MILAN MACHINIMA FESTIVAL MMXXV onsite screening day #2
March 21 2025, 2—5 pm
MUBI Microcinema @ Vidiots
Los Angeles, California 90041
Programs:
03/19/2025
EVENT: MILAN MACHINIMA FESTIVAL ONSITE SCREENINGS #1 (MARCH 20 2025, LOS ANGELES, CALIFORNIA)
MILAN MACHINIMA FESTIVAL MMXXV
onsite screening day #1
March 20 2025, 2—5 pm
MUBI Microcinema @ Vidiots
Los Angeles, California 90041
Programs:
GAME VIDEO ESSAY I| | MADE IN ITALY | REPROGRAMMED VISIONS
03/18/2025
EVENT: WEIRD HOPE ENGINES (MARCH 21 - MAY 10 2025, NOTTINGHAM, UK)
Image: Andrew Walter Boggins
Weird Hope Engines
Curated by David Blandy, Rebecca Edwards and Jamie Sutcliffe
Exhibition: Sat 22 Mar 2025 - Sat 10 May 2025
Opening Friday 21st March 6-8pm
Bonington Gallery
Nottingham Trent University, Dryden Street, Nottingham, NG1 4GG
United Kingdom
press release
Weird Hope Engines embraces the culture of tabletop roleplaying games (TTRPGs) to explore play as a site of projection, simulation, communal myth-making, distorted temporality, and alternate possibility. The first exhibition of its kind, it foregrounds the practices of innovative designers, artists, and writers in the field of independent game design, and brings their work into dialogue with fellow-travellers in the field of critical art practice.
Weird Hope Engines, curated by Dying Earth Catalogue, is an experimental exhibition that reimagines Bonington Gallery as a hybrid lab—at once a testing site for the development of new worlding experiences, an active gaming hub, and an archive of maps, concept artworks, rulebooks, and gaming curiosities. Visitors will be invited to participate in both solo and collaborative gaming experiences that foreground questions of collective responsibility, personal testimony, and colonial legacy, reframing our expectations of gaming imaginaries as potent sites for rethinking social organisation, cross-cultural understanding, and personal reverie.
Migrating between the dreamworlds of science fiction, fantasy, folkloric myth, and pressing social realities, a series of newly commissioned play experiences by David Blandy, Chris Bisette, Laurie O’Connel, Zedeck Siew, and Angela Washko utilise a range of mechanics, from dice rolls and diary keeping to tumble towers and the recording of personal anecdotes, to encourage new approaches to immersive play.
Original displays by Amanda Lee Franck, Tom K Kemp with Patrick Stuart, Scrap Princess, and Andrew Walter and Shuyi Zhang (Melsonia Arts Council) showcase the unique function of visual art within gaming imaginaries, in which image making moves beyond functional illustration into complex relationships with collaborative storytelling.
An essay-film devised by the curators and based upon Jamie Sutcliffe’s essay ‘Playing Games’ (Art Monthly, Issue 484, March 2025) has been produced in collaboration with Adam Sinclair and Lotti Closs, exploring the shared experience of game space as a conflicted site of simulation and hallucinatory possibility.
LINK: Weird Hope Engines
03/17/2025
EVENT: MARVELS OF MEDIA FESTIVAL 2025 (MARCH 27 - 29 2025, NEW YORK)
MARVELS OF MEDIA FESTIVAL 2025
MARCH 27-29 2025
MUSEUM OF THE MOVING IMAGE
36-01 35 Avenue
press release
The Marvels of Media Festival kicks off with a festive opening night celebration recognizing the outstanding work of autistic media-makers. Throughout the weekend, guests are invited to explore exhibitions: The Adventure of Nature and the Senses, featuring virtual reality experiences and video art, and Marvels of Media Game Lab Exhibition, showcasing playable video games. Join us for a workshop, networking mixer, and five film programs of new comedies, animations, and documentaries followed by panel discussions.
The free festival is part of the Museum’s year-round Marvels of Media initiative, which showcases, celebrates, and supports autistic media-makers of all ages and skill sets. The fourth annual Marvels of Media Festival expands the Museum’s accessibility efforts for autistic visitors through the creation of a sensory relief space in the Media Lab and sensory kits, which are available at the front desk.
