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.
Exciting news from Russia:
"Garage Museum of Contemporary Art is launching Garage Digital, a new experimental program and online platform. The launch will be accompanied by a grant competition for artists who work with digital technology.
Bringing together artists, scientists, programmers, and art historians, Garage Digital aims to explore and support the new languages of visual culture that are emerging under the influence of advanced technologies and new media on everyday life and on artistic and research practices.
Today, when mobile and broadband Internet have become familiar elements of urban life just like electricity and water supply, the traditional museum has lost its monopoly as a store of meaningful imagery. Every owner of a smartphone connected to the Internet can access an unlimited amount of content. Big data analysis organizes web searching and creates a feeling of total availability and interconnection, while algorithms help to solve complex tasks. It has become possible to approach the world as a full-fledged source of visuality, flowing from the real environment to the screens of digital devices. This means that today reality develops in close proximity to and under the influence of the digital realm, sometimes almost completely merging with it. Akin to scrolling through a news feed, the new form of perceiving information blurs the boundaries of the real and the virtual, reforms our sense of space and time, and thus questions the goals and values of the traditional museum.
Garage Digital accumulates the experience of studying contemporary born-digital art as the product of a new type of thinking and living through everyday reality. Along with digital art proper, the program focuses on the latest technological advancements—code, neural networks, big data analysis, game engines and computer graphics, 3D printing, and other new production modes—that can operate simultaneously as the artwork’s material, medium, and means of production.
Anton Belov: «The Garage Digital team, together with artists and experts, is redefining the role of cultural institutions and means of creating and exhibiting works of art. Launched in 2019, this program is focused on digital reality, but that does not mean we are choosing between online and offline presence. For Garage they are of equal importance. In essence, the Garage Digital platform is a space within the Museum, with its own exhibition and education programs».
The online platform features artworks and research projects created for Garage Digital, multimedia material on digital art and culture, information on grants and a schedule of offline events. Born-digital artworks and research projects created in collaboration with or supported by Garage are published in Projects and integrated into a data feed interface, replicating the continuous flow of visual images and ideas produced by contemporary reality.
One of the key goals of the program is to systematize knowledge on digital art and technogenic reality. The platform offers access to documentary videos and theoretical research on themes covered by the program, such as Game Studies, which focuses on the study of video games and computer simulations as an artistic medium.
Garage Digital’s program of offline events, which take place in the Museum as well as off-site, aims to develop a community of digital and new technology artists, allow for the exchange of experience, and support professional networks. Garage Digital also includes a grant program for artists who work with new technology, with each season addressing a particular aspect of artistic practice within the digital environment.
Garage Digital is like a virus infiltrating the Museum’s programs. It implies collaboration with the exhibition and education departments and participants in the Field Research program, as well as offline interventions into the Museum’s public spaces. By its launch, the platform will feature new projects and digital artworks created for the exhibition The Coming World.
LINK: Garage Digital
Steven Paul Judd, Invaders, 2018
Indigenous Futurisms: Explorations in Art and Play
Gorman Museum at University of California, Davis
Oct 2, 2019 - Jan 31, 2020
One Shields Ave., Davis, California
Open Mon-Fri, noon-5 p.m., and Sun 2-5 p.m.
Admission is free.
Indigenous Futurisms brings together graphics, comics, SF, and video games to create a provocative space of engagement and thought about Indigenous futures and possibilities. The gaming section was curated by Ashlee Bird, a graduate student of Native American Studies at UC Davis, who writes:
The content and graphics involved with Native American and Indigenous representation in these genres are fraught with embedded stereotypes and in some cases, these depictions are viewed as deeply offensive and racist. Native American artists and game designers actively engage with these concerns by creating new spaces, environments and platforms for the expression of visual sovereignty. Games and artwork are created, mediated and informed from rich cultural foundations alongside technical media expertise.
Video game inspired art on display includes an enormous vinyl inkjet print created by interdisciplinary artist Sonny Assu which reimagines the original Nintendo Entertainment System controller and replaces the original directional pad with a copper, an indigenous shield shape that for Northwest coast tribes indicates status and wealth. The piece is exhibited as large inkjet on paper.
