Josh Bricker uses formal strategies of appropriation and détournement to investigate the social ramifications of a world inundated by images. Josh Bricker (b. 1980, USA) is a multidisciplinary visual artist based in Los Angeles, California. After graduating from Parsons School of Design in New York with an MFA in Studio Art, he moved to California. He currently teaches at Long Beach City College. As a multidisciplinary artist, his practice is distributed across different media, including video, photography, collage, drawing, painting, and sculpture. Central in his work is the convergence between simulacrum and reality produced by the military-industrial-media-entertainment complex. In exploring grey area between propaganda, indoctrination, nationalism, play, “fun”, and ideology, Bricker repurposes mundane cultural artifacts: toys, video games, video, found objects, and photography. Situated within this ideological framework, his videos and praxes can be seen as a meditation on cultural poaching. His work Post-Newtonianism was selected for the 2012 Guggenheim Web Biennial and is currently on display in the ASSEMBLAGE level of GAME VIDEO/ART. A SURVEY.
This video interview was produced by the students of IULM's Master's Program in Arts, Markets, and Cultural Heritage. Editing and Subtitles: Mariacristina Maffeo
LINK: Josh Bricker
"For its dwellers, Nova Alea was a mixture of shelters, connections, memories, longings. For its masters, the city was a matrix of financial abstractions." (Paolo Pedercini)
This is the first chapter of Paolo's new project, the Playable Cities series, influenced by Italo Calvino's Invisible Cities.
What's not to love?
Check out the installation view at Champlain College of Art Gallery (and yes, Brian O'Doherty would be proud).
Here's the inevitable walkthrough, so you don't even have to play it. (interpassivity)
LINK: Paolo Pedercini
Carlos Monteiro's new game pays homage to Giorgio de Chirico. In the recently completed SURREALISTa, the player must solve puzzles in environments modeled after the Italian artist' oneiric artscapes. The full game is now available and it features eight 'playable' paintings by De Chirico: The Song of Love, The melancholy of departure, Piazza d'Italia, The anxious journey, Turin Spring, The nostalgia of infinite, The red tower and The enigma of the hour. As Monteiro explains, "The game is a "walk-simulator, so you can freely explore all worlds. Each 3d world is a high-fidelity representation of the paintings."
You can download the game from here.
Below is a fly through a 3D representation of "The Song of Love" painting from 1914.
LINK: Carlos Monteiro
Not A Hologram is "A multi-platform body of work that considers the ongoing effects of living in the Anthropocene, late-capitalist ecology, artificial life, and posthuman contemporary existence as they relate to the moral aesthetics of survival in a burgeoning Neo-feudalist society". Dylan Neuwirth (b. 1977, Athens, US) is a posthuman contemporary artist, living and working in Seattle, Washington.
LINK: Dylan Neuwirth
The Mythic Being in Liberty City is a replay of Adrian Piper’s 1973 performance The Mythic Being entirely produced and (re)enacted within the virtual space of Grand Theft Auto IV’s digital metropolis, a replica of New York City. The work exists as a) machinima and as b) a set of framed digital prints on archival paper measuring 12x18 inches each.
TREATING MAP EDITORS FOUND IN VIDEO GAMES AS VIRTUAL SOUND STAGES, FOCI + LOCI CREATE IMMERSIVE ELECTRO-ACOUSTIC SPACES WITH VIRTUAL INSTRUMENTS AND TIMED AUDIOVISUAL EVENTS.
foci + loci (Tamara Yadao and Chris Burke) are a duo living and working in New York. Saving and replaying digital game data, camera movement in space can be disassociated from time, changing traditional filmic relationships. They are are interested in exploring the topological treatment of time and space afforded by game engines. They received a NYSCA grant in 2013 for their game performance installation Bal(l)ade and have given workshops at 8static in Philadelphia, the Babycastles Summit at the Museum of Arts and Design (NYC) as well as lecturing on game sound and mashup culture at the Polytechnic Institute of New York University and the New School. Among others, Chris and Tamara have performed at Babycastles, Centre Pompidou, Cluster New Music festival, CultureHub, DistENDed Cinema at Outpost, Diapason Gallery, Peter Kirn’s Handmade Music series, Joe’s Pub, Secret Project Robot, The Stone, Vector Game + Integrated Arts Festival in Toronto and Game Play Festival 2011 at the Brick Theater in Williamsburg, Brooklyn.
The video interview was produced by the students of IULM's Master's Program in Arts, Markets, and Cultural Heritage. Editing and Subtitles: Mariacristina Maffeo
foci + loci' F.T. Mari0netti is currently on display in the ASSEMBLAGE level of GAME VIDEO/ART. A SURVEY.
SCREENING: HARUN FAROCKI, PARALLEL I-IV (2012-2014)
DATE & TIME: MAY 18, 2016, 6 - 8 PM
PLACE: IULM 6, SALA DEI 146 , IULM UNIVERSITY
FREE AND OPEN TO THE PUBLIC
PLEASE RSVP (WRITE "FAROCKI SCREENING" IN THE SUBJECT LINE - LIMITED SEATING)
IULM University is proud to present Harun Farocki's masterpiece Parallel I-IV.
The four‐part cycle charts the evolution of computer game graphics over 30 years, focusing on the construction, visual landscape and inherent rules of computer-animated worlds.
“Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind.” (Harun Farocki)
"This series continues the late filmmaker’s long-standing investigation into the rise of calculable, actionable images possessing a relationship to reality very different than that of the cinema before them. Tracing the evolution of video game graphics from the two-dimensional schematics of the early 1980s to the photorealistic environments of today, Farocki foregoes the obsession with novelty that too often characterizes discussions of so-called “new” media, instead situating games within a longer history of representation. The Parallel series is a major achievement that exemplifies a key attribute of a singular practice cut far too short: Farocki joins poetic speculation with analytical strength to call upon the viewer not simply to look and listen carefully, but also to think along with him." (Erika Balsom, ARTFORUM, November 2014)
THE EVENT WILL FEATURE A CRITICAL INTRODUCTION
Parallel I (2012, 15’ 53”)
Parallel II (2014, 08’ 38”)
Parallel III (2014, 07’ 21”)
Parallel IV (2014, 11’ 20”)
LINK: GAME VIDEO/ART. A SURVEY