KIM Eunseol, Seeing, Yet Unseen Language, 2021, 3 Channel video, 21min 15sec

The gallery space reverberates with the vibrant exchange of three individuals who are deaf engaged in conversation. A fusion of language and non-verbal communication unfolds within their dialogues via eye expressions, lip movements, facial expressions, sign language, and written text. While such interactions may seem unfamiliar to some, an attentive observer will recognize they are deeply attuned to one another, sharing communication challenges with mutual understanding and empathy. Through a focused observation of their words and expressions, it becomes clear that their mode of communication is no less valid or intricate than any spoken language.

laumkon, way of work, 2024, Drawings, objects, digital photo frame on wooden table, print on fabric, Dimensions variable

laumkon is an artist collective composed of artists Qrator (Gi Eon Lee) and Jee Song. The group has created objects such as the One hands_bowl and One hands_gloves, aimed at supporting Qrator, who experienced a cerebral hemorrhage, in achieving independence in daily tasks with minimal assistance. The exhibition showcases their archive of the caregiving and collaborative efforts undertaken during their work process. Qrator’s extensive collection of drawings and texts created post-rehabilitation vividly depicts an environment centered around the people without disabilities. Accompanying videos and written notes by Song, which are meticulous documentation of the entire process, serve as reminders of the meaning of cooperation, solidarity, and caretaking and their significance.

laumcon and Finnegan Shannon, Do you want us here or not, 2024-ongoing, Paint and screen print on plywood, 86.6×150×41cm

Audiences often find themselves standing in front of artworks displayed in exhibition spaces lacking seating arrangements. For those who may not possess the physical ability to remain standing, this viewing experience can be particularly challenging. Shannon addresses this issue by raising questions regarding the absence of seating options in gallery settings. The messages inscribed on the chairs crafted by Shannon provide a critique of environments that fail to accommodate individuals with diverse physical needs. As part of this exhibition, Qrator, a member of the artist collective laumkon, provided written messages that go onto the seats. These chairs now function as seating options for visitors as they engage with other artworks in the gallery space.

Dayoung Yu, the act of falling into a mystery, 2024, Archival pigment print, 80×120cm

In an era where the authenticity of photographic images is increasingly uncertain, Yu delves into the role of photography itself. Through this exhibition, Yu unveils a new body of work centered on the methodologies of image interpretation. By skillfully juxtaposing photographs and text presented in a short story format, she endeavors to build connections between the visual and the textual. The understanding of these relationships is left to the unique experiences of each viewer. It is unclear whether the characters depicted in the narrative are rooted in actuality or exactly where the landscapes captured in the photographs are located. As such, the synthesis of imagery and text, alongside the perceptions of the audience, amalgamates to generate an entirely new realm of imagination. Here, photography transcends its traditional role as a mere arbiter of truth, instead serving as a conduit for expanding narrative possibilities.

Dreaming Barrierfree, Tarot through the heart

Dreaming Barrierfree is an organization based in Busan founded by audio description writers. Known for organizing and producing a variety of barrier-free events, they are presenting a project entitled Tarot through the heart for this exhibition. This project offers tarot reading services conducted by tarot readers who are blind. Trained through audio materials, these tarot readers engage in contemplation and dialogue about the present and future of the querents, who participate in readings through braille tarot cards. Despite any occasional clumsiness in the process, the sincere effort to interpret and connect with the thoughts of others conveys a sense of healing and connection.

※ Books for display.

※ Registration will open in early May on the ARKO Art Center website (www.arko.or.kr/artcenter) and its social media pages (Facebook, Instagram, X).

※ Please note that these sessions, which involve dialogues between readers and querents, may be audible to other visitors in the gallery space. We kindly request for your understanding and cooperation.

Oro Minkyung, Sound behind sound #2, 2024, Sound sensor, mixed media, Variable installation

Sound behind sound #2 emerged from Oro Minkyung’s reflections on conveying synthetic experiences to an audience of diverse bodies. Newly reproduced for this exhibition, Sound behind sound #2 offers an interactive encounter where the audience’s kalimba playing triggers the movement of surrounding objects, producing sound and beaming light into the space, thereby generating music. Oro describes this performance as a “song of dry grass,” expressing her aspiration that its gentle vibrations and calming sound waves will provide solace. She also aims to warmly welcome various individuals and provide them with nurturing support.

KIM Eunseol, Deaf Machine Learning, error, Learning, error, Learning, error error #2,
2024 Single channel video, color, sound (stereo), 10min 35sec [Korean Caption]

Artificial Intelligence (AI) learns about the world by processing vast amounts of data. Kim draws a parallel between her own experience of teaching AI to acquire a language and learning a language as a Deaf individual. Just as Kim relies on memories, experiences, and lip-reading to identify and communicate with others, her efforts are frequently met with misinterpretation. Similarly, AI follows a comparable trajectory. Through this comparison, Kim finds a sense of connection with AI as she overlays her personal journey of grasping the complexities of sound through hearing aids with the AI’s language acquisition process.