This year’s festival was organized by MoMI’s Associate Curator of Public Programs Tiffany Joy Butler, MoMI’s Director of Education Leonardo Santana-Zubieta, Access Consultant Miranda Lee, Tour Consultant Sachar Mathias, and MoMI Intern Alex Poppe, with the Marvels of Media Steering Committee: filmmaker and playwright Jackson Tucker-Meyer, President and Founder of Strokes of Genius, Inc. Rosa Martínez, and Film Event Accessibility Consultant and Producer Yaara Kedem.
To create an inclusive environment, the festival will have accessible components for autistic and other neurodivergent visitors, such as a sensory relief room, sensory kit, and visual guide.
LINK: Marvels of Media Festival 2025
03/12/2025
EVENT: HOLDING PATTERN (MARCH 15 - JULY 27, DORTMUND, GERMANY)
HMKV Hartware MedienKunstVerein
at the Dortmunder U, Level 3
Leonie-Reygers-Terrasse
44137 Dortmund
Germany
press release
Holding Pattern is the English term for the tactic used by air traffic controllers to keep several aeroplanes in the air above a busy airport without allowing them to crash. This symbolic scenario unfolds the motif of remote control and mastery: the sense that human destinies are closely interwoven with the circuits of technology - interwoven with expectation and fear, danger and rescue, as well as geometry, aesthetics and even beauty.
What are the patterns that guide our lives? Do we design them ourselves, or are they written elsewhere, in dark zones that we can only glimpse but never fully see? Holding Pattern presents a selection of international artists who explore the choreographies, rhythms and algorithms that characterise modern life, the ways in which data is embodied and how bodies are transformed into data.
Panhans/Winkler,, »Freeroam À Rebours, Mod#I.1 – Installation Version«, 2017/2025 4K video, single-channel-projection, colour/sound, 16:13 mins, stage elements, crowd control systems, chains, handbags, motorbike helmets, carbon fibre, silicone, pizza-delivery-bag, functional shirt, novel, etc., variable sizes
The exhibition Holding Pattern includes major installation pieces such as as Hasselblad Award-winner Stan Douglas’ Luanda-Kinshasa (2013), a six-hour loop depicting an imaginary jam session in New York’s legendary Columbia 30th Street Studio; Turner Prize-winner Elizabeth Price’s SLOW DANS (2019), an elaborate fictional history binding together mining, data storage and the female ‘teachers’ of a mysterious underground ritual as well as the short videos of FOOTNOTES (2020), that reprise and annotate these themes; Harun Farocki’s Deep Play (2007), a 12-channel extrapolation of the physical, social, security and broadcast patterns shaping a high-profile international football game; and Stefan Panhans and Andrea Winkler’s Freeroam À Rebours, Mod#I.1 – Installation Version All Choices All Endings II (2025), which toggles between human dancers and digital avatars as it examines the interaction sequences (by turns violent and tender), the loops and glitches of the Grand Theft Auto universe. It includes Turner Prize-winner Susan Philipsz’ Ambient Air (2021), in which she draws a literal holding pattern across Berlin’s sky as she hums Brian Eno’s “Music for Airports” from the cockpit of a small plane, transmitting her voice via radio tower to Tegel Airport’s PA system. Also, Åke Hodell’s work igevär (1963, english: “to arms”), in which the titular military command-word gathering soldiers into formation is unlocked through repetition to suggest other, more emancipatory calls-to-arms.
Artists: Stan Douglas, Harun Farocki, Åke Hodell, Stefan Panhans & Andrea Winkler, Susan Philipsz, Elizabeth Price
The exhibition will be on display at the HMKV from 15 March to 27 July 2025. The opening will take place on Friday, 14 March 2025 at 19:00.
LINK: Holding Pattern
03/06/2025
EVENT: MILAN MACHINIMA FESTIVAL MMXXV (MARCH 17-23 2025, LOS ANGELES AND ONLINE)
MILAN MACHINIMA FESTIVAL MMXXV
REBOOT/RESTART/RESET
MARCH 17—23 2025
Los Angeles, California and online
The Milan Machinima Festival MMXXV presents a curated selection of 31 machinima and game videos by 35 artists from 17 countries, including Belarus, Canada, China, Colombia, France, Greece, Hong Kong, India, Ireland, Italy, Japan, Kazakhstan, Portugal, Spain, Switzerland, Taiwan, and the USA. Spanning nine programs, the festival unfolds online (March 17–23, 2025) and onsite in Los Angeles, California (March 20–21, 2025), showcasing works that challenge storytelling conventions, repurpose game engines as cinematic tools, and interrogate the aesthetics and politics of virtual worlds.
