sabato 31 gennaio 2009

The Daughter of Gears - Bryn Oh

ARENA: Cienega Soon

uqbar. media art culture e Rinascimento Virtuale

Vi invitano all'apertura di /Invite you at the Opening of

Cienega Soon

Saturday, January 31 - Monday, February 02, 2009

(10 PM CET - 01 PM SLT)

ARENA EX.IT slurl: (


Cienega Soon arrived in Second Life® 12/2/2006. logs in from southern California USA

Cienega’s RL artwork runs through many mediums; Oil and acrylics, sculpting with metal and wood on a large scale. Soft Leather and feather work mixed with glass, and her stained glass work.
Cienega's reason for not bringing her RL work to the grid, is her view of the differences of each environment. She sees a special beauty in Second Life® and believes it should be celebrated in its environment without her RL stuff hanging around in an unnatural view.
Art to Cien is alive everywhere she creates it, an expression of her need to sing with her hand and eyes.
Cienega Soon's Second Life® became exciting after she discovered the snapshot feature at the bottom of the screen in June of 2007. Experimenting with her newly purchased PScs2 program launched her Second Life® career.

Opening her first Gallery in Valeriya, August 2007.
NOW, Two New** Galleries on a new Sim: Juicy by Cienega Soon
**Cienega Soon Gallery @
**Juicy ~A dark castle gallery**Juicy Gallery ~to gather brand new SL artists getting their work seen

Her high quality prints, canvasas and custom cards are avaliable at her ImageKind online Gallery. link available in her website

KoinUp Winter Photo Hunt session December 15th, 20083rd place "Flurrries"
Orange Island Photo Sessions Co-Hosted with KoinupNovember 14th, 2008
Exhibiting artist at the RL exhibition Rinascimento Virtuale (Virtual Renaissance) which will open at the Museum of Natural History in Florence, Italy. October 21, 2008-January 7, 2009
**Uqbar Media Art Culture 'ARENA'October 21, 2008 through January 21, 2009The biggest exhibition of art that has come true in Second LIfe®carried out in contemporary with the exhibition of Florence in the spirit of the Museum del Metaverso. The works will be exposed to the attention ofcritics, curators, collectors and lovers of art**Cienega Soon 'ARENA' EX.IT sim January 30, 31st 2008 - February 2, 2009
Burning Life 2008 Exhibit: Oil PigsOIL PIGS @ Burning Life 2008Designed & Created by:Cienega SoonGigmonger StineSound effects Creator: Lorin Tone
Speaker at the Photo Institute, August 14, 2008Second Life's premiere school for studying photography

Mentor for Koinup "Mentors Project"
An Exhibiting Artist for SL5B "Darkness" June 23rd - July 7th 2008Her SL5B exhibit "Darkness" was a walk through her darker side with emotions and places to see as light is invited to play across the edges of things crying to be seen and understood in a unique setting. 􀀂
Guest judge for the "Photomania Contest" held at the City of The Arts on Hyacinth Island, hosted by Kritz Etzel, June 2008.
Placed top 20 finalist of over 400 entries in the Stiletto Moody "Picture Your Moods" photo contestMay 3, 2008
Winner of the Koinup® Exotic Contest, March 18, 2008
Winner of the Slartist IDOL contest earlier this year, February 2008
Avatrait Presents Cienega Soon for the month of December 2006. she is now one of Avatrait's galleried Artists in their RL gallery just outside of Chicago, Illinois.


ARENA exhibit

Saying emotion and feelings with art is like music. There is a flow of sound through out my work. A little on the dark side, but still light enough to find a connection.
Rancor is my most important piece so far. I have a need to convey the pain of betrayal.
The over reaction of jealousy and the feeling of retaliation.Here Rancor is a reminder that hate and un-forgiveness causes scars in both directions. The one holding the hate, and the one receiving it.
Walk through Rancor ... there is a small moment of a break through when you walk into love.
If you carry any un-forgiveness I hope you can see a bit better. Just release it and feel free for a moment.
I hope you enjoy my carnival of displays and the pieces I have included. You will find many for L$50.

Thank you for coming
Cienega Soon

giovedì 29 gennaio 2009

Il Museo del Metaverso visto da Sarima Giha

Sarima Giha aka Maria Luisa Grimani ha fatto un bellissimo regalo a me e agli artisti del Metaverso: ha dedicato al Museo del Metaverso un post, nel suo blog Il fogliomondo di Sarima , corredandolo di belle foto e di particolari delle opere esposte.

Maria Luisa Grimani è una donna delicata e gentile, una di quelle persone, che appena le conosci non vorresti farle andare più via dalla tua cerchia di amicizie.
Non è facile incontrare persone così genuine: lei è curiosa, allegra, attenta e "leggera".

