INTEGRAL HISTORIA
Dates: February 17, 2022 - April 24, 2022
Artists: CHE Onejoon, FX HARSONO, Sylbee KIM, Elia NURVISTA
Curator: Sun A MOON
Support: Arts Concil Korea
two countries, the exhibition provides a space to recognize and empathize with the similarities and differences in their histories, highlighting patterns of repetition and disconnection. Each artist's work allows visitors to traverse the histories of Korea and Indonesia in their own way. The show juxtaposes the social, political, and cultural similarities and differences between the two countries, offering an opportunity to discuss future solidarity.
ARTISTS
(w. Seoul, b. 1979)
Townhouse ― Closed Clubs in the U.S. Military Camptowns and Korean Women from the Flower in Hell (SHIN Sang-ok’s Film in 1958), 2009-2021, Digital C-print, Dimensions variable (37×47cm / 32.5×47cm)
CHE has exhibited internationally at the Taipei Biennial, Palais de Tokyo, the Venice Biennale of Architecture, the SeMA Biennale Mediacity Seoul, the New Museum Triennial, the Louisiana Museum of Modern Art, the Busan Biennale, the Latvian Centre for Contemporary Art, the Jakarta Biennale, and others.
(w. Jakarta, b. 1948)
Pilgrimage To History, 2013, Single channel video, 17’ 41”
The Last Survivor, 2018-2019, Single channel video, 29’ 14”
In Pilgrimage to History, he uncovers the plunder of the Chinese when the Dutch returned to Indonesia after Japan's surrender during World War II. Indonesian army, retreating inland, conducted guerrillas in jungles and villages, burning down buildings and important facilities in cities and factories before leaving the cities. Amidst this chaos, many of the militia pillaged, robbed, and raped the Chinese whom they considered to have sided with the Dutch by being their spies. In 1951, Chung Hua Tsung Hui, an organization for the Chinese community, called upon the local people to form a team to be on the duty of searching for the places where other Chinese were murdered and buried without a trace. This team dug out the bodies and gave them a proper burial in a cemetery. The artist documented the lives of Chinese people who had been killed or victimized between 1947 and 1949. He comforted the souls through the work of rubbing the nameplates of the graves (The Mass Grave Project), and recorded the memories of people who directly experienced or witnessed the tragedy (The Last Survivor).
(w. Berlin, b. 1981)
Hand-to-Mouth Salon, 2022, Mixed media, Dimensions variable
compositions. Hand-to-Mouth Salon is inspired by the 45,000-year-old Sulawesi cave painting, one of the first examples of narrative art in human history. The video script is a monologue of a cave painter who simulates a hunting scene to psychologically enhance the flawed body and aspire to communal survival. On each layer of two circular glass side tables, digital prints, biological and mythical objects, incense, and videos are arranged. Enabling an overlaid perception of time and space, the video installation imagines unceasing attempts at intersectional encounters and gatherings.
Kim held solo exhibitions at Mélange, Cologne; Nevan Contempo, Prague and Insa Art Space, Seoul and participated in group exhibitions at MoCA Busan, Gwanju Biennale, MMCA Seoul, Arko Museum, Mediacity Seoul, Seoul Museum of Art, Kunstverein Göttingen and Neuer Berliner Kunstverein among others.
(w. Yogyakarta, b. 1983)
Tremors Ground: A Study of the Land, 2021, Mixed media, Dimensions variable (Commissioned by KONNECT ASEAN and shown in Vargas Museum, The Philippines)
NURVISTA has participated in several exhibitions including Dhaka Art Summit, Karachi Biennale, and Asia Pacific Triennial of Contemporary Art among others. She also curated Jogja Biennale Equator VI; Indonesia with Oceania, ADAM LAB with Transient Collective, and solidarity platform about Land, Water, Farming, Food: Struggle for Sovereignty, which initiated by Bakudapan and Bodies of Power / Power for Bodies.