GAMESCENES

EVENT: LONGITUDE EXHIBITION (OCTOBER 17-NOVEMBER 25 2018, MELBOURNE, AUSTRALIA)

LONGITUDE EXHIBITION

Curated by Hugh Davies

October 17 to November 25th, 2018

Library at the Dock

107-117 Victoria Harbour Promenade

Docklands, Melbourne Australia

https://longitude-exhibition.net

Featuring artists from across the Asia-Pacific Region, the Longitude exhibition presents cultural, experimental, design and arts practices in the medium of games. Running alongside the exhibition is an event program featuring analog and digital gameplay, films, interactive objects, workshops and panel presentations. 

The Longitude exhibition celebrates games and play as a broad and persistent aspect of culture with the capacity to connect diverse groups. The playful works highlight games as activities beyond escapist entertainment but as nuanced, challenging and inspiring forms of cultural expression that bring a broader understanding to the world and the people it. 

The Longitude exhibition presents cultural, experimental and arts practices in the medium of games. Showcasing artists from across the Asia-Pacific Region working with games and play, the exhibition will also include workshops, film screenings, and presentations. Central to this project is the invigoration of games as activities inclusive of a broad range of audiences. This means absolutely everyone is welcome.

The title of the exhibition longitude refers to the timezone shared by Australia with the Asia Pacific region. These temporal rhythms see the entire Asia Pacific playing together at the same time. Our play is connected, not just through Internet cables, but via lines of longitude.

Curator Hugh Davies has organized a series of terrific events related to Longitude. Click here for the full list.

Featured artists

Sun Yu

Toshio Iwai

Ojiro Fumoto

Dinosaur Polo Club

Paper House

Mojiken

Spotlights Interactive

Triple Day Studios

Lauren Stellar

Neko Games

Ip Yuk-Yui

Troy Innocent

Yesterday is a 3D Puzzle Game that explores love and encounter from a girl’s perspective.

Appearing at the Kuso Game Jam in 2018, Sun Yu's The Hole is brutal in simplicity, gradual in difficulty and high in addition. It's creator, Sun Yu graduated is a graduate of Digital Media Design and works as a planner in a game company in Taiwan.

Combining design, art practice and location-based gaming, Troy Innocent's WAYFINDER LIVEE drags gameplay out of the computer console and into the city space.

She and the Light Bearer is a beautiful point and click adventure game from Indonesian Independent developer team Mojiken Studio.

IP Yuk-Yui's To Call A Deer A Horse (指马为鹿) is an experimental videogame about hand-eye coordination, truth-bending and acts of complicity.

LINK: Longitude Exhibition

GAME ART: DAVID OREILLY'S EYE OF THE DREAM (2018)

EYE OF THE DREAM by DAVID OREILLY

26.09.2018, 16: 00-21: 00 (opening)
27.09.-04.10.2018 
11: 00-15: 00 & 16: 00-21: 00

Mobile Dome 
Mariannenplatz, Berlin, Germany

music BEN LUKAS BOYSEN & SEBASTIAN PLANO
programming DAMIEN QUARTZ & EZRA HANSON WHITE
Sound Design EDUARDO ORTIZFRAU
narration: ALAN WATTS
Idea & curatorial consulting STEPHAN SCHWINGELER

Schedule 2018

September 26-October 4th - Berlin, Mariannenplatz (The New Infinity)
October 13-15 - Los Angeles (David Lynch's Festival of Disruption)
October 25-27 - Hamburg Planetarium (The New Infinity)

The creation of the universe in less than two hours - the new interactive work of artist and game designer David OReilly takes us on a journey through billions of years of history from the moment before the Big Bang through the evolution of life to our modern world. The result is a multi-layered experience that oscillates between dramatic and meditative, abstract and familiar, chaotic and orderly. Real-time simulation is driven by a series of interconnected systems inspired by musical compositional processes. Always moving and producing infinite variations, they create complex and evolving shapes and structures - each moment unique and unrepeatable.

Video courtesy of Berlin Art Link, produced by Anna Russ, filmed by Peter Cairns, and edited by Lena Kocutar.

Images courtesy of David OReilly.

First presented at Berliner Festspiel 2018.

