Middle Corea: Yangachi EpisodeⅡ
June 28th - August 3th, 2008
Opening Performance: 6PM, June 28th, 2008
Artist Talk: 4PM, July 26th, 2008
Admission: 1,000won
Rumors or Episodes
Yangachi Episode II is an extension of Yangachi Episode I. These episodes create uncertain rumors and stories that claim to stand in a series. Yangachi has collected anarchistic and extreme acts and images and objectified them in “Kamikaze rider” and “A sniper’s gun.” This sort of objectification makes up the surface of the Episode series and he pursues this message through rumor-making. During the process, he brings up the logic of sniping, which requires a high degree of concentration towards the targeted object. Thus, he delicately controls normally uncontrollable rumors. “Sniping” acts as a sort of a metaphor and as the artist has mentioned, to shoot a system is a strategy meant to disrupt our psychological link to the security of a system. The artist seems to choose the series in Episode in order to make an explosion among the consciousness of unification, which has gradually grown from the idea of “Hacking.” “Hacking” is internally connected to “A sniper’s gun,” and becomes the act of sniping toward a predictable algorism.
A series often has certain similarities. It is usually seen as a flexible and smooth progression of events despite the omission of certain parts of the story. People sometimes consciously setup a series to omit certain information. An artist, as a mediator, and consumers alike usually put forth omniscient and expectable experiences. Yangachi’s Episode series arouses a certain self-awareness among the participants by associating stories from differing timelines. Of course, this kind of self-consciousness will be independent of the individual’s own conscious. His work seems to be a type of “enforcement leading toward development” as well as an agitation of self-identification. Although it is particularly concerned with global capitalism, it also urges us to escape from our established experiences, which also consist of unidentifiable rumors (bad rumors). In actuality, vision can validate only certain aspects of rumors. That is, vision cannot provide the whole contour of an object.
Therefore, one cannot see the entirety of objects through vision alone. One can perhaps imagine more accurately when he listens rather than when viewing an object. The power of rumors is always connected to the absence of reality, which one cannot validate in the present. Rumors achieve their great power through the removal of reality.
The 21st century consists of various moments. The representation of and the ideas associated with safely passing into the 21st century can be summarized by a secession from man’s great narrative surrounding the millennium.
However, for those standing on the boundaries of the established system, infinite pluralism as great as the sublime, the incredible complexity of life, and unexpected and chaotic catastrophes are often some of the best times. Yet, this type of life cannot be that enjoyable. Even the strong sense of nihilism that arouses an impulse to kill oneself can be seen as a pleasant experience. The infinite cosmos and the routine of life are all placed within one moment. In Buddhism, everything is created and demolished in a moment and this process is repeated over and over in life. This idea can be related to Yangachi’s Episode series, which creates and destroys the cosmos and the world in each and every moment.
Yes! From a grain of sand to the digital world, we are led towards infinite multiplication! Water from the rock floor, pumped up from unfathomable depths! Yes, the very moments that events and objects fly away create a world much like Leibniz’s Monad. And they are all eventually destroyed. We have made a great awakening toward the small and trivial things and thus, both microscopic and macroscopic worlds are fodder for the apostles of aesthetic metaphysics, illusion, and imagination.
The events brought forth by the fastidious mediations of contemporary civilization, which has sometimes been called the movement of death, have gradually increased. One of symptoms of this increase can be found in Yangachi’s episodes. One can recognize a movement toward death or finality in Yangachi’s works, regardless of whether or not capitalism, the ideology of market value, multimedia, and policy in our digital society overlap.
This movement, like that of the Greek Thanatos, will be either the starting or arrival point in the formation of a new world. That is, Yangachi’s episodes can be explained as a group of moments in which Thanatos is at the base. Such things that cannot be described with everyday language are items such as a pillar, bricks, or a roof. This is all from the viewpoint of instant metaphysics.
He states that it is possible to have a deep interest and desire for an idealistic community arising from the primordial matter of civilization from quite a different point of view. This refers to the dissolution of reality, symbolic death, and a religious service for the dead. From this perspective, the tradition of art is reaching out towards death. In other words, in the moment when art breathes its last breath, it has already started breathing again for restoration of life. Such an abstruse paradox and impossible logic of life and death stimulates and captures our mind and thoughts.
But, how can we create a story among this infinitely routine emptiness? It is an emptiness that is full of countless moments that instantly appear and vanish. The progression of this idea initially becomes impossible as the notion that ‘serving emptiness’ is centrally positioned seems illogical and paradoxical. Thus, I would say that I can realize Yangachi’s story if in fact it is possible. Yet, there is nothing but a faint light in the ambiguous darkness.
Yangachi Biography
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