GAMESCENES

EVENT: HEECHEON KIM: DOUBLE POSER (DECEMBER 1 - JANUARY 7 2024, LONDON)

Heecheon Kim: Double Poser
1 Dec 2023 –⁠ 7 Jan 2024
HENI Project Space, Hayward Gallery
Hayward Gallery, Belvedere Road, London SE1 8XX

press release

Kim’s work conflates virtual and physical realms, embracing yet questioning our obsession and trust in advanced technologies.

In his video works, Kim manipulates both filmed and found footage to challenge our habitual manner of processing visual and sensory information. They consider how our bodies, memories, emotions, identities, physical experiences and the banality of daily life are constructed and represented in digital space.

Using technologies such as GPS, augmented reality, virtual reality and face-swap applications, the artist creates ambiguous and, at times, decidedly nonsensical narratives.

This exhibition includes a new moving image commission created using a ‘game engine’, which is a software platform for developing video games. It takes inspiration from the brutalist architecture of the Hayward Gallery and brings together elements of computer-generated imagery, video game aesthetics and skateboarding culture.

You can also see Kim’s 2019 video work Deep in the Forking Tanks at this exhibition.

Heecheon Kim lives and works in Seoul. He was awarded the 2023 Hermès Foundation Missulsang Art Prize.

Developed in collaboration with Seoul’s Art Sonje Center, this exhibition is part of Korean Season 2023. Korean Season 2023 is hosted by the Ministry of Culture, Sports and Tourism (Korea) and organised by KOFICE (Korean Foundation for International Cultural Exchange) and KCCUK (Korean Cultural Centre UK).

Heecheon Kim (b. 1989) graduated from the architecture department of the Korea National University of Arts. He has held solo exhibitions at the Asian Art Museum (2018, San Francisco) and Doosan Art Center (2017, Seoul) and taken part in numerous group exhibitions at the National Museum of Modern and Contemporary Art, Korea (2019, Seoul), İstanbul Museum of Modern Art (2017, İstanbul), ZKM (2019, Karlsruhe), and the Museum of Contemporary Art and Design (2019, Manila).

LINK: Heecheon Kim: Double Poser

LINK: Heecheon Kim

EVENT: MIKHAIL MAKSIMOV (JULY 28 - AUGUST 10 2023, ONLINE)

The New Game Is Over

video walkthrough (1920 x 1080), color, sound, 10’ 15”, Russia

Created by Mikhail Maksimov

VRAL is delighted to present an artist walkthrough based on Mikhail Maksimov’s latest project, The New Game Is Over, an interactive experience which revolves around a remarkable machine that generates emotions and desires, allowing players to take on the role of a demiurge. In this position of power, players can develop, preserve or even destroy self-sustainable systems. The New Game Is Over is a commentary on the intricate interplay between creation and destruction, growth and decay.

Mikhail Maksimov is a Moscow-based artist and filmmaker whose multimedia practice bridges architecture, technology, and moving image. After receiving degrees in Architecture and Photography, Maksimov began exhibiting experimental films and installations that investigate game aesthetics, 3D graphics, algorithms, and neural networks. His works have been featured internationally at Manifesta 10 (2014), Locarno Film Festival (2018), Hamburg KurzFilmFestival (2019), Riga Biennial (2020), Venice Architecture Biennale (2021), Art for the Future Biennale (2022), and DA Z festival in Zurich (2022), among others. Blurring the real and virtual, Maksimov’s practice contemplates emerging technologies and their role in shaping our social environments and collective imagination.

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EVENT: VECTOR FESTIVAL 2023: SHADOW WORK (JULY 6-16, TORONTO, CANADA)

Vector Festival 2023: shadow work

July 6–16, 2023

InterAccess
Unit 1
950 Dupont Street
Toronto ON M6H 1Z2
Canada

press release

Vector Festival is a participatory and community-oriented initiative dedicated to showcasing digital games and creative media practices.

