{"id":6237,"date":"2026-08-24T08:00:00","date_gmt":"2026-08-24T06:00:00","guid":{"rendered":"https:\/\/hacnumedia.org\/lets-playformance-four-artistic-ways-of-performing-video-games\/"},"modified":"2026-08-24T12:34:45","modified_gmt":"2026-08-24T10:34:45","slug":"lets-playformance-four-artistic-ways-of-performing-video-games","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/lets-playformance-four-artistic-ways-of-performing-video-games\/","title":{"rendered":"Let&#8217;s Play(formance)! Four Artistic Ways of Performing Video Games"},"content":{"rendered":"\n<p class=\"is-style-chapo wp-block-paragraph\"><strong>Now deeply embedded in popular culture, video games have also become a favored medium for contemporary artists. Theater directors, dancers, musicians, and visual artists are embracing them to renew the forms of performance and experiment with new ways of relating to audiences. Here are four ways of performing video games.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With nearly 3.6 billion players worldwide, video games have established themselves as the largest sector of the cultural and creative industries in terms of <a href=\"https:\/\/www.sell.fr\/sites\/default\/files\/essentiel-jeu-video\/ejv_avril_2026_final_.pdf\">revenue generated.<\/a>This economic structure has gone hand in hand with the rise of esports, where professional players compete in tournaments based on perfect mastery of the rules imposed by the game. But not all video game performances pursue this ideal of optimization. Some, on the contrary, use games as a starting point for creating dissonance and new forms of expression. Where players normally seek to complete a quest, artists introduce unpredictability in order to bring an alternative perspective on the world to the surface. Role-playing games, sandbox games, and open worlds are particularly appealing in this regard. \u201c<em>You can customize an avatar, express yourself through skins or constructions, all of which are levers artists can play with,\u201d <\/em>explains <a href=\"https:\/\/cv.hal.science\/simon-hagemann\">Simon Hagemann,<\/a>a professor and researcher at the University of Strasbourg specializing in theater studies and video games. These hybrid performances therefore take many forms: some appropriate existing games and divert them from their intended uses; others use them as tools for mediation; still others transform their worlds into spaces for performance; and some choose to create their own rules of the game. Four ways of performing video games thus emerge.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>1. Performing inside an existing game by subverting its rules<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The first category of performance consists in subverting the rules of an existing game, often an AAA title. The Austrian collective <a href=\"https:\/\/totalrefusal.com\/\">Total Refusal<\/a> has made a specialty of these forms of video game d\u00e9tournement. <a href=\"https:\/\/totalrefusal.com\/home\/sons-and-true-sons\"><em>Sons and True Sons<\/em><\/a> created in <em>Tom Clancy\u2019s: The Division 2.<\/em>The artists storm the U.S. Capitol in a digital version of Washington, D.C., to deliver speeches about masculinity and democracy under late capitalism. <em>\u201cHijacking the player character is the simplest way to appropriate a video game world; it is often the starting point for any artistic intervention,\u201d<\/em> explains Leonhard M\u00fcellner, a member of the collective. <em>\u201cThe movement constraints imposed by games force you to come up with strategies for circumventing their internal logic. The game then loses some of its seriousness and supposed coherence, gradually revealing the implicit rules that govern it.\u201d<\/em> By abandoning the mechanics intended by the developers in favor of what is known as \u201cemergent gameplay,\u201d artists invent another game within the first one. In this loot shooter built around combat and accumulation, carrying out a peaceful action already becomes an act of subversion. <em>\u201cPerformance emerges the moment the player decides not to do what the game expects them to do,\u201d <\/em>summarizes Simon Hagemann. This is precisely what Joseph DeLappe does, who in June 2026 presented his celebrated performance <em><a href=\"https:\/\/zkm.de\/en\/2026\/06\/howl-elite-force-voyager-online\">Howl: Elite Force Voyager Online<\/a><\/em> at the ZKM. The artist enters multiplayer matches of Star Trek: Voyager \u2013 Elite Force under the identity of Allen Ginsberg and types the entire poem Howl into the game\u2019s chat in real time, while reciting it aloud.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Sons &amp; True Sons\" src=\"https:\/\/player.vimeo.com\/video\/1137409812?