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Bringing a Chainsaw into a Biennale

Today’s special: two left-over questions from Athens. The first one stems from the previous post, where I offhandedly called the World Game a “collection of tools”. Time to come clean and answer the question: why would the World Game be a collection of tools? Our second left-over question is fairly straightforward: why make a game in the first place? And why bring such a thing into a biennale?

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What’s Our Fuel, and Why Do We Need so Much of It?

As you might know, YKON organized a version of the YKON World Game in Athens Biennale. Playtime was four hours, a condensed version from the customary six. Nevertheless, we got several reactions along the lines of: “The length of it! Too much for my schedule.” Understandable comments, of course, given the busy and socially charged atmosphere of biennales: so much to see, so many people to meet, no one has time for much of anything.

Why insist such time commitment? An easy answer could refer to the structure and needs of the work itself. And that might be sufficient… ultimately, though, that’s a rather boring answer. I think we can find a more rewarding reply if we dig from the place where art, interaction and commitment cross their particular paths. So, let’s head there (and pack up a couple of shovels).

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