festival GAMERZ 13

festival GAMERZ 13

Festival GAMERZ 13


During this 13th Edition of GAMERZ Festival, numerous international artists present multimedia art works in five different cultural places in Aix-en-Provence from 3rd to 12th November and will be playing and hijacking new technological dimensions and development across the spectrum of magic.

Indeed, our massive consumption of these technologies, devoid of any understanding of their mechanics, can approach a form of magical thinking. The creations combining digital-animism and techno-esotericism will be featured.

This tour highlight hybrid creations, focused on the relations magic / technology. This panorama of multimedia artistic devices, sometimes alternative, awakens deep reflections on the metamorphoses of our society.

This year's festival will focus on creations that have been currently partially archived or hardly ever been seen, giving an over-view of these new art devices.

GAMERZ Festival proposes a free exhibition tour, both recreative and seriously questioning the deep changes at work in our society.

Exhibitions, performances, meetings and workshops compose this rich and innovative programme.


“Any sufficiently advanced technology is indistinguishable from magic.” Arthur C. Clarke

According to Sigmund Freud, "magical thinking " is the residual remnant of a primitive thought that survives in our subconsciousness. It is a means to accept our helplessness in front of existence, an attempt to face the fear of the unknown by building a causal link between two independent events, in an irrational analysis. According to him, sorcery and magic are the practical applications of this kind of thinking, close to animism.
Our different types of interactions with the machines, in particular the mass consumption deprived from any comprehension of their mechanisms, fray with a kind of magic, that can be questioned like a sort of animism, from the ethnological point of view.
While the partition between magic and science is quite recent, Manuela de Barros reminds us that several first class scholars where magicians and alchemists. They discovered “magical” phenomena that where recognized as scientific later on. We can then consider that in most cases, the disinterest for mechanical hardwares and softwares specific to those digital devices, comes from a general lack of understanding that might be interesting to compare with a kind of “magical thinking”.

Oddly enough, we can find a similar phenomenon in electronics and specifically in microprocessors production line. Indeed, their manufacturing, as strict as it can be, has a part of inaccuracy. Actually, several productions of the same processor will not have the same electronic responses in terms of frequency. We can witness subtle variations from one to another. As if part of the information had disappeared, as if bits had evaporated.
Would the machines' inherent technical singularities be the essence of a kind of intelligence, a spirit, a vitae that animates them as it does for living beings, following the example of the animist religions ?

The esoteric aspect that we plan to bring to light is related to the actual complexity of those technologies as well as proprietary encoding of operating systems and softwares that allow their use. This exhibition inquires on the circulation of data and pictures, exposing a hidden part, almost occult, of these technologies, which core use is reserved to the initiates only.

Would the machine, as perfect as it might be, develop some singularities ?

Could commodification of these technologies as well as software or hardware production's monopoly, that denies access to the coding of the microprocessors, be viewed as part of a generalized, secretly built occult system, which goals remain unknown, hidden ?

This exhibition is not thought as an illustration of the theme, but rather as an axis of research, defined by a set of contemporary art practices. Guest artists question those notions through the presentation of several installations.

Quentin Destieu

1- Hazards of Prophecy: The Failure of Imagination, dans Profiles of the Future
2- Totem et tabou,1913, Paris ,Payot, 1968, 3ème chap.
3- De Barros Manuela, 2015, "Magie et technologie ", Supernova Project, 112 pages



Openning of the festival starting at 5.30 p.m. the 3rd november





Starting at 5.30 p.m.
Opening of the festival

starting at 9 p.m.

From 2 p.m. to 5 p.m.
Workshop - Masterclass

Starting at 5.30 p.m.

From 2 p.m. to 5 p.m.
Workshop - Masterclass

Starting at 7 p.m.

6 p.m. to 9 p.m.
Films screening

6 p.m. to 9 p.m.

