{"title":"In-Person in LA","description":"All live events at our project space at 5511 W. Pico Blvd.","products":[{"product_id":"eunice-choi-margin-for-error-october-11","title":"Eunice Choi | Margin For Error | October 11-23, 2024","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEUNICE CHOI\u003cbr\u003eMARGIN FOR ERROR\u003cbr\u003eOCTOBER 11-26, 2024\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \"Margin For Error,\" Eunice Choi invites viewers to embrace the uncomfortable space between balance and collapse. This exhibition marks Choi's second iteration of exploring off-balance states, confusion, and the in-between. Drawing from her interest and background in sculpture and design objects, Choi creates distorted measuring tools and interactive installations as poignant metaphors for emotional states and personal struggles.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exhibition's centerpiece, \"Impossible Level,\" features a circular board studded with spirit levels, challenging visitors to find equilibrium in a system designed for constant imbalance. This piece embodies Choi's investigation on the mirage of the balance. She reflects, \"I used to expect myself to find the perfect balance in every aspect of life. But I soon found myself caught in the dilemma of trying to balance one, only to lose balance in another. From that frustration, I wanted to create a level where it’s impossible to achieve perfect balance in everything at once.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom her early days in Korea to her current practice in Los Angeles, Choi's artistic journey informs her unique perspective. Her experience as a foreigner in the United States resonates throughout her work, mirroring the sense of being \"in this very ambiguous state.\" This liminality is evident in pieces like \"Tired Level,\" a three-step clay sculpture that seems to melt under its own weight.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe use of clay in \"Tired Level\" showcases Choi's interest in materials that respond to touch, mirroring the malleability of our perceptions and emotions. The artist explains, \"I wanted to use the material that is more responsive to my body,\" highlighting the personal nature of her work. This tactile quality invites viewers to consider their own physical responses to emotional states.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA series of mini-golf courses adds an element of playful interaction to the exhibition. The courses feature patchwork like patterns that Choi describes as reflecting \"repetitive patterns\" in her mistakes and struggles. She notes, \"As I keep making the same mistakes I’ve made before, I begin to recognize my pattern, one I might get stuck in again.\" This installation cleverly combines the idea of a clear objective with the reality of recurring obstacles, echoing life's complexities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout the exhibition, Choi reframes errors not as flaws to be avoided but as essential aspects of the human condition. \"When we are living, it's going to be a bunch of errors, and it's not going to be graceful,\" she reflects \"I think of a flipped bug moving its legs to survive. To me, those desperate wiggles, attempts, or errors are the sign that you are alive.\"\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eChoi's artistic influences are diverse, observing flipped bugs, broken measuring tools, or error messages, or an inspiration from unexpected sources, such as children's picture books that reframe errors as possibilities. This eclectic mix of influences is evident in the way Choi combines precise fabrication techniques with organic, malleable materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exhibition title, \"Margin For Error,\" speaks to Choi's evolving relationship with imperfection. As she explains, “margin is a space that allows possibility, that makes errors to become a trace of different attempts.” By engaging with Choi's deliberately imperfect creations, visitors are encouraged to find comfort in their own moments of imbalance and to recognize the beauty in life's inevitable errors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"Margin For Error\" represents a significant shift in Choi's artistic practice, from her earlier, more playful works to a deeper exploration of personal struggle and uncertainty. Through this exhibition, Choi invites viewers to join her in embracing confusion, celebrating imperfection, and finding meaning in the spaces between balance and chaos. In doing so, she offers a powerful reminder that our struggles and errors are not just inevitable – they are vital signs of a life fully lived.