02/25/2025
EVENT: RADICAL SOFTWARE: WOMEN, ART & COMPUTING 1960-1991 (FEBRUARY 28 - MAY 25 2025, VIENNA, AUSTRIA)
Dara Birnbaum, Pop-Pop Video: Kojak/Wang, 1980, © Courtesy Dara Birnbaum und / and Eletrconic Arts Intermix (EAI), New York
Radical Software
Women, Art & Computing 1960–1991
February 28–May 25, 2025
Exhibition opening: February 27, 7pm
Symposium: February 28, 9am–6pm
kunsthallewien.at
Kunsthalle Wien Museumsquartier
Museumsplatz 1
1070 Wien
press release
Kunsthalle Wien presents a major new exhibition examining the pioneering role of women in digital art. Organised in collaboration with Mudam Luxembourg–Musée d’Art Moderne Grand-Duc Jean, Radical Software: Women, Art & Computing 1960–1991 brings together over one hundred works by fifty artists including painting, sculpture, installation, film, performance and many computer-generated drawings and texts.
A principally analogue exhibition about digital art, Radical Software focuses on the decades that preceded the rise of the World Wide Web and the proliferation of digital information and images that ensued, shaping artistic production and visual culture in the following decades. The exhibition is titled after the magazine that Beryl Korot started with fellow artists Phyllis (Gershuny) Segura and Ira Schneider in 1970. They adopted the term software (as opposed to hardware) as a metaphor and powerful tool for social change. The magazine’s wide-ranging editorial model and mission to serve as “an evolving handbook of technology,” decentralising access to information, predated the World Wide Web by two decades.
Beginning with works from the 1960s and 1970s, the exhibition spans a period from the first years of integrated circuit computing to the “microcomputer revolution,” which led to the birth of personal computing in the 1980s. The first works date from a time in which artists, poets, writers and filmmakers experimented with mainframe and minicomputers alongside mathematicians, scientists and engineers to produce and exhibit the first computer-generated images and texts. During these three decades the computer migrated from the laboratory to private, domestic space. Yet with each retelling of this history, the significant engagement of women with the technology has been largely overlooked. Set within a period that was also marked by the second wave of feminism, this exhibition documents a lesser-known history of the inception of digital art, countering conventional narratives on art and technology by focusing entirely on women.
Radical Software: Women, Art & Computing 1960–1991 also engages with contemporary questions of how technology interfaces with issues of identity and equality. The exhibition follows a renewed interest in the post-internet discourse of cyberfeminism, which highlights the role that women played in the creation of new digital technologies and engages critically with the entanglement of technology and power structures.
Artists: Rebecca Allen (b. 1953, Detroit), Elena Asins (b. 1940, Madrid–d. 2015, Navarra), Colette Stuebe Bangert (b. 1934, Columbus) & Charles Jeffries Bangert (b. 1938, Fargo–d. 2019, Lawrence), Gretchen Bender (b. 1951, Seaford, Delaware–d. 2004, New York City), Gudrun Bielz (b. 1954, Linz) & Ruth Schnell (b. 1956, Feldkirch), Dara Birnbaum (b. 1946, New York City), Inge Borchardt (b. 1935, Szczecin, formerly Stettin), Barbara Buckner (b. 1950, Chicago), Doris Chase (b. 1923–d. 2008, Seattle), Analívia Cordeiro (b. 1954, São Paulo), Betty Danon (b. 1927, Istanbul–d. 2002, Milan), Hanne Darboven (b. 1941, Munich–d. 2009, Hamburg), Bia Davou (b. 1932–d. 1996, Athens), Agnes Denes (b. 1938, Budapest), VALIE EXPORT (b. 1940, Linz), Anna Bella Geiger (1933, Rio de Janeiro), Isa Genzken (b. 1948, Bad Oldesloe), Dominique Gonzalez-Foerster (b. 1965, Strasbourg), Lily Greenham (b. 1924, Vienna–d. 