Liste Art Fair Basel 2024

At Liste 2024, P21 presents the latest works by Keem Jiyoung, in particular her 'Glowing Hour' (2020–) series. These works are deeply rooted in the artist's contemplation of the 2014 Sewol ferry disaster in Korea. This preventable tragedy, resulted in the loss of 304 lives, predominantly high school students on a field trip, leaving an indelible mark on South Korean society, and lead to the impeachment of the then president, Park Geun-Hye. Through her practice, these series of events led Keem to explore individual existence and collective resilience in the face of man-made disasters, as well as the artist's role in the ensuing societal change.

Central to the presentation are 18 new oil paintings from the 'Glowing Hour' series, adorning the back wall. Each painting is a captivating meditation on the fragility and warmth of life, symbolised by the flickering flame of a candle. These works offer a vivid commentary on the universal human experience, bridging the intimate narratives of individual lives with the collective resilience demanded by tragedy.

On each of the left and right walls, are four new oil drawings from Jiyoung's 'Drawing for Glowing Hour' series. These drawings, alongside the oil paintings, offer a more intimate and figurative exploration of the candles flame and the dynamic rhythms of its movement.

Placed on a low platform in the centre of the booth is a series of candle sculptures, titled Look at This Unbearable Darkness, evoking the solemnity of memorials. These sculptures, resembling hands clasped in prayer at various stages of melting, symbolise a collective plea for understanding and empathy in the aftermath of disasters like Sewol. Conversely, these works offer a counterpoint to Keem's exploration of light. As candles, extinguished midway through burning, within the artist's practice, they become a study of darkness; a contemplation on illumination and obscurity. This examination of light and shadow underpins her approach throughout, evident in the blurred oscillation between figuration and abstraction, as well as the delicately layered transition between hues of pinks, yellows, oranges, and reds in her paintings.

This multi-disciplinary presentation serves as a potent social critique, providing a perspective and framework for comprehending the cyclical nature of man-made disasters and their lasting repercussions on humanity. While rooted in the context of the Sewol tragedy in South Korea, its relevance extends to conflicts and disasters globally, both contemporary and historical. These artworks compel viewers to take action, urging accountability for those responsible for such senseless loss of life. Additionally, they prompt a reconsideration of how we memorialise and honour the victims of such tragedies.