Exhibition Information

			The company will hold a private exhibition called 《Textscape》 by Shin Je-hyun, the author of the 2019 CR, from May 2 (Thursday) to June 15 (T).



Exposed body images covered the entire exhibition hall. The appearance of sweet chocolate, and the act of licking the body, produces an erotic clicheliché. However, chocolate words are used when an opponent licks the face or part of the body with his tongue. If you lick it with your tongue, you should remove the chocolate from your body, but the writing situation unfolds. Divided into three parts, Shin Je-hyun's video works are stimulating by expressing explicit grosse of body and action, but they also draw attention to the text and meaning written in chocolate along with the scale beyond human scale, and convey the incongruity and confusion of thinking, especially through the reverse (reverse) effect.



Shin has explored the point where cognitive dissonance occurs due to the difference between what he knows or believes in everyday life and what he sees and experiences, and has worked to further accelerate the incongruity by twisting it in a playful way to create events. In the exhibition "Textscape," he focuses on cognitive dissonance between erotic behavior and writing, or "ignition." It also converts into an event called accelerated dissonance through repeated acts in various ways with the reverse method, resulting in cognitive blanking.



'Use letters.' 'Licking chocolate.' "I erase letters." "I lick the body of the West." And apart from this, the self-evident actions and sentences are combined in the video to create a new phenomenon and landscape that seems to be completely different. The act of licking and removing chocolate characters with the tongue by taking pictures of these things and then returning them to the scene turns into writing on each other's bodies. Although vulnerable to call it tattoos or pubs, the process of gradually revealing chocolate traces on the body in clear-readable letters through Rivers certainly touches a rather grottesque point. And the author also talks about Western modernist thinking, which is defined by objectification (objection, fragmentation, textualization, and structure), unlike the Eastern way of thinking of the body as organic through the pattern of actions where text occurs in parts of the body that touch the tongue.



In this way, Shin uses a strategy that uses text while visually revealing her physical characteristics to the front. Through this process, the institution seeks to establish its own sexual liberation, or the process of dislocation from all objectification, fragmentation, or structuralization made by language and texting. But this is not due to any realization, but rather to the deepening of cognitive dissonance, a kind of liberation through acceleration. Helping this is a reverse technique used throughout the image, which brings together visually confusing symbols that create a continuous cognitive vacuum in the brain. In doing so, it is intended to create a series of irrationality and reason, a clash between the Dionysos and the Apolistic, and a succession of subversives between them with time differences. This could be seen as an extension of his interest in pornography, or material that directly reminds him of it, in his previous work.



As the title suggests, <Personal Porno Production Manual>, which he has been conducting since 2007, was a project to produce personalized pornographic material for project participants. Porn is women's movement in sharp point was made a major confrontation that was one of the problem. And a female porn is in production of pornography is against women focus on the matter, and the structure of the physical and mental, accompanying economic compulsion.It claims that with the structure. This exploitation occurs because the existing pornographic production structure is male-centered, while, from the perspective of embracing the form of pornography as an expression medium, I believe that pornography can be a media that can be feminine. Shin's view of pornography in <3PM> is similar. What sets <3PM> apart from the traditional way of producing pornography is that it produced customized pornography through interviews with female interviewees. This creates a structure that produces porn with a more pluralistic mechanism for individual female customers, rather than porn of distorted sex concepts that meet the uniformized fantasy of the existing male-centric structure.



Past works have used provocative materials such as pornography, marijuana, avgues, insurance fraud and multilateral relationships, but have not visualized the body in terms of how to express it. ...but this work was rather visually physical, but in substance, I wanted to create a conceptual work. (writer note 노트)



While physicality has rarely appeared directly in previous works, this work puts it at the forefront. The first act of licking and the physical presence of naked bodies stimulates viewers. Next comes the concepts that arise from thinking about the relationship between the meaning of text engraved on the body by each person's tongue and the way in which they write (or eat or erase) with their own. Shin divides the concepts into three big categories and shows each of them in three video works.



<Flattering Words I> shows sensory communication methods, including inability to communicate and caress, which is often likened to something that happens between a lover or a friend. The text you want to convey to the other party is written on the face, which is a part of the body that the other party cannot identify on its own.



There is also a special reason to use chocolate, which has the characteristics of safe to eat and relatively easy to handle, but has an important meaning. Fire Words II is a video installation in which a tank of water is placed under the screen in which the video is being played, and because the image is inverted from top to bottom, the audience sees the image reflected in the water. This is a metaphor for language analysis: the language spoken is the mirror of the world. But the world is full of contradictions, with one child feeling sweet while the other being abused on a cacao farm. Chocolate is a typical substance that shows such inconsistencies.



Words used in <Flaming Words III> seem to form a sentence at first glance, but their connections and structures are ambiguous. Observing carefully, one might notice that the words are "music poems" made up of only seven letters (C-D-E-F-G-A-B) representing the scales, due to the sounds that sound each letter is engraved on. Words and sentences that can only be created by restricting the alphabet become very limited, and these nonlinear languages inevitably have an illogical structure. Here language serves to show both the play and the nonlinear structure of a combination of scales and words.



However, the more you try to focus on these concepts, the more constant interference is caused by visual and auditory stimuli. Also, the concepts appearing in text are non-science, irrationality and absurdity, which eventually creates a cognitive vacuum between reason and irrationality when you try to concentrate on one place. Through this continuous structure of cognitive blanking, the author seems to appeal not to help bridge the imbalance and gap between cognitive system and sensory experience, but to be further removed.



The exhibition title "Textscape" is a combination of "Text" and "Landscape" that acts in the following meanings. The body that appears in the highly screened works is a landscape-like figure that goes far beyond the human scale. And about the letters written through eating, Shin puts forward the concept of 'fire' as an act that goes beyond words. In conclusion, what lies before your eyes is a landscape of your body, but that body means that it is engaged in action. It is a metaphor for the fact that fire is more than just a word to say that words come out of your mouth by reversing the "behavior" you eat.