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"ltr\"\u003e\u003cspan\u003eArtist Statement\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp dir=\"ltr\"\u003eMargin For Error\u003cem\u003e is the second iteration of an ongoing project that explores the state of being in between, off balance, and confusion. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eAmidst confusion, losing balance, collapsing, and shivering in the process of existence, I found myself mirrored in a fluctuating bubble trapped in a level or the frantic movements of a flipped bug, desperately wiggling its legs in a fight for survival.\u003cb\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eAt the height of my fear towards error, I started to feel suffocated. Out of breath, I ask myself: what defines and measures error?\u003cb\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eTo break the persistent tension stemming from the possibility of causing error, I distort tools and objects that are typically bound by structure and logic, and observe my patterns in relation to errors.\u003cb\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eMargin For Error traces my continuing attempts to recognize and reconcile error as inevitable evidence of living.\u003c\/em\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"ltr\"\u003e\u003cspan\u003eAbout the Artist\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eEunice Choi is an artist and designer, who works with sculpture and installation. Choi focuses on observing the mundane experience, thoughts, emotions, and self reflective questions, and creates a space that could revisit those.  \u003c\/p\u003e\n\u003cp\u003eIn her practice, she uses objects and metaphors as an instrument to understand the emotions that are in-between and unresolved questions that cannot be defined with one definition. Often, she uses soft or malleable materials (wood, silicone, resin, metal, foam, clay) that could express the physical responses to emotions through the material’s traits, such as density, opacity, weight, temperature, texture, flexibility, etc. Digital fabrication and mold making\/casting are frequently used in her process, as it allows to reshape the materials while preserving their characteristics.\u003c\/p\u003e\n\u003cp\u003eChoi’s work has been shown in the United States, South Korea, and Italy, including Salone del Mobile Milano, New York Design Week, and Children’s Museum of Pittsburgh.\u003c\/p\u003e\n\u003cp\u003eChoi holds a BFA from School of the Art Institute of Chicago and a MFA from UCLA Design Media Arts, and she is currently based in Los Angeles, and enjoying the warm weather.  \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePhotos by Anya GTA and Chris Hanke.\u003c\/em\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":46287763734692,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Gameplayarts_Eunice_Choi_023_361a697e-184a-4e25-8a7b-a857b6becbd4.jpg?v=1731194096"},{"product_id":"margin-for-error-theremin-performance-by-randy-george","title":"10.25.24 Theremin Performance by Randy George [Margin for Error]","description":"\u003cdiv\u003eIn collaboration with \u003cspan style=\"box-sizing: border-box; margin: 0px; padding: 0px;\" data-mce-style=\"box-sizing: border-box; margin: 0px; padding: 0px;\"\u003eEunice Choi's solo art exhibition \"\u003ca href=\"https:\/\/gameplayarts.org\/products\/eunice-choi-margin-for-error-october-11\" rel=\"noopener\" data-mce-href=\"https:\/\/gameplayarts.org\/products\/eunice-choi-margin-for-error-october-11\" target=\"_blank\"\u003eMargin For Error\u003c\/a\u003e\" at Gameplayarts, Randy George will present a program of classical and contemporary compositions for theremin and electronic accompaniment. The selection will comprise works by C. Debussy, C.Saint-Saëns, G.Fauré, R. Schwimmer, N.Uematsu, Y. Kananno, K. Kondo, and J. Morris\u003c\/span\u003e. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe program aims to draw parallels from the exhibition works to the dual constructs in live musical expression\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e—\u003c\/span\u003ebalance\/collapse, function\/aesthetics, and struggle\/acceptance. The theremin, a musical instrument best described as an insane physics problem turned inside out, challenges viewer-listeners to find the invisible connections between the ballet of complex hand motions seen and the human voice-like sounds heard.