Whistle is pleased to present Underneath the Postures, a four-person exhibition featuring artists Eun Chun, On Kim, Miock Park and Minhong Pyo, on show from April 24 to May 30, 2020. In Underneath the Postures, participating artists examine the application of different sense organs, methods and attitudes of interpreting form familiar to us, and more, to see if they change the audience's method of perception. This exhibition is ultimately centered on the expansion of human sense. Visitors will strain for sounds inaudible and be immersed in searching for images invisible.
Eun Chun investigates the process of visualizing imagination to present a unique sensory world through photography. On view, the Bird and Umbrella series captures the momentary sound movement created by objects and the hands of a Foley artist. Bird and Umbrella #19 (2015) is an object used in sound production. A heavy wheel is strung up, hanging light like a thin bird, captures the moment before its cry. Also on view is the series Le repos incomplet, in which the artist photographs works and molds made by her father during his life as a sculptor. Stroking the inside of casts that become sculptural surfaces, Chun reflects on her father's hands, conveyed by the tactility of plaster.
On Kim explores the activities of writing, reading, and hearing through diverse media and performances based on 'sound and script.' Recitation of text alongside writers and the audience aims to share each individual's fundamental emotion and sentiment. The installation Almost Nearly Fulfilling (green version) (2020) directs the interaction of the sensual intuition of supplement and fill. The viewer becomes aware of the blocked or erased entirety, which instigates and instinct to complete the whole image. Through this work, Kim induces 'dimensional reading.' The delicate green surface above the text is the artist's attempt at expressing the rhythm of reading, completing Almost Nearly Fulfilling with a recitation by writer Tae-Yong Kim, and participation of the audience.
Miock Park has been demonstrating the arbitrariness of language by dismantling its function as a tool and translating its material into a new form. The artist connects the characteristics of socially agreed symbols to convey or record meaning. Devised to be read, languages such as Braille, guitar chord charts, staff, instrumentation, Labanotation (a system of movement notation), begin to take on new meaning in its original appearance. SYNESTHETIC LANGUAGE is an ongoing series of work since 2016. Konkrete Poesie (Concrete poem) is the first text chosen by the artist, simplified into Braille through mathematical reasoning, and recently split again into Labanotation. Already in the first translation, the original subject matter disappears. These works face the viewers, disturbing our practiced form of perception. The connection between signifier and signified is broken, and its content no longer legible.
Minhong Pyo manifests the conceptual reaction in the meaning, structure, and function of space in the site-specific format. Particularly observing contradictory conversation and relationships, and studying the process of reinterpreting this into poetic language. Masked behind the work is the artist's intentions, by his use of abstruse 'poetic language,' and his selection of auxiliary space and material. In this exhibition, Pyo recalls the flow of time. From an observation of the shape of a subject after it has left its once inhabited space. A poem is composed of the length of time originating in 'absence,' describing separation brought by facing of time perceived through sense, and the physical in reality. The speed of water falling in the video muted basin, and the poem draw breath as one. Minute letters, erased sentences, twelve phrases in gold hidden around the exhibition space will once again turn fake when vocalized and disperse into another.
Press release courtesy Whistle.