We are delighted to announce an upcoming art exhibition in Mantua, Italy:
Curated by Matteo Bittanti
September 7- 11 2016
Cantine di Vincenzo I Gonzaga
Piazzetta Santa Barbara, 46100 Mantua MN
Open every day from 8.15 AM until 19.15 p.m.
Admission: 3 euros
An official event of Festivaletteratura 2016
Official website: travelogue.space
Mantua, August 14 2016 - TRAVELOGUE is a survey of audiovisual artworks made with or inspired by video games. Using machinima and interactive installations, fifteen artists examine the virtual automobile as medium, message, technological commodity, status symbol, interface, and prosthetics. Created through a process of appropriation and remix, these works lie at the intersection of fiction and documentation, performance and simulation, video art and experimental cinema.
TRAVELOGUE takes the viewer for a ride through landscapes that are simultaneously familiar and uncanny, featuring dematerialized vehicles in autopilot mode; glitches, ghosts and algorithms; weapons of mass distraction and feedback loops; sudden acceleration, absolute speed, and endless stasis. Until the inevitable crash.
The exhibition is staged in the Cellars of Vincenzo I Gonzaga, a part of the Gonzaga Palace. Featuring an impressive structure with exposed brick walls and beamed vaulted and barrel ceilings, the space features several rooms covering an area of about eight hundred square meters located in a XV Century building.
Max Almy & Teri Yarbrow
+ Surprise artist
CRASH: GAME AESTHETICS AND CONTEMPORARY ART
Isabelle Arvers e Valentina Tanni in conversation. + SURPRISE SCREENING
Sunday September 11 at 11:30 AM
Cantine di Vincenzo, Piazza Santa Barbara, 46100, Mantua Italy
Admission: 6 euros
What is the difference between video games and game videos? What are the affinities and divergences between video games and video art? What role do electronic simulations play within the current visualscape? Isabelle Arvers and Valentina Tanni discuss the influence of game aesthetics on contemporary art. The conversation is moderated by Matteo Bittanti.
PRESENTATION: MARCO DE MUTIIS
TITOLO: VIDEO GAMES AND PHOTOGRAPHY: A BRIEF HISTORY
DATE & TIME: FRIDAY, MAY 27, 2016, 6 - 7.30 PM
LOCATION: SALA DEI 146, IULM 6, MILAN
FREE AND OPEN TO THE PUBLIC
LANGUAGE: ITALIAN & ENGLISH
RSVP RECOMMENDED (PLEASE SPECIFY "MARCO DE MUTIIS" IN THE SUBJECT LINE - LIMITED SEATING)
Photo and camera modes have started to appear in more and more video games, allowing players to capture an instant of the game world. Often mimicking some aspect of the camera interface and the act of photographing, games have been attempting to simulate photography, sometimes incorporating it into the mechanics of gameplay. So quite often we find ourselves in front of a screen, looking through a virtual viewfinder, interacting with simulated aperture settings and controlling the amount of depth of field of our in-game image. Playing games we also encounter fictional clients and digital photography teachers rating our safari pictures, telling us how to frame an image, to get closer, or giving us a disappointing C+ because our subject is not facing the camera. In short: there seem to be all sorts of strange simulations, remediations, and mutations of photography appearing within games, questioning what it means to photograph and to play and how the two are interconnected. “VIDEO GAMES AND PHOTOGRAPHY: A BRIEF HISTORY” is an attempt to illustrate the complex relationship and diverse interplay between photography and video games.
Marco De Mutiis is an artist and curator with a focus on language, perception and communication. His works deal with the human necessity of expression through the act of coding and decoding system of signs, and the urgency to translate thoughts and feelings into symbols. Exploring that balancing act between an irrational and subconscious need to communicate and the impossibility of pure unmediated expression, he often attempts to unravel the polarisation between signal and noise, sign and meaning. His works have been shown in festivals and museums internationally. As a curator his research lies in the exploration of new forms of photographic practices beyond the camera, mutations and remediations of photography, and new approaches to the way images are created and distributed. Currently he is working as digital curator for Fotomuseum Winterthur and research associate at the Lucerne University of Applied Sciences and Arts (Switzerland). De Mutiis lives in Zurich, Switzerland.
Join us for a fascinating presentation by Italian artist Marco Cadioli about virtual photography, or, rather, real photography in virtual spaces, from videogames to virtual worlds.
PRESENTATION: MARCO CADIOLI
TITLE: POST-PHOTOGRAPHY NOW
DATE & TIME: FRIDAY MAY 20, 2016, 6 - 7.30 PM
LOCATION: ROOM 112 (IULM 1)
FREE AND OPEN TO THE PUBLIC
PLEASE RSVP (WRITE "MARCO CADIOLI" IN THE SUBJECT LINE - LIMITED SEATING)
Marco Cadioli is fascinated by images appearing on computer screens and the increasing blurring between real and virtual. Through his online journeys, he explores the new digital spaces created by virtual worlds. He explored online multiplayer games an “embedded” photographer, like a modern day Robert Capa, and with his avatar Marco Manray he published photo reportages from Second Life on several outlets. He currently investigates post-photographic practices and the emergence of digital mapping. He exhibited at Neoludica. Art is a game 2011-1966 (54a Biennale di Venezia 2011), BYOB (Padiglione Internet, Venezia 2011), AFK (Casino Luxembourg – 2011), Fotografia Festival (Roma, Macro Testaccio 2010), Odyssey art+performance sim in Second Life (2009), Reality Festival (Paris 2008), PEAM Pescara Electronic Artists Meeting (2006). Cadioli teaches at the Accademia di Belle Arti SantaGiulia of Brescia, and the Accademia di Comunicazione of Milan. Cadioli lives and works in Milan.
Somehow surprisingly, on May 7, 2016 the CEO of nVidia Jen-Hsun Huang mentioned the ground-breaking work of in-game photographers like Leonardo Sang, Josh Taylor, and Duncan Harris to promote the launch of the new GPU and its in-game content capture system , Ansel.
Corporate endorsement and co-optation of avant-garde art practices is a common marketing technique. Even though Huang was clearly reading the teleprompter and would never be able to distinguish, let's say, Sang's work from Tylor's, the very fact that this American corporation is recognizing that artists are often the first to recognize the true potential of new technologies is remarkable. Marshall McLuhan would feel vindicated.
Join us on May 20 and May 27 for a discussion on the art of in-game photography, featuring artist Marco Cadioli and curator Marco de Mutiis (RSVP recommended).
SOURCE: Virtual Geographic