Works at: Seoul Art Space_GeumCheon
Stays in: 2013
Website: http://yuriyim.org
Profile:
2008 BFA in Sculpture, Hongik University, Seoul, Korea
2013 MFA course in Hongik University, Seoul, Korea
2011 Gast Student, Staatliche Akademie der Bildenden Künste Stuttgart, Germany
Solo Exhibition
2011 S2, Platform place 629, Seoul
2009 Sectionalympic, Club Obeg, Seoul
Group Exhibition
2013 Be touched 4, congratulation to your opening "So, campfire in the end", Dongduk women's univ.,Seoul
2013 PEEP!, Songwon Art center, Seoul
2012 The Art Factory, Sunset Janghang Festival, Janghanng
2008 Studio base project, Mullaedong, Seoul
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Works:
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| Campfire, at the age of thirty, waste wood, magnifying glass, stained glass film, bamboo blind, grill, butane gas, solid fuel, fire extingusher, dimension variable, 2013 |
 Origami Q, HD video, 21' 03", 2011 |
 Origami Series, installation view, 2011 |
 Sylvester Stallone, laser drawing on wood, brick, sand, 130×130×170, 2011 |
 Trumpet Interchange, installation, dimension variable, 2011 |
 Sectionolympic, Padded cloth, Safeguard objects, wood, mixed media, installation, 2009 |
A Chronicler Traversing Sound and Body
Cho Eun Bi, Chief Curator(Art Space Pool)
Yim Yuri has worked to reverse or exploit
rather harsh, precarious conditions. She converts her studio into a space for
displaying her work rather than using institutional spaces like a gallery in showcasing
her work. This is due to conditions and situations a young artist faces –
having to seek opportunities to exhibit work themselves – increased by her
propensity for having no hesitation in encountering new persons and events. The
artist has documented encounters and conversations at drinking parties and
events in audio and video mediums. Such “recording games” are loaded with her aspirations
to capture and keep a moment. Yim creates theatrical situations through the
“simultaneous collection of insignificant events, memories, records, and
narratives on things” based on her quotidian documentation. Her narrative
imagination derived from this way of work at times influences the relationship
she enters into, with imaginary or real figures, spaces, and things. Such relationships
with the world spring from the “personification” of objects, which means her
establishment of relationships is not confined to people. The artist
constitutes a narrative with unnamed objects and their contexts. A clandestine
relationship between personified things arises at this moment. Such
relationships were well represented in works displayed at the exhibition she
recently joined in Dongduk Women’s University Yejigwan (September 27-December
13, 2013). One of the Campfire series, <Campfire at the age of thirty> is
an installation work composed of objects used for revealing and concealing,
like stained glass film, a bamboo blind, and a magnifying glass. Objects like
butane gas and a fire extinguisher placed on a structure made with waste wood
might ignite or extinguish fire. Such objects entering a relationship with the
artist unveils a metaphoric relation among objects, reflecting the intricate
inner world of the young artist caught by a dilemma at a crossroads. Works she
displayed at the open studio event of the Seoul Art Space_Geumcheon are also in
a context similar to those of ‘things’ plays” she organized previously. These works
stem from her personal experience of the artist-in residence. She experienced a
clash between her temperamental desires and duties and the norms to be abided
by in an institutionalized space. Undergoing this inner conflict, she harked
back to Juno, the object most intimate to her, although I cannot specify what
Juno is. Yim’s work has ridiculously featured imaginary figures in a mixture of
present and past, reality and imagination. These figures may be specific
persons, animals, objects, or “sounds”, but are obviously some objects with
which she feels an “affinity”. In this work Yim confronts or reverses a
situation between the artist herself tamed by administrative norms and
self-censorship and “Juno”. The artist cryptically sets a whimsical situation
in a process of constituting her work, at times humorously and at times
mischievously representing some intricate feelings from the contradictions and
discontent she could not overcome in her life. This aspect is somewhat
self-consoling. In this work she adopts a more direct “utterance”,
appropriating the unknown object “Juno” and traditional Korean sound “jeongga”.
<In Orally Transmitting and Teaching with Heart> (2014), a video and sound
performance she made in collaboration with gagok singer Park Min Hee, experts
(broadcaster, artist, and singer) who have mastered specific techniques perform
their actions, and the artist presents dramatic juxtapositions between a
broadcasting station’s studio and a producer’s hand movements, the artist
herself personifying Juno and Park Min Hee’s narration, and jengga performance
on the stage. The artist draws a distinction between institutionally learned
actions and instinctive actions, sound and voice, body and body through interactions
among figures, linking opulent, intricate situations to one another. Such
situations and emotion she sensuously weaves can be an incarnation of the artist
herself wandering between instinct and norm. For the minutes of simultaneous
response and communion, the artist will keep documenting someone or something
and playing.
