Video Game Appropriation in Contemporary Art

Transcription

LINK Editions
Domenico Quaranta, In Your Computer, 2011
Valentina Tanni, Random, 2011
Miltos Manetas, In My Computer – Miltos Manetas, 2011
Gene McHugh, Post Internet, 2011
Domenico Quaranta (ed.), Collect the WWWorld. The Artist as Archivist in the Internet Age, 2011.
Exhibition Catalogue. Texts by Josephine Bosma, Gene McHugh, Joanne McNeil, Domenico
Quaranta
Brad Troemel, Peer Pressure, 2011
Domenico Quaranta (ed.), Gazira Babeli, 2011
Yves Bernard, Domenico Quaranta (eds.), Holy Fire. Art of the Digital Age, 2011
Kevin Bewersdorf, Spirit Surfing, 2012
Mathias Jansson
Everything I Shoot Is Art
Publisher: LINK Editions, Brescia 2012
www.linkartcenter.eu
This work is licensed under the Creative Commons AttributionNonCommercial-ShareAlike 3.0 Unported License. To view a copy of
this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/
or send a letter to Creative Commons, 171 Second Street, Suite
300, San Francisco, California, 94105, USA.
Printed and distributed by: Lulu.com
www.lulu.com
ISBN 978-1-291-02050-2
Mathias Jansson is a Swedish art critic and researcher. He writes about New Media Art and
Game Art for blogs and magazines such as Gamescenes, Digimag and Next Level. His main body
of work consists of a huge corpus of interviews with the pioneers of Game Art, as well as critics,
curators and gallery owners operating in the field of Game Art. www.janssonswebb.se
Contents
Preface
1
ESSAYS
5
> Confessions of a Game Art Addict
7
> Insert Art to Play
13
> From Plaintext Players to Avatar Actors: A Short Survey of
Online Gaming Performance
19
> Pain is not the Game: Virtual and Real in Video Game Art
31
> Video Game Appropriation in Contemporary Art
37
INTERVIEWS
61
> Pippin Barr
63
> Nils Deneken
69
> Constant Dullaart
73
> Jakub Dvorsky
81
> Sachiko Hayashi
85
> Krystian Majewski
97
> Christy Matson and Melissa Baron
101
> Iman Moradi and Max Capacity
109
> Shinji Murakami
117
> Jason Nelson
123
> Martin Pichlmair
131
> Rafel Rozendaal
135
> Jonatan Söderström
143
> Jeroen D. Stout
147
> Erik Svedäng
151
> Anders Weberg
155
Mathias Jansson – Everything I Shoot Is Art
Preface
1
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ESSAYS
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Confessions of a Game
Art Addict
7
Tobias Bernstrup, Palle Torsson, Museum Meltdown, 1996 – 1999. Above: screen
shot from The Contemporary Art Centre of Vilnius, 1997; below: screen shot from The
Modern Museum, Stockholm 1999. Images courtesy the artists
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Game Art is any art in which digital games played a signif icant
role in the creation, production, and/or display of the artwork.
The resulting artwork can exist as a game, painting,
photography, sound, animation, video, performance or gallery
installation.
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Insert Art to Play
13
Bill Viola, The Night Journey, 2005 – 2008. Screenshot, © 2005-2008 University of
Southern California
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From Plaintext Players
to Avatar Actors: A
Short Survey of Online
Gaming Performance
19
Eva and Franco Mattes aka 0100101110101101.org, Reenactment of
Gilbert&George's The Singing Sculpture, 2007-10. Online performance. Exhibition
view, Galerie Mirchandani+Steinruecke Gallery, Mumbai. Image courtesy the artists.
