{"title":"Past Openings","description":"","products":[{"product_id":"exhibition-the-concentric-fictions-of-a-generous-history","title":"The Concentric Fictions of a Generous History (March 15-30, 2023)","description":"\u003cp dir=\"ltr\"\u003eKillscreen is pleased to announce The Concentric Fictions of a Generous History, the first Los Angeles solo exhibition for the India-based game design studio Studio Oleomingus and its founder Dhruv Jani. The inaugural exhibition presents a collection of interactive fragments that seek to translate the ouroboric writings of a Gujarati diarist, Mir Umar Hassan, into short tales of memory, loss, and identity.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe works in this collection respond to the current autocratic dispensation in India, which seeks to exclude and include citizens in a way that erases uncomfortable truths and defends unfortunate lies. Each story grieves the destructions of places of entangled heritage, examining lynchings and the arrests of dissenting voices while further confronting the religious and doctrinal violence perpetuated on fragile bodies and communities.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe games in the exhibition become a study of communal truths and fears, exploring the discomfort between the definitions of a state and the desires of an individual. Here, interactive fiction becomes a vector of irreverent social and political discourse, borrowing from Indian traditions of street theater and vagabond performances.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe exhibition attempts to create a space for the recollection and reanimation of fissured tales, celebrating the fractured records of subaltern history and confronting the political legacy of appropriation and power. Studio Oleomingus believes that confronting history is knowing that our ability to remember is polluted, and that any single account is always a vacuous record. It is the concentric fictions of our lives that make all history bearable.\u003c\/p\u003e\n\u003cp\u003eThe Concentric Fictions of a Generous History was on view at Killscreen from March 15th through March 30th, 2023.\u003c\/p\u003e\n\u003ch3\u003eWORKS ON DISPLAY\u003c\/h3\u003e\n\u003ch4\u003e\u003cem\u003eThe Indifferent Wonder of an Edible Place.\u003c\/em\u003e\u003c\/h4\u003e\n\u003cp\u003eEdible Places is a story about a municipal building eater consuming the last tower in a town called Matsyapur. It is an examination of erasure and a rumination about the violent cost and the profound grief of having to survive at the edge of despotism, when places of entangled heritage are willfully effaced. Originally created in response to a court judgment in the case of the demolition of the Babri Masjid in Ayodhya, the game was reworked to challenge a spate of retaliatory demolitions, of the houses of protestors, by our local state government.\u003c\/p\u003e\n\u003ch4\u003eFolds of a Separation\u003c\/h4\u003e\n\u003cp\u003eFolds is a short game about rooftops, labyrinths, and confinement.\u003c\/p\u003e\n\u003cp\u003eWritten to lament the detention of sixteen Dalit-rights activists, and countless authors, reporters, and lawyers in our country; the game is a modest attempt at finding solace in the promise of companionship while contemplating the violent cost of withdrawing bodies from public spaces and imaginations.\u003c\/p\u003e\n\u003ch4\u003eA Museum of Dubious Splendors\u003c\/h4\u003e\n\u003cp\u003eA Museum of Dubious Splendors, is a collection of short stories about prosaic objects and spurious histories, each written in the manner of a colonial etiological tale. It is an irreverent examination of worth and possession, of aggrandizement and accumulation, and of the violence of objects and the obfuscation of time. But most of all it is an attempt at\u003cbr\u003esubverting our reverence for the hoard of a colonial archive.\u003c\/p\u003e\n\u003ch4\u003eIn the Pause Between the Ringing\u003c\/h4\u003e\n\u003cp\u003eIn the Pause between the Ringing is a rumination about completion, about territorial margins and about the haunting of bodies and memories that are translated across borders.\u003c\/p\u003e\n\u003cp\u003eSet during the annexation of Sindh in 1843, and told amidst a tangle of cables and time, it is a ghost story that chronicles the violent history of Telephone mining in India.\u003c\/p\u003e\n\u003ch4\u003eThe Uncertain Repetitions of Truth\u003c\/h4\u003e\n\u003cp\u003eThe Uncertain Repetitions of Truth is a collection of short interactive fragments that ponders the nature of exactitude and the profound cost of marking time. It is an odd compilation of stories about people caught in the intimate dance between timekeeping and truth-making. But most of all they are stories of repetitions and hauntings, finger-bones and xeroxes, imprints and doppelgangers, and the countless ghosts who linger between the finite delineations of a clock.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003eARTIST'S STATEMENT\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"font-weight: 400;\"\u003eI\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Concentric Fictions of a Generous History - is a collection of interactive fragments that try to translate the ouroboric writings of a Gujarati diarist, Mir UmarHassan, into short tales about memory, loss, and identity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMost of the games in this collection were created in response to the current autocratic dispensation, in our country, excluding and including citizens to curate for itself a republic that is as willing to forget uncomfortable truths as it is to defend unfortunate lies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThese are stories written to grieve the destruction of places of entangled heritage, written to examine lynchings and the arrests of dissenting voices, and written amidst a degree of religious and doctrinal violence perpetrated on fragile bodies and fragile communities, that is scarcely to be imagined.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnd these games are an attempt at trying to assert that there has to be a way to recollect our past without the fear that it will irrevocably alter our present. There has to be a way for stories to live and be spoken and heard without the dread of complete loss and ostracisation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eII\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe work being shown stems from trying to critically examine the cost of nation-building and the price of delineating finite boundaries or sacrosanct identities. It is a study of communal truths and fears, and the discomfort between the definitions of a state and the desires of an individual. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn trying to use interactive fiction as a vector of irreverent social and political discourse, our practice borrows from traditions of street theatre and vagabond performances, of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNukad Nataks\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNautankis \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBhavais \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJatra \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eperformances and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTamashas, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eof \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDholis \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBeherupiyas \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand countless others who are steeped in ideas of disguise, duplicity, intersectional identities, and role play. