Exhibition Information

Trinity: Finance-Credo-Spirituality
2019 Single-Channel 4K HD Conversion_ Color_ Sound_ Muralization 11분 22초_ 국립현대미술관 커미션으로 제작

Night Meeting
2019 Video_sound_Color 30분

hase Space
2018 360 robot cleaners 1200 x 900cm

Facial Weaponization Suite
2011-2014 mixed medium 가변크기

			With the advent of the fourth industrial revolution, our lives have become more closely related to the cutting-edge technologies of big data, blockchain and artificial intelligence than ever before. The way we process data, the kind of digital information that we are most familiar with and the basic unit that makes up new technologies, is also noticeably diverse. Our society is gradually becoming dataized from the daily lives of individuals to the system of national units, and the socio-economic paradigm is also changing on the basis of the evolution of data.

Who is the entity that processes, owns, and distributes data, and how do they power the information they have? How blind faith, or its baseless distrust and sense of crisis, surrounding data affects an individual's life. Is it really possible to use data to contribute to the public good? Based on these questions, the exhibition showcases works by artists who explore digital technology and discover aesthetic features. Participating writers of the exhibition look for ways to classify and organize data to broaden the scope of artistic expression, or expand creative public goods by utilizing advanced technologies. It also raises the issue of situations in which data collection is monopolized by a small number of powers, and attempts to decentralize the search for a new system that is anti-authoritarian.

The exhibition, consisting of experimental works by local and foreign artists who are drawing attention at the contemporary art scene, shows the digital system that humans have built and the unpredictable "gaps" that have occurred amid the environment surrounding it. 


Kim Sil-bi (1981–, Korea) works around video installation, traveling between Berlin and Seoul. He sets up an audiovisual language that puts historical records and drawings into reality and suggests various possibilities for the future in the process. The new film <Financial-Credit-Young Samsindo> is a video installation consisting of a single channel video and three pieces of sculpture inside a sanctuary covered with murals made by synthesizing various religious designs around the world. Inside and outside of the image, an environment that interprets contemporary technical conditions with primitive senses is unfolded. The epic, which sounds like a rhythmic voiceover, leaps into the order of finance, credit and spirituality, shedding light on the old values that still emerge at each stage of the new technology transforming the conditions of human life. At the same time appearing in the video, pieces of motifs such as artificial neural networks and figurative bodies hanging from the exhibition hall remind one to imagine the physical nature of the "Tae-Tae-Tae-Tae." 

Kim Woong-hyun (1984–, Korea) presents works in the form of video works, performances and installations, with an interest in the data environment, remote bodies and distortion of information. It also mixes the settings of fiction by combining social issues and virtual reality elements reported through the media to create a real existence for the writer. 
The new film, <The Night's > is about people living in a flat world caused by a data-driven environment. This is the third installment in a series of six episodes since 2018, following "Humifractien" (2018) and "Ran Paxamran (2018). Humans who survive in their respective ways in a survival environment that has changed overnight without knowing the reason, isolate themselves from unknown fear. The main character, Thomas Gomez, also claims to be alive and isolated with whatever information he has searched. Twenty years later, Thomas dreams of moving to a better place, leaving the house, coincidentally encountering a real "person." 
Meanwhile, the content of the work is an adaptation of a short story from Ray Bradbury's novel, The Age of Mars (1950), which is in line with the point of horror that comes from the grim prospect that real social problems will still not be solved in the future. 

Rachel Arra (1965–, UK) is a conceptual and data artist who explores the relationship between the genders and the technology and the power system. Based on the various skills he has acquired while working in the technology industry for 25 years, he makes unique and surprising installations and sculptures across many areas. Ara and humor, irony, combining social interest in the feminist and Queer to reject the common practice. The piece is a digital art that uses a data-managing algorithm called "Enbook" to show one's value in numbers. The price of the work is shown as neon, reflecting the number of visitors and the number of times the author and the name of the work are mentioned in the FTSE 100, which is a comprehensive stock price index, and SNS. The author explores the conditions under which he and his work determines the value and price of himself and his work by programming various factors, such as sex, race and age, and questions the association of the value represented by "my value" to the actual value of the work. For the exhibition, the artist was re-produced from British pounds to Korean won, adding a four-digit price.