La sua leggerezza mi affascina, perchè è pari alla semplicità apparente della installazione che ha presentato ad Arena, una leggerezza e una semplicità che nascondono un pensiero profondo ed un percorso complesso, fatto di incontri, studio, esperienze e ricerche, sia in campo artistico che culturale.
Maria Luisa, così come Sarima, sono una donna ed un avatar raffinati, di testa e di cuore.

mercoledì 28 gennaio 2009

ARENA: Sowa Mai

uqbar. media art culture e Rinascimento Virtuale
Vi invitano alla performance di /Invite you at the performance of

Stephen Beveridge aka Sowa Mai

Wednesday, January 28 - Friday, January 30, 2009
(11 PM CET - 02 PM SLT)

ARENA MdM slurl (

# No Man Is An Island

Aequitas is a non-profit multinational conglomerate of dada intellectuals involved with the exploration of biological impulses and their effect on modern psyche through the medium of anti-conceptual physics and minor abstractions.

The intent is not to make a clear statement, but to overwork and overwhelm with endless details and muddled effects thereby confusing the viewer in to believing they are witnessing something beyond their grasp and therefore true, fine art.

-- Banrion Constantine and Sowa Mai

No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were: any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee (Devotions upon Emergent Occasions, #17).
-- 17th-century English poet John Donne

If people allowed themselves to experience the pain of others -- they would not be able to inflict it: no bombs, no murders, no tortures, no attacks of any kind.

If people allowed themselves to remember that the bell of judgment, like Donne's bell of death, tolls for them, and that their guilt would cause them to pay the price of their vengeance and hatred, of the pettiness of their projections -- there would be only peace and no judgment of others.

If people recognized that air, water, and nuclear pollution symbolize caring only for the satisfaction of their greed to the blatant disregard of others, and that such selfishness but hurts them -- they would cease to pollute in an instant.

For who would rape minerally rich lands, wresting in righteous wrath treasures that were not theirs, knowing it was their own treasure of love they were losing?

For who would willingly choose the murderous thought system of specialness, inflicting pain and suffering upon another, knowing it was their own death they were plotting?

Finally, which government would willingly choose the murderous thought system of imperialism, inflicting pain and suffering upon others, knowing it was their own riches they were plundering?

-- Kenneth Wapnick, Ph.D.

A Journey to One through two.
An awakening from a dream of death.
Please keep arms and legs inside at all times.

There exists
in the wall of fear
A keystone clear

A message spoken
only you can hear

Aequitas thanks:

Franz Kafka
Glyph Graves
John Donne
luce Laval
Innula Zenovka

Remnant Ashbourne
Davy Maltz
Neil Young
ArchTx Edo
Roxelo Babenco
Arco Rosca

But in the darkness he can now perceive a radiance that streams inextinguishably from the DOOR OF THE LAW. Now his life is drawing to a close. Before he dies, all that he has experienced during the whole time of his sojourn condenses in his mind into one question, which he has never put to the doorkeeper.… “Everyone strives to attain the Law,…how does it come about, then, that in all these years no one has come seeking admittance but me?” The doorkeeper perceives that the man is nearing his end and his hearing is failing, so he bellows in his ear: “No one but you could gain admittance through this door, since this door was intended for you. I am now going to shut it.”
-- Franz Kafka

"ARENA" Event - Hosting the largest art exhibition ever staged in Second Life, held in coordination with Virtual Renaissance, the exhibition to be held in Florence at the Museum of Natural History in the Festival of Creativity .

domenica 25 gennaio 2009

Alan Sondheim: Debris Field

Find more videos like this on uqbar. media art culture

IL video dell'installazione di Alan Sondheim per Arena

uqbar & NOVA100 Sole24Ore: PRESENT_ART

Inizia oggi la collaborazione tra art culture e “Le Aziende In-Visibili” di Marco Minghetti, su Nova100 di Il Sole24 Ore, con due post: present_art 0 - Intro e present_art 1 – Intervista a Sarima Giha.
Nel primo post viene presentato ai lettori il progetto art culture di cui fa parte Arena, nel secondo Minghetti dà spazio a Maria Luisa Grimani aka Sarima Giha, pubblicando l’intervista scritta con le foto della istallazione che Sarima ha presentato ad Arena, l’intervista video e un secondo filmato di Maria Luisa Grimani.
In questa collaborazione, che chiameremo "present_art", si vorrebbe mantenere l’atteggiamento che sino a d ora abbiamo tenuto, cercando di mostrare direttamente il lavoro di creativi ed artisti in second life, attraverso contesti culturali in cui è possibile arrivare direttamente alla loro opera senza ulteriori mediazioni.

venerdì 23 gennaio 2009 art culture all'Arte Fiera


Fiera Internazionale d'Arte Contemporanea
International Exhibition of Contemporary Art
23-26 Gennaio 2009 Bologna Italy

Dal 23 al 26 Gennaio apre i battenti la 33^ edizione di Arte Fiera Art First a Bologna. Il progetto nasce dalla collaborazione tra il Comune di Bologna e Arte Fiera.
L'arte e la creatività tra musei, cortili e palazzi, attraverserà il centro storico di Bologna, portando i visitatori alla scoperta di scenari insoliti della città, dove saranno allestite suggestive installazioni di artisti contemporanei, presentati dalle gallerie che espongono in Fiera.
Il tema centrale di questa edizione è il collezionismo d’arte, analizzato in tutti i suoi aspetti, nel corso di quattro convegni, ospitati nel nuovo spazio Art Talks, venerdì 23 e Sabato 24 Gennaio e al MAMbo Museo d’Arte Moderna di Bologna, Domenica 25 Gennaio, con l’intervento di ospiti italiani e internazionali.
Importanti premi dedicati alla giovane creatività vengono presentati in Fiera, sabato 24 gennaio presso lo spazio Art Talks.

