Submission
Yeun Song

Cross the Line

Exhibition of the winner of the Stephanie Zonta Award, donated by Zonta Club Dresden e.V..


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Yeun Song, Pillars and Lasso, 2020/21, Mixed Media ( rope, wood, steel, mirror, acrylics ), Installation View
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Yeun Song, Pillars, Lasso, Object 015, 2020/21, Mixed Media ( wood, steal pipe, hooks, acrylics ), Installation View
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Yeun Song, Pillars, Lasso, Lying Bollard, 2020/21/22, Mixed Media ( wood, steal, acrylics, concrete ), Installation View
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Yeun Song, Boolean, 2022, Wood, Installation View
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Yeun Song, Pillars, Lying Bollard, Object 016, 2021/22, Mixed Media ( wood, steal, concrete, acrylics ), Installation View
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Yeun Song, Pillars, 2021, Mixed Media ( wood, steal ), Installation View
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Yeun Song, Lasso, 2020, Mixed Media ( mirror, steal, wood, acrylics ), Installation View
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Yeun Song, Object 015, 2021, Mixed Media ( wood, steal pipe, rope, hooks ), Installation View
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Yeun Song, Lasso, 2020, Mixed Media ( mirror, steal, wood, acrylics ), Installation View ( Detail )
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Yeun Song, Object 015, 2021, Mixed Media ( wood, steal pipe, rope, hooks ), Installation View ( Detail )

´Draw a line.
Here and there are divided.´ ( Yeun Song )

Yeun Song´s artistic practice begins with a line that divides the surface and thereby draws a boundary. The barrier that results is a recurring motif in Song´s work.
How can this division and the resulting distinction between here and there be expressed in an object? How can spatial distances and relationships be visualized in an installation? How can one represent a space that is limited by walls?

Artist Yeun Song explores these questions in her work, using architectural elements such as walls, columns, pillars, windows, and materials used in house construction, including concrete, wood and metal. Song approaches space by building walls, which she demolishes in the next step to visualize the absence of these boundaries. These differing actions find expression in her installations.

[…]

In addition to [the] interplay between closeness and distance, Song´s installations are in formal aspects full of contrasts as well: delicate lines meet massive structures, mirrors meet matte surfaces, light juxtaposes dark, reflective materials in contrast with light-absorbing structures. The contradiction which is inherent in Song´s objects, the precise construction of the installation and the use of nails, chains and the black wood evoke associations with instruments of torture or machines.

Cross the Line is the first solo-exhibition of Yeun Song, who lives and works in Dresden and studies at the Hochschule für Bildende Künste Dresden.