dystopia

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.

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

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.

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

MMF MMXXIV: ANDY HUGHES

We are excited to present Andy Hughes’s Inner Migration at the upcoming edition of the Milan Machinima Festival.

Inner Migration is an exhilarating ride through Cyberpunk 2077’s Night City, blending game footage with archival films to contrast dystopian futures with past visions of utopia. Hughes transport the viewer into a world under corporate dominance, juxtaposing scenes of environmental and societal neglect with optimistic mid-20th-century American propaganda from Out of This World (1964) and To New Horizons (1940). Inner Migration focuses on Michel Serres’s notion of soft pollution, highlighting the insidious impact of the media on our psyche amidst a backdrop of technological and environmental decay. The film prompts reflection on our expectations for the future against the reality shaped by technological advancement and corporate power. It questions the disparity between historical optimism and the current global situation, suggesting that for some, the dystopian imagery of Night City may already be their reality. Inner Migration encourages a reevaluation of our internal landscapes, confronting the cognitive dissonance between the past’s hopeful promises and today’s challenging circumstances.

Andy Hughes works across photography, painting, sculpture, and digital media, with a focus on littoral zones and plastic waste politics. He studied Fine Art at Cardiff University and received a photography scholarship at the Royal College of Art, London. Hughes was the first Artist in Residence at Tate Gallery St. Ives and collaborates with non-profits like Surfers Against Sewage and the Plastic Pollution Coalition in Los Angeles. In 2013, Hughes contributed to Gyre: The Plastic Ocean, a pioneering project linking science and art to address marine plastic pollution, alongside notable figures like Mark Dion and Carl Safina. This initiative led to a National Geographic film, an exhibition, and a book, supported by entities such as the NOAA and Smithsonian Institution. In 2022, Hughes embarked on a six-month residency at Gapado AiR, South Korea, creating artworks that meld reality with surrealism, addressing themes from the ocean to plastic waste. This residency marked a significant phase in his career, deepening his exploration of environmental concerns through art. His groundbreaking work Plastic Scoop was screened in 2020 at the Milan Machinima Festival

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

MMF MMXXIII UPDATE: A CHAT WITH STANISLAW PETRUK

Stanislaw Petruk

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The Milan Machinima Festival is excited to present Stanislaw Petruk's The Remnants, a short film created with the Unreal Engine set five years after a global disaster, where the remaining population is struggling to survive as the planet slowly dies. The machinima portrays the struggle for survival and the harsh reality of human nature in a post-apocalyptic world.

The Remnants will be exclusively screened at the Museum of Interactive Cinema on March 25 2023 as part of the Utopia/Dystopia program. Buy your ticket here.

Born in 1987, Stanisław Petruk is a filmmaker and Sr. VFX artist at Avalanche Studios in Sweden. He has directed several shorts and worked on video games such as WWE Immortals, Mortal Kombat, Agents of Mayhem, The Walking Dead, and Saints Row. He lives and works in Stockholm.

Matteo Bittanti discussed the creative and technical process behind The Remnants with the filmmaker, Stan Petruk.

Matteo Bittanti: Although you’re very young, you’ve already lived in several countries. How would you describe, comparatively, the social and cultural perception of video games in Russia, Poland, and Sweden, where you currently live and work?

Stanislaw Petruk: The great thing about the games is that they are very international. And here I am talking not only about players, but also about developers. And I think on the development side it is even more visible. You can easily move from one company to another even in a different country and work pipeline will be identical, same about the language – English for all communication and documentation.

Matteo Bittanti: You describe yourself as a self-taught artist, as you crafted your skills as a VFX artist and as a filmmaker mostly through online courses, tutorials, and hard work. Can you discuss your upbringing as somebody who “grew up on the internet”, so to speak?

(continues)

Matteo Bittanti

Works cited

Stanislaw Petruk

The Remnants

digital video, sound, 7’ 7”, 2022, Sweden

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MMF MMXXIII: UTOPIA

ONLINE PROGRAM: UTOPIA

INTRODUCED BY/INTRODOTTO DA MATTEO BITTANTI

MARCH 19-26 2023/19-26 MARZO 2023 (ONLINE)

SPECIAL SCREENING OF DYSTOPIA ON MARCH 25 2023 AT MIC

Utopia and dystopia present divergent visions of possible societies or worlds. A utopia is an imaginary or visionary world that embodies an ideal or flawless state. Harmonious, equal, and prosperous, utopian societies offer a haven where inhabitants live without war, poverty, or social inequality. Serving as a foil to our imperfect reality, utopias represent an aspirational vision of a better world. By contrast, a dystopia is an imagined or speculative society or world that portrays a nightmarish scenario. Inhabitants live in fear and despair, without hope for a brighter future. Dystopias serve as a cautionary tale, warning of the dire consequences that may ensue if we fail to address the social and political issues that confront our current world. Whether utopian or dystopian, these contrasting visions offer powerful insights into the human imagination and our yearning for a more just and equitable world. Sometimes, however, it is hard to tell a dystopian vision from a utopian one.

