FleuryFontaine

Ange
Ange is the result of discussions between two artists and a “hikikomori”. This term imported from Japan, which has no equivalent in France, is used to describe young people, sometimes even teenagers, choosing not to leave their room or their apartment for months or even years. Ael is one of them, recluse in a shed in his parents garden for 13 years, somewhere in the south of France. The artistic duo fleuryfontaine has maintained a relationship with him using internet. They used the video game as a medium to try to reconstruct the world of this hikikomori and to engage a dialogue during game sessions where Ael evolves in the environments created by the artist. His room, his objects, the parental home, his neighborhood, this film reveals the fragmented portrait of a man hiding from the world.

One Life Remains: André Berlemont, Kevin Lesur, Brice Roy & Franck Weber

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

 

ROBERT HENKE


光正在使用高精度激光在屏幕上绘制连续的抽象形,并与声音完美同步。强烈的光线与完全的黑暗形成对比,缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字,一种未知语言的符,建筑图纸,数据点之间的连接或类似Tron的早期视频游戏放大了1000

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

Maria Guta and Adrian Ganea

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Dorian Gaudin

The coffee cup spring
The monotone repetition of the movement created by the conveyor belt recalls the pace and the landscape of animation or video games. As an extension of the conveyor, several geometric and orthogonal motifs evoking a Tetris composition are slotted together and suggest the shapes of a table, a chair or stairs. The objects are exposed on thin metal structures with fringed ends, and seem to peel off from their construction, as if they were undressing and exchanging skins, depriving themselves of sculptural depth and allowing only the surface to emerge. The technique developed by the artist to produce the sculptures inverts the usual steps of printing: first the pattern is created, then the background to which the fiberglass support is apposed. The pieces are therefore ripped off their mold, revealing their final texture, and the motif on every sculpture seems to remain the same, yet is altered by the shape of the object itself. A series of wall works using this procedure extends from the installation into the gallery space.

Ben Katz & Jared Di Carlo

The Rubik’s Contraption
“That was a Rubik’s cube being solved in 0.38 seconds. The time is from the moment the keypress is registered on the computer, to when the last face is flipped. It includes image capture and computation time, as well as actually moving the cube. The motion time is ~335 ms, and the remaining time image acquisition and computation. For reference, the current world record is/was 0.637 seconds. The machine can definitely go faster, but the tuning process is really time consuming since debugging needs to be done with the high speed camera, and mistakes often break the cube or blow up FETs. Looking at the high-speed video, each 90 degree move takes ~10 ms, but the machine is actually only doing a move every ~15 ms. For the time being, Jared and I have both lost interest in playing the tuning game, but we might come back to it eventually and shave off another 100 ms or so.” Ben Katz

HITO STEYERL

Factory of the sun
In this immersive work, which debuted at the 2015 German Pavilion at the Venice Biennale, Steyerl probes the pleasures and perils of image circulation in a moment defined by the unprecedented global flow of data. Ricocheting between genres—news reportage, documentary film, video games, and internet dance videos—Factory of the Sun uses the motifs of light and acceleration to explore what possibilities are still available for collective resistance when surveillance has become a mundane part of an increasingly virtual world. Factory of the Sun tells the surreal story of workers whose forced moves in a motion capture studio are turned into artificial sunshine.

tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Assocreation

Solar Pink Pong
file festival
Solar Pink Pong” is a hybrid of street and video game. Players of this game can interact with an animated pink sunlight reflection on the street using their bodies and shadows. The device that makes this game possible can be mounted on utility poles or building sides.

Gaspard et Sandra Bébié-Valérian

Viridarium / Bioréacteur de spiruline
Gaspard and Sandra Bebie-Valérian will present Viridis. Viridis is a global project that relies on different modules, the main being an online video game, immersive, plus an installation made of spirulina bioreactors and a set of videos and sounds. While Viridis is mainly available on the internet, the two artists, at this occasion, will present it out of the screen, they will deploy and spread it in several modules.
Viridis is a unique game experience combining adventure, survival, and an actual operating spirulina community management. Through the video game, the community can directly affect and interact with a real operating spirulina farm, managed by the artists.