NOTE FOR AHN(安), GALLERY 175, SEOUL, SOUTH KOREA, 2019
Exhibition Note for AHN (安) was a two-person exhibition I organized with Ahn Jaeyoung, which began from the question of whether an individual could escape from being possessed — one of the mysterious symptoms containing elements of superstition from Korea. The exhibition, tracks how images attained from one’s superstitious beliefs relate to mythical and religious images, then recombines and deconstructs them. Under our collaboration lies the hope to contact invisible but clearly existing sensual phenomena, and to together overcome anxieties, interpreting phenomena as the destiny of artist/mediator.
Paying attention to the number of tattoos on Ahn Jaeyoung‘s body (the Chinese character 安, a blue diamond, an arrow, a red-haired Anne, Piglet, Mickey Mouse, and an epitaph of Nikos Kazantzakis), I interpreted each image as a charm to ward off Ahn’s anxieties. I then, researched mythical and religious imagery in order to strengthen the shamanistic narrative. Observing that the number 12 frequently works as important motive in the myths of many different cultures, I set Ahn Jaeyoung‘s birthday, December 12, as a central axis and tried to discover the references to god-related signs from the number 12. Combining the symbolic world of the image, language, color, and numbers from ancient myths from twelve animals that guards tombs, I created a chart for a system of faith and proposed a psychological space for a praying man, just like the secret connotation of the ancient character, 安
NOTE FOR AHN(安), GALLERY 175, SEOUL, SOUTH KOREA, 2019
Exhibition Note for AHN (安) was a two-person exhibition I organized with Ahn Jaeyoung, which began from the question of whether an individual could escape from being possessed — one of the mysterious symptoms containing elements of superstition from Korea. The exhibition, tracks how images attained from one’s superstitious beliefs relate to mythical and religious images, then recombines and deconstructs them. Under our collaboration lies the hope to contact invisible but clearly existing sensual phenomena, and to together overcome anxieties, interpreting phenomena as the destiny of artist/mediator.
Paying attention to the number of tattoos on Ahn Jaeyoung‘s body (the Chinese character 安, a blue diamond, an arrow, a red-haired Anne, Piglet, Mickey Mouse, and an epitaph of Nikos Kazantzakis), I interpreted each image as a charm to ward off Ahn’s anxieties. I then, researched mythical and religious imagery in order to strengthen the shamanistic narrative. Observing that the number 12 frequently works as important motive in the myths of many different cultures, I set Ahn Jaeyoung‘s birthday, December 12, as a central axis and tried to discover the references to god-related signs from the number 12. Combining the symbolic world of the image, language, color, and numbers from ancient myths from twelve animals that guards tombs, I created a chart for a system of faith and proposed a psychological space for a praying man, just like the secret connotation of the ancient character, 安
Installation view of Jan van eyck academie openstudios 2021 Still cut, The geometry of the hunter, Single channel video, 2021
스마트 스킨 팜
제로원데이 01 Habitat, 에스팩토리, 서울, 한국 2023
우리는 동물의 고기와 가죽이 어디에서, 어떻게 가공되어 우리 앞에 놓이는지 고민하지 않는다. 즉, 비인간의 몸이 자원화되는 과정에 의구심을 가지지 않는다. 그렇다면 자신의 개인정보가 자본으로 치환되는 현상은 어떻게 받아들일까? 우리가 동물에게 동의를 구하지 않고 그들의 몸을 다루듯이, 인터넷상의 거대 플랫폼들은 우리가 알아차리지 못하는 사이에 개인 정보를 수집하고, 판매한다. <스마트 스킨팜>은 수탈을 전제로 하는 자본주의의 불공평한 생산과 교환과정에 문제를 제기한다. 가상의 피부 공장이자 상점인 이곳에서는 인간의 개별적 정보를 반영한 차를 발효시켜 미생물을 생성하고 이를 피부로 성장시킨 후, 가죽으로 맞춤 가공한다. 이러한 가죽과 개인정보의 교환은 인간의 몸이 수집 및 교환의 대상으로 전락할 수 있다는 점을 보여주고, 고기와 가죽으로 전락해온 비인간의 희생을 상기시킨다. 나아가 지구환경 안에서 자연을 끝없이 수탈한 인간이 자본주의 시스템의 구조 안에서는 수탈의 대상이 되는 양가적 위치를 성찰하며, 비인간과의 관계에서 공정한 교환이란 존재하지 않음을 역설한다.
사진제공. ZERO1NE
다공성 물질전환 IV : 재생
이퀼리브리엄, 팔복예술공장, 전주, 한국 2023
사진제공. 팔복예술공장