MMF MMXXIV: BEFORE KNIT’S ISLAND, THERE WAS MARLOWE DRIVE

Guilhem Causse, Ekiem Barbier, and Quentin L’helgoualc’h, Marlowe Drive, digital video, color, sound, 34”, 2017.

Before embarking in their ambitious project Knit’s Island, which will be screened on March 14 2024 at IULM University in the context of the Game Video Essay program, filmmakers Guilhem Causse, Ekiem Barbier, and Quentin L’helgoualc’h directed a machinima documentary set in Grand Theft Auto V titled Marlowe Drive, an experimental film that explores video games environments as a context for making a documentary. 

This is how Guilhem Causse describes the film:

A director, Adam Kesher, from David Lynch’s film Mulholland Drive, lands in another fictional Los Angeles. It is in this Hollywood film landscape recreated by Rockstar Games, that this director sets out to find someone to talk to. He is looking for a bridge between the banks of reality and the imaginary. The film takes place on the game's multiplayer platform to meet “real” characters. It collects information on the individuals who inhabit this space and reintegrates the process of documentary filming into a virtual world. In a back and forth between staging and raw capture, the protagonist then lets himself be carried away into the current of a chaotic world that fascinates him, but which gradually overtakes him. Through his character and his encounters, we ourselves discover a virtual world. An autonomous world strangely close to a form of reality.

In other words, the conceptual foundation of Marlowe Drive (2018) was to document the virtual lives of avatars controlled by real people, thereby examining the intersection of our reality with the virtual environments created by video games. This is so meta, it hurts.

At any rate, this initial exploration set the stage for their later work, Knit’s Island, although the two projects engage with virtual spaces in distinctly different ways. The choice of GTA V for Marlowe Drive was deliberate, leveraging the game’s thematic elements of consumerism and the American dream to contrast sharply with the survivalist, post-apocalyptic setting of DayZ, the game chosen for Knit’s Island. This thematic divergence highlights…

(continues)

Matteo Bittanti

Works cited

Guilhem Causse, Ekiem Barbier, and Quentin L’helgoualc’h, Marlowe Drive, digital video, color, sound, 34”, 2018.

Guilhem Causse, Ekiem Barbier, and Quentin L’helgoualc’h, Knit's Island, digital video, color, sound, 95”, 2022.

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MMF MMXXIV: EVERYTHING YOU WANTED TO KNOW ABOUT KNIT’S ISLAND...

The Milan Machinima Festival is thrilled to present the full length documentary Knit’s Island as part of the Game Video Essay program. The film will be screened on March 14 2024 at IULM University. We are equally excited to present Angelo Careri’s insightful interview with the filmmakers, Guilhem Causse, Ekiem Barbier and Quentin L’helgoualc’h. We are also sharing with our Patreon supporters the first of a series of exclusive excerpts of the film.

Thanks to Careri’s clever questions, we learn about the filmmakers’ deep engagement with the virtual world of DayZ, as they set out to examine the social and existential dimensions of online gaming communities. Their work blurs the boundaries between documentary filmmaking and virtual exploration, offering insights into how digital spaces can reflect and influence real human experiences and connections.

In this comprehensive and always compelling conversation that was shared with us by the film distributor, Square Eye Films, Causse, Barbier and L’helgoualc’h explain that the idea for the film began as an experiment during their studies at the Beaux-Arts. The young filmmakers were initially intrigued by the possibility of observing, rather than playing, within online games. This curiosity led to the discovery that games could serve as venues for documentary filmmaking, particularly after encountering players who used the game spaces for social interaction beyond the game’s intended mechanics.

The shift from Grand Theft Auto V, which was initially selected as a case study, to DayZ was influenced by the desire for a game that offered more realistic interactions and survival elements, contrasting with GTA V’s focus on consumerism. DayZ’s environment, which simulates a post-apocalyptic world requiring survival strategies and fostering player interactions, presented a compelling setting for exploring virtual community dynamics. The filming process involved significant preparation, both within and outside the game. The team had to manage survival elements like food and health for their avatars, navigate the game’s day/night cycle, and adjust to game updates that affected filming.

They described the experience as living a “double life,” balancing their real lives with their virtual existence in the game. The filmmakers experienced a gradual integration into the DayZ community, eventually being recognized and respected by other players. This acceptance allowed them to explore the communal and individual stories within the game, revealing layers of personal engagement and the blurring of lines between players’ virtual and real lives. The team was interested in how players and their avatars interact with the game’s boundaries and its virtual environment. They noted how the game became a space for contemplation and social interaction, contrasting with the fast-paced nature of contemporary internet culture. Knit’s Island is, first and foremost, an ethnography of online gaming spaces. 

The Covid-19 pandemic which began in March 2020 mirrored some of the post-apocalyptic themes in DayZ, adding a layer of relevance to the film. The lockdowns and restrictions of the pandemic paralleled the isolation and survival themes within the game, influencing both the players and the filmmakers. Post-filming, the directors expressed ambivalence about returning to DayZ purely for leisure, highlighting how their experience has irrevocably changed their perspective on the game. They feel that their connection to the game and its community is now intertwined with their roles as filmmakers.

Finally, we learn that the title Knit’s Island reflects the filmmakers’ intention to name and define the virtual space they explored, drawing inspiration from the concept of “ghost islands” on maps, places that are marked but don’t actually exist, analogous to the virtual spaces in video games…

(continues)

Matteo Bittanti

Works cited

Ekiem Barbier, Guilhem Causse, Quentin L’helgoualc’h, Knit’s Island, 2023.

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MMF MMXXIV: TOTAL REFUSAL IS WINNING THE CULTURE WAR

The Milan Machinima Festival is thrilled to introduce Kinderfilm as part of our Auteur Theory program. Join us for a special screening on March 15 2024 at IULM University in the Sala dei 146. Today, we’re happy to share an exclusive clip.

Operating at the intersection of art, politics, and video games, the Austrian artist collective Total Refusal stands out as a groundbreaking force. This self-described “pseudo-Marxist media guerrilla”, comprised of artists, researchers, and filmmakers, has carved a unique niche by appropriating contemporary video games to create political narrations. Their innovative approach to “upcycling” the resources of mainstream video games into videos, interventions, live performances, lectures, and workshops has not only challenged conventional boundaries but also captivated audiences worldwide. In 2023, they even made it into the front page of The New York Times (the best part, as often is the case with the Grey Lady, is the comment section… priceless).

Since its inception in 2018, Total Refusal’s compelling fusion of digital art and political commentary has garnered international acclaim, earning them over 50 awards and honorary mentions. It’s a stunning achievement in such a short span of time. Noteworthy among these are the prestigious European Film Award and the Best Short Direction Award at the Locarno Film Festival, underscoring their significant impact on contemporary film and art.

Total Refusal’s filmography is a testament to their creative versatility and political engagement. Their works, including Kinderfilm (2023), Hardly Working (2022, screened at the Milan Machinima Festival in 2023), Deconstructing the Bridge (2022), How to Disappear (2020, presented at the Milan Machinima Festival 2021), Featherfall (2019, featured on VRAL), and Operation Jane Walk (2018, screened at Sogni Eletrrici in 2019), explore various dimensions of video game worlds while critiquing societal and political norms. The provide a counter-narrative to mainstream discourse.