Un grande progetto di live media show viene presentato in occasione di Arte Fiera dalla Galleria Contemporary Concept in collaborazione con il Teatro Auditorium Manzoni.
Si tratta di un progetto che cerca di allargare i confini dell'arte verso forme d'interazione con il mondo dell'elettronica, miscelando musica e immagini, performance, teatro e video installazione. Tra queste il live media, la modellazione audio e video in tempo reale, è diventato uno snodo centrale d'attuazione per ambiti disciplinari ed applicativi molto diversi fra loro. Negli spazi della Galleria Contemporary Concept che si apre con spirito innovativo a forme di arte al confine tra generi e tecnologie, verranno proiettati dei video selezionati dagli artisti invitati. Nella sede prestigiosa del Teatro Manzoni invece, in un'unica imperdibile serata, verranno presentati i live media show. Nel caso di STUDIO AZZURRO si tratta di un progetto autonomo prodotto e realizzato per l'occasione, mentre nel caso di GIAN LUCA BECCARI e ROBERT GLIGOROV si tratta di anteprime in forma live media, di opere musicali e visive che gli artisti stanno ultimando.

INAUGURAZIONE LIVE MEDIA SHOW Sabato 24 gennaio ore 21.00 ingresso 10 ? - durata 1h 30'

presso il Teatro Auditorium ManzoniVia Dè Monari, 1/2 Bologna

OPENING INSTALLAZIONE Sabato 24 gennaio dalle ore 22.30 alle ore 00.30

Art White Night presso la Galleria Contemporary Concept Via San Giorgio, 3 Bologna Tel 051 5875311

Numerosi gli eventi e le performance in programma durante questi quattro giorni, che vedranno la città di Bologna trasformarsi in un vero palcoscenico dell’arte.
L’Arte Fiera rappresenta un significativo appuntamento anche per art culture, poiché saremo presenti in Fiera, nello stand di Extrart, con il nostro materiale informativo e con uqbar.ezine (qui la versione pdf per il download), inserto al numero 36 della rivista on paper.

Per informazioni e aggiornamenti sugli eventi in città, visitate il sito

ArteFieraDal 23 al 26 gennaio 2009

Quartiere Fieristico di Bologna

Giovedì 22 gennaioore 15.00 Preview ad invito Da venerdì 23 a domenica 25 gennaio 11.00 - 19.00

Lunedì 26 gennaio 11.00 - 17.00

Arte moderna e contemporanea; giovani gallerie; editoria; librerie; istituzioni Aperta al pubblico.

Biglietto intero: euro 18

Abbonamento 23 - 26 gennaio: euro 30

Acquisto dei biglietti in prevendita su

Ingresso Ovest Costituzione e Ingresso Nord (direttamente dal Parcheggio Michelino, uscita tangenziale n.8)BOLOGNA CONGRESSI

Convention & Travel

P.zza Costituzione, 5/E - 40128 Bologna

Tel. +39 051 6375111 - Fax +39 051 6375149


Silvia Macchetto Tel. +39 334 6931534


Isabella Bonvicini Tel. +39 051 282261


Ilaria Schelotto Tel. +39 010 2725048

Paola Paletti Tel. + 39 02 72023535

FONTE: Exhibart newsletter

giovedì 22 gennaio 2009

ARENA: Alan Sondheim

uqbar. media art culture e Rinascimento Virtuale
Vi invitano all'apertura di /Invite you at the Opening of

Alan Sondheim aka Alan Dojoji

Friday, January 23 - Sunday, January 25, 2009
(10 PM CET - 01 PM SLT)
ARENA EX.IT slurl: (

Debris Field is composed of all the objects I have worked with for the past eight months in Odyssey; it's an archaeology of one site by another - an archaeology that constructs something new out of the ruins.

It's not ruins: It's compressed history. It's a history of compression, of textures, of objects, of mistakes, of failures, of errors, of misery, of language/sex/body, of avatar sheave-skin. It what happens when an insomniac gets hold of a virtual world.

Architecture for a new year:
- shapes matter less than the comfort that coheres within them.
- outside assume vagaries and opposition.
- architectures as transitional objects.
- living within the teddy-bear.
- in the Second Life installation: dynamic micro-architectures of
- deconstruction and enclosure.
- no entrances, no exits: one appears, disappears.
- what constitutes coming and going are virtual particles = people.
- virtual to the extent that one passes through doors and walls: one passes through flats, nodes, and textures. nothing is comfortable when the transitional turns on you.
- Second Life = transitional object = preparation for virtual life.
- real life = virtual life; body = inscription; wryting = body; - uncanny = inscription; world = word; word = idiotic.
- micro-architectures of the visible: setting up the camera image just so: harboring time of day, weather, height, distance from avatar or avatar viewpoint, location beneath the ground or water surface or clothing, location in collusion with sheave-skin, moment of capture = arrangement of objects in flight.
- micro-architectures within objects in flight: buildings escaped from occupants, homes escaped from families, dwellings escaped from inhabitants, bodies escaped from inscription.
- bodies escaped from inscription: debris of the body, abjection.
- abjection in micro-architecture: no place to sit, no place to lie: an avatar
never lies. no place to sleep: an avatar never sleeps; no place to declare: an avatar tells the truth.
- coordinates, program, language, protocol, code, alphanumerics,binary oppositions: the truth of anything unforsaken in the saying of it.- micro-architectures: between code and architecture.