20
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I got involved with MOOs in early 1994 while I was in graduate
school. I was initially entranced by the immersive quality of
these spaces and the way they straddled a line between
performing and being, and between writing and doing. From
the outset I had a strong impulse to play in MOO, to make up
stuff, to not take part under my own name and history. Some
21
of my fellow students had a similar impulse, and at first we
would just meet up online and improvise very loosely. For
instance, we might change our avatar names (@rename) 4 or
5 times an hour just to prod each other to change how we
were interacting. We were the puppetmasters and the
puppets. [2]
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It was in the spring of 2001 that I engaged in my first online
gaming performance – Howl: Elite Force Voyager Online. I
entered the game as Allen Ginsberg and proceeded to
perform the entirety of his seminal beat poem Howl, word for
word. [3]
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I see these works as a way to break through and perhaps
expand the notion of “the magic circle” in gaming. We do not
'play' in contexts that are unrelated to our political, social and
economic realities. Reactions during the first performance,
Howl were mostly humorous. I recall one player noting “wow,
poetry and shooting!”. Reactions to my work have been most
fierce within the context of the ongoing project, dead-in-iraq,
commenced in 2006. Other players routinely insult me,
demand to know why I am doing what I am doing and are
generally very hostile. [5]
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Synthetic Performances are online live gaming sessions
inside the virtual world of Second Life, performed by Eva and
24
Franco Mattes through their avatars, which were constructed
from their bodies and faces. People can attend and interact
with the live performances connecting to the video-game from
all over the world. [6]
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Games invite our participation and projection – we are actors
in these virtual spaces, and they are such plastic, malleable
worlds. They are a tremendously powerful venue for exploring
issues of representation, of identity, of control of our own
image, as well as issues of aesthetics and how our senses
are framed by the context in which we experience art. The
Sims itself is a world in which these kinds of explorations are
happening on a mass scale for everyday consumers, and was
a ripe context for conducting such investigations. [7]
Caleb Larsen
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Waiting is such a no-no in games […] it's regarded as so
abusive, and yet it's a major part of life. To the extent we want
games to (sometimes) be “about life”, waiting is fair game.
Conclusion
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Pain Is Not the Game:
Virtual and Real in Video
Game Art
31
Volker Morawe, Tilman Reiff, PainStation, 2001 - 2004. Installation view at the O.K
Center for Contemporary Art Upper Austria, during Ars Electronica 2002. Image
courtesy O.K Center
32
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The most popular was probably Folter-Mau-Mau: a simple
card game where the looser would be punished according to
the cards that remain in his hand. We remember the special
tension that arose from the threat of possible punishment and
the excitement that came with it. The relief if you came away
unpunished. It simply adds a lot of feelings to the experience.
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The group met at the Academy of Media Arts Cologne. It was
during our studies – we moved in together and had a shared
office in our apartment. One year later – in 2001 – the
Painstation was born and we founded //////////fur//// as a label
for our collaborative work. Painstation is based on the idea to
incorporate the body into the gaming experience, to make
gaming a more physical experience.
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Video Game
Appropriation in
Contemporary Art
37
Miltos Manetas, after TombRaider #2, 1996. Vibracolour print on superglossy paper,
50x75 inches. Edition: unique. Image courtesy the artist
38
Appropriation is a fundamental aspect in the history of the arts
(literary, visual, musical). Appropriation can be understood as
“the use of borrowed elements in the creation of a new work.”
In the visual arts, to appropriate means to properly adopt,
borrow, recycle or sample aspects (or the entire form) of manmade visual culture. [1]
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The exhibition “pong.mythos” installed at the Kunstverein Stuttgart (february 11 –
March 19, 2006). Photo: Mathilde Mupe
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No other video game has been the origin of artistic production
quite as often as the simple black-and-white tennis game. In
addition to its popularity, it seems to be this minimalism that
especially appeals to artists, since the playing pattern is a
virtual prototype of the essence of each and every
communication situation: the ball as the smallest possible unit
of information, oscillating between sender and receiver. [2]
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David Kraftsow, First Person Tetris, 2010. Screenshot
Tetris
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For me creating works by stacking and organizing ordinary
objects is very much about putting things we all recognize
from a certain situation into a new context, and by this altering
their meaning. And I think for me the most fascinating thing
42
with the Tetris-effect is the fusion of two different worlds, that
something you recognize from the world of the video game
merges into the real life as well, and makes you step out from
your daily routine and look at things in a different way. [3]
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Miltos Manetas, Supermario Sleeping, 1998. Dvd after SuperMario for Nintendo 64.
