GameWorld Common Grounds
Workspace Unlimited / 2007 / Canada / Bélgium
GameWorld Video Program/Extrusions: WOW
WOW (Documentation) / Aram Bartholl / 2007 Germany / 5 Minutes
GameWorld Video Program/Extrusions: Boys in the hood
Boys In The Hood (Excerpt) / Axel Stockburger / 2006 / Germany / 15 Minutes
GameWorld Screenshots
John Haddock / 2001 / USA / Cortesy of Howard House Gallery, Seattle
GameWorld 650 Polygon John Carmac
Brody Condon / 2004 / USA / Courtesy of Tom Powell and Virgil de Voldere Gallery, New York
GameWorld Portraits
Eva & Franco Mattes / 2006 / Italy / Cortesy of Fabio Paris Art Gallery, Brescia
GameWorld Super Mario Sleeping
Miltos Manetas / 1997 / USA /Greece / Cortesy of Yvon Lambert Gallery, New York
GameWorld MachinimArt: This Spartan Life
This Spartan Life (Excerpt from Episode One) / Chris Burke / USA / 2005-2007 / 9-14 Minutes
GameWorld MachinimArt: She Puppet
She Puppet / Peggy Ahwesh / 2001 / USA / 15 Minutes / Courtesy of Electronic Arts Intermix, New York
GameWorld MachinimArt: Sheik Attack
Sheik Attack / Eddo Stern, 1999 / EE.UU. / 17 Minutes
GameWorld TFT Tennis
Dirk Eijbouts / 2005 / The Netherlands
GameWorld BX
Brent Gustafson / 2005 / USA
GameWorld Invaders
Douglas Edric Stanley / 2001 / France
GameWorld [Domestic]
Mary Flanagan / 2003 / USA
GameWorld Civilization IV: Age of Empire
Eastwood Real Time Strategy Group / 2004-2006 / Serbia/Montenegro
GameWorld Arcade Wire
Ian Bogost / Persuasive Games, 2006 / USA
GameWorld AR Tennis
Anders Henrysson, Mark Billinghurst, Mark Ollila Hitlab / 2006-2007 / Nueva Zelanda
GameWorld Once More With Feeling
Ken Perlin / New York University Multimedia Research Laboratory Gerry Seidman / Noisemachine, INC, NYC, NY / 2007 / USA
GameWorld Façade
Michael Mateas, Andrew Stern / 2005 / USA
GameWorld Braid
Jonathan Blow / Number None, 2007 / USA
GameWorld Sensible World of Soccer
John Hare / Sensible Software, 1994 / United Kingdom / Selected by Matteo Bittanti
GameWorld Doom
John Carmack, John Romero / Id Software, 1993 / USA / Selected by Christopher Grant
GameWorld Tetris
Alexey Pajitnov / Academy Of Sciences, Moscow, 1984 / USSR / Selected by Warren Spector
GameWorld Civilization I/II
Sid Meier / Microprose, 1991 / USA / Selected by Steve Meretzky
GameWorld SimCity
Will Wright / Maxis, 1989 / USA / Selected by Matteo Bitanti
GameWorld Star Raiders
Doug Neubauer / Atari, 1979 / USA / Selected By Warren Spector
GameWorld Spacewar!
Martin Graetz, Steve Russell, Wayne Wiitanen Massachusetts Institute Of Technology, 1962 / USA / Selected By Henry Lowood / Courtesy of Computer History Museum, California
GameWorld nOtbOt
Walter Langelaar / 2007 / Belgium
GameWorld Endless Forest
Tale Of Tales / Auriea Harvey, Michael Samyn / 2006 - Present / Belgium
GameWorld Dead in Iraq
Joseph Delappe / 2006 - Present / USA
GameWorld Readyplayed
Ludic Society / Margarete Jahrmann & Max Moswitzer 2006 / Switzerland / Austria
GameWorld FPS
Aram Bartholl / 2005 / Germany
GameWorld ////furminator
Volker Morawe, Tilman Reiff Fur Collective / 2005 / Germany
GameWorld Pongmechanique
Niklas Roy / 2004 / Germany / Courtesy of Computerspiele Museum, Berlin
GameWorld Super Mario Movie
Cory Arcangel & Paper Rad / 2005 / USA / Courtesy of Team Gallery, New York
GameWorld Anisandbox
Friedrich Kirschner / 2007 / Germany
GameWorld Bordergames
La Fiambrera Obrera, 2005-2007 / Spain
GameWorld 2nd Person Shooter
Julian Oliver / 2006 - 2007 / Germany / New Zeland
GameWorld We Love Katamari
Keita Takahashi / Namco / 2005 / Japan
GameWorld Warcraft (Series)
Blizzard Entertainment / 1994-2007 / USA / Selected by Henry Lowood
GameWorld Super Mario 3
Shigeru Miyamoto, Takashi Tezuka / Nintendo, 1988 / Japan / Selected by Christopher Grant
GameWorld Zork I
Marc Blank, Dave Lebling, Bruce Daniels,Tim Anderson / Infocom, 1980 / Selected by Steve Meretzky
GameWorld flOw
Jenova Chen, Nick Clark, Austin Wintory / thatgamecompany / 2007 / USA For Sony PlayStation 3 Console Systems
Explores video games as an art form and presents contemporary art related to video games. Via these dual lines of investigation, the exhibition explores video and computer games as entertainment, art form, agent of innovation and cultural force
Photo: Enrique Cárdenas


