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solo exhibition



(dis)appearition, Post Territory  Ujeongguk, Seoul, Korea, 2020

(Dis)Appearition is a compound word of disappear and appear + apparition, (dis)appear is a superposition of disappearance and appearance, and illusion is an object that takes on the hybridity of existence beyond the compartmentalized boundary of virtual and real. The phenomenon of the appearance and disappearance of the illusion is contradictory and real, and we see (or do not see) A.I. as an illusory object at the meaningless border between the real and the virtual. We propose a future illusion through the ambivalent meaning of this parenthesis ( ).

slss_sl|lss_sl (부제 : 스테인리스 스틸)

digital media, motion interface


Deep learning is artificial intelligence that doesn't teach you how to do something, but instead teaches you by showing you the results and modifying it to produce those results. That's how we created an AI that generates dance, or more precisely, choreography. It has no knowledge, emotions, or will about the principles of dance or what the movements symbolize. It simply observes a series of movements and learns to replicate them.
Dance, more than any other art, is the most primal form of expression. We use the most advanced and most extreme methods to present phenomena without meaning, without expression, without anything we want to express. When the viewer sees the result of their own facade, the work asks if they can discover the soul of an artificial intelligence on the sharpest edge of the dichotomy between art and humanity. Is it a soul that never rusts or soulless steel that stands before you?

slss_sl|lss_sl, AI, digital media, motion interface, 2020


slss_sl|lss_sl , AI, digital media, motion interface, 2020

IMAGE 2020-02-10 18_56_27_edited.jpg

slss_sl|lss_sl, AI, digital media, motion interface, 2020

Tableau Vivant Series. #Cosmos
Tableau Vivant is post-theater, and assumes that theater is everywhere. It started a few years ago when I saw a large photograph hanging in a cafe and wondered if I could put a performance on it.  Tablo Vivant originally means "living picture," and I approached it as a play on the relationship between the medium of photography and the theatricality of theater: I imagined the frame of the photograph as a proscenium, and the actors were projected through a video medium. While my previous work has been based on the indexicality of photography, which captures the moment of disappearance, this time, I attempted to summon a fictional theater space that has disappeared.

Subverting the relationship between the photographer (camera) and the object being photographed (subject), virtual actors generated by artificial intelligence move on top of the non-existent space. If a person walks in an empty space, it suggests a post-theater, where physical space is replaced by virtual space and virtual actors appear instead of living people as the minimum requirement for theater. A world made of digital images, where there is neither past nor future, is a place where time (which has no time) exists, a perceptible object (which is not perceptible), a subversion where the subject becomes the object and the object becomes the subject, and a space where we live (which we do not live).


Cosmos Ⅰ, AI, digital media, archival pigment print, 1900x1300mm, 2’30”, 2020

Cosmos Ⅰ

digital media, 2’30”, archival pigment print, 1900x1300mm

It is a mise-en-scène of constant subversion and repetition of the subject taking the photograph and the object being photographed. Is there someone there or is there not? It is a reversal in which the object becomes the subject and the subject becomes the object, and a contemplation of the space we do not live in and the space we live in.


Cosmos Ⅱ, AI, digital media, archival pigment print, 1400x1400mm, 1’30”, 2020

Cosmos Ⅱ

digital media, 1’30”, archival pigment print, 1400x1400mm

On an infinite grid, 78 human numbers become one God number. Is this a conversation? Is it a confrontation? It repeats itself, asking unanswered questions.

Neorchesis Series
In the age of witchcraft, dancing was an act of enchantment. The orchestra in Greek times meant a place for dancing in a different way than it does now, and Themelea connected the earthly and the heavenly through the altar. Dance is the repetition of the act of crossing and dissolving the boundaries between the real and the virtual. We imagine the future Orchesis (the art of dancing in the Greek chorus) as a dance performed by A.I. The dance consists of the repetition and playful sequence of commercial acts.


Neorchesis Ⅰ, AI, single channel video, UHD display 65inch, 3’00”, 2020

Neorchesis Ⅰ

single channel video, 3’00”, looping, UHD display 65inch


The microscopic vibrations of a point connect with other points to form a line, and the line's vibrations affect the other lines with irregular movements, rotations, and speeds. The movements of the dots and lines gradually converge into regularity, resembling a human form and dance.

Neorchesis Ⅱ.jpg

Neorchesis Ⅱ, AI, single channel video, UHD display 65inch, 18”, 2020

Neorchesis Ⅱ

single channel video, 18”, looping, UHD display 65inch

It starts with the intangible hypothesis of an AI-choreographed dance. Dance was a ritual that mediated between heaven and earth and a pastime for all to enjoy. A.I. repeats empty gestures as a transcendental act that breaks the boundary between ritual and entertainment, and the boundary becomes the territory.

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