Courtesy the artist.
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Douglas Edric Stanley, Invaders!, 2008. Screenshot, courtesy the artist.
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Katie Sokoler, Real Life Pacman, 2010. Image courtesy the artist.
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Racing Games
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Objects of Virtual Desire exploits the augmented value of
immaterial objects to create and market tangible products,
thereby reversing the process and highlighting the materiality
of the immaterial. [4]
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Garnet Hertz, OutRun, 2009 – 2012. Sketch of the cabinet with electric drivetrain.
Image courtesy the artist.
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Users look at a screen that combines both physical, realtime
recorded elements, in a digital game with digital objects. They
play the game with with a custom made joystick that controls
a small real life car and moving elements in the installation
competing against digitally generated objects in a race against
time. The car and other mechanic objects are realtime
recorded with a small camera which transports its signal to a
computer that runs the game. Users see a screen where both
digital and physical elements are visible and controllable in
the game. [5]
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Where game simulations strive to be increasingly realistic
(usually focused on graphics), this system pursue “real”
driving through the game. Additionally, playing off the gamelike experience one can have driving with an automobile
navigation system, OutRun explores the consequences of
using only a computer model of the world as a navigation tool
for driving. [6]
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Miltos Manetas, Untitled (Lara Croft), 1998. Vibracolour print on super glossy paper,
courtesy the artist and Gloria Maria Gallery
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This shows the male dominancy within the game world by
having a female lead appearing like a super model. By
presenting her naked, it makes the game seem satirical just
pushing the creators’ ideas a little further. [8]
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Stefano Spera, Grand Theft Auto, 2009. Oil on canvas, 120 x 100 cm. Courtesy Artra
Gallery, Milan.
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I find it ironic that these beautifully serene landscapes were
designed to house horrid simulations of unspeakable and
appalling violence – a world where thievery, murder, warfare,
and prostitution are the order of the day. Mesmerized by these
atmospheric digital surroundings, I intended to capture and reemphasize this intangible, sublime, and fleeting reality. [9]
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Burn Out / Erased by the First Rain is comprised of two
sequences staged and recorded from within the game GTA –
San Andreas. The virtual biker does an extended circular burn
out, using the motorcycle’s image of freedom and rebellion as
a starting point, yet alluding to the repetition and futility of
contemporary society.” [10]
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60
INTERVIEWS
61
62
Pippin Barr
63
Pippin Barr, The Artist Is Present, 2011. Image courtesy the artist.
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Mathias Jansson: In your game The Artist Is Present you
recreated a performance by artist Marina Abramovi ,
presented at the Museum of Modern Art in New York 2010.
What’s your own relationship to Abramovi 's art and why did
choose to turn this particular performance into a game?
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Present you describe the graphics as “Sierra-style”, after
Sierra Entertainment, a video-game developer very active in
the eighties. Why do you (and many other indie game
developers) choose to work with the style of old video games
instead of adopting the photo-realistic approach used in the
commercial game scene?
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How do you experience the development and interest for
independent video games during the last years? And how do
you like to contribute to the indie game scene?
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Your academic expertise is “video game values”. What does it
mean? And do you see any difference in values between indie
games and commercial games?
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Die Gute Fabrik, Rückblende, 2006. Screenshot, courtesy the artists.
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Why are you so interested in recycling old game concepts?
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exhibition “Space Invaders” at the Nikolaj Contemporary Art
Center in the beginning of 2012. Can you tell me about the
game and why do you think it was selected to be exhibited in
an art hall?
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What qualities do you think a video game should have to be
an interesting work of art?
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childhood memory. The childhood is a common theme in
literature and film, but how can personal experiences and
memories from a person’s childhood be used in video games?
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Copenhagen?
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And how do you see the future for indie game developers?
