Vector Festival 2019's Open Call for Submissions is now up!
Deadline: February 01, 2019
An event organized by
LINK: Vector Festival 2019
Vector Festival 2019's Open Call for Submissions is now up!
Deadline: February 01, 2019
An event organized by
LINK: Vector Festival 2019
Vertigo is an interactive art installation that invites users to discover a surrealist and futuristic journey in virtual reality. It is an immersive 3D environment that uses the principles and techniques of video games to offer an atypical physical and aesthetic experience to the public.
The "spect-actor" equipped with a virtual reality headset, the HTC Vive, and its hand controllers, will be able to move in the virtual space by defying the laws of gravity, and will be able to interact with different objects that populate this surreal and High Tech "cadavre exquis" to reveal hidden properties. (Pascal and Klara Silondi)
Pascal Silondi was born in Paris in 1973, and he lives in Prague since 2000. He's developing as artist various interdisciplinary projects where meet virtual and real environments. He founded the association LIBAT (Hybrid lab for Arts and new technologies) in 2002, producing various artistic and cultural projects with a focus on Arts, Sciences and new Technologies of information. He's experimental practice involves structures and architecture of systems with a particular interest in interactive multimedia storytelling and artificial life in 3D/VR environments using Game engines. His artistic and technological culture evolved as an interdisciplinary voyage exploring various contemporary art languages and fields like cinema, video, augmented stages and objects, sound creation, robotic and data processing, artificial life, Game art., etc. He's using a wi(l)de variety of sensors to connect performers, like dancers, actors, musicians or audience within sensitive 3D digital spaces.
Am Zollhafen 3-5, 55118 Mainz, Germany
Eva & Franco Mattes
Nicole Ruggiero & Molly Soda
“And now that things are
changing for the worse
see, it‘s a crazy world were living in
And I just can‘t see that half of us
immersed in sin
Is all we have to give these
Futures made of virtual insanity now
Always seem to, be governed
by this love we have
For useless, twisting, our new technology
Oh, now there is no sound, for we all live underground” (Jamiroquai)
Installation View: Eva und Franco Mattes, My Generation, 2010, Fotomuseum Winterthur, Schweiz, Photo: Christian Schwager
Virtual Insanity was the title of the song with which
Jamiroquai stormed the international music charts in
1996. The song heralded the dawn of a new era,
capturing its spirit both vocally and tonally. The
accompanying video has taken on legendary status
for its use of what at the time were spectacular images
to encapsulate the feeling of having the rug pulled
from under your feet, and the instability of people and
situations. While the term “virtual insanity” itself has
not stood the test of time, its meaning certainly has.
The accelerating slide into virtual realities is leading
to ever more sensory disorders, escapism and
brutalization. Simulator sickness or motion sickness is
the name given to the exhaustion and dizziness
experienced when someone’s actual physical
movements do not match what they visually perceive –
for instance, when wearing VR glasses. Thanks to VR
glasses, augmented reality applications, and perhaps
special contact lenses soon, too, the future has long
conquered the present.
Video Still: Cao Fei (SL avatar: China Tracy), Live in RMB City, 2009, Courtesy of the Artist and Vitamin Creative
Computer-communicated realities, mixing real and
virtual realities, extending our real surroundings with
additional artificial elements such as avatars or
virtual objects – these are all spaces for encountering
something entirely new, where human perception and
experience can be changed and expanded. They are
just a few examples to demonstrate that our reality is
steadily growing – and how it is doing so. Scientists
have already started attempting to redefine the
concept of “reality” – in a much freer and more
general sense as whatever makes an impact. But
what effects might computers and technology
precipitate in their interaction with human beings?
How will they be noticeable, and when?
Video Still: Jon Rafman: Dream Journal 2016-2017, 2017, Copyright Jon Rafman, Courtesy the Artist and Sprüth Magers
The exhibition Virtual Insanity examines the extension
of reality and its shadowy underbelly. Growth and
change are the driving forces of human thought and
social change; they stimulate us, they provide
meaning, and they can be necessary. At the same
time they can activate things or trigger thoughts and
actions which are neither wanted nor controllable.
When contemporary artists address present-day
issues and phenomena they are making an important
contribution towards understanding these themes.