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003ePlease join and add an unforgettable experience.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eInformation\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAddress is 5511 W. Pico Blvd. There are four spots to park in the rear directly behind our gallery space as well as ample street. P\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cem\u003eReserved seating will be first come, first serve.\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cem\u003eThe gallery will be closed without a ticket from 6-8 pm and resume normal hours at 8 pm. To RSVP for a free viewing, please click \u003ca href=\"https:\/\/gameplayarts.org\/products\/eunice-choi-margin-for-error-october-11\" data-mce-href=\"https:\/\/gameplayarts.org\/products\/eunice-choi-margin-for-error-october-11\"\u003ehere\u003c\/a\u003e.\u003c\/em\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eTickets Only Gallery Open: 6 pm\u003c\/div\u003e\n\u003cdiv\u003ePerformance: 7 pm.\u003c\/div\u003e\n\u003cdiv\u003eFree RSVP Open Hours: 8 pm\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003ch3\u003eArtist Bio\u003c\/h3\u003e\n\u003cp\u003eRandy George is one of a small handful of the world’s finest theremin performers. Having appeared as theremin soloist, chamber artist, studio player, lecturer and video maker, Randy has created waves in the awareness and advancement of the space controlled instrument. His YouTube videos featuring the theremin have been viewed over 21 million times. He has worked with among others: Danny Elfman, John Massari, Timo Chen, Nick Sena, Bleeding Fingers Music, Hollywood Symphony, Redlands Symphony, Santa Monica Symphony, Dilijan Chamber Music, Gaudete Brass, SUNY Fredonia School of Music, Polytechnic University of Valencia Fine Arts.\u003c\/p\u003e\n\u003cp\u003eRandy holds a Bachelor of Music degree from University of North Texas College of Music where he studied bassoon performance, music theory, and live sound recording arts. Following university studies, a career shift to film music post production brought him to Los Angeles where he worked for music products industry leader Avid M-Audio. During his stint as technical events specialist, surrounded by musical instruments and tech, fate ran its course and Randy was introduced to the theremin, which naturally bridged his passions for technology, problem solving and music.\u003c\/p\u003e\n\u003cp\u003eRandy George resides in Los Angeles and records, performs, and presents worldwide. His theremin playing can be heard in recent TV\/Film soundtracks for FOX The Simpsons Treehouse of Horror (2023), Apple TV+ The Big Door Prize (2023) and Sung Kang’s Shaky Shivers (2022).\u003c\/p\u003e\n\u003ch2\u003eAbout the Theremin\u003c\/h2\u003e\n\u003cp\u003eThe theremin is one of the earliest electronic musical instruments. It is the only instrument in the world that is played continuously, without any physical contact. It was developed in the 1920’s by Russian scientist and inventor Lev Sergeyevich Termen as a direct product of his innovations in radio physics and his musical upbringing as a classical cellist. A performer of the theremin uses their arms and hands to influence the motion sensitive space surrounding the instrument to continuously modulate the pitch and loudness of its voice. The tone can range from sounding human-like to string-like or flute\/wind-like depending on subtleties in the performer’s gestures. Because of its unconventional playing interface that is void of tactile reference, the theremin is extremely difficult to master. The craft of melodic theremin playing requires a unique combination of skills including finely tuned relative pitch acuity, zen-like mastery of body stillness and coordination, and problem solving ability.\u003c\/p\u003e\n\u003cp\u003eThe theremin was originally conceived as a melodic musical instrument that could be approached similarly to a violin or cello, but the combination of its learning curve and unusual playing interface also made it appealing in applications where refined control was not important. A default approach, when absent of any musical inclination involves a player moving their arm carelessly while sustaining an agitated shake of the wrist. The method yields a distinct warbling sound that evokes feelings of uneasiness, other-worldliness and fear. This default sound “effect” naturally became synonymous with the spooky character of Hollywood science fiction and horror movie soundtracks in the 1940’s and 1950’s. Most notably, it was used in Bernard Herrmann’s score from “The Day the Earth Stood Still” (1951) and Miklós Rózsa’s score from “Spellbound” (1945).