Heritage: Vestiges

Now open at LEA26 is Vestiges by Gem Preiz, the first half of a two-part installation entitled Heritage. Here, one travels through a series of large spaces to view eighteen two-dimensional wall-mounted fractals that explore the heritage "transmitted [to] us our predecessors, and the one that we shall bequeath to our descendants in the endless fight of the Life against Time," says the artist. "It is not of material wealth from which we inherited: this one does not stop diluting in the mass which builds up every day by exploiting always more numerous human beings' work and always rarer natural resources. No, what was transmitted us over the centuries, is at first the culture, the knowledge and the ideas and those of the material things that are holding them: artworks, books, ruins...Vestiges is an evocation of these witnesses of past. It is designed as a quest and is inspired by stories of fearless adventurers who explore archeological sites or forsaken strongholds to find there the treasures of disappeared civilisations."

The fractals, as often in Gem's case, are large, varied and striking, inviting us to delve into what convincingly appear to be other worlds that reflect the artist's statement. While he has created effective environments to house these often giant images in the past — for example, the 2015 installation Metropolis — I found the surroundings in Vestiges to be almost a distraction, pulling my eye away from the artworks themselves and making the experience (perhaps inadvertently) more about the spaces, which are not nearly as finely wrought as the images.

Navigation through the installation is fairly straightforward, guided by stone markers, doorways or other elements. (Gem suggests a specific camera setting that may improve one's vantage point and perspective.) An uncredited piece of music is provided to accompany your visit, available here; the same track is available through the parcel's stream. The second phase of the Heritage project, Wrecks, will open on March 25.

Le Cactus

"My favorite bar in Second Life is back online," announced Eupalinos Ugajin as Le Cactus by Maya Paris reopened at LEA21 today. As curator of the sim through an LEA artist in residence grant, Eupalinos invited Maya to resurrect Le Cactus (which had been previously displayed elsewhere), and installations by other artists will certainly follow. For those familiar with Maya's artworks, a word like "wacky" might be a worthy description, as her hilarious installations are crazy, playful and colorful, with plenty of movement and sound. And user participation is a must, with poses and animations abounding everywhere (be sure to click on everything) — silly dances, ridiculous movements, and very fun interactions.

Maya describes the build as "a celebration of the extraordinary talents of cultural trailblazer Josephine Baker, queen of the trumpet Valaida Snow, the lampshade-hatted dancers of the Casino de Paris and the offbeat irony of Jacques Dutronc. Throw a banana on your head, dance on a cactus and tickle a tentacle. Everything's interactive, so click away!" If you pick up the HUD at the landing point, you'll be able to view videos of Josephine Baker and other 1930s artists (with the delightful early jazz radio station Radio Dismuke already available over the parcel's music stream).

Perhaps best of all, Maya provides seven free avatars that will turn you into everything from Josephine Baker (below, with my partner, Kinn) to a dollop of whipped cream, and wearing these makes you just about indistinguishable from the build itself. Be sure to stop by the bar, too, to grab a drink, a banana split, and a spinning animation. This is one place at which the more really are the merrier, so bring friends along to join in the absurdity.

Evolution

Now on display at the Club LA Gallery, curated by Fuyuko '冬子' Amano (Wintergeist), is an exhibition of photography by Daze (DaisyDaze) entitled Evolution. (From the landing point, head into the large building on the left.) "In SL as in my RL I've come to realize that life, in whichever space, is about growth, learning, and the relationships that you form," says the artist. "It's about taking chances, getting outside your own walls, and living with joy. And just like in real life, you have to be open to these things and then foster them. My collection Evolution is a reflection of this journey. From a singular existence, living on the periphery, letting in the light and color, and finally stepping forward to make the connections that I know will bring joy to my world." The sixteen images on display are beautifully and carefully composed, embracing a variety of subjects and styles. Contributions to support the gallery may be made at the door.

Gates of Memories

There are colors one sees in winter that aren't visible other times during the year, especially shades of gray and brown, and, in the gorgeous sim Gates of Memories, owner and designer shelly70 has captured these tones beautifully, keeping her palette to a minimum. An island that's best explored on foot, its snow covered expanse is home to many great trees that provide modest shelter to reindeer, horses, weasels and other animals (even a snow leopard), while humans have a choice of two charming cottages, one to the south (pictured above) and one to the northeast.

