Previously: Playlist - Playing Games, Music, Art.
Playlist - Playing Games, Music, Art, an exhibition curated by Domenico Quaranta for Laboral's new Mediateca Expandida, explores the role played by music in the adoption and manipulation of obsolete technologies: vinyls, old computers, game platforms, etc.
Playlist follows a long long trails of game-related exhibitions at Laboral (see for example Homo Ludens Ludens) and just when i thought "oh nooo! Not another one!", they managed to bring an exciting new perspective on the world of game art.
Despite its geeky, garage, masculine aura, Chiptune music is less anecdotal a theme as one might think. It didn't exactly become the new "folk music for the digital age" nor the "next step in the evolution of rock and roll" that Malcolm McLaren, the legendary ex-manager of the Sex Pistols, had forecast but that's probably part of its charm. If chiptune music had found its way towards mass culture after roughly two decades of existence, you'd see this exhibition at MOMA or the Fondation Cartier, not at a more adventurous space like Laboral. This doesn't mean that chip tune music 'failed' to reach the music charts. It's just that it would probably lose its soul if it were assimilated by corporations and turned into mainstream candy.
Paul Slocum, c=64 synth, 2003
Chip music is low-key. Its scene is relatively small, its sound is raw and lo-fi, but more importantly, its tools are outmoded goods of mass consumption. This obsolescence of the media was at the heart of curator Quaranta's reflections. The very essence of chip music is indeed at odds with the so-called 'planned obsolescence' model that has come to be part and parcel of the industrial stream of electronic goods since the early decades of the 20th century. By 'upcycling' vintage computer and video game systems, hacking, tweaking and bringing to light their untapped potential or turning their very shortcomings into musical or visual features, the artists and computer hobbyists not only defy any assumption that their passion is only driven by nostalgia, they also go against this almost universally endorsed model of planned obsolescence. In the florid essay he wrote for the Playlist catalog, Matteo Bittanti reminds us what a great purveyor of quotes McLuhan was. He believed that "obsolescence never meant the end of anything, it's just the beginning."
Here's the first part of my report about the exhibition.
Jeff Donaldson/noteNdo's RESET v2.0 embodies perfectly the way the 8-bit community makes the most of the defects and limitations that come with old game consoles. Each NES console has been prepared to instigate generative system crashes/malfunctions which are triggered by laser light. As the participant walks through the installation space/laser field, different audio-visual effects are produced when different beams are obstructed. The work is inspired by system glitches, or imperfections, which are unique to the 8-bit NES hardware. In provoking these errors, abstract and colourful effects, unintended by the commercial systems designers, are produced.
Eat Shit, by Jeremiah Johnson/Nullsleep and Don Miller/NO CARRIER, demonstrates again artists' interest for glitches and data corruption. The interactive installation explores controlled data corruption on the Nintendo Entertainment System, based around Johann Sebastian Bach's piano piece Minuet in G.
They might be using outdated instruments but the close-knit chiptune community has its feet firmly planted in today's sharing culture. Gino Esposito wrapped all the knowledge and the years of work of micromusic.net - the first 8-bit and low-tech music Internet community platform - into microbuilder. The "community construction kit" package offers amateurs all they need to create a successful internet community. The software can be installed easily, you learn quickly how to operate the system and the package is simple to adapt and extend. In the book you can browse through the history of Internet communities, the process of building up micromusic.net and other online projects. Illustrations and graphic art work from micromusic.net artists will give you a lasting visual impression and the installation guide makes the software installation process as quick-and-easy as possible. And of course you can listen to the included audio CD.
Homage to DIY/"pirate" multicarts often found in Hong Kong markets which take multiple games and illegally cram them all on one cartridge, Paul B. Davis's aptly called 5 in 1 crams multiple artworks from the Beige catalogue. There are stylistic nods to multicart culture in the somewhat awkward main selection screen, the misspelling of the component names (this is also a reference to bootleg hip-hop records), the lack of navigation instructions, and a slightly buggy feel. However, its authentic/illegal "pirate" nature is tempered by the fact that the source codes for most Beige artworks are freely available from their website. Anyone could download and make their own edition of the original pieces if they learned the technique and could be bothered. This is the paradox of "open source" software when manifested in an art object: the object is reduced to the application of a technical skill because the code/ concepts already exist in the public domain (except, of course, for Davis' code that runs this multicart).
To be continued....