SHIN Suhang × SHIN Hyunchae, What Do We Live For?, 2023,
Archival pigment on paper (4 pieces), single channel video, 40×50cm (4 pieces), 8min 47sec [Korean Caption]

SHIN Suhang and SHIN Hyunchae initially crossed paths at ARTSPACE DUGU, a creative studio in Busan dedicated to supporting collaborations between artists with and without disabilities. Together, the two delve into the concept of “disability” they understand. For instance, they explore how individuals with physical and developmental disabilities can be each other’s guardians in overcoming barriers. They also share methodologies for understanding objects. Their dialogues reflect shared concerns as both artists as well as human beings. These two artists envision new approaches for cooperation and solidarity, reflecting on their past works embodying a thoughtful and empathetic process.

KIM Eunseol, Conversation with Vibrating Bodies, 2023, Single channel video, color, sound: vibration speaker, 17min 10sec [Korean Caption]

When she was a young child, Kim learned audible language by placing her body in contact with her parents and feeling the vibrations between them. In Conversation with Vibrating Bodies, two choreographers reinterpret Kim’s experience. They explore and convey the sense of sound through their bodies, skin, and the vibrations within the air and space. Through this video, Kim aims to communicate to the audience that listening can be accomplished through other body parts, not just the ears, while simultaneously expanding one’s sense of touch.

※ Please sit on a chair to view this work.

KIM Chaelin, Sculpture to Be Embraced, 2024, Reinforced plaster, putty, paint, ecoflex0030 silicone, baby powder, heating pad,
eraser, earplug, bush modeling material, nitrile butadiene rubber, 1300t silicon, speaker, 52×44×72cm (Sound: SEO Hyemin)

Kim has crafted interpretations of complex human sensations through the act of touching sculpture. This exhibition encourages audiences to experience each piece from multiple avenues by physically engaging with Kim’s works. Various elements of the work, including sound, light, and temperature encountered during these interactions, contribute to an understanding of the materials and attributes of the artwork. Additionally, the memories and experiences of the audience members themselves become integral components of the viewing experience. Artworks can be interpreted diversely, shaped by individuals’ perceptions and imagination, regardless of their familiarity with specific subject matter or their physical conditions. Consequently, human perceptions cannot be confined to a singular definition.

Installation&Technician KIM Junseo
Assistant PARK Hyeongjo

※ You can gently hug or touch the Sculpture.

HAN Younghyun, Cesare, 2021, Pen on letter paper, 17.5×13cm

※ Please touch and read braille books.

Han carefully crafts letters addressed to the protagonists of the cartoons she has seen and her friends. Each letter is meticulously written, expressing genuine concern for the recipients. Alongside these sentiments, Han’s letters are filled with warm compliments, acknowledging the goodness she sees in others and conveying sincere wishes for their happiness and well-being. In an age where handwritten correspondence has become increasingly rare, Han’s heartfelt letters are a poignant reminder of human connection, often forgotten in today’s world.

JEON Dongmin, Front view of Gwangju, 2017, Coloring on Korean paper, 130×324cm

JEON Dongmin, a Korean ink-wash painter, uses rich colors to communicate with his audiences in his interpretation of landscapes. His painting Front view of Gwangju is an expansive landscape of Gwangju viewed from Mudeungsan Mountain. He provides his perspective of the city by incorporating eclectic combinations of shapes, lines, and colors with high contrast.

KIM Sunhwan, Mudeungsan, 2022, Copperplate, 40×60cm

KIM Sunhwan employs copper plates as his primary medium, skillfully etching a range of images, from natural landscapes to depictions of the Hunminjeongeum (Korean Alphabet). Despite the difficulty of freely traveling and witnessing these scenes firsthand due to his disabilities, Kim translates the images he encounters from photographic documents onto copper plates. The inherent characteristics of copper—including its color that gradually fades over time and its tangible materiality—offer viewers a glimpse into the physical interactions between the artist and his chosen medium.

KO Kwonkeum, I look forward to me, 2023, Single channel video, color, stereo, 15min 40sec [Korean Caption]

Group dance is typically characterized by synchronized movements performed in perfect harmony. However, I look forward to me allows participants to engage in a different approach. They understand, explore, and express themselves through movement while respecting each individual’s unique pace and timing. Posing the question, “If my body were a stone that is also a letter, what message would it convey?” they explore the integration of their distinct movements with those of others. Choreographer Ko coined the term “jetlag group dance“ to describe this approach, emphasizing the importance of respecting and preserving each dancer’s individuality while striving to achieve collective harmony. Embracing and accommodating the diverse rhythms of each participant and recognizing that no two movements are identical may indeed be the true essence of “group dance.”