LINK: Eye of the Dream

EVENT: KEITA TAKAHASHI: ZOOMING OUT (JANUARY 24 - JULY 14 2019, SAVANNAH, GEORGIA)

Keita Takahashi: Zooming Out

Curated by Harry DeLorme, Senior Curator of Education

January 24 - July 14 2019

Telfairs Museum

207 W. York St.
Savannah, GA 31401, USA

Telfairs Museum is hosting a major retrospective on Keita Takahashi between January 24 through July 14, 2019. Curated by Harry DeLorme and subtitled Zooming Out, this first-ever museum survey exhibition of the legendary Japanese video game designer’s work is organized in conjunction with the museum’s annual PULSE Art + Technology Festival. So far there have been a relatively scarce number of exhibitions focusing on single designers (Jason Rohrer comes to mind), which makes Zooming Out even more compelling.

Keita Takahashi, Wild Rumpus and Venus Patrol, Tenya Wanya Teens, 2013

Initially trained as an artist, Takahashi received a degree in Fine Art and Sculpture from Musashino Art University in Tokyo. At the beginning of his professional career, he was hired as a design artist at Namco, where he became the lead developer of Katamari Damacy, a now-iconic game that won awards, spawned sequels, influenced popular culture beyond the game world, and was one of the first video games acquired for the permanent collection of the Museum of Modern Art.

The exhibition highlights Takahashi’s outside-the-box approach to game development, game mechanics, aesthetics, and music. Included will be playable versions of all of Takahashi’s major games, such as the original Katamari Damacy and its newly remastered edition, KatamariDamacyREROLL, We Love Katamari, Noby Noby Boy, and the eagerly awaited Wattam (Developer: Funomena, Publisher: Annapurna Interactive). In addition to his major game releases, the exhibition includes several of his independent games and collaborative installations, including Tenya Wanya Teens, operated with two 16-button controllers, and a reimagined, immersive take on the classic game PAC-MAN (with Clement Shimizu and Babycastles). The artist’s early sculpture work, animations, and playground designs will also be on view.

Keita Takahashi and Adam Saltsman, Alphabet, 2013

Image: Wattam, 2018, Publisher: Annapurna Interactive, Developer: Funomena

Woorld, 2016, Augmented Reality Game, Developer: Funomena

LINK: Telfair Museums

EVENT: COMPUTER GRRRLS! (OCTOBER 27-FEBRUARY 24 2019, DORTMUND, GERMANY)

COMPUTER GRRRLS!

HMKV (Hartware MedienKunstVerein) at Dortmunder U, Level 3
Leonie-Reygers-Terrasse, 44137 Dortmund
, Germany

27 October 2018 – 24 February 2019, HMKV at the Dortmunder U, Level 3

Opening: Friday, October 26th at 7pm

Curated by Dr. Inke Arns e Marie Lechner

The exhibition is dedicated to Nathalie Magnan (1956-2016).

The exhibition Computer Grrrls brings together more than 20 international artistic positions that negotiate the relationship between gender and technology in past and present. Computer Grlz deals with the complex link between women and technology –  from the first human computers to the current revival of cyber-feminist movements. A comprehensive timeline covers these developments from the 18th century to the present. Invited are artists, hackers, makers and researchers who are working on how to think differently about technology: by questioning the gender bias in big data and Artificial Intelligence, promoting an open and diversified Internet, and designing utopian technologies.

Participating artists: Morehshin Allahyari, Manetta Berends, Zach Blas & Jemima Wyman, Nadja Buttendorf, Elisabeth Caravella, Jennifer Chan, Aleksandra Domanovic, Louise Drulhe, Darsha Hewitt, Lauren Huret, Hyphen-Labs, Dasha Ilina, Mary Maggic, Caroline Martel, Lauren Moffatt, Simone C. Niquille, Jenny Odell, Elisa Giardina Papa, Tabita Rezaire, Erica Scourti, Suzanne Treister, Lu Yang

The exhibition will be on view at HMKV until 24 February 2019, and will then travel further to Paris and Eindhoven in the Spring/Summer of 2019.

HMKV, Dortmund, DE (27 Oct 2018 - 24 Feb 2019) 
La Gaité Lyrique, Paris, FR (13 March - 14 July 2019) 
MU, Eindhoven, NL (August - September 2019)

An exhibition by HMKV (Hartware MedienKunstVerein), Dortmund (DE) in co-production with La Gaîté Lyrique, Paris (FR)

The exhibition is funded by the German Federal Cultural Foundation and the Ministry of Culture and Science of the State of North Rhine-Westphalia. Main funder HMKV: Dortmunder U – Center for Art and Creativity. Partner: MU Eindhoven (NL)

LINK: COMPUTER GRRRLS!