For Arena installation in Second Life:
1. Dropping those objects which have been taken - piled, flight: every- thing flees, there's always clear space.
2. Physical objects: non-phantom, but dropped, held in position, but whatever for?
3. Something tawdry, indigestible.
4. Flight to such a degree that they soon tunnel out of site (for most settings), head out of world - the site has to be _tended,_ constantly refurbished. Tended = a tendency to _disappear._
5. To work on _inpenetrable_ sound.
6. To work on transparent non-phantom objects: another position.
7. Intensities as things meld into one another - in the form of a debris field.
8. Debris field = Gaza-slaughter. (title?)
9. Particulation of objects.
10. Object rings with internal physical objects can't get out.
11. None of the above.
12. Try and reach 4098m with pile. (Got to 2327.)

How to view here and in the Odyssey show

1. Try turning the glow off. Go to preferences, graphics, and uncheck basic shading, if it's on. Basic shading seems to use up more resources than anything else with the rendering engine. You can also set things like rendering distance; the lower the distance, the faster the loading.
2. Turn the video media button off. This on the lower right-hand corner of the screen. If you turn it on, the texture-mapping consumes a huge amount of resources. On the other hand, the audio for the parcel (the audio button) runs fairly lean.
3. If you find the space too cluttered to enter, try flying in.
4. If you find flying in too cluttered, fly higher, and drop in. There is a dome in the center of the space which you can enter.
5. Most objects on the ground level (and some beneath the ground, on the seafloor) will flee from you - what looks crowded from a distance might well clear out.
6. If it clears out, look up - you'll see all sorts of things above you.
7. Fly vertically to see the rest of the exhibition. If you can't fly as high as you want, click control-alt-d, which opens up an advanced menu. Open the menu and get rid of camera constraints. You can then move the camera at a great distance from your avatar body - your viewpoint moves independently, and you can move at least to the top of the exhibition, which is maybe a mile or so up, SL measurement.
8. If you get stuck anywhere, teleport back in.
9. Try moving inside the objects; the interior textures are often different from the exterior ones (this is almost always the case with the spheres).
10. You can push objects vertically into the sky by moving beneath them and flying; they flee upwards.
11. You can see the exhibition 'differently' by using the advanced menu, going to render, and then looking for info - clicking on any one of the info options will give you different viewpoints.
12. You can often sit on moving objects, which will whirl you around; if you sit on an object that moves vertically as a result of your proximity, you can ride it up. When you stand up again, you can fall down back into the space. The riding height seems to be around 4098 SL units, but unless you have a flight bracelet or feather, you probably won't go that high.
(Gaz can go anywhere.)
13. Moving about on the ground level, keep the sound turned on (lower right), and you'll hear a variety of songs about SL and language. These mix with a number of looping sound modules embedded in the space.
14. Go to shortcuts for all sorts of rendering possibilities; most of these are also available in the menu or advanced menu.
15. If you've been moving around SL a lot, go to preferences, and empty your cache; this might speed things up. You'll have to restart SL again.
16. If you see a sign for teleporting, try it. Sometimes it will lead back to the ground level, sometimes to the seabed, sometimes to a skysphere. All of these locations have clickable objects which will take you else- where (or back to the same space but at a slightly different location). You might have to right-click on the object, then click on teleport - or you might just left click - it depends on the object.
17, Try different 'lenses' - click on control-8 to make the image wide- angle, control-9 to return to normal, control-0 for telephoto. Repeated clicks work as well - with control-8 you can create extreme distortions.
18, Try moving into 'small' spaces and look about. You can save snapshots of anything you see, on your hard drive.
19. That's about it. The general idea is to run lean, fly about, teleport back if you're stuck, play with the controls. The architecture is constantly changing and deconstructing itself – play.original exhibition

martedì 20 gennaio 2009

Incontro con Philiph Rosedale

Ieri sera, in Second Life, io ed altri residenti abbiamo assistito in streaming all'intervista di Robert Bloomfield-Metanomics a Philip Rosedale.
Durante il collegamento molte le domande e le considerazioni dei presenti sullo stato di SL e sul suo sviluppo futuro.
La chat che si è generata durante l'incontro con Rosedale è allegata a questo post in art culture

lunedì 19 gennaio 2009

Cheen Pitney

uqbar. media art culture e Rinascimento Virtuale
Vi invitano all'apertura di /Invite you at the Opening of