Because the landscape has been kept uncluttered — assisted by the leafless branches — visitors are able to see a great distance, and our eyes are drawn to many small things dotting to the countryside, beckoning us to explore. Incongruous oddities here come across as charming, such as a telephone booth in the middle of nowhere (above) or a pair of greyhounds guarding stairs that ascend to a standalone window next to dangling telephone wires (below) — click on any image to zoom in.

All that would already be enough to warrant a visit, but Gates of Memories is also home to many collected pieces of artwork by Mistero Hifeng, and, like the ones shown below (Chiuso nella gabbia di un'eta', with Per te in the background), they maintain consistency with the sim's hues and are organically integrated into the landscape. "As you can see, I'm a huge fan of Mistero's work," Shelly told me.

Additionally, the region features works by Rebeca Bashly, "another artist that I admire very much," remarked Shelly. "I gave her an idea from a Dutch artist, and asked her if she would make me three works — I think there are two there at the moment. I like playing with landscapes and fitting all these amazing works into them, to show what wonderful artists we have here in Second Life." Visitors will be able to enjoy Gates of Memories until the advent of spring weather.

Fading Masks & Simply Samples of Her Repertoire

Opening at Berg by Nordan Art today, Sunday, January 3, 9 am slt, are two concurrent exhibitions: Fading Masks by Haveit Neox and Simply Samples of Her Repertoire by Mich Michabo. The former is the larger of the two installations and is situated over the water at the ground level: two towering, gesturing human forms, right arms extended, are supported by a circle of columns, all surrounded by arcs of walking figures (photo above). A poetic text accompanies Haveit's work:

      I don’t believe you
      lies
      you don’t believe me either
      the human brain is made of story cells
      we concoct the truth, don’t we, rather than see it
      then we march with the like-minded to affirm our stories
      no, dear reader, you are not an exception without victims
      but our mask can fall at any moment
      beware, we enlightened ones, for the store of hatred we have,
      or worse, for the amount of love
      we’d stolen away for all the years.

A composition that is intended to accompany Fading Masks is available here on Vimeo, and curator Kate Bergdorf is working to make it available via the region's music stream. Haveit has also created an accompanying machinima, which is available here.

One of the two figures is a scribe, and we assume that the scrolls that surround the pair are his. The nonsensical text, which seems to be more a texture than something imbued with meaning, does have a small statement interwoven in tiny type: "Once upon a time, a ship ran around my mind, it sliced through my core and washed away my better judgment. Fragmented into islands the spirit ought to reassemble itself as before." Inside the circle of pillars that support the pair of figures, groups of circle dancers, wrapped by bee skin textures, dance in glowing light, while the people outside are likely those who "march with the like-minded." Whether coincidence or not, the scribe's right hand makes the American Sign Language gesture for "love." Haveit's creations always embraces a social justice perspective, this work no differently, though as to its precise meaning I'm uncertain.

[Edit: Haveit kindly said in response, "I so enjoy seeing the meanings people personally interpret. Yours is very close to what mine is, with some additions I hadn't thought of, and which I find a gift to hear! As for my simple intent, the two figures are actually the same person. The outer shell which is fading is the 'decent' mask one might portray to the public. As it fades, another raw side emerges. The written texture is indeed predominantly gibberish, with some lines here and there that can be read. The figures being covered in text and scrolls indicate the stories we tell ourselves, our beliefs. We are made up of our choice of stories, and for most of us, it is unlikely those perceptions will change in any dramatic way. I don't intend this as a negative critique of our personalities, but simply as an observation that our stories compose the architecture of our lives."]

