Gallery is closed: installing our next show

Cabinet of Ghosts
March 7- April 18, 2015

OPENING RECEPTION: Saturday, March 7th 6-10pm

Special opening night performances by
Dengue Fever
Amy Kaps and Brutal Blondes
Prumsodun Ok

Curated by Sayon Syprasoeuth and Michael EB Detto

Participating Artists:
Amy Kaps & Brutal Blondes, Aragna Ker, Dengue Fever, Ichiro Irie together with Lucas Kazansky, Ken Gonzales-Day, Marianne Magne, Melinda Smith Altshuler, Michael EB Detto, Paula Goldman, Prumsodun Ok, Richard Turner, Sayon Syprasoeuth.

OCCCA is pleased to present Cabinet of Ghosts - a group exhibition, which gathers new work from artists exploring the aftermath of the catastrophe, the genocide, or the war.  How should we treat memories we leave behind – in real life, as metaphor, as a tool?

The very own substantiality each one thing in itself exhibits, its innate properties, its relation to subject, time space, and language are altogether qualities which suddenly start to dissipate when we have to deal with ghosts. It is hard even to agree on one word for them: there are specters, phantoms and wreath, genie and spirit, the apparition and many other denominations to describe a phenomenon that tends to blur the demarcation line between subject and object, past and presence, here and there.

Cultural memory is collective memory, and the artist is part of it. Today’s notions of history and memory may be flawed and disputed, but they are especially problematic for the individual that experienced the disaster.
It was repeatedly noted: the silence of the victims – when they talk, the suffering will be stretched into the present day, making it unbearable.

To explore the roles of artists as storytellers and researchers, or as social advocates, artists are invited to talk and present their work. They are the descendants, therefore in a better position to face the past.
Initiated by Michael EB Detto’s project “Cambodian Ghosts”, Sayon Syprasoeuth and Michael EB Detto invite artists to a dialogue about their art and the ghosts of the past, and to present their work in this context.


Special music/art workshops presented by the OC Philharmonic
for local High School students Given by John Zeretzke

Led by popular ethnomusicologist and composer John Zeretzke, students will investigate the connections between visual art and music, exploring the music of the spirit world in cultures around the world. We will also consider what makes music “spooky” through examining the instruments and techniques used in film and theater, followed by creating our own scary soundtrack.

The Art and Music program meets state learning standards for Visual and Performing Arts



Drawing in Space
May 2-30, 2015
Artwork by Echo Lew



open call for art
June 6- July 11, 2015

DEADLINE: May 10th


Click to enter


Curatated by Ginger Shulick Porcella, Executive Director, San Diego Art Institute

Moist is a tear-stained face, a risky proposition, a plea for empathy. Moist revels in the fluidity of sexual identity. In these tender transgressions beats the heart of the world.

Moist is about ‘the trespass sweetly urged,’ as Shakespeare wrote. To love is to be brushed by the wings of madness and to suffer the pangs of the impossible in moments of jouissance. A confluence of energies sublime will transcend our differences as barriers keeping us apart evaporate in a halo of bliss.

You know what I want now.
This is no ordinary love.
There’s nothing like you and me.

Painting, drawing, collage, assemblage, sculpture, photographs, videos, performance art and displays of fashion are all invited. The opening night of the exhibition will be a gathering of the tribes, a launch party for the enticing Moist catalogue of accepted works.

Moist casts a look at sensuality, sexuality and eroticism in today’s art, giving free reign to desire.


Ginger Shulick Porcella is an arts administrator and curator whom recently relocated from New York City to San Diego to join the San Diego Art Institute as its Executive Director. Porcella is the founder of Big Deal Arts, and previously served as the Executive Director of Art Connects New York, the Managing Director of Flux Factory, and the Director of Grants and Community Development at Staten Island Arts. As an independent curator, Porcella largely focuses on new media projects that expand the dialogue around the intersection of art, architecture, and anthropology. Porcella is an Associate Curator with Artist Pension Trust (APT Global) and has curated exhibitions for galleries and museums across the U.S. including; “LUMEN”, an international video and performance art festival (Founder and Head Curator 2010 and 2011); “Ivory Tower”, a video exhibition concurrent with Art Basel Miami Beach 2011; “The Typhoon Continues and So Do You” at Flux Factory; “The Sixth Sense and Other Myths” at NYC Industries for the Blind; the critically-acclaimed “Future/Past” at REVERSE Gallery in NYC; and most recently “Beyond Limits: Postglobal Mediations” at SDAI. Porcella’s exhibitions have been positively reviewed in The New York Times and USA Today, and her work has been featured in Hyperallergic, creem magazine, and Modern Painters. Porcella holds an M.A. in Socio-Cultural Anthropology from Columbia University and a B.A. in Art History from DePaul University.


Dates / shipping and more information:


August 1-29. 2015
Jeffrey Frisch



OCCCA 35th Anniversary Show
September 5-26, 2015

Special Dance Performance Series
through December by: EMBARK Dance Theater


Welcome to the Future;
Architecture in Contemporary Art

open call for art

October 3- November 14, 2015
Daniel Paul, Juror

Welcome to the Future is an exhibition about architecture --- vernacular, canonical, and fantastical. Because every epoch demands its own forms, there is a new breed of architect-artist-designer busy devising blueprints for the future --- while asking questions about the present. Welcome to The Future will showcase works in all media, including drawing, painting, sculpture, photography, video, performance, urban parkour, graphic design, functional objects, renderings of real or imagined structures, maquettes, models, participatory installations, and computer generated projects demonstrating advancements in new geometries and materials.

OCCCA’s re-purposed industrial space is an “ideal palace” for the presentation of radical forms. Welcome to the Future offers a territory for experimentation at the intersection of art and architecture.

It is said that architects and artists have in common the act of invention, that architecture is “frozen music.” Longfellow nailed it when he wrote, apropos of Michelangelo, “Ah, to build, to build! That is the noblest of all the arts.” Architecture is imbricated with myriad contemporary concerns about the everyday, the landscape, immigration, cultural heritages, visual blight and renewal, gentrification, climate change, humanitarian crises, preservation of vintage buildings on the verge of disappearance, and city planning. And architecture always takes a starring role in science fiction’s utopian scenarios. The virtual environments of cyber space push architecture beyond physics. Architecture is implicated in the dark side of civilization with its derelict industrial ruins amid unspeakable squalor. Welcome to the Future explores the social, psychological and cultural resonance of architecture under pressure in the here and now.

From skyscraper to favela, the call goes out to artists, architects, designers, collaboratives, and creatives of all kinds: transcend the tangled histories of architecture and art, and build, build!

Daniel Paul graduated from the California State University Northridge with a Masters Degree in Art History. Working under Merry Ovnick, his thesis was titled, “The Aesthetics of Efficiency: Contexts and the Early Development of Late-Modern Glass Skin Architecture.” He is the Vice-Chairperson of the Los Angeles Conservancy Modern Committee, and is currently an Associate Historian with Design Aid Architects. He has also heavily researched art environments by the self-taught, and oversaw Grandma Prisbrey’s Bottle Village in Simi Valley for many years.

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