Playlist - Playing Games, Music, Art, an exhibition curated by Domenico Quaranta for Laboral's new Mediateca Expandida, explores the role played by music in the adoption and manipulation of obsolete technologies: vinyls, old computers, game platforms, etc. I'm going to be the usual procrastinator and promise that i'll come back with a report later on this week. I might be a vile idler but at least i'm a fairly generous one.
First, here's a link to the kick-ass catalog of the exhibition with essays by the curator and other experts, a brief description of the dozens of artworks selected and a list of the concerts that accompany the show.
Another link, this time to a series of videos by Raquel Meyers. I didn't know her name before visiting Playlist. Shame on me! She's one of the most famous and active VJs and video makers of the chiptune music community. More importantly, she is extremely talented.
Playlist - Playing Games, Music, Art is the second exhibition of Laboral's new Mediateca Expandida, a multidisciplinary space dedicated to cultural projects hovering at the border between mainstream culture and experimental research. You can visit it until May 17, 2010 at LABoral Centro de Arte y Creación Industrial in Gijón, Spain.
Photo on the homepage: Raquelmeyers. Photo by Florence Bourgade.
While in Barcelona for the LOOP festival, i had the wonderful opportunity to attend a talk by Harun Farocki, an independent filmmaker who has spent the past decades investigating the relationship between technology and our representation and understanding of the world. I only got to discover his work at Documenta XII where 12 screens were showing in real time different views of the 2006 World Cup final (France - Italy), some were surveillance camera footage, some focused on isolated players, others overlaid the game with graphic and statistical analysis of ball direction and player speed. Titled Deep Screen, the installation provided an excellent case of 'too information kills information.'
Harun Farocki's presentation in Barcelona focused on two of his short experimental documentaries which, each in its own way, explore the status of new technical images.
I Thought I Was Seeing Convicts (video extract) is a two-screen installation. On the first screen are images from the maximum- security prison in Corcoran, California. A surveillance camera shows a concrete yard where the prisoners are allowed to spend half an hour a day. The camera suddenly zooms in on a fight between two prisoners. Those not involved lay flat on the ground, arms over their heads. They know that fires rubber bullets are coming if the convicts ignore the warning calls. If the fight continues, the guard shoots real bullets. The pictures are silent. The camera and the gun are right next to each other. This video also emphasizes the social relationship between the one who fires and the one who films, between the one with force and the one who takes shots. After that, it takes nine minutes before the convict is taken away on a stretcher. Farocki explained that in the course of 10 years, guns went off 2000 times in the prison. Hundreds of inmates were wounded, a few dozen heavily injured, five were shot dead.
The second screen displays found sequences, images generated by computers that track shoppers as they move through the aisle of the supermarket.
Unlike the prison sub-genre that the cinema industry produces, the images that surveillance camera churn out are excruciating to watch. There's no artificial condensation of time nor space that even the cheapest tv show can create, no close-up, no director trick that would shorten time, no possibility to re-install the camera, sometimes the images have such a low definition they are hard to read. What these images have however is a high level of authenticity, of believability.
Farocki pointed us to Prison Focus, a Californian organization which, in virtue of the Freedom of Information Act, makes prison surveillance images public.
Check also this interview of Farocki about I Thought I was Seeing Convicts.
The second film, Farocki discussed was Immersion (2009). He recently attended a workshop where films war veterans undergoing therapy for their Posttraumatic Stress Disorder at the Institute for Creative Technologies, a research centre that develops and uses virtual reality and games to recruit and train the soldiers, but also to treat them. The traumatized soldier has to done a head mounted display and immerse himself into the first person shooter game while a psychotherapist coax them into re-living the most traumatizing moments of their war experience.
What interested the film maker was the fact that if in the past an image was a direct reference, today it is in competition with images generated by computer science. The computer image have now acquired a higher status of believability because scientists have worked together to tune it and make it as close to the reality as possible. These sophisticated models are now competing with 'the real thing.'
Just back from LOOP video art festival and fair in Barcelona. The event is for video art lovers only. So what was a video art sceptic like me doing there? Well, i was busy becoming a convert. I'll come back with the why and how in a lengthier post. In the meantime, here's an example of an artwork i discovered (and unsurprisingly liked) at LOOP.
The fair had invited dozens of galleries from all over the world but only a few of them were brave enough to stray from the strictest limits of what video art is or should be. One of them is Virgil de Voldere Gallery (New York) who brought Brody Condon's video game modifications to Barcelona.
