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시선,
영원 속으로
Gaze into Eternity
시선,
영원 속으로
Gaze into Eternity
Gifts from
Germany
Telepathy And Landscapes
Telepathy And Landscapes
July 2018
Readymade Objects
Group Exhibition Zeitgeist at the Institut Für Alles Mögliche in Berlin
Close-to-perfect orientation and curatorship at the exhibitions in Germany was my great inspiration during the study trip for Dada. Using readymade objects, I created a series of artworks that function as decorative containers for the gifts I bought for my friends and family.
2018 - 2019
Archival project to explore the beauty of Korea
The ongoing archives of Telepathy And Landscapes (TAL) currently include visual and sound documentation of performances, conversations, objects and field researches.
Since 2018, I became very interested in the origin of my cultural background to research the context of my superego after having traveled around the Europe in summer. I have grown up mostly in a western environment as my parents sent me to a private Christian elementary school in Korea, and I moved alone to Canada at my age 14. Although I never had a good
chance to deeply inquire about my national identity, I always knew by heart that my conscience was deeply rooted in the culture of Korea.
When I came to visit home during the vacations, I had field trips to historic places to trace down my national identity and made a series of collaborative projects to explore the visual aesthetic and philosophy of Korea. In 2019, my friends and I formed an anonymous performance group named TAL (Telepathy And Landscapes), meaning mask in Korean (referring to Hahoe Mask). The purpose of this collective movement is to understand our origin in-depth by researching, performing, and making civic scale art to raise awareness to appreciate the intrinsic value of Korean folk rituals, shamanism, architecture, and natural landscapes.
2018 - 2019
Archival project to explore the beauty of Korea
The ongoing archives of Telepathy And Landscapes (TAL) currently include visual and sound documentation of performances, conversations, objects and field researches.
Since 2018, I became very interested in the origin of my cultural background to research the context of my superego after having traveled around the Europe in summer. I have grown up mostly in a western environment as my parents sent me to a private Christian elementary school in Korea, and I moved alone to Canada at my age 14. Although I never had a good
chance to deeply inquire about my national identity, I always knew by heart that my conscience was deeply rooted in the culture of Korea.
When I came to visit home during the vacations, I had field trips to historic places to trace down my national identity and made a series of collaborative projects to explore the visual aesthetic and philosophy of Korea. In 2019, my friends and I formed an anonymous performance group named TAL (Telepathy And Landscapes), meaning mask in Korean (referring to Hahoe Mask). The purpose of this collective movement is to understand our origin in-depth by researching, performing, and making civic scale art to raise awareness to appreciate the intrinsic value of Korean folk rituals, shamanism, architecture, and natural landscapes.
TAKELSD
2018
Red Cedar, 16G, 18G Metal Sheets, 13ft Zinc-Plated Chain, Transducer, Microcontroller, 3ft LED Strip, Ultrasonic Rangefinder, breadboard, SD Card, and AC power.
MC 619
Introduction
Inspired by the altarpieces from the northern Renaissance, which represent the religious subject behind the alter of Christian church, the installation will intend to create a ritual atmosphere for the sacrifice. It seeks attention from the audience in the distance using light and distracting digital sound. As the audience comes closer to the object, the sound gets distorted and converted into a high frequency to shift the attention to the context of the object which aims to transcend its original cultural frame.
Research
My research has focused on the history and philosophy of the Renaissance in Western Europe. For further research on this subject, I am going to investigate the history of shamanism and totemism in various cultures which extensively use the symbols which serve minds of participants, and explore how art can incorporate aesthetically with the function of ritual ceremonies. I aim to approach this subject with Jungian psychology on unconscious mind and archetypes.
Objectives
The objective of this installation is to bring up an insightful dialogue about Lysergic acid Diethylamide (LSD). Time has been a big inspiration to me in my previous project about childhood amnesia: the forgotten memories of experiencing time in childhood. The anthropocentric concepts about time limit the boundary of our understanding in nature. In result, we limit the possibility to shape the infinite degrees of our identities. By weakening the persistent power of ego, one can experience spiritual freedom and possibly understand the uncanny nature of time by confronting the timelessness. In that sense, the action of taking LSD becomes a form of self-sacrifice for the higher state of mind. Like Renaissance altarpieces, I intend to create a symbolic representation of this sacrificial action.
Experience
The terms, TAKE, and LSD on the other side, plays different role. When the audience is around the installation site within the specific range of ultrasonic (depends on the size of room MC 619), the LED turns on and illuminates the term TAKE, while LSD on the other side is not yet discovered. Simultaneously the object plays a fake phone call and vibration to immediately draw the direction of the attention towards itself in a dark room. The term TAKE demands the audience such a helpless
action towards the fake and petty data which persistently distracts our attention, and even shapes our perception which reflects the modern society. As the audience walks closer to the object, a certain high frequency slowly overwhelms while the sound of fake phonecall fades out. The audience finds out what is indicated on the other side, LSD, which aims to raise the curiosity and awareness of LSD as a suggested action that can alter the state of mind into a timeless dimension where the
death of ego and the resurrection of a new ‘Self’ is possible.
Use of Technique
The total of six individual square metal sheets will be cut by CNC plasma and powder coated. Four of them includes the typography of TAKE and LSD. Two of them will be the inner layers which creates optical illusion by using light and overlayering the shapes. Also, the six of the customed braces will be used to reinforce the wooden frame. The ultrasonic range finder receives data of the distance of the audience, then sends a siginal to Teensy to play the soundtrack that sends back as an output data to Teensy to control the LED strips. The volume of the first soundtrack, the fake ringing and vibration, will decrease as the audience gets closer to the object which results the gradual transition of LED strips from blinking to slow fade in/out. The ultrasonic keeps track on receiving data whether the audience is coming forth or going further. As the first soundtrack fades out, the second soundtrack, high-frequency, will gradually replace. At a distance close enough to the object, the LED stays on with the sound of high-frequency for certain amount of time. Then, the system goes back to the initial setting looking for the other audience.
Installation
The ideal space for this installation will be the basespace at the Columbus which has a high ceiling of about 8 ft which the object will be hung, and a large open space that provides more than 6ft of a range for the ultrasonic detector. However, due to high demands for this space during the final critique, I will be presenting this work in the room 619 at the Maclean building, and documenting it in the basespace later. The audience can only approach to the façade of the object. The space should allow no natural light, possibly the least amount of light in the room, preferably warm white from the high ceiling.
Budget
