TO VIEW THE EXHIBITION
REVISIT ON A DESKTOP
You’re in a computer game, Max! positions the work of 8 artists in a navigational 3-dimensional digital space, within which muted videos overlap and collide to form new combinations, and a user performed soundtrack of the artists sound works provides the backdrop. As bricks and mortar galleries are forced to close their doors due to the onset of Covid 19, the Internet is now the only place to see new art. Many of these commercial galleries are left with no option but to move online. This exhibition puts forward an alternative model for looking at images on the Internet, rejecting a neutral aesthetic where the viewer remains passive, in favour of a game-like environment that acknowledges the materiality of the Internet to explore the point at which code becomes image.
The exhibition borrows its title from a line in the computer game Max Payne. As Alex Galloway notes in his 2006 book 'Gaming. Essays on Algorithmic Culture', Max Payne deliberately breaks the fourth wall when its main character is faced with the horrific realisation that his every move is being externally controlled by an outside agent - the player. At that point in the game, the space between the digital and non-digital becomes blurred by a conscious in-game acknowledgment of the outside world. Similarly, You're in a computer game, Max!, overcomes the division between digital and non-digital space by hijacking the users webcam. When the user grants their permission, a chroma-rotten image of the webcam view is cast directly into the middle of the show. Upon entering, viewers are faced with a real-time image of themselves alongside a stream of artists' video works, including the perpetually trudging character of Daniel Shanken’s live edited video, Gaoler, which Shanken has built to trawl the corners of the web, in real-time, for it’s content. As viewers look at themselves looking at the work, this self-conscious act of looking, framed with a 16:9 rectangle, hints at an involvement on the part of the viewer usually lacking from the online art experience.
What happens when viewing art becomes something other than what it is in a gallery? You're in a computer game, Max! intentionally antagonises the traditional gallery model of viewing art online. Art seen on the Internet is often framed according to protocols borrowed from the white cube; a very neutral aesthetic that doesn't do anything to challenge usual in-browser behaviour. Within this environment the viewer remains largely passive; we are simply asked to scroll vertically through images and videos, sometimes set within blocks of text.
In 'Gaming: Essays on Algorithmic Culture' Galloway also talks about what he calls the ‘ambient state’ within computer games - that point within the game where the action stops and the player is faced with a purely aesthetic looping experience. These ambient repetitions of subtle movements are designed to lure the player in, and engage them in more action. Within art, however, the viewer engages in a passive form of reception and contemplation, and this return to action through code will never come. In this sense You're in a computer game, Max! becomes a parody of this viewer passivity. Our actions lead only to more looking; we become caught up in an ambient loop that only reveals more images, or different combinations of the same images.
Through user interaction, dialogues begin to form between the works in the 3-dimensional digital space in a similar way to how they would within a gallery based group show.
Katriona Beales / Daria Blum / Robert Cervera / Gibson/Martelli / Keiken / Bill Leslie / Jonas Pequeno / Daniel Shanken
22nd April - 21st July 2020