari 2600, Atari cartridge, TV
39 x 16 x 16 in. / 99.1 x 40.6 x 40.6 cm
Copyright The Artist
Photo: The Artist
Compassion, 2020
5 CRT TVs, 5 Atari 2600 game consoles, custom Atari cartridges, directional sound system
80 x 60 x 70 in.
Copyright Yucef Merhi
Photo: Zachary Balber
Among Yucef Merhi's most powerful works is Mission Taliban 2.0 (2002), a 20 year old VR computer game which, for some reasons, feels so incredibly fresh.
Chinese artist Cao Shu'sRoam Simulator (2021) mixes in game photography, autobiography and Jameson's cognitive mapping. A video game set in an abandoned Chinese desert town, Roam Simulator allow players to interact with the world using four buttons — birth, wake, fall, and recall. Pressing the 'recall' button brings up photographs of people shot in similar environments. As Cao Shu writes:
It has been 15 years since I left the north, and my existing life has been divided into two almost equal parts. No matter how the city space is demolished and reconstructed, the original geographical structure and impression of hometown will always be stored in the depth of the brain. Some reduction and reorganization in deep dream. I follow the clues of the family album and return the location of it by 3D digital simulation. It was originally in a game, and the spatial combination continued the long-term recording of dream map. In the exhibition hall, scattered photos are also available.They are clues to the game. The game is about walking alone on the surface of a subconscious planet covered with a mental map. Dozens a moment of years ago, a few years ago and yesterday came at the same time. This work is a continuation of the self questioning of many years ago,Can people understand history with geography and time with space by means of changing technology?
Hangzhou-based artist Cao Shu mainly works in new media art in Hangzhou. More recently, Cao Shu works with personal and historical memory as a work interface, continue to carry out a variety of media interaction practice. In recent years, Cao Shu has been residency artist for atelier Mondial in Basel, Switzerland(2017), Koganecho Bazzaar Art Festival, Yokohama (2019) , and Muffatwerk the venue for international art and culture in Munich (2020) .
You may disagree about the root causes, but the diagnosis is crystal clear: reality has imploded. The symptoms are everywhere. Video game fantasies, themes, characters, and narratives – which used to be confined to the imaginary – now shape our everyday life. In a world where meme presidents plan insurrections, global corporations are actively destroying the planet, social media are a toxic cesspool, a new kind of superstition – conspiracy theories, lore, false narratives – has become the dominant epistemological currency. In this uncertain, hyper violent, and chaotic scenario – complicated by metacrises, climate catastrophe, and ongoing pandemics – artists have been among the few to clearly identify the culprits and to imagine possible alternatives. In his latest work, Radicalization Pipeline, Greek artist Theo Triantafyllidis simulates the perpetual clash of two endless hordes fighting to death with large melee weapons. A wide range of characters – from citizen militias to fantastical creatures, from street protesters to hooligans – kill each other tirelessly. There’s no resolution. There’s no closure. Just mutual destruction. This is the Game over age. We now live in the world that video games made.
Theo Triantafyllidis (b. 1988, Athens, Greece) is an artist who builds virtual spaces and interfaces for the human body to inhabit them. He creates expansive worlds and complex systems where the virtual and the physical merge in uncanny, absurd and poetic ways. These are often manifested as performances, virtual and augmented reality experiences, games and interactive installations. He uses awkward interactions and precarious physics, to invite the audience to embody, engage with and challenge these other realities. Through the lens of monster theory, he investigates themes of isolation, sexuality and violence in their visceral extremities. He offers computational humor and AI improvisation as a response to the tech industry’s agenda. He tries to give back to the online and gaming communities that he considers both the inspiration and context for his work by remaining an active participant and contributor. He holds an MFA from UCLA, Design Media Arts and a Diploma of Architecture from the National Technical University of Athens. He has shown work in museums, including the Hammer Museum in LA and NRW Forum in Dusseldorf, DE and various galleries such as Meredith Rosen Gallery, the Breeder, Eduardo Secci and Transfer. He was part of Sundance New Frontier 2020, Hyper Pavilion in the 2017 Venice Biennale and the 2018 Athens Biennale: ANTI-. Theo Triantafyllidis is based in Los Angeles.
Artists: Pippin Barr; Larisa Blazic; Peter Buczkowski; Stéphane Degoutin, Gwenola Wagon, and Pierre Cassou-Noguès; Dasha Ilina; Sanela Jahić; Lisa Ma; Liz Magic Laser; Julien Prévieux; Laurel Ptak.