Martin Howse

Martin Howse

Martin Howse is occupied with an investigation of the links between the earth (geophysical phenomena), software and the human psyche (psychogeophysics) through the construction of experimental situations (performance, laboratories, walks, and workshops), material art works and texts. He is equally the creator of the skin-driven audio divination noise module, The Dark Interpreter, and the ERD modular synthesizer series.
Through the construction of experimental situations (within process-driven performance, laboratories, walks, and workshops), material art works and texts, Martin Howse explores the rich links between substance or materials and execution or protocol, excavating issues of visibility and of hiding within the world.
From 1998 to 2005 Howse was director of ap, a software performance group working with electronic waste, pioneering an early approach to digital glitch. From 2007 to 2009 he hosted a regular workshop, micro-residency and salon series in Berlin. Howse has worked and collaborated on acclaimed projects and practices such as The Crystal World, Psychogeophysics, Earthboot, Sketches towards an Earth Computer and Dissolutions. For the last ten years he has initiated numerous open-laboratory style projects and performed, published, lectured and exhibited worldwide. He is equally the creator of the skin-driven audio divination noise module, The Dark Interpreter, and the ERD modular synthesizer series.

Sketches towards an Earth Computer, 2015

Sketches towards an Earth Computer is an attempt to bring the earth, or "damaged nature" towards a more active relation with the technological, through the construction from earth of a long-term, visible computational device. In this instance, several linked containers form a somewhat closed system which reproduces computational elements such as the transformation and use of energy, new forms of connectivity, logical processing and long term storage of information.
Each device contains a mix of forest earth, oyster mushroom mycelium and various chemical components (such as iron and silver salts) which undergo transformation towards the "bootstrapping" or self-organisation of an earth computer. Computational containers are open to, and coded by changes in light and local electromagnetic fields; in some instances by way of spray-painted carbon and copper antennas.
The total environment (geophysical, biological, electro-chemical) thus tself encodes and manipulates active, new computational-crystalline structures which compute, impact on and re-code this enclosed environment within a complex feedback system.
The containers explore within an intentionally restricted, and demarcated environment the various coded and energetic transformations which the earth computer enacts. These containers are open to, and influenced by local environmental and electromagnetic changes; these changes visibly re-code the enclosed substrates.
Accompanying images document the construction and prototyping of the earth computer within the landscape, making explicit how the lab studies relate to the wider notion of an earth computer.


One Life Remains

Collectif One Life Remains

Considering video game as a major medium, the Paris based collective One Life Remains works towards exploring its properties since 2009. This approach influenced by radical design as well as hardcore gaming and philosophy results in a series of objects that pushes the boundaries of the medium. These creations can take several forms (ephemeral art, monumental installation, concept game) and provide different types of game experience (party play, intellectual play, sensorial play.). They are exhibited in galleries, festivals or art centers. The devices totally override usual representations of video games, using odd controllers (ephemeral joysticks), changing the course of the game (250-years time frame) or the role of the player. Today, One Life Remains has four members: André Berlemont, Kevin Lesur, Brice Roy et Franck Weber.

Inverted games, 2017

A kind of meshing, made from dots distributed at equidistant length from one another. We are giving the control of a repulsive field to the player, which position, radius and force can be manually altered with a remote. First rule: each dot that endures the force field will be repelled by it. Second rule: each dot tends to go back to its initial position. Based on those rules, several propositions are offered. The button on the console desk allows to change from one to another.

Installation co-produced by MAGCP (Maison des Arts Georges et Claude Pompidou) in the frame of 12th Parcours d'art in the Lot Valley


Tanja Vujinovic - Best Friends Forever

Tanja Vujinovic

My work questions the relationship between consciousness and technology through digital animism and anthropomorphism. Anthropomorphism has always been part of art and culture. Human physionomy, characteristics and behaviour have been applied to a wide range of objects, godly figurines, inanimate items, dolls and toys in a religious or gaming purpose. These anthropomorphic objects bear the technological and collective unconscious (as C. Jung would have said). My works of art explore poetry and noise. In the digital world, noise is the vehicle of mutations and poetics. Noise as agent of force, allows new discoveries. Noise, as primitive principle, is one of nature's structural rhythms as well as that of social emergencies. In my work, noise is substance as much as it is an organisational principle. My art pieces are inspired by the relationship between sound and signal as explained by the theory of information. I also investigate game culture as it allows a phenomenological experience of art both with its sensible aspect and emotional impact.
Tanja Vujinović graduated from the Faculty of Fine Arts in Belgrade in the year 1999 at the painting department and has been a guest student at the Kunstakademie in Düsseldorf. She also holds a Ph.D in Philosophy and Theory of Visual Culture from the Faculty of Humanities Koper.

