Peter Burr: THE MESS
Written by Porpentine
March 5 - 26, 2016
Opening Saturday, March 5, 6-9pm
In video games there is the concept of an infinite dungeon – an endlessly regenerating death labyrinth. There’s an intimate quality to a structure that remakes itself after each horrible demise and invites you to try again. Dungeons are the study of structures as living things. Their diet is your curiosity, and their luring plumage is gold and gems.
There is another kind of labyrinth — a zone that has been subtly, horribly altered by something beyond human understanding. It has a set of strange rules that must be understood to survive. In this zone, the opposite of survival is not death–it is change.
I like the word Zone because maze feels so architecturally prescriptive–after all, the prayer labyrinth proves that the walls of a maze are not its defining characteristic. The zone is vague like god is vague. It’s whatever you want it to be. It doesn’t give a shit about you.
The Zone is feral architecture. City aesthetic, jungle biology.
The Zone is an infinite hallway, or claustrophobia under an open sky.
The Zone is full of monsters. Thank god.
Peter Burr is an artist from Brooklyn, NY specializing in animation and performance. His work has been presented at venues across the world including Le Centre Pompidou, Paris; Reina Sofia National Museum, Madrid; and MoMA PS1, New York. His recent work explores the concept of an endlessly mutating death labyrinth and is currently being expanded into a video game through the support of Creative Capital. Previously, he worked under the alias Hooliganship and in 2006 founded the video label Cartune Xprez, through which he produced live multimedia exhibitions showcasing artists working in experimental animation.
Porpentine Charity Heartscape is a multimedia artist, game designer and writer. She has been influential in the contemporary hypertext renaissance, and in popularizing the accessible game design software called Twine. Her games have won the XYZZY, WordPlay and Indiecade awards; been commissioned by Rhizome, Vice, and the New Inquiry; been exhibited at EMP Museum, Images Festival, Haxan, and The Museum of the Moving Image; and she has been profiled by The New York Times.