Taey Iohe

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Name: Taey Iohe
: 2013
Genre: Visual Art
Website: http://www.taey.com

2013  PhD in Artistic Research, University College Dublin
2005  Associate Research in Fine Arts
, Chelsea College of Design and Arts

Solo Exhibition 
2013  Restless, Trunk Gallery, Seoul
2010  Namhaegeumsan: Southern Sea Silk Mountain, Insa Art Space, Seoul

Group Exhibition
2012  Language but No Words, SpaceMom Museum of Arts, Cheong-ju
2011  Interview & Artist as Interviewer, Arko Museum of Arts, Seoul
2010  Unruly Scapes, To and For Gallery, London
2010  Nightscanning, Zebra Poetry and Film Festival, Berlin
2009  Kritical Works in SL II, ISEA 2009, Golden Thread Gallery, Belfast
2009  Eonni is Back, Gyeonggi Museum of Modern Art, An-san
2007  Art District, Generation II, Poznan

Taey Iohe, I won't write to you again, 2010. Stop motion animation.

Taey Iohe, She went through the wall, 2010. Felt Balls, Ducts, Sound Installation.

Taey Iohe, Fear Note: How to translate unspoken words, 2010. Book, 60 pages.

Taey Iohe, Lure of the Lawn, 2008

Taey Iohe, Intraweave, 2011. 3 Channel Video Installation, 17min 24sec

Taey Iohe, You are all I have, 2013, Performance, 13 min

The Boundary, Becoming the Bed and Wandering
Kim Young Ock, Image Critic

For artist Taey Iohe who lives and works in England, a diasporic, hybrid lifeform and its constructiveness is like a nucleus of perception and thought. As ‘a familiar yet unfamiliar human being’ for many languages, her work showcases a constant interest and diverse endeavors by a female artist who is always awake at the boundary. Taey’s work has generated multifarious variations of abstract thinking and sensuous feeling, marked by the body traveling across differing space and time, language giving rise to variants and derivatives when it meets another language, and life-modes brought forth by visible and invisible boundaries. Abstract, conceptual thinking, sensuous feeling, linguistic introspection, and coexistence of physical and existential perception are the hallmarks of her work we have to pay constant attention. An example is her solo show <Namhaegumsan: Southern Sea Silk Mountain> (2011) in which the artist created the synesthetic space of ‘emotion’ in a variety of media and manners. The memory resonating and generated newly in this exhibition harbored some visceral warmth and dampness, and light orange brightness and bluish darkness. Mistranslation and translation, misrecognition and recognition, un-appreciation and appreciation brought forth a hybrid space for creation, not complete negation, colliding, blending, and repeating. The ‘bed’ Taey highlighted when at the Seoul Art Space_Geumcheon in 2013 semiotically and physically incarnates a boundary itself between interior and exterior, expanding and overturning our imagination about such preexisting borderline space. If a performance in which her colleagues took part was an invitation to a clandestine night loaded simultaneously with secret, sexual desire, rest, bodies, a dreamy journey, and dream, her photographic works featuring beds outside the house, in streets and forests, refer to an aspect of our time when drawing a distinction between private and public space as impossible, or elementally impossible. The beds facing us, raising a question, harks back to ‘our own room’, which cannot help but take on a different meaning and status in the massive flow of migration. What is a different meaning and status? Each viewer may give different answers to this question in accordance with their existential condition and political position. Any aesthetic work posing a question, not an answer, is precious. If the work can be a remainder of eros, leading us into political introspection, it is even more precious. That’s what Taey’s work is! Her work is entirely a practice of remarkable ecriture feminine, or literally ‘Women;s Writing’. If we see ‘Women;s Writing’ above all as writing by the body, open to other/ gender issues, read as a revolt against the patriarchal knowledge system inherited as a sole legacy, it is quite natural for us to perceive her work as feminine text.