Universal Objects: BBFs 1 & 2, 2016

Universal Objects: BBFs1&2 are two psycho-scape vignettes about heaviness of the online life; about depths of the shallow relationships and its implications on the cosmetic appearance of our avatars.

Environments from the Universal Objects series are non-narrative situations – vibrational, living surroundings filled with elements that are either inanimate or executing simple behavioral patterns through which the situations themselves become like an organism. The majority of 3D objects, like suspended automata, perform minimal ritualistic gestures. They create zones of pulsing play that never transcend into something else but rather exist in a state of non-narrative endlessness.
Building our own doubles, our avatars, resembles various body modifications through masking, prosthetics, costumes and finally results in behavioral change and rituals. Avatars are symptomatic, simultaneously actual, real, present and absent through their ethereal being.
The 3D objects are dynamic, transformative objects holding the possibility of infinite performative action. They can re-assemble at any given time in order to algorithmically act – to propagate site traffic, advertise, seduce etc. Avatars are our own digital ghosts and fetishes.


Luce Moreau

Luce Moreau

Luce Moreau is a photographe and, visual artist. She lives in Marseilles. She is co-founder of the collective-association OTTO-prod and works since 2006 on curatorial projects and artists residencies, while developing her own artistic research.

Les Palais and La Procession (extract from Nature Ordonnée series), 2017

Directly opposed to “the natural order of things” Luce Moreau's “Organized nature” investigates the links between human society and wildlife organizations; is one having the upper hand on the other, but also how they interpenetrate one-another, in behavior as well as functioning, while having the same goal, survival. Chimerical modules, space conquest, Company Palace, entomology, utopian architecture, geometry, photographic traps, mechanical breach, political system, camouflage are a huge and indefinite scape of her various approaches to this topic.
In the hive's depth, queens give birth to workers as in turn workers nurture queens. The brood is in fact immortal even though made out of mortal individuals. But today's bee as become a symbol of the exponential degradation of one's natural habitat, of the wilderness health and it's gloom future. An apocalyptic scenario, an urban legend mistakenly attributed to Albert Einstein, drains mankind's so-to-be extinction, the same way the bees are endangered right now. An ecological dystopia where the forager is the core, keeper of an unsteady balance, comes and transforms our collective imagination and our infinity representations.
Palaces and Procession. Both results of the encounter of the constructions built by human imagination and those of insect's instinct. “Palaces” submit to hills of beehives and to their engineering blueprints of humanist architectural compounds, dedicated to mankind, in a utopia of an interdependent and progressive society: the Phalanstery, Company Palace pictured by Charles Fourier in the 19th century and the Orbital Station, designed in the early 20th century by the engineer Herman Poto.nik aka Noordung, who was in charge of a safe housing in space, in which earth gravity was recreated. “The Procession” project sees the shy meeting between the world of ideas and abstraction and a pine forest undergrowth, it's processionary inhabitants and their exceptional collective instinct. The experiment followed the footsteps of the old days entomology, and offers to observe the first collision between the idea of infinity and the cycle-process, or loops in nature; a beta version carried out while an alert against those “undesirable” caterpillars promises them to a certain death and triggering at the same time a thought on the “pest” status affixed on “non-human animals” by humans.

