Archivos por Etiqueta: videojuego

Punch a Monet, the Video Game

Después de que la semana pasada supiéramos de la agresión de Andrew Shannon al Monet Argenteuil Basin with a Single Sailboat, hoy podemos hacer uso de este videojuego, como si fuéramos el mismo Andrew y pudiéramos descargar cualquier enfado o rifirrafe con la historia del arte. Los creadores de tal iniciativa son Tom Galle, Dries Depoorter, and Eiji Muroichi y, una vez más, nos pasa la noticia nuestra siempre fiel Elena Vozmediano.

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Aquí la noticia original publicada en BlouinArtinfo por Craig Hubert:

Andrew Shannon, the man hilariously described as a “thug” for punching a hole in a Claude Monet painting at the National Gallery of Ireland, has, in addition to his reported six year prison sentence, done something even more amazing: make the internet laugh. “Punch a Monet,” created by Tom Galle, Dries Depoorter, and Eiji Muroichi, is a browser-based game that places you in Shannon’s shoes, allowing you to take out your anger on art history with a few swift swings at the canvas.

According to Galle, its origins were simple. “[The user] would be able to walk up to the super expensive Monet painting and start punching it until it eventually is completely destroyed,” he wrote in an e-mail. “It is just built for fun, we do not in any way want to encourage destroying valuable objects of art (of course).”

Last week, the 49-year old Shannon, who told the authorities after his arrest that he punched the painting as a form of protest against the state, later in court claimed he was ill and simply fell into the painting. After 90 minutes of deliberation, the jury found him guilty. Shannon was sentenced to five years in prison as well as the much more vicious punishment of being banned from any gallery or museum for 15 years after his release.

The response to “Punch a Monet” has been immediate and unexpected. “The internet’s reaction has been crazy and overwhelming,” Galle wrote. “I think people really see the humor behind it, but I also had a couple of negative reactions of people that felt like we were encouraging the destruction of valuable art.” Even so, Galle knows a few virtual cracks at something so expensive can be cathartic. “There’s something inside all of us that wants to break the rules, cross the line, and go a little crazy.”

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Iconoclastia, FPS (First Person Shooters). Vídeo de Manel Bayo

Iconoclàstia FPS (First Person Shooters), de Manel Bayo. Pieza producida por el Vad festival 1.0.

Gracias a Marta Sureda por el aviso.

(Text que acompanya el vídeo – Texto que acompaña el vídeo).

Català:

Si acceptem com a vàlida la lectura feta per Donald Kuspit segons la qual el pas d’un art analògic a un art digital s’hauria d’entendre, a grans trets, com un procés que va de la «representació d’objectes» a un progressiu intent per «codificar les sensacions», aleshores sembla clar que l’estètica dels videojocs FPS (Doom, The Conduit, Unreal, Quake, Halo…) suposaria una mena de fita en aquest esdevenir marcat per la voluntat de situar el subjecte –i la seva experiència sensorial– en el centre del «dispositiu lúdic-estètic».

I no només això: de la mateixa manera que el millor videoart de la dècada dels setanta (Baldessari, Acconci, Nauman…) va haver d’encarar l’omnipresència de la televisió com a metàfora dominant d’un suposat «nosaltres» –com molt bé ha observat Mark van Proyen–, l’art digital d’avui dia només podrà ser rellevant en la mesura que tingui en compte les implicacions d’Internet. Ser a la xarxa s’endevina com el darrer requisit per completar aquest procés d’obertura que converteix l’espectador tradicional en usuari o protagonista d’una història que ell mateix s’encarrega de construir.

Justament per tot això, no és estrany que artistes com Manel Bayo –que ha transitat per quasi tots els formats, començant per la pintura– trobin en l’estètica del videojoc un espai insòlitament autàrquic que els permet, d’una banda, mantenir i afirmar el caràcter lúdic que sempre hauria de tenir qualsevol proposta artística i, de l’altra, dialogar irònicament amb una tradició representativa que ha esdevingut icònica (encapçalada per la «pintura de cavallet»). Si a tot plegat hi sumem la utilització d’escenaris perfectament reconeixibles i amb una forta càrrega social i històrica com poden ser les antigues Sales Municipals d’Exposició de la rambla de Girona, aleshores el que s’esdevé és un diàleg vertiginós entre l’element més local –o, fins i tot, anecdòtic– i el dispositiu tecnològic d’abast global i, en aquest sentit, essencialment anodí i impersonal. D’això es tracta: el videojoc entès, també, com a espai de reflexió.

Eudald Camps.

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English:

Iconoclàstia FPS (First Person Shooters)
Eudald Camps

If we accept Donald Kuspit’s interpretation according to which the step from an analogical towards a digital art should be undesrtood, mainly, as a process that goes from the “representation of objects” to a progressive attempt for “codifying feelings”, then it becomes clear that the videogames FPS aesthetics (Doom, The Conduit, Unreal, Quake, Halo…) would be a kind of benchmark in this process that has to do with the aim of placing the subject –and his sensorial experience– at the center of the playful aesthetic device.

But not only this: the same as how the best video-art works in the seventies (Baldessari, Acconci, Nauman…) had to face the presence of TV everywhere as the dominant metaphore of an imagined “we” –as it has so well observed Mark van Proyen–, nowadays, digital art will only be relevant as long as it considers the implications of Internet. To be in the web is eventually the last condition to complete this opening process that makes the traditional viewer become a “user”, as well as the main character of a story that he or she is in charge to create.

And it is for that reason that artists like Manel Bayo –who has tried almost all the formats, starting with painting– can find in the aesthetics of videogames an autarchic space that allows him, on one side, to keep and to assert the playfull side of any art event and, on the other side, to ironically establish a dialogue with a tradition that has become iconic (with “easel painting” at the top). If we add to all this the use of perfectly recognizable environments that have a strong social and historical background, like the old Sales Municipals d’Exposició in the Rambla of Girona, then, what happens is a lightning-speed dialogue between the most local –even irrelevant– issue and the world-wide technological device, essentialy bland and impersonal. And that is the point: to understand the videogame also as a space for reflection.

Eudald Camps.