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This form of d\u00e9tournement can also become a space for testimony or social critique. In <em><a href=\"https:\/\/angelawashko.com\/section\/383766-The%20Council%20on%20Gender%20Sensitivity%20and%20Behavioral%20Awareness%20in%20World%20of%20Warcraft.html\">The Council on Gender Sensitivity and Behavioral Awareness<\/a><\/em> (2015), U.S. artist <a href=\"https:\/\/angelawashko.com\/home.html\">Angela Washko<\/a> enters World of Warcraft to engage players in conversations about feminism. The discussions quickly spill over into questions of labor, discrimination, and political organization. Australian artist <a href=\"http:\/\/www.georgieroxbysmith.net\/about\">Georgie Roxby Smith<\/a> takes a similar approach in <a href=\"https:\/\/vimeo.com\/91146639?fl=pl&amp;fe=ti\">99 Problems <\/a>(2014). Created in GTA, the work stages the endless repetition of a suicide attempt ignored by the other characters and players, exposing forms of violence normalized within certain gaming imaginaries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"We Actually Met In World Of Warcraft\" src=\"https:\/\/player.vimeo.com\/video\/119171850?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>2. Turning existing games into spaces for mediation<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">But not all performances rely on subversion. Some, on the contrary, choose to work within existing rules, turning games into tools for mediation, knowledge-sharing, or investigation. This shift in the use of rules can first take on a documentary dimension. For some artists, the point is no longer so much to play as to observe and document, much like a journalist or reporter. In <a href=\"https:\/\/marcocadioli.com\/arenae\/\">ARENAE<\/a> *(2005), Marco Cadioli moves through war games such as Counter-Strike, Quake 3, and Wolfenstein: Enemy Territory to produce an in-game photographic report (ed. note: <a href=\"https:\/\/hacnumedia.org\/en\/in-game-photography-the-rise-of-a-thriving-scene-reframing-the-medium\/\">read the article on in-game photography<\/a>) inspired by Robert Capa. This documentary approach later reached a wider audience with the success of machinimas and documentaries shot in game worlds. Think of <a href=\"https:\/\/www.youtube.com\/watch?v=zb8zkkZ8aJ4\">Knit\u2019s Island, l\u2019\u00eele sans fin<\/a> (2024), or more recently the documentary series <a href=\"https:\/\/www.arte.tv\/fr\/videos\/115055-001-A\/la-vraie-vie-1-5\/\">La vraie vie<\/a> (2025), broadcast on Arte.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"BANDE-ANNONCE - Knit&amp;apos;s Island, l&amp;apos;\u00eele sans fin - en salles le 17 avril\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/zb8zkkZ8aJ4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;<em>Rather than subverting the game\u2019s mechanics, don\u2019t we sometimes become complicit with the tools it gives us?\u201d<\/em>asks Leonhard M\u00fcellner. <a href=\"https:\/\/totalrefusal.com\/home\/cooking-culling\"><em>In Cooking &amp; Culling<\/em><\/a> (2022), Total Refusal draws on the awkward world of <em>Cooking Simulator<\/em> to produce an ironic critique of cooking shows and the entertainment industry. Another Total Refusal performed lecture takes the form of a guided tour through <em>Assassin\u2019s Creed Odyssey<\/em> questioning Western representations of democracy through its recreation of ancient Athens. This logic of reinterpretation is also at the heart of the \u201cplayformances\u201d by <a href=\"https:\/\/www.souslesneons.com\/playformance\/fr\/\">the Sous les N\u00e9ons collective.<\/a>Since 2022, it has organized evenings in which players use a game as the basis for a roughly thirty-minute lecture. Trans identity, racism, anorexia, meritocracy: the game becomes a vehicle for telling a story other than the one it initially proposed. <em>\u201cTo address racism, one performance uses Venba. Another, based on Celeste, gives the audience a second keyboard reduced to a single key in order to question the role of allies in the face of gender discrimination,\u201d <\/em>explains Nicolas Ligeon, coordinator of the Sous les N\u00e9ons collective and co-director of the <a href=\"https:\/\/lelysee.com\/evenement\/playformances-chapitre-5\/\">Th\u00e9\u00e2tre de l\u2019\u00c9lys\u00e9e,<\/a> which hosts playformance evenings three times a year.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Cooking Culling\" src=\"https:\/\/player.vimeo.com\/video\/859783552?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This mediating function can even have a scientific dimension. Since 2021, <a href=\"https:\/\/thibaultbrunet.com\/fr\">Thibault Brunet<\/a> has been imagining scientific expeditions in Minecraft with researchers from the CNRS, IGN, and INRA. \u201cThe game works like a kind of real world placed inside a snow globe. It replays the issues of the real world, but with slightly different rules. This creates a testing ground where the scientific method quickly exposes inconsistencies,\u201d explains the artist. The game thus becomes an experimental laboratory in which scientists can test their methods in an environment governed by different logics. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1226\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Thibault_Brunet-1800x1226.png\" alt=\"\" class=\"wp-image-6052\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Thibault_Brunet-1800x1226.png 1800w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Thibault_Brunet-900x613.png 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Thibault_Brunet-768x523.png 768w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Thibault_Brunet-1536x1046.png 1536w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Thibault_Brunet.png 2032w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Minecraft explorer de Thibault Brunet<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Here again, other performances in this vein have been presented with notable success, such as astrophysicist <a href=\"https:\/\/www.youtube.com\/watch?v=OFg10Dsxauw&amp;t\">Roland Lehoucq\u2019s performance<\/a> (2026) in Star Citizen, broadcast on YouTuber Le Joueur du Grenier\u2019s channel. The journey through space allowed the scientist to explain concepts from physics in a practical and applied way. