WEEK: 1 CHECK-IN 22/02/2018


  • Research into reviews both general and academic of Game Masters exhibition brought interesting insights.
  • First: The NZ museum Te Papa provided Wellington residents free entrance on Thurs 14th of March for the exhibition opening as result of a sponsorship agreement between local government and museum. I am interested to see if there is a spike in attendance or if this initial opening is what helps the overall exhibition have such a high attendance. It is also interesting that such residents are acknowledged as activate contributors (due to rate payments). This seems unusual to me but is a common practice at the Wellington museum according to such reviews. 
  • Te Papa produced strongest digital campaign overall and appears to see itself as a digital ECONOMY with well-financed education network and number of local programmers. 
  • Second: When I started researching the exhibition "Game Masters" I thought it was the first example of an international exhibition that had focused on game culture and was surprised to find this is not the case.
  • Despite "HotCircuits: A Video Arcade Exhibition" in 1989 at the American Museum of the Moving Image as the first, the 2002 "Game On" produced at the Barbican travelled to 25 countries between 2002-2016 and an updated version entitled "Game On 2.0" has been to 11 countries from 2010-2018.
  • ACMI's blockbuster total for "Game Masters" is 9 countries between 2013-2018. 
  • This information when compared with the ACMI blockbuster revealed that receptive countries or countries that hosted "Game Masters" had also shown "Game On." Thus these international relationships had been formed and ACMI seems to have toured to almost identical locations (the success of previous game culture exhibitions also minimised the museums potential risk).
  • Instead of initiating the discourse, (as I had first thought) ACMI appears to build on the historical/ cultural narrative and add to the conversation with - authorship as the angle of the show. 
  • In "Game On" the emphasis is on the creative and scientific advances that revolutionise gaming whereas the Smithsonian exhibition from March - Sept 2012 video games are approached as an artistic medium. It will be interesting to see how these narratives resonate and perhaps sell the cities in which each was developed. Plus the extension of site-specific strengths to a global conversation, I wonder if such cities maintain a central point or part of a network of development. ??
  • It is interesting that all the exhibitions seem to speak to one another and help cultivate an international discourse around game culture. The strength seems to reside in the international exhibition/ blockbuster as a collective conversation with each manifestation addressing gaps or questions that previous exhibitions have failed to discuss. 

The End. 


Fantastic research! Especially I am intrigued with your research on other gaming blockbusters around the world and comparison of their traveling geographies! this is just an excellent finding! 

A small note: please don't forget to properly Tag your content with existing key tags. Thanks!