Video still: Tabita Rezaire, Premium Connect, 2017, Courtesy of the Artist and Goodman Gallery, Johannesburg
In Virtual Insanity they are creating documents, writing
reports and narratives, developing scenarios, they
are practicing an entirely unique approach to the
technical innovations and lifestyle brought about by
the digital revolution. The side effects listed above of
a virtual or expanded reality have long formed an
important component of the questions asked and
research conducted by international contemporary
artists. They vocalize what science conjectures: that
a high degree of immersion can change not only
consciousness but also people. The stronger the
feeling we have of “presence” within the virtual world,
the more convincing is the illusion of being part of it
and of turning one’s back on the physical world, and
the more overwhelming and profound the impact. And
this impact is not merely limited to thoughts and
feelings, but can also be physically measured. Since
the introduction of the World Wide Web around twenty-
five years ago, digital technologies have permeated
our everyday lives and with breathtaking speed have
radically transformed the way we live with each other.
What happens when we immerse ourselves in unknown
worlds but can’t emerge out of them again? What do we
take with us and what remains of us? The artists
participating in Virtual Insanity will be exploring these
questions, and many more besides.
LINK: Virtual Insanity
Joseph DeLappe, Self Portrait/Laurie Anderson VR watercolor on paper 8x8", 2018
In the mid-Nineties, while Miltos Manetas was making a series of stunning paintings about the new environments created by technology - depicting wires, cables, joypads, light guns, and even game spaces (his legendary Paintings After Videogames serie is as relevant today as it was twenty years ago) - Joseph DeLappe created traditional oil paintings referencing media portrayals of people utilizing the first wave of virtual reality technologies when Jaron Lanier was venerated as a guru. In 2018, as virtual reality is experiencing a subdued renaissance, Jaron Lanier is still venerated as a guru and DeLappe began a new series of watercolor studies of people using VR equipment, from visors to controllers. These smaller paintings are based on photographs that the artist shot at various VR festivals, university labs, and conferences. As DeLappe writes on his website,
I remain fascinated by our eager embrace and adaptation to current interface technologies – VR remains very awkward, expensive and ungainly to use.
These paintings translate a digital moment into an analog artifact of this moment in time
Joseph DeLappe, John and Yoko in Bed, FOST watercolor on paper 8x8", 2018
This series is also inspired by a different technology of vision. Not VR, but color blind correcting glasses. As the artist writes,
I’ve been colorblind my entire life. I was partially inspired to take on this new series of paintings due to the acquisition of color blind correcting glasses –painting was always a challenge – these new glasses have literally opened up the world to me and have become, in a way, the mechanism towards connecting me to a new reality of color (wearing a different kind of headset if you will – my glasses)…
June 23 - September 16, 2018
Institute of Contemporary Art (ICA)
560 South First Street
San Jose, CA 95113 > MAP
"ICA’S NEXTNEW SERIES IS A BIANNUAL EXHIBITION PROGRAM THAT PRESENTS THE WORK OF EMERGING ARTISTS AND/OR EMERGING ART PRACTICES.
When playing a board game or video game, one might experience a range of emotions, from elation when advancing towards a finish line, to a sense of gratification from beating a competitor, to a feeling of anger when your strategy goes awry. Immersing wholeheartedly into the rules and experiences of play is what Dutch historian and play theorist Johan Huizinga refers to as the “magic circle,” a zone where players temporarily suspend disbelief and adopt the qualities of the game space, disconnecting from the realities of the everyday world. Games often provide a moment of respite from the “real world” and allow the player to escape into a fantasy.
The eight artists in NextNewGames create work within this alternative space. The set of board games, video pieces, and new media works consider our current social, political, and cultural climate, creating a porous relationship between the imaginary land of the game space and that of the real world.
Characterizing the art world with an air of parody are works by Sioux City-based artist Charles Bass who developed a series of free, participatory games, which comment on the quirks of the opaque art world. COLL.EO (San Francisco- and Milan-based collaborative Colleen Flaherty and Matteo Bittanti) re-enact seminal 1960-70s contemporary art performances and interventions in “Liberty City,“ through the action and adventure game Grand Theft Auto.
NextNewGames artists also invite players to embody different perspectives through single- and multi-player games. Lark VCR and Porpentine Charity Heartscape’s elaborate online game invites players to treat their trauma as if it were a virtual pet. Colorado-based artist Rafael Fajardo presents two contrasting games that simulate the realities of crossing the US-Mexico border at El Paso-Ciudad Juarez. Sam Vernon engages local community members in a game of hangman and creates a visually cacophonous installation with the resulting documentation from this age-old game. Considering the relationship of communities today and in the future, Berkeley-based artist Asma Kazmi constructs a hypnotic, sensorial experience of the religious site of Makkah and documents the rapid changes to the sacred site. San Francisco-based artist Scott Kildall questions what it might mean for the moon to colonize the earth in his site-specific scavenger hunt at the ICA.
