Chung Seoyoung Solo Show: Audio Visual Pavilion
Audio Visual Pavilion will present Chung Seoyoung Solo Show from September 6 to October 16. The artist who has established an exclusive logic and moments where objects become sculptures is showcasing sculptures, photographical and sound works that have upended the time of 2016. Chung Seoyoung Solo Show is a new exhibition time and space which the artist has rebooted. She mentioned several years ago at an occasion that she has deep-dived into thinking about to what extent a space in an exhibition is to be shrunk or extended. The time surrounding the exhibition encompasses many pieces of time units ranging from the time of 1998 when she created Wave to now and up to moments where currently unfinished works are to be generated.
Showcase Showcase (2015) posits an exhibition space within an exhibition space. A Didn’t Know B Would Do That (2014-2016) grasps a seemingly ‘sculptural’ moment where an object or a good encounters a particular circumstance. Wave (1998) is a part of an installation work Ghost, Wave, Fire as “an attempt to make endlessly moving things into sculptures”*. Green Here and Green Yesterday (2016) puts one of the series of Monster Map, 15min, Jeong’s drawing, into the wall of a space dubbed as a laundry room of Audio Visual Pavilion. Her new work which might be titled Bone and Walnuts (2016), Stone and Thread (2016) or another one shows an independent state of Jeong’s sculpture created by “a strange and preposterous combination”* without “staying in a fixed state”* or being caught. Nobody notices it (2012-2016) sitting in a small room of Audio Visual Pavillion makes the sounds in a headset and pieces placed on the floor confront one another in a mood of concentration. These are all sculptures of Jeong in 2016.
Audio Visual Pavilion will host Audio Visual Activiy where research on the artist’s sculptures and texts unfolds including Jeong Seoyoung’s artist talk on October 8, 2016. It Is impossible to add to her work a layer of an intact language outperforming a sculptural state. The neatness and clarity of her artistic language brings the performability of the sculptures and the issues confronted when sculptures are generated from objects to a state which leave them in a solved/unsolved state. The language activity which is to occur in Audio Visual Pavilion is an attempt to bypass the artistic thinking unfolded by the artist and to generate words about art.
The experience of observing Jeong’s works is abrupt, cold and pungent. Observers must await an accurate and right moment even to encounter pieces shredded from the whole. Her works are a result of a confrontation to take off a handful of objects in the custom of reality where impurities are placed one after another, and is a choice of Jeong as a sculpture who endlessly resists things to boil down to a single answer. This is an additional comment – yet detachable – and not an explanation on how Jeong’s sculptures and installations were viewed in 2016.
*Quotes are from the artist’s writing.
