Juan Obando, Pro Revolution Soccer, 2019
February 22 to April 19 2020 Free entry
Sandra & David Bakalar Gallery
Free and open to the public
Boston, Massachusetts 02115 United States
LINK: Game Changers
Juan Obando, Pro Revolution Soccer, 2019
LINK: Game Changers
The theme of the 2020 MILAN MACHINIMA FESTIVAL is The Weird, the Eerie, and the Unreal. Inspired by Mark Fisher’s last book, The Weird and the Eerie (2017), the theme tries to capture the essence of machinima, like the previous two, Aesthetics of game-based cinema (2018) and Uncanny (2019).
The poster and the full program will be revealed in the upcoming weeks.
The MILAN MACHINIMA FESTIVAL is organized in collaboration with GAMESCENES. Art in the age of video games and the M.A. in Game Design at IULM University. An official event of the Milano Digital Week, the MILAN MACHINIMA FESTIVAL takes place between March 09 - 13 2020 at IULM University, in Milan.
Click the image below to read more:
Explorer Award"Go, where nobody has gone before! This is the award for all forms of experiences beyond the boundaries of contemporary ways to play or develop games. Here, we are exploring alternative controllers, interactive installations, creative coding experiments, robotics and tech performances, as well as interdisciplinary teams, collaborations with science, makers, engineers, researchers, theater and writers."The submission fee is 30€ and even if artists don't get nominated, they will receive a 25% discount on the festival ticket and will be asked first for spots in the Open Screens program of the exhibition, so that everyone has the chance to exhibit. Every entry will be visible on the website too. It is also possible to register as Selection Committee to review the submitted works - Here a 25% discount is given out as well, for everybody who reviews 5 or more entries.
Total Refusal (Robin Klengel, Leonhard Müllner, Michael Stumpf), Featherfall, 2019
4 channel video installation (loop) + audio, loudspeaker
Several scholars have compared the logic of video games to dreams (rather than movies or novels) to explain their peculiar nature: Alfie Bown comes to mind (see The PlayStation Dreamworld). Total Refusal explored this analogy by collecting experiences from gamers who share their oneiric visions with each other in online forums. A recurrent trope is the feeling of falling, which becomes the theme of Total Refusal's latest installation, Featherfall. As they write,
The video installation Featherfall is based on research in online forums in which video players * exchange their dream experiences. It becomes clear how close dream and game worlds can come to each other in the psyche of the users * and what feedback can develop between the two alternative realities. Featherfall ties in with the archetypal nightmare of "falling down", which often occurs during puberty. Falling without ever landing "exists in video games in the form of a recurring programming error - a glitch - through which the avatar falls beneath the surface into the empty, non-programmed space. The glitch as a digital nightmare.
Total Refusal is Robin Klengel, Leonhard Müllner, and Michael Stumpf. In their practice, they critically analyze and appropriate digital game spaces and put them to new use. Moving within games but ignoring the intended gameplay, Total Refusal allocates these resources to new activities and narratives, in order to create “public” spaces imbued with critical, even subversive potential.
Leonhard Müllner works as an artist in the public and digital space and is currently writing his doctoral thesis at the Linz Art University at the Institute for Art and Cultural Studies.
Robin Klengel works in Graz and Vienna as an interdisciplinary artist, illustrator, cultural anthropologist and vice president of the Forum Stadtpark.
Michael Stumpf studied philosophy at the University of Vienna. He works as an artist, designer and cultural theorist.
LINK: TOTAL REFUSAL (all images and video courtesy of Total Refusal)
Eddie Lohmeyer's Scrolling Landscape in 34 NES Games (2019) is an experimental glitch video exploring the relationship among nostalgia and our perception of technologically mediated landscapes, created by "appropriating footage of speedruns of older 8-bit video games and then editing together their scrolling landscapes into a continuously unfolding vista of gameworlds". As Lohmeyer writes:
Here, Scrolling Landscape in 34 NES Games envisions childhood nostalgia for video gameplay as an imaginary environment separated from the mundane in which certain desires and sensory pleasures are taken up within spaces of play. Through the viewer’s interfacing with these sublime visions of technology, the film serves to challenge our embodied reception of the video game medium and the knowledge frameworks that underlie our perception of scrolling motion.