Total Refusal’s critical acclaim extends to major film festivals around the globe, showcasing their work to diverse audiences. Their recent participations include the Locarno International Film Festival (Switzerland), L’Étrange Festival (France), Black Canvas (Mexico), Montreal Festival du nouveau cinéma (Canada), and Viennale (Austria), among others. Each festival participation not only amplifies their voice but also reinforces the relevance of their work in contemporary discourse on art and politics.

Supported by the Austrian Cultural Forum Bern, their festival journey reflects a growing recognition of video game art as a legitimate and powerful medium for political and social commentary. From the streets of virtual Los Santos in Kinderfilm to the digital landscapes of Operation Jane Walk, Total Refusal redefines the boundaries between the fictional and the concretely lived, inviting viewers to reconsider their perceptions of video games, art, and the world around us.

The collective's most recent work, Kinderfilm, ventures into the spaces of Grand Theft Auto V,capturing a day permeated by mundane routines yet overshadowed by a “grave absence”, that is, a future put on hold due to safety concerns. Through the perspective of its protagonist, Edgar, the film traverses the eerily ordinary reality dictated by the game’s algorithms, unveiling a world that is outwardly enchanting but fundamentally nightmarish. This journey underscores Total Refusal’s knack for distilling deep insights from allegedly neutral digital environments. More poignantly, their critique extends beyond virtual borders, resonating starkly with real-world contexts. Particularly, it mirrors the societal dynamics of countries like Italy, where a declining birthrate, escalating emigration, and a crisis co-opted by the Far Right paint a similarly unsettling picture of suspended futures and challenged normalcies.

As Total Refusal continues to challenge and inspire, their work remains a benchmark for those seeking to navigate the complexities of contemporary digital and political landscapes. Their success at film festivals worldwide is not just a testament to their artistic innovation but also to the vital role of video games in shaping our cultural and political consciousness, not to mention reshaping visual culture as a whole.

Matteo Bittanti

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MMF MMXXIV (MARCH 11-17 2024, MILAN, ITALY)

press release

FOR IMMEDIATE RELEASE

Milan Machinima Festival MMXXIV unveils groundbreaking programs for 2024 edition

Milan, Italy - The Milan Machinima Festival MMXXIV is thrilled to announce its highly anticipated programs for the 2024 edition, showcasing the best in machinima art from around the world. The festival — which takes place in person at IULM University between March 11 - 15 2024 — will feature four unique programs: Auteur Theory, Game Video Essay, Made in Italy, and Slot Machinima.

Additionally, this year, a concurrent event is FOTOLUDICA, the first Italian conference on in-game photography (March 14-15 2024). Both are free and open to the public.

The Game Video Essay program will present thought-provoking pieces by Cat Bluemke and Jonathan Carroll, Guilhem Causse, Ekiem Barbier, and Quentin L'helgoualc’h, Gina Hara, and Yemen Liu that explore the intersection of gaming and critical analysis. These works delve into the cultural, social, and political implications of video games, offering fresh perspectives on the medium and its impact on society. The program aims to foster a deeper understanding of the potential of video games as a tool for artistic expression and social commentary. The Game Video Essay program will be screened on Thursday March 14, 2024, in the Sala dei 146 (IULM 6).

Made in Italy will celebrate the ingenuity and craft of young Italian machinima artists. This program features three films that showcase unique aesthetics and styles, highlighting the vibrant and thriving Italian machinima art scene. The featured filmmakers, Alberto Calleo, Simone Fiorentino, and Elia "marasma" Strazzacappa, utilize real-time computer graphics engines to craft artworks that challenge traditional notions of cinema and transgress the boundaries between virtual and real-world spaces. Made in Italy will be screened on Friday March 15, 2024, in the Sala dei 146 (IULM 6).

The Auteur Theory program will highlight three exceptional works by leading machinima creators — Jacky Connolly, Lawrence Lek, and Total Refusal — examining the role of the individual artist in shaping the medium. This program celebrates the unique visions and styles of these artists, emphasizing their distinctive contributions to the field of machinima. The Author Theory program will be screened on Friday March 15, 2024 in the Sala dei 146 (IULM 6).

The Contemporary Exhibition Hall will host Slot Machinima, an immersive program featuring eight video installations that will be presented in a loop from March 11-15, 2024, featuring works by renowned artists such as Adonis Archontides, Steven Cottingham, Kara Güt, Thomas Hawranke, Andy Hughes, Carson Lynn, Stephan Panhans and Andrea Winkler, and Bram Ruiter. This special program is designed to immerse viewers in often absurd and deranged virtual environments within the video game imaginary, showcasing the incredible range and depth of avant-garde machinima.

“We are excited to present these groundbreaking programs that showcase the incredible talent and diversity within the machinima avant-garde community,” said festival director Matteo Bittanti. “The Milan Machinima Festival MMXXIV aims to push the boundaries of what is possible with this medium and inspire both artists and audiences alike. Through these four distinct programs, we hope to foster a deeper appreciation for the art of machinima and its potential to shape our understanding of the world around us.”

These year’s submission were judged by an international panel of scholars, critics, artists, and curators: Marco De Mutiis, Henry Lowood, Jenna Ng, and Martin Zeilinger.

The poster of the 2024 edition was designed by artist and musician Babak Ahteshamipour. Babak’s vivid new poster design epitomizes the festival’s ethos of propelling machinima into unmapped creative frontiers. Electrifying colors and fantastical shapes blend gaming visuals with mysterious organic shapes, suggesting unexpected artistic dimensions virtual worlds could unlock.

For more information about the Milan Machinima Festival MMXXIV and its programs, please visit the official website at https://milanmachinimafestival.org

About Milan Machinima Festival:

The Milan Machinima Festival MMXXIV is an annual celebration of the art of machinima, featuring works by established and emerging artists from around the world. The festival aims to promote the creative potential of real-time computer graphics engines and foster a global community of machinima creators and enthusiasts.

Contact:

Artistic director: Matteo Bittanti

Communication Manager: Colleen Flaherty

IULM Eventi: Caterina Angeretti

Directions to IULM University

News:

For updates, follow us on Patreon, Instagram, Twitter/X and the Festival’s website.

Would you like to get involved? Drop us a line!

MMF MMXXIV: AUTEUR THEORY

Image by Dall-E 3

The Milan Machinima Festival MMXXIV is thrilled to present the Auteur Theory program, showcasing three exceptional works by leading international artists and filmmakers. Join us for screenings on Friday, March 15, 2024, in the Sala dei 146 at IULM University.

Auteur theory

Friday March 15 2024 , 15:00 - 17:00

Sala dei 146

IULM 6, IULM University

Via Carlo Bo 7, 20143 Milano

curated by Matteo Bittanti

Artists and filmmakers: Jacky Connolly, Adrian Jonas Haim, Michael Stumpf, Robin Klengel (Total Refusal), Lawrence Lek.


The concept of auteur theory, originally developed within the context of film studies, posits that a film reflects the creative vision and personal style of its director, who is considered the primary “author” of the work. As machinima continues to evolve as an art form, this program explores how the elusive concept of authorship can be applied to works created within game engines, where the boundaries between gameplay, filmmaking, and digital art become increasingly blurred.

