New Town Ghost (2005) is one of Lim’s trio of large-scale video installations. (The other two are S. O. S—Adoptive Dissensus [2009] and The Weight of Hands [2010].) The series grew out of her interest in capturing lost memories and the collective unconscious in rapidly globalizing cities such as Seoul. New Town Ghost documents a young female activist who is standing aggressively on a truck, rapping slam poetry through a megaphone to the rhythm of a nearby drummer. The two performers are from the Yeongdeungpo district, which has been drastically transformed by development from an industrial zone into a “new town” full of giant department stores and mega-brands. Yeongdeungpo is symbolic of many transformations witnessed by a young generation of Koreans. For Lim it is a dystopian place where the idea of a better future is simply delusional. The poem, talking about the new malls, the skyscrapers derides not only neoliberalism but also the indifferent citizens who have apparently sold their souls to it.
Loss, grief, trauma, death, and memory are consistent themes that Minouk Lim addresses through her sculptures, installations, performances, and videos. Lim’s provocative body of work is a response to and reconciliation of traumatic historical events in Korea from the late 1940s to the present day, including the undocumented massacres that occurred during the Korean War of the late 1940s and 50s, the protest for workers rights in the 1970s during the economic expansion of South Korea, and the ever-present fear of nuclear obliteration that clouds the entire Korean peninsula. For Lim, the collective experience is personal and her research confronts forgotten pasts and unlawful persecutions and in many instances, involves direct contact and establishing meaningful relationships with victims of torture, wrongfully accused North Korean spies, and civil rights organization employees.
While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
A steel clothing rack adorned with turbine vents, Moroccan vintage jewelry, pinecones and knitting yarn, these heterogeneous elements are used here to create an exotic yet undefined identity within the work...
Miljohn Ruperto’s high-definition video Janus takes its name from the two-faced Roman god of duality and transitions, of beginnings and endings, gates and doorways...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
Agnieszka Kurant’s Placebo VIII brings together a series of imaginary pharmaceuticals invented within the fictional narratives of literature and film...
The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger...
The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain...
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...