TANALOIS: SperiMenta e Tanalois Art
presentano
"US&THEM-t...: SperiMenta e Tanalois Art presentano "US&THEM-the re.rebirth of the demon" di Moeuhane Sandalwood From W...
Alo Congrejo of Tanalois Art has translated the interview Nino Vichan took with me into Italian. Great Job and many thanks! Here is the English version forthose of you who do are not as fluent in Italian:
Nino Vichan: What brought you in Second Life?
Moeuhane Sandalwood: I read a lot of things about this world. But for many years I did not download the viewer. When I finally did, I stayed for two days. Everything looked dreadful and I was hardly able to move, like most of us in our first days. It took a second turn another two years later until it finally stuck. Like many of us, I travelled across the grid for many weeks, before I realized that this world holds a huge potential for creative people.
Nino: What is art for you in Second Life?
Moe: Art in Second Life is my means of expression. I can speak my mind in 2D and 3D. In RL my means of expression is words. Here I can tell my stories in pictures. Tiny ones and huge ones. I have hardly any limitations to size or form or color. It is definitely a form of magic, if one can create a little piece of plywood out of air and bring it to almost any form of life imaginable.
Nino: What prompted you to make art in Second Life?
Moe: I don’t remember what the trigger was. I started very early on to zoom into objects very, very closely and experimented with the windlight settings. What came out were photographs that looked like paintings. That fascinated me – and I just went from there. Creating my own scenes or objects, exploring the many options in our build menu. But I have to name one person here, also. Meeting Ally Aeon (nintin) took everything to a different level. Ally bringing me into the Aeonia Artist Group and providing me with feedback, studio space and prims was probably the turning point. So once again: Thank you Ally!
Nino: What inspires your creations?
Moe: Life. Real Life and Second Life. It’s as simple as that. Be it my own experience, the beauty of nature, the brutal side of nature, all aspects of the human life, history, current issues/affairs.
Nino: Are you an artist in rl?
Moe: I am in a creative business, but art in RL is just a hobby
Nino: Is there a site where we can enjoy your creations?
Moe: My newest work can be seen in many galleries on the grid, as I usually create new work for the gallery that invites me. My own gallery, where I show a wide selection of my (mostly 2D) work is on mainland: http://maps.secondlife.com/secondlife/Gariepy/112/211/1995
Nino: What are the creative techniques that you use in your work?
Moe: I use a wide range of techniques. From prim torture, to sculpt, to mesh, to scripting, to SL and RL photography, sometimes altered with gimp. I do like to keep it simple though – kind of a boards an nails approach. Content and message go before design.
Nino: Any projects for your artistic future in Second Life?
Moe: I have a few shows in SL-Galleries coming up, some also with Lilia Artis. But nothing big like “The Machine” on LEA 6 last winter. In the near future I would like to go back to full-sim shows – as RL permits.
7/04/2014
Us & Them - The Re-Rebirth of the Demon
Many years of my adult life I had the feeling that the people of the world started to mature. That they would open up - and start to accept eachother more. That gender, race and nationality mattered less in the relationships between people. National borders became more open and the world in many parts started to grow closer.
But in the past years I started to realize that most of this appears to be wishful thinking. Proof for this, if I needed any, were the elections to the European Parliament. Nationalist parties drew alot of votes in their repective countries. And thus formed the paradox, that in a parliament of a multilateral union the voice of seperatism grew stronger.
Europe is not the only continent, where nationalist movements gathered strength. In fact, it seems that the segregation of the world into smaller and smaller parts is on the rise. And conflicts along national, cultural, religious or even clan border lines increase.
The invitation by SperiMenta and Tanalois Art to show on Solaris Island came at the perfect time.The venue provided me with plenty of space and prims to develop 'Us&Them - The Re-Rebirth of the Demon'.
The installation is essentially a two-way-mirror, which is not apparent at the first glance. Only the explorative nature will be able to see the whole picture.
The installation will be on Solaris Island until the end of July 2014, in case you would like to take a look.
This is the text that accompanys the installation. It is also in the notecard you will find on the landingpoint:
"We lock ourselves into golden cages. Our discussions run in circles. We forget that we are connected. What comes from the outside is evil, they tell us. It wants to take from us, what we paid for with our own blood, sweat and tears.
