Harun Farocki

EVENT: HUI WAI-KEUNG (FEBRUARY 16 - 29 2024, ONLINE)

Parallel V

digital video, single-channel-projection, color, sound, 26’ 14”, 2023, Hong Kong

Created by Hui Wai-Keung

World premiere

Conceived by Hui Wai-Keung as a tribute to Harun Farocki, Parallel V is a continuation of his seminal Parallel I-IV series investigating the operational logic of computer games. The point of departure for Hui is a statement by the late German director on the computer-controller characters’ tendency to repeat the same actions over and over again: “This tragedy revealed the limitations of human freedom of action”. Hui discovered that all NPCs seem trapped in a time-space bond with the player, a relationship of ontological dependence. NPCs live life-like existences; repetitions are inevitable in their simulated lives. And yet, Hui suggests, the algorithmic bounds of games are not absolute, and NPCs still encounter contingencies. Thus, both NPCs and human beings might be better off following Friedrich Nietzsche’s admonition, embracing rather than rejecting repetition.

Hui Wai-Keung is a Hong Kong-born cross-disciplinary artist currently pursuing a PhD in Art Creation and Theory at Tainan National University of the Arts in Taiwan. Hui received his MFA from the School of Creative Media at City University of Hong Kong and studied at the Hong Kong Art School. In recent years he has focused especially on game art and algorithmic art, exploring visual possibilities in digital hyperspace. Hui has exhibited widely in solo and group shows in Hong Kong, Taiwan, South Korea, Japan, Germany, Finland, Italy and the USA. Hui has completed artist residencies in Germany, Finland, South Korea, and Japan. Currently based in Taiwan, Hui continues to exhibit and conduct research into narrative, algorithms, possibility, contingency, reenactment, and history.

EVENT: FROM EXPANDED CINEMA TO MACHINIMA (FEBRUARY 3 2024, MILAN)

MEMORIES OF THE SCREEN #3

FROM EXPANDED CINEMA TO MACHINIMA

Saturday February 3 2024, 09:30 - 13:30 FREE ENTRY

Accademia di Belle Arti, Brera

Sede di San Carpoforo, Via Formentini 12, Milan, Italy

Curated by Simonetta Fadda e Matteo Bittanti

Special Guest: GianFilippo Pedote: Artavazd Pelešjan and Godfrey Reggio’s special affinities

In the latest acclaimed lecture series organized by artist Dimitri Kozaris, Simonetta Fadda and Matteo Bittanti unravel the interwoven lineages from analog video art provocateurs to today’s game-based machinima practitioners. As digital media intensify our reliance on simulated realities, artists like the late Phil Solomon and Harun Farocki strategically repurposed gaming assets to unveil the affective and ideological functions of these persuasive worlds. Contemporary figures like Dutch filmmaker Bram Ruiter advance this tradition of appropriation-as-critique, harnessing the medium’s own tools to reveal otherwise hidden currents of awe and unease within emergent virtual topographies.

Yet as Bittanti’s historical contextualization underscores, contemporary artists build directly upon tactics predating the digital revolution — from the Situationists’ mischievous image hijacking to Peggy Ahwesh’s decontextualization of gaming imagery. While machinima constitutes a 21st century iteration, the deeper creative impulse persists: to remake perception by tearing open and radically recombining the fabric of the present.

This drive resonates with earlier aspirations like Gene Youngblood’s influential Expanded Cinema concept in the radical 1970s, which called for imploding and transcending the standard frame itself. From celluloid and analog signals to CGI, the desire endures to expose and transform the unseen dimensions, glitches, and bugs lurking within everyday media architectures. By spotlighting today’s vanguard remixers through their seminal precursors across eras, Fadda and Bittanti’s shared inquiry reveals the drive of the avant-garde tradition pulsating within creative digital disruptions past, present and future.