Installation co-produced by MAGCP (Maison des Arts Georges et Claude Pompidou) in the frame of 12th Parcours d'art in the Lot Valley

Suzanne Treister

Suzanne Treister

Suzanne Treister (b.1958 London UK) studied at St Martin's School of Art, London (1978-1981) and Chelsea College of Art and Design, London (1981-1982) based in London having lived in Australia, New York and Berlin. Initially recognized in the 1980s as a painter, she became a pioneer in the digital/new media/web based field from the beginning of the 1990s, making work about emerging technologies, developing fictional worlds and international collaborative organisations. Utilising various media, including video, the internet, interactive technologies, photography, drawing and watercolour, Treister has evolved a large body of work which engages with eccentric narratives and unconventional bodies of research to reveal structures that bind power, identity and knowledge. Often spanning several years, her projects comprise fantastic reinterpretations of given taxonomies and histories that examine the existence of covert, unseen forces at work in the world, whether corporate, military or paranormal. An ongoing focus of her work is the relationship between new technologies, society, alternative belief systems and the potential futures of humanity.

HEXEN 2.0, 2009-2011

HEXEN 2.0 looks into histories of scientific research behind government programmes of mass control, investigating parallel histories of countercultural and grass roots movements. HEXEN 2.0 charts, within a framework of post-WWII U.S. governmental and military imperatives, the coming together of scientific and social sciences through the development of cybernetics, the history of the internet, the rise of Web 2.0 and increased intelligence gathering, and implications for the future of new systems of societal manipulation towards a control society.

HEXEN 2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a general science of the workings of the human mind. The project simultaneously looks at diverse philosophical, literary and political responses to advances in technology including the claims of Anarcho-Primitivism and Post Leftism, Theodore Kaczynski/The Unabomber, Technogaianism and Transhumanism, and traces precursory ideas such as those of Thoreau, Warren, Heidegger and Adorno in relation to visions of utopic and dystopic futures from science-fiction literature and film. Based on actual events, people, histories and scientific projections of the future, and consisting of alchemical diagrams, a Tarot deck, photo-text works, a video and a website, HEXEN 2.0 offers a space where one may use the works as a tool to envision possible alternative futures.

Historical Diagrams It was during a residency in the Texan desert early in 2009 that I first observed a possible connection between the mid twentieth century theories and applications of cybernetics, which arose out of WWII, primarily in the USA where they answered a perceived need for a more controlled society, and our current world of online social media and what is referred to as Web 2.0.

The link was feedback, as in cybernetic feedback loops, with a potential outcome not only of human connectivity and autopoiesis, but also of governmental control.

The historical diagrams, which function as the key to the project, are an attempt to map out specific histories and to show how those histories interrelate, as a means of understanding how we got to where we are and where we may be going from here, in terms of the relationships between technology and politics and war and society.

The five diagrams are drawn separately but each one connects to the larger whole.


Driss Aroussi

Driss Aroussi

Driss Aroussi's work with photography is polysemous. His research explores different directions, from experimentation to a documentary kind of work. Both sides, supplemented by drawing and video, hinge on the artist's yearning for creation, wherever he might be.
The artist calls upon whatever he might use to re-enact the real, and puts interest in the process that gives birth to a picture, or alters it. Far from a tidy aesthetics or the will to create show-images, his approach tends to be intuitive, prosaic, and sometimes floating in the ways he captures or produces images. Exploring the fringes of photography, he enjoys to divert or mix various technics. As so, he tinkers with settings, hybridizing the photographic process (analogue, digital, scan, etc.) in order to push the limits of the famous autonomous and opaque black box, named by Vilém Flusser in his book “Towards a philosophy of photography” by diverting the programmed sphere of action of the recording device.

Visionneuse, 2017

In French, the word "Magic " (magie) is the anagram of "Image " (image). That being said, we might assert that, since the invention of the photographic image, our imagination's evolution has been based on the re-enactment of the real through a mechanical process.

The invisible technological complexity of the machinery (the black box) hangs in the shade of the picture and our pictures are taken, as if by magic. Viewer is a word that dates back to a certain period in time and refers to the possibility to see thanks to an optical device.
This viewer is the hybridation of different domestic devices (scan, digital picture frame and micro-computer). It actually puts into image the combination of the very process and production at work.
With this machine, my material is composed of images I found in different media devices (memory stick, hard drive disk, disk, etc.), which opens the question of technological archeology.
What comes out from The Viewer are randomly processed images, weft visual objects, spaces where there’s possibly new images created.


