16.07. - 27.08.2022
wed - sa 4 - 7 p.m.
SOMA 700
wed - sa 4 - 7 p.m.
SOMA 700
Yellow Matters
HYEJA
PICTORIAL NARRATIVE
PICTORIAL NARRATIVE
How is the city's breathing and body temperature expressed?
"Confusion causes us to lose our way of " what to see " temporarily, but at the same time it faces the way of thinking that focuses on ourselves again."
Hyeja draws not the city, but the heart of the city, the soul of the city. Hyeja draws with a unique breath, a city that is wriggling and full of energy. The city is alive.
But where does the living, the streets, the plazas, the parks and the buildings provide breathing, the power to make them hot or warm, the body temperature, and the energy to burst? It is not the artist's responsibility to analyze and explain the city. The artist's share is to feel, feel and feel more intense. In it, it does so until the tentacles of insight grow. Over the past 10 years, Hyeja has been doing so about the city's breathing and body temperature.
︎
In the city of Hyeja, people are now gathering in the plaza and living their lives in time and change. Change is not just about the dimension of expression. The source of change is the artist's perception and reason for the city and life itself. After 2011, the city refuses to dissolve with loss and despair as before. Hyeja is more free from reductionism than before. He is now free to go to the collector of images. There is no norm or restriction to collage the collected images and to montage different spaces and times. The city was reconstructed and divided between fragmentation and assembly. Each segment is joined again into a new whole. Hyeja uses his expressive power to visualize the energy that connects the city with something beyond the city, a fateful force that re-contexts each one into one. By this pictorial narrative, places are more than places, and streets are associated with a sense of life that goes beyond everyday walks. The city of Hyeja is warm enough during segmentation and fragmentation. The breath is transmitted to a certain backlight world that is light, but beyond the perception. The truthful confession of the city that refuses to be reduced to anything like this is anew one I have never heard before.
"Confusion causes us to lose our way of " what to see " temporarily, but at the same time it faces the way of thinking that focuses on ourselves again."
Hyeja draws not the city, but the heart of the city, the soul of the city. Hyeja draws with a unique breath, a city that is wriggling and full of energy. The city is alive.
But where does the living, the streets, the plazas, the parks and the buildings provide breathing, the power to make them hot or warm, the body temperature, and the energy to burst? It is not the artist's responsibility to analyze and explain the city. The artist's share is to feel, feel and feel more intense. In it, it does so until the tentacles of insight grow. Over the past 10 years, Hyeja has been doing so about the city's breathing and body temperature.
︎
In the city of Hyeja, people are now gathering in the plaza and living their lives in time and change. Change is not just about the dimension of expression. The source of change is the artist's perception and reason for the city and life itself. After 2011, the city refuses to dissolve with loss and despair as before. Hyeja is more free from reductionism than before. He is now free to go to the collector of images. There is no norm or restriction to collage the collected images and to montage different spaces and times. The city was reconstructed and divided between fragmentation and assembly. Each segment is joined again into a new whole. Hyeja uses his expressive power to visualize the energy that connects the city with something beyond the city, a fateful force that re-contexts each one into one. By this pictorial narrative, places are more than places, and streets are associated with a sense of life that goes beyond everyday walks. The city of Hyeja is warm enough during segmentation and fragmentation. The breath is transmitted to a certain backlight world that is light, but beyond the perception. The truthful confession of the city that refuses to be reduced to anything like this is anew one I have never heard before.
Christine Cheung
The Gap Between Islands
The Gap Between Islands
With technology, we often experience a paradoxical dissonance with our physical realities and its representation. These reflections of reality are often observed and experienced from a distance. The title of the project, 'The Gap between Islands' can refer to the space between people, between physical realities, their representations and their perception.
The show features photographs produced during a recent visit with her father to his hometown, Hong Kong, after his 30-year of absence. It also features work produced in Aveiro, Portugal. Portugal is a country with colonial and cultural ties to Macau and Hong Kong.