Cheen Pitney aka Kurt Reichel

Monday, January 19 - Wednesday, January 21, 2009
(10 PM CET - 01 PM SLT)

ARENA EX.IT slurl: (

Blog: Cheen Pitney's PEACEFOOLS

domenica 18 gennaio 2009

L'arte tra mondo reale e Second Life

ARENA: Chi5 Shenzhou "Pixellust"

Si sta svolgendo su Facebook una discussione sull'arte, in una nota pubblicata da Marco Minghetti.
Io credo che la posizione di chi opera all'interno del circuito dell'arte sia molto più avanti, rispetto a quanto si evince dai commenti.
Prima di tutto, non esiste differenza fra Sl e RL e l'interazione fra mondo reale e virtuale è iniziata da tempo.
Si prenda visione dell'intervista di Giuseppe Stampone a Derrick De Kerckhove sull'arte globale e si capirà come il loro punto di vista superi la contrapposizione RL/SL.
La stessa mostra Rinascimento Virtuale ideata e curata da Mario Gerosa al Museo di Storia Naturale a Firenze, ha dimostrato che non esistono muri divisori tra i due mondi.
SL offre possibilità enormi rispetto all'arte e coloro che sono interessati a capire, non solo a sfruttare il fenomeno a fini giornalistici, lo sanno bene e sono vigili e attenti più di quanto non si immagini.
Le realtà artistiche più significative di SL, nella maggior parte dei casi, provengono da esperienze RL.
Arena sta mostrando artisti di qualità alta, di cui art culture sta portato alla luce i contenuti, condividendoli nel suo network (che va dal Ning a Flickr a Facebook), con la comunità che gli si è raccolta intorno e con la comunità più vasta della rete.
Stiamo da tempo pensando all'organizzazione di una iniziativa da realizzarsi a conclusione di Arena, che veda riuniti, oltre a tutti gli artisti che vi hanno preso parte, anche le personalità del mondo dell'arte e del mondo giornalistico attente e consapevoli rispetto ad un fenomeno ormai metabolizzato e pronto ad essere indagato
in maniera seria e sistematica.

giovedì 15 gennaio 2009

ARENA: David "DC" Spensley aka DanCoyote Antonelli

uqbar. media art culture e Rinascimento Virtuale
Vi invitano all'apertura di /Invite you at the Opening of

David "DC" Spensley aka DanCoyote Antonelli

Thursday, January 15 - Saturday, January 17, 2009
(10 PM CET - 01 PM SLT)
ARENA EX.IT slurl: (


DanCoyote Antonelli:

The avatar DanCoyote was created as the proxy for David “DC” Spensley in the virtual world of Second Life. The name DanCoyote is derived from Cervantes’ Don Quixote and in honor of a coyote that Joseph Beuys lived with for a time at the René Block Gallery in New York during his 1974 action, “I like America and America Likes Me”.

DanCoyote’s costume is intended to be simple and low bandwidth, placing the emphasis on work outside of the avatar. Each detail of DanCoyote’s garb, however, has significance. Yellow and black are high visibility colors and also the official colors of the City of San Francisco. The gold bands on his arms and legs symbolize a release from the bonds of gravity and physicality. The wand in the left hand is called a “caduceus”, which refers to the transformational nature of the Greek god Hermes. Caduceus .03 is also a one of a kind virtual tool, custom programmed to project commands to metamorphosize objects and installations from a distance.

DC Spensley:

An alumni of the San Francisco Art Institute, DC Spensley has lived and worked in Northern California since 1986. Spensley wears the hat of writer, director, cinematographer, composer, performance artist and most recently has appeared as the avatar DanCoyote Antonelli in the virtual reality simulation of Second Life. While most people jealously guard their pseudonymity inside this alternate reality, Spensley attempts parity in both worlds and has exhibited internationally at the ZeroOne/ISEA conference in 2006, the Dutch Electronic Arts Festival 2006 and Ars Electronica 2007.

About the work on exhibition at ARENA:

I call this grouping "Recent Retrospective" because it contains art from different bodies of my work done in the last three years as an artist in residence in the virtual world.

Most prominent is the nearly kilometer tall assembly entitled "Drawing". Drawing is neither a drawing or a sculpture, but is rather a conceptual tongue and cheek reference to both kinds of artifact that ironically cannot exist in simulated space. Drawing informs viewers about scale in the virtual world in a way unlike most constructions found in SL by negating the figurative context and pointing out the "avatar powers" of a viewer. This encourages a viewer to become more aware of their configuration options and invites the viewer realize a new level of proficiency in experiencing simulated space. The mute monoliths animate glacially, too slow for the eye to perceive and foreground a sense of the volume of space displaced by the work. Viewers take a chair conveyance available at the "Drawing" sign which carries them up to a vantage point high about the sim.

Also on display:

"Pixel Board", a binary feedback social sculpture. Viewers click squares on the smaller panel and this input appears as output on the larger display, which is then visible from a great distance. Pixel Board explores the social urge to leave graffiti, but in a one-bit, black and white icon format.