Sonny Assu, Nuła̱mał Entertainment System, 2017, exhibition Copy: Inkjet on paper, 36 x 26 inches
Assu has previously made modified cabinet arcades such as Wreck-Consiliation! (2017) and Broken Treaties (2017) which both display a video of Clayfighter (made by Brendan Tang) as a 81 second loop. The coin-op machines were exhibited in the context of the Ready Player Two exhibition at the Reach Gallery Museum, Abbotsford, British Columbia between 25.05.17 - 03.09.17.
Sonny Assu, Broken Treaties, 2017, Maple, copper leaf, paint, 73.75x25x28.25 inches
Nathan Powless-Lynes, Hold My Mand!, interactive game, 2019
Indigenous Futurisms also features interactive games playable with Xbox One controllers within the gallery space, including Nathan Powless Lynes's Hold My Hand!, a dual character puzzle platformer where the characters hold hands to help each other overcome obstacles.
Maize Longboat, Ray Caplin, Mehrdad Dehdashti, Beatrix Moersch, Terra Nova, interactive game, 2019
Created by Maize Longboat, Ray Caplin, Mehrdad Dehdashti, Beatrix Moersch, Terra/Nova is a split-screen side-scroller starring an elder land-keep and a youthful inventor. The characters must perform actions in their respective worlds in order to accomplish the game's ultimate goal. Lastly, visitors can experience Full of Birds, an interactive art gallery which immerses the viewer in a colorful, vibrant "natural" world.
LINK: Indigenous Futurism (All images and videos courtesy of the Artists)
Games for Windows: Experiments with Game Footage
Curated by Nilson Carroll
128 W. Main St.
Rochester, New York
Games for Windows: Experiments with Game Footage is a new exhibition curated by Nilson Carroll. Expanding the tradition of cinema and games, these artists use various gestures of play to create experimental video art from video game footage. This event is part of the Rochester's Current Seen, an art biennial that takes place in small venues.
Sandra Araújo (Brazil)
Jordan Baruch (Long Island, NY)
Rob Cigna (Rochester, NY)
Heidi E. Cooper (Vietnam)
Kasey Edgerton (Rochester, NY)
Cody Filardi (Rochester, NY)
Kara Gut (Ohio)
Thomas Hawranke (Germany)
Alex Hovet (New York, NY)
Matthew Keff (Brooklyn, NY)
Ryan Keller (Long Island, NY)
Robin Mendoza (Albany, NY)
Drew Mounce (Long Island, NY)
Karl Munstedt (Brooklyn, NY)
Tara Nelson (Rochester, NY)
Joshua Thorson (Rochester/Brooklyn)
Bloody Noes (Rochester, NY)
Eddy Lohmeyer (Florida)
LINKS: Games for Windows
Dates | September 13th November 9th Opening | September 13th at 6:30 pm
Exhibit hours | Monday – Saturday / 10 am – 1:30 pm & 2:30 pm – 7:00 pm
Piazza Goldoni, 2
NAMASTÈ, The Swan Station (aka Luca Pozzi) is thrilled to announce PASTORAL a solo show by THEO TRIANTAFYLLIDIS at Eduardo Secci Contemporary
162 years have passed since Jean François Millet painted "The Angelus" and "The Gleaners", 169 from the realization of the “Sower”, nevertheless Theo Triantafyllidis, for this new show, annihilate the passage of time to draw inspiration from idyllic representation of nature and converting it into the parallel world of online video games and augmented reality immersive experiences. He extends the classical perception of space and time overlapping, with irony and romantic awareness, the labyrinthine Greek mythology with the internet of things. He accesses to the primordial connective core that relates “man” with the merciless rhythms of sowing and harvesting to then teleport the viewer (as a player) into a subjective scene of apparently meaningless escape. The fantasy of the pastoral lifestyle has long been a seductive loophole from technology and life in the city. This fantasy has found new forms in games like Farming Simulator where the player has to adjust to the slower rhythms of the seasons and Witcher 3 where horseback rides in vast and beautiful landscapes are abruptly interrupted by monstrous encounters.