Vector Festival 2023: shadow work, curated by Mitra Fakhrashrafi, engages the formal and informal and mundane and arcane ways that classification systems attempt to contain the messy realities of our lives and shape our conditions. Confronting the work that both maintains and disrupts these systems, shadow work presents interventions on labour, the calculability of human life, the ungovernable, the echoes and reverberations of colonization and propositions for new, “life-giving” languages.

Through a hybrid online and in-person program of exhibitions, performances, screenings, and workshops, this 10-day festival invites artists and audiences to come together as we navigate the systems uninformed of our humanity.

Details will continue to be announced at vectorfestival.org

Program highlights

shadow work
Flagship Exhibition, July 6–August 5, 2023
Curated by Mitra Fakhrashrafi

Through AR, VR, solar power, and immersive projection, shadow workexplores classification systems in contrast with the messy reality of our lives.

Worldbuilding towards...
Game Jam, July 7–16, 2023
Curated by Bracy Appeikumoh

This participatory game jam encourages game makers to create worlds radically different from our current realities, ones that foster care, compassion, and community. Together, we’ll ask (and work to answer): what world would you like to live in?

Anthropo-digitalism
Multi-site exhibition, July 6–July 16, 2023
Curated by keiko Hart

How does the digital (re)animate our environments? How do we imprint our humanness upon the digital, and how does digitalness imprint upon us humans? Ruminate on your human/digital reflections with the anthropomorphic inventions of Marisa Fulper-Estrada, Jon McCurley, Kristin McWharter, Lorna Mills, Sunny Nestler, and Seth Scriver.

a language of bodies
Screening, July 12, 2023    
Curated by Fabiyino Germain-Bajowa

This screening brings together artists who are each transcending sealed forms and exploding the classification systems which govern “bodies”. By engaging physical bodies, bodies of water, and bodies of knowledge, these artists are working in the spaces between, celebrating the undefined and uncontrollable.

ponyHAUS performance
Performance, July 14, 2023
Curated by ponyHAUS

In true hybrid fashion, you're invited to a night of moving in and out of screen-based worlds. Contrast and draw parallels between our IRL and URL lives, supported by a selection of experimental music performances.

A Very Human Screening
Screening, July 15, 2023
Curated by Insomniac Film Festival

Go outside! Touch Grass! Logging off has become harder and harder to do. Our jobs, our social lives and our societal infrastructures have all moved online. Our identities, our bodies even, are shaped by the internet. So what now? Do we fight harder for our three-dimensional lives, or do we submit to the digital one we have? Joining us in pondering these questions with Insomniac in the genuine, outdoor, real life world.

Festival After Party
July 16, 2023
Details TBA, stay tuned.

Workshop series

SinkInSync: Creating Interactive VR with Brainwave Data
Online via Zoom, July 8
Facilitated by Tiange Wang and Xin Feng

Explore creating interactive and responsive VR environments leveraging brainwave data using Unity3D, Muse Headband, and Oculus VR Headset (Muse Headband or the VR Headset not required to participate). Upon completion of the workshop, participants will have created a 3D environment with dynamic visual elements responsive to data, and obtained the knowledge to independently implement neurofeedback VR experiences with commercially-available tools.

Tiling into AI
In-person, July 9
Facilitated by Blaine Cambell and Mohamed Somani

Patterning is an accessible activity regardless of age and skill that has deep roots across cultures. It is also a way for people to connect in verbal and non-verbal ways—in the moment of the activity but also across geographies and time. Join us in a freeform pattern making workshop where participants create individual or group patterns using various coloured cut geometric mat board shapes. These creations will be augmented by an AI model which will insert a collaborative “buffer” to connect our creations and create a cohesive, continuous pattern.

Utopics
In-person, July 13
Facilitated by Geoffrey Pugen

In this workshop Geoffry Pugen will demonstrate how to create a labyrinth as a 3d asset and export a rendered video walk through of the scene. Using Unreal engine 5.1 and Blender 3.5

Making a Solar-Server: DIY Web Design & Eco Media Art
In-person, July 22
Facilitated by Imogen Clendinning

Learn about DIY Internet technology and solar-powered media with one of Vector Festival 2023’s exhibiting artists. Participants will be led through the creation of a static HTML web server hosted on a Raspberry Pi microcomputer and a live demonstration on powering a microcomputer using solar energy.