\u003c\/p\u003e\n\u003cp\u003eOver the past twenty years, there has been a surge in awareness of the theremin and it is currently seeing a renaissance, especially in the contexts of modern composition and live performance. Although it seems its novelty has worn down since its inception, there is a considerable interest in the instrument. There has never been more people attracted to the theremin, composing music for theremin, or playing the theremin than there are in the world today. In 2020, the theremin performers, builders, collectors, and enthusiasts celebrated the 100 year anniversary of Lev Termen’s magical impossible invention.\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Gameplayarts","offers":[{"title":"Reserved seating","offer_id":50479495643300,"sku":"","price":0.0,"currency_code":"USD","in_stock":false},{"title":"Standing room","offer_id":50479495676068,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/RandyGeorgeTHVpost-light.jpg?v=1729890568"},{"product_id":"lauren-moffatt-fragmentation-engine","title":"Lauren Moffatt: Fragmentation Engine","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLAUREN MOFFATT\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFRAGMENTATION ENGINE\u003cbr\u003eNOVEMBER 15-30, 2024\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"Fragmentation Engine\" refers to breaking down larger systems into smaller, interconnected parts, allowing an overview through segmentation and reassembly. The exhibition uses video game technology as a fragmentation engine to explore world-building, image worlds, and avatar creation, dissecting complex systems into smaller facets or building smaller facets into complex systems to reveal new layers of meaning. As Moffatt explains: \"My relationship with game worlds is not so much about game playing. I build into a universe that I can then share with others through game engine-based work.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing from real and fictional myths of Los Angeles, the works in this exhibition are fragmentary in both literal and figurative senses. Together, they create an environment of controlled dismantling and reconfiguration—sometimes reflective, sometimes outward-facing. Through close attention to details, moods, and surfaces, Moffatt crafts intricate virtual worlds that invite careful observation, conveying an underlying sense that forms are always on the verge of shifting and transforming. She notes: \"I'm obsessive about the details and the surfaces of things. They have a sensory experience.” She aims for viewers to \"feel like they're going through a journey with it that's uncomfortable, even if it is fascinating. People feel pulled in and alienated by the work.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eWorks\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eNobody Never Mind\u003c\/strong\u003e (2023): A\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e group of figures are collected in an underground bar. The characters’ spectral presence and looping monologues evoke a world where these ghostly figures are trapped, waiting in a shadowy reflection of what once was. Their fragmented dialogues echo in perpetual loops, suggesting an artificial mental ecology where memories and emotions endlessly recycle.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eVideo and Augmented Reality Installation\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eiOS AR-enabled device, television monitor\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLocal Binaries\u003c\/strong\u003e (2022)\u003cbr\u003eAugmented Reality Installation\u003cbr\u003eiOS AR-enabled device\u003cbr\u003eDimensions variable\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/vimeo.com\/deptique\/image-technology-echoes?share%3Dcopy\u0026amp;source=gmail\u0026amp;ust=1731519897078000\u0026amp;usg=AOvVaw0rxCOjrBkA_zoMsONC2ZVT\" href=\"https:\/\/vimeo.com\/deptique\/image-technology-echoes?share=copy\" target=\"_blank\"\u003eImage Technology Echoes\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(2021, Virtual Reality Installation)\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eimmerses viewers in a quiet, almost surreal gallery space, where two characters engage in a stilted, looping exchange. When stepping into their inner worlds, viewers encounter chaotic rooms filled with fragmented thoughts and AI-generated monologues, revealing the disparity between polished appearances and tangled, broken thoughts beneath. This work reflects how perception and understanding evolve within individual mental ecologies, shaped by internal and external influences.