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThese anti-authoritarian traditions, prevalent in postcolonial writing and practice - are central to our understanding of videogames. A game after all is the apotheosis of becoming someone else. A simulated form of being that makes it evident that all truths and identities are always assemblages, uncomfortably put together ever-changing collages of ideas about who we are allowed to be, or who we once identified as. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMoreover, we are keenly interested in the role of power and authority in the nurture or erasure of such fluid identities. Where the right to author individual histories is deeply contested\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and some stories, from the margins of caste and gender and identity, will simply not be told, because the violence of their recollection and the absurdity of their form is not accommodated in the method of their telling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIII\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnd so this exhibition is an attempt at creating a space for the recollection and reanimation of fissured tales. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eA site where play can become the first language of memory. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eA celebration of the fractured records of subaltern history and a confrontation of the political legacy of appropriation and power.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor we believe that to confront history is to know that our ability to remember has been polluted. To discover that there is an infection of certitude and a weakening of privilege. Because any single history is always a vacuous record. And it is these concentric fictions of our lives, which make all history bearable.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"font-weight: 400;\"\u003eABOUT THE ARTIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eStudio Oleomingus is a two-person game and arts studio based in Chala, India.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe practise at the intersection of post-colonial writing, speculative architecture, and interactive-fiction. We are deeply interested in the study of colonial authority and the histories that it occludes and our work explores the possible use of videogames spaces as sites of protest and reparation. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eStudio Oleomingus is run by Dhruv Jani and Sushant Chakraborty, with additional from Salil Bhayani, Suparna Chakraborty, and Anant Jani.\u003c\/span\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45168197206180,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/IBG_6421-scaled.jpg?v=1709840198"},{"product_id":"clark-woods-life-times-of-a-wannabe-popstar-opening","title":"Clark Woods: Life and Times of a Wannabe Popstar (9\/9\/-10\/10\/2023)","description":"\u003cp data-mce-fragment=\"1\"\u003eKillscreen was pleased to present \u003cstrong data-mce-fragment=\"1\"\u003eLife \u0026amp; Times of a Wannabe Popstar\u003c\/strong\u003e, the inaugural solo exhibition by the visionary queer multimedia artist Clark Woods.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this interactive, multi-genre exhibition, Woods primarily uses the video game medium to narrate the life of Axel Flux, a burgeoning, fictional pop star sensation grappling with the internal and external pressures of being a queer artist in the public eye. Axel's character becomes an autofictional experiment for the artist, bordering between a personal and impersonal caricature of their struggles dealing with self-identity, self-determination, and self-actualization.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLife \u0026amp; Times of a Wannabe Popstar\u003c\/strong\u003e was on view at Killscreen from September 9th to October 10th, 2023, by appointment only. Eighty total editions of the video game, accompanied by limited-edition risograph artist proofs were created.\u003ca data-mce-fragment=\"1\" href=\"https:\/\/killscreen.com\/product\/clark-woods-artist-proofs-and-posters\/\" data-mce-href=\"https:\/\/killscreen.com\/product\/clark-woods-artist-proofs-and-posters\/\"\u003e \u003c\/a\u003eAdditionally, patrons could collect a self-published zine.\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003eAbout Clark Woods\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eClark Woods (b. 2000, Oklahoma City) is a queer non-binary trans artist based in Chicago making works that utilize technology as an extension of their body to blend ‘the real’ and ‘the virtual’, to explore the boundaries between these concepts and where one’s mind and body exist in tandem. Their practice is centered around video art, AR\/VR, 3D animation, motion capture, web-art, interactive-art, live video making, and performance to bring these conjunctions to fruition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eDownload Clark Woods' CV \u003ca data-mce-fragment=\"1\" href=\"https:\/\/killscreen.com\/wp-content\/uploads\/2023\/09\/Clark-Woods-CV-2023.pdf\" data-mce-href=\"https:\/\/killscreen.com\/wp-content\/uploads\/2023\/09\/Clark-Woods-CV-2023.pdf\"\u003ehere\u003c\/a\u003e. Photo credit Evan Walsh\u003c\/em\u003e.\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45168206774436,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/ClarkWoods-LifeandTimesofaWannabePopStartExhibitionPhotos_Credit_EvanWalsh_8.jpg?v=1710966820"},{"product_id":"10-20-reception-celebrating-the-launch-of-the-open-source-afro-hair-library","title":"Celebrating the Launch of the Open Source Afro Hair Library [Zine]","description":"\u003cp data-mce-fragment=\"1\"\u003eOn October 20th, 2023, Kiillscreen and the Open Source Hair Library held the first public IRL event for the library, which was so exciting. We talked about the story of OSAHL, how it came to be, and all the thought and iteration that has gone into it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Open Source Afro Hair Library provides free access to high-quality 3D models of Black hair textures and styles. One of the most important aspects of cultural identity, Black hairstyles have come to symbolize pride, personal expression, and political resistance. OSAHL's mission is to radically expand the images we see of Black hair on-screen and the opportunities Black creators have behind the scenes. More than a resource, it is a growing community of Black artists and allies building a queer, feminist, creative community to celebrate Black hair in three dimensions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe spoke with creative director Darke, web design and development lead Estevan Carlos Benson, and Killscreen director Jamin Warren to explore:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRepresentation Crisis\u003c\/strong\u003e: A critical look into how mainstream digital media has failed to provide authentic Black hairstyles. Delving into the past, we’ll chat about the history of representation and why programmers struggled to transcend limited and stereotypical hair models. (\u003ca href=\"https:\/\/twitter.com\/brokesimulation\/status\/1292479560051761157\/photo\/1\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/twitter.com\/brokesimulation\/status\/1292479560051761157\/photo\/1\"\u003eAfros based on cauliflowers, for real\u003c\/a\u003e?)