Émilien Leroy

Émilien Leroy

Emilien Leroy is a musician and performer artist from Dunkerque. Industrial-port and factory environments are at the heart of his musical projects such as Feromil (steel music played with a metal-detector), Harcelor (blast-furnace noisy tropical poetry duet with Anna Czapski), Astra Zeneca (siren/drums duet with Bastien Loufrani) Interested in the relations between body and sound, he collaborates with lots of artists collectives, companies, pyrotechnicians, choregraphers, video artists (La Machine, Dominique Boivin, Cie Beau geste, Aqua 137, La Grande tombola, Natyelli Mora, Chloé Blondeau…). With Jérôme Fino, video artist, he works on two projects: Bouyeah and Chemins de Fer. Since 2009, he has developed Sonata di porto, a series of port sound postcards from Lisbon, Annaba, Hamburg, Gdansk, Saint-Nazaire, Dunkerque, Istanbul, Dakar. Audio mobility, sound distribution through industrial landscapes, urban and natural spaces are the main topics of his sound installations. In 2016, in Floating sounds the artist used beacons to make sound float , he created small electro acousmonium factories in Bunker Phase project and tuned materials with spaces, in projects such as De Magnet, Tambour dans ma ville, Mono-Cross over drive, Tropfenweise ...

Factory of the Dunes, 2017

In our very post-industrial era, old rusty factories are shutting down and disappearing. Should we be thinking of rebuilding them so that small chimneys pop up in the sky again ? Is that the story of a ghosted or resurrected factory ? Torches are spitting their memories to the sound of hammers and compressed air.
The Factory of the Dunes celebrated its 100th birthday last 13th April 2013 ...and stopped its steel production last 17th September 2017. The factory's ghosts return with a union, demonstrating out loud with their fists thrust high, their hammers and torches.


Adelin Schweitzer

Adelin Schweitzer


Starting from the premise that there is no such thing as reality but rather a set of paradigms influencing our perceptions of reality and defining our relationship to the world, ALPHALOOP will face up this problematic hijacking the traditional use of mobile phones through a participative, immersive and ambulatory experiment. The smartphone as a communication prosthesis becomes here an artificial organ of vision and audition substituting the usual perception of each user. The public space then becomes the theatre of a strange technological ritual aiming to take the spectators through the looking glass.

The innovation once determined as a form of social progress takes now a form of propaganda instilled by evangelists of Innovation to spread the use of technologies. The machinic harassment exposed by the early 2000s SCI-FI universe is replaced here by a rough device of perception. Far from a judgment of value on the virtualisation of our environment, the artist wonders about his immersed part.

ALPHALOOP wants to act as a disruptive element, relying on the narration and the theatrical aspect of the experience to insinuate different feelings in the spectator’s body and mind. The performance then invites him to dive in a parallel History where the utopians of the Silicon Valley, soothed by the culture of the beat generation, would have known how to preserve their ideals.

For the GAMERZ festival, the artist propose a totemic work about the first performance released last september in Plovdiv, Bulgaria.

Production deletere / Open Art Fondation Plovdiv / In Situ - European Platform for Artistic Creation in Public Space / Institut Francais de Bulgarie / with the help of ZINC and Juxtapoz


Horia Cosmin Samoïla

Horia Cosmin Samoïla

Born in 1975 in Bucarest (RO), lives and works in France since 1984.
After Contemporary Arts studies (Pavillon Bosio, Monaco, Villa Arson, Nice) he founded the Ghostlab in 2004, a conceptual and experimental project, aimed to the exploration of electromagnetic landscapes and cognitive conglomerates. Personal and collaborative works were presented in France, Europe, Middle Orient and Asia, questioning mind-matter interaction, transformative protocols of information, and energetically radiative elements, considering the “unseen” like a raw matter of an alchemical process.

Oracle, 2015

Oracle articulates a cognitive experiment, based on a quantic coherence process, and a phonetic interface.

