Whistle is pleased to announce Oblique Afternoons, a solo exhibition by Taeyoon Kim. Oblique Afternoons presents new works of video, sound and drawing that invoke the movement of time within the city context, as an extension of his ongoing explorations of the relative experience of time and motion. Following the 2018 exhibition Gone Fishing, this is Kim's first solo presentation at Whistle.
Taeyoon Kim gathers visual data from daily life and translates its physical motion to abstract video. Through repetition and distortion, the time and space of the recreated landscape are made ambiguous, while simultaneously inciting sensations of déjà vu. Kim studied Film/Video/New Media at the School of the Art Institute of Chicago and has been making media art since 2011. To Kim, time flows obliquely. The exhibition title Oblique Afternoons signifies the convergence and intersecting of time, which he has felt differently according to location, in a single place. Similarly, the process of recording, reviewing, and editing recalls emotions that cannot be sensed in the normal parallel flow of time.
Over the last three years, Kim has collected footage and sound from a variety of places. If in the past, sound was used to overlay texture to video, then in this exhibition, sound-making plays a pivotal role in revealing the landscapes he has compiled. Sound-making itself is also a key part of his practice; the sounds collected in his field recordings are broken down by wavelength and then assembled again in rhythm. The show's titular work, Oblique Afternoons (2022) resounds through the exhibition space. Everyday noises like talking or rain overlap and offset the installed videos serendipitously, creating a subtle beat, and presenting a new sense of space and time.
In his drawings, Kim takes the layers from his videos—or their afterimage on the monitor—and puts them to paper with coloured pencil. The filled page may function to record the patterns he witnessed, as though he has made a screenshot of the experienced image rather than allowing it to simply pass him by. This act stems from explorations of and a desire for originality, which cannot be fully sated even in the digital environment and its endless advancements in resolution and specification.