Super Dakota

Janne Schimmel’s first solo exhibition at the gallery, But Can It Run Doom, is an in-depth exploration of the intersections between digital culture, the material conditions of gaming hardware, and the evolving role of technology in our lives. By reactivating older technologies, examining the design of our digital tools, and investigating new possibilities for digital expression, Schimmel challenges conventional narratives around intimacy, creativity, and resilience in a technology-driven world.

The works in But Can It Run Doom explore the interplay between physical devices and digital spaces, reflecting on the lack of emotional resonance in the design and marketing of computer hardware—particularly gaming devices, which often prioritize speed, efficiency, and power over softer, tactile qualities. Schimmel highlights the emotional range that has largely been neglected in commercial gaming culture, raising deeper questions about how software design reflects broader societal values.

Several works in the exhibition, such as Doom Passive Mod and First Person Hugger—which run on the sculptures Between Modder and Mud and Wall Flower—imagine alternative genres where players hug, listen, or converse with digital characters. This approach underscores the potential of empathy as an interactive mechanic, contrasting with big-budget games that emphasize intricate combat systems and open-world structures but leave little room for kindness. Schimmel traces the origin of this interest to an experience from his youth while playing GTA: San Andreas. At one point, his mother suggested he give a woman flowers in the game, but the mechanics only allowed him to hit her with them. This moment sparked a reflection: if the logic of a game dictates that picking up flowers can only result in violence, what does this imply about our collective notion of "freedom" in virtual worlds?

In his series Strange Loop and Projections, Schimmel examines the process of transferring emotions between the physical and digital realms, focusing on motion-capture technology and the intermediate phases of digitizing human expressions. Strange Loop highlights these “in-between” moments, showcasing how emotions are transformed during their digital re-creation.

The exhibition’s title But Can It Run Doom references a popular tech community challenge inspired by the 1993 first-person shooter game Doom. Developed by id Software, the game’s source code and level editor tools were made accessible, inviting players to create their own levels, textures, and modifications. This openness led to an explosion of user-created content and established Doom as a model for community-driven game development. The phrase gained popularity in 2006 when Doom was ported to the widely used Texas Instruments TI-83 educational calculator. “Porting” refers to adapting software, such as a game, to run on a different hardware platform or operating system than it was originally designed for. This sparked a challenge to run the game on as many devices as possible; noteworthy examples include microwaves, ATMs, and even pregnancy tests. In 2022, hacker Sick Codes ported Doom to a John Deere tractor, highlighting restrictive practices by manufacturers like John Deere, which use software locks to limit user repairs. This demonstration revealed the broader need for user agency and accessible repair options. The exhibition draws parallels between such cases and Schimmel’s work, which explores exposing hidden components of devices and modding older consoles like the Gameboy Advance and Nintendo DS to run custom games, echoing themes of accessibility and creative freedom.

User-generated games and modifications offer a lens through which to examine gaming as a participatory and emancipatory culture. Despite the commercial video gaming industry’s pressures to render older consoles obsolete, devoted communities continue to create and refine new content for systems released over three decades ago. Operating within a landscape where contemporary myths are often controlled by corporations, these “home-brew” networks reclaim agency by building their own narratives and questioning notions of authorship through open-source sharing. This ethos resonates with other communities—such as 3D printing and freeware circles—and informs how Schimmel sources virtual material and knowledge, fostering a culture of collective reinvention. In turn, this is why he uploads his own work back to the internet to be used by others.

Recognizing that his work builds on a long tradition of homebrew game development, Schimmel is organizing a special program during the exhibition, running from January 25, 2025, to February 7, 2025. During this period, he invites various artists to present their games on the interactive sculptures displayed throughout the show. He has chosen artists from both the established art world and homebrew communities—creators who, in his view, are pushing the boundaries of game design in terms of both mechanics and narrative.

Ultimately, But Can It Run Doom asks us to reconsider intimacy in digital spaces, from the physical devices we hold to the homebrew communities that keep older hardware alive. By challenging planned obsolescence, embracing user modifications, and exploring alternative modes of play, Schimmel encourages a more expansive view of digital culture—one that values personal connection and shared innovation over the endless pursuit of greater speed and power.