Numerous attempts have been developed since the first industrial revolution, aimed to reach exotic points of communication on a non local scale. Various devices, including instrumental trans-communication, and apparatus designed to transfer some kind of intelligible information from outer dimensions, were developed. Since a central key, supposedly concern consciousness, the human cognitive interface have to represent a central field of exploration.

The Oracle device is based on an acoustic and visual experiment, essentially composed by a Random Number Generator driving a flux of phonemes in a specific language. In addition a pulsating light indicates the degree of quantum anomalies, based on a Chi Square algorithm. All these operations are succeeding in real time.

This experiment tends to enlight two specific approaches of the concioussnes-like interface. The first approach concerns the faculty of the brain to to break attention of the flux of phonemes and to sporadically let emerging some words, potentially in relationship with unconscious thoughts, located in some dimentions where the spatio-temporal continuum is different. The second approach, leads the hypothesis of communication with exogenous entities, on a non-local communication system.


Thomas Molles

Thomas Molles

Technology became so complex that it can escape, dilate, no one can possess the entire set of knowledge necessary to it's mastery. The memory of our time has become codes, flux and algorithms ; an impalpable network between hundreds of devices and us. It moved away from our reality, became a magical and mystical web. If we fathom that the immateriality of the memory leads to losing our data, after the "Black Out ", what will remain of our everyday life ?

e-Cônes: 85 after B.O., 2017

e-Cônes broadens our view on this fictional society through an entire set of artifacts ; they are relics of human daily routines that elevated these old technology devices into sacred items. A new animist cult is born. Fear and wonders led the survivor's kin into possessing the icons that once were devices' allegedly magical powers.

Techno-Culte: 127 after B.O., 2017

Cosmogony and rituals from this post-apocalyptical society can be seen through this totem. A helter-skelter of objects of remembrance, that became obsolete and un-usable as they lost their purpose and symbolism, to rise as magical and mythical icons.

Vestiges 2.0: 202 after B.O., 2017

Vestiges 2.0 is a model, a mock-up of a post-apocalyptic city built out of printed circuits covered in clay dust. It brings us into the remains of a highly connected society, now lost. Only the spatial organisation of one of those cities is left to us.

Texts: Laurie-Anne Jaubert

Émilien Leroy


Electromagnetic sound performance

An iron health and a morale of steel, feromil comes back to us and takes us to the confines of the magnetic island with its steel music played with the metal detector.
The ghosts of the island will wake up, with them we will dance then ...


Benjamin Cadon

Benjamin Cadon

Benjamin Cadon is a media artist who lives and works as project manager for Labomedia, an independant fabmediahacklab in Orleans, France. He's been active in several other sound art organisations and devellops audio-visual performances and installations using open source real-time softwares and electronic devices. Working partly on improvisation and partly on physical principles, his goal is the construction/deconstruction of concepts threw images, sounds, situations, in the questioning of the relation between society, media and biological worlds which surround us.

Attack me please at 2.432 GHz

"Attack me please at 2.432 GHz" is an audiovisual performance based on the real time sonification of human activities in the electromagnetic spectrum and particularly high frequencies.
The massive use of wireless transmissions rises questions about public health and safety, preservation of privacy. In a context of global surveillance, while the movement of the "Internet of Things" spreads on the planet connected devices, our personal data has never been so exposed.
To prevent this, there is the strategy of the attack, the honeypot to attract pests and digital lock-picking skills to open backdoors and build autonomous zones.
Possibly encrypted data packets encapsulated in a constellation of standardized protocols, that's all electromagnetic bestiary that revolves around us every day in an invisible but audible world.


Nicolas Montgermont

Nicolas Montgermont

Nicolas Montgermont explores wave physicality through its several forms. He focuses on the reality of the waves in space, the way they move and change, the links between a source and our perception and he conceives settings that explore their poetic essence with sensitivity. He works on audio waves through the vibrations of several materials and theirs propagations, natural or artificial, electromagnetic waves in the shape of radio landscapes, gravitational and sidereal energies within the double prism of astrology and astronomy.
In his installations, often in collaboration with Cécile Beau and before that with the Art of Failure collective, time has a particular importance and allows one to take ownership in an intimate way of those materials and energies. He is also active in audio visual performance with chdh and into experimental music with BCK and Yi King Operators. He has published several editions with Art Kill Art. His projects are displayed in numerous art centers in Europe and elsewhere (Club Transmediale, Elektra, MusikProtokoll, Fondation Vasarely, Palais de Tokyo, WRO, iMAL, PixelACHE...).