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA Spark and an Insight\u003c\/strong\u003e: We'll talk to Darke about her inspiration behind the Open Source Afro Hair Library. As an advocate for anti-racist, anti-capitalist, and feminist narratives, he emphasizes the importance of unified ownership and the ethical use of Black hair portrayals in gaming and other media.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCreating the Library\u003c\/strong\u003e: So now what? We'll talk about building the library and building a team, what the inspirations were for the collection, and how it is structured.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePrepping for the Long-Haul\u003c\/strong\u003e: OSAHL has already created dozens of incredible 3D assets for the library by working with artists worldwide. With your help, we can continue to develop new resources, support underrepresented artists, and fulfill our mission to radically expand the images we see on screen and the people who make them.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA showcase of collections from the library follwed the panel. This was a space for celebration, introduction, and envisioning a future where every Black digital player and creator feels seen and represented.\u003c\/p\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003eAbout Our Speakers\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA.M. Darke (s\/he)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA.M. Darke is an artist playing with multiple media forms including games, software, performance, writing, and social practice. She’s a professor of Performance, Play, and Design, and Digital Arts and New Media at UC Santa Cruz. A.M. started the Open Source Afro Hair Library as an intervention in digital media, a celebration of the Black artists and Black communities that continue to shape culture around the world. A.M.'s work integrates his identities as a neurodivergent, genderchaotic, Blackity-Black American with her lifelong fascination with games, hair, beauty, fashion, pop culture, and urgent social issues.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEstevan Carlos Benson (he\/him)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEstevan Carlos Benson is a first-generation artist, creative technologist, and composer based in Los Angeles, California. His work addresses culture and creative exploration through custom built tools. He has toured as a VJ, has developed many websites, teaches design in Southern California, and co-founded a virtual music instrument company, Gesture Audio. Estevan has been with the Afro Hair Library since 2020, spearheading the entire Web Development and Design process, currently on our 3rd iteration. In addition to his meticulous design skills, and the ability to translate them into a functional site, Estevan is himself an artist and educator who brings these invaluable skills to the Afro Hair Library community. A partner from inception, Estevan has continued to support the library with insight and generosity.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eRenderings by Elijah S. Richmond | Evening Cicada, Keneisha Perry, Malika Mutumbo, and Jovan Wilson for the Open Source Afro Hair Library. Photography in header by Meika Eljasi.\u003c\/em\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45168211001508,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Celebrating-the-Launch-of-the-Open-Source-Afro-Hair-Library.jpg?v=1709840330"},{"product_id":"zheng-fang-a-collection-of-work","title":"Zheng Fang: A Collection of Work (Feb. 15-17, 2024)","description":"\u003cp\u003eArtist Zheng Fang has turned a traditional printmaking and painting background into an evocative and dynamic practice using video games as an engine for creative expression.\u003c\/p\u003e\n\u003cp\u003eWith a foundation in drawing, painting, and sculpture, Fang began experimenting with games during the pandemic while searching for a place to create within the confines of his apartment. Zheng's PC became his virtual workshop, prompting him to think about how to showcase his art and connect with his friends in their own spaces. Games emerged as the answer.\u003c\/p\u003e\n\u003cp\u003eFor two nights, Killscreen was proud to showcase a selection of Zheng's work, pulling from a wide-ranging and diverse approach to game-based art and culture.\u003c\/p\u003e\n\u003ch4\u003e\u003cem\u003eCorona Time (2020)\u003c\/em\u003e\u003c\/h4\u003e\n\u003cp\u003eAn exploration of loneliness and release. Fang created this during the pandemic to connect with friends he could no longer see abroad.\u003c\/p\u003e\n\u003ch4\u003e\n\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAs You Wish (2020)\u003c\/em\u003e\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003e\"A place of nowhere. People and objects fall from the sky. They could be your comrades, friends, guests, or enemies. You could have a party here, or make it a battlefield, a torture chamber, or just try to get rid of everything and keep it clean. Enjoy your time here...as you wish.\"\u003c\/p\u003e\n\u003ch3\u003e\u003cem\u003eNight Running (2021)\u003c\/em\u003e\u003c\/h3\u003e\n\u003cp\u003eFang's capstone project at UClA. Night Running is a video game about softness, hardness, opaqueness, transparency, sex, violence, love, hate, confusion, and misinterpretation. Zheng's deliberate use of lighting techniques and particle effects emphasizes the corporeal nature of his digital creations, adding depth and a human touch to the experiences.\u003c\/p\u003e\n\u003ch3 class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\"\u003e\u003cem\u003eRu Cun Chu Cheng (2022)\u003c\/em\u003e\u003c\/h3\u003e\n\u003cp\u003eA documentary of the last exhibition in a South China village. We leave the urban and then enter the village.\u003c\/p\u003e\n\u003ch3\u003e\u003cem\u003eLocal Academy of Fine Arts Undergraduate Exhibition (2023)\u003c\/em\u003e\u003c\/h3\u003e\n\u003cp\u003eThe students are real. The artist statements aren't real. The artwork isn't real. And yet...\u003c\/p\u003e\n\u003cp\u003eAll student photos, artwork images, names, artwork titles, and descriptions in this collection are generated by Midjourney and ChatGPT, and they are filled with biases and stereotypes. It's part of Fang's larger exploration into generative tools. By using AI to generate artwork reminiscent of student projects, Fang challenges the notion of artistic genuineness and sparks discussions about the nature of creativity in an increasingly technologically-driven world.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eZheng Fang (方政) was the youngest person in the world.\u003c\/p\u003e\n\u003cp\u003eAs an old media artist and co-founder of \u003ca data-id=\"www.jasagala.com\" data-type=\"URL\" href=\"http:\/\/www.jasagala.com\/\"\u003eJasagala (夹山改梁)\u003c\/a\u003e, Zheng Fang began his journey at the intersection of interactive installations, game design, generative art, performance, experimental video, painting, experimental theater, curation, and education, among others.