2001, London), Samia Halaby (b. 1936, Jerusalem), Barbara Hammer (b. 1939, Los Angeles–d. 2019, New York City), Lynn Hershman Leeson (b. 1941, Cleveland), Grace C. Hertlein (b. 1924, Chicago–d. 2015, Chico), Channa Horwitz (b. 1932–d. 2013, Los Angeles), Irma Hünerfauth (b. 1907, Donaueschingen–d. 1998, Kreuth), Charlotte Johannesson (b. 1943, Malmö), Alison Knowles (b. 1933, New York City), Beryl Korot (b. 1945, New York City), Katalin Ladik (b. 1942, Novi Sad), Ruth Leavitt (b. 1944, St. Paul, Minnesota–d. 2025, Baltimore), Liliane Lijn (b. 1939, New York), Vera Molnár (b. 1924, Budapest–d. 2023, Paris), Monique Nahas (b. 1940, Paris) & Hervé Huitric (b. 1945, Paris), Katherine Nash (b. 1910–1982, Minneapolis), Sonya Rapoport (b. 1923, Brookline–d. 2015, Berkeley), Deborah Remington (b. 1930, Haddonfield–d. 2010, Moorestown), Sylvia Roubaud (b. 1941, Munich), Miriam Schapiro (b. 1923, Toronto–d. 2015, Hampton Bays), Lillian Schwartz (b. 1927, Cincinnati, Ohio–d. 2024, New York City), Sonia Sheridan (b. 1925, Newark–d. 2021, Hanover), Nina Sobell (b. 1947, Patchogue), Barbara T. Smith (b. 1931, Pasadena), Tamiko Thiel (b. 1957, Oakland), Rosemarie Trockel (b. 1952, Schwerte), Joan Truckenbrod (b. 1945, Greensboro), Anne-Mie Van Kerckhoven (b. 1951, Antwerp), Ulla Wiggen (b. 1942, Stockholm)
Symposium: Radical Software: On the first day of the exhibition, 28 February 2025, Kunsthalle Wien and TU Wien will host a symposium bringing together highly distinguished female researchers from the fields of art and science including Gerti Kappel, Nadia Magnenat-Thalmann, Margit Rosen, Zsofi Valyi-Nagy, Anne-Mie Van Kerckhoven, Ina Wagner and artists Gudrun Bielz, Inge Borchardt, Anna Bella Geiger, Dominique Gonzalez-Foerster, Liliane Lijn, Sylvia Roubaud, Ruth Schnell, Nina Sobell, Tamiko Thiel and Anne-Mie Van Kerckhoven.
Exhibition publication: The exhibition is accompanied by a new publication including essays by Tina Rivers Ryan, Margit Rosen and the exhibition’s curator, Michelle Cotton. Co-published with Mudam Luxembourg–Musée d’Art Moderne Grand-Duc Jean and Verlag der Buchhandlung Walther und Franz König, it features over 200 illustrations, a timeline and twenty-seven new interviews with artists from the exhibition.
Kunsthalle Wien is financed by the Magistratsabteilung Kultur der Stadt Wien (MA 7). The artistic programme is also supported by the members and patrons of the Kunsthalle Wien Club. The exhibition and symposium are made possible through the generous support of Art Mentor Foundation Lucerne.
02/23/2025
EVENT: JUST PLAYIN’ AROUND (JANUARY 21 - APRIL 26 2025, PORTLAND, OREGON)
Matthew Earl Williams, Twentysix Gasoline Stations In Grand Theft Auto V, 2014-24, digital prints, Each 16 x 20 inches framed, © m. earl Williams, Courtesy of the artist.
Just Playin' Around
curated by Nancy Downes-Le Guin and Theo Downes-Le GuinJanuary 21 - April 26 2025
Jordan Schnitzer Museum of Art
PSU1855 SW Broadway
Portland, OR 97201
press release
Once our basic needs are met, we humans have always turned to play and art. Children learn how to navigate the world by playing. Adults depend on play to bring joy and connection to others. The United Nations recognizes play as a universal right of children, and mental health specialists increasingly recommend play for its therapeutic benefit at all ages.
Artists often talk about their work as a form of play involving materials, ideas, and imagination. Play can be part of the process of making art, but can also be its subject matter. Artists create meaning from childhood memories, toys, games, and sport, reframing the past, interpreting the present, or imagining the future. Play is also a way for artists to seek release from meaning, to resist others’ need to interpret or instrumentalize their work, as seen in absurdist art-historical movements such as Dada.