Game Art: Pascal and Klara Silondi's Vertigo (2018)

Vertigo is an interactive art installation that invites users to discover a surrealist and futuristic journey in virtual reality. It is an immersive 3D environment that uses the principles and techniques of video games to offer an atypical physical and aesthetic experience to the public.

The "spect-actor" equipped with a virtual reality headset, the HTC Vive, and its hand controllers, will be able to move in the virtual space by defying the laws of gravity, and will be able to interact with different objects that populate this surreal and High Tech "cadavre exquis" to reveal hidden properties. (Pascal and Klara Silondi)

Pascal Silondi was born in Paris in 1973, and he lives in Prague since 2000. He's developing as artist various interdisciplinary projects where meet virtual and real environments. He founded the association LIBAT (Hybrid lab for Arts and new technologies) in 2002, producing various artistic and cultural projects with a focus on Arts, Sciences and new Technologies of information. He's experimental practice involves structures and architecture of systems with a particular interest in interactive multimedia storytelling and artificial life in 3D/VR environments using Game engines. His artistic and technological culture evolved as an interdisciplinary voyage exploring various contemporary art languages and fields like cinema, video, augmented stages and objects, sound creation, robotic and data processing, artificial life, Game art., etc. He's using a wi(l)de variety of sensors to connect performers, like dancers, actors, musicians or audience within sensitive 3D digital spaces.

LINK: LIBAT

Event: Chicago New Media 1973–1992 (Nov 1 - Dec 15 2018, Chicago)

Montana, Jane Veeder, Video, 1982. Courtesy of Jane Veeder and VGA Gallery

Chicago New Media 1973–1992

Curated by Jon Cates with assistance from Chaz Evans and Jonathan Kinkley

November 01 - December 15 2018

Gallery 400 
University of Illinois at Chicago
Art and Design Hall, First Floor
400 South Peoria Street (at Van Buren Street)
Chicago, IL 60607

Chicago is not often thought of as a center for new media art, technology, or industry, yet the city was home to some of the earliest and most important experiments in new media in the late 20th century. Chicago New Media 1973–1992 explores the rich exchange between industry and academics during this heady time, chronicling the under-recognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago's (UIC) Electronic Visualization Laboratory (EVL), the School of the Art Institute of Chicago (SAIC), and at Midway and Bally games from 1973–92. Generations of now well-known and acclaimed artists, scholars, designers, developers, curators, and organizers have moved through UIC and SAIC, all of whom shaped the development of new media locally as well as on the burgeoning international stage. Chicago New Media 1973–1992 will exhibit a range of ephemera documenting this period of industry incubation and globalization and its connections to new media art.

LINK: Chicago New Media 1973–1992 

EVENT: WHAT IS WITHOUT THE HAND THAT WIELDS IT: X (REDUX) (November 3-4 2018, Sydney, Australia)

WHAT IS WITHOUT THE HAND THAT WIELDS IT: X REDUX

Festival of Dangerous Ideas, Sydney, Australia

Saturday November 3 2018 
Cockatoo Island
11:30 AM - 5:30 PM

Performance times/Saturday (3 Nov):
11:30AM – 12PM
2:30PM – 3PM
5:30PM – 6PM

The performance is repeated on Sunday November 4

A landmark of Game Art returns a decade later.

In 2007/2008 Harmon created What it is Without the Hand That Wields It, an electronic mechanical sculpture that was connected to modified version of the first-person shooter video game Counterstrike. When gamers on the internet killed one another, the sculpture manifested the virtual kills physically by releasing small amounts of blood into a gallery, thereby bridging the two realities. Now 10 years later, Harmon stages WIIWTHTWI: X Redux – a resurrected slipstream version of the work manifesting the gamer commentary in the form of an endurance performance and new electronics. This new version has escalated with time – however what, if anything, has changed?