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/vimeo.com\/deptique\/compostviii?share%3Dcopy\u0026amp;source=gmail\u0026amp;ust=1731519897078000\u0026amp;usg=AOvVaw0sCQQ8hDdRaBwf1IGED5Qw\" href=\"https:\/\/vimeo.com\/deptique\/compostviii?share=copy\" target=\"_blank\"\u003eCompost\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(2019 - ongoing, Video and Photogrammetry Installation)\u003c\/strong\u003e\u003cspan\u003e explores themes of regeneration and decay, transforming digital errors into forms that blend the sublime with the imperfect. The photogrammetry process introduces distortions, resulting in sculptures that embody a strange, decaying beauty. The series suggests a kind of ecological decay, where imperfections foster new, distorted forms, as if the digital environment itself were alive and constantly reshaping.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/vimeo.com\/deptique\/theunbinding2014?share%3Dcopy\u0026amp;source=gmail\u0026amp;ust=1731519897078000\u0026amp;usg=AOvVaw2IsByQ8AdPAHD70PnbZ8G8\" href=\"https:\/\/vimeo.com\/deptique\/theunbinding2014?share=copy\" target=\"_blank\"\u003eThe Unbinding\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(2014, Digital Video Installation)\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eexamines self-construction as a process of continuous reinvention. The protagonist reconfigures herself through fragments of found images, embodying an illusion of control and beauty. This cyclical and fleeting act reveals how the pursuit of glamour can lead to a fractured identity. The work invites viewers to consider an ecology of fragmented consciousness, where each reinvention draws from and reshapes the surrounding environment.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLilies\u003c\/strong\u003e (2024) Single-channel Video, Vertical HD Display (1080 x 1920)\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eAbout Lauren Moffatt\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp\u003eLauren Moffatt is an Australian artist working with immersive environments and experimental narrative practices. Her works, often presented in hybrid and iterative forms, explore the paradoxical subjectivity of connected bodies and the indistinct boundaries between digital and organic life. In 2021 she was awarded the DKB VR Art Prize (DE) and in 2022 she was awarded the I Certamen Internacional de Arte Digital (ES) and the Revista MAKMA Aquisition Prize (ES). Lauren completed her studies in painting, in theory and practice of new media art and in audiovisual creation at the College of FineArts (AU), Université Paris VIII (FR), and at Le Fresnoy Studi National des Arts Contemporains (FR) respectively.\u003c\/p\u003e\n\u003cp\u003eLauren's works have been exhibited at Haus der Kulturen der Welt (DE), Centre Pompidou (FR), La Gaïté Lyrique (FR), SXSW (US), Haus am Lützowplatz (DE), UNSW Galleries (AU), Daegu Art Museum (KOR), Le Grand Palais Ephémère (FR), SAVVY Contemporary (DE), FACT Liverpool (UK) The Sundance Film Festival (US) ZKM (DE), Q21 Freiraum (AT) and at Hartware MedienkunstVerein (DE). She lives and works in Berlin and\u003cbr\u003eValencia.\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"11\/21 6-8 PM","offer_id":50518597599396,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true},{"title":"11\/23 12-3 PM","offer_id":50518597632164,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true},{"title":"11\/30 12-3 PM","offer_id":50518597664932,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/LocalBinariesMKVTarget.png?v=1731194366"},{"product_id":"dec-6th-a-cell-is-a-carnival","title":"Dec. 6th-8th: A Cell is a Carnival","description":"\u003cdiv\u003e\n\u003cspan\u003eA CELL IS A CARNIVAL\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDECEMBER 6-8, 2024\u003c\/span\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOPENING NIGHT EVENT: FRIDAY DEC 6 \/\/ 7 PM\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSix games at the arcade, six candles for the summoning, and six stars in the constellation. Six ghosts in the shell. Six artists in transit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThere are infinite ways of mapping any six points in the spacetime continuum. This is but all of them.