Industrialized societies often treat play as childlike or trivial, an obstacle to productivity. Our cultural institutions define which artworks and artists are worthy of attention, often presenting art in distinctly unplayful settings, equating seriousness with cultural value. This belies the ways in which playfulness, surprise, silliness, and humor in art are able to engage charged emotional, social, and political issues.
Not all art needs to be playful, but in the end, play and art may not be so different. In both, we seek freedom, release, and community. Sometimes we create and receive meaning through our games and our art, and sometimes we just want to have fun. Just Playin’ Around is a peephole into some of the many ways in which art is play, play is art, and both are in all of us.Just Playin’ Around is curated by Nancy Downes-Le Guin and Theo Downes-Le Guin. This exhibition is supported by The Ford Family Foundation, The Reser Family Foundation, the Jackson Foundation, Elements Roofing, the Richard and Helen Phillips Charitable Fund, and the JSMA Exhibition Circle.
LINK: Just Playin' Around
02/14/2025
EVENT: HOU LAM TSUI (FEBRUARY 14 - 27 2025, ONLINE)
Rabu Rabu
digital video, colour, sound, 18’ 18”, 2024, Hong Kong.
created by Hou Lam Tsui
Rabu Rabu (meaning lovey-dovey in Japanese) reimagines and subverts the conventions of Japanese dating simulation games, known for their focus on interactions with attractive young female characters. Instead, it presents a fictional scenario where the traditional trajectory of falling in love and winning over the protagonist is no longer an option. Drawing on Eva Illouz’s The End of Love: A Sociology of Negative Relations, which describes ‘unloving’ as a narrative without a clear structure, Rabu Rabu reflects on agency both within and beyond the screen. By intertwining digital and physical AFK (Away From Keyboard) worlds, the work examines life in a heteronormative society shaped by late capitalism and dissolves the boundaries between game and video.
Hou Lam Tsui (b. 1997) is an artist who works across moving image, sculpture, installation, and text. Her practice centres around personal experience, affect, gender politics, and peripheral storytelling. Tsui rethinks how femininity and queerness are imagined within cultures, critically exploring how media and consumer desires shape emotions, our notion of love, femininity, and identities by drawing inspiration from pop culture, advertisement, anime, literature and beyond. Her work has been previously exhibited and screened at ACMI (Australia), Art Basel Films (Hong Kong), Beijing International Short Film Festival (China), Guangdong Times Museum (China), Para Site (Hong Kong), Tai Kwun Contemporary (Hong Kong), among others. Selected recent exhibitions include Follow the Feeling (Guangdong Times Museum, 2024), One is not born a woman (Square Street Gallery, 2023), Post-Human Narratives—In the Name of Scientific Witchery (Para Site; Hong Kong Museum of Medical Sciences, 2022). She is a recipient of the WMA Graduate Award (2024), the Liu Shiming Art Foundation Scholarship (2024), and Para Site’s 2046 Fermentation + Fellowships (2022). Tsui lives and works in Hong Kong. She received a BA in Fine Art and History of Art from the University of Leeds in 2018 and later obtained an MFA from the Chinese University of Hong Kong in 2024.
02/12/2025
VIDEO: HTNM SPECIAL CONFERENCE GAMES @ BERKELEY (OCTOBER 11 2024; BERKELEY CALIFORNIA)
Video Games: Past, Present, and Future BCNM 20th Anniversary Special Event
This special event, part of the Berkeley Center for New Media’s 20th-anniversary celebration, brings together scholars, archivists, and industry professionals to explore the transformative impact of video games. Co-sponsored by the Department of Theater, Dance, and Performance Studies, the conference highlights the Bay Area’s legacy in game development, scholarship, and preservation while envisioning the future of gaming innovation and research.
Featuring Bo Ruberg (UC Irvine), Alenda Y. Chang (UC Santa Barbara), Christopher J. Goetz (University of Iowa), Rob Curl (Museum of Art and Digital Entertainment), Phil Salvador (Video Game History Foundation), Danny O’Dwyer (Noclip), and Henry Lowood (Stanford University Libraries), Jane McGonigal (Institute for the Future), Greg Niemeyer (UC Berkeley), Scotty Hoag (Sphere Entertainment) and Alex Leavitt (Roblox).
LINK: Video Games: Past, Present, and Future BCNM 20th Anniversary Special Event