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