Eddie Lohmeyer is currently an Assistant Professor of Digital Media at the University of Central Florida. He received his Ph.D. from North Carolina State University in Communication, Rhetoric, and Digital Media. His research explores aesthetic and technical developments within histories of digital media, with an emphasis on video games and their relationship to traditions of the avant-garde. Additionally, his art considers embodied experience through processes of play and defamiliarization. Using deconstructive approaches such as glitch, physical modifications to hardware, assemblage, etc., his installations, sculpture, and video stage bizarre encounters with media as a means to unveil our normal attitudes and perceptions toward technologies.
LINK: Eddie Lohmeyer
Vector Festival is an annual media arts event dedicated to showcasing experimental art works that engage critically with digital technologies.
The festival is proudly participatory and community-oriented. Hosted by InterAccess and co-curated by Katie Micak and Martin Zeilinger, Vector Festival takes place at arts venues and in public spaces across the City of Toronto.
Since its inception, Vector Festival has been innovative in its inclusion of game-based digital art alongside other new media disciplines. Continuing this focus for the 2020 edition, the festival’s curators pose a deceptively simple question: what comes after gamification?
Now that game culture and game technologies have become so pervasive in popular culture, how do experimental media artists respond critically to the rampant gamifying of everyday life? From online social interaction to digital finance, from education to military conflict, from politics and environmental issues to the ways in which humans (and machines) express themselves creatively, what comes after gamification?
The Festival will take place between July 16-19, 2020, with the flagship exhibition extended until August 22, 2020.
Please note that Vector Festival does not charge submission fees to artists applying to participate.
All artists and curators selected for participation will receive fees in accordance with the up-to-date CARFAC Fee schedule, as well as support to apply for external funding.
We invite art submissions of digital – and post-digital – works for the following festival categories:
Digital and post-digital art works including interactive installations, experimental game mods, sculptural work, screen-based work, sound art, etc.
Web-based projects and digital artworks that can be presented online, including experimental interactive and time-based digital projects.
Experimental film/video/machinima works.
Performance-based proposals including chiptune, sound art, live coding, A/V performances, and telematic performances for virtual and public spaces.
Site-Specific Outdoor Screening
To be presented on two large-scale (4.88 x 8.64 m) outdoor LED screens for a public audience of all ages.
Animated GIFs intended for presentation on public screens across Toronto.
This year, we also invite curators/curatorial collectives to submit proposals for machinima screenings (on a theme of your choosing). If you are considering a curatorial submission, we encourage you to contact the Vector Festival team for additional practical details.
Deadline: February 01, 2020
Please submit the following details using our online application form:
• Project description (approximately 300 words)
• Documentation (maximum of five images, and/or link to audio/video documentation)
• Description of technical requirements (please outline materials provided by the artist and materials required from the exhibiting venue)
• Artist biography (approximately 100 words)
• Please indicate if your work has a thematic, conceptual, or historical connection to Toronto, or if you have a biographic connection to the Greater Toronto Area
• Current CV
If you have questions about submitting your application please contact [email protected].
About Vector Festival
Vector Festival is a participatory and community-oriented initiative dedicated to showcasing experimental media art practice. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, and workshops, Vector Festival acts as a critical bridge between emergent digital platforms and new media art practice. 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. In 2015 Vector Festival announced that longtime presenting partner, InterAccess, would be taking over responsibility for the festival as part of its regular programming.
Founded in 1983, InterAccess is a non-profit gallery, educational facility, production studio, and festival dedicated to emerging practices in art and technology. Our programs support art forms that integrate technology, fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition. InterAccess is regarded as a preeminent Canadian arts and technology centre.
