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
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.
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
A new project by Kit Kirby, a student in Eddo Stern's phenomenal UCLA GameLab:
As Pablo Picasso once observed, "There are two kinds of women: Goddesses and Doormats." Lady Rugs riffs on this expression through a series of rugs depicting actual women from history who respond when the rugs are stepped on. Each woman--Harriet Tubman, Hillary Clinton, Roberta Williams, and Gertrude Stein--is a pioneer in a traditionally male dominated field, but is often overlooked, underappreciated, even despised. Each rug has a fabric pressure sensor, which triggers audio clips of voices explaining why each woman has been devalued. The voices also explain why fields such as the military, politics, video game development, and fine art remain part of "a man's world. Created by Kit kirby.
Kit Kirby is a designer, artist, half-troll madwoman who employs absurdity and dark humor to create art about identity and expectation. A recent arrival from the east coast, Kit has a degree in Graphic Design from Boston University and a Post-Baccalaureate in Fine Arts from the Maryland Institute College of Arts. Just like the Kirby Nintendo character, she is round, adorable and utter chaos in Super Smash Brothers. (UCLA Gamelab)
LINK: Kit Kirby
Total Refusal - Digital Disarmament Movement is a collective comprising Austrian artists Leonhard Müllner, Robin Klengel and Michael Stumpf funded in 2018 which promotes a subversively pacifist approach to violent video games. The trifecta operates as an "ideological antidote, unveiling the regressive characteristics of contemporary gaming media and reopening them as playgrounds for practicing creative disobedience and dissent." As they write,
The vast majority of contemporary video games is characterized by combative gameplay. This seems especially remarkable now that video games have long arrived in the entertainment mainstream and have managed to drop the boy’s room stigmata. With gaming becoming both commercially and culturally more and more relevant, the question arises how artists can modify and make use of this media for their own purposes. In “Total Refusal”, artists Robin Klengel, Leonhard Müllner and Michael Stumpf aim to peacefully appropriate the existing mechanics of digital gaming media in order to find new use for their virtual combat zones. As such, “Total Refusal” is a pacifistic statement, realized in digital space.
Circumventing the Circle of Death is a performance - hereby documented as a machinima piece - in which the artists highlight the absurd behavior of some computer game algorithms. In this case, by keeping two armies of a real-time strategy game in constant motion so that they do not come in "frontal view" with each other and thus begin an armed confrontation, the game becomes something else, that is, a virtual dance (and potentially interminable) between two factions. We hear the soldiers shouting menacingly at each other, and yet shots are not fired. Destruction is replaced by distraction. Inspired by the tactics of the International Situationists, the artists sabotaged the game without tempering with the code: gameplay is subverted by exploiting the algorithm's "blindness". And yet, the almost comical dance is no less absurd that the urge to destroy and annihilate. If anything, the former produces sweat, while the latter blood.
Total Refusal - Digital Disarmament Movement has produced several other performances, installations, and video pieces including Landscape for a Battle Panorama (64 Soldiers hiding from the Player), Sculptering a Peace Model, Operation Jane Walk, and the upcoming How to Disappear.
Leonhard Müllner, Robin Klengel and Michael Stumpf, Circumventing the Circle of Death, 2018, installation view.
LINK: Leonhard Müllner
"Venturing into more creative possibilities in the integration of traditional art forms and new media, young Filipino contemporary artist Keb Cerda introduces his latest set of works as components of an augmented reality adventure game. Paintings turn into virtual playgrounds or battlefields where viewers can participate and perform actions through a mobile application developed especially for his works. Each piece represents a stage of a game, progressing and culminating as the player completes tasks and collects bounties. The ultimate reward comes in the form of a catalogue and a limited edition toy sculpture from the artist. These explorations aim to take the interactive platform to another level in his artistic practice, and interlink the manual production of images to the language of digital technology." (Keb Cerda)
2-2 Hometown, oil on canvas, 2019, 60” x 60” (152 cm x 152 cm)
Keb Cerda is a Filipino Asian Modern & Contemporary painter who was born in 1991. Their work was featured in exhibitions at the Nunu Fine Art.