Explores video games as an art form and presents contemporary art related to video games. Via these dual lines of investigation, the exhibition explores video and computer games as entertainment, art form, agent of innovation and cultural force


Photo: Enrique Cárdenas

Welcome to GameWorld: games on the edge of art, technology and culture

Carl Goodman (Deputy director and director of digital media, Museum of the Moving Image, New York)

The title GameWorld invokes three interrelated but distinct worlds. First is the designed world within a videogame, which includes both its perceptual attributes and the system of rules, behaviors and properties that provide its form. Second is the creative ecology composed of industry and academia that is emerging around videogames. The third world is the realm of contemporary culture, and the extent to which it is colored by videogames and their offshoot, virtual worlds. We hope to show the many points of intersection between videogames, art and culture through the presentation of work from over forty artists and game designers, and, in spite of their status as diversion, reveal games to be an expressive enterprise worthy of attention and study. Whether you play them or not, videogames matter.For those who think that showcasing videogames within the corridors of a museum is out of the ordinary, it's not true. Museums have been examining the cultural and technical signifi cance of videogames since the late 1980s, starting with “Hot Circuits: A Video Arcade,” a historical exhibition of video arcade games mounted by the Museum of the Moving Image (New York), my place of employ, in 1989. The exhibition was inspired by the then radical notion that videogames are an increasingly vital part of the entertainment industry, alongside movies, television and music. It also drew attention to the contribution of videogames to computation technologies, in part because they are often the public's first exposure to edge technologies. Today these notions are well accepted.Another misconception that had to be addressed was that videogames are primarily a form of children's media. The MIT scholar Henry Jenkins effectively turns this critique on its head by focusing on the meanings of games, not just their effects. Rather than talk about what videogames are doing to our children, Jenkins urges, we should talk about what our children are doing with videogames. While it is important to address the question of violence in games, it should be done while recognizing that game audiences young and old are active interpreters, not just receptacles, of media experiences.Since the late 1980s, the entertainment business has moved to adapt to the rhythm and flow of digitally networked culture, in large part because of the industry's production of popular, commercial videogames, which may be considered the fi rst native digital medium. Just as film subsumed the presentational characteristics of theater, and television did the same with radio, videogames subsume the media that came before them within their increasingly rich, all-encompassing simulated worlds. Videogames are a driving force behind networked virtual worlds technologies, which themselves are increasingly integrated into mainstream entertainment and education. In this way, virtual worlds are in the process of subsuming games; as a result, games function as emergent activities within virtual worlds, while virtual worlds acquire a life of their own independent of games.The expressive potential of videogames becomes even more apparent once you look outside the realm of commercial games. There is now an expanding ecology around the robust commercial center of the fi eld that also includes fine artists, independent producers, academics, researchers, and game designers who have earned enough clout, or money, to work with complete creative freedom. There are also alternative production and distribution models now emerging that bring alternative games to niche audiences over the Internet. These factors all contribute to an expanding discourse about videogames and what they are allowed to be. The interplay of these different spheres of activity contributes to a fertile creative environment which promises to evolve gaming in unexpected, compelling directions.But for that to happen to its fullest, we must fi rst acknowledge that videogames have the potential to express the same diversity of approaches and authorial intentions that we expect, and receive, from other forms of expression.GameWorld hints as this kind of flowering, and advances are underway on a variety of fronts. With GameWorld, we hope to offer an alternate perspective on videogames that places them solidly at the center of our culture. Rather than follow the linear format associated with most museum exhibitions, GameWorld is made up of clusters of works meant to be accessed in a nonlinear fashion. In the set of cards accompanying this catalog, these clusters are indicated with one of six terms printed on each card:The first cluster, the “Digital Game Canon,” is an inaugural selection of ten historical milestones in game design innovation, chosen by a panel of five game design and history experts and announced on March 8, 2007 at the Game Developers Conference in San Francisco, California. A second cluster, “Games Recoded,” presents artist work that reframes, transforms or radically alters historical videogames, or utilizes them as raw material for a new work. The next group, referred to either as “Experimental Gameplay,” “Games Research,” or “Serious Games,” presents three different ways in which videogames as a form are being taken into new, potentially hostile (though promising) territory. The last cluster, “World/Game,” ponders our daily experience when seen through videogame gauze – when simulation and network technologies defi ne, perhaps even generate, the environment we live in.The fi rst impression we had of virtual reality in the 1990s – that of an entirely synthetic realm into which you escape, leaving the real world behind – seems quaint. Instead, we are enmeshed in a sophisticated mix of physical and virtual, as evidenced by mobile gaming, networked online virtual worlds, and architectural spaces that are designed using some of the same simulation technologies behind the games we play. It becomes increasingly diffi cult to draw a clear line distinguishing between the “virtual” and the “real.” In this way, the three worlds invoked by the title GameWorld – the world within the game, the games within our world, and the network of practitioners and organizations guiding their development – collapse into one another, becoming a single, hybrid conceptual space. Welcome to GameWorld.