These artists move away from the dichotomy of winning or losing. They collectively subvert and interrupt the modes of operating within a game while reflecting on how these game spheres serve as mirrors to our current society: how do we think about cooperation and negotiation? What does it mean to lose or win? Where are points of resolution and conflict? What is your next move?"
The Victoria and Albert Museum
Curated by Marie Foulston
8 September 2018 - 24 February 2019
Advance tickets: £18. Tickets go on sale today.
The Victoria and Albert Museum will host one of the most ambitious exhibitions about videogames, art, and design of the last decade.
Titled Videogames: Design/ Play/ Disrupt, the show will open in the Fall of 2018 and will examine the most diverse and eclectic manifestations of gaming, including indie productions, eSports, and politics. The stated goal is to fully and deeply explore the social, cultural, and artistic impact of games. It is a relief to hear that the exhibition won't follow a chronological order, opting instead for a thematic display of artworks. Artifacts will cover a twenty year period (2000-2018).
Organized into three sections - hence the subtitle, Design, Play and Disrupt - the exhibition will cover aspects related to the production of innovative original narratives like The Last of Us and Journey, the ascent of bedroom and indie coding, the new DIY arcade scene (represented, for instance by Robin Baumgarten's Arcade Backpack), and the typologies of game spaces.
Cardboard Computer, Kentucky Route Zero, 2013-.
It will also juxtapose traditional/modern art with modern interpretations, for instance Rene Magritte’s 1965 painting La Blanc Seing will be shown beside a section of the 2013 Cardboard Computer's game Kentucky Route Zero, which it inspired. There will be also interactive installations of spectacle and performance.
The exhibition will feature several games focusing on themes such as sexuality, capitalism, and globalization through the lenses of indie projects like Nina Freeman’s How do you do it?– in which a young girl explores sex using plastic dolls – and Molleindustria’s Phone Story – which focuses on child exploitation and worker suicide within the production of Apple smartphones. The game, as you know, was banned by Apple in a typical Silicon Valley autocratic move a few years ago.
Nina Freeman, How do you do it?, 2014
Alongside the exhibition, the V&A will be hosting a video games residency for a UK-based artist or designer involved in the videogames scene who wishes to develop their practice through working with the V&A’s curators and learning team in order to develop new work and engage with the public. Additional information on that can be found on the museum’s website.
The exhibition will be previewed on Saturday September 7 2018. More details here.
Read an interview with curator Marie Foulston here.
FULL EXHIBITION OVERVIEW
The first section of the exhibition will examine the design inspirations, craftsmanship and creative practice behind a series of individual games. These are created by a new generation of designers from large established studios to solo independent designers, as well as from a range of other creative disciplines such as new media and music composition. Highlights include character design sketches, a motion capture suit, animations and working notes of the creative director from The Last of Us from Naughty Dog. A visually stunning post-apocalyptic blockbuster, this title is comparable to a Hollywood production in ambition and scope. Other exhibits include prototypes, design drawings and desert research footage from Journey, a smaller independent game, demonstrating how videogames can evoke emotional concepts of friendship, connection, positivity and love. Also shown will be works that have influenced creators such as Magritte’s painting Le Blanc Seing, the inspiration for the parallax scenography of Kentucky Route Zero.
Videogames have the potential to consider complex and sensitive subject matters such as representation, race, sexuality and geo-politics. As tools to make games have become more available and distribution has broadened, game designers have begun to engage more widely with social and ethical debates. The next section will present interviews and opinion from influential game makers and commentators who are leading this discussion such as developer Rami Ismail and advocate Tanya de Pass. Here ideas about videogames and what they should be are challenged – as well as how this relates to society as a whole. A selection of works will illustrate such themes including how do you Do It, a semi-autobiographical game by Nina Freeman which tackles the discovery of sexuality through dolls and Phone Story by Molleindustria, a satirical mobile video game which invites players to consider negative effects of their consumption on people in the globalised world.
The third section celebrates the dazzling imagination and collaborative creativity shown by videogames players in real and virtual communities, transcending the role of the designer to democratise design on a vast scale. The double-height exhibition space in this section will feature a dramatic and immersive installation that explores the role of the player as co-creator. This will show the astonishing feats of engineering and construction undertaken in Minecraft from the recreation of the continent of Westeros in Game of Thrones to the mass spectacle of esports tournaments such as League of Legends World Championships. There will be examples of fan art and cosplay created by enthusiasts who interpret the medium in their own style and create costumes and accessories to represent themselves, or even their pets as characters.