Also from Cerda
I Bet Some Bastard Will Beat That, oil on canvas, 2018, 60” x 48” (152 cm x 122 cm)
In his latest project, Akihiko Taniguchi conflates game engines, video game editors, and selfies:
This is a software that can generate 3D avatars from a single photo of a face, and take selfies in a virtual space. The part that generates 3D face shapes from a single photo uses the Avatar SDK, a tool that uses deep learning. In other words, 3D models are generated by inferring the 3D shape from the participant's face photo from the huge number of someone's face photo and 3D model learning data. The face of the 3D model generated in this way is fragmentarily similar to the vast majority of past learning data. Can you conclude that all of the generated 3D heads are mine?Also, in photographs taken in a virtual space, the subject is already rendered every frame before shooting, and is represented as a set of pixels on the screen. In other words, can you call it a picture when what you see and the picture taken are exactly the same physically? Or what does "shooting" in a virtual photograph reflect?
Akihiko Taniguchi lives and works in Japan. Artist. He is a full time lecturer of Tama Art University and part-time lecturer of Musashino Art University. His practice features installations, performances and video works using self-built devices and software. In recent years, he has been focusing on net.art and sometimes VJing. Among others, his work was presented at "dangling media" ("emergencies! 004" at "Open Space 2007," ICC, Tokyo, 2007), "Space of Imperception" (Radiator Festival, UK, 2009), "redundant web" (Internet, 2010) "[Internet Art Future?]" (ICC, Tokyo, 2012) and others.
LINK: Akihiko Taniguchi
Karl Orozco is an artist from Queens, New York currently practicing a form of de- and re-construction the backstories of “ethnic” fighting game characters to be more congruent with the historical traumas and spiritual practices their creators mine. His latest project centers on Soulcalibur II. Orozco modified the game files of the game to remove all background art and other characters and allow users to assume control of Talim and her power to control the winds.
As the Artist writes:
Talim is a playable character from the fighting game Soulcalibur II and is widely considered the first Filipina video game character. Talim is a young babaylan ("shaman" or "community healer") who hails from the Village of the Wind Deity on the Eastern Visayan island of Samar. In the SoulCalibur universe, Talim is the last babaylan in her community as Spanish Catholic colonists persecuted all who practiced these rites and burned everything associated with indigenous spirituality. In Talim VS, I have modified the game files of Soulcalibur II to remove all background art and other characters and allow users to assume control of Talim and her power to control the winds. Upon prompting from a small “player’s guide,” participants input fighting moves on a customized PlayStation controller as body rituals to rid Talim's home from the specter of colonialism.
Talim VS - Horizontal Moves is part of a larger project focusing on Soul Calibur II.
Karl Orozco, Talim VS, video excerpt from modified Soul Calibur II Rom, 2019
Orozco's Talim VS installation features a Microsoft Surface, matte board, paint and tape, and a modified Soul Calibur II ROM.
Created by Raúl Entter & Mónica Rikić, We will never forget uses Openframeworks + Kinect Videogame Installation produced for Negocio, a critical game exhibition. Here's the description:
Pope Benedict XVI was accused of conspiracy to cover up sexual abuse in the United States. At the Vatican's request, President Bush granted the pope immunity from prosecution.
Raúl Berrueco, better known as Entter, is a Spanish visual artist who studied Fine Arts at the Basque Country University. Born in Santander in 1977, Entter worked as a motionographer, digital designer and Art Director for web and media. As visual artist, he worked as professional video jockey and performer for years, collaborating with electronic musicians on acclaimed audiovisual shows.
LINK: Raúl Entter
New Statements is a new media exhibition by Chris Howlett that showcases an installation of interactive and screen-based machinima works that were developed from 2016-19 for his PhD. This practice–led research project explores the operations of a ‘techno-stice’ that demonstrates digital technology's capacity to generate dissensual space in the form of new subjectivities and ethico-political perspectives in contemporary art.
Chris Howlett, Joystick Drama, 2017-2019
LINK: Chris Howlett