UBERMORGEN
Chinese Gold (Boom)
June 25 - July 8 2021
Introduced by Matteo Bittanti
vral.org
Approximately fifteen years ago, UBERMONGEN introduced Chinese Gold, a sui generis investigation of the gold farming phenomenon, that is, the practice of playing a massively multiplayer online game with the specific aim of acquiring in-game currency and later selling it for real-world money. An ambitious mixed (hyper)media project featuring texts, machinima, and re-appropriated prints, Chinese Gold brought to the surface the highly exploitative nature of video game playing. Thousands of Chinese players worked nonstop in the digital equivalent of sweatshops to generate virtual currency, digital items, and even full characters for Western, mostly North American and European, players. This lo-res found footage video, originally uploaded on Google and appropriated by the artists, showcases a teleportation hack in World of Warcraft, repeated over and over by Chinese gold farmers. Interestingly, this emergent practice was exploited, among others, by a company managed by Steve K. Bannon, an American media executive, political strategist, and former investment banker, who served as the White House’s chief strategist in the administration of U.S. President Donald Trump. Bannon was just one of several American intermediaries who set up companies that hired these digital workers. UBERMORGEN’s prophetic examination of gold-farming highlights the complex interplay between gaming and politics, ideology and capitalism. In the age of gamified economies, trade wars, pandemics, conspiracy theories, pervasive trolling, and armed insurrections, Chinese Gold speaks of the current moment.
UBERMORGEN is an artist duo founded in 1995. Actionist autist lizvlx and pragmatic visionary Hans Bernhard are net.art pioneers and media hackers widely recognized for their high-risk research into data & matter, conceptual art, haute couture websites and polarizing social experiments. CNN called them 'Maverick Austrian Business People' during their Vote-Auction online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the US presidential election. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir, and The Sound of eBay. UBERMORGEN controls 175 domains. Their exhibitions include Liverpool Biennial; Whitney Museum (2020); New Museum, New York; Somerset House, London; Haifa Museum of Art, Israel/Palestine (2019); Wei-Ling Contemporary Malaysia; HKW, Berlin; ZKM; National Art Gallery, Sofia (2017); ICA Miami; Mahatma Gandhi Institute, Mauritius (2015); Serpentine Galleries, London (2014); Kunsthal Aarhus; Ars Electronica, Austria; MoMA Ljubljana; ArtScience Museum, Singapore (2013); 3331 Arts Chiyoda, Japan (2012); Centre Pompidou; Gwangju Design Biennale; WRO Media Art Biennale (2011); Prague Biennale (2009); Biennale of Sydney (2008); MOCA Taipei (2007); The Premises, Johannesburg; ICC Tokyo (2005); SFMOMA, USA (2001).
Li Zhu
All Beings Are Suffering
June 11 - June 24 2021
Introduced by Matteo Bittanti
vral.org
All Beings Are Suffering is part of Human Dust, an ongoing project that comprises self-generating scenes of human-like intelligence created by Li Zhu with Unity 3D. These simulated creatures reproduce themselves endlessly, floating in the air and multiplying at a frantic pace. As the artist says, “We don’t know whether such a human-like AI would have consciousness, but their presence will definitely confuse real humans’ consciousness. At least, because I heavily rely on computers to create my artwork, my own consciousness seems to be constantly washed away by algorithms. In a data flood, ‘real’ meanings that may exist in my art quickly decompose. Reality disappears; only a torrent of tumbling image data remains.”
Li Zhu is a Chinese-Canadian artist and scholar who uses new technologies such as video games, virtual reality, artificial intelligence, and social media to create new ways of understanding reality. All Beings Are Suffering is part of an ongoing series titled Human Dust. Li Zhu has an MFA from the School of the Art Institute of Chicago. She received a B.A. in Visual And Intermedia Arts from the University of Quebec in Montreal, Canada. She studied at the École nationale supérieure des beaux-arts de Paris and McGill University. Her work has been exhibited in China, France, Canada, and the United States. Recent exhibitions include I Think (solo, 2017) in Guangzhou, China, ON AURA (group, 2021) in Montreal, and Backyard Stories (group, 2020) in Chicago. She is currently working and living in Chicago.