Registration, more details, and updates with workshops soon to be announced. More programming announcements to come!

Keep in touch with us at @interaccessto on Instagram and at vectorfestival.org
If you have any questions about the Vector Festival or our programming, please email [email protected].

LINK: Vector Festival 2023

GAME ART: LAWRENCE LEK'S THETA'S WORLD (2023, ONLINE AND BEIJING, CHINA)

Lawrence Lek, Theta's World, 2023. Digital work. Courtesy of the artist and X Museum. © X Museum.

Lawrence Lek
Theta’s World
X Virtual Incubator
May 27, 2023

press release

As the second edition of its Incubator commissions, X Virtual is delighted to present artist Lawrence Lek's latest project, Theta’s World. Created on X Virtual’s multiplayer online platform, Theta’s World is an experimental video game that explores nonhuman consciousness, virtual cityscapes, and storytelling through video game infrastructure. The work is built upon SimBeijing—a fictional smart city from the artist’s body of work Sinofuturism.

Theta’s World immerses the player into the heart of SimBeijing, a fictional smart city brought into existence as a cradle and testbed for intelligent technologies, devoid of human life. The work sprawls an intricate world comprising three levels, varying in times of a day—from the “Looping City at Dawn,” through the “Lattice City at Twilight,” to the “Vertical City at Midnight.”—each alluding to Theta's dream states and consciousness evolution. Through the first player persona of Theta, a self-driving car dreaming about its life and choices within this city, the player embarks on an odyssey through a multitude of layered and increasingly complex narratives.

Resonating with architect Lebbeus Woods' methodology, Lek designed a cityscape which creates a mirroring effect of time, structure, and form that permeates through each level. Embedded within this urban fabric are scattered fragments of text, each whispering stories that shift and morph with every journey undertaken. The non-linear nature of these narrative threads grants every participant an unparalleled storytelling encounter. By bestowing dreams upon Theta, the consciousness, subjectivity and existence of machine are examined through a lens traditionally unexplored. Centering an AI entity in a world where only non-human life exists prompts us to contemplate the ethical intricacies inherent to such a reality.

The online playable work will culminate in an immersive installation. The physical showcase of Theta’s World will be on view from August 2023 at X Museum in Beijing.

 

Lawrence Lek
Lawrence Lek is a filmmaker, musician, and artist who unifies diverse practices—architecture, gaming, video, music and fiction—into a continuously expanding cinematic universe. Over the last decade, Lek has incorporated vernacular media of his generation, such as video games and computer-generated animation, into site-specific installations and digital environments which he describes as ‘three-dimensional collages of found objects and situations.’ Often featuring interlocking narratives and the recurring figure of the wanderer, his work explores the myth of technological progress in an age of artificial intelligence and social change.

Lek studied at Trinity College, University of Cambridge, the Architectural Association, London, and The Cooper Union, New York. Lek recently graduated with a PhD from the Royal College of Art in London. He has exhibited internationally with recent solo exhibitions, including Sadie Coles HQ, London (2023); QUAD, Derby (2022–3); ZiWU The Bund, Shanghai (2022); Center for Contemporary Arts Prague, Prague (2019); HeK House of Electronic Arts, Basel (2019); Urbane Künste Ruhr, Essen (2019); and K11 art space, Hong Kong (2018).

X Virtual
Launched by X Museum in 2019, X Virtual is a digital art platform that fuels new artistic 3D spaces in the virtual worlds. X Virtual provides a digital infrastructure—an interoperable network of virtual worlds that stimulates new artistic productions and critical practices. We commission artists to create audio-visual space on X Virtual’s online platform and host online and offline exhibitions and virtual gatherings.

As a museum affiliate initiative dedicated to cultivating virtual worlds, X Virtual aims to foster new thoughts, discourses, and interdisciplinary practices in the light of emerging Web 3.0-centred technologies, including XR, AI, and game engines. Through working with digital creators from diverse backgrounds, we are devoted to building an accessible digital art platform to the fast-evolving Web 3.0 virtual worlds, for everyone.