Two of the pieces shown by the gallery belong to a series of re-interpretations of Late Medieval Northern European religious paintings as games that play themselves, just like Condon did with some of his previous works. Most notably my absolute favourite Karma Physics< Elvis.
Brody modified a first person shooter game and exchanged the violent animations with dreamy, otherworldly and elegant scenes. The characters in his artworks seem to be suspended, they are waiting for the player to tell them what to do. Except that there is no way any player can take control of them. There's just a computer and the screening of the scene. No joystick enables visitors to free the characters' gestures from their limbo.
DefaultPropeties(); is a free interpretation of the baptism scene from the Triptych of Jean des Trompes by Gerard David from 1505. This "self-playing" game depicts a man with a horrible skin disease apparently lost in prayer in a Northern European medieval landscape. Right behind him is a man with a flaming sword in his right hand. One doesn't know the intention of the man with a weapon: is he going to harm the other man or perform some sort of knighting? Meanwhile the sky is filling with a swirling extra-dimensional portal from which is emerging a astral being of unknown but seemingly royal nature.
Four nude figures inhabit the second "self-playing" game, Resurrection (after Bouts). A man in the back with red tights and a head of animated hard edged abstraction seems to have a really bad trip, he reels from side to side in a trance; an eerily pale angel slowly performs a yoga tree pose over and over again while two other men idle sit quietly by the fire. Once again the surrounding light has the typical luminosity of medieval paintings. This time, the sun hovers between sunset and sunrise. Resurrection (after Bouts) is inspired by the Resurrection scene by Dirk Bouts from 1455. All the figures from the original paintings are clearly recognizable. Only Christ is represented as the campfire.
Previous post on this panel: Positions in Flux - Panel 1: Art goes politics - Hans Bernhard from UBERMORGEN.COM
Art goes politics, the first panel of Positions in Flux, discussed how/whether media art has the potential to contribute to global and local problems such as religious and territorial conflicts, environmental or social crisis.
One of the three artists invited to participate to the discussion is Wafaa Bilal. Born in Iraq, Bilal gained worldwide fame in 2007 with his performance Domestic Tension (aka. Shoot an Iraqi) which enabled web users around the world to control a paintball gun and shoot at him 24 hours a day. For a whole month. His works are being exhibited and discussed internationally and he is currently Assistant Arts Professor at Tisch School of Arts, NYU.
The artist presentation was articulated around his artworks:
How can artists today make images mean something, stimulate people and provoke them? Problems that political art face: disengagement of the issue and tendency of some artists to express the issues at stake through aesthetic pain rather than aesthetic pleasure. Bilal grew up in an oppressed society and didn't have the leisure to meditate on aesthetic alone. He therefore works with both aesthetic pain and aesthetic pleasure.
On May 4, 2007, Bilal set up his living and working quarters in a Chicago art gallery to perform Domestic Tension - Shoot an Iraqi. The project was a way for him to deal with the grief over the death of his brother in his hometown back in 2004. Bilal realized that he lives a comfortable life in the USA while his family is still in Iraq. Americans have been relatively shielded of the pain and suffering people experience in Iraq in their name. What kind of ethical consequence would seeing the consequences of war trigger? Would it humanize the issue? How can an artist go beyond a mere street protest (which alienates people most of the time anyway)?
Bilal found out that internet enables an artist to enter the safety zone of people's house whether they like it or not. Domestic Tension ended up exposing more complex issues than the artist had imagined at first. It was also a bigger success than he had hoped for. By the end of the one month performance in the gallery, the Domestic Tension website had received 80 million hits. The results of the work were both healing and disturbing for him. Some took control of the paintball gun in a very aggressive way, hacking the system so that the gun would shoot non-stop but by day 21, Bilal noticed that the gun was going right and left, not aiming at him. It turned out that a group of 39 people had united force to prevent people from shooting at the artist. They called themselves 'the virtual human shield.'
On day 14 of Domestic Tension, a link to the project was posted on Digg.com and Bilal was bombarded non stop, he couldn't fill the paintball fast enough to keep up with the demand.
The themes Domestic Tension explored:
Domestic Tension embedded the horror in the experience and allowed webusers to participate. People invested their own narrative and integrated the one of the artist.
After Domestic Tension
In 2008, while he was in residence at Rensselaer Polytechnic Institute, Wafaa created Dog or Iraqi, asking people to vote who -- a dog named "Buddy," or an Iraqi, himself -- would be submitted to waterboarding, a form of torture that consists in immobilizing the victim and pouring water into the breathing passages to have them experience drowning. PETA obviously went mad about the idea that a dog would be harmed in the project, they were quite undisturbed by the fate of the Iraqi. Bilal lost to the dog and was submitted to waterboarding.