Riley Harmon is a US artist working in the Netherlands and his creative activity originated growing up in community-oriented theatre. Central to his practice is a process of weaving truth, fiction and magical realism into works and narratives that offer an uncanny distorted mirror to our reality – which take shape in performances, films, objects, live experiences, installations and collaboration with other artists. His current artistic practice traverses the social psychology phenomenon of 'terror management theory'; or how symbolic actions both mediate against, yet also reinforce mortal terror. His projects and collaborations have been internationally written about in such publications as Rolling Stone, Wired, American Theatre Magazine and he has exhibited, performed, and screened works internationally – at such venues as the Nederlands Instituut voor Mediakunst (Montevideo), FACT (Foundation for Art and Creative Technology) in Liverpool, de Appel, EYE Film Museum, Schin Kunsthalle, among others – as well as self-made contexts.  

LINK: Riley Harmon

LINK: What it is Without the Hand That Wields It: X Redux

Event: JON RAFMAN: THE MENTAL TRAVELER (September 14 2018 - February 24, 2019, Modena, Italy)

Exhibition: Jon Rafman. The Mental Traveller

Curated by: Diana Baldon

Curatorial Assistance: Chiara Dall’Olio

Institutions: Fondazione Fotografia Modena and Galleria Civica di Modena

Location: Palazzina dei Giardini, Corso Cavour, 2, Modena

Exhibition Dates: 14 September 2018 to 24 February 2019

Opening: 14 September 2018 at 6pm

Press View 12 September 2018 at 11am

Opening Hours:
Wednesday, Thursday and Friday: 11am to 1pm; 4pm to 7pm
Saturday, Sunday and Holidays: 11am to 7pm

Opening Hours for festivalfilosofia 2018:
Friday 14 September: 9am to 11pm
Saturday 15 September: 9am to 12am
Sunday 16 September: 9am to 9pm 

Jon Rafman, Dream Journal 2016-2017, 2017, Colour HD video with stereo sound. Music by James Ferraro and Oneohtrix Point Never, Runtime: 49’17”, Courtesy of the artist and Sprüth Magers

FONDAZIONE MODENA ARTI VISIVE is delighted to present The Mental Traveller, the first large-scale exhibition of works by Jon Rafman to be shown in an Italian contemporary art institution. Curated by Diana Baldon and presented by Fondazione Fotografia Modena and the Galleria Civica di Modena, the exhibition will open at the Palazzina dei Giardini on Friday 14 September 2018, to coincide with this year’s festivalfilosofia, the theme of which is truth.

The exhibition brings together a selection of multimedia installations, presented for the first time in Italy, tracing the arc of the Canadian artist’s practice from 2011 to the present. Employing a variety of media – including photography, video, sculpture and installation – Rafman explores how reality and simulation have become increasingly homogenized in contemporary society in artworks that blur the boundaries between the virtual and the tangible, between physical bodies and technological replicas.

Born in 1981 in Montreal, where he lives and works, Rafman studied literature and philosophy at McGill University before graduating in film, video and new media from the School of the Art Institute of Chicago. Since his earliest career, Rafman has investigated the ramifications of our reliance on technology on our perceptions of reality.To create Kool-Aid Man (2008–11), Rafman spent three years exploringthe virtual-reality platform Second Life, in the guise of the titular avatar, to discover the myriad incarnationsof its digital ‘inhabitants’. Rafman neither judges nor criticises his Second Life cohabitants: rather, his intention is to document how technology enables people to create entirely new versions of themselves in fantastical environments, giving them the freedom to invent new identities and iconographies.

Rafman also drew from the Internet and its multiple online communities as archival resources for the three videos comprising his Betamale Trilogy (2013–15) – Still Life (Betamale), Mainsqueezeand Erysichthon – which are among the installations included in this exhibition. As in the novels of Georges Bataille, where the narrative arc implodes in the claustrophobic and catastrophic arena of the writing, this leads to a proliferation of narrative strands and interpretations. Watching the Betamale Trilogy, the viewer feels trapped in a vortex of scenarios that are traumatic yet seductive. Rafman skilfully conveys the ambiguous lure of the Internet, which seemingly promises freedom and the discovery of new worlds, yet, in reality, imprisons you in a space tracked by algorithms and monitored by agencies that process, then sell, your navigational data.

Rafman’s extensive research on both the Internet and the deep web has enabled him to assume the mantle of amateur anthropologist and digital flâneur. He investigates the epistemic collapse in recent years of the distinction between digital and authentic worlds, between reality and its virtual representation. In his videos, a poetic and hypnotic off-screen voice invariably accompanies a sequence of images taken from the Internet, videogames or online chat forums.