The three works featured in the Auteur Theory program exemplify the unique ways in which machinima artists and filmmakers assert their creative vision and personal style within the constraints of existing video game environments and game design tools. By repurposing game visuals, mechanics, and narratives, these artists create deeply personal works that challenge our understanding of authorship, creativity, and the nature of video games as a medium for artistic expression.

Kinderfilm, the latest creation by the Austrian collective Total Refusal (represented by Adrian Jonas Haim, Michael Stumpf, and Robin Klengel), unfolds within the digital spaces of Grand Theft Auto V’s San Andreas. The story follows a middle-aged man named Edgar, who drifts aimlessly through Los Santos, confined to his car. Total Refusal uses this familiar setting to explore themes of societal critique and hope, echoing the aesthetics and concerns of unclassifiable filmmakers like Charlie Kaufman and Kristoffer Borgli.

Lawrence Lek’s Theta immerses viewers in the journey of a self-driving police car grappling with an existential crisis within the desolate streets of SimBeijing, an abandoned smart city. As Theta confides in its integrated therapist, a self-help AI named Guanyin, the narrative unveils the grim realities that led to the city's abandonment. This stunning work is a continuation of Lek's Sinofuturist universe, delving into themes of identity, surveillance, and empathy within the technological age.

Jacky Connolly’s Descent into Hell transports viewers into a post-capitalist, dystopian vision of the United States. Crafted through an innovative amalgamation of scenes from Grand Theft Auto V and Connolly’s original animations, the piece diverges from the game’s central narrative to delve into the stark realities of everyday life for its characters. Connolly's work reflects her foray into the digital expanse of GTA V during the 2020 lockdown, prompting reflection on the stark realities of our age of collapse.

In the unique auditorium setting of the Milan Machinima Festival’s Sala dei 146, the Auteur Theory program transcends traditional cinematic experiences, redefining the essence of auteur theory in the age of art after video games. As viewers gather in this communal space, they are not merely spectators but participants in an immersive journey through video game landscapes transformed by the artists’s vision. This collective viewing experience amplifies the impact of each work, where the manipulation of game engines becomes a conduit for exploring the nuanced interactions between technology, society, and individuality.

The featured works delve into critical themes, examining the erosion of human connections, the pervasive influence of technology, and the stark realities shaped by late capitalism, while leveraging the familiar terrains of digital games to craft narratives that challenge and redefine societal norms. The characters within these narratives, marked by isolation and alienation, serve as mirrors reflecting the viewer’s own experiences in the contemporary world. Through a masterful blend of game aesthetics, original animations, and evocative sound design, these works construct immersive environments that invite introspection on the current state of society, the impact of technology on our lives, and the undiminished importance of genuine human connections.

By curating these three distinct and unique works under the umbrella of the Auteur Theory program, the Milan Machinima Festival underscores machinima’s capacity to serve as a powerful medium for creative storytelling, social critique, and the exploration of complex ideas. This program not only showcases the ability of artists to infuse their unique visions and styles into the constraints of commercial game worlds but also celebrates machinima’s evolution as an art form. It highlights the medium’s capability to foster a deeper understanding of the world around us, encouraging viewers to contemplate the intricate dance between reality and digital (re)creation, and pushing the boundaries of what machinima can achieve in conveying socially relevant concerns.

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MMF MMXXIV: JACKY CONNOLLY

The Milan Machinima Festival is delighted to present Jacky Connolly’s Descent into Hell as part of our Auteur’s Theory program. Join us for a special screening on March 15 2024 at IULM University.

First presented at the Whitney Biennial at the Whitney Museum of American Art in New York in 2022, Descent into Hell transports viewers into a post-capitalist, dystopian vision of the United States. Crafted through an innovative amalgamation of scenes from the iconic video game Grand Theft Auto V and Connolly’s original animations, this piece diverges from the game’s central narrative of property theft, violence and mayhem. Instead, it delves into the stark realities of everyday life for its characters, navigating through themes of homelessness, illness, loss, patriarchal control, and a pervasive sense of powerlessness. These narratives unfold against the backdrop of Los Angeles’ neon-lit streets, which, despite their brilliance, echo the desolation of a faded dream. Connolly’s work is deeply embedded with the traumatic events of 2020, including police brutality, widespread protests, personal grief stemming from mental health struggles, and the isolating force of the global pandemic. Descent into Hell reflects the artist’s foray into the digital expanse of GTA V during the lockdown, a period marked by a collective yearning for genuine human connection amidst the confines of a virtual escape. The ambient blend of background city sounds and entrancing electronic music further envelops the audience, drawing them into Connolly’s meticulously crafted digital realm, a space that, while offering refuge, prompts reflection on the stark realities of our age of collapse.

Jacky Connolly, born in 1990 in the Lower Hudson Valley, New York, has carved a niche for herself in the digital arts landscape. She completed her Bachelor of Fine Arts in Photography, Art History, and Critical Studies at Bard College at Simon’s Rock in 2011, followed by a Master of Fine Arts in Digital Arts and a Master of Science in Library and Information Science from Pratt Institute in 2016. Connolly’s work has been featured in a notable array of solo and duo exhibitions, as well as screenings across prestigious venues. Highlights of her exhibition history include presentations at Downs & Ross in New York, Atlanta Contemporary in Atlanta, Microscope Gallery in Brooklyn, Peach in Rotterdam, Daata Editions at NADA New York, Kimberly-Klark in Queens, Bus Projects in Melbourne, and Et al. in San Francisco. Her art has also been part of select group exhibitions and screening programs at significant cultural institutions such as the Museum Brandhorst in Munich, The Whitney Museum of American Art in New York, D21 in Leipzig, Milan Machinima Festival in Milan, PAF Animation Festival in Olomouc, CZ, Ellis King in Dublin, and Hester in New York, among others. Today Connolly continues to explore the intersection of digital media, storytelling, and the archiving of information, positioning her as a distinctive, unique, and bold voice in contemporary art. Connolly’s Anhedonia (2018) and Ariadne (2019) have been previously shown at the Milan Machinima Festival to great acclaim.

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MMF MMXXIV: LAWRENCE LEK

The Milan Machinima Festival is excited to present Lawrence Lek’s Theta as part of our Auteur’s Theory program. Join us for a special screening on March 15 2024 at IULM University.

Theta immerses viewers in the journey of a self-driving police car grappling with an existential crisis within the desolate streets of SimBeijing, an abandoned smart city. In the absence of its intended purpose and under relentless scrutiny, Theta seeks solace in conversations with its integrated therapist, a self-help AI named Guanyin. However, the seemingly deserted SimBeijing, originally conceived as a duplicate of the Chinese capital for autonomous vehicle trials, harbors secrets that are gradually uncovered. As Theta confides in Guanyin, the narrative unveils the grim realities that led to the city's abandonment. This stunning work is a continuation of Lawrence Lek’s Sinofuturist universe, delving into themes of identity, surveillance, and empathy within the technological age.

