Exhibition Information

			Photographs and sounds overlapping between the present and the past

The writer imagines a world where only data remains. The world is filled with data because all that is left is data. The disappearances in this world remain recorded data. In a combination of infinite possibilities, data constantly produces accidental shapes.


The writer begins this work by facing an old photograph of his late father. The author puts himself in someone's place to see the world of data in the future he imagined through combining and reconstructing old photographs with other elements.


The future-world shape of data brings the structure of a cave to the author. The first thing you can see inside the cave of data and memory is images of fragmented photographs. Photos of his father's youth with a friend in front of a historic site in Gyeongju in the past are separated into pieces and overlapped with other photos. The 1979 picture of Gyeongju, combined with the 2020 picture taken again by the author at the same place in Gyeongju, hovered between the past and the present.

The process of visual data reconstruction centered on old father's photographs reappears as sounds join and hover in the cave. Through collaboration, the artist created, sang, and recorded four songs from the photographs that started the exhibition. The words written on the back of the picture, the place and emotion of the picture, become the voice, melody, and rhythm, meeting the image of the picture and repeating the contradiction. Each song, consisting of one auditory material, such as an old film photograph, which is a visual material of the exhibition, is made by reproducing old pop music. An album with the same title as the exhibition was released as a sound source, and the songs function as part of the exhibition and are played in pieces again inside the exhibition hall. Fragments and parts of the song make up an audiovisual experience in which sound is heard between the blurry things in the cave, echoing in a cave of fragmented photographs.

In Photo Cave, the act of combining and reconstructing images comes as a gesture to make them different, facing an empty spot in the world where only data remains. Sculptures of images that span between the present and the past will be traces of the tangled time in which the gesture lives. <Photo Cave> reconstructs it in a world of images and presents a landscape of fragmented photographs and sounds.

PPS (print print shop) is the new name and project name of Kim So-ra, who was a member of the group Playgirl organized by Beatball Records. 

PPS makes music and visual works based on photography. The album is linked to Kim So-ra's exhibition "Photo Cave", which opens on November 27, 2020. The exhibition runs from November 27 to December 13, 2020, at Space55.

The album's work begins with the discovery of old photographs of his father from Gyeongju in a photo album. The words on the back of the old film photo became lyrics, and the process of going back to Gyeongju, the place of the photo, and taking pictures, was made into a song. Songs born in old photographs continue to meet and move away from them.

The album features whistles in the cheerful rhythm of the race (race), words about pictures of light and shadow on the floor, and afternoon of listening to the sound of rain outside the window. A long time ago, a photo taken in Alaska and sent like a postcard was contained in his father's photo album, and arrived in 2020 and became an Alaska. 

The album's time between the past and the present coincides with past photographs installed in the exhibition. Inside the Photo Cave, which can be experienced in different ways through exhibitions and sound sources, there is a tangle of time, space, and visual and auditory senses. The album is part of the network and is an entrance to the [Photo Cave].

Source by:<Photograph cave> Space 55