Archive for the ‘imal’ tag
Troubles in Paradise. How happened that an artist was banned from the Odyssey Sim
Domenico Quaranta, “Troubles in Paradise. How happened that an artist was banned from the Odyssey Sim”. First published on Spawn of the Surreal, October 8, 2007.
Some days ago (namely on Saturday, October 06, 18:42 Second Life time), an artist was banned from Odyssey. No playing: Odyssey, well know in Second Life as the most free, open-minded context for artists and performers, the place where Gazira Babeli set her retrospective and where most of Second Front’s performances took place, for the first time seems to set a limit to the freedom of its own residents. Someone ate the forbidden apple, and was expelled from Paradise.
This is, at least, what we could understand reading a current thread on Rhizome. But what really happened that awful day? How can we explain it? Let’s start from the beginning.
Salvatore Iaconesi, alias xdxd, is an Italian new media artist, activist and open source coder who did an impressive amount of work in many fields, ranging from generative art to artificial intelligence, from performance to code poetry to interactive installations. Some months ago, he entered Second Life and he did some un-authorized installations at Ars Virtua and in other places. In many private and public discussions, he never made a mistery of his criticism against Second Life. As most of the best artists inside there, he is conscious to be in a technically limited environment, where most of the things pretending to be “art” are childish efforts, miles and miles away from what we currently call “contemporary art”. But the fact that he kept on working in Second Life demonstrates that he sees in it an interesting socio-cultural context, where he can play with its human (or inhuman) dynamics. Or, in his own words: “I really don’t even value Second Life so much. Want to know what i find interesting in it? the social-niche mindfucker that it became, and the way that it has been exploited from mass media, and the mechanisms behind mediocre people using it to gain attention, and a badly-recycled form of human nature struggling to come out over there, too.”
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The Gate (or Hole in Space, Reloaded) – 2007
THE GATE (or Hole in Space, Reloaded)
The Gate is an installation connecting real life and Second Life, a junction point, a door between two worlds and two representation spaces. Basically, it is a simple window between both worlds where real users and SL users see each other and can meet. A view of the SL Gate is permanently projected in the real life venue; when an avatar comes in front of The Gate, it is visible in the public space; when one arrives physically in front of the door in the public space, he/she can interact with the SL user currently in front.
The Gate – Press Release
The Gate (or Hole in Space, Reloaded)
THE GATE (or Hole in Space, Reloaded)
Yannick Antoine, Yves Bernard (BE)
With the collaboration of: Domenico Quaranta (IT), Sugar Seville (SL)
Opening Performance: Second Front
iMAL Center for Digital Cultures and Technology, Brussels; Odyssey Contemporary Art and Performance, Second Life (Odyssey 122/45/25)
04/10/07 – 07/10/07
The Gate is an installation connecting real life and Second Life, a junction point, a door between two worlds and two representation spaces. Basically, it is a simple window between both worlds where real users and SL users see each other and can meet. A view of the SL Gate is permanently projected in the real life venue; when an avatar comes in front of The Gate, it is visible in the public space; when one arrives physically in front of the door in the public space, he/she can interact with the SL user currently in front.
Holy Fire. Art of the Digital Age (2008)
- Poster of the exhibition
- Poster of the exhibition
HOLY FIRE: ART OF THE DIGITAL AGE
Exibition curated and catalogue edited by: Domenico Quaranta, Yves Bernard
Bruxelles, April 18 – 30, 2008
iMAL Center for Digital Cultures and Technologies
iMAL Center for Digital Cultures and Technology is proud to present Holy Fire. Art of the Digital Age, a collective exhibition featuring a unique panel of digital artworks created in the last ten years by internationally known new media artists, and coming from galleries and collections from around the world. Curated by iMAL director Yves Bernard and Italian curator Domenico Quaranta, Holy Fire is, in fact, featured into the “Off Program” of Art Brussels, the international contemporary art fair (April 18 – 21, 2008). Taking its cue from this occasion, Holy Fire is an attempt to explore how new media art, bypassing all the stereotypes connected with its presumed immateriality, was able to enter the art market.
Geogoo (Info Park)
Jodi, Geogoo, 2008
Published in “Flash Art”, Issue 273, December – January 2009, p. 36
Nel corso della sua storia, l’uomo ha tracciato sulla mappa del mondo forme, disegni, bizzarre geometrie. Da Nazca ai cerchi nel grano, dai piani urbanistici (si pensi a Washington) alle sagome di piazze e edifici, questi segni, carichi di simbologie mistiche ed esoteriche, sono l’alfabeto di un dialogo con un altro che raramente coincide con chi calpesta quei sentieri e con chi vive quei luoghi. L’uomo può pensarli, ma chi li vede? Dio, certo. Oppure l’uomo del futuro che manipola tecnologie affascinanti come Google Earth e Google Maps, la cui missione è “costruire un mondo allo specchio, una replica del mondo”, accessibile a tutti. Il geohacker è il flaneur del nuovo millennio, ed è, nel contempo, la nuova release dell’occhio di Dio. La sua deriva non ha limiti. Read the rest of this entry »
