1. Sohn Younwon, Note, 2024

Sohn Younwon is an artist based in Seoul. She expresses the relationships within public and private spaces through the grammar of sculpture, and explores the ironic and ambivalent aspects of hospitality through the motif of the oor. Note is a work of sculpture and architectural space that consists of modular ooring made of pixelated midi notes, which are signals created by electronic instruments that exchange digital signals. The individual units of sound that make up digital music are realized through the different media of sculpture and sound. Sohn transforms the gurgling of her child into electronic musical sounds that act as intimate signals and invites strangers to enter the oor using this sound as the medium. Visitors are invited into the boundaries of the exhibition space to experience the oor they encounter daily in completely different ways. Furthermore, the artist invites members of Re#sister Korea, a society for learning and playing electronic music, to perform live sound performance Liquid Bodies, thereby transforming the oor into a stage with seats for the audience. The layered acts of hospitality and invitation transform the space into one that is both personal and open to all. Note illustrates how personal space is not somewhere remote, but is a layered space shaped by other people’s coexistence, invasions, and interventions.

2. Tangerine Collective, It’s a good thing it’s night. We’re meant to dance in the dark_Map, 2024

Tangerine Collective is a collective composed of three members—Jaelee Kim, Jee-Ae Lim, and He Jin Jang— who work as choreographers, dramaturges, and curators in the performing arts scene, moving between Korea, Singapore, and Germany. The group carried out a project called Entanglement Residency, which involved creating a score, reaching out to twenty-six artists, and fostering connectivity during the pandemic, thereby exploring the co-dependency of individuals and groups. The two sound works, It’s a good thing it’s night. We’re meant to dance in the dark_Map and It’s a good thing it’s night. We’re meant to dance in the dark_Door are spread throughout the museum space, both in Gallery 1 and the Archive Lounge. The work urges the visitors to escape the present time and space through the act of listening, creating a trajectory of dreamy experiences. Just as performing arts evoke intimate memories and shared imagery in viewers, Tangerine Collective aims to focus on the moment of affect in this exhibition by employing actions that stimulate the sense of listening, engaging an alternative sensory experience. After leaving the museum, viewers will begin to relate their listening experience to the scenes they encounter, nally sensing how their dispersed personal narratives reappear as a communal shadow in an unexpected place.

3. Small Projects for Coming Communities, 2018-,

Small Projects for Coming Communities uses “scores” as a tool to initiate and interpret various activities, bringing together art, artists, and its audience to build new relationships in an active participatory way. Here, scores are a guide or set of instructions often used in music, poetry, and visual arts, notable examples including Fluxus’s “Event Scores.” Small Projects for Coming Communities is an ongoing project of research, workshop, and exhibition that aims to establish a space for negotiation and exchange, a sort of “contact zone” to foster a temporary and open community in a playful, artistic, and performative way. It also accumulates a collection of scores that are activated and expanded with each exhibition.

4. Stirnimann-Stojanovic, Modular Structure (Edition 3), 2024

Production Collaboration: Piece of Peace Stirnimann-Stojanovic is a Zurich-based artist duo active since 2015 composed by Nathalie Stirnimann and Stefan Stojanovic. Their practice is based on emerging artists’ critical views of the social and structural realities of the art scene. They explore the boundary between art and community using interdependent relationships and a multidisciplinary approach. The duo aims to reect on

institutional levels and situations in the art scene, posing questions about reality to bring about a sustainable working environment and practice. Modular Structure (Edition 3) was created by Stirnimann-Stojanovic in a collaborative process with ARKO×Piece of Peace. The versatile structure gives format to the participatory events planned for the exhibition. The structure is made of recuperated materials, merged to become new in the hope of gaining a life of its own. This process of collecting, transforming, and assembling pieces together is part of the artists’ strategy to rethink the life cycles of objects, as well as demystifying the role of objects in art spaces to become instead ephemeral spheres for collective gathering. In this exhibition, Modular Structure (Edition 3) is used as a place where the scores for the Small Projects for Coming Communities are carried out, and a communal space within the museum. It is also used as furniture for the space where visitors can view OnCurating’s video entitled Flux Us Now and the OnCurating Journal. This work will continue to be used after the end of the exhibition as a venue for public discussions. Workshops by art parenting social club and the Green Recipe Lab, which call for institutional change in the Korean art scene, and a more inclusive reality, are held as exhibition-related programs to the Modular Structure (Edition 3).

