Zero Gamer exhibition at London Games Festival.
FRINGE: Lounge & Zero Gamer exhibition, London Games Festival.
Open: 1pm-6pm, Monday 22 - Friday 26 October
Venue: 01zero-one, Hopkins Street, Soho,
London W1F 0HS
Free to attend.
Zero Gamer looks at games played, unplayed and unplayable, the spectator
and the spectacle. Sometimes we just like to watch, and machinima,
gameplay videos and spectator gaming events take the activity out of
interactivity. Games that play themselves, video documents of in-game
performance, game engine experiments and challenging documentaries on
The exhibition is co-curated between critical game theorist Corrado
Morgana in partnership with HTTP Gallery and Furtherfield.org
Progress Quest & more...
Keynote Text by Axel Stockburger 2007.
The devil makes work for idle thumbs:
Collaborative, curatorial text by Ruth Catlow, Marc Garrett & Corrado
This is the second exhibition, produced by HTTP Gallery as part of the
London Games Fringe Festival to focus on the intersection of media art
and games cultures. In 2006 Game/Play, a networked exhibition focusing
on the rhetorical constructs of game and play in a media art context,
was installed alongside the World Series of Video Games in London.
Visitors to the Trocadero moved between the frenzied competition of the
WSVG events, part of the mainstream festival, and a more critical
engagement with a selection of artworks presented as part of the Fringe.
The exhibition comprised of a series of games that subverted the
stereotypical genres and an installation of [giantJoystick] by Mary
Flanagan which "highlighted the spatial and social role of the game
interface." Visitors seemed to slip happily between modes of engagement.
The meaning of contemporary media art is often crafted by the context in
which it is encountered by its audience or participants. The way in
which participants interact when engaged (in games and art) remains an
important factor for both artists and game designers, gamers and
audiences for videogame-art. This provides a starting point for this
exhibition. It considers on the one hand, avidly and actively immersed
gamers, and on the other, the gamer-in-every-viewer of art games who
encounters game modifications, appropriations and detournements as jolts
to the mesmerizing flow and illusory worlds of regular game play. They
are thereby placed in a more thoughtful and reflective relationship with
them. This is the fertile antagonism that informs Zero Gamer.
So, what happens when the action is taken out of interaction?
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