This exhibition features the work of artists who are critically investigating the ways the Silicon Valley economy is affecting labour conditions. Their works help us understand the pervasive constrictions we, as passive consumers, have unintentionally aided implement. The proposed works fall into five spheres of investigation: the myth that the machines are replacing us; the emergence of an army of invisible, or rather invisibilised workers; the transformation of labour conditions through precariousness and the atomisation of tasks; the body of workers disciplined to act like machines and finally, the ways workers and consumers can fight back with not just resistance but positive alternatives. (read more)
Régine Debatty curated a fantastic exhibition for the NeMe Arts Centre in Limassol, Cyprus, which I had not the pleasure of attending. Nonetheless, the exhibition was accompanied by a consistently phenomenal amount of content, including a series of interviews with the all the artists involved (the entire archive is available on YouTube), plus a killer interview with Pippin Barr on Regine's We Make Money Not Art, which you can read here.
Here's a juicy excerpt:
Indie games are also becoming this massive thing with some titles that become surprising successes. One game that i would call experimental and that met a broad success is Papers, Please. It’s an independent title and it’s pretty surprising that people were so excited about it. Like It is as if you were doing work, it’s a representation of labor. You’re asked to do what seems to be an extremely boring job which is stamping people’s passports. It’s not relying on an exciting narrative with spies coming through, bombings and shooting people at the border. That’s not what the job of a border officer is really like. Lucas Pope is an incredible game designer, he found that balancing act between an unlikely premise and a set of mechanics which are in some sense boring and a narrative framing around that and beautiful tiny elements of design that drew people in. Many of the more experimental games are pulling conventional game design into more interesting areas while acknowledging some of the conventions of design. (Pippin Barr)
"The exhibition Homo Ludens proposes an anthropological journey through the playful dimension of human beings through video games, a cultural, aesthetic and artistic phenomenon that is essential in contemporary mass culture. It is currently estimated that more than 2.5 billion people are video game players. Starting from the centrality of the game in our lives, the exhibition's journey approaches video games in a broad and holistic sense, and addresses the role of play as a regulating practice of human activity, both in the history of culture and today. Rather than being a history of video games, the exhibition provides a basically anthropological vision, bringing together culture and technology, industry and art.
The content of the exhibition combines examples of video games with contemporary artworks by the following artists: Rasheed Abueideh, Anna Anthropy, Matteo Bittanti and the collective IOCOSE, Ricardo B. Brasilero, Daniel Canogar, Robbie Cooper, Jake Elliott, Bruno Federico, Auriea Harvey and Michaël Samyn, Roc Herms, Agustina Isidori, David Jaumandreu, Ge Jin, Tamas Kemenczy and Ben Babbitt, Josep Lago, Jorge Paris, Nadège Mazars, MesquitaFMS, Hamilton Mestizo, Juan Naharro Gimenez, Roman Pilipey, Everest Pipkin, David Ramos, Linnea Rheborg, Mario von Rickenbach and Christian Etter, Pietro Righi Riva, Monica Rikić, Skawennati, Octavi Serra, Bill Viola and USC Game Innovation Lab, and Robert Yang.
In the exhibition, themes such as the anthropological roots of the game that are transferred to the video game, its million-dollar industry, the influence of video game aesthetics in other disciplines such as art and design, identity in a world where the real coexists with the virtual, among other issues.
The exhibition invites to an interactive and participatory tour in which the viewer acts as a gamer, although without playing at any time with the video games on display. The viewer chooses the itinerary from a central square that acts as an antechamber and distribution space of the exhibition. The visitor can interact with the exhibition through a device -the Coin-, an object that allows the viewer to build his or her opinion as he or she answers a series of questions. The answers also allow a collective knowledge of the participation of all visitors. On the large screen installed in the last room of the exhibition, a community of avatars is projected, representing, in real time, the accumulated data of all the visitors to the exhibition.
In this way, the exhibition provides a new perspective on the concept of the gamer and shows a gamified world in which life and play merge and in which we are all, in one way or another, gamers. This hypothesis, based on the work of sociologist and game scholar Daniel Muriel, is reflected in the video essay "Gameworlds: the video-gamification of the real" by Luca Carrubba and Daniel Muriel, directed by LaviniaNext and produced by "La Caixa" Foundation.
The exhibition also includes a catalog (in Spanish) that presents in detail all the works installed and proposes a reflective framework for their interpretation. This publication, which I had the pleasure of thinking, coordinating and writing, also includes texts by guest authors such as Oliver Perez La Torre, Flavio Escribano, Luján Oulton, Eurídice Cabañes, Carlos Scolari and Daniel Muriel.
The exhibition will be traveling during the next four years touring all major cities in Spain. So if you do not have time to get to Madrid you can see the exhibition soon in Barcelona, Sevilla, Zaragoza, Valencia, Palma, Tarragona, Girona." (Luca Carrubba)
Henry Driver is a prolific new media artist from the United Kingdom often incorporating game mechanics and aesthetics in his practice. His latest project is an interactive artwork/game commissioned by the BBC titled Secrets of Soil, which was supported by the leading Plant Science and Microbiology Researchers at the John Innes Centre, UK. According to Driver, the game "was inspired by his family's attempts to make their farming practices carbon negative.". Specifically,
Secrets of Soil is an interactive journey that explores the hidden world of soil and its role in combating climate change. Your journey will take you to a microscopic world, witnessing the essential life forms that live there. Explore the microscopic landscape to understand the many citizens of the soil and the essential roles they play in this diverse ecosystem. Witness how bacteria and plants speak to each other. Glide through vast fungal webs. Create earthworm burrows. Or simply relax and linger in dazzling soilscapes and explore this unseen world. Unearth the secret of how this hidden universe could help save us from climate disaster.