\u003c\/p\u003e\n\u003cp\u003eAfter graduating from the Central Academy of Fine Arts with a B.F.A. in Printmaking in 2018 and UCLA with an M.F.A. in Design Media Arts in 2021, he is now a freelance artist and lecturer based in both Los Angeles and Guangzhou.\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45168222077092,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Zheng-Fang-A-Collection-of-Works-FB-Cover-Instagram-Post-1.png?v=1709840452"},{"product_id":"exhibition-remaking-santa-monica-with-uclas-aud-studio","title":"Remaking Santa Monica with UCLA's AUD Studio (2\/22\/24-3\/2\/24)","description":"\u003cp style=\"font-weight: 400;\"\u003e\u003cem\u003eWhat if we look at architecture through the lens of generative fiction?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhat happens to a neighborhood when we design a building? Architectural design is an intricate process involving many factors, and we tend to investigate each separately. In this studio, we study micro urban narratives through understanding design as a participatory process.\u003c\/p\u003e\n\u003cp\u003eWe start from an existing urban block and design the future of it through new construction, gentrification, and market driven development. Depending on the decisions taken for each lot, the whole bloc gets redesigned. Learning from \u003cem\u003echoose your own adventure\u003c\/em\u003e games, we use branching narrative logic as a tool for world-building and invite the audience to play an interactive game and design the future of a Santa Monica block.\u003c\/p\u003e\n\u003cp\u003eSanta Monica uses game engines to craft an interactive narrative for a mixed-use block in Santa Monica; each decision leads to a new block design. We design these variations collectively by simultaneously playing an interactive game where we can see the multiple scenarios play out by piecing together a plan, a physical scaled block model, and an 8-bit style game.\u003c\/p\u003e\n\u003ch2\u003e\u003cem\u003eAbout the Creators\u003c\/em\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSanta Monica\u003c\/strong\u003e was a Fall 2023 graduate-level design studio led by \u003ca href=\"https:\/\/yarafeghali.com\/\"\u003eYara Feghali\u003c\/a\u003e at UCLA's Department of Architecture and Urban Design (UCLA AUD), part of the UCLA School of the Arts and Architecture (UCLA Arts). The Santa Monica studio participants are third-year Master of Architecture candidates at UCLA AUD: Peilin Cao, Haydon Chan, Zongli Casper Li, Yufei Ma, Kinamee Rhodes, Jane Wu, Qinyi Wu, Qing Yin, and Chaoying Mavis Zhao.\u003c\/p\u003e\n\u003cp\u003eGame narrative structure consulting by \u003ca href=\"https:\/\/www.racheljoyvictor.com\/thesis-1\"\u003eRachel Joy Victor\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eUnity Game Development by \u003ca href=\"https:\/\/www.follyfeastlab.com\/\"\u003eFolly Feast Lab.\u003c\/a\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cem\u003eAbout this Exhibition\u003c\/em\u003e\u003c\/h2\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThis project ran from  22\u003csup\u003end\u003c\/sup\u003e of February to the 2\u003csup\u003end\u003c\/sup\u003e of March. Please make a booking above to visit.\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45215517540516,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Remaking-Santa-Monica-WP-Page-header.png?v=1709840461"},{"product_id":"exhibition-henrik-soederstroem-spirit-interface","title":"Henrik Soederstroem - Spirit Interface [March 7th to 23rd, 2024]","description":"\u003cp\u003eOn March 7th, Henrik Soederstroem presented the solo exhibition “Spirit Interface” at Killscreen.\u003c\/p\u003e\n\u003cp\u003eThe spirit interface is a point of contact with extra-human subjectivities we cannot fully comprehend or define, forces that exert influence without fully revealing themselves; the occult flow of commodities and capital, arcane sub-layers of virtual space, the eerie allure of found objects, the haunting and the sublime in art.\u003c\/p\u003e\n\u003cp\u003eSoederstroem’s mixed media installations dissect familiar motifs from digital media and games, transforming everyday items into unfamiliar artifacts. He draws on horror film and game aesthetics and viral online folklore, tapping into the subconscious anxieties and dark desires they express.\u003c\/p\u003e\n\u003ch2\u003eWorks\u003c\/h2\u003e\n\u003cp\u003eHenrik presented the works “Dunya” from 2021 and “Troubles of Presence I-IV” from 2023. Both were created in the Unity 3D gaming platform and presented live as generative video or non-interactive games.“Dunya” shows two planes of existence in the same simulated world—one influenced by simple 2D automata and another in a gothic 3D style reminiscent of PlayStation 2-era horror games. Though separate at first glance, after watching the piece, it becomes apparent that events and characters cross over between the two worlds.\u003c\/p\u003e\n\u003cp\u003e“Troubles of Presence” is a four-part generative video about the hidden agencies of objects inspired by discarded items and disused spaces around Los Angeles. The objects used in the video are also displayed in the space, mirroring the virtual and physical worlds.\u003c\/p\u003e\n\u003cp\u003eHenrik presented a work in progress titled “Sufferer’s Courage” (a loose translation of the Swedish word for patience: tålamod). This kinetic fabric sculpture is part of exploring the poetics of computer graphics software and simulated objects. The piece turned the states and parameters of CG fabric simulation – tension and release, rigidity and flexibility – into conceptual and material metaphors.\u003c\/p\u003e\n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eA Swedish artist and musician based in LA, Soederstroem’s work spans computer graphics, generative programming, audio experimentation, immersive installation, drawing, and poetry. He holds an MFA in Media Art from UCLA (2023), is an active contributor to the Free The Land artist collective, and has performed extensively in the US and Europe with the noise music project Händer Som Vårdar.\u003c\/p\u003e\n\u003ch2\u003eProgramming\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eOpening reception: Thursday March 7th, 6 PM – 9 PM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist talk (with Mikkel Rørbo): Saturday, March 16th, 1 PM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClosing reception and music performances: Saturday, March 23nd, 6 PM – 10 PM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe night featured music performances that complemented the exhibition with Lawrence Chit, Jaded Chakra, and Henrik Soederstroem.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.instagram.com\/chitfun\/\"\u003eLawrence Chit\u003c\/a\u003e is an LA-based artist, musician, and underground scene legend. He has shown work at \u003ca href=\"https:\/\/www.phasegallery.com\/\"\u003ePhase Gallery\u003c\/a\u003e and Ingrams and performed as Contorted Corpse, Malamygdala, and FxTxL, to name a few.