Overhead, in the much smaller gallery space, is a display of fourteen images by the brilliant photographer Mich Michabo (images below). It's not easy to fully appreciate this artist's work by viewing individual photographs, as her work is often a stream of consciousness that flows from one image or set of images to the next. Her photos are often almost like random shots taken in a particular location, so that viewing a group of them helps us build a scene in our minds — in various images we might see a face, a knee, a kitchen sink, or a window, that invite us to generate a narrative. (As an example, view this image on flickr, taken on May 15, 2013, and proceed to the successive shots from that same day.) "I like to show emotion through faces, a chair leg and yes, even your shoe!" she remarks. (In addition to the shoe in the exhibition, this is a favorite of mine.)

As we spoke about the two installations, Kate remarked, "They somehow go well together — there is something raw about both of their styles." She and gallery co-organizer Tutsy Navarathna have already announced the full 2016 lineup for Berg by Nordan Art, with Igor Ballyhoo (installation) and Imani Nayar (photography) from April through June, Cica Ghost (installation) and Kyhiro (photography) from July through September, and Livio Korobase (installation) and ◦⊱ Mi ⊰◦ (photography) from October through December — follow Kate's blog for updates. Fading Masks and Simply Samples of Her Repertoire will remain on view through March 31.

i.avatar (NSFW)

Opening tomorrow, Sunday, January 3 at 1 pm slt, at the Dathúil Gallery of Art, is i.avatar, an exhibition of photography by Io Bechir that encompasses a wide variety of styles and subjects captured over the past several years. "The work I'm displaying in i.avatar is a simple, autobiographical document," she explains. "My hope is to communicate my impressions with regard to my experiences here over the past three years," says Io. "During this time period I fell in love. I met some amazing and wonderful friends. I suffered a broken heart. I came to realize my own strength. I took up sailing. I found my voice as an artist, and discovered new ways to express my Self in this limitless space of ethereal light and imagination. Probably, many of the same experiences you have had."

Many of the photographs in this first solo show by Io depict the female nude in poses that range from sexual eroticism to interplays with light and shadow. Images along the lower right side were taken after the emotional end of a relationship, reflecting a dark period in her life; those along the left after the creation of Imogen, a doll that Io used to help find a new center. "Creating her was my way of sort of seeing the world through new eyes," she adds. Sailing, a favorite pastime of the artist (especially when naked), is also a prominent topic. The exhibition will remain on display through the month of January.

Roots

Now open is Roots from Cica Ghost, the latest installment in her ongoing series of sim-wide creations that adeptly combine playful quirkiness, absurdity, and composition to create delightful immersive environments. True to its title, Roots features, well, roots, and in great abundance — roots of plants, of trees, and of whatever odd things are growing there — and indeed it seems that some of the roots exist entirely on their own.

It's a dark, shadowy world, but not without moments of light and beauty: fields of flowers, colorful balloons adrift in the air (with passengers wanted), and Dr. Suess-like houses that dot the landscape, many precariously positioned on eroding hills delicately held intact by tangled masses of roots. Not to be missed is a fantastic and lugubrious snail that inches its way from the underneath of one rock to another, a house dragged along its back. Visitors to previous builds by Cica will no doubt encounter familiar objects and references.

Although the build's description suggests that the town's inhabitants have disappeared, a closer look reveals that they're actually still about — perhaps shy and curious, poking their faces through the windows of their odd little homes (image below). It's possible to join the residents in their peculiar window-peeking pursuits, because Cica has added poses to most of the homes, and to other parts of the build as well (a tightrope, for example), and many houses accommodate more than one avatar at a time. Contributions to support Roots may be made at the landing point, and selected items will likely be available through the artist's inworld store.

Kaleidoscope

Explorers who haven't visited the picturesque and snowy winter sim of Kaleidoscope should makes plans to do so soon, as owner and designer Krys Vita says that the scene will soon transform into something new. Arrival to the region is at the head of a country road shaded by the arching branches of stately trees, flanked by fenced fields. Traveling westward, one reaches a fork in the road, the left and right paths eventually converging again after gently wrapping around a frozen pond, where free ice skates are available.

The largest structure on the sim is a manor house (pictured above), situated to the right as the road forks, and visitors are invited to enter, gain respite from the cold and snow, and enjoy the furnishings and decor. Far across to the south stands a barn (pictured below), with the space between providing a tranquil grazing area for horses and black face sheep.