We have heard those voices before. The false sirens had sung and we had followed. And it gained us nothing. But suffering, death and destruction.
Yet we seem to be ready to listen to them again. Aware that they don’t offer solutions. But their false promises glide down our throats like sweet honey.
It’s not them who will pull the trigger. They might say, thereafter, that they never wanted it to happen that way. But by then, no one will be there to hear.
The Project “Us&Them“, by Moeuhane Sandalwood, is not a work of fiction. It is an image of our time. Taken one of these days in one of those nations. And peculiarly enough: Whoever visits the exhibit, will find him or herself already part of it. Only thing to decide is: Which one in this image is you?"
The opening at Solaris Island on July 2, 2014 was fantastic (Thank you Duna Gant for taking pictures!). Many friends came over - and also many people I hadn't met before. And I think I struck a chord in many of them.
My sincere Thanks go out to Sarabell, Nino Vichan and Alo Congrejo for giving me this opportunity and space. I would also like to express special gratitude to Gem Preiz. He showed me how to perfect the resolution for the 'imaginative curtain' in the center of the piece. Looks magnificent thanks to you, Gem!
More Pictures of the show are on Flickr and Facebook.
12/25/2013
Idus December - The Night of the Winter Creatures
I was very happy to be invited by sivi Kelberry and AKILAE Gandt to participate in the 4th Anniversary Celebration of 'LOST TOWN - LA CITTÁ PERDUTA' - together with Lilia Artis and Haveit Neox. Our discussion quickly went into the direction of how to fit our ideas into Rebecca Bashly's awesome ehibit 'Invisible People' which was the main attraction on the sim.
Walking Through The Art from Veyot on Vimeo.
We focussed on the opposite: the visible people. Those who take center stage, who take the limelight - taking it away from those that rest in the shadows. The title of the exhibit is 'Idus December - The Night of the Winter Creatures'.
We decided on a winter setting - and chose the palazzo at the town square. The main reason for the latter: It would be central and open enough for the visible people to really be visible - and covered up enough to not interfere too much with Rebecca's work.
While Lilia decided on a Winter Carnival of Animals and Haveit on the very visible nobles, I went with snowball fighting snowmen (and -women). I wanted them to be an image of those people that force themselves onto others by being a constant nuissance - trying to ruin other people's fun.
Not only did I create very angry snowpeople - I had them throw snowbricks instead of snowballs. Like those nasty kids most of us remember from our past, that tried to ruin every snowballfight, by picking up the dirty snow, or the really hard and icy stuff.
I really like the outcome of the collaborative work of Lilia, Haveit and me. Even though we have done work together, it can never be taken for granted that three artists - all in their own style and capacity - are able to do something that corresponds well and has a common message - especially if we also have to work on different timezones and RL-schedules. I am very glad that it worked out so well - and am very thankful for having such wonderful collaborators.
There is still time to see the work in Second Life. The link to the wonderful 'Lost Town'-sim is here. If it takes you to the central landing point - just look for the town square with the caroussel in it. The palazzo has a big entrance - through which you can see the Winter Creatures
Thanks to Veyot our work has been preserved in the internet - in this wonderful machinina. Love it!
Walking Through The Art from Veyot on Vimeo.
We focussed on the opposite: the visible people. Those who take center stage, who take the limelight - taking it away from those that rest in the shadows. The title of the exhibit is 'Idus December - The Night of the Winter Creatures'.
We decided on a winter setting - and chose the palazzo at the town square. The main reason for the latter: It would be central and open enough for the visible people to really be visible - and covered up enough to not interfere too much with Rebecca's work.
While Lilia decided on a Winter Carnival of Animals and Haveit on the very visible nobles, I went with snowball fighting snowmen (and -women). I wanted them to be an image of those people that force themselves onto others by being a constant nuissance - trying to ruin other people's fun.
Not only did I create very angry snowpeople - I had them throw snowbricks instead of snowballs. Like those nasty kids most of us remember from our past, that tried to ruin every snowballfight, by picking up the dirty snow, or the really hard and icy stuff.