Becoming a Legend
Gweni Llwyd and Owen Davies
May 28 - June 10 2021
Introduced by Luca Miranda
vral.org
The practice of customizing characters and assets in video games has a long tradition within vernacular as well as avant-garde subcultures. In fact, artists have often pursued this route to create their artworks. Few, however, reach the meta playful levels of Becoming a Legend which introduces the imperious character of Da Man!, a post-human, virtual übermensch, a diabolical, green-haired “divin codino”. Created with/in the popular video game Pro Evolution Soccer, Da Man! embodies the notion of toxic masculinity and the neoliberalist mantra of self-optimization.
Gweni Llwyd (she/her) is a Welsh artist based in Cardiff. Her practice reflects on a human condition caught between tactile physicality and intangible digital realms. Predominantly working in video, 3D animation, and installation, Gweni creates abstracted rhythms and narratives, mirroring the often chaotic, disjointed nature of the contemporary world by collecting, modifying and rearranging the most disparate sources and materials, including first hand and found footage, game engines and concrete artifacts. She is also co-founder of RAT TRAP, a collective of artists and musicians that find their own routes through the maze of protocols and ways of doing things.
Owen Davies (he/him) is a Welsh filmmaker based in Cardiff. Mainly working in live-action narrative film, his work revolves around the limits of human connection and interaction. Owen’s upcoming short film Arwel’s House, funded by Ffilm Cymru and the BBC, is shooting in July and will air on BBC4 in the UK later this year. The film follows the mother of a dead YouTube star as she gives tours of his childhood home in South Wales to fans from around the world. In 2018, he was shortlisted for the Armani Laboratorio where judge David Kajganich (Suspiria, The Terror) described his script Money Now as “just fantastic — a kind of moral emergency for the modern age that left me both queasy and totally fascinated.”
HALO
digital video, color, 5’ 55”, 2016 (United States)
created by Cassie McQuater
May 14 - 27 2021
Introduced by Gemma Fantacci
In these six animated paintings presented as a single channel video, the artist reenacts situations and motifs from the first-person shooter series Halo and the erotic videogame Dream Stripper. Conceived as a dynamic, virtual collage, HALO shows short stock animation loops of characters dying over and over, with koi, dining chairs, asteroids, guns, flowers, torches, pinball machines, candles, and discarded pillows floating around them, creating a hypnotic motion.
Cassie McQuater is an American artist working with digital media, developing and designing video games and other interactive pieces and installations. Her practice involves hours of surfing the net, mining for digital artifacts, and repurposing them as a way to reflect on and reinvent our relationship with interactive storytelling. McQuater won the Nuovo Award (plus an honorable mention for Excellence in Design) at the 2019 Independent Games Festival for her browser-based game Black Room. Her work has been exhibited internationally. McQuater lives and works in Los Angeles.
IS IT REAL LOVE? OF COURSE NOT!
digital video, black and white, sound, 23’ 02”, 2012-2013 (Austria)
Created by Florian Hofnar Krepčik
Introduced by Matteo Bittanti
April 30 - May 13 2021
vral.org
Is it real love? Of course not! is a unique film entirely shot with/in Driver: San Francisco, a 2011 video game by Ubisoft set in the Bay Area. Organized around seven musical themes imbued with philosophical references and poetic gravitas, this hybrid movie is a distillation of magical moments. By layering images, sounds, and spoken words, the artist creates an unforgettable audio-visual experience. The “story” takes place in the chasm between spaces and characters: massive buildings, multi-lane roads, spectacular bridges, and anonymous pedestrians. Presented at several international festivals and exhibitions — including MU Hybrid Art House (2013), TENT Rotterdam, the Hamburg International Short Film Festival (2014), and HMKV, Dortmund Germany (2014) — Is it real love? Of course not! was also selected for the Best of Graduates 2013 exhibition at Ron Mandos gallery in Rotterdam, The Netherlands.
A self-described film composer, Vienna-born artist Florian Hofnar Krepčik draws inspiration from opera, music, film, and theatre. After graduating in 2013 from St. Joost, Den Bosch in the Netherlands, Krepčik created a series of films informed by the logic of music and poetry, including Two Monasteries (2015). His audiovisual productions often follow the structure of a music composition. His stated intention is to recontextualize the cinematic through different media.
