Malaise Descending is the culmination of a curatorial concept that began with an art and music show at Yogiga (in Hapjeong) under the title of ‘Malaise.’ In this new iteration, works that were originally displayed for one night are being revisited, allowing for a more intimate viewer experience. Contributing to this theme are additional works that expand on the idea for its final manifestation. The first two floors of the gallery reapproach the original pieces from “Malaise” (along with some new works by the initial artists). The physical zenith of the space encompasses the new work and the verticality of 삼청차루갤러리 itself causes a feeling of movement in perspective and experience.
The new works included:
Sunny Park’s “Food Chain” questions our relationship to our environment by considering how we as humans fit into the complex network of animals that make up our global biome. Engaging with ideas about eco-existentialism and consumption in a Kafka-esque manner, the artist’s subject is the constant and historical animal rights abuses that take place in our ever-consuming society.
Taking an uncomfortable and unfamiliar departure from her previous body of work, Kaleena Carter’s first foray into abstraction has both her and our stomaches in knots. The fleshy and earthy paintings undulate, twist, and wring themselves out from panic, anxiety, and an impending sense of doom. The artist deliberately creates a sense of the grotesque by her uncanny forms and sublime composition that render us helpless in the face of the unknown.
“My Lost Year” is a piece that chronicles the loss of time and the ways in which we lose it. The images of daily medicine packets frankly count out the time artist Amy Smith lost in a systematic way, yet the process she engaged in creating the piece was itself a time-wasting task in its redundancy. The artist puts forth ideas that question how might we lay claim over our time to more effectively spend (or waste it) and considers ways in which it is stolen from us. By exhibiting this piece as an installation looking down on its viewers, we are forced to confront how the idea of time controls our lives as every year lived is another year lost.
Miss Baik’s work deals with the theme of “other” along intersections of race and gender. As a Korean artist whom has spent a great deal of time outside of Korea, she is a both a foreigner abroad and an outsider within her home country. Her broken, painted plates are expressions of her stylistic technique and the way in which experiences shape both her work and herself. These second-hand plates were treated as throwaways until being resurrected as Miss Baik’s work; she has a soft-spot for small unwanted precious objects. Her scale, materials, and colors express femininity that could be socially conditioned or innate and as viewers we are left to question our relationship to those parts of ourselves.
Unmaru exhibited a wall-installation entitled “landscape” that considers the way in which we experience an environment and how this idea is affected by scale. The difference between environment and texture arises only from perspective and distance, and by questioning this boundary between the cosmic and the macro Unmaru questions the materiality of the world we live in.
Also on display was additional work by Andrea Dejong that both enhanced and expanded her imagery.
'Malaise Descending' will be up until February 27th so be sure to catch it before it closes.