Yim Yuri

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Works at: Seoul Art Space_GeumCheon
Stays in: 2013
Website: http://yuriyim.org


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

Nature Watercolor Gathering, A3 inkjet print, 350x120cm, 2013 (up:before rainfall/ down:after rainfall)

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.