Such is the case of UTOPIA/DYSTOPIA which juxtaposes Nicolas Gebbe’s The Sunset Specialand Stanislaw Patruk’s The Remnants.

The former offers a voyeuristic glimpse into the meticulously crafted world of social media. This interdisciplinary multimedia project, anchored by a short film, invites viewers on an eerie journey to a luxurious realm of unfulfilled desire, endless longing, and the boundless promise of wanderlust.

Patruk’s The Remnants is set five years after a global disaster, where the remaining population is struggling to survive as the planet slowly dies. Screened exclusively at the Museum of Interactive Cinema on March 25, this machinima portrays the struggle and the harsh reality of human nature in a post-apocalyptic world. Purchase your ticket here.

Matteo Bittanti

Watch Nicolas Gebbe's Utopia online between March 19-26 2023. 

EVENT: MARTINA MENEGON (SEPTEMBER 30 - AUGUST 13 2022, ONLINE)

when you are close to me I shiver

video recording of live simulation

digital video/machinima (1920 x 1080), color, sound, 7’ 47”, 2020, Italy

Created by Martina Menegon

Sound design by Alexander Martinz

when you are close to me I shiver is an algorithmically controlled live simulation, hereby presented as a video recording, that is, a real-time generated virtual experience that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary Our Planet narrated by David Attenborough and produced by Silverback Films, the project proposes a scenario encompassing ongoing environmental and personal crises. The video depicts a desolated island populated by 3D-scanned clones of the artist herself. Through these perceivable avatars, the artist creates a new identity that arises out of plurality, proprioceptively renegotiating the fragility of both the physical and the virtual self and its realities.

Martina Menegon (Italy, 1988) is an artist working predominantly with Interactive and Extended Reality Art. In her works, Martina creates intimate and complex assemblages of physical and virtual elements that explore the contemporary self and its phygital corporeality. She experiments with the uncanny and the grotesque, the self and the body and the dialogue between physical and virtual realities, to create disorienting experiences that become perceivable despite their virtual nature.

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ARTICLE: A CLOSER LOOK AT BABAK AHTESHAMIPOUR’S POST-CODED THOUGHTS...

Babak Ahteshamipour, Paleontology of Non-existence, installation shot at Sub Rosa space, Athens, Greece, 2021

WHAT COMES AFTER ARMAGEDDON?

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Currently exhibited on VRAL, Babak Ahteshamipour’s Post-coded Thoughts on the Never-Upcoming Foreshadowed Li(f)e's originality reflects the author’s own trajectory, which includes a degree in music theory, harmony and violin studies and a Master of Science in Mineral Resources Engineering. Born in Iran in 1994, Ahteshamipour’s work with video game based video art is relatively recent, although “it boldly shaped [his] identity throughout early life and since cyberspace is part of [his] broader artistic research”, as he told Fantacci. Post-coded Thoughts’s was produced while the world was experiencing the Covid-19 pandemic, with its litany of deaths, lockdowns, and disinformation. Released in 2021, it signaled a shift, or rather a new phase in Ahteshamipour’s practice.

In a sense, the work is an assemblage of motifs, but also artifacts, hereby rendered as virtual objects. Consider for instance the painterly works featured in paleontology of non-existence (2021) an installation that appropriates and recontextualizes characters from various video games and uses tweet-like slogans such as “It seems, after all, we couldn't escape the game engines”. Post-coded was part of this complex scenario in which various planes of reality - the tangible, the simulation, the augmented - engage in a conversation.

Albeit visually playful and imbued with a distinct kind of irony, the world that Paleontology of Non-existence alludes to is a dystopia. An unexplained “event” has abruptly and irreversibly erased all of mankind, so that Earth is now inhabited by AIs. Equally mysterious is the reason behind AI rapid evolution: left to their own devices, machines become sentient, wondering about the disappearance of their former creators. This new algorithmic age is marked by an existential crisis. Machines are trying to find meaning in a world that appears utterly fatalistic. The new normal, just like the old normal, is being stuck in a feedback loop: on the one hand, the simverse is a replica of the pre-existing world. On the other hand, the avatar - a stand-in of the artist himself - is clearly looking for answers that the simulation - just like a market based society - cannot provide. The puppet has become the puppeteer but the wires have not been cut: free will is not an option. Free will can only be simulated. Ditto for artistic creation: the puppet plays music, shifting from his guitar to his piano, stares at his paintings for inspiration, and shares his thoughts and moods.

(continues)

Matteo Bittanti

All images courtesy of the artist

Babak Ahteshamipour, Paleontology of Non-existence, installation shot at Sub Rosa space, Athens, Greece, 2021

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