Memory figures as a major theme in many works. In A Man Digging (2013), which comprises footage from videogames including Max Payne 3, the main character speaks of the intrinsic mutability of memory and how it allows for the rewriting of individual and collective history. While the narrator nostalgically drifts along in search of his fragmented past, Rafman transports us, via the glinting surfaces of memory, to the furthest reaches of reality. The video Remember Carthage (2013)tells the story of a man who sets sail on a ship bound for Tunisia in search of a mythical city in the Sahara Desert that existed at the same time as Carthage. Despite its legendary status as the ‘Las Vegas of Maghreb’, however, no trace of the city remains. Composed of footage from Second Life and the videogame Uncharted 3, the film again features an off-camera voice detailing the sublime architectural beauty of ancient civilisations. Remember Carthage explores not only memory but the contemporaneity of history, since – thanks to technological developments such as videogames and Second Life– even history can now find a different form and influence.

The video Dream Journal (2016–17) comes from Rafman’s habit of animating his dreams using amateur 3D software, and has a soundtrack composed by James Ferraro and Oneohtrix Point Never, with whom the artist has previously collaborated. Two young female protagonists – a stereotypical millennial and a child warrior – set off on a Dantean journey within a dystopian universe. The narrative interweaves imaginary scenes with characters from classical epic tales to yield a series of darkly surreal incidents: this is Rafman’s unconscious mind, augmented by online surfing, rendered visual.

Greeting visitors at the entrance of the Palazzina is the artist’s latest work, Legendary Reality (2017). In this he leads us on a voyage into ‘inner space’. An anonymous protagonist narrates a journey through what appears to be a sci-fi landscape – although he could just as easily be sitting at a computer screen on which historical depictions have become conflated with virtual experiences.

Jon Rafman (Montreal, 1981) is an artist who explores digital culture and subcultures, exposing the desires, obsessions and fetishes triggered by the use of technological devices. Recent solo shows in international contemporary art institutions include:I have ten thousand compound eyes and each is named suffering, Stedelijk Museum, Amsterdam (2016); Jon Rafman, Westfälischer Kunstverein, Münster (2016); Jon Rafman, Zabludowicz Collection, London (2015); The end of the end of the end,Contemporary Art Museum St. Louis (2014); Remember Carthage, First Look: New Art Online, New Museum, New York (2013); The Nine Eyes of Google Streetview, Saatchi Gallery, London (2012); Jon Rafman, online exhibition, Palais de Tokyo, Paris (2012). He has also participated in numerous group shows, including: I was raised on the Internet, Museum of Contemporary Art Chicago (2018); Alone together, Musée d’art contemporain de Montréal (2018); ARS 17: Hello world!, Museum of Contemporary Art Kiasma, Helsinki (2017–18); Jon Rafman / Stan Vanderbeek, Sprüth Magers, Los Angeles (2017); Manifesta 11, Zurich (2016);Welcome to the Jungle, KW Institute for Contemporary Art, Berlin (2015);Speculations on Anonymous Materials, Fridericianum, Kassel (2013); NineEyes, Moscow Photobienniale (2012); Screenshots, William Benton Museum of Art, University of Connecticut (2012); From Here On, Les Rencontres de la photographie d’Arles, Arles (2011).

Together with Museo della Figurina, Fondazione Fotografia Modenaand Galleria Civica di Modena are part of FONDAZIONE MODENA ARTI VISIVE, an institution dedicated to the presentation and promotion of contemporary art and visual culture, directed by Diana Baldon.

Jon Rafman, Remember Carthage, 2013, Colour HD video with stereo sound, Runtime: 13’43” Courtesy of the artist 

Jon Rafman, Remember Carthage, 2013, Colour HD video with stereo sound, Runtime: 13’43” Courtesy of the artist  

LINK:  Jon Rafman. Il viaggiatore mentale

Game Art: Lu Yang's hysterical game worlds

"In late October 2017, M WOODS welcomed visitors to the world of Lu Yang, an ambitious solo exhibition comprising three new commissions and a constellation of previous works that include sculpture, video, installation, computer programming, and video games. A leading figure among a young generation of new media artists, Lu Yang’s creative practice often satirizes efforts to demystify human experience through scientific theory, dismantling them with humor and fluency in the language of popular culture. Citing knowledge gleaned from the realms of neurology and biology, her works also reflect an ongoing interest in spirituality as a state of being pursued through different forms of religion and creative expression.