Credits
Artist: Lawrence Lek
Soundtrack: Kode9 and Lawrence Lek
Writing: Lawrence Lek and Holly Gramazio
Architecture: Andreea Iliescu
Technical support: Pete Jiadong Qiang

LINK: Lawrence Lek's Theta's World

EVENT: BRENT WATANABE (MAY 19 - JUNE 1 20923, ONLINE)

MINE

machinima/digital video (1920 x 1080), color, sound, 37’ 06”, United States, 2023

Created by Brent Watanabe

 

The latest work by Brent Watanabe is a thought-provoking exploration of the intersection between virtual reality and contemporary culture. Originally conceived as a semi-narrative interactive experience, MINE spans eight mesmerizing episodes, each presenting a different facet of our complex relationship with consumption, waste, the environment, and the digital world. Originally presented on Meta/Facebook's VR platform Horizon Worlds, visitors are invited to journey through a kaleidoscopic array of immersive and fully-realized virtual environments, each revealing a new layer of insight and critique. From the grotesque realities of animal exploitation to the dark allure of gaming, guns, and surveillance, MINE is a bold and unflinching statement on the pressing issues of our time. The original work has been reimagined as a single-channel walk-through video edited by the artist for VRAL. 

Brent Watanabe’s art practice defies categorization, fusing traditional techniques with cutting-edge technology to create installations that are at once visually arresting and intellectually engaging. Drawing on his extensive background in drawing and sculpture, Watanabe uses computer programming and electronics to create kinetic sculptures that are at the forefront of a new wave of digital art. Watanabe’s work has been recognized both nationally and internationally, with his groundbreaking 2016 project, San Andreas Deer Cam, receiving over 800,000 visitors in its first three months alone and being featured in publications such as New York Magazine, the BBC, and WIRED. In addition to his solo work, Watanabe has participated in group shows and screenings around the world, including Through Machine Eyes at the NeMe Arts Center in Limassol, Cyprus, Game Changers at MassArt Art Museum in Boston, and Playmode at the MATT Museum in Lisbon, Portugal. With recent solo exhibitions at prestigious venues such as SOIL Art Gallery, McLeod Residency, Jack Straw New Media Gallery, Gallery 4Culture, Anchor Art Space, and the Bumbershoot Music and Arts Festival, Watanabe continues to push the boundaries of what is possible in the realm of digital art. 

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EVENT: ART IN THE AGE OF THE METAVERSE (MARCH 10-12 2023, AMSTERDAM & ONLINE)

Artwork: Kévin Bray. Graphic Design: Clara Lezla.

AGE IN THE AGE OF METAVERSE

International Conference
10 – 12 March 2023
De Balie, Amsterdam & online

Hartwig Art Foundation
Rijksakademie van beeldende kunsten
Memory Gems

A new technological universe has created new artistic landscapes. During this conference, artists, curators, activists and industry professionals who work at the intersection of contemporary art and digital technologies, will take us deep into the metaverse, a shared space at the nexus of the virtual and the physical that is gaining increased attention as a space for artistic production and experiences. How are we interacting with it, and how can we shape its future direction in a more ethical and collaborative manner?

Through talks, discussions, and presentations, the speakers will share their insights and explore key questions such as: What are the forms of artistic practices at the intersection of the physical and the virtual? How do artists, using these technologies, engage with the ethical, social, and environmental implications? How can we counter big tech in deciding what the metaverse is and can become? And what role do we, as participants, play in shaping the future direction?

The conference will open on Friday at 8 p.m. at De Balie with the Dutch premiere screening of Ian Cheng’s Life after BOB: The Chalice Study, followed by a conversation with Ian Cheng.

Confirmed speakers include Morehshin Allahyari, Black Swan, Ian Cheng, Barbara Cueto, Ali Eslami, The Hmm, Trevor McFedries, Micaela Mantegna, Moving Castle (Arthur Roeing Baer+GVN), Marina Otero Verzier, Chao Tayiana, Shuruq Tramontini, and Veronica So. Further confirmed participants will be continuously added.