5. Maya Minder, Green Open Food Evolution (GOFE), 2022
Maya Minder, MICUL MICUL - Recipe wanted!, 2023

Maya Minder’s research based practices circle around the topics of food stories, evolutionary biology and relational aesthetics within practices of cooking, biohacking, performance and media-based installations. Minder’s aim is to share collective storytelling and embodiment of knowledge within ecological thinking. As a media kitchen lab, Green Open Food Evolution questions how cooking can take into consideration the approach to evolutionary biology, as proposed by biologist Lynn Margulis, and molecular transformations that occur during the cooking process. It also adopts a cross-disciplinary approach, involving new media, performance and life itself to

activate an architectural structure. The idea that “cooking transforms us” is the starting point f r Minder’s art practice and her integrative approach to transformation and

progression, informed by the many convivialities between food and the act of eating, an approach that fosters mutual care and creates new forms of storytelling and communities. The exhibition-related workshop to the Open Green Food Evolution called Algae Kitchen Lab “MICUL MICUL” involves exploring seaweed, creating new recipes with

it, enjoying the food together, and sharing one another’s experiences to examine the changes brought about by interdependent relationships

6. Maya Minder, Water of Mouth—Green Elongation, 2023

In the Water of Mouth—Green Elongation, seaweed serves as a metaphor for a queer analogy for ecology. This video explores how the realm of natural materials can create sensitivity and empathy with non-human agencies. The encounter with the uncanny and alienating object generates semiotic confusion. In classical taxonomy, algae are not plants but protists that belong to a different kingdom— neither plant, animal, fungus, nor bacteria. Knowledge of the body is created through touch, forming a new intimate relationship with a species that will be predominant in the changing Anthropocene. To touch means to comprehend. The tactile sense that forms sensuality can go as far as eroticism. Language is absent, but vibration and the combination of color, moving images, and sound make up the experience of synaesthesia.

7. Elisabeth Eberle, Big Sister, 2022

Elisabeth Eberle’s work is concerned with the intersection of nature and articiality in drawings, videos, and sculptures. In recent years, she has built up an archive on the representation of women artists in the art scene and incorporates her ndings into her work. Big Sister is a video lmed using a pair of professional infrared video goggles created in collaboration with neuro-opthalmologist Konrad Weber to test the vestibulo-ocular reflex. It opens its eyes then viewers come within a certain distance and turns its gaze in reaction to the viewer’s movement. If there is no one in front of the camera, the virtual observer closes its eyes, suspicious of being watched itself. Therefore, if a certain distance is maintained between the viewer and the video, they can gaze at one another indenitely. This interactive video examines how a human being’s perspective affects cognition while touching upon the sense felt by the surveilling gaze shared between a human and a digital video. Another work by the artist, Frauen* zählen, is also on view, adding a layer of feminist epistemology to the staring, surveilling gaze, thereby resisting norms.

8. Elisabeth Eberle, Frauen* zählen, 2010-2021

Elisabeth Eberle’s work is concerned with the intersection of nature and articiality in drawings, videos and sculptures. In recent years, she has built up an archive on the representation of women artists in the art scene and incorporates her ndings into her work. Frauen* zählen is an archive created by the artist, featuring over 1,000 items on gender relations in the art world since 2010. It includes newspaper articles, statistics, quotes, and images, alongside a series of the artist’s seles inspired by uxus artist Anne Marie Jehle (1937-2000)’s self-portrait. The archive highlights gender inequality through binary analysis, revealing a mosaic of disparities. This work visualizes sustained gender inequality within the art scene and the wider world by collecting numerical data on the percentage of works by female artists that are a part of Kunsthaus Zürich collections, and the frequency with which female artists hold solo shows. The archive of such data is used to create shower curtains to convey the artist’s determination to “wash away” the discriminatory data and bring about change. An exhibition-related workshop Mind the Gap! is co-opperated with the Korean female artist network, Louise the Women. The workshop aims to perceive the reality of gender inequality through research using strategies devised by Hulda Zwingli, an anonymous artist collective based in Zurich, Switzerland.

