DAKAR — Five towering wooden figures dwarf visitors to the “Lend Me Your Dream” exhibition at Dakar’s Museum of Black Civilisations. The sculptures of fire-darkened cedar stand in a circle, as if deep in conversation.
The imposing work by Ivorian artist Koko Bi is meant to show the strength of Africans outside their homelands. It also echoes a central goal of the ambitious traveling show: to forge stronger cultural understanding between Africans within Africa.
To this end, organizers amassed what they say is an unprecedented number of works by around 30 prominent contemporary African artists for the first pan-African art exhibition to tour the continent.
“Too often, the trajectories of artists from Africa have been built through exhibitions in Paris, Berlin, London, New York … ,” senior curator Yacouba Konate says in the introduction to the show.
In contrast, this project launched in the Moroccan city of Casablanca last June and will end in Marrakech later in 2020, after touring south via Dakar, Abidjan, Lagos, Addis Ababa and Cape Town.
The drive to redraw the map of contemporary African art comes as African governments step up pressure on Western museums to return artifacts seized during the colonial era. Around 90% of Africa’s cultural heritage is believed to be held outside the continent.
The more than 100 artworks in “Lend Me Your Dream” are in a range of media, from photography and collage to painting and sculptures of wood, metal or salvaged materials.
Some tackle issues including migration and the legacy of colonialism. Burkinabe artist Ky Siriki’s sculpture “Africa facing its destiny” shows a white couple offering briefcases of loans to a group of black people in exchange for raw commodities.
Other pieces are more abstract, such as Algerian Yazid Oulab’s untitled paintings of tendril-like black, white and grey lines or the works by Senegal’s Viye Diba that incorporate vivid scraps of traditional wax cloth.
The artists’ countries of origin are not mentioned in the descriptions next to their work, as if encouraging the viewer to see the art in a continental rather than national context.
Senegalese painter Soly Cisse, whose oils are also featured, said he liked that the exhibition was adding works of art as the tour progresses.
“It is a journey that we are doing together. That is the dream actually,” he said. “We are in an idea of seduction, of dialog, of communication, of sharing.” (Reporting by Christophe Van Der Perre and Alessandra Prentice; Writing by Alessandra Prentice; Editing by Aaron Ross and Alison Williams)
The LA Art Show Returns With an Environmental Focus – Surface Magazine
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.
300-pound local art heist took 4 minutes | News | pentictonherald.ca – pentictonherald.ca
At Art Basel, FLUF Haus Breaks Barrier Between Metaverse And Physical World – Forbes
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.
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.
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.
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.
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.”
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.
”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.
“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.
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.”
Vaccination plus infection offered most protection during Delta surge, U.S. study shows – CBC News
Scientists study trajectory of meteorite that landed in B.C. in October – Red Deer Advocate
Xi resets policy priorities to boost economy – The Tribune India
Silver investment demand jumped 12% in 2019
Europe kicks off vaccination programs | All media content | DW | 27.12.2020 – Deutsche Welle
Iran anticipates renewed protests amid social media shutdown
Business16 hours ago
Leveraging LinkedIn to Get a Job – Part 1
Health14 hours ago
Grey Bruce Health Services Has Highest Number Of COVID-19 Patients Yet – Bayshore Broadcasting News Centre
Tech16 hours ago
Samsung unveils Exynos 2200 chip with Xclipse graphics based on AMD RDNA 2 – MobileSyrup
Economy16 hours ago
'Throwaway economy' thwarting climate goals: report – FRANCE 24
Science14 hours ago
Asteroid 2022: how big is Nasa tracked asteroid which passed Earth, and could it hit our planet in the future? – NationalWorld
Health21 hours ago
British Columbia extends COVID-19 curbs until February, gyms allowed to reopen
Business19 hours ago
Tight Physical Crude Market Points To Higher Oil Prices – OilPrice.com
Sports22 hours ago
Tata Consultancy replaces Scotiabank as sponsor of Toronto Waterfront Marathon – The Globe and Mail