Text／Yen Yi LEE
We rarely mention soil when we talk about land. We are used to talk about land as property, as some sort of land ownership or real estate that clearly outlined boundaries and only with documents or certificates then you are allowed to enter. We read maps through the boundaries between countries, each line represented a border that was governed by militaries and carefully told stories for constructing a nations’ ideology.
Land as data, qbit and to adam
Human adapts the way of occupying land and claiming ownership to the digital world. The way we conceptualize the ownerships of the land as resource are now being translated into databases. Yet such translation is not reversible as the states of land always accompanies temporal and ever changing events with multi-dimensional cross-influences. Chansook Choi here proposes to re-conceptualize land as qbit, with a coherent superposition of both 0 and 1 according to quantum mechanics.
Pushed Away and Leaking Out
—Artist note from Chan Sook Choi
Choi proposes possible ways to recover the grammar with mankind and the forgotten land. Not using technology on earth, but to connect her knees on the ground, with women’s blood and flesh, leaking out and pushed away on the bottom of despair. It is perhaps becoming a language of expellee, adding together on the land that contains data collected from dead men’s bodies, to create another valid quantum state.
Yen Yi LEE
Lee’s curatorial research focuses on the construction of failure, digital wasteland and new form of trust relationship. Her curatorial practices are oftentimes intimately associated with electronic music and party scenes. With her curatorial concepts at the core for inspiration, she bestows different forms of understanding toward the concepts upon visitors via selection of music genres and party planning, while proactively facilitating the material happening of crossover collaboration. She is the founder and chief editor of digital publication, HAGAI HUAKAI, Co-curator of 2020 Taipei Digital Art Festival, 01_LOVE.
Chan Sook CHOI
Chan Sook Choi received her Diploma’s degree in Visual Communications and Media Art as well as her master’s degree at University der Künste in Berlin. Choi won the grand prize at the international media art competition hosted by Bibliart and Pergamon Museums in 2008 and was selected for the Elsa Neumann scholarship, a young artist support program sponsored by the City of Berlin. 2017 She was granted as Visual Artist from the Otto llse-Augustin Foundation at the City Museum in Berlin.
In Korea, Choi presents her work in Private Collection as a selected artist of the NArT, a young artist support program sponsored by the Seoul Foundation for Arts and Culture in 2010. Since then, Choi was also selected Tomorrow’s Artist by Sungok Art Museum in 2012, the Young Artist Prize at Gallery Loop in 2015, and Young Artist Support Program at Seoul Museum of Art in 2017. Choi has also been conducting her narratology experimentations on psychological migration and the human memory as a medium through a multi and interdisciplinary methodological approach, in performances as the National Theater of Korea, Galaxy Museum of Contemporary Art Sacheon, REAL DMZ PROJECT Kunsthal Aarhus, Humbolt Forum Berlin, Grimmuseum Berlin, Art Sonjae Center Seoul and Gangwon international Biennale 2018, etc.
Since 2014 Represented by NONBerlin,Asia contemporary art platform in Berlin.
2 Channel Video Installation, 11:20, 8k on HD, Colour, Sound, 2019-2020
Black Air is research that focuses on the desire-narration that humans established to show superiority through land ownerships and their anthropocentric ontology. By observing signs left on these lands as a method to display how both nations and individuals display land tenure. This multidisciplinary research involves deconstructing and rearranging events that are solidified in migrants’ memories or known as HIStory, with a focus on displacements and temporal transposition that arose from human migration. Hybrid identities created by migrants are closely related to the human and nonhuman world views. Roaming from places to places, unable to settle; floating in midair; settling and owning—today’s migration is accompanied by such experiences, the mental and physical displacements. Land as the substrate for such displacement, must be reconceptualized and defined in a comprehensive and organic manner. Therefore, this research aims to reestablish our relationship with complex residential areas that we once called “land”.
Single Channel Video Installation,09:00, 8k on 4860×1080, Colour, no sound, 2016
Based of the ancient Chinese theory of the universe, I Ching, Choi makes visible here the energy of yin and yang and the five elements (water, wood, fire, metal, earth), while translating their Qi with the help of the electromagnetic movement of 129,600 light particles (photons) in a digital algorithm. The flowing signs symbolize becoming, transforming and vanishing while creating perpetual vertical, horizontal and circular movement, disappearing in the next moment and then taking on another form: points and lines, grids and meshes, clouds and swarms.
Choi confronts our Western way of thinking with a perspective that searches in materials for the immaterial and discovers within traditional philosophies a value for the relationship between nature and culture, technology and art, and between history and future.
Extract text／Yuk Hui
《Pushed away and leaking out》
MultimedIa Installation, Dimension Variable, 2020
In this film, a group of disabled child’s mothers who drop their knees in public during a town meeting where parents of a disabled child petitions for the special school establishment for the disabled children in Gangseo-gu, Seoul. These mothers’s action made such an impression on Choi because the mothers laid down their body in order to protest, and for protecting their significance in public as the last gesture to keep her last boundary.
Perhaps there are another means to communicate to land or to go against this capitalistic violence. Lay down on land and through the body who pushed away and leaked out. Their bodies keep this data and sense how we can overcome this together.
Single Channel Video Installation, 18:00, HD, Colour, Sound, 2020
In the full automatic massage recliner chair, someone lay back inside. It shakes back and forth. And heard loud sounds of women. This sound is recorded at the singing class for the elderly women in the Propaganda Village at the DMZ, South Korea. On the day, the news came out that U.S President Donald Trump warned North Korea and has mentioned “Fire and fury like the world has never seen.” But the elderly woman says “but we sing” 60 Ho deals with the human dichotomy in engaging with the land that we occupy, and the critical responses to them. As a part of it, there are paradoxical situations in propaganda Villages at DMZ, South Korea –It’s a collection of 114 residential units in the demilitarized zone between North and South Korea to showcase a better life in the democratic south– the film using it as an example of how humans appropriate the earth to further their own political agendas. And the artist uses by contrast the narration of elderly women as a method of possession of their land, which can not be owned.
5 Pigment print on PhotoRag, 24x36cm, 2020
DIGITAL ART CENTER, TAIPEI
（No.180, Fuhua Rd., Shihlin Dist., Taipei City）
Opening & Guide Tour
Date：2020.12.19 Sat. 15:00
Date：2020.12.22 Tue. 14:00-16:00
Artist：Chan Sook Choi
Speaker：Yen Yi Lee（Curator）、Musquiqui Chihying（Artist）
Location：Digital Art Center, Taipei
Workshop of Artistic Research This
workshop is designed for people who identified as female.
Date：2020.12.25 Fri. 13:00-17:00
Host：Chan Sook Choi（Artist）
Planning：Yen Yi Lee（Curator）、Shihyu Hsu（Curator of TCAC）
Location：Taipei Contemporary Art Center