Multi-channel video(Looped Animation), Stainless Sculpture, 65inch TVsx2, 55inch TV, 32inch Monitorsx2, 27inch Monitor
Installed at National Museum of Archaeology, Malta
Hybrid Isolated Landscape
고립-혼종의 풍경 (2024)
“ Hybrid Isolated Landscape“ directs attention to a novel form of isolation within the vibrantly dynamic contemporary landscape of South Korea, emanating from the intersection of its technologically advanced status and the resultant dialectic between physical reality and virtual realms. This inquiry underscores the emergence of a distinct typology wherein both non-human and human entities find themselves isolated amidst the evolving socio- technological landscape. Malta and Korea share experiences of being dominated by neighbouring nations and are composed of several islands with unique terrains. Seoul, the capital of South Korea, is constructing an artificial urban environment, transforming islands into mainland and mainland into islands, thereby inscribing the history of artificial landscapes. This process simultaneously confronts another dimension of isolation, including digital/media isolation, amidst the prevalent physical, social and cultural disconnections commonly experienced in island environments.
The artwork Hybrid Isolated Landscape (2024) posits South Korea as a de facto island nation or maritime state surrounded by the sea or waterways, due to its physical, social and cultural disconnect from the northern continent, effectively serving as a ceasefire line. In the island nation, the rapid onset of Digital Transformation heralds the era of ‘Digital Isolation’ where individuals confront a phenomenon leading them to perceive the world through images constructed by fantasy(reverie) and imagination. Consequently, nature is artificially produced and consumed, evolving in a manner accessible to individual ownership. In particular, landscapes unseen in reality are interpreted through cropped datasets encountered on screens. This not only physically isolates the body further but also leads to encounters with the opaque unknown. In the 6-channel display, scenes from Malta beyond the screen and landscapes of Jeju captured by the artist animate and intertwine, forming a hybrid landscape against the backdrop of a nonexistent ironic ecology. This setting constructs a mixed landscape alongside artificial life (Artificial Living).
text : Jieon Lee (2024 Malta Biennale Pavilion Curator)
고립-혼종의 풍경 (2024)
“ Hybrid Isolated Landscape“ directs attention to a novel form of isolation within the vibrantly dynamic contemporary landscape of South Korea, emanating from the intersection of its technologically advanced status and the resultant dialectic between physical reality and virtual realms. This inquiry underscores the emergence of a distinct typology wherein both non-human and human entities find themselves isolated amidst the evolving socio- technological landscape. Malta and Korea share experiences of being dominated by neighbouring nations and are composed of several islands with unique terrains. Seoul, the capital of South Korea, is constructing an artificial urban environment, transforming islands into mainland and mainland into islands, thereby inscribing the history of artificial landscapes. This process simultaneously confronts another dimension of isolation, including digital/media isolation, amidst the prevalent physical, social and cultural disconnections commonly experienced in island environments.
The artwork Hybrid Isolated Landscape (2024) posits South Korea as a de facto island nation or maritime state surrounded by the sea or waterways, due to its physical, social and cultural disconnect from the northern continent, effectively serving as a ceasefire line. In the island nation, the rapid onset of Digital Transformation heralds the era of ‘Digital Isolation’ where individuals confront a phenomenon leading them to perceive the world through images constructed by fantasy(reverie) and imagination. Consequently, nature is artificially produced and consumed, evolving in a manner accessible to individual ownership. In particular, landscapes unseen in reality are interpreted through cropped datasets encountered on screens. This not only physically isolates the body further but also leads to encounters with the opaque unknown. In the 6-channel display, scenes from Malta beyond the screen and landscapes of Jeju captured by the artist animate and intertwine, forming a hybrid landscape against the backdrop of a nonexistent ironic ecology. This setting constructs a mixed landscape alongside artificial life (Artificial Living).
text : Jieon Lee (2024 Malta Biennale Pavilion Curator)