"Mutant Hossies". These three weird quasi-horse artworks are remediations of a classic sculptural form and displayed like bronze statues on marble platforms. They are a "mashup", or reworking of an original horse sculpture give away free by Second Life artist Nomasha Syaks. Mutant Hossies have embedded scripting that causes subtle animations to play that support the fanciful variation of horse depicted.

"Tomb Maze" Tomb Maze uses embedded reflexive scripting to create a tomb-like maze that people are encouraged to navigate their avatar through. The maze is possible. It does take some patience, so there is always the chance an impatient avatar might become trapped and need to find other means of escape!

"Very Silly Militude" is not what it seems. Very Silly Militude characterizes the quality of verissimilitude superficially. But when set to midnight, a viewer walking through will see light cast in unusual ways. The exterior layer of the work is a deliberate misdirection and while it appears to be about the movement of heavy objects in space, it is really about the way light is occluded by them.

Thanks for viewing!

David "DC" Spensley is DanCoyote in SL

About the Sixth Finger...

The sixth finger symbolizes the computer cursor, or mankind's intervention into the metaverse (VR). The black hand itself attempts to make the connection between pre-historic artists who painted their own handprint on the walls of caves over 16,000 years ago and the similar efforts of artists today in the virtual world.

martedì 13 gennaio 2009

ARENA: DB Bailey

uqbar. media art culture e Rinascimento Virtuale
Vi invitano alla performance di /Invite you at the performance of

DB Bailey /David Denton - PAPAL APARTMENT

Tuesday, January 13 - Thursday, January 15. 2009
(10 PM CET - 01 PM SLT)

ARENA MdM slurl (


DB Bailey in Second Life is David Denton, architect in real life. David’s architectural practice includes commercial buildings, urban planning, public art, and exhibition design.
His office/studio is located in Marina del Rey, California ( Before starting his own architectural practice David was a principal in other firms, including the office of Frank Gehry.

In Second Life David has been designing projects for almost two years, including a conference center for an international management consulting firm. Currently David is building a large mixed-use project called LOCUS ( ), which is devoted to strengthening the connection between the SL and RL art and design worlds. This project – a community of creative people – is nearing completion and will feature such artists as Robert Wilson and Daniel Maltzman as well as others.

David was featured in a recent article in The New York Times about architecture in the virtual world. Many articles and blogs have been written about his work. (Google “DB Bailey.”)

domenica 11 gennaio 2009

ARENA: Sarima Giha

uqbar. media art culture e Rinascimento Virtuale

Vi invitano all'apertura di /Invite you at the Opening of

Sarima Giha aka Maria Luisa Grimani

Sunday, January 11, 2009 - Tuesday, January 13, 2009
(10 PM CET - 01 PM SLT)

ARENA EX.IT slurl: (

Curriculum (Italiano)

Maria Luisa Grimani risiede ed opera a Monza, Italia
Nel 1975 inizia la sua attività artistica con una ricerca sul gioco e la sua interpretazione visiva. Nel 1976 Bruno Munari pubblica nel suo libro La scoperta del quadrato (Zanichelli) alcune opere di Grimani della serie “partite di scacchi”. Dal 1977 intraprende un lungo itinerario di ricerca sul rapporto tra parola e immagine lavorando sulla interpretazione semiotica del testo poetico. Dal 1981 inizia i “Natali”, una ermeneutica visiva del rapporto tra natura, uomo e divinità. Sono versi di Ungaretti, T.S. Eliot, Borís Pasternàk, Luis de Góngora, G. Apollinaire, R.M. Rilke. Nel 1985 lavora sul romanzo di Italo Calvino Se una notte d’inverno un viaggiatore realizzando dieci tele esposte in un primo tempo alla Villa Reale di Monza, poi al Palazzo dei Diamanti a Ferrara. Allarga inoltre la sua ricerca ai rapporti tra musica e immagine per approdare al segno-gesto ispirato in particolare alla danza e alla filosofia Zen. Nello spirito di quest’ultima presenta all’Istituto Italiano di Cultura di Lisbona nel 1990 una mostra dal titolo “Il vuoto meraviglioso”. Nel 1993 è al Salone dell’aeronautica di Parigi con i suoi quadri ispirati alla visione della terra dalla luna, e l’anno successivo è al Museo dell’Aeronautica Caproni di Trento con una mostra dal titolo “Mappaluna 3x3”. Sempre nel 1994 espone il suo “Giardino dei segni” al Festival Oriente Occidente di Rovereto. Nel settembre del 1996 presenta Dialoghi Visionari con Laura Pitscheider al Museo d’Arte Contemporanea di Rovereto e nel 1998 a Pietrasanta nel Chiostro di S.Agostino. Nel 1999 è ancora a Rovereto nella Biblioteca Civica per presentare “Quadri per una biblioteca”, quaranta opere che “traducono” in immagine opere letterarie e testi poetici.
Nell’agosto del 2002 scopre la “espressività degli alberi”, insita nelle diverse essenze, nelle loro strutture, venature, nodi. Espone quindi una serie di opere su legno, con tecniche pirografiche e miste al Centro Ladino di Ortisei. Queste opere sono presenti on line in un Museo americano Nell’ottobre del 2002 partecipa alla manifestazione Lire en fête a Marsiglia con una serie di libri d’artista. Nel 2004 è ospite di Italia Nostra al Parco di Monza con la mostra “ l’albero racconta” accompagnata dall’arpista Elena Cordublas, con lettura di testi poetici,.
Nel 2007 inizia un dialogo su Internet con il gruppo Password, a cui partecipano poeti ed artisti che risiedendo in ogni parte del mondo lavorano on line con il personal computer, gli uni scrivendo poesie, gli altri traducendole in immagini, con mostre a Graz, Pechino, Washington.
Nello stesso anno presenta nella Galleria Civica di Monza “Il libro che suona che canta che balla” una panoramica del suo lungo lavoro d’artista, che accoglie anche le ultime opere elaborate al computer, presentato con quattro eventi di musica, danza, letture di poesia e creatività.
Nel 2008 è alla Feltrinelli di Monza per la prima mostra del suo avatar Sarima Giha