Simon Denny (1982–, New Zealand) develops an exhibition that analyzes the social and political impact of the technology industry and the rise of social media, startup culture, blockchain and cryptocurrency, focusing on installation, sculpture, printing and video work. What is blockchain?> describes the potential to expand the use of blockchain, a virtualization money technology represented by bitcoin. Advertising a technical utopia, the video presents a perfect "trust" using blockchain technology, no borders between countries, and an ideal world accessible to all individuals as a whole. Blockchain technology connects distributed interfaces so that information can be stored accurately and safely. Because this information is a transparent public asset, it is accessible to everyone. If the reliability of information has so far been guaranteed only through third parties such as banks, countries and trade organizations, the blockchain system with automated verification ensures all personal transactions safely, and further enables a perfect market, information system. While a centralized management system is a structure that inevitably distorts the truth of an individual, blockchain itself is the truth that represents all of us. 

Superflex (1993–, Denmark) is an art group formed in 1993 by Jacob Pengger, Bjornstein Christiansen and Rasmus Nielsen. Experiment with the role of artists in modern society and explore the nature of globalization and the power system with various artistic practices that encompass a wide range of media and interests. Superflex, who wants to see their work as "tools," suggests that people actively participate in and communicate with the work and thus apply it in addition to various users in various fields. 

Jacques Blas (1981–, USA) is an artist, film maker and author who is engaged in a wide range of fields including technical research, theoretical research, conceptualism, performance and science fiction. Queer, biometric, vision of feminism, and sf His works are a minority for the political, security and control technologies and manage an alternative to subject the structure of power. 
Face inorganic set is an immaterial mask that cannot be detected by facial recognition technology, resisting the inequality shown by facial recognition technology. At a workshop with local residents, Jacques Blas collected facial data from participants and produced a group mask. These masks are gay sexual orientation and facial recognition data or biometric technology to deal in scientific research to determine the color can not detect.Feminism, border security technology outside, the problems of racism based on features caused by violence and dealing with nationalism. These masks are used in social movements as opaque tools to transform groups, rejecting the dominant form of political representation. 

Chao Fei (1978-, China) has been working on a mix of art practices such as social discussions, popular aesthetics, surrealism and documentaries, focusing on video and installation work. Chao Fei's work reflects the rapid and chaotic changes taking place in today's Chinese society. Lumba 01 & 02 remembers its entire area and location as it moves around with a robot vacuum cleaner featuring self-driving robots. For this reason, the constantly moving room bar on the left will not fall down. The appearance of Lumba, which is home appliances equipped with advanced features but only keeps hovering in a narrow space, suggests the current state of Chinese society, which has quickly risen to the ranks of the economy due to rapid economic development, but is deepening social conflicts such as social polarization and generational disparity. The writer embodied these contradictions and crises as works utilizing everyday materials with a unique optimistic view. 

Chris Hume (1988–, England) dreams of a new type of language that deals with technology and communication at the point where technology intersects art. Work has been carried out, exploring the basic principles of how people use technology and the impact of tools in complex structures on their daily lives. 쉔 utilizes objects that exist everywhere to ask questions about the reliability of technology, its predictability, and its normalization. 
<Phase Space 360> is a work by a writer that transformed the technical features of a robot cleaner into a figurative object. The 360 robot cleaners on the floor move freely and their motion tracks are sent to the screen in real time. The positions of the balls and the points that are created by the motion, the rotation, and the vibrations are constantly appearing and disappearing on the screen, creating complex spiral lines. The author saw the robot vacuum cleaner as a single particle and saw the exhibition space where their movements were recorded as a phase space. That is, just as one point in the phase space perfectly describes the state of a particle from the perspective of motion, abstract lines on the screen record the motor conditions of individual robot cleaners and all degrees of freedom. Citing physicist Carlo Lobelli's book "Physics of Every Moment," the author compares the ever-moving robot cleaner to a basic particle that appears in a swarm of space and continues to be born and extinct. According to the author, these particles make a myriad of combinations, like the letters of the universe, metaphorizing the vast history of galaxies.

The Forensics Architecture (2010–, UK) is a research group based at the University of Goldsmith in London that consists of a wide network of collaborators in diverse areas and disciplines, including architects, artists, journalists, software developers, scientists and lawyers. Since its inception in 2010, the Forensics architecture has been surveyed on architecture and media on behalf of international prosecutors and human rights, social, political and environmental organizations. The Forensics architecture shows how public truths are produced technologically, architectural and aestheticly through critical and close scrutiny, and how the truth can be a tool against national violence. 

Harum van den d'Orpel (1981–, Netherlands) is a Dutch artist who works in Berlin and works extensively on sculpture, collage, computer animation and graphics. Van den d'Orpel's work, rooted in "Net Art," sometimes looks like a neural network. Technology in his work is a tool and means of purpose to enhance our understanding of our experience. The writer wants to produce works that explore not only the technical hardware used in everyday life, but also how to use it, and the interface patterns that are changing by technological advancement.