Designing the Infinite: Virtual Worldbuilding in Art & Gaming December 6, 2025–April 12, 2026 California Center for the Arts Museum At the California Center for the Arts, Escondido 340 North Escondido Boulevard Escondido, California 92025 Designing the Infinite: Virtual Worldbuilding in Art & Gaming brings together an international group
AI and the Paradox of Agency March 13, 2026–January 17, 2027 Opening: March 13, 5pm–12am, with talks and presentations, tours, workshop, DJ and bar Bildmuseet at Umeå University Östra Strandgatan 30B Umeå, 903 33 Sweden From March 13, 2026 to January 17, 2027, Bildmuseet in Umeå, Sweden turns
Briar Dickey, Max Haiven, Konstanze N’Guessan, Sarah Thorne, Thomas Spies invite submissions for a special issue of Eludamos titled What are Antifascist Games? Below is the full call for papers: “In many places around the world, the fascist threat is rising. Far right, neonationalist and ultra-conservative parties, politicians, and
CORE DUMP 4K digital video, color, sound, 6’ 06”, 2024/2025, Israel/Germany created by Alona Rodeh November 21–December 4 2025 vral.org CORE DUMP is a born-digital CGI short that depicts a surreal swarm of drones scavenging for e-waste. Its title borrows from computing, where a “core dump”
Adam Martin Your Demise July 10 – August 10, 2025 Giselle’s Books Marseille, France The title comes across like a threat addressed directly to the visitor: Your Demise. Adam Martin’s exhibition at Giselle’s Books in Marseille, France takes that second–person address seriously, treating everyone who enters as
Press ‘H’ near Lago Zancudo and Grand Theft Auto V starts to behave strangely. The mission markers, heists and side quests recede; instead, an audio essay fades in and will not go away. The game’s camera steers you through reeds and mud, scripted events punctuate the trip, and a
Allen-Golder Carpenter Same Things Make Us Laugh, Make Us Cry Pt. 2, Witness, Act 1: Black Noise Derosia, New York September 10 – November 10 2025 Walk into Derosia for Same Things Make Us Laugh, Make Us Cry Pt. 2, Witness, Act 1: Black Noise and you are met, first of
For the 2023 exhibition Re_spawn, also at The Hole, Zefeldt revisited GTA V and GTA Online after several years of technical and conceptual refinement. Here, the emphasis falls more explicitly on avatar identity and the blurring of realities. The show consists of paintings drawn from sessions in which his
Benjamin Poynter has spent more than a decade using game engines as instruments of introspection. From the VR allegory Story Generating Apparatus to the machinima-adjacent CHEnd and the arcade installation Everything Not Saved Will Be Lost, his projects trade adrenaline for memory and self-narration. With Memory Tapes | Immersive and Mixed
Mathew Zefeldt’s paintings arise from an unusual kind of studio: the open world of Grand Theft Auto V. The artist uses the fictional state of San Andreas as a mobile image-bank, roaming the environment with an avatar modelled on himself and waiting for “poetic moments” to appear: spectacular crashes,
LifeStream digital video (1920 x 1080), color, sound, 6’ 26”, 2020, Iran created by Bahareh Khoshooee introduced by Matteo Bittanti In LifeStream, produced during the first month of the 2020 COVID-19 lockdown, a week of continuous Instagram broadcasting culminates in a hand-off: the artist’s apartment and routines are reconstructed
Real weapon digital video (1920 x 1080), color, sound, 18’ 36”, 2018, n/a. created by Anna Rotaenko Structured around a twelve-step recovery model, Real Weapon transposes the logic of addiction onto the exhausted figure of the precarious artist. Replacing “God” with “Art” and substituting substance dependency with structural entrapment