https://www.youtube.com/shorts/AAUeB15ZQS0

Runtime 13.-28.6.26 | Flämische Straße 6-10, Kiel

Viktor Pareigis, Trabanten, Tough Night 2024 Book
Trabanten is a graphic novel that tells the story of a group of teenagers living on their own in an apartment-block housing estate. Throughout the story, they are confronted with challenges such as death, grief, and seemingly unattainable dreams. Tough Night: One night, a young woman arrives in a peaceful mountain village. Nervous and exhausted, she is not expecting the kind of people who are chasing after her. But her pursuers are equally unprepared for the resistance they will encounter that night.
www.viktor-pareigis.com

Atvola, corrupted, 2026
40x50cm bilderrahmen, lichterkette, auf plexiglas gedruckte 3d scans
For her work, Atvola transforms into Columbina, a character from the online game Genshin Impact. For a long time, Columbina was known only from a trailer—yet she remained a fan favorite—without any established backstory. Fans find in her a canvas and a platform for their own stories and ideas. Through her work, Atvola becomes Columbina, exploring her own identity via fantasy and the concept of a persona. This transformation intertwines costume, fan fiction, and performance.
Text von Ramona, Plexiglasdruck von DLM! Grafik und Werbetechnik
@Atvola

LeMob, Evolution, 2026
Papier, Müll und Schulden
@le.mob

3 Qi Shen, Evil Dog, 2026
Found objects (remote control and toy remote-controlled car), lightweight air-dry clay, silicone
Evil Dog is a remote-controlled car whose shell is entirely sculpted from silicone, mimicking the texture, color, and form of real flesh—soft, moist, and deeply unsettling. This chunk of “meat” moves across the floor on its own, while the one controlling it hides behind a remote. When flesh is given mechanical movement, when it can be driven, directed, and displayed, the boundary between meat and machine begins to blur. The body no longer belongs to itself, but becomes a vessel for the desires and power of others—and with that, any sense of agency disappears.
insta @qi.shen_

Dominik Held, x -zweidimensional- y, 2026
mixed printmaking techniques

Rotzky, TreeGEN, 2026
TV, tree stump, controller, 2 sockets
TreeGEN is an algorithm that generates trees and plants—ranging from realistic forms to species that do not exist in nature. The scope of possibilities is deliberately left open. The algorithm was created for a computer game currently under development. In this game world, everything is generated procedurally—that is, through mathematical formulas—including landscapes, buildings, rock formations, and vegetation; no element is hand-designed. TreeGEN is the first of these algorithms to reach a stage ready for presentation. At its core is the question of how mathematical rules and controlled randomness can combine to produce something highly individual that appears organic and lifelike.
Floating Island by viktipg on cgtrader: https://www.cgtrader.com/designers/vityab
soundcloud.com/rotzky

6 Moritz Wittenburg, kill frame, 2026
projector, military sweater, catgirl patch
State-run esports teams, military simulators, drone operators rewarded with points: the boundaries between war and play are blurring. How much do governments benefit from a generation raised on digital violence?
@blaunagoya @twelfthrealm

7 Saleh Shaweesh, About Ten Years From Now…, 2026
Projector, Joystick Controller, PC
About Ten Years From Now… is an interactive video installation mapping personal memories of a distant homeland into a traversable digital landscape. Ten years after arriving in Germany from Syria in 2015, the work charts the memories of that journey—and turns them forward: what exists now as recollection will, in another ten years, become a memory of a memory. From a bird’s-eye perspective, a single participant navigates a terrain assembled from fragments of a displaced life—drawings, personal photographs, and artifacts—using a four-button retro joystick controller.
salehshaweesh.de

Seoyeong Choi, Palm Reading Arcade, 2025
MDF, Monitor, Raspberry Pi
Palm Reading Arcade is an interactive installation that reads palm lines as data and translates them into text-based predictions. When a hand is detected by the camera, the system analyzes specific features of the palm and generates individualized messages from them. The work positions itself not as a tool for fortune-telling, but as an investigation into the mechanisms by which data is selected, interpreted, and rendered meaningful. By bringing traditional chiromancy and algorithmic analysis into collision, the installation interrogates the boundary between computation and belief, between objective data and subjective interpretation.

Hongzhu Chen, Finger Knights, 2026
keyboard, silicon airdry clay, displayer, acrylic
Tastatur, Silikon, lufttrocknende Modelliermasse, Bildschirm, Acryl
“Finger Soldiers” is an interactive installation inspired by the way contemporary communication increasingly relies on smartphones and keyboards. Our fingers constantly tap, swipe, and type, while gradually losing awareness of the real emotions and human presence behind the screen. In the work, the “finger soldiers” are placed inside a continuously running game, where they hold knives and repeatedly slash at flying pieces of flesh. The mechanical violence and repetitive movements symbolize the alienated form of communication in the digital age—fingers become trained like soldiers, driven to endlessly input, attack, and respond, gradually losing their sense of touch, warmth, and genuine human connection within the constant flow of information exchange. The work attempts to remind viewers that behind every message, reply, and interaction, there is still a real human being.

