News

EVENT / 09 Oct 2018

‘Entwined Repeating’ at SferaExhibition

Entwined Repeating展_A5DM_0916

Entwined Repeating

Sangsun BAE
Yeon-Kyoung SHIM
Mimi JOUNG
Dan Phillips (Exhibition creative director)

13 (Sat) - 22 (Mon)October 2018

11:00 - 19:00 | closed on Wednesday
SferaExhibtion

 

Opening event on 14 October(Sun)

Gallery Talk 15:00 - 16:00
Opening cocktail 16:00-17:30
No reservation required, free entry

 

 ‘Entwined repeating' is the title of an exhibition by three artists working with various materials and cultural frameworks. It explores the ‘emotional charge’ which lives within these women.


entwine
Wind or twist together; interweave: they lay entwined in each other's arms | figurative : the nations' histories were closely entwined. Her hair was entwined with ropes of pearls: wind round, twist round, coil round, wrap round, weave, intertwine, interlink, interlace, interweave, interthread, crisscross, entangle, tangle; twine, link, lace, braid, plait, knit, wreathe; literary pleach. ORIGIN Old English twīn ‘thread, linen’, from the Germanic base of twi-‘two’; related to Dutch twijn.

repeat
She repeated her story in a flat monotone: say again, restate, reiterate, go through again, go over again, run through again, iterate, rehearse, recapitulate; informal recap; rare reprise, ingeminate. Children can remember and repeat large chunks of text: recite, quote, reproduce; echo, parrot, regurgitate; say again, restate; informal trot out. Steele had been invited to repeat his work in a scientific environment: do again, redo, replicate, duplicate, perform again. The episodes from the first two series were constantly repeated: rebroadcast, rerun, reshow, replay. 1 (of a firearm) capable of firing several shots in succession without reloading. 2 (of a pattern) recurring uniformly over a surface. ORIGIN Late Middle English: from Old French repeter, from Latin repetere, from re- ‘back’ + petere ‘seek’.

According to Derrida, we find that repetition conceals a paradoxical, dual desire. Derrida tells us about an incessant, nostalgic searching. He demonstrates the desire to return to one’s origins, a longing for home, what he calls an ‘archival malady’ that, in spite of its preservative purpose, ultimately conceals memory in order to negate that which is discursive. This is why Bae’s attempts at repeated series result in nothing being visible. It becomes completely indecipherable in a tangle of strings that creates a gestalt; a line of feelings, a camouflage and an amalgamation of the visible that transforms it into something enigmatic.

In reality, Bae’s body of works serves as a self-portrait, with a narcissistic strategy that does not take place in her body but in her history. Bae’s work offers, in her memory, recreating actions, repetition and the first time are the same as repetition at the last time, since the inherent strangeness of every first time simultaneously transforms it to a last time. In other words, every time is different. Therefore it is implied that Bae’s work is a continuous rereading, a reunion. A repetition, but not one that is obsessed with the illusory shiny surface of what we think of as new. On the other hand, her work also serves as an engraving, a record, a mirror that absorbs, reflects and breaks everything.

Mimi Joung and Yeon-Kyoung Sim find their working method very similar to Bae’s. Although they are visually different, they are ultimately obsessed with their own artistic practice.

Joung believes obsession is a synonym for anxiety, an inclination for something, a focused state of mind. All three artists agree that obsession can not exist without memory. Its an obsession with fixed ideas that persistently and stubbornly bothers the intellect. Everything these artists are doing is based on the instance and repetition of themes that make these artists’ works into a meeting place, a place for ingenious reasoning, which ultimately denies the authenticity of origin and serves as an undeniable prerequisite for creativity.

No artist collaboration is ever either a natural or linear progression towards a higher state of aesthetic perfection. A collaboration can seem to take you backwards even when you are meant to be progressing at double or triple speed. Learning to collaborate is often perceived as a contradiction. It is assumed to be as natural as breathing. However, submitting to the needs of others, presenting your own within a shared space, and then allowing the dialogue to shape the outcome can test the limit of an individual’s faith and mutuality. To develop ideas in an open environment is to risk seeing them in a naked and informed manner. It may reveal their greatest potential but also expose their deepest flaws. The entwining nature of collaboration is both liberating and suffocating.

John Berger’s assertion that all art that is based on the intensive study of nature ultimately changes the way we view, either by clearly affirming an already established approach or by suggesting a new one. Continuing with Berger, we are basically talking about experience, about events that can be defined on the basis of their relationship to one another.

“I am a searcher... I always was... and I still am... searching for the missing piece.” Louise Bourgeois

Bae, Joung and Sim are all searching. And as Eliot recognised they will not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.

Dan Phillips
Exhibition creative director

 

Sangsun BAE
/www.sangsunbae.com

Sangsun Bae is a Korean Artist living and working in Kyoto, Japan. A graduate of Musashino Art University, Tokyo, Sangsun studied for her Doctoral Thesis at Kyoto city University of the Arts, during which time she won a scholarship to study in London at the Royal College of Art.
Twice selected for the prestigious VOCA art prise in Tokyo, Sangsun has shown internationally in NewYork, London and throughout Asia and is currently represented by COHJU Contemporary Art in Japan and Gallery Dam in Korea.

Yeon-Kyoung SHIM

Yeon-Kyoung, originally from Daegu, Korea moved to Japan to study porcelain. After leaving university, she got interested in Kimono and Obi, Japanese traditional garments and start learning about them on her own. Untill now, she has participated in designing patterns and colours of Obi, a sash for traditional Japanese dress at Kondaya Genbey. Since 1999, Shim has learned dyeing and clay dyeing techniques at Amami Oshima.
Living in Japan and working on her creation related to Japanese culture for many years give her a fresh viewpoint for Korean culture and esthetics. In 2003, she opened Korean-style tea house Somushi and has worked on projects that become cultural bridges between Korean and Japan.

Mimi JOUNG

Mimi Joung, originally from Korea, gained her Masters at the Royal College of Art and currently based in London, UK. Joung has made project-based exhibitions inspired by her interest to explore ideas surrounding her materials (clay) and their history. Joung completed the Artist in Residence program at the Banff Arts Centre, Canada, which celebrates conceptual art in Canada and allows international artists to explore the future of their ideas. And also received various arts grants and commission from Korea, England, Wales, and other countries. Joung is award winning artist and exhibiting her works internationally. She is currently developing sculpture pieces based on a novel called ‘In Watermelon Sugar’ by the American writer, Richard Brautigan.

Dan Phillips (Exhibition creative director)

Dan Phillips is a designer and engineer with 30 years’ experience in the development of innovative environments, products and services. He studied at Imperial College and the University of Cambridge and tutors on the Service Design programme at the Royal College of Art and Imperial College. He is a Fellow of the Royal Society of Arts and has been a member of a number of institutional advisory groups on cities, sustainability and the built environment.

Back to the main list

pagetop