single channel video, square HD, stereo, color, 9’, 2025
Nightmare
neon light with glass tube, 28x10, 2025
I Came for the Flowers, 2025, Installation View
BPA// Exhibition 2025 - A place never fully held, KW Institute for Contemporary Art and Kunst Raum Mitte, 2025.
Photo: David von Becker
Nightmare, 2025, Installation View
BPA// Exhibition 2025 - A place never fully held, KW Institute for Contemporary Art and Kunst Raum Mitte, 2025.
Photo: David von Becker
Starting from a study on female frogs feigning death to avoid mating, I Came for the Flowers traces how generational memories of systemic violence against female bodies linger within women across time. Interlacing the visual aesthetics of 1990-2000s South Korea, archival footage of “comfort women” from the 1940s, and personal intimate recordings, the video reflects on the gendered concept of passivity and reimagines “playing dead” as a dreamlike, suspended state in which resistance manifests not only through confrontation, but through stillness, humor, and the fragile instinct to survive.
The neon work Nightmare (악몽, written vertically in Korean) recalls the glow of storefront signage from South Korea in the 1960s, when mass sex tourism emerged during rapid postwar development, capturing the transition from military violence to the violence of capital.
Sources:
Frog Experiment (2023)
Drop dead! Female mate avoidance in an explosively breeding frog. R. Soc. Open Sci. 10: 230742.
Carolin Dittrich and Mark-Oliver Rödel
https://doi.org/10.1098/rsos.230742
Humboldt University, Museum für Naturkunde Berlin, Germany
A Cruelty Special to Our Species: Poems (2018)
Book by Emily Jungmin Yoon
Ecco/HarperCollins, New York, USA
Archive Footage (1945, 1991)
War & Women's Human Rights Museum, Seoul, South Korea
I Came for the Flowers, still, 2025