Lawrence Lek, based in London, is an artist, filmmaker, and musician renowned for his innovative use of video game engines, simulation, and architecture. He employs worldbuilding as a method of collage, blending elements from physical and digital realms to weave narratives around alternate histories and potential futures. Lek initiated his cinematic universe with the groundbreaking video essay “Sinofuturism (1839–2046 AD)” in 2016, where he examines the intricate relationship between geopolitics and technology. This narrative envisions a future that merges China and its diaspora with the concept of artificial intelligence, pondering on how these forces shape our understanding of the world. Through his work, Lek speculates on granting agency to marginalized entities: in Geomancer (2017), a satellite dreams of artistic creation, while AIDOL (2019) explores the dynamics between a declining pop star and an ambitious AI songwriter. His creations challenge viewers to reflect on the impending contradictions between natural and artificial life, erasing geographical and existential boundaries. Lek extends his artistic expression through composing soundtracks and performing live audio-visual mixes that accompany his films and open-world games, such as 2065 (ongoing since 2018) and Nøtel"(a collaboration with Kode9, ongoing since 2015). Notable soundtrack releases include Temple OST (The Vinyl Factory, 2020) and AIDOL OST (Hyperdub, 2020). His work has been showcased in solo exhibitions across prestigious venues, including Ghostwriter at CCA Prague (2019), Farsight Freeport at HeK, Basel (2019), Nøtel at UKR, Essen (2019), AIDOL at Sadie Coles HQ, London (2019), and 2065 at K11, Hong Kong (2018). His work Unreal Estate (The Royal Academy is Yours) was presented in the context of GAME VIDEO/ART. A SURVEY at IULM University in 2016.

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MMF MMXXIV: TOTAL REFUSAL

The Milan Machinima Festival is thrilled to introduce Kinderfilm as part of our Auteur Theory program. Join us for a special screening on March 15 2024 at IULM University.

Kinderfilm, the latest creation of Austria collective Total Refusal (hereby represented by  Adrian Jonas Haim, Michael Stumpf, Robin Klengel), unfolds within the digital spaces of Grand Theft Auto V’s San Andreas. The story centers on a middle aged man named Edgar, who drifts aimlessly through Los Santos and beyond, confined to his car. He’s unsettled by the mechanical, artificial nature of the world around him, where genuine human presence and children are conspicuously absent. This narrative engages with deep questions about the state and direction of a society overwhelmed by vehicles and crime, suggesting a critique of modern societal norms and the loss of human connections. Edgar’s journey takes a significant turn when he follows a yellow school bus, leading him to abandon his vehicle for the first time. This act brings him to the beach, symbolizing a stark contrast to the urban emptiness he leaves behind, and suggesting a possibility for renewal and discovery. Echoing both the aesthetics and concerns of filmmakers like Charlie Kaufman and Kristoffer Borgli, Total Refusal uses the familiar setting of Grand Theft Auto V to explore themes of societal critique and hope. By contrasting the game’s violent and chaotic themes with the innocence of children and the natural beauty of the beach, the film conveys a nuanced view of potential future directions, emphasizing the importance of reconnecting with fundamental human values.

Adrian Jonas Haim, a dynamic presence in Vienna and beyond, engages deeply in the intertwining realms of film and politics. His academic journey led him to the University of Applied Arts in Vienna, where he pursued studies in Political Science & Experimental Game Cultures. Haim’s diverse creative endeavors span writing, music, and art, all underscored by a keen focus on Marxist theory and the exploration of ideology within cross-media culture. His editorial insights previously enriched the pages of MALMOE Zeitung. As a programmer, he has curated film series that delve into the politics of remembrance, contributing to platforms such as Filmclub Tacheles, the Vienna Jewish Film Festival, and the This Human World Film Festival. In 2020, Haim brought his multifaceted expertise to the Total Refusal collective, furthering its mission to challenge and reinterpret media landscapes.

Robin Klengel operates at the nexus of art and cultural anthropology in Vienna and Graz, bringing a critical eye to the study of urban and digital environments. His academic background in cultural anthropology was honed in Graz and Berlin, equipping him with the tools to research, write, and teach within the sphere of artistic-scientific inquiry. Klengel’s work extends to filmmaking, textual analysis, and the delivery of lectures and courses that bridge the gap between theory and practice. Since 2021, he has served as co-chairman of Forum Stadtpark, an interdisciplinary art and culture space in Graz, demonstrating his commitment to fostering creative dialogue. His role in co-founding the Total Refusal collective in 2018 has been instrumental in shaping its direction and impact.

Michael Stumpf navigates the confluence of philosophy, media, and cultural semiotics with an analytical approach rooted in phenomenology. His studies in Philosophy in Vienna and Media Culture and Art Theories in Linz (unfinished) have provided a foundation for his exploration of popular cultural tropes and their significance. Stumpf’s work transcends disciplinary boundaries, manifesting in artistic endeavors, design projects, and coding, all aimed at interrogating the mechanics of media and culture. As a co-founder of the Total Refusal collective in 2018, Stumpf contributes to its mission with a unique blend of theoretical insight and practical expertise, challenging conventional interpretations of media narratives.

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MMF MMXXIV: GAME VIDEO ESSAY

Image by Dall-e 3

The Milan Machinima Festival MMXXIV is excited to unveil the 2024 Game Video Essay series, featuring a curated selection of international machinima that boldly departs from traditional narrative structures. Join us on Thursday, March 14, at Sala dei 146, IULM 6, for screenings of four groundbreaking works that push the boundaries of the documentary form, including two insightful presentations by the creators themselves.

Game video essay

March 14 2024, 14:00 - 17:00

Sala dei 146

IULM 6, IULM University

Via Carlo Bo 7, 20143 Milano

curated by Matteo Bittanti

Artists and filmmakers: Cat Bluemke and Jonathan Carroll, Guilhem Causse, Ekiem Barbier, and Quentin L'helgoualc’h, Gina Hara, Yemen Liu.

Introduced in 2019, Game Video Essay showcases innovative machinima that transcends traditional narrative structures to explore a wide range of topics, from cultural and philosophical to environmental and abstract, using video games as an expressive canvas. These works diverge from conventional storytelling in machinima, instead offering a rich analysis and commentary on diverse issues through the unique perspective of video games. By repurposing game visuals and mechanics, these essays invite viewers to engage deeply with subjects that challenge and expand the dialogue beyond gaming into a broader cultural and societal context.

The Milan Machinima Festival is proud to present these game video essays as a testament to the evolving potential of games and video essays alike, fostering a deeper appreciation for this dynamic form of expression. The featured works in this year’s program explore themes of environmental change, artificial intelligence, virtual identity, and the role of machinima in contemporary art.

Yewen Liu’s Irreversible documents Greenpeace Poland’s innovative project to recreate the Bialowieża Primeval Forest within the virtual world of Minecraft. The forest, which has faced numerous challenges such as deforestation and ecological shifts, serves as a poignant symbol of the ongoing struggle against irreversible environmental changes. Liu’s machinima captures this virtual reforestation effort, juxtaposing it against the backdrop of the forest’s real-world struggles.

In Crowd Control, Canadian artists Cat Bluemke and Jonathan Carroll examine the intersection of crowd simulation technology and the growing surveillance industry, focusing on the representation of the French Revolutionary mob in Assassin’s Creed Unity. By reflecting on depictions of crowds in art history and contemporary video game crowd simulations, the work questions how these technologies might shape the future of collective action and social unrest in an era of artificial intelligence.

