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
가면대여소, 전주시 완산구 서노송동 696번지, 2017
이 프로젝트는 성매매집결지에서 목도한 서로다른 입장과 태도로부터 발생하는 ‘시선’의 문제에 개입해보기 위한 장치로서, 관객에게 동물 가면을 대여해주고 셀피를 찍는 행위를 통해 각각의 개인에게 가면의 매개가 어떤 의미를 낳는지 질문해 보고자했다. 대여소 운영기간 동안 호스트로 상주하며 관객이 가져온 사진을 엽서로 인화하여 전시하였다. 가면을 매개로 ‘보는 행위’와 ‘보이는 행위’, ’사진을 찍는 행위’ 와 ‘사진을 전시하는 행위’ 사이에 발생하는 심리적 경험을 제안하였다.
MASK RENTAL SHOP, JEONJU CITY, SOUTH KOREA, 2017
As a device to intervene in the issue of the ‘gaze’ from different positions and attitudes in the red light district, the project allows visitors to rent animal masks and take selfies, in order to question what the mediation of a mask brings to each individual. While running the rental shop, I facilitated as the host, printed their photos into postcards, and presented them. With the mask as a medium, the project proposes a psychological experience that occurs between an ‘act of seeing,’ ‘act of being seen,’ ‘act of taking pictures,’ and an ‘act of exhibiting pictures.’