Quietly removed from all else is a small church, snugly situated on its own island to the southwest, connected to the rest of the area by means of a covered wooden footbridge. Throughout the region are other points of curiosity and things to see, as well as spots to relax or cuddle with a friend, all probably best explored by foot. Contributions to support Kaleidoscope may be made at the landing point.

Serena Arts Center Christmas 2015 Exhibition

Now open at the Serena Arts Center at Wolves Land, curated by Vita Theas, is a Christmas 2015 Exhibition, featuring two- and three-dimensional works by a number of Second Life artists, including Amanda Tomasoa, Anita Witt, Anna Jameson, Aruba DeCuir, bellaswun Resident, Daco Monday, Dita Actor, Grazietta Cazenove, Johannes1977, Kama Maertens, Kicca Igaly, Leo Kottke, Million Magic, nalivru Urvilan, Nessuno Myoo, Nino Vichan, Orsini Tarantal, Sabin Ferraris, Saya Lykin, Shakti Adored, Sparkie Cyberstar, terrygold, vangogh Rembranch, and Ziki Questi. Invited artists were asked to contribute one or two works that illustrate "topics of peace and tolerance," and many of the items on display are available for purchase. The exhibition will continue through the end of January 2016.

Escenas — La Muerte

Now open at MetaLES is the fourth and final scene of the brilliant Escenas by Ux Hax and Romy Nayar, entitled La Muerte (The Death), following previous scenes El Tiempo (The Time), Decisiones (Decisions), and El Meido (The Fear). As with the previous installments of this tarot-based artwork, it's essential that visitors turn up their draw distances substantially, as the view pictured above is literally the entire sim, with giant characters and decor impressively designed. It is with this final installment that the story becomes clear, and here I must thank my partner, Kinn, whose deep knowledge of tarot provided a strong and immediate revelation.

"The tarot is representative of the circle of life — it is not linear, so the artists' comment that the scenes are not in order makes sense," she began, providing some broad context. "Life is a spiral, and you often find yourself in the same situations over and over again. The tarot has an order, yes — it is the fool's journey — who he meets along the way and what he learns, but then at the completion of the journey he starts all over again. In these scenes, the woman is the fool on her journey — 'fool' not meaning foolishness but rather innocence and unlimited potential. The figure hanging above her in El Tiempo is the hanged man, who stands for sacrifice and letting go, and the symbols surrounding him are from the wheel of fortune — a card that represents the ups and downs of life; specifically, a major turning point. Later the image of the actual Fool from the tarot turns up; in the instance of this particular deck it is a man in a straitjacket...a very non-traditional representation."

Key to unlocking the mystery appeared in El Meido, in which we saw a cradle that continually faded away and reappeared, ensuring not only that we noticed it, but also underscoring its key position in the narrative. "It seems to me that the woman has lost a child," explained Kinn, "and these scenes reflect how she dealt with that situation. Theoretically all aspects of life are in tarot — they are the embodiment of experience."

"The devil is an interesting card," she continued. "The word for it is bondage. When I read, it generally shows up if a person is stuck in one way of thinking or in an addictive relationship. But they always have the option of freeing themselves — that is the message of tarot. Temperance [who stands next to the table in this scene, image below] is a warning to avoid extremes such as those that come with the devil, and often shows up when there are powerful emotions clouding action. None of this is ever set in stone; none of life is either. Things are fluid, and you create much with your mind. Outcomes are dependent on your reaction to the situation."

Other hints to the story rest on the table: grapes, in tarot a symbol of fertility, and pearls, a reference to innocence and children. The cups on the table are reminiscent of the Five of Cups card, indicative of a huge loss, bereavement, and only seeing the negative in a situation. In El Tiempo we witnessed the woman's anger, in Decisiones her quest for justice, in El Meido her sorrow, and now her own demise. "The loss of a child can break a woman — I think she killed herself," Kinn concluded. "It is true that the death card never means literal death but rather represents major change, so this scene could mean she is either embracing change or giving in to death. However, crows are psychopomps that lead souls from one plane of existence to the next, so I don't really think this story has a happy ending." The installation should remain on display until at least January 1.