LINK: ART IN THE AGE OF THE METAVERSE

CALL FOR ENTRIES: FILE 2023 (DEADLINE: FEBRUARY 15 2023)

 

One of the most exciting digital arts festivals in the world, FILE - Electronic Language International Festival has recently launched its 2023. After a three years hiatus, FILE is back in grand style. Applications will be open from December 19th to February 15th.

 

The 22nd Edition of the Electronic Language International Festival will take place at the FIESP Cultural Center, in São Paulo, from July 5th to August 27th 2023. The selected projects will also be able to collaborate in parallel events in different states of Brazil, also taking place in 2023. The submission is free of charge.

FILE 2023 focuses on four  categories: Electronic Sound, Interactive Art, Digital Language (including video games and machinima, VR and AR) and Educational.

Click here for more information about the submission process. (Thank you Clarissa!)

EVENT: HYPERSCAPES – VIRTUELLE LANDSCHAFT ALS SEHNSUCHTSORT? (NOVEMBER 25 2022 - JANUARY 29 2023, BERN, SWITZERLAND)

Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?

25/11/22 — 29/01/23 (Vernissage: 24.11.2022, 18:30 Uhr)

Ausstellung
Stadtsaal 1. OG

Bern, Switzerland

 

Kuration: Nicolas Kerksieck
Marlene Wenger
Christian Schnellmann

Press release (English below)

Mit der Loslösung des Menschen von der Natur änderte sich die Bedeutung von Landschaft. Die ehemals bedrohliche Wildnis wurde zum Sehnsuchtsort für den Ruhesuchenden, die Touristin, den Wanderer oder die Öko-Aktivistin. Landschaft ist heute Natur, gesehen aus dem Blickwinkel des Menschen, ein Ort, den wir immer ästhetisiert wahrnehmen und der uns anzieht. Diese Entwicklung spitzt sich in den digitalen Räumen zu. Hier gestalten wir Landschaftsräume in Videogames oder im Metaverse genau nach unseren Wünschen und Bedürfnissen. Die echte Natur liefert uns eine immer fernere Vorlage dazu.

Die Ausstellung «Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?» interessiert sich für die Flucht in menschgemachte hybride und digitale Landschaftsräume. Was suchen wir da? Und finden wir, was wir suchen? Hyperscapes ermöglicht dem Publikum, selbst in künstliche Landschaftsräume einzutreten, deren Wirkung zu erfahren und eine reflektierte Haltung einzunehmen.

Die Ausstellung konzentriert sich auf Landschaften als idealisierte Sehnsuchtsorte. «Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?» geht insbesondere der Frage nach, wie sich diese Idealisierung der Landschaft im digitalen Raum fortsetzt. Ausgehend von der Beobachtung, dass virtuelle Räume in der digitalen Kunst und im Game Design als natürliche Landschaft gestaltet werden, möchte die Ausstellung der Beschaffenheit dieser gestalteten Landschaften nachgehen.

Dabei sind zwei Tendenzen zu beobachten: einerseits sehr mimetische, naturalistisch bis hyperrealistische Landschaften, die an die traditionelle Landschaftsmalerei und die aus menschlicher Sicht möglichst naturgetreue Darstellung von Natur anknüpfen. Andererseits eine freiere, total der Fantasie überlassenen Gestaltung von digitaler Landschaft, die sich den bekannten physikalischen Gesetzen und Vorstellungen entledigt und neue, spekulative Landschaften entstehen lässt. Gerade im digitalen Raum haben die Freiheiten so weit zugenommen, dass sich Landschaft ganz abgekoppelt von Natur den individuellen Wünschen der Gestaltenden fügt.

Die Ausstellung «Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?» möchte zeigen, auf welche unterschiedliche Weise wir uns die Landschaft im virtuellen Raum vorstellen und bauen und wie wir uns darin bewegen.

Ein Ausstellungsprojekt organisiert durch das Kornhausforum Bern in Zusammenarbeit mit der Berner Design Stiftung.