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73
Constant Dullaart performing DVD Screensaver at The Influencers Festival,
Barcelona 2012.
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Mathias Jansson: On the 18th of January you and many other
artists followed Wikipedia’s example and blacked out your
homepage as a protest against the SOPA act [1]. You also
made the page thecensoredinternet.com, that displays
censored search results from Google. As an artist using and
remixing material from different sources on the internet, what's
your position in the ongoing discussion about copyright on the
internet?
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JODI an inspiration for you, or where else do you find
inspiration?
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76
with simple methods as flipping the page and rotating it in
order to change the viewer's perspective on everyday internet
services. What’s the idea behind these works?
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In Youtube on the Floor, you sit on the floor and move circles
to create the effect of the loading icon of Youtube.
Furthermore, in the DVD screensaver performance you use a
DVD sign to create a performance about the floating DVD sign
you can see on the screen when your DVD is inactive. Why
did you choose to go off-line?
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showing there and how important are festivals like
Transmediale for you as a net artist?
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Amanita Design, Machinarium, 2009. Wallpaper
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student at the Academy of Arts in Prague. How was the
attitude towards games and art games back then?
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Where do you find inspirations for your games and art?
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scene in the Czech Republic?
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Amanita Design’s latest game Machinarium will be available
for iPad. How did the last year’s explosion of smartphones
and handheld devices affect you as game developer?
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Alan Sondheim's Yoshikaze “Up-In-The-Air” residency project. Image courtesy
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been working with interactive media. What, in the beginning,
made you so interested in these media?
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affected you as an artist?
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What kind of organisation is it?
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focus?
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Krystian Majewski, TRAUMA, 2011. Screenshot
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blog and what do you think makes a good game design?
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What do you think about the current German indie game
scene?
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What kind of education and skills does she need to succeed in
this hard branch?
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Melissa Barron, Jacquard Weavings, 2010. Image courtesy the artist.
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Christy, your experience with the adventure game Loom
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(2008). Can you tell me why you choose that game?
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2 crack screens woven on a tc-1 jacquard loom, you used
crack screens, that is the intro crackers made to show the
world who had cracked the copyright protection of the game.
Why?
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later works, Future Positive (2011). In this case there is a
looser relationships between the virtual game world and the
real installation...
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Trail, an educational game about the 19th century pioneer life
on the Oregon Trail. The game was first release in 1971, and
since then have been re-published many times. Melissa, you
spent hours to translate the game into L337, chatspeak and
LOLcats grammar. The final work is called 73H 0r3g0n 7r41L
(2009). Why did you choose Oregon Trail?
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Rosa Menkman, A Vernacular of File Formats – Bitmap File (.BMP). Windows 24bit
(irreversible databend), 2011. Digital print on Dbond, 30 x 40 cm. Image courtesy
Fabio Paris Art Gallery.
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glitch-art into pure-glitches and glitch-alike. What is the
difference between these two categories?
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with references to Juan Gris, Gerhard Richter etc. Could you
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say that Cubism, Constructivism etc. are result of errors or
mistakes during the painting process?
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Tumblr. Max, when did you realize that you could use glitches
as a medium for aesthetic expression?
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Max Capacity, from the series Analog Video Glitch, 2011. Images courtesy the artist.
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Glitch theorist Iman Moradi distinguishes between two
categories of glitches: the pure glitch, that is “the result of a
malfunction or error”; and the glitch-alike, that happens when
the artist creates the environment that is required to invoke a
glitch and anticipate one to happen. What do you think about
this?
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Shinji Murakami
117
Shinji Murakami, Happy Meal, 2011. Wood blocks, glue, acrylic, resin, screw and
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What kind of games inspires you?
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about these characters?
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In a series called RPG you have worked with maps, for
example you have created a map over Central Park in New
York in Final Quest 1 style. Can you tell me how this RGP
maps are created and why did you choose to work with a style
that reminds traditional Japanese art?
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games in Japan today? Are museums and galleries interested
in displaying this kind of art?
