GAMESCENES

EVENT: XMUSEUM.ORG (ONLINE)

press release

Artists: Kim Laughton, Gabriel Massan, CheeseTalk, ayrtbh

X Virtual Incubator is the inaugural project of X Virtual—an assemblage of virtual worlds that provides 3D meetups for art enthusiasts and creative intellectuals. The project features first-person exploration of new digital art commissions and is a result of the project team’s two-year research on virtual environments and online exhibitions. X Virtual Incubator brings together four artists working across China, the UK, and Brazil, whose practices spark new methodological archetypes for the impending network of virtual art. The project is co-curated by Poppy Dongxue Wu and Pete Jiadong Qiang.

The speculative future of The Spatial Web prompts the deployment of new digital infrastructure on a global scale whilst art practitioners enlightening by the oldest pioneer of the metaverse—massively multiplayer online games (MMOs). With the game engine becoming a prominent tool beyond the gaming industry, a broader group of artists started to create various works ranging from digital sculpture and audio-visual space to performance and indie games. This new protocol of art production in the virtual context has reconfigured the existing cultural and technological interface, spiking new branches in the expanded field previously framed by physical-virtual division. From the construction of an eerie archaeological temple standing in an untrodden desert to a series of intra-related virtual worlds conceptually threaded by violence and freedom, the artists in the show weave fictional civilisation, immigration histories and cross-continent geopolitics into uncanny cyberrealities, extending new territories between art and technology.

The project delves into spatiality and its multiple connotations in the virtual environment by commissioning artists to work primarily on X Virtual’s online community. From algorithmic music clips scattered around a meditative and boundless virtual space to AI chatbots in a fictional agency for hybrid cyborgs, the artists in the show envision new forms of audio-visual experience, after-image of the digital object, as well as potential sentient mutants brought by the accelerated development of cyborgs. X Virtual Incubator grounds interdisciplinary attempts that destabilise and re-envision the intricate web between digital art, virtual space and video game through text, sound, video, scene, AI chatbot and indie games.

A physical showcase of the project, including two immersive installations will be on view from September 2022 at X Museum in Beijing. With offline participation, new meanings that do not pre-exist in the online virtual worlds will be generated by artists and audiences. This project is in strategic partnership with Silicon Valet.

Join our Discord server here.

LINK: X MUSEUM

EVENT: ARTIST TALK: BUILDING UTOPIAS WITH DANIELLE UDOGARANYA AND DANIELLE BRATHWAITE-SHIRLEY (SEPTEMBER 14 2022, ONLINE)

Wednesday 14 Sep 2022 at 6:30pm (UK time)

Price: £5, £3 concession & members

Location: Zoom and (optionally) Roblox

An event curated by The Photographers Gallery, London

In this livestreamed, in-game event, Twitch streamer and How to Win at Photography artist Danielle Udogaranya joins video game and digital artist Danielle Brathwaite-Shirley, as the two discuss virtual worlds while playing co-operative worldbuilding games. Moderated by Nimco Kulmiye Hussein.

The talk can be accessed via Zoom and Roblox. Roblox is a free-to-play game that can be accessed via Windows, macOS, iOS, Android, and Xbox One. An invite link to both the Zoom call and the game server will be sent out prior to the event.

Note: To watch and listen to the talk, only Zoom is required. To join the talk in-game, Roblox can be used in addition to Zoom.

Danielle Udogaranya, – known on Twitch as Ebonix – is a London-based digital artist, content curator and online streamer, known for the custom content she creates for The Sims 4. Her "modded" Sims are on display within How to Win at Photography: Image-Making as Play.

Danielle Brathwaite-Shirley is a digital artist focused on creating virtual archives for the Black trans experience. Through digital environments  the artist ''centres'' the body, exploring identity, community, and Black trans history.

Nimco Kulmiye Hussein is a curator and writer, working at the intersection of research, culture, and art. Their praxis draws from postcolonial and queer-feminist perspectives, focusing actively on participatory practices that bring people together through critical, timely and meaningful narratives.