Ausgewählte Künstler:

Alice Bucknell

Mélanie Courtinat

Deer Hunter / WizardWorks

dribnet

Pascal Greco

Gabriel Lory (Vater und Sohn)

Mélodie Mousset

David O'Reilly

Christiane Peschek

Jakob Kudsk Steensen

Studer / van den Berg

Terra Nil / Free Lives

Walden, a Game / Tracy Fullerton and the Walden Team

---

With the detachment of man from nature, the meaning of landscape changed. The formerly threatening wilderness became a place of longing for the peace seeker, the tourist, the hiker or the eco-activist. Today, landscape is nature as seen from the human perspective, a place that we perceive in an increasingly aestheticized way and that attracts us. This development comes to a head in digital spaces. Here we design landscape spaces in videogames or in the metaverse exactly according to our wishes and needs. Real nature provides us with an increasingly distant template for this.

The exhibition "Hyperscapes - Virtual Landscape as a Place of Desire?" is interested in the escape into man-made hybrid and digital landscape spaces. What are we looking for there? And do we find what we are looking for? Hyperscapes allows the audience to enter artificial landscape spaces themselves, to experience their effect and to take a reflective stance.

The exhibition focuses on landscapes as idealized places of longing. "Hyperscapes - Virtual Landscape as a Place of Longing?" specifically explores the question of how this idealization of landscape continues in digital space. Based on the observation that virtual spaces in digital art and game design are designed as natural landscapes, the exhibition aims to investigate the nature of these designed landscapes.

Two tendencies can be observed: on the one hand, very mimetic, naturalistic to hyper-realistic landscapes that tie in with traditional landscape painting and the representation of nature that is as true to nature as possible from a human perspective. On the other hand, a freer design of digital landscape, totally left to the imagination, which gets rid of the known physical laws and ideas and allows new, speculative landscapes to emerge. Particularly in digital space, the freedoms have increased to such an extent that landscape, completely detached from nature, conforms to the individual wishes of the designer.

The exhibition "Hyperscapes - Virtual Landscape as a Place of Desire?" wants to show the different ways in which we imagine and build the landscape in virtual space and how we move within it.

An exhibition project organized by the Kornhausforum Bern in collaboration with the Berner Design Stiftung.

Featured artists:

Alice Bucknell

Mélanie Courtinat

Deer Hunter / WizardWorks

dribnet

Pascal Greco

Gabriel Lory (Vater und Sohn)

Mélodie Mousset

David O'Reilly

Christiane Peschek

Jakob Kudsk Steensen

Studer / van den Berg

Terra Nil / Free Lives

Walden, a Game / Tracy Fullerton and the Walden Team

LINK: Hyperscapes – Virtuelle Landschaft als Sehnsuchtsort?

EVENT: THE PIECES I AM (SEPTEMBER 30 2022 - JANUARY 8 2023, SHANGHAI)

panGenerator, Infinity, 2020

The Pieces I Am

Curated by Douyin Art 

September 30 2022 - January 8 2023

UCCA Edge
2F, No.88 Xizang Bei Lu,
Jing'an District, Shanghai

press release

SHANGHAI, China — From September 30, 2022, to January 8, 2023, UCCA and Douyin Art present the group exhibition “The Pieces I Am,” focused on humanity’s existence in the digital age. The exhibition features 27 artists and groups from China and abroad who use and/or explore technology in their works. The Chinese exhibition title takes its inspiration from the idiom 吉光片羽(jíguāngpiànyǔ), which metaphorically refers to fragments of treasured ancient relics, and changes the first character to the homophonous 集 (jí) to alter the meaning to suggest a collection of precious, beautiful, and enlightening “pieces” drifting down from the digital world. “The Pieces I Am” offers a possible starting point for understanding our digitized reality, interpreting and disenchanting the contemporary digital age through a wide range of art that traverses between digital and real, authentic and virtual, natural and technological, and logical and emotional. In doing so, it seeks to offer us new ways of recognizing the self, the world, and the relationship between the two in our fragmented contemporary context. “The Pieces I Am” is curated by UCCA Lab Curators Liya Han and Yoojin Tang together with special guest curator Iris Long, designed by Shen Ruofan, and organized by the UCCA Lab team.