The playful finale will look at the rise of the grassroots DIY arcade scene, showcasing handmade arcade cupboards and interactive installations of spectacle and performance. Unusual and remarkable games made by DIY enthusiasts and creatives will be shown such as Bush Bash by SK Games, played in a sedan car cut in half and fitted with a display for two players to shoot and drive. Visitors can also play games such as Line Wobbler by Robin Baumgarten. Created from a custom-made spring controller and a several metre-long ultrabright LED strip display, it was inspired by a viral video of a cat playing with a door-stopper spring.
LINK: Victoria & Albert Museum
File under: slow (slower) machinima. Pedestrian, but non in that sense. A documentation of a walk inside a videogame that can be experienced with a virtual reality handset adorned with grass fibres and scenic lichen: an oxymoron that makes perfect sense. Peripatetic action in installation form.
Bob Bicknell-Knight, Mountain Walk, detail (2017)
Compare to this (Real violence? Please...):
Simply. No. Comparison.
LINK: Bob Bicknell-Knight (Images and videos: courtesy of the Artist)
Jakob Kudsk Steensen's AQUAPHOBIA is a stunning achievement, both on technical and conceptual levels. Created with Unreal Engine, AQUAPHOBIA is an immersive experience which allows the viewer to navigate through five different environments or "levels" seamlessly connected. These spaces form an ecosystem and include simple to water microbial surroundings and futuristic replicas of Louis Valentino Jr. Park and Pier in Red Hook, Brooklyn, developed in a scale accurately one to one. The "goal" of this non-game is to to overcome fear of water, hence the title, AQUAPHOBIA. The work features a voice-over narration by Rindon Johnson.
As the artist writes,
AQUAPHOBIA uses VR to connect inner psychological landscapes with exterior eco-systems. The work is inspired by psychological studies of the treatment of aquaphobia – fear of water- as an entry point to transform perceptions of our relationship to future water levels and climates. [...] While travelling through the landscape, an alien morphing aquatic entity follows you around and emit scuba diving sounds and recites a poem, which tell a breakup story between the landscape and its virtual visitor. Ultimately, AQUAPHOBIA uses VR to mixes past and future geological periods, and the work personifies a landscape through a break-up story.
You may remember Steensen's equally powerful work Primal Tourism, which we featured last year.
Below is a VR documentary created by Steensen:
Jakob Kudsk Steensen is a Danish artist and art director based in New York, specialized in VR and real-time virtual simulations of ecosystems. Through his practice, Steensen is concerned with how imagination, technology and ecology intertwine by developing futuristic virtual simulations of existing real-world landscapes. His work is at the forefront of real-time rendered virtual environments, and he develops projects through collaborations with science, technology and natural science divisions. Steensen also develop work through collaborations with artists from digital media industries, with the aim of bringing diversity in content, and opportunities to experimental developers. As a result, Steensen occupies a space in-between art, science and 3D studio production models.
LINK: Jakob Kudsk Steensen (all images and videos courtesy of the Artist)
David OReilly, "Everything", 2016; Photo: N. Miguletz, Copyright; Frankfurter Kunstverein
Perception is Reality: On the Construction of Reality and Virtual Worlds
October 7, 2017–January 7, 2018
Opening: October 6, 7pm
Steinernes Haus am Römerberg
Hours: Tuesday–Sunday 11am–7pm,
Participating artists: Thomas Demand, Alicja Kwade, Marnix de Nijs, Hans Op de Beeck, David OReilly, Manuel Roßner, Bayerisches Landeskriminalamt, Christin Marczinzik & Thi Binh Minh Nguyen, Toast
Curated by: Franziska Nori
The Frankfurter Kunstverein presents the thematic group exhibition Perception is Reality: On the Construction of Reality and Virtual Worlds. The invited artists will examine the new conditions of human perception in relation to technically constructed realities. As one of the first exhibition houses in Germany, the Frankfurter Kunstverein will integrate a new forward-looking medium, virtual reality, into a contemporary art exhibition. The exhibition will present a range of analogue and digital works, virtual reality works from recent artistic production, conceptual photography, installations, technical forensics applications as well as innovative games. Through their spatial juxtaposition, a kind of thought experiment will emerge for the audience, raising questions about the intellectual, emotional, and aesthetic implications of artificial visual worlds.