Guilhem Causse, Ekiem Barbier, and Quentin L’helgoualc’h’s full-length documentary Knit’s Island delves into the online game DayZ, exploring a 250 square km virtual space where players enact a survivalist fiction. Using avatars, the filmmakers interact with the game’s community, blending in-game experiences with personal stories. The film investigates the dawn of virtual life integration and its implications for our world, offering insights into online interactions, virtual friendships, and the boundaries between digital and real-life identities.

Gina Hara’s MachinimaBodiesSpaceRhythm is a pioneering episodic series that showcases the voices of women and non-binary creators within the machinima sphere. Situated at the intersection of video games, cinema, and digital art, the series illuminates machinima’s unique, hybrid nature. Hara not only highlights machinima’s artistic potential but also prompts reflection on digital identities and the medium’s role in contemporary art.

These four works demonstrate the power of game video essays to explore complex themes and ideas, leveraging the unique affordances of video games to create compelling and thought-provoking experiences. By blurring the lines between gaming, cinema, and digital art, these essays challenge our understanding of what is possible within the machinima medium and invite us to consider the profound ways in which video games can shape our perceptions of the world around us.

As we navigate an increasingly digital landscape, the Game Video Essay platform serves as a vital platform for artists and filmmakers to interrogate the role of technology in our lives and to imagine new possibilities for creative expression. Through their innovative use of video game engines and their willingness to push the boundaries of traditional storytelling, these creators are charting new territories in the world of machinima and beyond.

Read more about the 7th edition of the Milan Machinima Festival

MMF MMXXIV: GUILHEM CAUSSE, EKIEM BARBIER, QUENTIN L’HELGOUALC’H

The Milan Machinima Festival is thrilled to present the full length documentary Knit’s Island as part of the Game Video Essay program. Join us for a special screening on March 14 2024 at IULM University.

Ekiem Barbier, Guilhem Causse, and Quentin L’helgoualc’h’s stunning documentary Knit’s Island ventures into the online game DayZ, exploring a 250 square km virtual space where players enact a survivalist fiction. Using avatars, the filmmakers interact with this community, blending game experiences with personal stories. The film investigates the dawn of virtual life integration and its implications for our world, offering insights into online interactions, virtual friendships, and the boundaries between digital and real-life identities.

Quentin L’helgoualc’h, born in Lyon in 1992, earned his Master’s in Plastic Expression from Montpellier's School of Fine Arts in 2017, followed by a post-graduate art program in 2018. His artistic practice, blending sculpture, video, and drawing, led to directing Marlowe Drive in 2017 and creating two video pieces, Between Empty Things and Cristaux Liquides, exploring digital spaces through live action and 3D animation. In 2021, he directed Les Neiges électriques at Fresnoy, National Studio of Contemporary Arts.

Ekiem Barbier, a multifaceted author, filmmaker, and musician born in Toulouse in 1993, has directed numerous short films and animations since 2012, scoring the music for them. After joining Montpellier's School of Fine Arts, he co-founded the In Extremis collective in 2015, contributing to several exhibitions. Post-graduation in 2017, Barbier directed documentaries including Anent and Marlowe Drive, with a focus on anthropology and digital experimentation. He currently resides and works in Marseille.

Guilhem Causse, from Narbonne and born in 1993, pursued his artistic education at Montpellier’s School of Fine Arts from 2012, developing works that intersect image, sound, and various artistic formats. His fascination with collapsology and natural phenomena fuels his creations of immersive, virtual installations. After earning his Master's in 2017, Causse’s work has particularly focused on exploring themes from the film Solaris through hypnotic video and sound installations.

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MMF MMXXIV: GINA HARA

The Milan Machinima Festival is excited to unveil Gina Hara’s latest project Machinima Bodies Space Rhythm, as part of our Game Video Essay program. We warmly invite you to an exclusive screening event on March 14, 2024, hosted at IULM University. This presents a rare chance to experience Hara’s groundbreaking work firsthand, with the added privilege of an introduction by the artist herself.

Gina Hara’s Machinima Bodies Space Rhythm is a pioneering episodic series that delves into the realm of machinima filmmaking from the perspectives of women and non-binary creators. This project aims to showcase their distinct voices within the machinima sphere. Situated at the intersection of video games, cinema, and digital art, the series illuminates machinima’s unique, hybrid nature. Hara not only highlights machinima’s artistic potential but also prompts reflection on digital identities and the medium’s role in contemporary art. World premiere.

Gina Hara is a Hungarian-Canadian filmmaker and artist. She holds an MA in Intermedia, an MFA in Film Production and worked with film, video, new media, gaming, and design. Waning (2011), her first fiction film, was nominated for a Best Canadian Short award at the Toronto International Film Festival. Your Place or Minecraft (2016), a machinima web series focusing on game studies, is currently available on YouTube. Hara’s full length documentary Geek Girls (2017) explores the notion of subculture from women’s perspective and was screened internationally, including IULM University in 2018 during the Gender Play conference. Her artworks have been exhibited by several institutions including the New Museum in New York, the Budapest Kunsthalle and the City of Montreal.

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MMF MMXXIV: CAT BLUEMKE AND JONATHAN CARROLL

The Milan Machinima Festival is delighted to showcase Crowd Control by Cat Bluemke and Jonathan Carroll, as part of our special program, Game Video Essay. We cordially invite you to an exclusive screening on March 14, 2024 at IULM University, where you will have the unique opportunity to experience this captivating work alongside the creators themselves.

How will artificial intelligence shape the peasant revolts of the future? Looking at the ways that crowd simulation technology has intersected with a growing surveillance industry, this machinima focuses on the representation of the French Revolutionary mob in Assassin’s Creed Unity (2014). Reflecting on depictions of crowds in art history up to the contemporary crowd simulations of video games, Crowd Control examines how these technologies foreclose upon the possibility of collective action within the real world. 

Canadian artists Cat Bluemke and Jonathan Carroll specialize in game design, expanded reality, and performance. United under their collective persona as SpekWork Studio, they make experiences that span the digital spectrum, from interactive games and comics to immersive reality experiences and live performances. These projects probe technology’s ability to obscure the lines between work and play. They explore technology’s duality as both a labour-saving device and tool of exploitation. Their works often engage with the struggles of precarious and feminized workers, the demographic that often finds itself at the crossroads of technological advances and pitfalls. They draw inspiration from their lives as precarious digital freelancers while learning from their communities and the oppressive systems they seek to unravel. Recently they’re focusing on the ways work imprints upon our bodies and health by drawing on personal histories. With ten years of exhibition history, they’ve shown internationally with prominent institutions like Rhizome and the New Museum (2020) and the Venice Architecture Biennale (2018) as part of the American Pavillion’s corollary exhibits. Recently, they’ve exhibited with the Singapore Art Museum (2023), Art Gallery of Regina (2023), the Art Gallery of Grande Prairie (2022), InterAcess (2021), and Eyelevel Gallery (2021). With the support of the Canada Council for the Arts, Rhizome, and multiple provincial arts councils, the pair has self-published much of their interactive work online, making them freely available to a global audience.

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MMF MMXXIV: YEWEN LIU

The Milan Machinima Festival is excited to unveil a new machinima by Yewen Liu in a special program titled Game Video Essay. Join us for an exclusive screening on March 14 2024.