9. Yo Daham, Incense Burner, 2024

Staging Collaboration: Kim Jongbuhm (Rarebike)

Yo Daham works between Seoul and Jeju. He focuses on the way matter transitions and changes states, such as water, vapor, and ice. For the artist, the act of crocheting involves applying force and pressure to shape an object. Such actions can be seen as a sort of guide to experiencing rhythm and circulation, natural phenomena, and temporal and spatial dimensions. The act of crocheting, which transforms into movement, choreography, and score, is presented as video, installation, and performance works. Weaving, one of humanity’s earliest technologies, can be regarded as a metaphor for expanding relationships that form a web, and the way string gets tangled and untangled reects this collective movement. Noting that the sites where combustion occurred were the rst gathering place for humans, the work Incense Burner brings viewers together, presenting itself as a stage where the smoke that rises from burning incense and taking on the form of dance. The work conveys continuity, ow, and transference associated with the act of crocheting into the air along with the smoke. This installation consists of a cloud-shaped incense burner which is made up of multiple layers of knots, and a skein of yarn that decreases in size until it eventually disappears as the burner is being formed. The artist likens the billowing incense smoke to the act of dancing, suggesting the potential for movement and choreography inherent in the material. The exhibition-related program Deciphering the Clouds invites viewers to gather and observe the smoke while listening to the artist read his work journal. The aim is for the visitors to discover and share common images, and experience a sense of connection with one another.

10. Paloma Ayala, Karaoke Reading, 2019

Paloma Ayala is a visual artist based in Zurich, interested in empowering the relationship between domestic living strategies and political contexts. As a diaspora mother and a mestiza daughter, her work ctionalizes historical, ecological or social problematics to provide analysis and critique. Her video series explores the Rio Bravo/Rio Grande delta, a border region between Mexico and the U.S. through the texts and thoughts of Gloria Anzaldúa, who speaks of queer feminist identity living on the border. This region is historically rife with political conicts, but is also an ecologically important site with a plethora of ora and fauna. It is also the place that the artist’s family has called home for generations. Ayala examines and superimposes such issues of border, the body as a border, and the land asa place of ecological potential on the land, seeking a virtual dialogue with Anzaldúa. She aims to uncover a new point of connection between the ongoing emotional vestiges and issues regarding the border. In Karaoke Readings, Ayala reinterprets Anzaldúa’s poetry in a format that invites the audience to sing along, read together, listen and participate. Guided by the writings of Anzaldúa, who described herself as “chicana dyke-feminist, tejana patlache poet, writer, and cultural theorist,” Ayala collaborates with musician Luna León to relive Anzaldúa’s voice. The workshop Karaoke Reading is a karaoke experience of singing along to Anzaldúa’s text, blending English and Spanish to experience an incomprehensible language with one’s voice. The experience allows participants to engage with a hybridized language that is used by lesbian women of color.

11. Yagwang, Gelatin, 2024

Yagwang is a Seoul-based visual artist collective consisting of Terri Kim and In Jeon. Their work reveals the queer modes of being, which have often been obscure, using a visual language that overthrows and subverts fixed representations and concepts of gender. Gelatin begins with a scene where the ctional protagonist “Gelatin” crawls out of the sea onto land. Gelatin’s body is outtted with a pair of tail lights on their back, handles attached to their body, and a room mirror sprouting from their spine, resembling a living embodiment of an automobile. As they speed down the night streets, Gelatin’s transparent form glimmers under the streetlights. Once they set foot on the road, they have no choice but to keep moving forward, unable to stop or pause. Without knowing who they are heading to meet, Gelatin find itself ipped upside down—an act of resistance against the inertia of life that pushes us ever forward, while leaving us trapped in an impasse. During the exhibition, the performances that will be staged twice where Gelatin makes an entrance after museum hours. This simulcast performance shows the behind-the-scenes of how Gelatin’s film was shot. People who exist outside the video timeline come together to restructure the fragmented moments, inviting viewers into an eccentric time and space.

