'Wunderkammer' Group Show
December 13th to 20th at 48, Mangwon-ro 3-gil, Mapo-gu, Seoul, South Korea.
Cabinets of curiosities also known as Wunderkammer, especially during the Renaissance, 16th, and 17th centuries. Cabinets of Wonder, or Wonder-rooms were encyclopedic collections of types of objects whose categorical boundaries were various. According to this exhibition, it features five other artists who is questioning to the matter of objects, and it aims to exhibit personal collection of their objects to be open to the public under this subject. The subjects are the way each artist thinks and what kind of affection is reflected to the public. They invite each of the five artists' curious rooms.
The artist Jae Youl Jeoung (b. 1992, Seoul) derives the movements, intangible phenomenons, and absence from the between objects to this exhibition. He collects and archives metaphorically these kinds of movement surrounding environments originated or originated from object. An object, and another object beside. Something exists between the two but has been emptied for a while. The concept of a moment here has the potential to be interpreted as a spatial concept rather than a temporally emptied. Therefore, he subtly collect a sort of invisible matters which provoke between objects are desired to be another relationship.
'Air', 2019
A glass of cup, and stenciled text by dust.
I collected invisible dust. Casually.
The dust accumulated in the glass in the corner of the room is displayed as a texture, 'air'.
'A corner of the distance', 2019
Fabricated triangular candle.
Each of the three edges burns in a different way, leaving behind a burn.
One of the three corners shed tears vertically.
'0,0', 2019
Two raw eggs and brackets.
It installed high up to celling of the exhibition space.
The absence of eggs has a physical energy. Perhaps he shows his firmness and strength first before hatching. And when they hatch.
'Nest', 2019
Dry plants, and goose feathers from my childhood jacket.
The lightness of a temporary feather that never knows when to fly away again is actually lumpy warmth. Like a child in one's bosom.
Their absence changes to their surroundings in real time. During the exhibition, the movement and grazing of the audience change their absence. They are temporal shelter.