Kay Yoon

Bone On Bone Echoing

Project Info

  • đź’™ Sauers Berlin
  • đź–¤ Kay Yoon
  • đź’ś Gina Merz
  • đź’› Kay Yoon

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Exhibition View, Bone On Bone Echoing
Exhibition View, Bone On Bone Echoing
Shells of Probabilities, Variable Dimension, Korean Ritual Bowls and Automobile Parts (13 pieces in total)
Shells of Probabilities, Variable Dimension, Korean Ritual Bowls and Automobile Parts (13 pieces in total)
Echoes - if the other side of memory sacrifices itself, a collaborative project with graphic designer Elliot Frydenburg.
Echoes - if the other side of memory sacrifices itself, a collaborative project with graphic designer Elliot Frydenburg.
Bone on Bone Echoing, Sound Installation, 2023, Steel, Automobile Parts, Egg, Speaker, Bone Conduction Headphones, 220 x 20 cm
Bone on Bone Echoing, Sound Installation, 2023, Steel, Automobile Parts, Egg, Speaker, Bone Conduction Headphones, 220 x 20 cm
A detailed view of "Bone On Bone Echoing"
A detailed view of "Bone On Bone Echoing"
Exhibition View, Bone On Bone Echoing
Exhibition View, Bone On Bone Echoing
I Slit the Mammary Gland and Heard The Echoes of An Unknown Land, 2023 , Makkeolli(Korean Rice Wine), Stainless Steel Bowl, Epoxy, Rice Yeast, and Cotton Cloth, 18 x 230 x 1.5 cm
I Slit the Mammary Gland and Heard The Echoes of An Unknown Land, 2023 , Makkeolli(Korean Rice Wine), Stainless Steel Bowl, Epoxy, Rice Yeast, and Cotton Cloth, 18 x 230 x 1.5 cm
Rusty Sounds in my Belly, Were You My Nightmares?, 2023,  Epoxy, Cotton Cloth, Rice Yeast, Metal and Hinges, 40.5 x 153 x 1.5cm
Rusty Sounds in my Belly, Were You My Nightmares?, 2023, Epoxy, Cotton Cloth, Rice Yeast, Metal and Hinges, 40.5 x 153 x 1.5cm
A detailed view of "Shells of Probabilities"
A detailed view of "Shells of Probabilities"
A detailed view of "Shells of Probabilities"
A detailed view of "Shells of Probabilities"
A detailed view of "Shells of Probabilities"
A detailed view of "Shells of Probabilities"
A detailed view of "Rusty Sounds in my Belly, Were You My Nightmares?"
A detailed view of "Rusty Sounds in my Belly, Were You My Nightmares?"
A detailed view of "Rusty Sounds in my Belly, Were You My Nightmares?"
A detailed view of "Rusty Sounds in my Belly, Were You My Nightmares?"
A detailed view of "I Slit the Mammary Gland and Heard The Echoes of An Unknown Land."
A detailed view of "I Slit the Mammary Gland and Heard The Echoes of An Unknown Land."
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
Performance, together with Bennedict Flinn, Max James, video documented by Barry L Horvath
A true echo is the single reflection of a sound source. It is somewhat the ghost, the copy, the shadow of the original release. Nevertheless, an echo doesn’t dare to impose the concept of binarity: it doesn’t build a single pair or exist solely in twosomes. Rather the echo materializes in a sequence of waves—not denying the doubling of itself. If enough reflectors are present, the echo will multiply. Being interested in this inalienable connection in plurality, Kay Yoon apprehends rituals as a response to the seeking of union and love. Even though the rituals comforting effect would be a welcome relief, the artist is suspicious of that promise. A certain form of institutionalization, control and abuse seems to be infiltrating the ceremonies core. Seeing the labor that goes into these rituals, Kay Yoon is attentive to its materials: symbols like the egg, bowls, bells, and rice (in various states) resemble within her sculptural instillations. Coming together in a leaking composition, the materials and their functions become observable, yet abstracted. In Korea, the different purities of the rice wine implicate the families class background: the transparent sake is more expensive than the misty rise wine. With the use of rather cloudy, not so much fully transparent textures, Kay Yoon examines the implicated class indifferences within these rituals, and beyond. The door in her work stands in for a domestic memory that is allowing and controlling access to past emotions as well as experiences. Stating the violent potence that comes with the tradition of ceremonies, held in the circle of the family, Kay Yoon is concerned with finding a way to complicate her role and experience within these structures of tradition, family, culture—trying to exist within this echo, within this contraction. By questioning the linear conception of time, Kay Yoon investigates other notions of remembering. Thinking through parallelities and multiverses, the artist proposes memory to be complex by implicating there is not only “one right” telling of a life story as well as a historicization of a collective h/History. With that, memory becomes fluid. It is leaking. It becomes fiction. And finally, the other side of memory sacrifices itself.
Gina Merz

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