Jewyo Rhii – "Dear My Love, Anti-Capitalist"
20. 2. – 28. 3. 2015
20. 2. – 28. 3. 2015
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» deutsche version
Not only the floors fragmentarily assembled out of scrawny wooden slats, but all spatial constructions plugged, screwed or nailed together emanate an implicit yet unmistakable “do not touch”. Jewyo Rhii strictly regulates and regiments the spaces she creates at the outer poles of survival. The term “make do” in the double sense comes to mind: to make somebody do something, or to make do with the most modest conditions of existence.
The new exhibition by Jewyo Rhii, who lives in Seoul and New York, is the fifth she has realized in the past eight years at Galerie Ursula Walbröl. The multipart compilation of drawings and sculptural installation elements now on view offers the opportunity to get to know the long-term and consistent nature of her work.
» deutsche version
Not only the floors fragmentarily assembled out of scrawny wooden slats, but all spatial constructions plugged, screwed or nailed together emanate an implicit yet unmistakable “do not touch”. Jewyo Rhii strictly regulates and regiments the spaces she creates at the outer poles of survival. The term “make do” in the double sense comes to mind: to make somebody do something, or to make do with the most modest conditions of existence.
The new exhibition by Jewyo Rhii, who lives in Seoul and New York, is the fifth she has realized in the past eight years at Galerie Ursula Walbröl. The multipart compilation of drawings and sculptural installation elements now on view offers the opportunity to get to know the long-term and consistent nature of her work.
What at first sight appears as a loose, almost arbitrary accumulation of textual, visual and architectural components would in each detail be able to make reference to earlier phases and forms of her highly autobiographic oeuvre.
The artist Jewyo Rhii accepts the fact that not very many people will have seen all the dense motivic drawing assemblages that build upon each other at the venues in South Korea, the Netherlands, Germany, and the United States, where they were on display – just as she doesn’t complain about the communication disruptions repeatedly caused by other human and systemic contradictions of her experience of life in a globalized art world, but instead makes them a part of the spatial experiences she constructs.