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Reconstructed Space and Substance, and the Distance between Artist and Audience

The work located in the basement garage is another punch line of this exhibition. Jeong documented a view inside of her apartment in New York, as well as a bird eye view of New York seen from her window in 3 channel video. She transferred the actual depth of the space in the video into the gallery, through which she attempts to convey a solid spatial perspective and the liveliness of the room. Audiences can experience the daily life of the artist in the room.

Jeong suggests in a rather paradoxical manner that there is no separation between herself in real life and her ideological self as an artist by presenting her very private space in the exhibition. However, audience remains no more than as an observer detached from the artwork. There still certainly exist a wall between audience and artist, exhibition space and flat screen, and representation and substance. Jeong brings up the ever-existing issue of art, that is” representation,” and applies it to the sphere of space and time. Perhaps, we can assume that new media is taking over the same old issues and the stance of “conventional” art after all.

Whui-yeon Jin (Ph.D)
-Transcribe a passage from the critique of SoYoun Jeong’s solo exhibition
“Funnier Exhibition, Really, Really !” ,

In the video installation Welcome to My House, this time through fast-forwarded sequences that show the artist raising a son in her New York apartment. In these compacted time studies of Jeong’s daily life at home, the viewer witnesses the lively repetitive tasks of a mother as well as the fast-paced motion of an urban dweller. This two-channel video, showing both the inside and outside of the apartment, presents her living quarters as a virtual stage, displaying her private life in the space of art gallery. It is a work of self-surveillance; the video camera is reflected on the window of the apartment. Documenting her everyday life, the artist raises ethical questions about visual monitoring and exposure at a time when video cameras are becoming ubiquitous.

Hyewon Yi (Amelie A. Wallace Gallery)