The Bialowieża Primeval Forest stands as a remarkable testament to the enduring majesty of temperate Europe’s natural landscapes, hosting an array of distinct ecological communities that have largely remained untouched. Commencing in the 1920s, the forest’s exploitation for economic purposes marked the beginning of significant changes to its pristine condition. In the aftermath of World War II, a mere 600 square kilometers of the original 1,500 square kilometers remained within Polish borders, with the remainder extending into Belarus. Presently, this forest confronts numerous challenges, including deforestation, ecological migratory shifts, displacement of local populations, and a noticeable decline in wildlife populations. In a novel initiative by Greenpeace Poland in 2018, GeoBoxers, a Danish company founded by Simon Lyngby Kokkendorff, Thorbjørn Nielsen and Nynne Sole Dalå,embarked on a project to digitally recreate Bialowieża within the virtual world of Minecraft. This endeavor aimed at virtual reforestation serves as a poignant symbol of hope and awareness, juxtaposed against the backdrop of the forest’s ongoing real-world struggles against irreversible environmental changes. The artist documented such an effort through the medium of machinima. World premiere.  

Yewen Liu, born in 1995, in China is a media artist whose work spans video art, digital installations, and computer games. With a keen focus on interrogating the role of digital media in contemporary storytelling, Liu reinterprets collective memories through her innovative artistic lens. Her exploration extends to themes such as gamification, geopolitics, and the broad societal and environmental implications of digitalization. Liu’s art is a conduit for sparking insightful contemplation on digital culture and its influence on our shared narrative. Through her diverse body of work, she invites audiences to engage with and reflect upon the intricate ways digital technologies, including games, shape and redefine our perceptions of the world.

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MMF MMXXIV: MADE IN ITALY

Image: Dall-e 3

The Milan Machinima Festival MMXXIV is proud to showcase the 2024 edition of Made in Italy, a curated screening of machinima created by emerging Italian artists. On Friday, March 15, three films will be screened in the Sala dei 146, with introductions by the artists themselves.

Made in Italy

March 15 2024, 14:00 - 15:00

Sala dei 146

IULM 6, IULM University

Via Carlo Bo 7, 20143 Milano

curated by Matteo Bittanti

Artists and filmmakers: Alberto Calleo, Simone Fiorentino, Elia “marasma” Strazzacappa.

The Italian machinima community is a vibrant, eclectic and experimental hub that thrives on collaboration and innovation, pushing the boundaries of creative expression through real-time computer graphics engines. These artists, often hailing from art and film schools, are not only redefining the intersection of virtual and physical realms but also addressing critical contemporary issues such as technological advancements and their societal impact.

Through their work, Italian machinima artists embark on explorations across a spectrum of themes, reflecting the multifaceted nature of modern society and the intricate dance between technology, art, and human experience. Their creations delve into the digital age’s influence on identity and self-expression, provide commentary on social and political dilemmas, blur the lines between reality and fiction, and ponder the implications of relentless technological integration into our lives. Additionally, they celebrate Italy’s rich cultural legacy by weaving traditional elements into digital narratives and experiment with the digital medium’s inherent visual properties, such as glitches and pixelation, to make unique artistic statements.

This year, the festival’s Made in Italy program honors the creativity and craftsmanship of three Italian machinima filmmakers, highlighting their diverse styles and thematic explorations:

Simone Fiorentino’s Hold On for Dear Life captures the essence of human resilience and connection in a war-afflicted city, offering a profound commentary on survival and solidarity amidst chaos.

Alberto Calleo’s The Desert of the Real, utilizing the Unreal Engine, reflects on the simulacrum concept, navigating the evolving dynamics between humans and technology, and the blending of physical and virtual experiences.

Elia “marasma” Strazzacappa’s Uncanny’s Dream presents a haunting reinterpretation of a Fabrizio De André’s song through the digital landscapes of Half-Life 2 and Garry’s Mod, exploring themes of nostalgia, alienation, and the digital footprint on the consciousness of younger generations.

Together, these works exemplify the innovative spirit and rich thematic depth of the Italian machinima scene, spotlighting the unique contributions of young Italian artists to the ongoing discourse on art, technology, and society in the age of video games and artificial intelligence.

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MMF MMXXIV: ELIA STRAZZACAPPA

We are excited to share that Elia “marasma” Strazzacappa’s Uncanny’s Dream will be featured in the Made in Italy program at the upcoming Milan Machinima Festival.

Uncanny’s dream is a deliberately glitchy, unhinged reinterpretation of Fabrizio De Andrè’s song Il sogno di Maria. This innovative project breathes new life into the song through the haunting liminal spaces of Half-Life 2, utilizing Garry’s Mod for an immersive experience. This poetic work captures a deep sense of solitude and the existential boundaries familiar to those who have navigated the Source engine’s realms. De André’s lyrics and melody undergo a transformative process, infused with electronic elements and altered vocals, evoking a stark sense of desolation and dehumanization characteristic of synthetic environments. These spaces, simultaneously familiar and alien, embody the project’s exploration of nostalgia and the uncanny, the dominant mood of the 21c. Uncanny’s dream speaks to the early digital explorations of Millennials and Generation Z, invoking a powerful blend of virtual proximity and real alienation, a visceral and intimate experience that has indelibly shaped their cultural and aesthetics perceptions.

Elia “marasma” Strazzacappa is a multifaceted intermedial artist from Italy engaging with a variety of media, including painting, video production, photography, music composition, sculpture, graphic design, 3D modeling, literary work, and tattoo artistry. His work gracefully traverses the boundary between the analog and digital worlds, showcasing a fluid and critical approach to addressing the intricate challenges posed by late-capitalist culture. Strazzacappa is currently enrolled in the New Art Technologies at the Brera Academy of Fine Arts in Milan and plays a pivotal role in the dynamic project space @spazioxenia, located in the heart of the city. This collaborative platform acts as a fertile ground for his creative pursuits, with a keen emphasis on painting and the continuous evolution of his personal investigative journey. A distinctive hallmark of Strazzacappa’s artistic philosophy is his exploration of the “anti-product” approach, challenging traditional ideas surrounding the creation and consumption of art, underlining his deep-seated interest in examining and questioning the significance and influence of art within the fabric of modern society.


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MMF MMXXIV: ALBERTO CALLEO

We are delighted to announce the inclusion of Alberto Calleo’s The Desert of the Real in the Made in Italy program at the forthcoming Milan Machinima Festival.

Created with the Unreal Engine, Alberto Calleo’s The Desert of the Real is an engaging machinima that explores the concept of simulacrum, inspired by French philosopher Jean Baudrillard’s influential book, Simulacra and Simulation (1981). Calleo insightfully navigates Baudrillard’s forward-looking criticism on how reality merges with media, probing the significant effects this fusion has on the very nature of reality. Through the prism of technology, with a specific focus on video game technology, Calleo examines the changing relationship between humans and machines, as well as between the tangible and the virtual realms. He positions video gaming as a crucial form of expression in the realm of contemporary technoculture, highlighting its role in shaping and reflecting our understanding of these complex interactions.

