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Heart Of The City Festival Highlights Emerging Indigenous Art And Fashion In Edmonton – Toronto Star

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(ANNews) – On December 12, Heart of The City showcased emerging Indigenous talent in the city of Edmonton. The event was well attended by newly elected Edmonton Mayor Amarjeet Sohi and his wife, Sarbjeet Sohi. Jodi Calahoo Stonehouse was emcee for the evening, which included a deer beef stew for guests by Vee Point of Nék̓em!

“I am proud to support Edmonton’s Indigenous community,” stated Mayor Sohi. “In the new year I hope to do more for Indigenous people living in the city.” He also stated that he aims to invest more into Indigenous art and culture and he emphasized the vital role that Indigenous people play in Edmonton.

Heart of the City Festival Society of Edmonton is a non-profit organization whose mission is “inspiration and opportunity through the arts.” Their vision is to be “one of the most important free music and arts festivals in our city, dedicated to promoting and supporting local, original and emerging artists in the heart of Edmonton.”

Community partners included Mike Siek and Fay Fey Dunaway from Heart of the City’s board, Epcor’s Heart and Soul Fund, The Edmonton Arts Council, McCauley Community League and the venue was provided by the Parkdale Cromdale Community League.

The event was organized by Corinne Demas, who is part of Heart Of The City Music Festival. She said her group was looking to highlight Indigenous fashion and art in Edmonton. The group partnered with Edmonton’s emerging Indigenous talent, art and fashion community to create a warm and welcoming atmosphere for the urban community.

Demas said that the event was The Heart of the City Festival’s first Indigenous Fashion Show, clothing drive and community dinner.

She was able to highlight three emerging fashion designers – Heather Bouchier, Rhonda Johnson and Erin Meetoos.

Heather Bouchier said she has a great relationship with Corinne Demas. “We discussed the event over a campfire and she wanted to do something with Indigenous art. Heart of the City Music festival is usually held in the summer but due to covid -19 they had to change things up,” she explained.

During the show Bouchier featured her up cycling line that incorporates fabric by Indigenous fabric designer Stephanie Gustafson. She described her up cycling line as having been inspired by 90’s grunge and the use of sheer fabric.

“I take inspiration from my Cree culture but I also use western techniques,” said Bouchier.

In speeches given at the event, Bouchier explained that she grew up poor and low-income. “I grew up being told not to waste anything. Growing up I did a lot of thrift shopping and still do to this day – it is part of the inspiration behind up cycling.”

Rhonda Johnson, owner of Acahkos Designs who is originally from Treaty 8 and the community of Cold Lake said she’s been designing most of her life.

“My style is Indigenous Glam,” said Johnson. “I’ve been designing most of my life. I graduated from fashion and design school in 2016.”

She explained, “I am a mother and raising a family while pursuing a career in fashion. After taking some time off during COVID-19, I’m emerging back into the fashion community with a new line.”

She describes her line as infusing traditional Indigenous and contemporary designs. “I use a lot of ribbons with modern indigenous aesthetics.”

Johnson said that “we learn a lot from our culture orally and from our elders but we need to learn professionalism too – such as, our elders can’t teach us how to draft a pattern.”

Erin Meetoos, was the third designer to showcase her work and in an online video provided by Heart of the City, she said, “I’ve been designing custom powwow regalia for the past fourteen years…but this was my first fashion show and I was excited and very nervous.”

Meetoos explained that her regalia designs are wearable and for Indigenous women; nothing too high-end but pieces you can wear for galas or events.”

The event also included Indigenous beauty businesses such as “Beauty by Jacqueline” owned by Jacqueline Buffalo.

“I applied lashes, touched up brows and make-up for the models,” said Buffalo. “I agreed to come and help because I am friends with the designers and my business is fairly new so I’m willing to get out there and help promote business.”

It’s such an amazing experience to be a part of the indigenous fashion community, added Buffalo. “I absolutely love the people I have met throughout the years. Without them it would be hard to continue to do what I love, which is to be creative.”

Darrell Brertton, a prominent Indigenous powwow dancer and entrepreneur who modeled at the show said, “It was such good medicine! Loved the energy from the models to the designers to even our special guest the mayor of the city of Edmonton! It’s an honour to model these amazing pieces because there is no doubt in my mind these designers will be well known across turtle island.”

