CCS Bard Galleries, March 18 – April 15, 2012
Artists: Sung Hwan Kim and Myriam Yates
Different intensities of memory charge certain moments to the surface while forcing others to fall back. The work of Myriam Yates and Sung Hwan Kim map the shifting magnitude of memory, and the disruption inherent to its repetition. As a time-based practice, a publication performatively enacts other scenes of spectatorship, as supplement to exhibition’s temporal register. Operating with or even against both artworks and the exhibition space, it swells other durations.
The works in the exhibition include Amphithéâtre (2010), Yates’ diptych video, which shows a preternatural racetrack slated for demolition alongside stables where horses still reside; and Racetrack-Superstar-Ghost (2011), which follows the construction of a U2 bandstand on the same grounds, complicating the site’s various streams of memory. Alongside these is Kim’s fictional documentary, Summer Days in Keijo-written in 1937 (2007), based on a travelogue written by a Swedish zoologist 70 years before, when “Kyungsung”, the former name for Seoul, was pronounced Keijo under Japanese rule. This recapitulated journey is made contemporary to the building projects of the 1960s, themselves vulnerable to redevelopment in the present. In visiting alternate temporalities, the documentary obscures the nature of our return, making available a narrative whose arc and place is entangled with those of others.
Curated by Janine Armin
Sung Hwan Kim’s films and performances often employ narrative in exploring subject positions and questions of gender and colonialism. In each production, he attends to the unique context in which the viewer encounters the work. Kim also works in other media including drawing, which fills the pages of his book Ki-da Rilke (Sternberg Press, 2011); he collaborates with dogr on music projects such as the CD One from In the Room (2010). Kim has shown at venues including: Kunsthalle Basel; The Queens Museum; STEIM, Amsterdam; Witte de With, Rotterdam; Haus der Kunst, Munich; Tranzitdisplay, Prague; the 2004 Gwangju Biennale, Gwangju; the 2008 Berlin Biennale, Berlin; Manifesta 8, Murcia; and Media City Seoul 2010, Seoul.
Myriam Yates’ photographs, videos and films explore questions of public space and modernity. Her work frequently takes the form of diptychs or is presented as a series, and regularly centers on recreational or gathering areas – spaces that are in the process of disappearing. Yates follows the shifting relationship between architecture and its inhabitants. Her work has appeared at venues including: Optica centre for contemporary art, Montréal; Rencontres internationales Paris-Berlin, Théâtre Babylone, Berlin; the Manifestation internationale d’art de Québec, Québec; Le Mois de la Photo à Montréal; Centre des arts actuels SKOL, Montréal; Oakville Galleries, Oakville; and the 2011 Québec Triennale, Montréal.