Using an intuitive phenomenological approach, the work combines opposing elements such as playful happenstance with work distilled through an interior dialogue. Some works focus on emptiness, and a subtle tactility that can mirror the internal narratives of the viewer. Through the inexplicability of the images and objects, one is provided a space to grapple with questions of attachment and abandonment, fluctuation and constancy, separation and rebirth, where new identities may be formed.
Born and raised in Canada, Cheung is interested in the connection of memory and landscape - in painting and drawing, and in the translation of these interests into other mediums, whether through photography, found objects, or sculpture. Mixing private as well as collective themes, the economy of means, and fragility of the work can be seen as a resistance against the fast consumption of images. Using a minimal approach, she creates cultural distillations of these experiences.
The show features photographs produced during a recent visit with her father to his hometown, Hong Kong, after his 30-year of absence. It also features work produced in Aveiro, Portugal. Portugal is a country with colonial and cultural ties to Macau and Hong Kong.
Using an intuitive phenomenological approach, the work combines opposing elements such as playful happenstance with work distilled through an interior dialogue. Some works focus on emptiness, and a subtle tactility that can mirror the internal narratives of the viewer. Through the inexplicability of the images and objects, one is provided a space to grapple with questions of attachment and abandonment, fluctuation and constancy, separation and rebirth, where new identities may be formed.
︎
Born and raised in Canada, Cheung is interested in the connection of memory and landscape - in painting and drawing, and in the translation of these interests into other mediums, whether through photography, found objects, or sculpture. Mixing private as well as collective themes, the economy of means, and fragility of the work can be seen as a resistance against the fast consumption of images. Using a minimal approach, she creates cultural distillations of these experiences.
Nina Eunhee Hong
Self Portrait
Self Portrait
feminine vase (could use some water),
giggly and shy black crane with dark hair,
white rabbit with pure pearl ,
yellow dots,
polish porcelain bowls,
calming flower blossom of almond tree in Asian restaurant at Regensburg,
delicate and fragile butterfly,
and sensitive orchid,
…
*statements about her from the casual encounters with strangers and their first impressions
“Self-portrait” presents a three-year experiment on public perception. Nina Eunhee Hong explored with stereotypical viewpoints and perspectives.
In the performative mixed media installation “Self-portrait”, she materialize the collected statements about her public perception. These recorded impressions of her outward appearance are transformed in a metaphorical manner, leaving her as an interpreter of herself.
Hong describes her on-going research-based practice as "I feel myself as a transparent bottle, an image collector of modified meaning, containing and mixing all of these images of the boundary between the world and myself".
Hong received a degree in Painting from SLADE School of Fine Art in 2015, presented her work at the Rainbow cube gallery, South Korea in 2017. She is based in Seoul and Berlin.
︎︎︎http://ninahong.com/
giggly and shy black crane with dark hair,
white rabbit with pure pearl ,
yellow dots,
polish porcelain bowls,
calming flower blossom of almond tree in Asian restaurant at Regensburg,
delicate and fragile butterfly,
and sensitive orchid,
…
*statements about her from the casual encounters with strangers and their first impressions
“Self-portrait” presents a three-year experiment on public perception. Nina Eunhee Hong explored with stereotypical viewpoints and perspectives.
In the performative mixed media installation “Self-portrait”, she materialize the collected statements about her public perception. These recorded impressions of her outward appearance are transformed in a metaphorical manner, leaving her as an interpreter of herself.
Hong describes her on-going research-based practice as "I feel myself as a transparent bottle, an image collector of modified meaning, containing and mixing all of these images of the boundary between the world and myself".
Hong received a degree in Painting from SLADE School of Fine Art in 2015, presented her work at the Rainbow cube gallery, South Korea in 2017. She is based in Seoul and Berlin.