Curated by: Carl Goodman
Exhibition design: Leeser Architecture

Artists: Friedrich Kirschner, Axel Stockburger, Walter Langelaar, Fur Collective, Brent Gustafson, Feita Takahashi, Thatgamecompany (Jenova Chen, Niki Clark, Austin Wintory), Jonathan Blow / Number None, Michael Mateas y Andrew Stern, Ken Perlin, Ian Bogost / Persuasive Games, Eastwood Group, Danny Ledonne, Julian Oliver, La Fiambrera Obrera, Miltos Manetas, Eddo Stern, Sheik Attack y Eddo Stern, She Puppet and Peggy Ahwesh, Chris Burke, Brody Condon, Eva and Franco Mattes (a.k.a. 0100101110101101.ORG), The Ludic Society (Margarate Jahrman and Max Mowitzer), Aram Bartholl, John Haddock, Joane Leandre, Joseph DeLappe, Auriea Harvey y Michael Samyn, Mary Flanagan, Workspace Unlimited, Douglas Edric Stanley, Cory Arcangel and Paper Rad, Dirk Eijsbouts, Niklas Roy, Anders Henrysson, Mark Billinghurst y Mark Ollilla, Martin Graetz, Steve Russell, Wayne Wiitanen, Marc Blank, Dave Lebling, Bruce Daniels, Tim Anderson, Doug Neubauer, Will Wright, Marc Blank, Dave Lebling, Bruce Daniels, Tim Anderson, Sid Meier, Alexey Pajitnov, Shigeru Miyamoto y Takashi Tezuka, John Carmack y John Romero, John Hare, Blizzard Entertainment

Graphic design: The Studio of Fernando Gutiérrez

By Greg Costikyan, co-founder of Manifesto Games, he has designed more than 30 commercially published board, roleplaying, computer, online and mobile games, including 5 Origins Award Winners

By Helen Stuckey, games programmer and curator of the Games Lab Australian Center of The Moving Image

By Alexander R. Galloway, assistant professor in the Department of Culture and Communications, New York University

Created by Leeser Architecture

Credits of the exhibition: GameWorld

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