\u003c\/p\u003e\n\u003cp\u003eJaded Chakra is a new venture by the operator behind the experimental techno project \u003ca href=\"https:\/\/soundcloud.com\/avenuezero0o\"\u003eAvenue Zero\u003c\/a\u003e, known for performances at Dust LA and United Selector Network\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45168226697380,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/HenrikSoederstrom-SpiritInterface-troubles_of_presence_hi.png?v=1712686862"},{"product_id":"exhbition-alice-bucknell-the-alluvials-april-4th-may-4th-2024","title":"Alice Bucknell | The Alluvials [April 4th - May 4th, 2024]","description":"\u003ch4 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Alluvials is a video work and playable video game that explores the politics of drought and water scarcity in a near-future version of Los Angeles. Leveraging ecological theory, speculative fiction, and queer game theory, the narrative is told through a variety of nonhuman and elemental perspectives, including the Los Angeles River, wildfire, a 400-year-old sycamore called El Aliso, and the ghost of the city’s celebrity mountain lion, P-22. \u003c\/span\u003e\u003c\/h4\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Alluvials film (2023) is a work of nonlinear, non-narrative storytelling. Spread across seven chapters and as many worlds, the film oscillates forwards and backwards in time, exploring multiple possible futures and revisited pasts for the region known today as Los Angeles. The film leverages game engine worldbuilding, custom stable diffusion models trained on historical and future images of the LA River, cinematic “modding” of the Grand Theft Auto V engine, and drone mapping to generate a kaleidoscopic imaginary to storytell Los Angeles. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Alluvials video game (2024) spans four levels set in four different environments. Players take on the agency of conventionally non-playable and nonhuman characters, including wildfire, the LA River, a Yucca Moth and Joshua Tree, and a pack of wolves. The Alluvials is also a game about gaming; each level takes on a different gaming genre (first-person shooter, walking simulator, open world, racing game) and reimagines it through a speculative ecological lens.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe game aims to expand on Bucknell’s ongoing research into game ecologies: or how “nature”, ecology, and the environment are portrayed by and interacted with inside game worlds. Acknowledging Indigenous relationships to water, particularly the Tongva People of the Greater Los Angeles Basin and their understanding of the LA River as an ever-morphing entity, the project reinscribes the idea that nature is an intelligent system, a technology in its own right. Through the interactive capacities of game interfaces, The Alluvials asks its audience to consider their role in the future of water systems in Los Angeles by looking into the region’s deep past.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e—\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Alluvials was commissioned by \u003ca href=\"https:\/\/mudac.ch\/en\/\"\u003emudac\u003c\/a\u003e in Lausanne with support from \u003ca href=\"https:\/\/transmediale.de\/en\"\u003etransmediale\u003c\/a\u003e, \u003ca href=\"https:\/\/www.artscouncil.org.uk\/\"\u003eArts Council England\u003c\/a\u003e, and the \u003ca href=\"https:\/\/www.lapl.org\/\"\u003eLos Angeles Public Library\u003c\/a\u003e.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe game was developed with the Berlin-based game developer, \u003ca href=\"https:\/\/neoxentertainment.com\/\"\u003eNeox Entertainment\u003c\/a\u003e.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe project was scored by the electronic musician Ken Yama.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/tomjoyes.studio\/\"\u003eTom Joyes\u003c\/a\u003e designed the Alluvials logo. Exhibition photograph by Chris Hanke.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45251893493924,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Killscreen_Alice_Bucknell_The_Alluvials_027_Credit_ChrisHanke.jpg?v=1713047259"},{"product_id":"zheng-fang-a-collection-of-work-zine","title":"Zheng Fang: A Collection of Work Zine","description":"\u003cp\u003eArtist Zheng Fang has turned a traditional printmaking and painting background into an evocative and dynamic practice using video games as an engine for creative expression.\u003c\/p\u003e\n\u003cp\u003eWith a foundation in drawing, painting, and sculpture, Fang began experimenting with games during the pandemic while searching for a place to create within the confines of his apartment. Zheng's PC became his virtual workshop, prompting him to think about how to showcase his art and connect with his friends in their own spaces. Games emerged as the answer.\u003c\/p\u003e\n\u003cp\u003eFor two nights, Killscreen was proud to showcase a selection of Zheng's work, pulling from a wide-ranging and diverse approach to game-based art and culture.\u003c\/p\u003e\n\u003cp\u003eThis digital zine features a conversation with Zheng and a collection of his work\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45385246638244,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Zheng-Fang-A-Collection-of-Works-FB-Cover-Instagram-Post-1_1daafaaf-cab7-48f4-b79a-2c20f17ab177.png?v=1712358291"},{"product_id":"easy-ultra-fine-jenna-caravello-5-9-24-5-25-24","title":"EASY ULTRA FINE | JENNA CARAVELLO  | 5.9.24 - 5.25.24","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEASY ULTRA FINE\u003cbr\u003eJENNA CARAVELLO\u003cbr\u003e5.9.24 - 5.25.24 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEasy Ultra Fine\u003c\/span\u003e\u003cspan\u003e is a collection of interactive works by Jenna Caravello (b.1988, Los Angeles) that use video game software and animation to explore hauntological virtual objects within video game environments. Opening at Gameplayarts on May 9th, this is Caravello’s first solo gallery show in Los Angeles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eStemming from research on emergent gameplay in open-world video games and inspired by red-herring collectables in point-and-click adventure games, \u003c\/span\u003e\u003cspan\u003eEasy Ultra Fine\u003c\/span\u003e\u003cspan\u003e centers on emotions gamers attach to virtual objects and invites introspection on their scarcity, uselessness, or potential.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exhibition features four new projects, including \u003c\/span\u003e\u003cspan\u003eBat Nut\u003c\/span\u003e\u003cspan\u003e, an interactive memorial that begs visitors to prove their loyalty to the memory of the artists' deceased pet bird, Pudding. \u003c\/span\u003e\u003cspan\u003eWatcher\u003c\/span\u003e\u003cspan\u003e is a virtual convenience store steward that uses motion-tracking to ignore visitors and aim attention at \u003c\/span\u003e\u003cspan\u003eFocus Envy\u003c\/span\u003e\u003cspan\u003e, the oil painting across the room. The time \u003c\/span\u003e\u003cspan\u003eWatcher\u003c\/span\u003e\u003cspan\u003e spends looking at \u003c\/span\u003e\u003cspan\u003eFocus Envy\u003c\/span\u003e\u003cspan\u003e affects an internal score system, prompting \u003c\/span\u003e\u003cspan\u003eWatcher\u003c\/span\u003e\u003cspan\u003e to form hand signs that indicate his \"favorite\" quadrant of the painting. Each work employs RND and state machine mechanics commonly found in video games to give NPCs and virtual environments a most basic semblance of artificial intelligence or verisimilitude. \u003c\/span\u003e\u003cspan\u003eEasy Ultra Fine\u003c\/span\u003e\u003cspan\u003e (the installation that shares the show's name) is an absurdist meditation on the value of virtual objects in a game environment. This value can be contingent on how an object is used, found, obtained, or for its promised potential, particularly when a player is given no explanation or use for an object, and may never be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn video games, virtual objects (susceptible to digital decay as they are) become markers for shared experiences in our collective memory, just like any reproducible object has the potential to. Drawing connections between the ephemeral nature of virtual collectables, simulation and replication, the aesthetic abundance of convenience stores, and utopic As Seen on TV products, Easy Ultra Fine beckons broader questions—why do full inventories dissuade gamers from erasing a save file? Does a virtual object, just like any advertised product, present infinite potential or immediate and irredeemable obsolescence?