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# A rhinestone is the only controller in Moled to Gold
- URL: https://www.killscreen.com/a-rhinestone-is-the-only-controller-in-moled-to-gold/
- Published: 2026-10-10T18:30:48.000Z
- Updated: 2026-10-10T18:43:56.000Z
- Description: Jane Jianhan Lu's divination mirror writes you a fortune from the mole you place yourself through Sunday, Oct. 11.
- Author: Jamin Warren
- Tags: Jane Jianhan Lu, Installation, interactive, ai, los angeles, exhibition, Art, Divination, #radar-item, #events

Event details

When

Through Oct. 11, 2026 (Wednesday to Sunday, noon to 6 p.m.)

Where

Art/Space 114, 114 W. 4th St., Los Angeles

You open a shrine-like door and a mirror looks back. Then comes the one move the piece gives you: stick a rhinestone somewhere on your own face. A camera reads the placement, and a language model trained on the meanings of Chinese mole reading, the centuries-old practice of 痣相, writes you a fortune on the spot. That is the whole approach of *Moled to Gold* (点痣成金), Jane Jianhan Lu's divination mirror, and it is the best kind of game grammar: a single verb with real stakes. The [documentation ](https://www.instagram.com/p/DeNoonkNuLS/?ref=killscreen.com) shows the ritual end to end.

Physiognomy was already a predictive model, a system that claimed to read fate off a face long before anyone said "inference." Lu wires that old model into a new one and then hands you the input. You choose where the mole goes, so every reading is half yours, which the [project notes](https://www.instagram.com/p/DeNnjjxGqo5/?ref=killscreen.com) name outright: the visitor is "both the subject and co-author of the prediction." Most AI art asks you to watch a system hallucinate. This one asks you to *seed* it, and the difference is the difference between a screening and a séance.

The piece anchors [*Ctrl+Save*](https://www.artspace114.com/journal/ctrlsave?ref=killscreen.com), a group show presented by Kive Studio and curated by its co-directors Hyoeun Kang and Isabel Lotus, with Yasaman Sheri as curatorial advisor and Lauren Lee McCarthy contributing. The show asks what can and cannot be saved, a question that lands differently when the thing on file is your face. Killscreen has always had a soft spot for [fortune machines that make you work for the prophecy](https://www.killscreen.com/%5Fhowler%5F-improves-fortune-tellers-adding-psychedelic/), and this is the rare one where you are the deck being read.

Lu has good company. Alice Bucknell, who [talked to Killscreen last year](https://www.killscreen.com/alice-bucknell-multiplayer-games-interspecies-cooperation/) about pollination simulators and quantum love stories, shows *Ground Truthing*, a 17-minute simulation film and game environment that rebuilds ecologically unstable biomes from 3D scans inside a game engine to ask how satellites and GPS shape the way we see the planet. Kordae Jatafa Henry's [*Earth Mother, Sky Father*](https://www.onassis.org/art/works/earth-mother-sky-father-2030?ref=killscreen.com) is an eight-minute music film set in 2030, in a Congo that keeps its rare earth minerals at home and turns mining into ritual, with Storyboard P dancing as an excavation programmer to the sound of Shabazz Palaces. Oother works include Aurora Mititelu's *Abel & I* and Romi Morrison's *To Create Love With Dry Eyes.*

*Ctrl+Save* closes Sunday, Oct. 11\. Art/Space 114, 114 W. 4th St. in downtown Los Angeles, is open Wednesday through Sunday, noon to 6 p.m.

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