In Pastoral, 2019 (video game), Triantafyllidis constructs a hybrid virtual expanding landscape, a field of hay brushed by golden sunlight. The player finds himself as a muscular Ork character in the middle of the field together with an antagonist presence that relentlessly follows his every step as a contemporary version of an ancient minotaur. The character feels strangely out of place in this setting, seemingly musing or enjoying a short break before yet another battle. Using a standard gamepad, the player can explore the landscape to find idyllic moments under the sound of a melodic lute. An anti-game of shorts it denies the player of any dramatic moments or interactions, but rather has them contemplate the bucolic calmness. But a sense of underlying violence remains, perhaps embedded within the very medium of the video game.
In Self Portrait (Reclining Ork), 2019, a tapestry woven from a screenshot of the same character, represents the Ork flirtatiously staring at the viewer. Caught in a moment of reflection, the artist is intimidating and tender at the same time. The gender-ambiguous avatar has been the virtual manifestation of Theo on his previous series of works titled “Role Play”, a year-long performance in Virtual Reality where him as Ork produced a series of augmented sculptures and paintings. The Ork character now exits the artist’s studio, for a moment freed from the burden of labor, an idealized being in conflict-free coexistence with nature, representing through the tapestry one of the possible proofs of its analog materialization. Materialization that continues, through a site-specific installation, that includes a physical hay sandbox and a simulated sunset, in order to allow a synesthetic and layered experience of the work.
The same approach is implemented by Triantafyllidis by inhabiting a personal fantasy, like Marie Antoinette playing milkmaid in her private rustic retreat, the Queen's Hamlet, and opening it and sharing it with an IRL and an online audience. Theo decides to make his personal avatar, and one that he very viscerally relates to, available to a wider public, by making the game available as a free download. This gesture is not taken lightly. The artist maintains control over how the avatar behaves and by programming the freedom and constraint of the player interactions. A game of redundant seduction is played in layers, between avatar-player and between player-game designer.
Theo Triantafyllidis (b. 1988, Athens, GR) is an artist who builds virtual spaces and the 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, Sargent’s Daughters and Young Projects. He was part of Hyper Pavilion in the 2017 Venice Biennale and the 2018 Athens Biennale: ANTI-. Theo Triantafyllidis is based in Los Angeles.
The Swan Station is an interdisciplinary curatorial platform designed by Luca Pozzi to promote the emergence of a quantum experience of reality through the language of contemporary art. A connective container without pre-established geographical coordinates, characterized by a marked predisposition to counter-intuitive processes such as entanglement, temporal distortions and multidimensionality.
LINK: Theo Triantafyllidis
August 2 2019 - November 2, 2019
How Art Museum
O 1, Lane 2277, Zuchongzhi Road
Artists: Alexis Mailles, Feng Chen, Harun Farocki, Jon Rafman, Kent Sheely, Andrew Luk, Lawrence Lek, Matthieu Cherubini, Payne Zhu, Peter Nelson, Wu Chi-Yu
Curated by Fu Liaoliao
Serious Games will present works and projects of both artists and game designers, casting light on the historical development of video games as a form and image, the tension between the mechanism of eSport competition and players from a bio-political point of view, as well as the critiques of spatial politics, historical truth, and future conflicts within the context of video games. Moreover, the exhibition is not limited to present the works directly related to video games, and it also attempts to extend the boundaries of people's notions of game by showcasing works from different perspectives.
The exhibition is accompanied by several events, including various panels, such as "Serious Games: Radical Field inside and out of Virtuality" (August 2), featuring Dr. Jiang Yuhui (Professor of philosophy, East China Normal University), Feng Chen (Artist), Payne Zhu (Artist), Wu Chi-Yu (Artist) and moderated by Fu Liaoliao (Curator of HOW Art Museum). Below is the full description:
As an ancient form of human activity, games have been undergoing drastic changes under the development of science and technology. Until the era of video games, its unprecedented connection with daily life has opened up new possibilities for cognitive space, images and life forms. It has even launched challenges to the present and future way of people's existence. The panel discussion starts from this radical field inside and out of virtuality.