Lu Yang, Electromagnetic Brainology! 4 Deities, 2017

Capturing a breadth of influences from hip hop to Goa trance, punk, gothic, and glam rock street styles, gaming, anime, and the practice of Otaku, Lu Yang’s mesmerizing, multisensory environments reflect the dynamic amorphism of today’s globalized cultural climate and the semi-porous understandings we use to define the current historical moment of China and beyond. Conceived in entirety by the artist, the exhibition is something of a Gesamtkunstwerk combining the neon glitz of an arcade and the ritual of a heretical temple.

Presented on the first floor, Electromagnetic Brainology represents a new direction in Lu’s video work. Unfolding in the ritual-like space of the central hall, the work incorporates motion sensor technology and a soundtrack contributed by acclaimed Japanese producer invisible manners (インビジブル・マナーズ), weaving together popular culture and pan-cultural religious iconography. Stemming from her interest in MikuMikuDance (MMD) and the internet folk culture surrounding it, Lu uses the popular freeware as a readymade to complete the “LikuLikuDance” seen within many of the videos.

Lu Yang, Uterus Man, 2013

The action and aesthetic of gaming recurs throughout the exhibition, from the adventures of Lu’s gender-curious superhero Uterus Man (2013), to the 8-bit nostalgia of Cancer Baby (2014). Affinities to the gaming world are equally present in Wrathful King Kong Core (2011), and a sculptural installation on the second floor inviting viewers to ‘play’ using augmented reality. Emphasis on engagement and a visual vernacular popularized by modern video games form one thread of Lu’s artistic strategy that in the show subvert the normal functions of the museum.

In LuYang Delusional Mandala (2015) and LuYang Delusional Crime and Punishment (2016), relations of violence and domination become a solipsistic theatre revolving around her own likeness. Lu’s interest in deep brain stimulation (DBS), a treatment for tremors caused by Parkinson’s disease, is taken further through the invention of a halo-like, stereotactic surgery device that short-circuits the limbic system and results in religious delusions. For Lu, these investigations into the mechanisms of the mind and spirit, as well as our abilities to visualize them, lie at the heart of identity in the twenty-first century. Regularly featuring in her own films and animations, the artist’s own identity is deconstructed and she is re-incarnated in various works as a giant sculptural kite, a lifelike but genderless, non-binary simulation, and a guardian of the gates to ‘Luyang Hell’.

Collaborating with musicians, actors, and animators, the exhibition culminates in an exorcism, writhing to a soundtrack of post-trance core. As an artist whose playful irreverence and wicked humor constantly question norms of acceptability, Lu’s last gesture raises deep polemical issues about the cathartic role art and art institutions play within society. As the artist’s first exhibition at a non-profit institution in China, and the first solo show by a Chinese artist at M WOODS, Lu Yang’s exhibition brings together many of her best-known works while pointing to new directions within her practice." (M Woods)

LuYang, Cancer Baby, 2014

Born and based in Shanghai, Lu Yang graduated from the China Academy of Art in 2010. Her works have been featured in important solo and group exhibitions at the Ullens Center for Contemporary Art (Beijing), Centre Pompidou, 56th Venice Biennale 2015 China Pavillion, the Third Istanbul Design Biennial, Liverpool Biennial 2016, Shanghai Biennale 2012, Montreal International Digital Art Biennial 2016, Musée d’art contemporain de Lyon, Momentum (Berlin), Tampa Museum of Art, Fifth Fukuoka Asian Art Triennale, and the NYU Shanghai Art Gallery among others.

LINK: Lu Yang 

LINK: Lu Yang at M Woods (alla images courtesy of M Woods)

Game Art: Fall On Your Sword's Blaze of Thunder (2014)

Fall on Your Sword is a music production, scoring, and audio post company founded by multi-media composer Will Bates. Located in both Williamsburg Brooklyn and Los Angeles, the FOYS 7.1 Studios serve their clients in all aspects of audio post-production. Specializing in music for feature films as well as advertising, FOYS are also creators of interactive artworks. Their pieces have been displayed at galleries and museums around the globe. Their 2015 artwork, Blaze Of Thunder, 

puts the viewer in the driving seat of a heart pounding slot car race around a certain Brooklyn apartment. Stepping up to the platform starts the race, hitting the red button triggers a crash. Inspired by the work of the late Tony Scott, this interactive thrill ride aims to fullfill one's NASCAR fantasies and destructive tendencies.

LINK: Fall on Your Sword