![]() ![]() Wrong Questions(2006) refers to the conflicts between generations by drawing on a taxi driver’s murmurs. While integrating rap music and a film that shows a truck trip around Yeongdeugpo area, one of the busiest parts in Seoul, Newtown Ghost(2005) address the disillusionment with the empty promises of urban development. Lim chooses to present the intersection in an indirect way by employing abstract language to indicate obvious subject matters. Although accidental visual effects on the surface of the liquid may attract the viewer’s attention, it was intended to suggest the hardship to build a community with people from other cultures. Lim also presented a well that contains oil and colored water, which create a marbling effect due to the nature of the two different matters. This work refers to the history of modernization in Korea, which is marked with generational tension, alienation, the fantasy about urban development and disillusionment with it, etc. Lim also made patterns on huge pieces of faux fur by cutting it out to indicate symbolic sites left along with the myth of economic growth. Piles of broken reinforced glass were reshaped into an architectural structure, implying the permeable border between destruction and construction. Some pieces address the problems involved in urban development. Entering the gallery, the car was modified into a fountain, or transformed into a work of art discarding its original identity. Driven on the Jayu-ro(Jayu means freedom in Korean) in a rainy day, those words were partially washed out, suggesting faded memories about them. Some words, no longer in public use, were written in water-based pigment. A performance was involved in the car before its entry to the gallery. There is a modified sedan named Grandeur, which used to symbolize power and wealth in Korean society. Several seemingly irrelevant pieces exhibited in Jump Cut demonstrate Lim’s endeavor to make “small” inventions and to reinterpret everyday life. ![]() Minouk Lim asserts that she seeks another way of acting as an artist by “slightly” transforming her way of making art based on her everyday life experience and observations. An effort to plunge the inevitable loss into oblivion has aggravated the impulse to change. Economic growth achieved during the past several decades in Korean history has disrupted the cultural continuity and entailed the tension between generations deprived of communication. Once changes occur, they tend to continue to accelerate the process to the level which to eliminate the sense of loss with constant and rapid changes. Ironically the sense of loss seems to have compelled to expedite changes. By employing jump cut technique that connects discontinuous temporal and spatial fragments together, Lim seeks to create a new mode of communication with the viewer while presenting the collective memories and observations of changes in life.Īlthough modernization involves dynamic process full of changes, it entails a sense of loss due to the forced elimination along with a huge leap forward. Minouk Lim directs her attention to modernizing Korean society marked with indecisive attitudes toward adaptation, which has forced sacrifice on the one hand, provided the mobility on the other. ![]() An apparent dynamic jump would move the character to any point in time and place with ease without showing the process involved in the abrupt jump, whose discontinuous flow consequently entails a sense of loss. “Jump cut” is a film editing technique, with which a character can be shown as if he/she moves to another time period while keeping the background unchanged. Jump Cut shown at the current exhibition raises a question on what has motivated Korean society to keep changing. By presenting vehicles or their variations, her Rolling Stock(2003) previously suggested the speed as a crucial component of Korean society’s mobility. Yet, Minouk Lim focuses on the possible dynamics generated from the disrupted process of modernization. Korean history has suffered from discontinuity in the course of modernization. While observing what is happening in current Korean society, Lim does not separate herself from her environment or objectify it. Lim perceives “here and now” in Korea not only as a moment of transition open for changes, but also as an intersection where critical decisions should be made on further directions. Minouk Lim is an artist seeking possibilities of “here and now” while paying attention to the political and social situations in Korean society. Searching for The Lost Places_Yeongok Kim.ART-iT SEEING THE SOUNDS By Andrew Maerkle.Monthly SPACE_Interview with Ko Won Seok.A broadcasting studio of meetings & partings.Ruins as Construction Sites_Yung Bin Kwak. ![]()
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