︎︎︎http://ninahong.com/
Hye Young Kim
After Arrival
After Arrival
Ausgangspunkt der Malerei der 1980 in Seoul geborenen Hye Young Kim, die seit 2008 in Berlin wohnt, sind Fotos und Collagearbeiten. Die meist gegenständlichen Fragmente verwandelt sie in imaginäre, surreale Räume.
Hye Young Kim hat sich lange Zeit malerisch mit architektonischen Strukturen von Flughäfen befasst. Netzwerke von Linien, die sich aus Lande- und Startbahnmarkierungen und anderen Bodenzeichnungen mit den Bewegungen des Personals und Kanten von Architektur zu einer Grammatik des Ortes von Ankunft und Abreise formieren.
In der SOMA Art Space zeigt Hye Young Kim Werke über die Zeit nach der Ankunft. Ihre neuen Gemälde beschäftigen sich mit Spuren der Geschichte an Orten, an denen sich das eigenen Leben ereignet. Diverse Erlebnisse aus der Erinnerung der Künstlerin überlagern sich zu einem Bild. Als Detail nimmt die Künstlerin Figuren aus ihren großen Gemälden in mehreren kleinen Gemälden erneut auf, um sie in einer Dekonstruktion ihrer Fantasie wieder näher an die Realität heranzuführen. Ist das große Bild “Ein junger Mann, der zu einer Statue geworden ist” eine Betrachtung der Gesellschaft und der Zeit, so dokumentieren die kleinen Bilder eine sehr persönliche Erinnerung, die wiederum ein Teil der Gesellschaft und der Zeit ist.
Hye Young Kim hat sich lange Zeit malerisch mit architektonischen Strukturen von Flughäfen befasst. Netzwerke von Linien, die sich aus Lande- und Startbahnmarkierungen und anderen Bodenzeichnungen mit den Bewegungen des Personals und Kanten von Architektur zu einer Grammatik des Ortes von Ankunft und Abreise formieren.
In der SOMA Art Space zeigt Hye Young Kim Werke über die Zeit nach der Ankunft. Ihre neuen Gemälde beschäftigen sich mit Spuren der Geschichte an Orten, an denen sich das eigenen Leben ereignet. Diverse Erlebnisse aus der Erinnerung der Künstlerin überlagern sich zu einem Bild. Als Detail nimmt die Künstlerin Figuren aus ihren großen Gemälden in mehreren kleinen Gemälden erneut auf, um sie in einer Dekonstruktion ihrer Fantasie wieder näher an die Realität heranzuführen. Ist das große Bild “Ein junger Mann, der zu einer Statue geworden ist” eine Betrachtung der Gesellschaft und der Zeit, so dokumentieren die kleinen Bilder eine sehr persönliche Erinnerung, die wiederum ein Teil der Gesellschaft und der Zeit ist.
Indrani Ashe
My Goddess Gave Birth to A Goddess
My Goddess Gave Birth to A Goddess
Women of color are fighting a war of representation that reaches into the past and projects itself into the future. A war over who is visible and who authors what is seen. Women like Matahari took our clothing, our jewelry, and our cultural products, selling them as their own until we became alienated by our own image. Now the world is populated by our absence, and the twisted versions created by these wannabes. Our bodies are being bought and sold all the time, but we still don’t make any money. Like vampires we suffer from being unable to see ourselves in the mirror.
I created Sadette Delacroix to fight the war for me. My inner goddess gave birth to a psychedelic time traveling goddess who seeks to infiltrate the system; to create, distribute, and profit. A brown girl imitating a white girl, imitating a brown girl. I can’t culturally appropriate myself, I’m TAKING IT BACK. Because I listened to my auntie when she told me we didn’t wear blouses under our saris before the British infected us with repression and made the temple dancers into prostitutes. That body is mine, to make, recreate, and multiply.
Artists are fighting a war, with people who want art to exist purely as an elite commodity, alienated both from meaning and a public. They want it to be a dead object, a token of speculation. People need beauty for meaning making, not just industrial consumption. And when we have unearthed all the sexism and bigotry from the world’s religions, will we have anything left…Will we still have space to be spiritual, worship beauty, and connect to each other? Could art be that space?