Driver's goal is to raise "awareness to the change that we can all be a part of when thinking about the world we live in." Secrets of Soil is freely available for Windows platforms on Steam as a short interactive experience, with a free 360-degree video version which will run on nearly any device on the market. The project was commissioned as part of New Creatives, a project from Arts Council England and the BBC, which champions emerging new talent. Production took place between the months of August 2020 and April 2021. Driver was responsible for the Design, Coding, Sound. His collaborators include Collusion (Production Partner), Rachel Drury and Rich Hall (Producers), Lynsey Murrell (Narration), Sam Snape (Script Editor), Peter Richardson (Executive Producer), Joseph Amoah (Executive Producer for BBC R&D), and Jo Nolan (Programme Producer New Creatives Screen South).
Henry driver's work has been exhibited around the world. Selected cities include Berlin, Copenhagen, Montreal, Toronto, Sydney, Melbourne, Seoul, Yokohama, and Taipei. In the United Kingdom, Driver's installations were presented at Tate Britain, Tate Liverpool, Barbican and The Whitechapel Gallery. He was selected by leading curators as one of the top fifteen residence at Cressing Temple Barns, and asked to create a permanent artwork.
Secrets of Soil is also featured on the BBC website.
Henry Driver, Secret of Soils, still from interactive experience, 2021 (All images courtesy of the Artist)
Vector Festival 2021 Network Dependencies July 15 – August 8, 2021
vectorfestival.org
press release:
InterAccess is thrilled to announce the ninth annual Vector Festival, a participatory and community-oriented initiative dedicated to showcasing digital games and creative media practices. This year’s theme, Network Dependencies, asks what post-isolation co-existence might look like, with the return to in-person activities on the horizon. Join us in exploring new ways of being together, finding community, and sharing space through a four-week program of mail-art dispatches, outdoor screenings, virtual workshops and discussions, and enactable participatory performances.
Network Dependencies launches on July 15 with three exhibition openings. The flagship exhibition, dis-ease, responds to screen-based escapism and exhaustion through an e-newsletter and mail art programme. Curated by Rea McNamara, it features works by Stefana Fratila, Driftnote, and Racquel Rowe. You can take part in the exhibition by registering for dis-ease’s mailing list. Constellation of Oracles—a virtual exhibition curated by Diasporic Futurisms (Vanessa Godden and Adrienne Matheuszik)—presents works by Alyssa Bistonath, Rah Eleh, Victoria Kamila, and Quentin VerCetty. Using sci-fi, fantasy, and digital culture to envision alternate realities, they foretell collective futures. Meanwhile, the multisite exhibition Infinite Scrollshowcases GIF artworks that use abstraction and repetition to simulate the hypnotic effects of social media scrolling. GIFs by Khadija Aziz, Justine Durand, Peter Rahul, and Shaheer Zazai will be presented by Digital Arts Resource Centre (Ottawa), Factory Media Centre (Hamilton), InterAccess (Toronto), and Trinity Square Video’s Virtual Vitrine (online).
Over the course of four weeks, a series of participatory performances on Instagram Live (@interaccessto) will guide audiences through new somatic experiences in their homes and outdoor surroundings. Take part in an outdoor performance-based movement session with Kim Ninkuru. Learn how to create and bottle your own wild yeast soda with Meech Boakye. Follow risograph maps by Kristel Jax and Tasman Richardson (Hum Zine) that locate resonant sounds heard along the streets of Toronto. Jax and Richardson will host a dual live broadcast, touring and harmonizing those sonic locales.
This year’s Vector Festival workshops include “Place-making & Mapping Beyond Binaries” by Darian Razdar, “Understanding and Hacking Facial Recognition Technologies” by Aaron Tucker and Jae Seo, “Virtual Reality Life Drawing” by Cat Bluemke and Jonathan Carroll (SpekWork), and a special Minecraft mini-series in partnership with Ender Gallery. Designed to foster proficiencies in digital worldbuilding, embodied counter/mapping and geo-data wrangling, and critical awareness of biometric surveillance, these technical seminars survey the many facets of network dependency. Please note that workshops require registration through Eventbrite.
Vector 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, Christine Kim, and Katie Micak, who were later joined by Diana Poulsen and Martin Zeilinger.
All Vector Festival events will be offered for free or pay-what-you-can.