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123
Jason Nelson, Game, Game, Game and Again Game, 2010. Online game,
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you like, and what inspires you as an artist?
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games: Game, Game and Again Game, I made this. You play
this. We are enemies and Evidence of everything exploding?
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Which role has the player / reader in your games?
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about 10 important sheets of paper. Why these 10 papers and
what are these levels represented in the game?
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Martin Pichlmair
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Broken Rules, And Yet It Moves, 2007. Screenshot
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Mathias Jansson: You started as a new media artist but you
then shifted focus from art to video games. Why?
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In your artist’s days, together with Fares Kayali, you created
the Bagatelle Concrete (2006-2007), a pinball machine turned
into a musical instrument. What was the concept behind this
piece?
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So, what's your opinion about games as art today?
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You are working for Broken Rules, an independent game
studio based in Vienna. What does Broken Rules focus on?
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you tell me what is it that makes it stand out from other games
in this genre?
133
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Finally, can you tell me something about Chasing Aurora, the
game you are working on? What should the player expect this
time from Broken Rules?
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Rafel Rozendaal
135
Rafael Rozendaal, Color Flip, 2008. Installation view at NIMk, Amsterdam. Photo Olof
Werngren
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Jonatan Söderström
143
Cactus, Evac, 2012. Computer game, screenshot
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Mathias Jansson: When did you start making your own
games? Where do you find inspiration?
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/ Game developers can spend months and years to make a
game, but your games are often made in a very short time.
Why?
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What's your take on the distrubution possibilities of indie
games?
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Can you tell me about the game Norrland that you made for
an exhibition in Sweden 2010?
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Jeroen D. Stout
147
Jeroen D. Stout, Dinner Date, 2010. Promotional image
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Mathias Jansson: What inspires you as an artist and game
designer?
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been recognised and nominated for the IGF award. What is it
that makes it so special?
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What about the leading character, Julian Luxemburg?
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What about the Dutch indie game scene? Last year, the
Stedelijk Museum in Amsterdam has worked with artists and
game designers. Do you feel that art games are recognised
as an art form in the Netherlands?
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And what do you think about the future of indie games?
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Erik Svedäng
151
Erik Svedäng, Blueberry Garden, 2008. Computer game, screenshot
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Mathias Jansson: When did you start making your own
games?
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152
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In the game Kometen you collaborated with Swedish artist
Niklas Åkerblad. How important is for you the artistic quality of
the graphics in your games?
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Your game Shot Shot Shoot was developed for iPad. How did
the advent of smartphones and handheld devices affect you
as a game developer?
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something about it?
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What do you think about the future of indie games?
153
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Anders Weberg
155
Anders Weberg, Two screenshots from 101010, 2010.
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http://you-talking-to-me.com/
http://lrntrlln.org/p/thisisart/
http://canyoubelievethisdomainwasavailable.com/
http://asdflkjhasdflkjhasdflkjhasdflkjhasdflkjhasdflkjhasdflkjhasdflkj.com/
http://www.thissiteisnotavailableinyourcountry.com/
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http://you-talking-to-me.com/
http://well-i-am-the-only-one-here.com/
http://who-the-fuck-do-you-think-you-are-talking-to.com/
http://you-talking-to-me-you-talking-to-me-you-talking-to-me.com/
http://then-who-the-hell-else-are-you-talking-to.com/
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Anders Weberg, The URL Is the Artwork, 2009
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Mathias Jansson: When did your interest for net art and P2P
start?
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In 2009 you made a net art work called The URL is the
Artwork. How did you come up with the idea?
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What does the URL mean for you as an artist?
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Is there any similarity between your URL-art and your P2Part? Which ideas or concept do you like to explore or discuss
in your art?
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Anders Weberg, This Site Is Not Available in Your Country, 2010.
In your latest www.thissiteisnotavailableinyourcountry.com,
the user finds a statement similar to the one that sites as
YouTube present when there are copyright or censorship
restrictions...
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161
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164

Video Game Appropriation in Contemporary Art

Transcription

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