So come to the goddess, buy her icons, perform her rituals.
Live in beauty; be connected, blessed
Indrani Ashe is an American visual artist working with performance and installation whose practice has spanned 10 years and 3 continents. A graduate of the prestigious Goldsmiths, University of London MFA program , She also spent years in self-directed study ‘decolonizing’ her aesthetic in Indonesia, presenting several solo exhibitions and collaborative works there. Her practice examines intimacy, identity, and community; often fingering the interstices between digital and physical realms of existence. Having been based in Berlin since 2015, she exhibited 3 new bodies of work in the German capital last year. This is her first solo exhibition in Europe.
I created Sadette Delacroix to fight the war for me. My inner goddess gave birth to a psychedelic time traveling goddess who seeks to infiltrate the system; to create, distribute, and profit. A brown girl imitating a white girl, imitating a brown girl. I can’t culturally appropriate myself, I’m TAKING IT BACK. Because I listened to my auntie when she told me we didn’t wear blouses under our saris before the British infected us with repression and made the temple dancers into prostitutes. That body is mine, to make, recreate, and multiply.
Artists are fighting a war, with people who want art to exist purely as an elite commodity, alienated both from meaning and a public. They want it to be a dead object, a token of speculation. People need beauty for meaning making, not just industrial consumption. And when we have unearthed all the sexism and bigotry from the world’s religions, will we have anything left…Will we still have space to be spiritual, worship beauty, and connect to each other? Could art be that space?
So come to the goddess, buy her icons, perform her rituals.
Live in beauty; be connected, blessed
Indrani Ashe is an American visual artist working with performance and installation whose practice has spanned 10 years and 3 continents. A graduate of the prestigious Goldsmiths, University of London MFA program , She also spent years in self-directed study ‘decolonizing’ her aesthetic in Indonesia, presenting several solo exhibitions and collaborative works there. Her practice examines intimacy, identity, and community; often fingering the interstices between digital and physical realms of existence. Having been based in Berlin since 2015, she exhibited 3 new bodies of work in the German capital last year. This is her first solo exhibition in Europe.
Kai Oshima
Alltagsbox
Alltagsbox
What consists of our everyday living?
'Alltagsbox' is about the story of Kai Oshima, who wakes up rearranging her own everyday's private items. As described by the artist, her everyday's items don't have a real existence, presumably because they don't have a real existence: in a sense that they- the materials, need to be connected to their own user/host. They're not a person, but by the artist, they have a spirit, switching without choice from one host to the next and, replacing its consciousness with their own. In which realm are they then belong to? Questioning the relationship between the materials and their host/user, Kai Oshima has been spending to sort, structure, order, layer and newly reassembled her everyday's belongings. Her trial to figure out the relation to approach everyday's material's soul was more than 5 years. 'Alltagsbox' will present a five-year experiment at the artist's first solo exhibition.
Kai Oshima received a degree in Art from Musashino Art University, Japan and is awarded TERADA Price 2016 in Berlin.
'Alltagsbox' is about the story of Kai Oshima, who wakes up rearranging her own everyday's private items. As described by the artist, her everyday's items don't have a real existence, presumably because they don't have a real existence: in a sense that they- the materials, need to be connected to their own user/host. They're not a person, but by the artist, they have a spirit, switching without choice from one host to the next and, replacing its consciousness with their own. In which realm are they then belong to? Questioning the relationship between the materials and their host/user, Kai Oshima has been spending to sort, structure, order, layer and newly reassembled her everyday's belongings. Her trial to figure out the relation to approach everyday's material's soul was more than 5 years. 'Alltagsbox' will present a five-year experiment at the artist's first solo exhibition.
Kai Oshima received a degree in Art from Musashino Art University, Japan and is awarded TERADA Price 2016 in Berlin.