Radioscape (Radio recording from 3GHz to 30kHz), 2016

Radioscape is a visual adaptation of the eponymous record produced within Art Kill Art label in 2017. This video presents radio recordings made in a small Besseuil farm, in the Burgundy countryside. The radio specter was almost recorded entirely and was reassembled in a single sound during two weeks. Listening to this piece is like going through the waves from 3GHz to 30 kHz in wifi, cell phones, satellites, FM and AM radios, military comms and natural waves composed by the position they use in the audio specter.



Servovalve (Gregory Pignot et Alia Daval)

Servovalve is an audio, visual and sensory capsule, which invites its travellers in the exploration of a limitless abstract space-time.
In the borders of the diffuse nebula of electronic music, an alchemy was formed between computer graphic cyber-constructivism and psychedelic protean allegory.

Servovalve arises from this fusion, bicephalus entity, musical project tinged with both post-industrial resurgence, aesthetics of anticipation, and futuristic onirism.

Machines, generated, synthesized, are then manipulated to shape absolute audiovisual landscapes, hallucinating cognitive architectures which delight all the senses.

At the controls, Grégory Pignot and Alia Daval synchronize sounds and real time graphics, particularly during live performances literally extra-ordinary for perception.

photo : Paul Ternisien


Robin Moretti

Workshop - Masterclass: Initiation Unity de Robin Moretti

Bibliothèque Méjanes
Saturday 4 november
From 2 p.m. to 5 p.m.

Free on registration - 04 88 05 05 67 or contact@lab-gamerz.com

Let's discover and get trained to independent video games creation ! You'll get a global insight into the full process, from the first sketches to the app' final export. We'll go for a musical video game, a sort of shaman "guitar hero " in order to hunt bad spirits.

"I am a young graduate student from Ecole Supérieure d'Art d'Aix-en-Provence. I got both my diplomas with honours, in 2016 for my Master's Degree (Art Real Time major) and in 2014 for my Bachelor's Degree. I 've got a wide range of practices, mostly oriented towards drawing, paper and digital edition, interactive installations, video games and app programming. "


Horia Cosmin Samoïla

Conference: Cognitive Conglomerates by Horia Cosmin Samoïla

École Supérieure d'Art
Saturday 4 november
From 5.30 p.m. to 6.30 p.m.



Benjamin Cadon

Conference: "Code is political..." de Benjamin Cadon

École Supérieure d'Art
Saturday 4 november
From 6.30 p.m. to 7.30 p.m.

] "Code is political, algorithms are weapons of math destruction"

We hear a lot of about them, we never see them, what are these algorithms, these invisible and elusive beasts that creep into our brains and inhabit our pockets? What aims animate them?

From a formal point of view, an algorithm is only a harmless sequence of operations fed by data that produces a result. Nevertheless, they automate the resolution of a complex set of problems and have become for some of them Artificial Intelligences bred by companies that stuffed them with the datas we gave them for free.

This conference will be the occasion to present a bestiary of algorithms which swallow big data and question their intentions with respect to the human kind.


Lucille Calmel

Workshop - Masterclass: "TRANSFORMER" de Lucille Calmel

École Supérieure d'Art
Tuesday 7 november
From 2 p.m. to 5 p.m.

Free on registration - 04 88 05 05 67 or contact@lab-gamerz.com

This workshop is about producing together a performative ritual, using digital tools or physically transposing routine, uses or consumptions: giving body to a LOLcat or "air password ": precisely typing a password without any support. Every participant should bring her or his own digital gear (laptop, tablet, smartphone, mini-drone, camera, mini-video projector...) Comfortable outfit is advised. No specific knowledge or skill required, all welcomed.

