plokkerBorderland, 1998

This French CD-ROM is an absurd lampoon of arcade games like Mortal Kombat. Borderland is an interactive fighting game that assaults our expectations and challenges us to choose who to fight and in what context. Borderland is a multimedia project that speaks about video games and the influence of computers in peoples lives.

koblandk CHEZ NOUS (a folly), Ken Kobland CHEZ NOUS (a folly), 2019

A fairy tale, a road movie, a folly. The image of the road — black-top and broken white line — the most familiar and most fantastic sculptural installation; a worldwide work of art, which one sees everywhere and generally files under: "Are We There Yet?"

brederh eclipse, Hans Breder eclipse, 1970

Breder regarded Eclipse I as one of his most successful intermedia performance works for the complexity of the experience. Generators were used to provide electricity for the projections as well as to amplify the electronic score by Experimental Music Studio head Peter Lewis. Breder spent several weeks with the sailing club to choreograph them sailing back and forth on the lake, using their sails as projection surfaces. Slides and films of models and students were projected onto the moving sails.

videodatab Ben Knapp and Andy Diaz Hope: An Interview Ben Knapp and Andy Diaz Hope: An Interview, 2001

The interstice of art and technology has proved to one of the most generative locations in contemporary transdisciplinarity. As media of all kinds become more electronically integrated and digitized across multiple platforms, current technologies approach a condition of complete imbrication with art practices, and vice versa. Ben Knapp and Andy Diaz Hope have been at the forefront of these techno-aesthetic interactions, and their career experience as hard-science engineers brings a level of practical competence to this interview that is truly enlightening.

videodatab Marisa Olson: An Interview Marisa Olson: An Interview, 2015

Growing up in the early computer age, around machines like the Commodore 64, had a formative effect on Marisa Olson and her subsequent artistic career. Now operating across a diverse spectrum of media including video, performance, and even the internet itself, she creates work that simultaneously comments upon and instrumentalizes the potential of digital machines as well as the global networks they’re linked to. However, her work is not circumscribed within the boundaries of these systems’ technical specificity.

lambertk RECKONING 7, Kent Lambert RECKONING 7, 2019

RECKONING 7 is something of an instrumental interlude between longer, denser episodes of the RECKONING series, which is now being made and released "out of order.” Through an improvised electronic score and footage from the prison yard lobby of a popular battle royale game, it floats a modest proposal of multiplayer online game as altered space for collaborative performance, meditation, levitation, and indecision.

lambertk Kent Lambert "Security Anthem" Security Anthem, 2003

Security Anthem’s requisite components came together relatively slowly. I’d known for years that I wanted to make something out of the Oto speakers’ most sinister, suggestive sentences. I’d taught myself to program music on a Game Boy using a cartridge I’d bought from a Swedish programmer, and I composed a sequence of ominous music that seemed well-matched to the speakers. I’d recorded John Ashcroft singing his self-penned song “Let the Eagle Soar” through a media player window, and I knew that it somehow belonged with the speakers and the 8-bit music.

cesarf, hendersonl Filipa César and Louis Henderson; Sunstone Sunstone, 2018

Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba.

cummingd The Seven Wonders of the World, Donnigan Cumming The Seven Wonders of the World, 2018

A compilation of too-close observation, animation, and stolen moments, The Seven Wonders of the World adds an eighth: survival at the edge of the known universe — bare-plus life. 

Combining shaky close-ups and stop-frame animations, the video examines people living at the margins of the society, struggling to survive.

In order of appearance: Raymond Beaudoin, Beverly Murray, Ralph Monk, Pauline Mellor, Robert Smith.

videodatab Ryan Trecartin: An Interview Ryan Trecartin: An Interview, 2010

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.

meaneye Evan Meaney "+ + We Will Love You For Ever" ++ We Will Love You For Ever, 2017

"This is an experimental virtual reality artwork, and while it offers opportunity for interaction, calling this a game goes too far. It is a disappointment simulator, a best-artist-ever-all-the-time artist simulator, a hospice simulator. The experience speaks to the art-making process, impostor syndrome, decay, archives on the moon, and a persistent exile."

— Evan Meaney

*Please note ++ We Will Love You For Ever requires either HTC Vive or Oculus Rift to operate.

eteam Zhong Kui and the Reform of Hell, eteam Zhong Kui and the Reform of Hell, 2019

For their first collaboration, artist duo eteam and the Hong Kong Puppet and Shadow Arts Center have developed a powerful opera-play that combines ancient stories and analog story-telling technologies with the digital tools and scripts we have available now.