LINK: Building Utopias

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: WAR GAMES: REAL CONFLICTS, VIRTUAL WORLDS, EXTREME ENTERTAINMENT (LONDON, SEPT 30 - May 28 2023)

This War of Mine Still from 'This War of Mine. Provided by 11 bit studio

 

War Games: Real Conflicts | Virtual Worlds | Extreme Entertainment

 

30 September 2022 until 28 May 2023

 

Imperial War Museum

 

London

 

           press release (abridged)

"The new exhibition War Games: Real Conflicts | Virtual Worlds | Extreme Entertainment will delve into one of today’s most popular storytelling media and seeks to challenge perceptions of how video games interpret stories about war and conflict through a series of titles which, over the last forty years, have reflected events from the First World War to the present. Showcasing immersive installations, never-before-displayed objects and perspectives from industry experts, War Games will also include a playable retro gaming zone and a programme of supporting events.

Featuring blockbusters like Sniper Elite 5, recently released by lead exhibition sponsor Rebellion, and Call of Duty: Modern Warfare, War Games will present 12 unique titles including video games and a military training simulator alongside new acquisitions and objects from IWM’s collection, raising questions about how different developers have portrayed conflict and highlighting real-life stories which many have drawn similar inspiration from

From first-person shooters to real-time strategy campaigns, modern games often depict thoroughly researched historical events. Others use distinctive graphic styles and techniques which reveal contemporary societal attitudes.

Featuring in the exhibition, Six Days in Fallujah is informed by the real testimonies of marines, soldiers and civilians affected by the Second Battle of Fallujah, a crucial operation in the Iraq War. Whereas Worms, a 2D artillery game, portrays its protagonists as an elite army of cartoon worms, tapping into a de-humanising mechanism that artists, such as Beatrice Fergusson in her sketchbook from 1938, have used to process the traumas and anxieties of conflict."

Bury Me, My Love Still from 'Bury Me, My Love' © The Pixel Hunt/Figs/Arte France.

LINK: War Games: Real Conflicts | Virtual Worlds | Extreme Entertainment 

EVENT: LATURBO AVEDON, PARDON OUR DUST (JUNE 22 - SEPTEMBER 25 2022, WIEN, AUSTRIA)

LaTurbo Avedon, Pardon Our Dust
June 22–September 25 2022

Curated by Marlies Wirth, Curator, Digital Culture and MAK Design Collection

MAK – Museum of Applied Arts, Vienna
Stubenring 5
1010 Vienna Austria
Hours: Tuesday 10am–9pm,
Wednesday–Sunday 10am–6pm

LINK: LaTurbo Avedon

LINK: Pardon our Dust

press release

“have i loaded, once again
i could see it all reflecting back
a canopy advertising every heaven
infinite subdivisions, simulated parcels
in the surface of this reloading stream”

With Pardon Our Dust, the MAK is presenting the first solo exhibition by LaTurbo Avedon in Austria. La Turbo Avedon, a non-binary artist and curator exclusively performs as an avatar in the virtual world. For the MAK, they developed a new time-based CGI-installation told from the perspective of the avatar in the form of an endlessly looped simulation.

Presented on a central largescale projection and five synchronized screens the virtual journey leads through different landscapes and spaces that are in a state of construction and deconstruction—an allusion to the title of the exhibition and the development of Web3.

LaTurbo Avedon, Pardon Our Dust, 2022, MAK Vienna

The narration begins and ends at a flooded petrol station with the sign “Lethe”: The name is linked to the mythological river Lethe, meaning oblivion also in the sense of concealment. According to the Greek mythology, drinkers of the Lethe’s water would lose their memories before entering the realm of the dead in order to forget everything that was and be reborn into immortality.

LaTurbo Avedon, Pardon Our Dust, 2022, MAK Vienna

Various interactions with water thus structure the complex narration that unfolds around questions of transformation and time through the avatar’s poetic monologue. While the story line develops on the central projection, moving through different abandoned virtual environments like suburban houses or a lush forest, the vertical screens turn into virtual “fortune-telling machines” with four different animated versions of LaTurbo Avedon avatar-self, prompting visitors to leave flowers. The horizontal screen acts as a “mirror” and portal to the virtual world, reflecting the spoken text. A machine learning algorithm temporarily takes control of the rendered image sequences creating abstract images which eventually merge to a timeless virtual space, infinitely reflecting brand messages until the focus shifts to a shimmering light in the distance: “Lethe.”