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Un ASTROPHYSICIEN d\u00e9couvre STAR CITIZEN ! (feat Joueur du Grenier &amp; Roland Lehoucq)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/OFg10Dsxauw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>3. Video game worlds as spaces for live performance<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">When the game ceases to be merely a medium for intervention and becomes the setting for the performance itself, another form of performance emerges. The third category therefore consists of transposing the codes of live performance into video game worlds, without whether or not the existing rules are respected being central to the performance. \u201cThese are performances that take place online using elements of classical theater \u2013 actors, staging, sets \u2013 except that there is no longer any physical co-presence,\u201d explains Simon Hagemann. Here, it is no longer the game system that is transformed but its social space. Spectators encounter performers in the form of avatars gathered in a digital environment. The first attempts at online theatrical performance date back to the 1990s, under the name \u201cvirtual theater,\u201d but it was only a few years later that video games were discovered as spaces for performance. In 2021, two actors came up with the idea of performing Hamlet in Grand Theft Auto Online. Their adventure is documented in <a href=\"https:\/\/mubi.com\/fr\/fr\/films\/grand-theft-hamlet\"><em>Grand Theft Hamlet<\/em><\/a>. Director Pinny Grylls retraces the experience in a 90-minute making-of documentary. Another Shakespearean example is <a href=\"https:\/\/tenderclaws.com\/tempest\">The Under Presents: Tempest<\/a>, created in 2020 by the company <a href=\"https:\/\/tenderclaws.com\/\">Tender Claws.<\/a> <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"GRAND THEFT HAMLET | Official Trailer | Now Streaming on MUBI\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/OloHiBOMPm8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Most of these creations take place in <a href=\"https:\/\/hello.vrchat.com\/\">VRChat,<\/a> an online platform of virtual worlds. The play <a href=\"https:\/\/www.uploadvr.com\/vrchat-acting-vr-theatre\/\">The Severance Theory: Welcome To Respite<\/a> was presented there at the Tribeca Festival in 2021. The experience features real-life actors interacting with a spectator embodying an avatar named Alex. Other so-called \u201csandbox\u201d games, with no predetermined storyline, also serve as testing grounds. This is the case with Roblox, Minecraft, and Fortnite, where participants move freely through an open environment. These worlds are already widely explored by the music industry, with concerts by artists such as <a href=\"https:\/\/www.youtube.com\/watch?v=wYeFAlVC8qU\">Travis Scott<\/a> (2020), <a href=\"https:\/\/pitchfork.com\/news\/charli-xcx-to-play-metaverse-concert-on-roblox-platform\/\">Charli XCX<\/a> (2022), <a href=\"https:\/\/los40.com\/2026\/01\/20\/el-concierto-para-mas-de-12-millones-de-personas-de-bruno-mars\/\">Bruno Mars<\/a> (2026), and <a href=\"https:\/\/www.youtube.com\/watch?v=cxtTCdbaMPA\">Carpenter Brut, Turbo Killer x Fortnite<\/a> (2026). In the latter, the metal group\u2019s performance is captured through motion capture and then integrated into Fortnite. Players are subsequently swept into a race driven by the music.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Carpenter Brut : Turbo Killer Experience - ARTE Riff Mountain\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/cxtTCdbaMPA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\ud83d\udd34 ROBLOX CHARLI XCX CONCERT LIVE\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/8gaynB5hSoE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>4. Creating your own game, in opposition to industry norms<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The approaches associated with <a href=\"https:\/\/en.wikipedia.org\/wiki\/Video_game_art\">Video game art<\/a> take things a step further. Rather than entering an existing game, they create their own rules. The game then becomes not only a medium for performance but a performative artwork in its own right. Experimental video games and alternative controllers (ed. note: read the <a href=\"https:\/\/hacnumedia.org\/en\/between-installation-and-video-games-when-alternative-controllers-shift-the-codes-of-gaming\/\">HACNUMedia article on alternative controllers<\/a>) are part of this logic. <\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"750\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Mathilde_Reynaud.jpg\" alt=\"\" class=\"wp-image-6051\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Mathilde_Reynaud.jpg 1000w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Mathilde_Reynaud-900x675.jpg 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/06\/Mathilde_Reynaud-768x576.jpg 768w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Le langage des phal\u00e8nes de Mathilde Raynaud<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In France, several organizations support experimental practices, notably Faire Monde through the <a href=\"https:\/\/octobre-numerique.fr\/\">Octobre Num\u00e9rique festival.