Pavillion of The Wrong Biennale

Rachael Archibald | Brian Brian Brian Brian | Leclub Superette | Alix Desaubliaux | Alastair B Gray | Vince Mckelvie | Miyö Van Stenis | Sybil Montet | Martin Olsson | Helin Sahin | Michaël Systaime Borras
Virtual Exhibition to DL here : https://mega.nz/#!QhtDEZAB!PWQkHcmTb9JkdtLW6qlu7wFghIhoXx31wdfC6t0d4vM
IRL Opening 14/11/15 + sound & live video performance & website launching

on https://digitalvideoart15.wordpress.com/
Curated by Alix Desaubliaux and Hugo Lermechin


Layer is a collective exhibition hosted by Atelier Quatrepourcent as an extension of The Wrong. Unlike other links associated with The Wrong which contain artworks that are accessible/experienced online, Layer requires a download from a Mega file share link. There is no information about the file’s content; it is unclear whether it is a folder of the video files included in the exhibit, a simulation of a walktrough of the exhibit, a documentary, etc. Not sure if it’s intentional or not, but I like the minor anxiety induced by having to download an unknown file from the Internet since the intrusion between “safe” browsing and “unsafe” downloading feels in keeping with the exhibit’s stated aim to explore parallel multiplicity through distinct, but entwined realities. I also like how it trangresses between concepts of “shared” and “private” experience.

The file is a virtual gallery built in Unity. It’s interesting to experience the artwork in its “native” digital environment, but also to “own” the artwork or experience through ownership of the simulation files. The commitment to the rectangular format for the video/gif art displays works well as an imitation of screens and the works’ physical iterations. But it also makes me curious about how the spatial freedom of digital environments can be pushed so that artworks can be presented without the limitation of the rectangle. It reminds me of a talk by a video game designer (can’t remember his name) who was trying to make a game that could erode a player’s awareness of the screen through intense sensory immersion to induce a quasi-spiritual experience. He was interested in not only exploring the relationship between digital and physical realities, but also in the potential for a new reality emerging from their fusion and friction. I’m not really sure where I’m going with this thought, it just came up.