a.k.a. Sarima Giha risiede e opera in Second Life, Tomcorsan Place, 235.167.32
E’ un avatar nato il 9 settembre del 2007. Aveva uno scopo ben preciso per nascere in Second Life: far conoscere il lavoro artistico di Maria Luisa Grimani alle persone che per divertimento o impegno viaggiano in questo incredibile mondo digitale. Una struttura portante, esposizione permanente creata dall’avatar Core Tatham, svetta verso il cielo con le sue poesie visive, frutto della collaborazione con i poeti di Password.
Terminata la sua prima missione, è partita alla scoperta del mondo virtuale entrando tra le pieghe dei paesaggi, delle sculture e degli oggetti creati dagli avatar, e collezionando una serie di snapshot come “prove d’artista”.
Nascono così nuove poesie e le sue prime “cartoline”, viaggi virtuali e mentali, descritte nel suo blog personale “Il fogliomondo di Sarima”, aperto per raccontare in Internet le sue esperienze.
La sua autobiografia, sempre in evoluzione, è un libro in carta scritto, illustrato e costruito a mano da Maria Luisa Grimani.

Curriculum (English)

Maria Luisa Grimani is an artist who lives and works in Monza, Italy.
In 1975 she began her activity by “translating” chess games in visual design. Bruno Munari appreciated these works and put two of them in his book “La scoperta del quadrato” (ed. Zanichelli). From 1977 Grimani embarked on a long path to find out the connections between word and image by studying in depth the semiotic interpretation of poetic texts. In 1981 she started a series of interpretation of Christmas poems, a visual ermeneutica about the relations between nature, mankind and divinity. She chose lines from G. Ungaretti, T. S. Eliot, R. M. Rilke, G. Apollinaire, Boris Pasternàk and Luis De Gongora. In 1985 she worked on Italo Calvino’s novel « Se una notte d’inverno un viaggiatore “ creating ten works on canvas exhibited for the first time at the Villa Reale di Monza then at the Palazzo dei Diamanti in Ferrara. Then she expanded her artistic research looking for the connections between music and images to achieve a gesture-sign inspired particularly by dance. In 1990 she presented “Il vuoto meraviglioso”, Zen inspired works in Lisbon (Portugal). Grimani was also attracted by the relations between macro and micro aspects of the world. Invited by an Italian Aircraft Company, she created a series of pictures on the vision of the earth from the moon. These works were presented in 1993 at the Aeronautic Exibition Le Bourget, Paris (France). The year after she was invited to an exhibitions dedicated to the 25° anniversary of the moon-landing at the Aeronautic Museum Caproni in Trento, for which she realized three triptyches called “Mappaluna 3x3”. In 1994 she presented her “Giardino dei segni” at the Festival of the Dance Oriente Occidente in Rovereto (Italy). Again, in the Museum of Modern Art (MART) of Rovereto, in 1996, she presented a series of paintings called “Dialoghi Visionari”, together with the artist Laura Pitscheider, inspired by the architectural vaults of an ancient palace. On 1999 she was once again in Rovereto at the Civic Library to present “Quadri per una biblioteca”, paintings inspired by her readings of Calvino, Perec, Pessoa and other writers. In 2002 she realized a series of pyrographic woodworks, trying to interpret the grain and veins of different trees. These works were shown at the Ladin Museum in Ortisei and are present on an American Museum on line. The same year she presented her first series of art-books at the exhibition “Lire en fête” in Marseille (France), invited by the Atelier Vis-à-Vis. In 2004 the exhibition “L’albero racconta” takes place in the Park of Monza invited by Italia Nostra together with a concert by the harpist Elena Cordublas and poetry reading. At the end of 2006 she starts a dialogue on Internet with an international community “Password”, a group of poets and visual artists that exchange poems and images on line: Up to now Password has presented its works in Graz, Austria, in Washington, at the Art Fair of Beijin and next shall be in Milan. In 2007 the Civic Art Gallery of Monza gave her the opportunity of presenting her artistic itinerary including her last works elaborated by the computer, together with four events of dance, music, poetry reading, and creative experiences.
a.k.a. Sarima Giha is an avatar that lives and works in Second Life, Tomcorsan Place, 235.167.32.
She was born the 9th of September 2007. She gave herself an aim: to present Maria Luisa Grimani’s artistic work to people who travel in this digital world and whose sensibility and creativity is particular. A supporting structure, a permanent exhibition created by the avatar Core Tatham, stands out against the sky, showing her visual lines inspired by the poems of password’s writers. Then, she set out to discover this virtual world coming into the details of the landscapes, of the scultures, of the objects created by the avatars and collecting a series of snapshots as “prove d’artista”. New visual poems, picture postcards, virtual and mental travels are described in her personal blog “il fogliomondo di Sarima", born to tell her experiences and adventure in second life.

