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The group exhibition WORLDBUILDING examines the relationship between gaming and time-based media art. - FAD Magazine

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The group exhibition WORLDBUILDING examines the relationship between gaming and time-based media art.

Ed Atkins, Even Pricks, 2013, HD-video, 7’32”, color, sound. Video still. Courtesy of the artist and Cabinet, London.

Computer and video games have found their way into popular culture and nearly every part of society. Curated by Hans Ulrich Obrist to celebrate the fifteenth anniversary of the JULIA STOSCHEK COLLECTION, the group exhibition WORLDBUILDING examines the relationship between gaming and time-based media art. Early works from Julia Stoschek’s holdings will be shown with more recent works, some of which were commissioned especially for the exhibition. This juxtaposition will provide an archeological view of video games and art that bridges the past and the present. Recent developments in moving images as well as the potential of interfaces between computer games and art will be considered. The anniversary exhibition will constantly change over the course of its one-and-a-half-year run and will be accompanied by a varied program, both online and on-site. A comprehensive exhibition catalog will investigate various perspectives on the phenomenon of gaming. The catalog will include new worktexts by Giampalo Bianconi, Tamara Clarke-Brown, Rebecca Edwards, Marion Eisele, Adèle Koechlin, Christiane Paul, and more.

STURTEVANT, Pacman, 2012, HD Video, 1.15, color, sound. Video still. © Estate Sturtevant, Paris. Courtesy Galerie Thaddaeus Ropac, London/Paris/Salzburg/Seoul.

With works by Peggy Ahwesh, Rebecca Allen, Cory Arcangel, Ed Atkins, Meriem Benanni, David Blandy & Larry Achiampong, Danielle Brathwaite-Shirley, Ian Cheng, Cao Fei, Basmah Felemban, Ed Fornieles, Sarah Friend, Kim Heecheon, Institute of Queer Ecology, Rindon Johnson, Keiken, Lawrence Lek, Gabriel Massan, Lual Mayen, Sondra Perry, Jacolby Satterwhite, Frances Stark, Sturtevant, Theo Triantafyllidis, Suzanne Treister, Angela Washko, Lu Yang, among others.

Meriem Bennani, Party on the CAPS, 2018, video, 25 28, color, sound. Video still. Courtesy of the artist, BIM 2018 and C L E A R I N G, New York/Brussels.
Ian Cheng, BOB (Bag of Beliefs), 2018–2019, artificial lifeform, infinite duration, color, sound. Video still. Courtesy of the artist, Gladstone Gallery, Brussels/New York and Pilar Corrias, London.

Worldbuilding: Gaming and Art in the Digital Age 5th June 2022 – 10th December 2023 Julia Stoschek Collection Düsseldorf Schanzenstraße 54, 40549 Düsseldorf, Germany. Art Opening: Saturday 4th June, 12-6pm

Cao Fei, i.Mirror by China Tracy (AKA: Cao Fei), 2007, video, 28?, color, sound. Video still. Courtesy of the artist and Creative Vitamine Space, Guangzhou.

Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of the Serpentine Galleries
in London, Senior Advisor at LUMA Arles, and Senior Artistic Advisor at The Shed in New York.
Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first
show World Soup (The Kitchen Show) in 1991, he has curated more than 350 shows.

The JULIA STOSCHEK COLLECTION is one of the world’s most comprehensive private collections of time-based art, dedicated to the public presentation, advancement, conservation, and scholarship of media and performance practices. With over 890 artworks by 300 artists from around the world, the collection’s contemporary focus is rooted in artists’ moving image experiments from the 1960s and ’70s. Works in the collection span video, film, single- and multichannel moving image installation, multimedia environments, performance, sound, and virtual reality. Photography, sculpture, and painting supplement its time-based emphasis. Artworks from the collection have been presented in large-scale solo and group exhibitions at the JULIA STOSCHEK COLLECTION in Düsseldorf, Germany (JSC Düsseldorf) since 2007. In 2016, a second exhibition space opened in Berlin (JSC Berlin). A wide range of public programs, comprised of tours, performances, screenings, lectures, artist talks, and workshops invite visitors
and scholars to engage with time-based art on multiple levels and from various perspectives.

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