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA Cell is a Carnival\u003c\/span\u003e\u003cspan\u003e is an experiment in nested proximities and mixed metaphors: body as fairground, ritual as network, wormhole as world. Featuring new works by six media artists from UCLA’s Design|Media Arts MFA program (Chelly Jin, Rowena Kou, Sadia Quddus, Sagan Yee, Stamatis Hamouzas, and Xiner Lan), the show celebrates the osmotic ability of art and technology to move through permeable boundaries of selfhood and community.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs emerging artists, we operate as organelles, barkers, and daemons. We seek to replicate, merge, and evolve in concert with friends and familiar strangers, while maintaining tenuous boundaries of individual autonomy. Inspired by images of organic membranes and the cloth walls of circus tents, our collective practice also functions as a fluid structure, shifting endlessly between solitude and belonging.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWe especially invite you to join us for our \u003c\/span\u003e\u003cspan\u003eOpening Night event on Friday, December 6 at 7 PM\u003c\/span\u003e\u003cspan\u003e. As you cross the gallery threshold, you will discover such curious delights as: an encrypted hand puppet, divinatory technologies, consensual eavesdropping, teeth as a symbol of eroded time, the gamification of the mammalian reward system, and kaleidoscopic fragments of self and memory. We invite you to enter, to circulate and celebrate, to absorb and be absorbed in turn … and then to break away, retreat, and say our fond farewells. Until the next time.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #111111; font-family: Arial, sans-serif;\" data-mce-style=\"color: #111111; font-family: Arial, sans-serif;\"\u003e\u003cspan\u003eFEATURING ART BY\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/chellyj.in\/\" data-mce-href=\"https:\/\/chellyj.in\/\"\u003e\u003cspan\u003eChelly Jin\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.instagram.com\/greenish._.rowena\/\" data-mce-href=\"https:\/\/www.instagram.com\/greenish._.rowena\/\"\u003e\u003cspan\u003eRowena Kou\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/sadia.space\/\" data-mce-href=\"https:\/\/sadia.space\/\"\u003e\u003cspan\u003eSadia Quddus\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.saganyee.com\/\" data-mce-href=\"https:\/\/www.saganyee.com\/\"\u003e\u003cspan\u003eSagan Yee\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.instagram.com\/dredgeops\/\" data-mce-href=\"https:\/\/www.instagram.com\/dredgeops\/\"\u003e\u003cspan\u003eStamatis Hamouzas\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/xinerlan.com\/\" data-mce-href=\"https:\/\/xinerlan.com\/\"\u003e\u003cspan\u003eXiner Lan\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan id=\"m_9121052597684911013gmail-docs-internal-guid-6762a251-7fff-d570-aefd-accc7fd38b1e\"\u003e\u003cspan\u003eThis show is part of A CELL IS A CARNIVAL, a three-part series of events taking place across Los Angeles during the first week of December. It was conceived as a means to cultivate a community-building and exhibition practice beyond the university campus. For updates and more information, follow us on Instagram \u003c\/span\u003e\u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.instagram.com\/subtangled_complex\u0026amp;source=gmail\u0026amp;ust=1732297342943000\u0026amp;usg=AOvVaw0Tv0Lk6D06ak2RYmmsKOSC\" href=\"https:\/\/www.instagram.com\/subtangled_complex\" target=\"_blank\"\u003e\u003cspan\u003e@subtangled_complex\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e and visit our website at \u003c\/span\u003e\u003ca data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/cellisacarnival.cargo.site\u0026amp;source=gmail\u0026amp;ust=1732297342943000\u0026amp;usg=AOvVaw3KI79eyfQxmc5SK0mspSXx\" href=\"http:\/\/cellisacarnival.cargo.site\/\" target=\"_blank\"\u003e\u003cspan\u003ecellisacarnival.cargo.site\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eInformation\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAddress is 5511 W. Pico Blvd. There are four spots to park in the rear directly behind our gallery space as well as ample street. \u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Gameplayarts","offers":[{"title":"Dec. 6th - Opening","offer_id":50539198873764,"sku":"","price":0.0,"currency_code":"USD","in_stock":true},{"title":"Dec. 7th","offer_id":50539198906532,"sku":"","price":0.0,"currency_code":"USD","in_stock":true},{"title":"Dec. 8th","offer_id":50539198939300,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/1_SHOW.jpg?v=1732223920"}],"url":"https:\/\/ecc08a-2c.myshopify.com\/collections\/in-person-in-la.oembed","provider":"Gameplayarts","version":"1.0","type":"link"}