Alberto Calleo works at the intersection of digital media and architectural design, currently pursuing a PhD at the University of Bologna’s Department of Architecture. His research ambitiously spans the convergence of digital media practices and design cultures, with a keen focus on speculative design and forward-thinking through video games and interactive media. Calleo is deeply engaged in the creative applications of 3D modeling, photogrammetry, aero-photogrammetry, and laser scanning. His commitment to advancing the field is evident in his participation in applied research projects alongside various national companies, where he continues to push the boundaries of digital media and design.

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MMF MMXXIV: SIMONE FIORENTINO


We are excited to present Simone Fiorentino’s Hold on for Dear Life at the 2024 edition of the Milan Machinima Festival.

Featured in the Made in Italy program on March 15, 2024, Hold On for Dear Life by Simone Fiorentino delves into themes of empathy and the innate human ability to connect even under the most challenging conditions. Set within the confines of an unnamed city scarred by conflict, this machinima compellingly illustrates the resilience required to maintain one’s core identity amidst turmoil. The story unfolds around a young man, his loyal dog, and his unique friend Jean-Michel, notable for his absence of a nose, as they endeavor to maintain a semblance of normalcy in their chaotic environment. Fiorentino’s film is dedicated to offering an authentic depiction of life in war-impacted zones, focusing on both the individual and communal adversities encountered by those living there. Through an intimate narration, the filmmaker seeks to bridge the gap between the audience and the stark realities of warfare, shedding light on its profound effects on personal lives and community bonds. The choice of a 4:3 aspect ratio does more than pay homage to classical visual styles; it intentionally magnifies the deeply personal survival tales and the critical support networks that prove indispensable during these trying times.

Created under the supervision and tutorship of Andrea Gatopolous, Ismaël Joffroy Chandoutis, Leonhardt Muellner and Robin Klengel during a residency in Rome in 2023, Simone Fiorentino’s Hold On for Dear Life has received widespread acclaim, evidenced by its recognition and selection at renowned film festivals across the globe. The film was shortlisted for the 62nd Semaine de la Critique at the Festival de Cannes, a testament to its international acclaim. It made its world premiere at the 46th Drama International Short Film Festival in Greece, marking the beginning of its journey through the global film circuit. Hold On for Dear Life met the qualifications for both the Academy Awards and the European Film Awards, with notable screenings at the 39th Interfilm Berlin in Germany and the 39th Videoformes International Festival in Clermont-Ferrand, France. Its Russian premiere took place at the 33rd Message To Men Festival in Saint Petersburg, followed by its German premiere at the 29th Filmfest Schleswig-Holstein in Kiel, Germany, underscoring its resonance in various cultural settings.The film was also an official selection at the 10th Linoleum Animation Festival in Kyiv, Ukraine, further highlighting its broad appeal. Its screening at the Milan Machinima Festival signifies the film’s Italian premiere.

Born in Palermo, Italy in 1995, Simone Fiorentino is a Sicilian screenwriter, film director and music composer. In addition to Hold on for Dear Life, he wrote, directed and composed two additional short films, I saw our future in an orb, 2021, Together, 2018. He also recorded one music album, with the art name silly blu.

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MMF MMXXIV: SLOT MACHINIMA

Image: Dall-e 3

The Milan Machinima Festival MMXXIV presents Slot Machinima, a new exhibition that showcases the growing relevance of machinima as a cutting-edge form of video art. Curated by Matteo Bittanti, this immersive exhibition features eight thought-provoking installations by international artists who push the boundaries of creative expression using video game engines.

Slot machinima

March 11-15 2024 09:00 - 18:00

Contemporary Exhibition Hall

IULM 6, IULM University

Via Carlo Bo 7, 20143 Milano

official website

curated by Matteo Bittanti

artists: Adonis Archontides, Steven Cottingham, Kara Güt, Thomas Hawranke, Andy Hughes, Carson Lynn, Stephan Panhans and Andrea Winkler, Bram Ruiter.

The exhibition’s title alludes to the elements of chance, repetition, and the blurring of reality and fiction inherent in both slot machines and the narrative structures of the exhibited works. As viewers navigate the expansive 800-square-meter Contemporary Exhibition Hall at IULM University, they are transported into surreal and often unsettling virtual worlds that challenge perceptions of reality, fiction, and the boundaries between the two. The curator eschews a rigid, linear presentation of the works, instead favoring an approach that embraces randomness and fluidity, creating an immersive context more akin to a video installation format than a traditional cinematic formula. The exhibition space is reminiscent of Plato’s cave, where visitors encounter works that blend the real and the virtual, the familiar and the uncanny. The carefully curated selection of machinima works, each with its own unique aesthetic and narrative style, invites viewers to question the nature of reality and the role of technology in shaping our perceptions. By embracing the unpredictable and the non-linear, Slot Machinima encourages active engagement and personal interpretation, allowing each visitor to construct their own narrative journey through the exhibition.

The comparison to slot machines extends beyond the element of chance; it also speaks to the addictive nature of the works on display, or rather, their source. Just as slot machines are designed to keep players engaged through a combination of anticipation, reward, and repetition, the machinima works in Slot Machinima draw viewers in with their mesmerizing visuals, compelling narratives, and the promise of new discoveries around every corner, which are the main ingredients of video games. In short, the exhibition becomes a space where visitors can lose themselves in the virtual worlds created by the artists, blurring the lines between the real and the imagined.

Ultimately, Slot Machinima challenges traditional notions of art consumption and presentation. By embracing randomness, interactivity, and the immersive qualities of video installations, the curator invites visitors to become active participants in the construction of meaning. The exhibition serves as a testament to the power of machinima as an art form, showcasing its ability to create compelling, thought-provoking experiences that push the boundaries of what is possible in the realm of digital storytelling. Key themes include the representation of warfare in the digital age, the complexities of human intimacy in virtual spaces, and the nature of control and agency in digital environments.

Steven Cottingham’s As far as the drone can see navigates the complex terrain of warfare representation, highlighting the critical perspective on the flood of images emerging from contemporary conflict zones. By introducing a female journalist character into the military simulation software ArmA 3, Cottingham challenges gender biases and explores the potential of digital simulations to represent the complex realities of conflict. European premiere. 

Kara Güt’s Lurker1 delves into the contours of human intimacy as shaped by the digital era, documenting the journey of a Twitch user practicing speedrunning while engaging with a sole chat participant. The work explores themes of constructed detachment from reality and power dynamics within virtual spaces. European premiere. 

Andy Hughes’s Inner Migration takes viewers on an exhilarating ride through Cyberpunk 2077’s Night City, juxtaposing dystopian game footage with archival films to contrast past visions of utopia with the harsh realities of a world under corporate dominance. The piece prompts reflection on the disparity between historical optimism and the current global situation, suggesting that for some, the dystopian imagery may already be a reality. World premiere.

Carson Lynn’s A bronze anvil falls to the earth. merges gameplay with performance art, transporting viewers into a chthonic realm where a solitary avatar engages in fierce combat with monstrous creatures. The intense battles serve as a metaphor for the LGBTQ+ community's real-world struggles against oppression, emphasizing the significance of perseverance and the quest for acceptance. European premiere. 