Exhibition co-organizer Douyin Art has specially developed an online exhibition space as well as interactive viewing experiences for the offline exhibition. Douyin Art also hosted a special opening livestream including the premiere of an eponymous exhibition concept film starring art ambassadors selected by UCCA. Please find more information on the opening and film below.

Works in the exhibition

Participating artists include Pascale Birchler (b. 1982, Einsiedeln), Ian Cheng (b. 1984, Los Angeles), Chun Shao (b. 1987, Hangzhou), Guo Cheng (b. 1988, Beijing), Ann Veronica Janssens (b. 1956, Folkestone), Lawrence Lek (b. 1982, Frankfurt am Main), Lin Ke (b. 1984, Zhejiang province), Liu Di (b. 1985, Shaanxi province), Jiayu Liu (b. 1990, Liaoning province), Rafael Lozano-Hemmer (b. 1967, Mexico City), David OReilly (b. 1985, Kilkenny), panGenerator (formed 2010), Pete Jiadong Qiang (b. 1991, Shaanxi province), Shinseungback Kimyonghun (formed 2012), Shi Zheng (b. 1990, Jiangsu province), Yehwan Song (b. 1995, Seoul), Studio Above&Below (formed 2018), Sun Yitian (b. 1991, Wenzhou), Tang Chao (b. 1990, Hunan province), Coralie Vogelaar (b. 1981, Delft), Wu Ziyang (b. 1990, Xuzhou), Xin Yunpeng (b. 1983, Beijing), Ye Xuan (b. 1989, Hunan province), Yin Yi (b. 1978, Shanghai), Young-Hae Chang Heavy Industries (formed 1999), Wenxin Zhang (b. 1989, Hefei), Payne Zhu (b. 1990, Shanghai)

UCCA EDGE: Opened in May 2021, UCCA Edge occupies 5,500 square meters over three levels of the new EDGE tower in Shanghai’s Jing’an District. Designed by New Yorkbased architecture practice SO – IL, the museum includes 1,700 square meters of gallery space as well as a wraparound outdoor terrace and public spaces including a lobby and auditorium. Situated just north of People’s Square and Suzhou Creek, and directly above the Qufu Lu station of the Shanghai Metro in a bustling revitalized neighborhood, UCCA Edge will quickly become an essential destination and an integral part of Shanghai’s vibrant cultural fabric.

David OReilly, Everything, 2017

Wu Ziyang, Pasig River 2030 - 6 Plus, 2022

Ian Cheng, BoB (Bags of Belief), 2018-2019

LINK: The Pieces I Am (Thanks, Gemma!)

CALL FOR ARTWORKS: HOPS AHEAD: THE ART OF ALTERNATE HISTORIES, PRESENTS, AND FUTURES (DEADLINE: JULY 31 2022)

The International Conference on Interactive Digital Storytelling (ICIDS) has released the 2022 Art Exhibition's call for work.

It's available here.

This year's curators are Clara Fernández-Vara and Nick Montfort, and the deadline is July 31.

This year's theme is "Hops Ahead: The Art of Alternate Histories, Presents, and Futures." It is inspired by the 60th anniversary of Julio Cortázar's novel Rayuela (in English, Hopscotch), which connected a well-known game with the novel in February 1963, inviting readers to encounter the text in more than one order. We welcome submissions that explore the potential of interactive narrative to envision alternate and future realities in the following themes

• Alternate histories, presents, and futures
•  Social connection and disconnection
• Cultural universals and differences
• Working across languages
• Playful words and languages

Artworks are welcome in (at least) the following forms and formats:

• Browser-based interactive digital art
• Electronic literature
• Parser-based interactive fiction
• Narrative-driven games
• Twine games/"Twines"
• Visual novels
• HTML5 narratives / games
• Bitsy games
• Art installations
• AR, VR, and XR works

 

LINK: Hops Ahead: The Art of Alternate Histories, Presents, and Futures