Ikhyun Gim, Shade and Shadow, 2022, single-channel video on P3 LED matrix, color, sound, 25min 30sec

The artist's new works consist of photographs taken from November 24, 2018 to October 25, 2021. The KT network was paralyzed on both dates, which paused daily and economic activities. The artist walks between the two times, recording photographs that will be gone when the network is damaged.

Numerous pictures travel via fiber optic cables every day to be converted into shiny light and appear before the eyes. These pictures announce a package’s delivery even before the recipient confirms its contents, and they remain in cloud storage, bringing out memories from several years ago. They carry one’s eyes via algorithms and timelines. They also reposition the movement in the past or the future to a certain point or induce one’s evaluation of them. In the world of digital networks where human and machine eyes coexist, being neither accurate documentation nor reality, photographic data drifts around between networks, confusing one’s senses and perceptions. Instead of the illuminating photographs the eyes see, the artist looks into the shadows behind them.

Gemini Kim, Pip poop & Apartment, 2022, single-channel video, 15min

The artist follows the relocation of the factories and farms that used to be in Yongsan and Naju. Their odors keep pushing them out to regions. For a clean and exhilarating new city, anything that invokes disgust must go somewhere invisible. Therefore, factory workers and livestock must hide in the shade. Such reality is presented in Borderline/Ordorline3-Parasite Pilgrimage (2022), which features Geun-sae Oh and Moon-kwang Guk, main characters of the film Parasite (2019). Following how the two (one from Bucheon and the other from Gwangmyeong) enter a high-class society in Seoul and how their efforts fail, the artist recreates their paths into a pilgrimage with imaginary souvenirs and archives arranged. Through this project, Kim reflects on the multilateral circumstances of life, including one’s overflowing desire to move to a central area, local crisis and development, and others.

Eugene Jung, Round and round, 2022, mixed media, dimensions variable

As international travel has been restricted, airline companies and duty-free shops came up with “no-landing flight” services to save fuel and parking costs. The route of a no-landing flight, which stimulates duty-free shopping and presents itself as an event, resembles a rollercoaster that leaves and comes back without stopping. Using the Flightradar24 app, the artist compares the recorded passage of no-landing flights, which depart only to return to their starting points, to a rollercoaster’s path and creates a sculpture. Their motions, which repeatedly go up and down for a short-lived joy, are moving for the sake of moving. They are also closely connected to the system that maintains the flow of consumption.

Yehwan Song, woldeu waideu, 2022, mixed media, dimensions variable

Since the pandemic, information sharing in the virtual world has been more enthusiastically received and treated like a portal to a new world. However, graphic designer Song puts the brakes on such an illusion by revealing that the limited web environment disregards cultural differences between individuals and enforces generalized interaction and perspective. The artist also questions whether the web platforms are equally and fully accessible to everyone.

Dotface, Pride Open Road Everywhere, 2021, 10sec loop

Media start-up Dotface organized an online queer parade to respond to the 2020 pandemic that prohibited an outdoor queer parade. Participants were able to design their own characters, write slogans, and spread them over social media. The event allowed people to voice their opinions and solidarity with one another when social minorities were physically and psychologically discriminated against. This online parade ultimately created a picture where both their supporters and opponents walked together as participants. Phrases such as “Pride Open Road Everywhere” and “We will make a road that never existed” represent the eagerness and prospects for a place where those living with their mobility impeded and disabled can speak their minds and cooperate without prejudice.

Ahyeon Ryu, Burlesque - Delivery, single-channel video, 29min 9sec

Burlesque-Delivery features the artist, a platform worker, in motion for a delivery. A pilates instructor’s voice asking to control the body plays over the image. Today, one’s body continuously regulates and restricts itself to perform various labors. Ryu recognizes aspects of labor, which differ in each era. The artist’s new work Polite Guys realizes a relationship between employees and customers. The audience picks up a buzzer at the entrance, and when it goes off, they return it to a serving robot in the gallery. While functioning as a dropꠓoff place and mediating the audience’s task performance, the robots display the ads that encourages the audience to join the system of consumption and distribution. The experience—in which information can only be confirmed after a robot’s and the audience’s physical movements are crossed—differs from typical services requiring just a few touches. By introducing unnecessary contacts and information to the service based on the movement, which is an action of returning, the work visualizes current systems where the subjects of labor—such as service labor and platform labor—are erased, and only the end products are easily consumed.

Jooyoung Oh, Scope of the Cloud, 2021, PC arcade game, game controller, neon signs, dimensions variable

If a bird flies to the front of the airplane you are on board, would you shoot it down or keep moving forward despite collision-induced risks? Scope of the Cloud looks into the dilemma introduced by the new, popular technologies such as UAM (Urban Air Mobility), which have recently been in the spotlight. The work consists of three arcade games that deal with the survival of birds, which can no longer fly in the sky taken over by climate crisis refugees. The refugees must dwell in the raised up buildings above the atmosphere that has become too warmed up. One can play each game as a bird, designer, or researcher, and they are faced with how to cope with each character’s situation. The ending, dictated by the player’s decisions, reflects the bioethics and environmental issues inherent in future mobility technology

Joowon Song, Muffler, 2021, three-channel video, 10min 22sec

Muffler shows areas of Janganpyeong with “carscapes.” Once Asia’s largest used car market, the site is now about to undergo redevelopment. Automobiles represent mobility, substituting for being on foot by saving time and effort. Janganpyeong tries to make its regional characteristics visible with the phrase “Mobility Jangan.” However, the cars, already outdated models due to the swift technology development and the market situation shaped by the Covid-19 outbreak, are now waiting for disassembly at used car stores. The artist enlivens them by adding performers’ bodies, leaving them to roam around the region like ghosts. Serving as an introductory piece to the exhibition, Muffler delves into the relationship between movement, machine mobility, and the city-dwellers driving out each other and being pushed out.

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