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The LA Art Show Returns With an Environmental Focus – Surface Magazine

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Environmental issues have taken on a particular urgency in the past year. Climate scientists have warned that if nations fail to immediately pivot from fossil fuels, catastrophic consequences await. Artists frequently reckon with this grim reality, with many expressing skepticism—if not outright anger—at climate inaction, which has resulted in the destruction of coral reefs, intense wildfires, rising sea levels, and the extinction of beloved animal species. The issues surrounding climate change have become top of mind for The LA Art Show, which is kicking off the city’s eagerly anticipated 2022 art season with a newfound ecological lens thanks to the return of DIVERSEartLA.

This year’s edition, which kicks off today at the Los Angeles Convention Center, sheds light not only on how artists represent the environment in their work, but how humanity’s role factors into the equation. “DIVERSEartLA 2022 will encourage visitors to confront the complex challenges of our global climate crisis and imagine potential solutions,” says Marisa Caichiolo, the show’s curator, who encouraged participating art museums to partner with science and environmental institutions. “This topic is at the heart of a growing number of art narratives, including exhibitions built with high-tech innovations designed to inspire artistic appreciation and the desire to respond to environmental challenges, reinforcing the value of translating environmental advocacy into art.” 

Among the programming highlights is “Our turn to change,” a worry-inducing video installation by Andrea Juan and Gabriel Penedo Diego and presented by the Museum of Nature of Cantabria Spain that awakens viewers to melting polar ice caps that are causing sea levels to rise drop by drop. The Torrance Art Museum, meanwhile, presents “Memorial to the Future,” a collaborative piece curated by Max Presneill that centers Brutalist architecture as a failed model of idealism while highlighting the immediate need for environmental action. And in “The Earth’s Fruits” by Guillermo Anselmo Vezzosi, waste unexpectedly takes on a dignified second life. 

The LA Art Show opens at the Los Angeles Convention Center, South Hall, from Jan. 19–23. 

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300-pound local art heist took 4 minutes | News | pentictonherald.ca – pentictonherald.ca

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300-pound local art heist took 4 minutes | News | pentictonherald.ca  pentictonherald.ca



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At Art Basel, FLUF Haus Breaks Barrier Between Metaverse And Physical World – Forbes

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Last month, while the cultural elite wrapped up Art Basel with the usual lavish purchases of Keith Herring paintings and Daniel Arsham decayed sculptures, a different crowd had gathered just a couple blocks down the South Beach coastline. The world’s first “Metaverse star” was about to perform.

FLUF Haus, the first in-person gathering for a community of virtual 3D Rabbits (known as Flufs), was hosting a concert for the music star known as “Angelbaby”—a large tattooed pink rabbit whose identity, appearance, and music had been created entirely on the metaverse.

Despite Angelbaby’s entirely virtual existence, some 600 people—largely stakeholders in the NFT community, FLUF World—had flown from across the globe to witness the in-person debut. A projection screen overlooked the dance floor where guests including Trinidad James and Boyz Noise commingled amidst fire breathers and models. Screens scattered throughout the venue displayed various Fluf avatars, broken up by animated scenes from FLUF World.

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The event—which felt like a bit of a coming out party for newly created FLUF World—underscored a crucial, often overlooked detail of the booming NFT space: community.

“The most important thing to me with FLUF World was the Discord.” said Robert Hellauer, a 33-year old financial analyst who became a Fluf holder in September.  “I went to all the Discords, and all the metaverses have a different vibe…And you could just feel the energy with this one.”

Like the notorious Bored Apes or CryptoPunks, the value of a Fluf isn’t just as a piece of digital art, but as a digital identity. Much like how Supreme or Thrasher did for skaters, NFTs codify culture into appearance, branding one’s allegiance to virtual clans and online subcultures. Buying into a community, literally, helps carve out one’s metaverse identity. FLUF World recognized this early on, and decided to intentionally avoid the toxicity present in many virtual worlds, instead focusing on creating a dynamic and inclusive world to house their digital animal characters.

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This appeal of intentional community has seemingly paid off, as many at Fluf World expressed having previous interest in the metaverse, but hadn’t yet found a space that appealed to them.

“These guys think about things other guys don’t,” says Tom Soler, a software manager attending the event. “Decentraland launched way ahead but it feels very empty. These guys have thought through what is the most engaging way to create a community for people who want to hang together.”

