1 2 3
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.
Space-Time Travel
2023, mixed-media installation, dimension variable
Solo Exhibition:
Space-Time Travel, WINDMILL, Seoul, Oct 6 - 14, 2023
With the support of Seoul Foundation of Art and Culture (SFAC), funding for selected interdisciplinary projects, and carpenter Ki Hwan Lee, metal fabricator Jun Min Lee, curator Jimin Park, designer Wooseok Jang, photographer Ghwan Hee Yoon, and installation Yunhee Min
List of works at the exhibition:
Time Machine II, 2024, machine, 96x67x320h cm, Mechanical Heart II, 2024, machine, 68x68x115h cm, Moon Gazing, 2020, oil on canvas, 75x72 cm, Fallen Tower, 2023, mixed media, 106x134x22h cm, Pyramid of Giza, 2023, MDF, 90x90x17cm, Cintāmani, 2023, crystal, stainless steel, and plywood, 104x104x33h cm, Radio, 2023, mixed media, 23x30x15h cm, Genesis Trilogy, 2022, poem, LED, batteries, steel, acrylic, and wood, 35x54x3 cm, Little Goblin's Cradle, 2022, wood, soil, metal powder, red clay and pigments, 174x156x80h cm, Dream Manifesto, 2020, soft pastel on cardboard, 22x27x4 cm, You Are not a Lonely Mushroom, 2023, linoleum and plywood, 17x20x3.5 cm, Transposition, 2023, found hardwood floor pieces and dust, 7×11×5 cm, This is a Real Pipe, 2022, pipes, stainless steel, wood, 62×43×6.5 cm, Pyramid #1-4, 2023, gesmonite, 11x11x9 cm
photo © Ghwan Hee Yoon