\u003c\/p\u003e\n\u003cp\u003e--\u003c\/p\u003e\n\u003cdiv class=\"style_container__CAktv\"\u003e\n\u003cp\u003eJenna Caravello (she\/her) is a Los Angeles-based artist working with animation, VR, motion capture, and video game platforms. Her single-channel and interactive works explore the role of narrative in personal, collective, and digital memory. Using the tools and conventions of animation and video game industries, Jenna examines game logic and cartoon language, and engages with science-fantasy, world-building, and techno-mysticism. Her research seeks out humanity, absurdity, and vulnerability where computer culture, folklore, and analog mundanity intersect.\u003c\/p\u003e\n\u003cp\u003eJenna received a Bachelor of Fine Arts in Animation and Film\/Video Production from the School of the Art Institute of Chicago and holds an M.F.A from the California Institute of the Arts in Experimental Animation. She has directed and produced animated sequences for music videos, advertising, and feature films that garnered awards at Sundance, Cannes, and the 2016 and 2020 Emmy Awards.\u003c\/p\u003e\n\u003cp\u003eJenna’s work has been featured by Noisey (Vice), NPR, Impose, The Fader, Magnet Magazine, Stereogum, Directors Notes, and Gorilla vs. Bear. Her films have screened at venues and film festivals internationally, including the Melbourne International Animation Festival, the National Taiwan Arts Education Center, the Raindance Film Festival, the GIRAF International Animation Festival, and Slamdance. She is the recipient of a 2018 Jules Engel Award from CalArts and a 2018 Princess Grace Award in Film.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":45653774794916,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/JennaCaravello-EasyFine-BatNut_1Large.jpg?v=1714582363"},{"product_id":"vinny-roca-slot-waste-may-31st-june-13th-2024","title":"Vinny Roca | Slot Waste | May 31st - June 22nd, 2024","description":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eSLOT WASTE\u003cbr\u003eVINNY ROCA\u003cbr\u003eMAY 31ST to JUNE 22ND 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"style_container__CAktv\"\u003e\n\u003cp\u003eSlot Waste is an exhibition of three game and simulation works by Los Angeles-based artist, Vinny Roca. With common threads of the absurd, the unintelligible, and the processual, each work of Slot Waste presents moments of eerie transformation, creating weird ecologies that both invite and implicate players in their strange productions. Through these works, Roca looks toward the game engine as a system to make sense of the contemporary crossings of labor, production, and ritual.\u003c\/p\u003e\n\u003cp\u003eMy Easy Shaker Yoke Face (2020) is an absurdist computer game that plays with the historical lineage of the American Shaker tradition. Taking and expanding upon the Shaker's understanding of labor and religion, best summarized in the common Shaker phrase \"Hands to Work, Hearts to God,\" My Easy Shaker Yoke Face attempts to work through the relationship between contemplation, transformation, and labor. Players navigate a room filled with absurd objects and machines attempting to understand which machines and objects transform each other. As players gain knowledge of the system, the process of creation and transformation repeats until the player successfully makes a sculptural portrait in the center of the room.\u003c\/p\u003e\n\u003cp\u003eCome Away With Me (2023) is a real-time simulation of an ambiguous ritual. In the midst of a seemingly vast desert storm, thirteen pigs emerge one by one from a semi-truck, each carrying a speaker playing a song from the 2002 Nora Jones album, from which the work takes its name. Each pig dances separately to their own music before joining together in a communal cacophonous procession. Examining ideas of indecipherable rituals and inaccessible intelligence, the work presents an experience of transfiguration through repetition. Although an eerie joy is palpable throughout the duration of the work, the pigs' unending labor casts an ominous tone over the ritualistic procession.\u003c\/p\u003e\n\u003cp\u003eSlot Waste (2024) is an experimental video game that articulates a lengthy, absurdist Rube Goldberg-like production process. The fantastically grotesque creatures that populate the game are both autonomous and alive, yet their existences remain inextricably tied to the process of production. Centering the absurdist objective of total productivity, all waste, including the excretions and defecations of the various beings within the game, is continuously transformed into raw material. When playing Slot Waste, the ambiguity between life and death, waste and product, repulsion and desire, compels the player to interact with the machine to become part of the elliptical production process itself. \u003c\/p\u003e\n\u003cp\u003eABOUT THE ARTIST\u003cbr\u003eVinny Roca is a game maker, artist, and graduate student at UCLA DMA. \u003c\/p\u003e\n\u003c\/div\u003e","brand":"Gameplayarts","offers":[{"title":"Pay What You Can - Click Green Button","offer_id":46009097715876,"sku":"","price":5.0,"currency_code":"USD","in_stock":true},{"title":"Free","offer_id":46009097748644,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Vinny_Roca_-_Slot_Waste_-_My_Easy_Shaker_Yoke_Face_2.png?v=1717001488"},{"product_id":"playa-july-18-august-3-2024","title":"PLAYA (July 18 — August 3, 2024)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePLAYA\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eGAMEPLAYARTS \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCURATED BY BRYAN MUNGUIA\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eJULY 18 — AUGUST 3 2024 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003cb id=\"docs-internal-guid-ffa702f3-7fff-ff05-b5e1-61bbf6a2d419\"\u003e\u003c\/b\u003e\u003c\/em\u003e\u003cem\u003eImage courtesy of Murakit \u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGameplayarts\u003c\/span\u003e\u003cspan\u003e is pleased to present \u003c\/span\u003e\u003cspan\u003ePlaya\u003c\/span\u003e\u003cspan\u003e, a survey of Mexico-based artists informed by post-Internet worldbuilding.