Text courtesy of and © MOSMAX Whitenoise
Born in 1968, Max Moswitzer lives and works in Vienna and Zurich. He studied Graphic Arts at the University of Applied Arts (Die Angewandte), Vienna, at the classes of Ernst Caramelle and Oswald Oberhuber, as well as Communication Theory with Roy Ascott. Moswitzer’s output is in Fine Art and the construction of playful situations.
Starting from early 2007 Moswitzer has moved his creative practice into the metaverse, i.e., Second Life; where he is the founder of the Synthetic Academy, a university for avatars. His architectural installation „Whitenoise“ has been one of four winners for the first Annual Architecture & Design Competition in Second Life, an internationally juried event of the 2007 Ars Electronica Festival. His artistic output related to Second Life is also covered in the book Space Between People: How the Virtual Changes Physical Architecture, by Stephan Doesinger, published in 2008. More recently he has completed „Ouvroir“, a virtual museum in Second Life commissioned by the Museum für Gestaltung, Zürich.
Selection of the rest: 2007 Ludic Society Journal, Issue1 – Issue5. ed. Jahrmann/Moswitzer, Zurich. 2004 – 2005 Artists in Labs, Creation of a prototype for an Open Source Game Engine in collaboration with the Artifial Intelligence Institute, Zurich. 2003 Prix Ars Electronica Interactive Arts for the game modification and game engine conversion “anti-war shooter Nybble Engine ToolZ”. 1999 Valie Export, VRML Kiosk Version overview of total work for the Landesmuseum Oberösterreich. 1987 Ars Electronica Stipendium, „Computergame“, Computer animation created from feature films.
Selected Exhibitions: Device Art, Blasthouse Gallery San Francisco, (2006) / Game Arts. Gaming Realities, Athens, (2006) / Device Art, Kontejner Gallery, Zagreb, (2006) / Postmedial Condition. Arco Electronico, Centre Conde Duque, Madrid (2006) / Ludic Society Performance. Transmediale 06 Berlin (2006) / ToolZ05, Artgames, Ludwig Forum für Internationale Kunst, Aachen (2005) / Ludic Society Traces, Postmedial Condition, Neue Galerie, Graz (2005) / Ludic Society Traces II, Arco Electronico, Centre Conde Duque, Madrid (2005) / Illudere, Games and Reality, Mediterra, Athens (2005) / Goape-Project, Science et Cité, artists in lab, Luzern (2005) / Nybble-Engine Performance, project space, Kunsthalle Wien, (2004) / Taunting Bots Dancing Towards Heavenly Peace, Beijing Red Gate Gallery (2004) / Nybble-Engine Modular Lecture, Transmediale, Haus der Kulturen der Welt, Berlin 2004 / LinX 3D, Games – Computerspiele von KuenstlerInnen (2003) / DanceMachine, Game Art, Voelklinger Hütte (2003) / Nybble Engine Movies, machinima academy award, museum of the moving image, New York (2003) / Nybble-Engine-ToolZ, Dutch Electronic Arts Festival, Rotterdam (2003) / Nybble-Engine-ToolZ, Prix Ars Electronica, Ok Linz (2003) / Computerspiele von Künstlerinnen, Steelmill Phönix West. Dortmund, (2003) / GameRoadMovie, Kunstmuseum Luzern, (e/body 2002) / LinXMachinima, Shedhalle Zurich, (low-tech 2000) / LinX 3D, net_condition, ZKM Karlsruhe/Graz/Barcelona (1999), Exhibitions with artist group „You Never Know“. Multimedia installations, such as the „Vinyl Schallplatte, “35mm Kinospot“, Pneumatic Sculpture and Happenings www.konsum.net/ynk (1990 – 1996) / Participation on Computer Event, Computer-Animationen, University of Applied Arts and Cultura Digitalis, Networkproject Vancouver-Vienna (1987).
Djinni in a Bottle – Materialisation und Medialität, Galerie Lisi Hämmerle, Bregenz, 2012
Bits To Pieces, The Fifth Moscow Biennale of Contemporary Art, Russia, 2013
Selected Videos: 2005 Gamepunk, 6’00”. 1999 Ascii-Race, Videokarre, 6’00”. 1991 Transformator, 3’26”, Analog video experiments. 1989 “The Aesthetics of Deconstruction,” 5’00”, Video collage.
See also konsum.net/time.html:, where the following rubrics are presented: Ludic Society (ludics / ludistik); Game Art Projects (ybbble-engine); www.hardwarehacker.konsum.net (fictional machines — techno-scrap); Konsum 2000 (history and about konsum); www.ludic.priv.at (pong dress / game fashion); New Genres Grid (Metaverse Sophisticated.
Moswitzer’s work with free objects, freebies as elements of a revalorization of such virtual 3D objects can be seen as a statement on valorization and revalorization practices of the art market. 3D printing provokes a further analysis of the relation of the virtual to arts production, as the subject of arts education and living. A hypothesis which Moswitzer heard as a student followed him over the years: “If there are sufficient flickering black and white dots on a TV monitor, which are constantly changing, it could be possible after years, after X decades that a meaningful image becomes visible (like a chair)“. According to this, Whitenoise was inspired by the random signal of old Television sets. Whitenoise is also known as snow, it can appear on any television channel. In the old TVs and Radios, the TV snow and accompanying hiss is the sound of Cosmic Microwave Background left over from the Big Bang.
Some other, more analogue, inspiration was by Human Bone Chandelier of the 12th century in Sedlec Ossuary, All Saint’s Chapel, which you can also find in numerous churches over the world. The aim was to state a symbol and arrangement with human bones, which transgresses the borders between le reèlle et le virtuelle.