This engagement is reflected in Fluf World’s 42,000 member Discord where “#new-fluffers are greeted with a reminder to “treat each other with respect”, and after searching through the Fluf Radio and sales channels can navigate to the “Above Ground” section, to find channels such as #health-and-wellness, and #time-to-talk.

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That’s not to overlook the draw of Fluf World’s impressive technology and artistic detail. Rather than use 8-bit images or 2D cartoons, Fluf World features fully 3D characters designed by animators who’ve worked on projects including Avatar and the Lord of The Rings trilogy.  Characters hover over customizable, multi-dimensional environments—which include both personalized character music and location based-backgrounds that range from a desert to futuristic city (collectively known as “scenes and sounds”). 

Along with the 10,000 original rabbit ‘Flufs’, FLUF World introduced their second line of characters —known as Party Bears— of which all 10,000 sold out in under 10 minutes. Beyond avatars, stakeholders can also purchase virtual real estate known as “burrows”, and even AI-brained spiders (known as “thingies”) which use pattern recognition to create and mint their own new virtual art. All of Fluf World’s characters constantly evolve, and often contain hidden attributes that develop and reveal themselves over time.  

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Together, this technology, art, and community channels weave together a digital world that shows promise of true depth; an online space with the potential to create a self-perpetuating cycle of growth based on bottom-up user participation. 

“When it comes to other [metaverse] platforms, it’s all about roadmaps,” says FLUF World superfan Nick Synodis, (who goes by the handle Knux). “Fluf is in a league of its own. Its competitor is Spotify. It’s Facebook.”

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A Record Label For The Metaverse

One of the most promising examples of FLUF World’s potential to be a truly dynamic multi-channel world is their partnership with NFT music collective, Hume. 

Described by co-founders Jay Stolar and David Beiner as the “Web3 version of a record label,” Hume is the NFT music minting service that allows Flufs to commercially own and display exclusive music snippets in their character environment. With a tagline of “we are hume. we are many,” Hume has the most active twitter following in the Fluf World community, acting as both differentiator and hype builder for the virtual world.  

“We’re creating music-driven Metastars,” says record producer Gino the Ghost, the event’s emcee and Hume evangelist. “The next Billie Eilish or Drake is gonna be in the metaverse.” 

Asked what made him interested in migrating his experience from the traditional music realm, Gino (who has composed music for the likes of rapper Saweetie) expressed both an ardent fascination with FLUF World, as well as sharing a commonly held frustration with the revenue structure of the music industry.

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​​”What I primarily do, I work with the pop side, the rap side, the dance side —and they all want to know,  ‘How do I get into NFTs?’ All these creatives are so tired of the labels and the royalties—and music NFTs are a way out that isn’t cash-grabby.”

With the creation of their metaverse star Angelbaby, Gino and the founders at Hume are optimistic that Web3 could create a paradigm shift not just in how artists generate revenue, but how fans can benefit from their artist loyalty. In this case for instance, by financially supporting Angelbaby’s origin story (which involved being lost in the desert after being transported 1000 years back in time), fans received some of Angelbaby’s original minted music. This music in turn grows in value as Angelbaby’s popularity rises. 

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“People who helped Angelbaby in the desert, now they all own a piece of their song that is worth $400-500. Over time this increases the value of their own NFT,” says Beiner.  

Gino explains the relationship a bit more simply: “It a way for fans to make fucking money supporting their favorite artists.”

World Competition, or Synergy?

As Gino’s introduction wraps up and Angelbaby’s giant character is projected onto a screen in front of a sea of cellphone recordings, one aspect of FLUF Haus becomes immediately clear: it’s surprisingly normal. 

For all the talk of Web3 and NFTs the metaverse, the event feels much like any other concert—with people dancing in close quarters, and having a good time with people they know. Save for the fact that the performing artist is a 13-foot tall pink rabbit with no known human identity, you’d be hard pressed to know this was an NFT event. 

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And in a way, that’s kind of the point. As virtual representations of ourselves continue to grow—and the metaverse becomes increasingly populated—so too inevitably will our online identities. But that doesn’t mean we will forgo our personalities in the physical world. Like gamertags, or bitmojis or animal crossing islands, spaces like FLUF World will add another layer onto our beings that enhance, not replace our existing lives. FLUF Haus was trying to demonstrate that connection to the world. 

“The meta verse is going to be this amazing digital space,” says Knux. “But the ultimate goal of it is to live in both worlds.”

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