I really like the outcome of the collaborative work of Lilia, Haveit and me. Even though we have done work together, it can never be taken for granted that three artists - all in their own style and capacity - are able to do something that corresponds well and has a common message - especially if we also have to work on different timezones and RL-schedules. I am very glad that it worked out so well - and am very thankful for having such wonderful collaborators.
There is still time to see the work in Second Life. The link to the wonderful 'Lost Town'-sim is here. If it takes you to the central landing point - just look for the town square with the caroussel in it. The palazzo has a big entrance - through which you can see the Winter Creatures
Thanks to Veyot our work has been preserved in the internet - in this wonderful machinina. Love it!
11/22/2013
"The Machine" @ LEA6 with Lilia Artis
Lilia Artis and I were quite surprised back in spring when Jayjay Zinfanwe and Bryn Oh announced that we would be among the artists chosen to exhibit in the 2013 round of the LEA Full Sim Art Series. And here it is: 'The Machine' @ LEA6 - a collaborative work by Lilia Artis and Moeuhane Sandalwood:
Time flies, and in just one week the whole thing will disappear again. So if you haven't seen it yet - here is the Slurl!
We do not have much time to document the piece anymore either. Fortunately Lilia's good friend and famed SL-artist Haveit Neox stepped up and made this wonderful machinima-teaser about the Show. I also took a few pictures for my Flickr-page.
History told backwards
The story of 'The Machine' is quite complex. Our intent was to present the history of a society in a far away future. We decided to tell the story of that society backwards. Which means the visitor takes up the role of an archaeologist or ethnologist. On his or her journey down through the 4 levels he or she discovers more and more of the history of the mysterious society.
Our installation is basically a game of search and discovery. Like if you were an archaeologist discovering the city of Troy. The visitor is basically part of one big historic novel.
The artistic twist in our 'Troy' is the paradox that the 'futuristic' people don't care at all about their past, yet integrated their whole history fully into their 'machine'.
We worked with colors and lights to underline that paradox.
We painted the present and the early past of that society in bright colors. It could depict their view of this fantastic future - or maybe be a lure for the people to give up their lives, bodies and free will to technology.
In the lower levels - the darkness and shadows underline the problematic nature of their 'progress'.
We gave the world this monumental feeling. Every level is grand and vast. It should represent the complexity of this society, the enormous amount of achievement through technology - and also, subsequently the enormous amount of (sociological) failure.
Because in the end the visitor will discover that the 'perfection' of that people was achieved at a very high price. They ruined the environment - and took the free will of the people. Their 'perfect' society - that is depicted on the top level in such delicate and ethereal colors - in fact bases on a fascist regime.
What exactly is 'perfection'?
Here's the original text from our notecard: The creatures have created a perfectly functioning world. They live in the ever present. As a sound community. With joined minds and spirits. Interconnected. Completely. They run the machine – and are run by the machine. They are the machine. The peak of innovation. The end of evolution. Their creation.
They are a society without memory. Their history a mere shadow. Because there is no need to remember. Why remember what is of no value. They are perfect.
What if a society sets progress through technology as their top priority? Perfection above everything else?
In 'The Machine' by Lilia Artis and Moeuhane Sandalwood visitors are greeted by a possible result of that strife for perfection. An ethereal world that comes alive through the extensive power of the joined minds of its inhabitants.
The visitors are subsequently invited to pull out their inner archeologist and ethnologist. And go on an exploratory trip down through several sublevels of history. To unearth the secret behind that seemingly perfect world.
Because: What we see on the top floor is just a blink of an eye. It is a depiction of the everyday life of a people in a distant future.
Even though that population on the top level does not seem to care about their past, it still remains integrated into their 'machine' – hidden in the lower levels. The encumbrance of the past might one day reappear to haunt them. It might just become a burden on their next generation – once it breaks through the floors of time.
How to visit the installation: On every 'generation’s' level there is a spot where a former generation found its way to the new level. Sometimes it’s a bit hidden, because nobody used it anymore for decades or even centuries. Look for stairs, elevators, holes in the ground, etc.
