“As a media artist, I’ve always been interested in the history of the technologies I use to make artworks. Most of these have some basis in the military, including the most ubiquitous tools we use every day—screens, GPS, the Internet. At the same time, the world seems to becoming increasingly militarised, not only through international conflicts, but also in domestic spaces.” 
Baden Pailthorpe is an Australian artist whose videos and installations explore the history, politics and cultures of technology. His artworks have taken as their subject sport, finance, contemporary art, militarism and their associated technologies, aesthetics and politics.
Pailthorpe often uses the very technologies he seeks to critique in the realisation of his artworks. The 3D animation Incubator is part of a series of artworks in which Pailthorpe registered a real AI-driven start-up company, Petricore Pty Ltd, whose services included a fantasy ‘art league’ where the careers of elite artists were gamified for profit. Incubator was conceived as a piece of visual merchandise to promote the services of Petricore Pty Ltd. In the video, a translucent egg gestates infinitely under a heat lamp. The saturated colours and the infinite slow loop create a surreal setting for the artist’s satirical critique of start-up culture and the effects of late capitalism on creative and conceptual practice.
Baden Pailthorpe completed a Synapse artist residency with UTS Sports and Exercise Science in 2018, the results of which were shown in the exhibition Clanger at UTS Gallery in 2018.
 Baden Pailthorpe in Video Game-Inspired Art Comments on Militarism, Ingrid Kesa, https://www.vice.com/en_au/article/3d7zj8/baden-pailthorpe.
Baden Pailthorpe is a contemporary artist who works with emerging and experimental technologies. He is the Convenor of Hybrid Art Practice at the ANU School of Art & Design, Canberra. His artistic practice interrogates the relationship between aesthetics and power, interrogating the politics of technological and economic structures across Sport, Finance and the Military-Industrial Complex.
Since 2011, Pailthorpe’s practice has integrated performance and installation alongside screen-based interventions. Examples include: a commissioned performance at the Centre Pompidou, Paris (2014); video work depicting a hacked military simulator at the Palais de Tokyo, Paris (2012); documentation of a video game performance exhibited at the Triennale di Milano, Milan (2016); a ‘start-up as artwork’ at Sullivan+Strumpf (2017); and an experimental data visualisation of AFL player GPS data at UTS Art, Sydney (2017).
Significant exhibitions include Clanger, UTS Art Gallery, Sydney (2018); Pitch Deck, Sullivan+Strumpf, Sydney & Singapore (2017); GAME ART/VIDEO, 21st Triennale di Milano, Milan (2016); Spatial Operations, Newcastle Art Gallery, Newcastle (2015); Guarding the Home Front, Casula Powerhouse, Sydney (2015); On Return and What Remains, Artspace, Sydney (2014) & CACSA, Adelaide (2015); Students of War, Hors Pistes, Centre Pompidou, Paris (2014); Cadence, Westspace (2014); Moving_Image 10, La Gaîté Lyrique, Paris (2013); and Rencontres Internationales, Palais de Tokyo, Paris (2012).
Pailthorpe’s work is held in significant private and public collections, including Artbank, Australia; Australian Parliament House Art Collection, Canberra; Newcastle Art Gallery, Newcastle; The Art Gallery of South Australia, Adelaide; The Australian War Memorial, Canberra; The Netherlands Media Art Institute (NIMk), Amsterdam; The National Library of Australia, Canberra; UTS Art, Sydney; and UQ Art Museum, Brisbane.