Jens Isensee, Virtual Materialism 2.0, 2019–26
Virtual Materialism is an interactive video installation in which up to four participants encounter a virtual reconstruction of themselves, composed of everyday objects—as interactive ready-mades. Masked figures in the mirror recite an acoustic text collage composed of fragments from Hanno Rauterberg’s “Traum von der kreativen Maschine,” while visitors oscillate between reflection and spectacle. In this immersive world, viewers move as object assemblages, collecting coins to survive and competing with one another in an endless win-lose cycle in which losers disintegrate.
jensisensee.de

Farhang Rafiee, Necroveillance, 2025
Mixed Media
Surveillance, calculation, and death operate here as forms of power that the historian and political theorist Achille Mbembe terms “necropower,” the authority to decide who lives and who dies. Farhang Rafiee’s game subtly reveals this mode of power through affective and minimal means, exposing the interactions and relationships between sensing machines, algorithmic processes, and our precariously moving human bodies. For a person within a programmed world, vulnerability and heightened control become tangible realities. Here, the possibilities for movement and escape are primarily controlled by the programme, which also determines the probability of the final message: “You have been detected.”
Text: Annika Larsson; Sounddesign: Henny Holländer

Tobi Kunze, Schlafenszeit, 2026
Bett, Sound, Licht, Matratze, Decke, Kissen, Draht, Tape
Remembering the times when we used to sneak our DS into our bed and play Mario Kart or Pokémon under the blanket past bedtime, fearing to be caught by our parents. The bed is built to resemble this moment from the outside rather than the inside perspective. Wires and tape are used to create a silhouette that looks like a child crouching under the blanket. The light resembles party lights and underlines the constant stream of hypnotic-like entertainment. Listening closely, you can hear the sounds of handheld classics paired with breathing caused by the bad air under the blanket.

Quin Wenn, C.A.G.E., 2025
Kabel, CRT, Adapter, Mp4, bash, Stahl, Edelstahl
As a pop-cultural medium, video games serve as a space for socialization. Makeover games and movies explicitly convey characteristics of conservative femininity to children. C.A.G.E. (Categorical Analysis of Gender Expression) is the work of a child obsessed with external expressions of gender. A makeover game interface, a program for socially compliant analysis of outfits, and a 360-degree view of the created characters reveal the absurdity of norms. The work offers a non-judgmental opportunity to reflect on one’s own thought patterns and socialization.
Programmierung: Lukas Kähler, Kamera: Samira Kühne

Quin Wenn, Kampf der Giganten, 2025
A playful take on class war. Watch the piece on the YouTube channel @vorsichtscherben.
www.quin-wenn.com

Jane Han, Welcome to the New World, 2026
Welcome to the New World explores the body as a site where repetition, expectation, and social norms become embedded. Set within a cyclical structure, the work follows the accumulation of physical and psychological pressure produced by endlessly recurring routines. The uterus appears not simply as a biological organ but as a symbolic space onto which ideas of reproduction, femininity, and social function are projected. By presenting the act of removing the uterus as a rupture within this cycle, the work questions assigned roles and imagines resistance to inherited structures.

Nora Twest, Maxim Lewandowski, YOU ARE THE ALGORITHM, 2025–26
Handy-Spiel, QR Codes
QR codes were hidden throughout the exhibition space, providing access to the mobile arcade game YOU ARE THE ALGORITHM. It offers an empathetic simulation of being a social media feed. Players take on the role of an algorithm tasked with curating content using available data to create a personalized experience. Through this role reversal, the game invites reflection on the mechanisms and ethical implications of algorithmic content selection.

On Video Game in artistic practice
Video games have long entered the cultural mainstream. Their capacity to simulate complex worlds opens new possibilities for the arts. While play and simulation are historically familiar, the video game as a simulation system represents a novelty. Unlike commercial production, art lacks vast economic resources and often defies conventional production logic. Its strength lies in its subversive freedom to challenge perception and generate new aesthetic forms. The works in the Gamecube exhibition experiment with the medium while reflecting on it as a social phenomenon—often humorously and with political acuity. A central question is what happens to the player when the boundary between digital and physical space becomes unclear.
Text by Maxim Lewandowski

#interactiveart #videoart #virtual #virtualrealitygames