PETRICHOR (OLED ART WAVE)
PAINTING #1, #2, #3, #4, #5 (PETRICHOR)
Triumph of Intelligent Sadcore (Petrichor)
DANCING EYES I, II, III
Dancing Eyes (I, II, III) is a video series which is part of the Guilt Trip exhibition. The work depicts images of pleasure, guilt, alienation and conformity to explore the ambiguous subjectivity of morality. The work has been shown at the sic! Raum fur Kunst (Luzern, 2017), Neumeister Bar-Am Gallery (Berlin, 2017), Kunsthaus Centre d’art Pasquart (Biel, Bienne, 2018) and screened at the East End Film Festival (London, 2018), Spazio Pulpo (Vienna,2018), QUARK (Geneva/2019), and NOWNESS as an online project with K11 Art Foundation, Serpentine Galleries (2020).
The video project received support from the Fondation Sesam, Stadt Bern, Kanton Bern, Swiss Arts Council Pro Helvetia, Circuit (Lausanne), QUARK (Geneva), and sic! Raum für Kunst (Luzern).
More about Dancing Eyes I, II, III: Frieze, Art Viewer, O Fluxo, AQNB, Neumeister Bar-Am, Artforum, NOWNESS, K11 Foundation
THE DEAD BY MANY FIRSTS
NARCISSISTIC GHOSTS AND BORDERLESS INTIMACY
I pictured two Janseung* images in the unorthodox triptych as a form of ritual and signs which are contrary to the externalized form of expression. Nivea in this way became a creative mode of depicting a spectral image of Jangseungs. The cream slowly melts and disappears. And it insinuates something intolerant, insofar as the cream still leaves behind some clear residue on the impermeable blue fabric. Nivea cream premised on an immunological pattern. - Nivea is one of the long- lived German products that is mingled with the country’s tortured past. When the Nazi regime was gearing up for racial hygiene, the brand’s marketing leaned towards political propaganda. In relation to the epoch, it sought to distinguish clearly between inside and outside, friends and enemy, self and other. Attack and defence are the components of immunological action. With these ideas, I deliberately combined the various materials in order to show that spirit endures negativity and the object of immunological defence. Text by Sinae Yoo
*Jangseung is a Korean village guardian usually looks like a totem pole made out of wood. It used to play a role to ward off bad spirit(demons) from outside of the village and often it was worshipped as a village tutelary deity.
More about the Aeschlimann Corti Award: Pasquart, WS News
RIDICULOUS ACCURACY IN OUR TIME
More about Ridiculous Accuracy In Our Time: Art Viewer, Bernische Kunstgesellschaft
ENEMY
“Enemy” is an 8’16” minute video that goes into the making of a computer generated moving image work including an idea of positive mimicry that allows a new form of violence. From this video project, I intended to use a typical image of mass-produced Japanese sushi packaging which can usually be found in supermarkets or take-out restaurants in a number of foreign countries. In the video, the plastic sushi box creature is able to crawl, float, disguise, and transform itself in order to open a space according to its movement. It implies the advent of radicaliZed capitalism, portrayed as a monster or a predator, which lurks inside fearsome mammalian desires battling against its bloodthirsty impulse.
Enemy was on display at the Kunsthaus Langenthal and was screened at the Daojiao art festival, Guangzhou in China. It was also exhibited at the Kunsthaus Center Pasqu’Art for Aeschlimann Corti Award exhibiton (all in 2016). In 2017, the work became part of the Seoul Museum of Art collection. In 2019, the video was included in the group exhibition SHE DEVIL XI at Studio Stefania Miscetti, Rome, IT. The video project was subsidized by Stadt Bern.
More about Enemy: Seoul Museum of Art, Kunsthaus Langenthal, Artline, Academia, Art Viewer I, Art Viewer II, Pasquart, E-flux