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Arcade SCIART Layout2.jpg

Gallery Map Studio Channel Islands

The Arcade of Hypermodernity

Curatorial project by Jason Jenn & Vojislav Radovanović for Studio Channel Islands 

June -July 2024


The Arcade of Hypermodernity (or the Arcade for short) explores the realm of technology and imagination via an exhibition designed like an amusement center for visitors with purely pleasurable interpretations and delights from initial inspection with deeper socio-political implications upon further exploration. As the title suggests, Studio Channels Islands gallery will be transformed into a lively, dreamlike arcade space where imaginations are allowed to roam freely, unleashing the inner child while delving into the shadowy undercurrents and contemporary challenges that human innovation, ingenuity, and fallibility along with the advancements in artificial intelligence suppose. It features a mix of high-tech and low-tech elements including interactive installations, video, augmented & virtual reality works, animatronics, and devices that hark back to an earlier era of arcade games as well as nostalgic analog and digital eras. The exhibition layout is designed to work with the existing SCI building and the movable walls so that upon entry to the gallery one feels that they have entered a video game arcade that feels like a pinball machine. Visitors are immersed in a hybrid art gallery and game arcade, where interaction is encouraged with many of the works, creating a multisensory experience.


This exhibition is part of a series of curatorial projects exploring the intersection of art and healing, where the works on display offer emotional depth, challenging visitors to explore new insights and perspectives on the world around us - this iteration uses a sense of playfulness as a method of play.  The philosophical concept of Hypermodernity lends itself to many expressions. There are both positive and negative aspects and societal changes taking place when everything is evolving so rapidly. Some find issues due to hyper-individualism and increased personal choice while others seek validation in new technology to overcome their natural limitations. The Arcade serves as a proper environment in which to play out various interpretations of humanity's increased use and dependency on technology.


Because of the nature of the layout, the curators will need to be very involved and particular about placements of work for the installation. The above chart is a guide, but will change based on conditions. The room will be kept fairly dark with the exception of a few spotlights on works and the fact that many of the works self-illuminate in various ways. We would place a welcome kiosk towards the front of the room and a gallery attendant will help turn on some of the works for guests as some works will be dormant when not in use. For special tour groups and at particular times the entire exhibit can be "activated" and turned on for the full effect. There is a clear sightline down the center of the building leading to the projection screen, only on during special activation times which will have projected video art related to the theme in rotation (and appearing from the front of the room like a video game monitor). The large, open space of the gallery will have an interactive video projection coming directly down from the ceiling onto the floor, which can easily be turned off during the various SCI events and remain open space.


The first section of the exhibition relates to "old school" arcade technology. To the right of the entrance in the corner is a tent-like installation exploring visuals made by old time magic lamps and shadow projection. To the left of the entrance that leads to the office and sales gallery are various automatons and animated works using motion sensors to activate them when visitors get close. There are works of art hung on the movable walls and interactive stations between the walls.

The two movable side walls toward the middle of the room will have large sculptural installations that wrap around the top of the structures.

There will be a console/table on wheels (moveable as needed around the room to easily clear the path) illustrating the illusion of a Pepper’s Ghost, a simple early form of special effects somewhat like a hologram.

The walls around the perimeter of the gallery have various works that hang on the wall  - mostly self-illuminated and/or featuring video screens, QR codes, wall-mounted sculptures, etc. The corners of the room close to the stage will have illuminated sculptural works.


The following represents some of the artists- this list will change based on various factors and find out the various needs for participation. We also aim to include some new artists in the coming months if we encounter any cutting edge work that fits the theme. We will also include a rotation of video art and/or special featured evenings, so that we can include more video artists/VR experiences to expand possibilities and include fresh new works. Regardless of the complete list, we aim to ensure there is a mix of new tech, AR, VR, QR codes, interactive video projection, and work that addresses the current issues of the growing AI situation and its implications both positive and negative. The aim is to ensure there is a good deal of non-electric and physical work to create a balance between the electronic needs & virtual elements.

confirmed artists

Carlos Luna James - AR objects outside building and premiere of new wall-mounted video game-like digital works 

Ismael de Anda III & Eugene Ahn - interactive floor projection

Jeff Frost - video art work 

Jennie E Park - physical animatronics & video work with socio-political themes

Chris Towle - whimsical physical animatronics/automata, evoking another time period of arcade fun

Chenhung Chen - physical sculpture installation made of electronic waste that hangs down from mobile wall

Ibuki Kuramochi - digitally made physical work exploring cyborg feminism with AR/VR component

Jody Zellen - AR video animations that activate by scanning QR codes both inside and outside the building

Edwin Vasquez - work exploring the use of AI in creating imagery

Karen Hochman Brown - VR experience with lush landscapes evoking a sense of escapism

Matthew Pagoaga - Trust, a hacked pac-man game activated by your fingerprint if you trust giving away your info

Leslie Muse - video art

Gregory Frye  (along with composer Joseph Carrillo & visual artist Girlacne)- a fantastical colorful, LED lit device

R SKY Palkowitz - a colorful cosmic alien art infinity box with blacklight elements

Liberty Worth - Touch-responsive fabric that emits lights and sound

Vojislav Radovanovic - work paying homage to the architectural meaning of arcades

Jason Jenn - an olfactory experience that harkens to old-time arcade devices and amusement parks


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