Five days ago, art curator Dividni Shostakovich quietly announced the closure of the visiting artist exhibition program at his venerable space, Split Screen. Since its opening in November 2010 (preceding the inauguration of the Linden Endowment for the Arts sims), this half-sim environment has featured major installations by an impressive list of Second Life artists: Alizarin Goldflake, Artistide Despres, Betty Tureaud, Blue Tsuki, Bryn Oh, Cherry Manga, Douglas Story & Desdemona Enfield, Eliza Weirwight, Eupalinos Ugajin, Giovanna Cerise, Jo Ellsmere & Pyewacket Kazyanenko, Kolor Fall (Patrick Faith), Maya Paris, Miso Susanowa, Misprint Thursday, Oberon Onmura, oona Eiren, Pinkpink Sorbet, Pixels Sideways, Rose Borchovski, Selavy Oh, Scottius Polke, shellina Winkler, Simotron Aquila, soror Nishi, Trill Zapatero, and Yooma Mayo. Dividni's decision to close wasn't a financial one, as he explained on his blog, but more a need to refocus and move in new directions. Possibly the space will resume its guest artist exhibition program after a time.
But delights still await at Split Screen, as Dividni has created something of a sculpture garden or installation park, showing works by Blue Tsuki (windmills from Adagio, to the left on the bottom image), Bryn Oh, Cherry Manga (Chessboard, top image), Eliza Wierwight (The Satirical Polemicist, bottom image), Kolor Fall (Patrick Faith), Maya Paris, Miso Susonova (Time as a Helix of Semi-Precious Stones, middle image), Oberon Onmura, Scottius Polke and Trill Zapatero (cheese grater street lamp (among other works), to the right on the bottom image). Many of these pieces are interactive and have sonic components. Walking through the park is a pleasant experience: the pieces are beautifully and carefully arranged so that we can see several in our field of view, but far enough apart that we're able to enjoy each on its own. Appreciation is owed to Dividni for having hosted remarkable exhibitions over the past several years and for having helped launch the careers of so many artists.
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