“The exhibition poses questions about the basic conditions of perception today and how we construct our own conception of reality out of them. Technological systems are connecting people, data, and processes more and more closely together. Immersive technologies will increasingly replace analogue surroundings with virtual data rooms, therefore radically changing the way that we interact socially, work, and how we organize our free time,” according to Franziska Nori, director of the Kunstverein and curator of the exhibition.
A matter left mostly to the experts until recently, VR technologies carry the promise of immersing the user into an augmented reality, a digitally created environment, and integrating them into a 360° perspective illusion independently of space and time. They aim to create the most immediate perception possible, incorporating the user’s senses and emotions, who is isolated from the real world by means of headsets and headphones, so that the user can then move and act within this virtually created reality.
Which industries will further develop the potential of this virtual experience space, and with what intent? It is a question of the influence on the viewer. Who conceives of and designs the content of a virtual experience? Which emotional and intellectual reactions should be triggered? Even if actions within a virtual arena of spectacle remain without any real consequences—from criminal offenses to bodily limit experiences—they produce an intense experience in the human brain which is perceived as real and exist as a new category on the spectrum of human experience within an individual’s neural structure, which is subsequently stored as a long-term memory.
What challenges arise for our brain when technically produced virtual worlds increasingly play a role in our lives? How real are our pictures, how real are our experiences? Which perceptions does our brain use to construct an idea, or its own idea, of reality? Which parameters do pictures need to fulfill in order for people to accept them as real?
The juxtaposition of analogue contemporary art and Virtual Reality stations creates a choreography throughout the Frankfurter Kunstverein, which makes crucial observations on the relationship between perception, consciousness, and knowledge-based reason and asks which idea of the world we derive from these.
The invited artists and designers create analogue and virtual spaces in which the viewer has both physical and mental experiences. They experience the spaces with their senses and try to gauge the limits of expectation, illusion, and reality in these constructed visual worlds. The exhibition will open up a mental space for contemplating the complex relationship between the conditions of perception, the resultant constructs, and the idea of reality in the light of technological innovations through immersive VR technology.
The exhibition will be accompanied by an extensive program of lectures by experts from various fields as well as public discussions and talks.
Kindly supported by: Kulturfonds Frankfurt RheinMain
In cooperation with: Bayerisches Landeskriminalamt
Parcours partner of: B3 Biennial of the Moving Image
Permanently supported by: City of Frankfurt am Main (Department for Cultural Affairs), Heymann & Partner, Frankfurter Sparkasse 1822, Nordisk Büro
isthisit? is a platform for contemporary art run and founded by Bob Bicknell-Knight.
You are invited to submit to isthisit?'s third magazine publication, which will be available to view online and in physical limited edition books.
The overriding theme of the issue will be virtual worlds, the excessive violence surrounding video game debate and discussion, particularly in the online sphere, alongside video game aesthetics and ideas. In August of 2014, the now infamous movement dubbed Gamergate was born, the controversial campaign concerned issues of sexism and progressivism in video game culture, stemming from a harassment campaign conducted primarily through the use of the hashtag #GamerGate. Within the movement several prominent female figures working within the gaming industry were targeted, particularly game developers Zoë Quinn and Brianna Wu, as well as feminist media critic Anita Sarkeesian.
The third issue of the magazine hopes to consider the constructed worlds that we choose to inhabit, the power of video games as an interactive medium, the heteronormative face of stereotypical video gaming and the aesthetics and ideas associated with machinima based art practices.
You're invited to submit any and all types of work that fit under this loose theme, from videos to physical sculptures, net art to paintings. We are also looking for academic (and not so academic) essays that consider these ideas.
In the future there will be a physical launch event for the third issue of the magazine, most probably in London.
If your work is selected you will receive a free PDF copy of the magazine.
Go to www.curatorspace.com/opportunities/detail/isthisit-magazine-issue--open-call--virtual-worlds-and-excessive-online-violence/1598 to submit through CuratorSpace.
Or email [email protected] with 'isthisit? issue 3' in the subject line, including your name, artist statement, art work name, description of artwork and some images/video file/essay.
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If you have any questions or queries feel free to email [email protected] !
Bob Bicknell-Knight is a London based artist/curator and the founder of isthisit?, working in installation, sculpture, moving image, net art and other digital mediums, with an interest in online and offline surveillance accompanied by the consumer capitalist culture within today’s society are the main issues surrounding my work in association with current and future utopian environments, the continued automation of our daily lives in relation to the internet of things and the various cultures associated with online communities
LINK: Bob Bicknell-Knight