Presentazione Istallazione

Su Arena call for artists presenterò il mio blog “Il fogliomondo di Sarima” come un’opera unica dedicata a Second Life.
E’ una grande opportunità per me poter presentare in una visione unitaria, una città fantastica, sospesa nello spazio e ondeggiante, dove svettano immagini, parole e suoni. Una pagina in più per il mio “libro che suona che canta che balla”.
In questa fase il mio racconto si fa tramite tra il mondo reale e il mondo virtuale ed è un’opera in continua evoluzione. Non è ancora conclusa ma sta prendendo corpo sotto gli occhi di tutti.
Un blog che si fa città, dove la protagonista Sarima racconta di sé ma molto degli altri, degli avatar, dell’arte, dell’architettura, della vita reale che si specchia inevitabilmente anche nel mondo virtuale nel tentativo di migliorarne la qualità ovunque essa si svolga.
(Maria Luisa Grimani a.k.a. Sarima Giha)

All'allestimento ha collaborato Core Tatham.

venerdì 9 gennaio 2009

ARENA: Wirxli Flimflam

uqbar. media art culture e Rinascimento Virtuale

Vi invitano alla performance di /Invite you at the performance of

Wirxli Flimflam aka Jeremy Turner

Friday, January 9, 2009
(10 PM CET - 01 PM SLT)

ARENA MdM slurl (


Wirxli Flimflam (Vancouver, CANADA) was a co-founder of theperformance art group,
Second Front from 2006-2008.Wirxli also composed and performed for the Avatar Orchestra Metaversefrom 2007-2008.In Real Life (RL), Wirxli has been an avatar performance artist,curator, and writer since 2001, an online performance artist since1996 and an active
music composer since 1992.


mercoledì 7 gennaio 2009

ARENA: four Yip

uqbar. media art culture e Rinascimento Virtuale

Vi invitano all'apertura di /Invite you at the Opening of

four Yip

Wednesday, January 7, 2009 - Friday, January 9, 2009
(10 PM CET - 01 PM SLT)

Photos on Flickr


lunedì 5 gennaio 2009

Gli artisti di ARENA su Nybramedya e su Nova

Nybramedya, di Armando Adolgiso, si interessa ad Arena e nella rubrica Nadir, presenta il gruppo Second Front, dando conto della loro performance “Hardon Collider”. Experiment #2 .
Nybramedya continuerà a seguire Arena e le esibizioni degli artisti

Anche NOVA100 getta lo sguardo su Arena, documentando nel blog "Le Aziende Invisibili" di Marco Minghetti le esibizioni di:

marco Manray
Bryn Oh
luce Laval

Tutte le immagini di Arena su Flickr

sabato 3 gennaio 2009

ARENA: comet Morigi

This is the work where you see a museum, not what you see IN museums.

Meanwhile, you can view the terraformed island FROM museums, NOT AT museums.

uqbar. media art culture e Rinascimento Virtuale

Vi invitano all'apertura di /Invite you at the Opening of

comet Morigi "THE SUNKEN MUSEUM"
Sunday, January 04- Tuesday, January 06. 2009
(10 PM CET - 01 PM SLT)


My work is made of the basic elements of the inworld - its land, clouds, water, and trees. That exists inside/outside a gallery. I do Art to consider what is OutWorld/InWorld, through consideration of what is outside/inside. "inworld" is a type of "real life," and not its opposite, that is the only premise of Art/life to be inworld. I hope the day will come when the residents will be proud to live inworld, free from a business dictatorship.
私の作品は、「この世界」の基本的な要素(地面・雲・水・木)から成って、ギャラリーの内外を貫く。私が美術することは、内側/外側を問うことを通じて、「この世界」と外界の関係を問うことだ。「この世界」inworld は、「現実の生活」RLの一種であり、対に無い。その前提だけが、「この世界」に美術/暮らしを在らしめる。住人が「この世界」に暮らしていることを誇り、私企業による独裁から自由である日の訪れを、望む。
Born and live in Tokyo, Japan. Exhibited in many outworld galleries and museums , and wrote essays in books.Inworld, her work has been supported by galleries Overfoto, Man-a-hatta, Weard Wealty's, Limoncero, Lars', and Gotter's.
東京生まれ・東京在住。外界(ourworld)の美術館・ギャラリーで展覧会多数。評論の寄稿・刊行。インワールドでは、次の6ギャラリーより支援を受けている。Overfoto、Man-a-hatta、Weard Wealty、Limoncero、Lars、Gotter。 日本語ブログ