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis summer, Los Angeles and its seasonal tourists are invited to immerse themselves in an exotic, simulated paradise. \u003c\/span\u003e\u003cspan\u003ePlaya \u003c\/span\u003e\u003cspan\u003eunfolds as an ironic theater of Western desires, mirroring modern commercial worldbuilding logic to transform the gallery space into a faux Mexican beach resort. This setting authentically reflects a yearning for foreign utopias, weaving nostalgia and romantic idealism into an interactive dreamscape. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe works of Mexican multidisciplinary artists\u003c\/span\u003e\u003cspan\u003e Alonso Cedillo\u003c\/span\u003e\u003cspan\u003e (Mexico City), \u003c\/span\u003e\u003cspan\u003eMurakit\u003c\/span\u003e\u003cspan\u003e (Mexico City), \u003c\/span\u003e\u003cspan\u003eCaro Lucero\u003c\/span\u003e\u003cspan\u003e (Mexico City), \u003c\/span\u003e\u003cspan\u003eFernando Gress Muñoz\u003c\/span\u003e\u003cspan\u003e (Mexico City), \u003c\/span\u003e\u003cspan\u003eAlicia Valladeres \u003c\/span\u003e\u003cspan\u003e(Mexico City),\u003c\/span\u003e\u003cspan\u003e Juanna Pedro\u003c\/span\u003e\u003cspan\u003e (Xochimilco), and \u003c\/span\u003e\u003cspan\u003eClutch\u003c\/span\u003e\u003cspan\u003e (Guadalajara) reinterpret popular visual culture through various appropriations. Each artist offers a unique critique of Western imagination through post-Internet practices, creating a multidimensional showcase encompassing video games, digital art, drawings, and Internet-based curatorial projects like \u003c\/span\u003e\u003cspan\u003ePatadas de Ahogadx\u003c\/span\u003e\u003cspan\u003e from \u003c\/span\u003e\u003cspan\u003eCentro Cultural Kappa\u003c\/span\u003e\u003cspan\u003e (Guadalajara) and \u003c\/span\u003e\u003cspan\u003eNeo_Tortellería\u003c\/span\u003e\u003cspan\u003e (Guanajuato).\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTypically a site of hedonistic attraction, the resort blurs distinctions between high and low culture, revealing a critical awareness of the kitschiness that comes from situating common culture objects in formal contexts. The artists draw on digital aesthetics of the 1990s when U.S.-transferred pop culture hit a cultural apex in Mexico. Caricatures of the appropriative West, such as video game culture and Japanese manga, resonate deeply within the Mexican collective subconscious raised in Web 1.0. This interplay of idyllic nostalgia and transnational internet aesthetics builds an inverted type of utopia meant to confront Western sensibilities. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePlaya\u003c\/span\u003e\u003cspan\u003e will be on view at Gameplayarts, 5511 W Pico Blvd, from July 18 to August 3, 2024. An opening reception will be held on Thursday, July 18, from 6 to 10 pm, featuring a musical performance from participating artist Murakit at 9 PM. The exhibition welcomes walk-in visitors on Thursdays from 6 to 9 p.m. and Saturdays from 12 to 5 p.m. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e--\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImagen cortesía de Murakit\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eGameplayarts se complace en presentar Playa, una muestra de artistas radicados en México inspirada en la construcción de mundos post-Internet.\u003c\/p\u003e\n\u003cp\u003eEste verano, Los Ángeles y sus turistas de temporada están invitados a sumergirse en un paraíso exótico y simulado. Playa se despliega como un teatro irónico de los deseos occidentales, reflejando la lógica moderna de construcción de mundos comerciales para transformar el espacio de la galería en un falso resort playero mexicano. Este escenario refleja auténticamente el anhelo por utopías extranjeras, entretejiendo nostalgia e idealismo romántico en un paisaje onírico interactivo. \u003cbr\u003e\u003cbr\u003eLas obras de artistas multidisciplinarios mexicanos como Alonso Cedillo (Ciudad de México), Murakit (Ciudad de México), Caro Lucero (Ciudad de México), Fernando Gress Muñoz (Ciudad de México), Alicia Valladeres (Ciudad de México), Juanna Pedro (Xochimilco) y Clutch (Guadalajara) reinterpretan la cultura visual popular a través de diversas apropiaciones. Cada artista ofrece una crítica única de la imaginación occidental a través de prácticas post-Internet, creando una muestra multidimensional que abarca videojuegos, arte digital, dibujos y proyectos curatoriales basados en Internet como Patadas de Ahogadx del Centro Cultural Kappa (Guadalajara) y Neo_Tortellería (Guanajuato).\u003c\/p\u003e\n\u003cp\u003eTípicamente un sitio de atracción \"hedonista,\" el resort desdibuja las distinciones entre alta y baja cultura, revelando una conciencia crítica de lo \u003cem\u003ekitsch\u003c\/em\u003e que resulta de situar objetos de la cultura común en contextos formales. Los artistas se inspiran en la estética digital de los años 90, cuando la cultura pop transferida de EE.UU. alcanzó su apogeo cultural en México. Las caricaturas del Occidente apropiativo, como la cultura de los videojuegos y el manga japonés, resuenan profundamente en el subconsciente colectivo mexicano criado en la Web 1.0. Este juego entre nostalgia idílica y estética transnacional de Internet construye un tipo invertido de utopía destinada a confrontar las sensibilidades occidentales.\u003c\/p\u003e\n\u003cp\u003ePlaya estará en exhibición en Gameplayarts, 5511 W Pico Blvd, del 18 de julio al 3 de agosto de 2024. La recepción de apertura se llevará a cabo el jueves 18 de julio, de 6 a 10 pm, con una presentación musical del artista participante Murakit a las 9 PM. La exposición recibe visitantes sin cita previa los jueves de 6 a 9 p.m. y los sábados de 12 a 5 p.m.\u003cspan\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e–\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eEXHIBITOR LIST \u003cb\u003e\/ \u003c\/b\u003eLISTA DE EXPOSITORES\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.cedillo.io\/info\"\u003e\u003cspan\u003eAlonso Cedillo\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/murakiit\/\"\u003e\u003cspan\u003eMurakit\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/caracolito.tv\/\"\u003e\u003cspan\u003eCaro Lucero\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/ponib0y\/\"\u003e\u003cspan\u003eFernando Gress Muñoz\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/vl.alca\/\"\u003e\u003cspan\u003eAlicia Valladres\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/juannapedroo\/\"\u003e\u003cspan\u003eJuanna Pedro \u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/c_l_u_t_c_h._\/\"\u003e\u003cspan\u003eClutch \u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/cc_kappa\/\"\u003e\u003cspan\u003eCentro Kappa Cultural \u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003ca href=\"https:\/\/www.instagram.com\/neotortilleria\/?hl=en\"\u003e\u003cspan\u003eNeo_Tortellería\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/www.instagram.com\/cdmx.exe\/?hl=en\"\u003e\u003c\/a\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.instagram.com\/neotortilleria\/?hl=en\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003ePatadas de Ahogadx:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/cdmx.exe\/?hl=en\"\u003e\u003cspan\u003ecdmx.exe\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/nathan_harper_art\/?hl=en\"\u003e\u003cspan\u003eNathan Harper\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003ca href=\"https:\/\/www.instagram.com\/juannapedroo\/?hl=en\"\u003e\u003cspan\u003eJuanna Pedro\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/muri.pixel\/?hl=en\"\u003e\u003cspan\u003eMuri