This ‘Plug In’ is seen as a practice to construct and cultivate spaces of knowledge in an interdisciplinary manner with art works from the collection of the Van Abbemuseum in context to an assortment of video games. These video or computer games will be chosen continually by appointed people working in the field of gaming and visual culture during the running time of the ‘Plug In’.
Knowledge spaces, virtual as well as physical ones, can connect seemingly unrelated topics with each other. You as a visitor and user may find yourself in knowledge spaces where you can navigate and explore your way through on your own paste. To navigate this particular space of unfamiliar content as well as media you have to keep ‘moving’.
Movement and the reception of space are absolutely necessary for understanding interaction, engagement or pleasure. In the installation of the TM Sisters * you encounter a three dimensional space with a video game. ‘ Super Bolt’ (2004) uses flashes and bursts to enhance actions and movements of characters, objects, and environment. Although it is not visible to the eye, there is a lot of commotion moving in the space between the earth and the sky; particularly how lightning bolts create a connection between the heavens and the earth. Amongst others they produce videos, performances, sewn collages, xerography, animation, and video games to visually manipulate, this extra presence and energy. In their daily work practice they interact and collaborate a lot, for example with their brother who helped with programming and the conceptualisation of the video game.
Monica and Natasha López de Victoria (Miami, FL) work closely together since childhood, these home-schooled sisters aesthetic stems from their experience within the punk scene and creating fanzines, flyers and clothing. Interaction and teamwork are recognizable features in the exhibited works. The sisters collaborate in the mediums of xerography, sewn collage, video, performance, painting, animation, and video games. Their brother, Samuel López de Victoria also works with them in programming video games. Most recently their works could be seen at Serpentine Gallery in London as part of ‘Uncertain States of America’ a travelling exhibition, curated by Daniel Birnbaum, Gunnar B Kvaran and Hans Ulrich Obrist
Using photography as an analytical tool to develop new ways of understanding visual phenomena Jan Dibbets works focus on the process of perception. In ‘Claustra 1’ (1986) for example the perception of reality and the portrayal of space, colour, light and structure constitute the main theme. In his early work series of perspective corrections Dibbets is concerned with the concept of visual perception that have determined, to a significant degree, the development of painterly tradition. ‘Perspective Correction, My Studio 1 3 : Square on Wall ‘ (1969) is playing with the reality of the seemingly natural observation juxtaposing it with a physical or conceptual reality.
Whereas Edward Ruscha created weird relationships between what is painted and what is described. He points out that simultaneity is an illusion, that no one can read and look simultaneously, but at the same time exploits the illusion of simultaneity while playing visual sensation against reading manipulating the brain’s looking/reading, which eventually has been a knowledge of typographical arts from medieval illuminated manuscripts to modern advertising. *
Peter Schejdahl: Edward Ruscha stains 1971 to 1975. New York, 1992
Douglas Huebler enables the viewer to observe reality from an unfamiliar perspective, to discover and recognize faces of reality that are normally not perceptible.
‘ Variable Piece # 111, London (1974)
During a ten minute period of time a number of mannequins were photographed through the windows of clothing stores on Oxford Street. The artist allowed no more than ten seconds to pass before making a photograph of a passerby whom he felt, more than anyother seen during that time, most closely resembled the mannequin thereby juxtaposing one mode of reality with another.’
Shifting the area of concern to relations - relations between time and space, between the viewer and the context of the viewing Huebler is allowing virtuality to come into play. The viewer then completes virtuality or meaning.
‘Performance/Audience/Mirror’ (1975) is a performance piece in which Dan Graham stood between a large mirror and the audience. He first described himself in front of the mirror, facing the image of a public observing the performer. Using the mirror as a tool to let the audience perceive itself as a public body, Graham exposes their conditional behaviour and eventually draws the audience into the work without having them actively participating.
In Multi-User Knowledge Space(s) items of multiple coded meaning, here the presented art works and the video games as well as the function and design of the exhibition, deal with the subject of time, space, architecture, virtuality, simulation and movement in relation to video games. This ‘Plug In’ does not give an historic overview of computer (video) games, express its economical potential or show its newest high-tech development. It rather allows users to experience virtuality through the enclosing sensations of light, sound and interactive movement as part of our cultural development.