Publishing enters the metaverse with Museum Project: It’s Mvanity, which can be enjoyed with the appropriate app destroyer Both by virtual reality viewers.
The astonishing technological progress that characterizes this precise historical moment leads us daily to confront ourselves with terms and concepts, first and foremost
Immediately, it can be difficult or not entirely clear. As modern as the blockchain is, NFT And the metaverse still seems very inconspicuous to us, and we will soon find ourselves understanding it by the power of circumstances, and having first-hand experience with it. But why, then, wait until events overwhelm her and not attempt to explore them with insight? He is very convinced of this Simon Marchettiboss Vanity Fairwhich with enthusiasm and curiosity already last year began delving into the digital dimension as mysterious, or even dystopian, futuristic and limitless, in the truest sense of the word.
And so, after making a file Cover in NFT (Sold for $25,000) And Personal Avatar Released Vanity Player OneDuring the opening days of the 2022 Venice Biennale, Vanity Fair takes the next step by announcing its real Metaverse debut. We are talking about MetavanityIt is an ambitious project that is trying to make its way into this new territory by redefining the role of journalism and publishing facts in general in some way. “The metaverse is a frontier, a frontier where creativity has no limits“As Marchetti says,”Where experience is something we haven’t experienced before and where fashion and information are likely to find new fertile ground“.But what exactly is this?”When we started working with Etan Genini in September 2021 (CEO and co-founder of Start-up Valuart) Thinking about how a newspaper first appeared in the metaverse, we didn’t have a fashion show or investigation or interview or concert, we wanted to create a museum, a museum with the shape of the Pantheon in Rome because, in our opinion, it is the construction of a new myth, that is, the myth of a religion that does not yet exist We must invent it“.
Developed with Unreal Engine 4, Metavanity Resembles A cryptocurrency museum that can be used through the specific Hadam app and through virtual reality viewers. The first feeling you get upon entering this space is that you are in a majestic place where the darkest shadows prevail. Arranged in a circle, around a sphere floating in the air, there are 12 rooms dedicated to both personal exhibitions and two special projects: a group project (featuring local Max Papici and Fabio Giampetro) and a collection exhibition at NFT from Vanity Fair covers. From a navigation point of view, the experience is smooth enough, perhaps at times that it enhances that slight seasickness feeling – in jargon, motion sickness – Just a technology like virtual reality. And as far as the museum proposal is concerned, unfortunately, this should be noted The overall quality is not high If we think of much of the works themselves (almost all of them lean towards figurativeness which, in addition to dazzling effect, do not convey much), as is the case for some invited artists (the one above all embarrassing Federico Clapis). Among the noteworthy works, we remember the astonishing floral compositions in three dimensions by Luna Ikuta, the dark and exquisite sculptures by Billelis, the psychedelic compositions by neurocolor and Quasimondo, and the compositions by Skygolpe whose diagrams indicate a painstaking care also towards the realization of those exhibitions which Supports are not really part of the business. Other participants in the initiative include: internationally renowned artists Koldy and Jesse Draxler.
Aside from the enthusiasm, which is very much reminiscent of the echoes of barkers grappling with magical lanterns, there is inevitably some confusion regarding both the critical significance of a similar phenomenon (let’s consider not only the impact on our planet that involves NFT generation, regarding the risk of fueling an insatiable speculative bubble) and the actual cultural contribution of all these digital illustrations which for the most part remain an end in themselves (see for example Cryptopunks, the so-called bored monkeys or even Beeple’s business). The ultimate danger is that we will see a gradual qualitative deterioration of circulating art – and we are referring not only to the aesthetic presentation of these products but above all to the concept behind them which is often completely absent – which will inevitably lead to a general impoverishment that we can deal with. But let’s not wrap our heads before we figure it out and trust a collective consciousness that will tangibly lead to a new renaissance as well because, as the Vanity Fair director said:This is only the debut, it’s a way of showing just how much of this editorial reality is, a reality in which stories can become so powerful, where products are limitless, where fashion can invent a dress that doesn’t yet exist, a real place.. so high probability and our adventure is still in the beginning“.