Exploring Unease and Haunting: Reflections on ‘Immersive Distancing: Carmen Argote and Zeynep Abes’ at LAAS

As I entered through the front doors of the Los Angeles Convention Center for this year’s installment of the LA Art Show (LAAS), I already knew something special was about to happen. Each participating gallery space was set up with its own booth and its best and brightest works were proudly hanging on the walls. The event hosted a broad range of art styles. I could, for example, turn one way and see a display of brightly colored pop art, then another to see a booth filled with Renaissance-style portraits. The commercial event had something for everyone to enjoy. My favorite section, however, lay just behind the digital floor-to-ceiling waterfall installation by Luciana Abait. For just a few steps beyond it was this year’s ​​DIVERSEartLA program: a segment of LAAS that included art from across the globe and highlighted women and nonbinary artists whose practice intersects with art, science, and technology. Here is where the UCLA Chicano Studies Research Center’s (CSRC) exhibition Immersive Distancing: Carmen Argote and Zeynep Abes, curated by Chon A. Noriega, resided for the weekend.

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