For more information contact:
Festival Curators, Katie Micak and Martin Zeilinger
LINK: VECTOR FESTIVAL
Phenomenal, uncanny stuff from GameGirl Power: muscle fetish, femdom fandom, and virtual steroids like it's raining. She has been making short films of female muscle and strength fantasies since 2013. As she writes: "What started with mods of Street Fighter and others games has since become a real filmmaking effort." She originally dedicated her YouTube channel "to strong women in video games and art, hoping to demonstrate that there is beauty in physical strength, and that there is an alternative to portraying female characters as skinny dolls." Eventually, she began producing at least four videos per month on Patreon, working with other artists and developers; each production is "scored, edited, choreographed and in beautiful 4K UHD definition." What's not to love?
LINK: GameGirlPower (all images and videos (c) GameGirlPower).
In Jordan Baruch's machinima, "a farmer, enticed by the appearance of a mysterious figure in his town, discovers his existence is arbitrarily criminalized by a militant policeman who chases him into poverty and isolation." Shot entirely with/in GTA V and edited with Premiere Pro, Midnight Rains was created by a New York-based screenwriter, filmmaker and video artist Jordan Baruch.
LINK: Jordan Baruch
A new machinima work by Eddie Lohmeyer:
Maps is an experimental machinima film that uses composited gamespaces to generate seductive forms of abstraction. Created through appropriated game footage of map walkthroughs, the film produces colorful swirling and gyrating game fragments by blending the dynamic motion of avatars as they traverse giant gameworlds. Here, color mixing each game overlaid upon the other creates vibrant rhythms of pixels that continuously explode and swallow themselves. These psychedelic sequences are accompanied by a warped recording of Tchaikovsky’s Symphony No.4, F Minor, Op.36 resulting in a visual symphony; a synesthesia of fractured spaces with the changing pitches and echoes of orchestral movements. Following in the traditions of avant-garde filmmakers such as Stan Brakhage and Tony Conrad, Maps explores the material contours of game engines and the 3D environments they render by transforming familiar gamespaces into a kaleidoscope of ever-changing polygons. (Eddie Lohmeyer)
Lohmeyer’s work explores the intersections among body and technology, particularly in how interactivity can open participants to novel sensory and perceptual experiences. Through installation, sculpture, and video these media interventions prompt a politics of the body that reconsider our habitual encounters with technologies through new avenues of play and engaging with unfamiliar and uncanny interfaces. These works upend and play with the media we have grown up around and have a nostalgic affinity for, often through intentionally deconstructive approaches: glitch, physical modifications to hardware, and assemblage. The bizarre and playful encounters with these strange media unveil the normal attitudes and perceptions of technologies that have become a mundane extension of our bodies, while also questioning the knowledge frameworks through which we perceive and sense the world via media artifacts. Lohmeyer is also an Assistant Professor of Digital Media in the Nicholson School of Communication and Media at the University of Central Florida.
LINK: Eddie Lohmeyer
GAMEPLAY. Video Game Culture
Centre de Cultura Contemporanea de Barcelona
Gameplay journeys to the origins of video games, analyses their language and highlights the impact they have had on popular digital culture and on art and society. The exhibition is designed as a space for recreation and reflection where visitors can play and (re)discover video game culture. Since their popularisation in the seventies and eighties, video games have developed as an expressive and entertainment medium and now occupy a central space in our imaginary to the point that, today, it is impossible to understand contemporary society and culture without relating them with video gaming.
Gameplay takes a look at the history of the medium, video game language, experimentation and artistic innovation, and critical and political video games.vThe exhibition also raises the issue of the increasing gamification of society: from mobile games to YouTubers and electronic sports (esports) to so-called serious games, educational video games with applications that go beyond entertainment. With 28 game points, from the first arcade and historic computer games to the new immersive options, Gameplay is devised as an exhibition where visitors can play and, at the same time, understand and enjoy video game culture from a critical viewpoint. The show pays particular attention to Catalan production, especially pioneering works, recent indie creations and local artists, and university projects.
Gameplay. Video Game Culture is an extended adaptation of Gameplay. The Next Level, designed by and first presented at the ZKM Center for Art and Media Karlsruhe.