<\/a>One example <a href=\"https:\/\/ifdigital.institutfrancais.com\/fr\/creation\/le-langage-des-phalenes\"><em>is Mathilde Raynaud\u2019s game<\/em><\/a> Le langage des phal\u00e8nes (2026), created <a href=\"https:\/\/be.diplomatie.gouv.fr\/fr\/appel-candidatures-nouvelle-saison-des-residences-extra\">EXTRA<\/a> \u2013 the first public research and prototyping residency for video games dedicated to contemporary artists \u2013 which explores the first computer bug as an act of animist resistance. Many internationally recognized artists have also embraced these artistic forms, including Isma\u00ebl Joffroy Chandoutis with <em><a href=\"https:\/\/vimeo.com\/1116245242\">Rewild<\/a><\/em> (2026), Justine Emard with <a href=\"https:\/\/justineemard.com\/chimaira\/\"><em>ChimAIra<\/em><\/a> and, of course, Alice Bucknell, who has made them central to her body of work <a href=\"https:\/\/alicebucknell.com\/projects\/small-void-2025\"><em>Small Void<\/em><\/a> in 2025 <em><a href=\"https:\/\/alicebucknell.com\/projects\/earth-engine-2026\">or Earth Engine<\/a><\/em> in 2026). In France, M\u00e9lanie Courtinat is undoubtedly one of the artists who have attracted attention on the experimental scene. In <a href=\"https:\/\/melaniecourtinat.com\/The-Siren\"><em>The Siren<\/em><\/a> (2025), she questions our tendency to obey the objectives imposed by games. The player controls a heroine in shimmering armor, guided by an omniscient narrator, apparently tasked with rescuing a damsel in distress. In reality, there is a thriving scene that may suffer, compared with the quality of its games, from a lack of visibility. This is the case with <a href=\"https:\/\/distraction.fun\/\">Distraction,<\/a> based in Paris, one of the most creative collectives, bringing together artists such as <a href=\"https:\/\/stellaykv.net\/\">Stella Jacob<\/a> or <a href=\"https:\/\/vincentmoulinet.com\/\">Vincent Moulinet<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Experimental video games are now finding their place within cultural institutions, as demonstrated by the interest of the Serpentine (Danielle Brathwaite-Shirley with <a href=\"https:\/\/www.youtube.com\/watch?v=TiKKeP-VZhQ\">Pirating Blackness<\/a>) and the Cannes Film Festival, which presented the game <a href=\"https:\/\/www.youtube.com\/watch?v=BcEiI_y_9X8\">Lili<\/a> in 2025. This adaptation of Macbeth, created in partnership with the Royal Shakespeare Company, aims to evade the surveillance of a shadow state, placing players in the role of hackers. More recently, <a href=\"https:\/\/www.arte.tv\/fr\/videos\/131435-005-A\/relooted-le-jeu-video-africain-qui-restitue-les-oeuvres-d-art-spoliees\/\">Relooted<\/a> (2026) was presented at MANSA. The game offers an Afrofuturist fiction centered on the restitution of African artworks. The player organizes operations aimed at recovering looted objects. \u201cThe idea is to show that video games can be a space for addressing subjects that are still taboo, reclaiming bodies and new narratives, but also becoming a space for repair,\u201d explains Isabelle Arvers, guest curator for MANSA<br><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"LILI | Official Trailer\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/BcEiI_y_9X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><br>Ultimately, these different practices above all show that video games are no longer simply a cultural object or an entertainment medium to be consumed. They are becoming a space for artistic experimentation in their own right. More than that: they are becoming the medium toward which an increasing number of contemporary artistic disciplines are converging. Inevitably, then, performance and video games seem destined for a long future together.<\/p>\n\n\n\n<p class=\"is-style-signature wp-block-paragraph\">Adrien Cornelissen <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Now deeply embedded in popular culture, video games have also become a favored medium for contemporary artists. Theater directors, dancers, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6163,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[39,38,40],"class_list":["post-6237","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expert","tag-distribution-mediation","tag-hybrid-creation","tag-society","entry"],"_links":{"self":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6237","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/comments?post=6237"}],"version-history":[{"count":2,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6237\/revisions"}],"predecessor-version":[{"id":6240,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6237\/revisions\/6240"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media\/6163"}],"wp:attachment":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media?parent=6237"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/categories?post=6237"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/tags?post=6237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}