LINK: Serious Games
MILAN MACHINIMA FESTIVAL 2020
Via Carlo Bo 2,
20143 Milano, Italia
WE ARE DELIGHTED TO ANNOUNCE OUR OFFICIAL CALL FOR ENTRIES FOR THE THIRD EDITION OF THE MACHINIMA FILM FESTIVAL, SLATED FOR MARCH 2020.
The third edition of the MACHINIMA FILM FESTIVAL will take place at IULM University (Milan, Italy) in March 2020 during the Milano Digital Week. Sponsored by the City of Milan, Department of Digital Transformation and Public Services, the Milano Digital Week celebrates the driving forces that are reshaping work, leisure, and learning.
Filmmakers and video artists engaged in the practice of appropriation, repurposing, and creative remix of video games are encouraged to send us their work for consideration. Submissions will be judged by an international panel of jurors and a selected number will be featured in the main program. A Critics' Award will be awarded during the ceremony.
Screenings of selected works will be curated around different themes, to be announced. The most interesting submissions are those which seek to capture or highlight a specific facet of contemporary life - from politics to art, from violence to creativity, from technology to ideology - through the aesthetic lenses of digital gaming. The deadline for submissions is December 1, 2019.
The full program will be announced in February 2020.
Please carefully read our simple submission guidelines and requirements below before sending your work.
INTERNATIONAL OPEN CALL FOR NEW MEDIA ARTWORKS
The Milan Machinima Festival defines machinima as any digital video made using video games technology (game engines, game tools, assets such as characters, items, environments etc.).
Submissions must feature machinima made with specifically with video games (not virtual worlds, e.g. Second Life).
Submissions must be 10 minutes or less in length. The minimum duration is 1 minute.
Submissions must have been produced between January 1, 2019 and December 1, 2019.
Multiple versions of the same machinima will not be considered.
Acceptable submission formats: Digital video files only.
Acceptable exhibition formats: mp4, avi, mpg, Quicktime file (ProRes 422).
All applicants must complete the official festival submission form located on filmfreeway.com.
One-time, nominal submission fee: $15 or 15 euros payable via PayPal to the festival organizers.
The applicant holds the sole responsibility of copyright clearance of any copyrighted material in the machinima.
The submission must include an accompanying artist statement/description no longer than 500 words.
The MMF is under no obligation to provide comments regarding submitted machinima to any applicant.
Submission deadline: December 1, 2019.
LINK: MILAN MACHINIMA FESTIVAL
"Machinima – a portmanteau of machine and cinema – the process of using real-time computer graphics engines to create a cinematic production [...] has existed for as long as in-game recording has been possible." Matt Turner aka Lost Futures provides a historical and critical overview of machinima, a digital form of filmmaking that lies at the intersection of experimental cinema and video art that began with Miltos Manetas’ Miracle (1996), for Sight & Sound magazine. A must read.
LINK: SIGHT & SOUND magazine
Tomorrow, Wednesday March 27, media artist and professor Joseph DeLappe will describe a lineage of creative projects and actions situated at the intersections of computer gaming, art/technology, and interventionist strategies engaging our geopolitical contexts. DeLappe will detail an approach to considering computer gaming environments online as a new type of public space; within which he has conducted a series of interventionist performances and actions, such as the 2006 project dead‐in‐iraq, to type consecutively, all names of America's military casualties from the war in Iraq into the America's Army first-person shooter online recruiting game. More recent projects include Elegy: GTA USA Gun Homicides (2018), a self-playing mod as a data visualizer of gun homicides in the United States as realized through this popular videogame.
Curated by the Master of Arts in Game Design at IULM University, GAME TALKS consist of lectures, presentations, and performances celebrating the culture, art, and creativity of video games. Situated at the intersection between game design, Game Art, and game studies, GAME TALKS are meant to stimulate, inspire, and surprise.
LINK: Joseph DeLappe