Photo : workshop ENSAV La Cambre /Kaaitheater Bruxelles /ESAAvignon, Maëva Croissant, 2015

Lucille Calmel

Performance Words are missing by Lucille Calmel

École Supérieure d'Art
Wednesday 8 november
Starting at 7 p.m.

Born in France, in 1969 , Lucille Calmel is a performer, stage director, writer, digital artist, trainer and curator.
She lived in Montpellier, where she directed the experimental theatre company called Myrtilles with Thomas Beyler, as well as La Cooperative a transdisciplinary research and residency center. Since 2005 she has been based in Brussels where she develops both physical and online research programmes and collaborations in visual and sound poetry, experimental music and digital creation.

Words are missing is a kind of ritual, a sunset dialogue between Lucille Calmel's computer and surrounding nature, adorned with items picked up in situ.


Jérôme Fino

films screening: Tape out by Jérôme Fino

École Supérieure d'Art
Thursday 9 november
From 6 p.m. to 9 p.m.

Musical films recorded in line or acoustic tapes.
Through his images Jérôme Fino makes links between the film and his soundtrack in particular around experimental music.


Tank A - with Yann Leguay / Port-St-Louis-du-Rhône - 2013 Test - with Carl.Y / St-Ursanne - 2017 Mégaphone - with Frédéric Bernier / Beaumont-en-Diois - 2017 Double barre - with Émilien Leroy / Vallée du Lot - 2017 (co-production : MAGCP) 724 000 - Direct Out / Vallée du Lot - 2017 Direct out / Aix-En-Provence - 2016 Realidad Amplificada - with Félix Blume / Mexico DF - 2016 Direct out / Mulhouse - 2015 Écoute(s) pirate(s) - with Félix Blume / Paris 2015 Micro-trottoir - with Antoine Rivière / Marseille 2013 Tapez ici / Tremblay-En-France - 2017 E-drumming is not a crime - with Arnaud Rivière / Vienne - 2014 photography : Jérôme Fino sound-mastering : Yann Leguay Festival Gamerz - 2017


Jérôme Fino & Carl Y.

Projet POC presentation by Jérôme Fino et Carl.Y

École Supérieure d'Art
Friday 10 november
From 6 p.m. to 9 p.m. 18H00 - 21H00

Projet POC, 2017

Jérôme Fino et Carl.Y use amplifiers as paddles to play PONG, where the microphone is the joystick and sound the game programme. POC revisits the arcade game universe and offers a selection of surrogates such as the cup-and-ball game, pong, basket-ball, the unlikely... Game on !



Group visits by appointment
For further information, please contact the festival organization.

M2F Créations – Lab GAMERZ

Patio du Bois de l’Aune
1 place Victor Schoelcher
13090 Aix-en-Provence

Tél.: +33 (0)4 88 05 05 67 – +33 (0)7 83 57 03 21
Email: contact[at]lab-gamerz.com

Fondation Vasarely

1, Avenue Marcel Pagnol
13090 Aix-en-Provence
Tel: +33 (0)4 42 20 01 09

École Supérieure d Art

Rue Émile Tavan
13100 Aix-en-Provence
Tel: +33 (0)4 42 91 88 70

Seconde Nature

Rue du 11 novembre
13100 Aix-en-Provence
Tel: +33 (0)4 42 64 61 01

Office du Tourisme

Les allées provençales
300 avenue Giuseppe Verdi
13100 Aix-en-Provence
Tel. +33 (0)4 42 161 161


The festival is supported :

Vernissage GAMERZ 10, 2014, Fondation Vasarely


Quentin Destieu - Sylvain Huguet
Quentin Destieu
Sylvain Huguet
Eva Martinez
The Bird Mad Girl
Courant d’Art
Mathieu Lico
Colson Wood
Aurore Denis

M2F Créations – Lab GAMERZ
Patio du Bois de l’Aune
1 place Victor Schoelcher
13090 Aix-en-Provence

Tél.: –
Email: contact[at]lab-gamerz.com