LaTurbo Avedon, Pardon Our Dust, 2022, MAK Vienna

Pardon Our Dust refers to the development of the internet in the 1990s when this slogan was used on websites under construction. Alluding to the construction of Web3, the metaverse and the jargon of the crypto community, LaTurbo Avedon assumes a critical position regarding the alleged decentralization of the internet, privatization of digital space, and the commercial and colonialist heritage of the physical world which is propagated online.

LaTurbo Avedon, Pardon Our Dust, 2022, MAK Vienna

About La Turbo Avedon
As an artist, LaTurbo Avedon was “born” in 2008/09 in the metaverse of the collective online computer game Second Life. Since then, La Turbo Avedon has been living and working in cyberspace, creating digital installations, simulations, sculptures, videos, and performances while running virtual art spaces like Club Rothko and Panther Modern. The extensive queer and subcultural history of the new media and the beginnings of the internet are a repeating theme for LaTurbo Avedon regarding the creation of their own identities as well as the exploration and creation of virtual realities and meaningful encounters within them. In their work LaTurbo Avedon assimilates elements from video game environments as well as quotes from the current web culture and critically addresses the medium of the internet and its technological and economic developments.

EVENT: OASIS: THE VIDEOGAME EXHIBITION (JUNE 15 - JUNE 2022, MADRID, SPAIN AND ONLINE)

Oasis. The videogame exhibition 

 

Curated by María Luján Oulton – David Alonso – Sergio Reyes

 

ESNE University in Madrid, Spain

 

97, Avenida de Alfonso XIII, in Distrito de Chamartín

June 15 - June 20 2022

The exhibition showcases 24 international games grouped into 4 nodes. It is accompanied by a program of round tables (Friday the 17th), a Makey Makey workshop (Saturday the 18th), a cicle of documentaries (Sunday the 19th) and a reading space which aims to give an intro to the local scene of gamestudies in Spain.

As curator María Luján Oulton writes:

I also wanted to invite you to listen to the round tables that will be taking place tomorrow Friday 17th and will be live streamed via youtube The sessions will be in English with local and international speakers. The topics will be: Museum & Videogames, Affect & play, Artgames curators and festivals, Videogames, activism and politics, Postmortem clinic. 

Click here to read the curatorial text in Spanish and English

LINK: OASIS

EVENT: HOW TO WIN AT PHOTOGRAPHY (JUNE 23 - SEPTEMBER 25 2022, LONDON)

How to win at Photography

Photographer's Gallery

June 23 - September 25 2022

16-18 Ramillies Street, London

W1F 7LW England

How to Win at Photography will open June 23 2022 at The Photographer's Gallery in London and will remain open until September 25. A "multimedia exhibition" featuring 30+ artists, How to Win at Photography, "questions the very meaning and function of photography today". Expect a plethora of collateral events regarding all things post-photography - including in-game photography - starting with a killer conversation featuring John Hilliard and Justin Berry on June 24 202 about the ever-changing nature of photography.

Featured artists: Cory Arcangel, Aram Bartholl, Justin Berry, Alan Butler, Gloria López Cleries & Sive Hamilton Helle, Joan Pamboukes, Tabor Robak, Constant Dullaart, Yuyi John, Emma Agnes Sheffer, Coralie Vogelaar, Jon Haddock, Roc Herms, Sherrie Levine, Lorna Ruth Galloway, Ed Ruscha, Ai Weiwei, Harun Farocki, Dorothée Elisa Baumann, Dries Depoorter & Max Pinckers, Christopher Graves, John Hilliard, Steven Pippin, Ria Patricia Röder, Akihiko Taniguchi, Claude Cahun, Cibelle Cavalli Bastos, Aneta Grzeszykowska, Andy Kassier, Cindy Sherman, Petra Szemán, Danielle Udogaranya.

Read more

Check out the online supplement

EVENT: PASCAL GRECO, PHOTOGRAPHY AND VIDEO GAMES (MAY 21 2022, GENEVE, SWITZERLAND)

The Centre de la photographie Genève

Pascal Greco’s Performance

Schedule: 6:00 p.m.-8:30 p.m. & 9:30 p.m.-11:30 p.m.

Discussion with Pascal Greco and Danaé Panchaud

Schedule: 9:00 p.m.

