Notions of authenticity and variability for Super Mario Clouds.Īpart from its context of creation, another important aspect that aides in grasping the work’s identity is its exhibition history. The way the work is perceived and must be considered when discussing the The history of the work’sĬreation as two parallel versions-the Internet version and the gallery version-impacts Other has entered the art market in an edition of five, as an installed artworkĬoming with specific installation instructions. Today, both versions continue to exist in parallel, in differentĬontexts and economies: one version is distributed freely online, while the Projectors and create a multi-projection installation that the gallery later On this occasion, the artist decided to use several Which this paper focuses, was created in 2003 for an exhibition at the Team The better-known installation, or “gallery version” of the artwork, on The artist’s website also provides a downloadable version of theĮmulated version was already released in 2002 could not be established withĬertainty, but the artist mentioned it as early as 2005 in an interview forĮlectronic Arts Intermix (Arcangel 2005). Modification instructions, and the gif constitute the 2002 “Internet version” Provided a gif animation to illustrate the work, later replaced by a video (Rinehart 2010). Mostly composed of hackers and gamers-how to hack their own cartridge. When he put his modified code and a tutorial on his personal website (ArcangelĢ013a), explaining to the online audience-which at the time of release was Arcangel first released the work as an Internet piece in 2002, Courtesy of the artist and Team Gallery, New York. Installation view, Synthetic, Whitney Museum of American Art, 2009. 2/5, Whitney Museum of American Art, New York. 1 Cory Arcangel, Super Mario Clouds v2k3, 2003, dimensions variable. Depending on the size of the room, the number of projections and monitors can vary, but most iterations use two to three projections and one monitor, all placed on the floor (fig. The equipment and cables must remain visible on the floor of the exhibition space. When the artwork is exhibited, the modified game cartridge is played back with a Nintendo Entertainment System (NES) console and then projected on the walls and displayed on a monitor via the console’s composite video output. Programmable Read-Only Memory chip) that is soldered inside the Nintendo gameĬartridge in place of the original program chip. The new code is written on an EPROM chip (Electrically By rewriting the game’s proprietary code, the artistĮrased every element of the game, leaving only the white clouds passing throughĪ blue-sky background. It consists of theįamous 1980s Nintendo game Super Mario Bros. Installation by the American artist Cory Arcangel (b. Super Mario Clouds (2003) is a video game-based Additionally, it exposes the results of a number of practical tests that have been conducted to assess the feasibility of the different strategies. These approaches are evaluated and compared with established conservation ethics on the one hand, and the artist-proposed strategies on the other. The research discusses several conservation approaches such as replacing equipment, digitization and emulation, and investigates how they can be applied to Super Mario Clouds over the short to long-term. Game-based installation Super Mario Clouds (2003) as a case study toĮxplore the systematic development of a conservation strategy against theīackground of current ethical considerations in the emerging field of University of the Arts in Bern (Switzerland), uses Cory Arcangel’s video This paper, which is based on a Master thesis presented at the Therefore, defining an ethicalįramework in which conservators can operate becomes imperative for sustaining The conservation issues raised by complex time-based media installationsĪre many and related not only to the inherent obsolescence of equipment and technologies,īut also to the conceptual and aesthetic implications of change, includingĬhange resulting from conservation intervention. The Electronic Media Review, Volume Four: 2015-2016 ABSTRACT
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