Blogger's oppinions on 'The Machine'
What others have written about it:
Quan Lavender: Sneak Preview: The Machine
Ziki Questi: The Machine
Inara Pey: Inside the Machine
Asmita Duranjaya: A Dystopia: Lilia Artis' and Moe Sandalwood's LEA Installation 'The Machine'
UWAinSL: THE MACHINE
BukTomBlog: The Machine
Echt Virtuell: LEA Full Sim Art Series für November
Linden Endowment for the Arts: LEA Full Sim Art Series (Nov)
“We have solved all our problems. Thanks to our ingenuity.We had a lot of time to develop our project - but due to real life only a very short to actually build it in the end. And because we didn't have a sim available to build it, we had to do it in parts - level by level. For that it appears to have turned out quite well - and was well recieved among visitors and bloggers.
We have cured all illnesses. Thanks to our technical savvy.
We have cheated death. Thanks to our code.
We invented the machine.
The only thing left to do:
Keep the machine running that keeps us running.”
Time flies, and in just one week the whole thing will disappear again. So if you haven't seen it yet - here is the Slurl!
We do not have much time to document the piece anymore either. Fortunately Lilia's good friend and famed SL-artist Haveit Neox stepped up and made this wonderful machinima-teaser about the Show. I also took a few pictures for my Flickr-page.
The story of 'The Machine' is quite complex. Our intent was to present the history of a society in a far away future. We decided to tell the story of that society backwards. Which means the visitor takes up the role of an archaeologist or ethnologist. On his or her journey down through the 4 levels he or she discovers more and more of the history of the mysterious society.
Our installation is basically a game of search and discovery. Like if you were an archaeologist discovering the city of Troy. The visitor is basically part of one big historic novel.
The artistic twist in our 'Troy' is the paradox that the 'futuristic' people don't care at all about their past, yet integrated their whole history fully into their 'machine'.
We worked with colors and lights to underline that paradox.
We painted the present and the early past of that society in bright colors. It could depict their view of this fantastic future - or maybe be a lure for the people to give up their lives, bodies and free will to technology.
In the lower levels - the darkness and shadows underline the problematic nature of their 'progress'.
We gave the world this monumental feeling. Every level is grand and vast. It should represent the complexity of this society, the enormous amount of achievement through technology - and also, subsequently the enormous amount of (sociological) failure.
Because in the end the visitor will discover that the 'perfection' of that people was achieved at a very high price. They ruined the environment - and took the free will of the people. Their 'perfect' society - that is depicted on the top level in such delicate and ethereal colors - in fact bases on a fascist regime.
Here's the original text from our notecard: The creatures have created a perfectly functioning world. They live in the ever present. As a sound community. With joined minds and spirits. Interconnected. Completely. They run the machine – and are run by the machine. They are the machine. The peak of innovation. The end of evolution. Their creation.
They are a society without memory. Their history a mere shadow. Because there is no need to remember. Why remember what is of no value. They are perfect.
What if a society sets progress through technology as their top priority? Perfection above everything else?
In 'The Machine' by Lilia Artis and Moeuhane Sandalwood visitors are greeted by a possible result of that strife for perfection. An ethereal world that comes alive through the extensive power of the joined minds of its inhabitants.
The visitors are subsequently invited to pull out their inner archeologist and ethnologist. And go on an exploratory trip down through several sublevels of history. To unearth the secret behind that seemingly perfect world.
Because: What we see on the top floor is just a blink of an eye. It is a depiction of the everyday life of a people in a distant future.
Even though that population on the top level does not seem to care about their past, it still remains integrated into their 'machine' – hidden in the lower levels. The encumbrance of the past might one day reappear to haunt them. It might just become a burden on their next generation – once it breaks through the floors of time.
How to visit the installation: On every 'generation’s' level there is a spot where a former generation found its way to the new level. Sometimes it’s a bit hidden, because nobody used it anymore for decades or even centuries. Look for stairs, elevators, holes in the ground, etc.
Blogger's oppinions on 'The Machine'
What others have written about it:
Quan Lavender: Sneak Preview: The Machine
Ziki Questi: The Machine
Inara Pey: Inside the Machine
Asmita Duranjaya: A Dystopia: Lilia Artis' and Moe Sandalwood's LEA Installation 'The Machine'
UWAinSL: THE MACHINE
BukTomBlog: The Machine
Echt Virtuell: LEA Full Sim Art Series für November
Linden Endowment for the Arts: LEA Full Sim Art Series (Nov)
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