DiMoDa – Digital Museum of Digital Art created in 2013 by Alfredo Salazar-Caro and William Robertson, it’s dedicated to collecting, preserving, interpreting and exhibiting Digital art and its collection while expanding the conscious experience of viewing Digital art in a Virtual space. DiMoDA is arguably the finest holding of twenty first-century Digital art in the world. The DiMoDA building is intended as a home for contemporary digital art and incubator for new ideas, as well as an architectural contribution to the Internet’s Virtual landscape.
I’m honored to be part of this second edition with an invitation of the New Media Curator based in NY, and partner in crime of so many projects Helena Acosta. I created a work commissioned especially for this exhibition platform that use the virtual reality headset Oculus, called Miyö’s War Room.
Miyö’s War Room, explore from an ontological position two forms of power that in our contemporary society seems to be in constant confrontation as it is Sexuality and War, represented through the ideological structure of supremacy shaped by gender: Feminism and Patriarchalism.
Influent and highlighting the importance of video games for society around the subject of War/violence and of course dearly attach to John Romero’s work and impact with the game that introduce to not only the concept of “First person shooter” but also proving what Reich describe in his theories, that we all have secret desires for killing. DOOM (1993 – ID Software) introduce to ours living room death and destruction as a product, therefore as a merchandise. But this tech-gore game starring an unnamed space marine who fight against undead and monsters teach us and reinforce in western society the cult of war that capitalism preach so proudly.
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ABOUT THE EXHIBITION
This second exhibition, Morphḗ Presence curated by Helena Acosta and Eileen Isagon Skyers, features a diverse collection of commissioned VR works from Brenna Murphy, Theo Trian, Rosa Menkman and this Kitty Miyö Van Stenis. Morphḗ Presence opening taked place at Superchief Gallery in Brooklyn (NYC) on September 9th, followed by a feature at VIA Pittsburgh (PA), Satellite Fair, Miami Beach (FL) and a featured exhibition at the RISD museum in Rhode Island starting in mid December. More dates TBA
When we look at contemporary life, it is evident that our perception is often punctuated by technology–so frequently that we no longer distinguish between simulacra and material. The various devices we interface with give rise to the images, connections, and feelings that now comprise the phenomenological texture of our reality. These devices and software systems operate in discrete terms; to be precise, they operate in code. Beyond its literal numeric, keystroke value, code language also bears symbolic meaning. This language follows inherent patterns to manifest real shapes, motions, objects, and events–ergo, “reality”. By definition, these tendencies are not actual, but virtual–e.g. not physically existing as such, but made by software to appear to do so. They represent potential. They represent something in essence, or effect, but not in fact. Despite the premise that reality may not be fully, or actually, represented by these technologies, virtual reality can influence direct experience, quite literally by influencing physical virtues or capabilities. Indeed, this is part of the origin of the term “virtual”. Using various arrangements, interactions and sensory enactments, DiMoDA 2.0: Morphḗ Presence looks at the work of Brenna Murphy, Rosa Menkman, Theoklitos Trian and Miyö Van Stenis to indicate the power and failure of technology when attempting describe, or frame, reality.
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