pixel \u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/vidalmartinez.data.blog\/about\/\"\u003e\u003cspan\u003eVidal Martínez\u003c\/span\u003e\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003ca href=\"https:\/\/www.instagram.com\/eme_traes.frutas\/?hl=en\"\u003e\u003cspan\u003eMarina Karina\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003ca href=\"https:\/\/www.instagram.com\/jehielikinnereth\/?locale=my\"\u003e\u003cspan\u003eJehieli Kinnereth\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/__psp_____\/?hl=en\"\u003ePaula Reyes-Pérez\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/3.14conejos\/?hl=en\"\u003e3.14 conejos \u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/emilioferrer.xyz\/?hl=en\"\u003eEmilio Ferrer \u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/anakarenrosan\/?hl=en\"\u003eAna Karen\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/csrrndn\/?hl=en\"\u003eCésar Rendón\u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/lengeling\/?hl=en\"\u003eGabriel Lengeling \u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003ca href=\"https:\/\/www.instagram.com\/_mariana_ledesma_\/?hl=en\"\u003eMariana Ledesman \u003c\/a\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003ca href=\"https:\/\/www.instagram.com\/emiliomoralesc\/?hl=en\"\u003eEmilio Morales\u003c\/a\u003e \u003cb id=\"docs-internal-guid-b55ae48f-7fff-560e-b090-8521a198e76b\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c!----\u003e","brand":"Gameplayarts","offers":[{"title":"Default Title","offer_id":46049643200676,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Gameplayarts_PLAYA_installs_002.jpg?v=1721861828"},{"product_id":"7-27-24-exploring-digital-painting-in-the-mexican-landscape","title":"7.27.24 Exploring Digital Painting in the Mexican Landscape","description":"\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/gameplayarts.org\/products\/playa-july-18-august-3-2024\" target=\"_blank\"\u003e\u003cem\u003eAs part of our exhibition Playa, on view through August 3rd.\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eGameplayarts is pleased to host an artist talk with Mexico-based multidisciplinary artist Caro Lucero in conversation with PLAYA curator Bryan Munguia. \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eJoin us for an engaging discussion on the innovative use of digital painting and glitch aesthetics to depict the Mexican landscape. This talk will explore the evolution of digital imagery in Mexican art, highlighting how the aesthetics of error convey the spatial imagination. Learn more about Lucero's artistic practice, who uses postmodern logic to render perceptions, beliefs, myths, and narratives of Northwest Mexico into new horizons. \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eThis talk be take place in-person at Gameplayarts, 5511 W Pico Blvd, on Saturday, 7\/27, at 2 PM. Remote attendees will be able to access the talk via Zoom .\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e— \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eGameplayarts se complace en tener una charla con la artista multidisciplinar mexicana Caro Lucero en conversación con el curador Bryan Munguia. \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eAcompáñanos en un interesante debate sobre el uso innovador de la pintura digital y la estética glitch para representar el paisaje mexicano. Esta charla explorará la evolución de la imaginería digital en el arte mexicano, destacando cómo la estética del error transmite la imaginación espacial. Descubre más sobre la práctica artística de Lucero, quien utiliza la lógica posmoderna para plasmar percepciones, creencias, mitos y narrativas del noroeste de México en nuevos horizontes.\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eEsta charla tendrá lugar en persona en Gameplayarts, 5511 W Pico Blvd, el sábado 27 de julio a las 2 PM. Los asistentes remotos podrán acceder a la charla a través de Zoom.\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e— \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cstrong\u003eABOUT THE SPEAKERS\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eCaro Lucero (Sonora, 1989) holds a Master’s degree in Artistic Production from the Autonomous University of the State of Morelos and a Bachelor’s degree in Visual Arts from the National School of Painting, Sculpture, and Engraving ENPEG “La Esmeralda,” where she also teaches. \u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eHer work focuses on the relationships between pictorial, digital, and traditional languages, developing notions of the imaginary and the ethereal. Through various media, she explores the correspondence between virtual life and the physical world and how these spaces intersect and enrich each other. The use of vivid colors and light creates a sense of artificiality that invites the viewer to explore their own internal landscapes.\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003eBryan Munguia (Los Angeles, 1998) is an independent curator working with Gameplayarts since 2022. He specializes in curatorial worldbuilding, approaching the exhibition-making process within a theatrical matrix. Currently, he consults on curatorial projects for organizations like CLAYDD, and is the former curator of Aparador LA. He’s deeply interested in trans-American artistic experimentation, organizing projects to bridge artistic scenes of Los Angeles and the Global South.\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--m RichText3-paragraph--withVSpacingNormal RichText3-paragraph\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp class=\"whitespace-pre-wrap break-words\"\u003e\u003cstrong\u003eLogistics: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"whitespace-pre-wrap break-words\"\u003eDate: July 30th, 2024 Time: 2 PM PT \u003c\/p\u003e\n\u003cp class=\"whitespace-pre-wrap break-words\"\u003eFormat: Hybrid - Online via Zoom and in-person at Gameplayarts, 5511 W Pico Blvd Length: 45 minutes plus Q\u0026amp;A. It will be recorded.\u003c\/p\u003e\n\u003cp class=\"whitespace-pre-wrap break-words\"\u003eCost: Free, but we ask for donations to offset the cost of the overall Playa program. \u003c\/p\u003e\n\u003cp class=\"whitespace-pre-wrap break-words\"\u003eExperience Level: This talk would be particularly relevant for professionals and enthusiasts in digital art, visual arts, and cultural studies. It would also appeal to those interested in glitch aesthetics, digital painting techniques, and contemporary Mexican art. Beginners welcome!\u003c\/p\u003e\n\u003cp class=\"whitespace-pre-wrap break-words\"\u003eAdditional Info: There are no refunds or exchanges. Please review our Code of Conduct on our website. If you have any questions, email \u003ca href=\"mailto:info@gameplayarts.org\"\u003einfo@gameplayarts.org\u003c\/a\u003e.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Gameplayarts","offers":[{"title":"Free RSVP","offer_id":46076486385828,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":46076486451364,"sku":null,"price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/CaroLucero-Playa-amanecedosveces.jpg?v=1721865741"},{"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"}],"url":"https:\/\/ecc08a-2c.myshopify.com\/collections\/past-openings.oembed","provider":"Gameplayarts","version":"1.0","type":"link"}