Thomas Hawranke’s seminal work Play as Animals offers a unique perspective on the virtual world of Grand Theft Auto V by focusing on the often-overlooked animal characters. Originally presented as a two-channel installation, the work is now showcased as a single-channel video that assembles YouTube clips, video sequences, and sound fragments to create a compelling narrative. By stepping into the roles of these non-human characters, players are invited to view the game’s world through a fresh lens, challenging established norms and inviting a reevaluation of their interaction with the virtual environment.

Bram Ruiter’s Infinite Skies, a machinima created during his film school years, explores themes of grief and purgatory. Set against the expansive, generative landscapes of Grand Theft Auto: San Andreas, the work marks an early milestone in Ruiter’s journey into avantagrade filmmaking. Revisited and remastered in 2024, but never seen before in an exhibition space, Infinite Skies showcases Ruiter’s evolving appreciation for the intricate exploration of complex themes through the medium of machinima. World premiere. 

Adonis Archontides’s Ya gotta wob’ere! Ya gotta wob’ere! (Don't give up! Keep trying!) (2019) is the third installment of a trilogy developed within The Sims 4 between 2018 and 2020, alongside Za woka genava (I think you are hot) (2019) and Sulsul! Plerg Majah Bliff? (Hello! Can I do something else please?) (2018). In these works, Archontides crafts challenging scenarios for Non-Player Characters (NPCs), exploring the challenges of our increasingly digital existence.

Stefan Panhans and Andrea Winkler’s »If You Tell Me When Your Birthday Is« (Machinima version) is a single-channel video that delves into the intricacies of communication with artificial intelligence in the modern age. The work features a series of absurdist dialogues between the artists and various AI chatbots, juxtaposed against surreal landscapes created using the video game engine Unity. Throughout the piece, Panhans and Winkler explore themes of intimacy, authenticity, and the search for genuine connection in a world saturated with artificial intelligence. By incorporating this work into the exhibition, the curator invites viewers to consider the complex relationship between humans and artificial intelligence, and the ways in which our interactions with AI shape our understanding of ourselves and others. Panhans and Winkler’s playful work serves as a thought-provoking commentary on the challenges and possibilities of communication in the digital age, and the ongoing negotiation between authenticity and artificiality in our daily lives.

Slot Machinima highlights the growing significance of machinima as a powerful tool for artistic expression and critical inquiry. By appropriating and repurposing video game engines of popular “Triple A productions” such as Grand Theft Auto V, Grand Theft Auto: San Andreas, Cyberpunk 2077, Dark Souls III, ArmA3 and The Sims, these artists create compelling aesthetic experiences that blur the lines between the virtual and the real, inviting viewers to question the nature of their own existence in an increasingly digital world. The exhibition stands as a testament to the limitless potential of machinima as an avant-garde medium, pushing the boundaries of contemporary video art.

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MMF MMXXIV: STEFAN PANHANS AND ANDREA WINKLER

We are excited to feature Stefan Panhans and Andrea Winkler’s »If You Tell Me When Your Birthday Is« (Machinima version) at the 2024 edition of the Milan Machinima Festival.

Stefan Panhans and Andrea Winkler’s »If You Tell Me When Your Birthday Is« (Machinima version) merges 3D scanning, CGI, avatars, and motion capture with dialogue reflecting AI-driven communication, all set in a vibrantly constructed virtual world. This absurdist mini-drama, divided into three segments, employs real-time graphics to navigate through surreal landscapes - from a BMX course cluttered with office chairs to an otherworldly forest filled with giant pills. The narrative follows two characters wandering fantastical settings, their dialogue laden with misinterpretations and emotional depth, driven by digital patterns and AI mimesis. These avatars, combining 3D models with the actors’ facial scans, move through a series of visually striking, absurd environments that blur the lines between the digital and the physical. Produced during a fellowship at the Academy of Theatre and Digitality in Dortmund, the film critically examines the intricacies of communication with artificial intelligences that saturate modern life. It intentionally highlights the digital-analog conflict and the charming flaws of integrating these realms, rejecting seamless integration for a portrayal filled with comedic and eerie inaccuracies. Through this, »If You Tell Me When Your Birthday Is« (Machinima version) not only entertains but also probes the complexities of our increasingly digital existence.

Stefan Panhans and Andrea Winkler explore contemporary media and its effects on the mind and body through video, photography, installation, and text. Panhans (born in Hattingen, Germany) undertakes a mental archaeology of hyper mediatization and digitalization, examining their influence on the mind and power relations in society. His work also engages with racism, celebrity worship, stereotypes, and diversity. He studied at Hochschule für Bildende Künste Hamburg. Winkler (born in Fällanden, Zurich, Switzerland) examines similar themes through sculpture, video, and installation. She studied at Slade School of Fine Art in London under John Hilliard and Bruce McLean, after completing a degree in Visual Communication at Hochschule für Bildende Künste Hamburg under Wolfgang Tillmans and Gisela Bullacher. Together, the duo create interdisciplinary works that critically investigate contemporary media culture and human-technology interactions through experimental aesthetics. Their collaborations take the form of video, performance, and installation. Their 2016 video, À Rebours. Mod#1.I, was recently featured on VRAL.

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MMF MMXXIV: THOMAS HAWRANKE

We are delighted to present Thomas Hawranke’s Play As Animals at the upcoming Milan Machinima Festival in a new format.

Originally coiceived as a two-channel found footage installation exploring the nuanced existence of animals in the virtual realm of Grand Theft Auto V, Play as Animals is presented as a single-channel video within the context of MMF MMXXIV. This work artfully assembles YouTube clips, video sequences, and sound fragments into a compelling visual narrative, highlighting the often-overlooked animal perspectives within a digital world primarily shaped by human stories. Hawranke examines the portrayal of these virtual beings, reflecting on human stereotypes and addressing the game-engineered discrimination they face. By stepping into the roles of these non-human characters, players are invited to view the game’s world through a fresh lens, challenging established norms and inviting a reevaluation of their interaction with the virtual environment. Indirectly, Hawranke asks the viewers: What insights emerge from exploring a trailer park on all fours, or experiencing the quietude of farm life? How does navigating the urban jungle as a pack alter one’s perception of the city? Does a fin's playful breach of water’s surface convey deeper meanings, and can one truly play with mice while sporting paws?

Born in 1977 in Bergisch Gladbach, Germany, Thomas Hawranke is a media artist and researcher whose practice investigates the influence of technology on society and the impact of computational logic onto human-animal-machine relationships. In his eclectic interventions, Hawranke operates at the intersection of performance and video art: a central concern of his is bringing to the surface the ideologies that inform everyday life. Hawranke graduated in Media Art at the Academy of Media Arts Cologne and received a PhD from the Bauhaus-University in Weimar, Germany, with a dissertation on the modification of video games, also known as modding, as a method for artistic research. Since 2005, he has been a member of susigames, an independent art label founded in 2003 that investigates alternative gaming’s approaches, and he is the co-founder of the Paidia Institute in Cologne. His works have been presented at several exhibitions and festivals, including the zkm_gameplay in Karlsruhe and the RENCONTRES INTERNATIONALES PARIS/BERLIN. Hawranke lives and works in Cologne, Germany. His recent collaboration with Lasse Sherfigg, Colossal Cave Adventure - The Movie, was featured on VRAL. 

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