The next project was Night of Bush Capturing: Virtual Jihadi, a modified version of the first person shooter video game Quest for Bush, itself a "hacked" version of the commercial video game Quest for Saddam. In Bilal's version the artist inserted his personal narrative by casting himself as a suicide bomber who gets sent on a mission to assassinate President George W. Bush. He was intrigued by the idea that a terrorist organization had released a free game to recruit people. Rensselaer Polytechnic Institute had to cancel the show after governmental pressures. At the time, the College Republicans called the RPI's Arts department "a safe haven for terrorists" on their blog. A second exhibition of the project had to be shut down due to the fact that the gallery didn't comply with some regulation about the size of its doors.
The objectives of the game were many:
For Bilal, new media art and interactivity presuppose the active involvement of a public whose function was once limited to viewing only. If the audience takes an interest in the work, they are more likely to engage in a dialogue that might, in the best cases, be revolutionary.
I would, once again, like to recommend Waffa Bilal's book Shoot An Iraqi, Art, Life and Resistance Under the Gun to get to know more about his experience and art work. Previously: A few words with Wafaa Bilal and When interactive art becomes bored with you.
Spaces showing and/or supporting contemporary art which engages with digital and electronic media have started to pop up all over Europe. Very. Slowly.
[plug.in] is one of them but i see at least two reasons that makes [plug.in] stand out from the thin crowd of media art spaces.
First, the Basel gallery exists for much longer than most (it opened in 2000). Second, and more interestingly, its programme is one of the most appealing i've ever seen in the field. [plug.in] exhibits and often commissions new internet, sound, interactive and software art; organizes events on media art and digital culture; offers visitor a library and a bar.
So far i had been following their programme through the newsletter, but when i read that [plug.in] was hosting the first solo exhibition in Europe of Tokyo-based artists Exonemo, i decided it was high time to go up North and visit the gallery.
The main piece is an installation which unfolds over two floors:
UN-DEAD-LINK explores questions of digitized and symbolized death between the physical and virtual world. The audience can see, feel and hear the effects that a symbolic death in a computer game can have in the physical exhibition space.
You're welcome in the gallery by a bunch of objects the artists found on flea markets in Basel. An old sewing machine, a piano, reading lamps, a paper shredder on top of a mountain of paper ribbons, a turntable with a plastic dog sleeping on a spinning disk, an old recorder playing crap music, etc. Each of them is animated by an invisible actor.
The explanation lurks downstairs in a dark room. There, soldiers on a screen do what they are supposed to do: they run after each other, they shoot and sometimes they kill. Each time one of them is killed, its death is given an almost tangible echo upstairs by one of the devices: more paper is shred, a light goes on, the sewing machine makes a few stitches. When visitors push the red button in front of the screen, all the avatars die and upstairs every single device seem to 'scream.'
Sembo Kensuke and Yae Akaiwa from Exonemo modified the game Half-Life2 and connected the mod to the piano upstairs. The electrical objects are connected by midi/dmx (protocol) with custom devices.
The work is extremely uncanny: Seeing and hearing the 'consequences' of a virtual death in the real world gives them a sinister weight. It's more disturbing then seeing a real war massacre on television, probably because today tv death seems almost as virtual as the death of an avatar.
[plug.in] is also showing DanmatsuMouse, a sort of geeky snuff movie in which computer mouses (or should i write 'computer mice'?) are happily destroyed using all sorts of tools on hand: the mouse gets fried in a pan, another one is swirled and crushed in a blender, etc. But something subsists beyond the death of the plastic mouse: its cadaver (a couple of tortured mice were exhibited in the gallery) and the cursor, or rather the data. The motions of the mouse and the cursor were recorded simultaneously by a video camera and a computer programme.
A DVD, available in the gallery space (did i mention that they also have a shop selling artists' editions and electronic gadgets), allows you to play back the sinister event: the movie of the mouse murder unfolds in parallel with the movements of its cursor that takes over the ones of the cursor on your own desktop.
exonemo - UN-DEAD-LINK is on view until September 14 at [plug.in] in Basel, Switzerland.
Previously on exonemo channel: Interview with Exonemo, MobLab presentation - Transmediale, Origami bus pattern, their installation at Synthetic Times, Ryota Kuwakubo, exonemo and ressentiment in Liverpool, etc.