Centre de la photographie Genève
Bac — Bâtiment d’art contemporain
28, rue des Bains,
CH — 1205 Genève

The Centre de la photographie Genève explores the changes in the practice of photography in the era of "virtual" worlds, during an evening devoted to in-game photography, a technique consisting of taking photographs in a video game. As we spend more and more time in digital spaces, on social networks, in metaverses or games, new forms of "photographic" documentation of certain environments, and more particularly landscapes in computer graphics, seem generate growing interest. Throughout the evening, the public will be able to observe the exploration of the photographic potential of the game Death Stranding on PlayStation 5 (on site and on Twitch) with Pascal Greco, performance linked to his Place(s) project which he will talk to us about also during a round table. A digital work produced during the evening, certified in the form of NFT, will be drawn among the public. He will also have the opportunity to experiment with in-game photography on site.

LINK: Pascal Greco

LINK: Photography and Video Games at the Centre de la photographie Genève

EVENT: CONTROL ALT PLAY: LUDIC ALTERNATIVES ON CONTROL (MAY 12 - NOVEMBER 12 2022, ZARAGOZA, SPAIN)

CONTROL ALT PLAY: LUDIC ALTERNATIVES ON CONTROL

May 12 - November 12 2022

Curated by Luca Carruba and Eurídice Cabañes

Produced by Zaragoza City Council and the Zaragoza City of Knowledge Foundation, through Etopia Art and Technology Centre,

Vernissage: May 12 2022, 7:30 pm

eTopia

Avda. Ciudad de Soria, 8 50003 – Zaragoza, Spain

 

Control Alt Play proposes a journey through 24 works by national and international artists. From the interactive or playable pieces, visitors can extend their visit to the exhibition up to four hours and enjoy a multisensory experience through sight, hearing, smell and touch.The exhibition that is the result of a collaboration between Zaragoza City Council and the Zaragoza City of Knowledge Foundation, will be presented next Thursday at 9.30am by the Director of the Foundation, Daniel Sarasa, and its curators Eurídice Cabañes and Luca Carrubba, members of the ArsGames association. ArsGames is an international non-profit organisation that promotes and manages cultural projects related to video games and technology based on art, pedagogy, scientific research, inclusion and participation.

 

Patrick Lemiueux, Octopad, 2018

Antonin Fourneau, GhostPad, installation, 2009

About the notion of control in videogames by Luca Carruba and Eurídice Cabañes

Playing video games feeds the pleasure of learning to control complex systems in order to achieve certain predefined ends. We want the visitor to understand the different ways in which video games relate to control and how video games place players in an ambiguous tension between discipline and rebellion against the strict logic of the game algorithm. The practice of gaming, played by more than 2.7 billion players worldwide, demonstrates that there are multiple ways to coexist within this tension. With digital games it is possible to imagine new worlds and different ways of relating to each other: we can realise utopias of liberation but also stage fantasies of domination. Or we can break with all of them. The act of playing in virtual environments offers the possibility of being, at the same time, subjects and objects of control.

Credits of the exhibition
Curated by: Luca Carrubba and Eurídice Cabañes - Arsgames
Artists: Patrick Lemieux, Aida Navarro, Alejandro Cura, Mathias Klenner, Javier Laspiur, Robin Baumgarten, Foone Turing, Sofía Balbontín, Joan Lavandeira, Keiichi Matsuda, Mónica Riḱic, Román Torre, Antonin Fourneau, Galamot, Fictiorama, Luca Carrubba, Eurídice Cabañes, Maria Ibarra, Gianluca Saporito, AAA Collective, Guim Camps - Sindicado Virtual de Mods, Rabia Williams, Nidal Nijm Games, Jose Sanchez, David O'Really, Xavi Manzanares, Draw me a píxel, Arsgames.
Production Coordination: Blanca Perez Ferrer - FZC
Executive production and editing: Trazacultura
Editing: Municipal Brigades and Etopia maintenance officers.
Production assistants: Julieta Averbuj and Marga Avendaño
Exhibit Design: Kaori Project, Raquel Clemente Muñoz
Graphic Design: Buenu, Col-lectiva Gràfica
Communication: Laura Montañés- FZC
Technical coordination: Guillermo Malón-FZC
Education: Pilar Martín- FZC
Responsible for content: Elena Giner Smart City Service
Mediation: Noray Collective
Exhibition produced by Etopia Art and Technology Centre through the Zaragoza City of Knowledge Foundation.

LINK: Control Alt Play