12. San Keller, Hysterical or Naïve, 2021

San Keller focuses on participatory performances and shortlived actions, which often seem like social experiments. His work carries a critical and conceptual undertone, playing with the relationship between art and life. Keller’s actions start off with contractual arrangements that set up the rules for his works, but since they rely on the participation of others, the course they take as well as their ultimate outcome are unpredictable. Hysterical or Naïve is a fastpaced video essay, summarizing the artist’s collaborations, practices, and projects that encouraged coincidental, and temporary participation. The artist revisits his past projects by engaging in dialogue with his colleague, Rosalie. The sound and linguistic elements in this video feel vibrant and encapsulate the moments of action, collaboration, and participation. To the artist, music serves as a medium that allows spontaneity, coincidence, and external intervention, and a medium that can spread and encourage conversation. The artist places himself in unpredictable, spontaneous situations, emphasizing that new acts and patterns can be invented when one is removed from day-to-day rules. The artist aims to devise ways in which art can function without an audience through continued acts and conversations. Hysterical or Naïve showcases Keller’s attitude as an artist in the form of a publication that features the artist’s reective essay and records of his cinematic installations and dialogues.

13. !Mediengruppe Bitnik, 4×4 Berlin Edition 2023

!Mediengruppe Bitnik works with and on the internet. Their practice expands from the digital to physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms. 4×4 took place for the first time in 2023 at panke.gallery and Panke Club in Berlin, Germany. It brought together around forty artists from the Berlin art scene and randomly assembled them into ten new bands for an experimental night of music, performance and club culture. !Mediengruppe Bitnik has developed projects that link various artist communities to overcome isolation, instability, and anxiety brought on by the extended lockdowns during the pandemic. The aim of 4×4 is to revive the collaborative spirit of the Berlin art scene and create a space for light-hearted experimentation and a framework for a career-free artistic work in a safe social space. During a one-day festival event, the 10 more band projects presented works created in these new constellations, which included diverse media forms such as net art, sound art, media, video and performance art. The project encourages the creation of new forms. This exploration of social solidarity was carried out through community action and collaboration that activated social and artistic practices. Sixteen artists who work with sound, performance, audio visual, and visual art in Korea havebeen selected via an open call to create works for 4×4 which was co-organized by Baruch Gottlieb and Sakrowskiand will be showcased in this exhibition and as part of theexhibition-related program to the Gwangju Biennale.

14. Flux Us Now, Fluxus explored with a camera, 2013

What is Fluxus? Who is Fluxus? When, and where was Fluxus? No other art movement is as difcult to dene. Eric Andersen, who was one of the early members of Fluxus, said that it never existed, and the myriad expressions that are labeled Fluxus should more accurately be called “intermedia.” As such, Fluxus is too broad to be prescribed. The actions, ephemeral objects, editions and newspapers created by the community led to the production of things that were more complicated than is recorded in art-history or interpreted based on objects. The most common phrases that are used in conjunction with Fluxus are used to bracket together the practices, places, participants, and traces, expanding beyond the traditional concept of artwork. These phrases are perceived as verbal images, much like the slogan “art equals life.” Fluxus is also mentioned in the same breath as art and politics, art and everyday life, action and chance. Dorothy Richter and Ronald Kolb created the video series entitled Flux Us Now in order to explore the art historical denition of Fluxus, and the gaps and paradoxes that surround the group through interviews. The videos which were produced in 2013 portray the complex relationships in and around Fluxus including issues such as authorship, distribution, reception, gender and community and the relationships between politics, daily life practices and artistic events via interviews with the members of Fluxus in its prime, and compiling historical materials.

15. OnCurating Journal

OnCurating is focused on the discourse and critiques of contemporary curation and the art scene. OnCurating was established in 2008 as a publisher of the OnCurating Journal, founded by Dorothee Richter. OnCurating Journal is an independent publisher with focus on curating. The publications are openly accessible on the website and can be ordered via a physical book on demand service. It often collaborates with different partner institutions. The journal is read in about 120 countries. Some of the key themes that the journal touches upon include funding and nonprot art, commoning in curatorial art practices, situational knowledge, institutional feminism, the current landscape of global Biennales, and post-colonialist institutions.