

Museum of Contemporary Art, Taipei
Wednesday Wednesday
10AM - 6PM
Wednesday Wednesday
10AM - 6PM
EXHIBITIONS & EVENTS
2023 / 10 / 21 Sat.
2023 / 12 / 10 Sun.
10:00 - 18:00
Artist
Hyewon Kwon
Curator
Gimo Yi
Venue
MoCA Studio
Supervisor
Department of Cultural Affairs, Taipei City Government
Organizers
Taipei Culture Foundation
MoCA TAIPEI
Partner Institution
Asia Culture Center
Annual Sponsors
THERMOS
Contemporary Art Foundation
Hui-Neng Chi Arts and Culture Foundation
Royal Inn
Annual Sponsor for Appointed TV/Screen
SONY
Media Cooperation
Radio Taiwan International
By Gimo Yi (Senior Curator, Asia Culture Center)
Can this Contemporary world in which humans believe they can see, feel, and comprehend be classed as genuinely real? When absolute anthropocentrism is no longer the central axis to explain the world and is actually operated by contingency, what phenomena will humans then experience? In the exhibition Chance Operation the conveyed hypothesis is that the world, defined by human domination, can in fact exist in a completely different way through the intervention of non-humans such as mechanical devices and AI. Thus, the aim of the exhibition is to question the absoluteness of human perception based on causality and to capture an accidental and complex phenomena formed by the intervention of non-human entities. A secondary theme is to evoke postulations on the likelihood that the ontological hierarchy of humans as Apex predators will eventually be subverted by non-humans.
The exhibition is divided into three realms: Recto, Inframince, and Verso. The first realm, Recto, literally means “a right-hand page of an open book”, and implies that the perception of the world viewed from a human perspective with the retina of the eye is actually a superficial dimension. Fragments of Luminous Memory, a work installed in the window at the entrance of the exhibition, belongs to Recto, allows the visitors to look at the scenery outside the window through an optical installation work using a camera lens as a material. The artwork seeks to raise questions about whether the perceptual world, materials, and standardized norms defined by humans are formed purely by the human consciousness, or are instead deformed contingently shaped by non-human mediators such as camera lenses.
Inframince, which is the second realm takes its name from term originally used by the French artist Marcel Duchamp, the father of conceptual art. The meaning is of a minute thickness and difference and can be described as the thickness of the warmth felt when someone sits on a cold chair and then gets up and the next person sits on that chair. In this exhibition, the significance of Inframince lies in the middle dimension that exists between Recto considered as the visible world and the world that exists beyond it which is Verso. Inframince is focused on the relationships and actions among non-humans, which in turn influence one another to create new narratives.
In creating the work Impossible World, cameras and sensors were installed at Lake Paldang in Korea for one year, to observe any changes in the water temperature, PH concentration, biodiversity, and biological habits, before analyzing the collected data. In this work, the Alien AI uses the collected data to generate a completely new narrative centered on the creatures and ecological environment that inhabit Lake Paldang from the perspective of a non-human AI expressed in human language. Thus, the non-human takes on the role of an agent powerful enough to rewrite the narrative of the world and universe.
The third realm, Verso, is a word that means “a left-hand page of an open book.” Such a metaphor indicates the infinite realm and cosmic time that exists behind the finite human world. Included in Verso are the works First Light and In Orbit that propose the same question to the viewer as what can be found in the first realm, Recto; “Can the modern world in which humans believe they can see, feel, and comprehend be classed as genuinely real?” Humans do not possess the ability to observe and experience the universe of their own accord and have to suffice with non-human machines such as astronomical telescopes and spacecraft. By analyzing and describing the information collected, a new narrative could then be created, disseminated, and certified.
The primary aim of this exhibition is to raise awareness to the coexistence of humans and non-humans in this world, and how mutual interactions are formed through contingent operation. In perceiving a world flexibly, free from close perspectives, the visitors could in fact free themselves from the constraints of anthropocentrism.
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Hyewon Kwon was born in Seoul Korea; and lives and works in Seoul. She graduated from Korean National University of Arts and studied media art at Slade School of Fine Arts, University College London. She was selected for the Bloomberg New Contemporary (UK) in 2011 and awarded the grand prize at the 19th Song Eun Art Awards (2019). Her recent exhibitions include SeMA Anthologia: Ten Enchanting Spells (Buk-Seoul Museum of Art, 2023), Aqua Paradiso (Asia Culture Center, 2022), Vast and Slow (Gyeonggi Museum of Modern Art, 2021), Garden of Imagination (National Museum of Modern and Contemporary Art, Korea, 2021), Sensory Garden: Night Falls, Light Fulls (Asia Culture Center, 2021). She has been working internationally since 2011.
Gimo Yi was born in Seoul Korea; and lives and works in Seoul and Gwangju. She is a PhD researcher in Practice in Curating at University of Reading UK and holds a MA in Art History from University of Illinois at Chicago, USA. She has been working as the senior curator of Asia Culture Center (ACC) located in Gwangju since 2016; and curated Aqua Paradiso (2022), ACC Media Façade Project: Sensory Garden: Night Falls, Light Fulls (2021), ACC_R Residency Program: Biophilia (2020), ACC_Art Space Network Project (2017-2018), and the first anniversary exhibition of ACC, Club Monster (2016). Prior to her role at ACC, Gimo Yi worked as a curator at institutions such as SeMA (Seoul Museum of Art), Art Center White Block, and NJP (Nam June Paik) Art Center, and as a senior director at Kukje Gallery in Seoul, where she organized Media City Seoul Biennale (SeMA, 2011-2013); curated An Hourglass That Swallows A Camel (Art Center White Block, 2015), SIA Media Art Awards (SeMA 2013), Tim Burton’s Exhibition (SeMA 2012), Julian Opie’s Exhibition (Kukje Gallery, 2009), and Lee Ufan’s Exhibition (Kukje Gallery, 2009).
Hyewon Kwon’s artistic drive emerges from an intrigue for factors shaping perspectives—ranging from imaging technologies to biological elements and perception biases. Her creative process eschews set strategies, evolving organically to yield unexpected outcomes. She employs techniques like visual erasure and form contradiction, deliberately seeking the inexplicable. This leads her to create films, installations, performances, and workshops, refining the results for final forms that merge imagination with reality. These works reflect an unforeseen journey, inviting reflection on temporal experiences and the interplay of past and present.
活動名稱
活動地點
活動時間
Activity Hall 1F, MoCA TAIPEI
2023/10/20 Fri.
15:00 - 17:00
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