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Macromachine-plantincubator
Gijeong Goo
Multi-channel Video, stainless steel, 65inch TV, light panel, flexible LED, Variable installation
Commissioned by Seoul Museum of Art and Abu Dhabi Festival
In his latest work, Gijeong Goo raises questions about how urban dwellers can remain useful to nature and sustain an attitude inspired by it, even in a state of isolation from nature.
The work was inspired and initiated by the nature-friendly design studio of the artist's friend. By designing the growth and combination of various plants placed by the window of a small office in an urban building, Goo was collecting and nurturing plants with strange patterns or unique colors, arranging them within the space, through the relationship between urban plant keepers (humans) and companion plants (non-humans).
The artist photographed and 3D scanned the companion plants, collecting high-resolution data to create images. The images of TV and structures are then framed within actual screens, juxtaposing real and virtual imagery to induce a meditative immersion in the viewer. Through this, the Goo questions the gap between experiencing meditative nature and the cycle of utilizing what is given in urban environments, such as digital devices and human technological design. He aims to deconstruct and reconstruct digital nature in the most urban manner.
In his artistic practice, Gijeong Goo, has been embodying nature within the features and experiences of digital devices and exploring whether it is possible to transcend anthropocentrism without physically moving the body. Goo explores the intricate interplay among humans, machines, and nature by transforming actual landscapes into digital imagery through 3D rendering and translating them into images and installations within physical spaces. Throughout this process, real landscapes, replicated by digital technology, converge with virtual elements of augmented reality, giving rise to an enigmatic ambiance that dwells on the borderline between reality and virtuality.
His work has been featured in the solo exhibition Contrology(Hall 1, Seoul, 2022), Virtual Writing (Societiet.Sexyland, Amsterdam, 2017) and group exhibitions At The End of The World Split Endlessly (Seoul Museum of Art, 2024) SeMA Anthology: Ten Enchanting Spell(Buk-Seoul Museum of Art, Seoul, 2023), Dutch Design Week (Strijp-T, Eindhoven, 2022), Nothing Makes Itself (Arko Art Center, Seoul, 2021) and Paris Photo (24 Rue Beaubourg, Paris, 2018), Malta Biennale Thematic Pavilion (National Museum of Archaeology, Valletta, 2024) among others.
The installation is part of the group show SeMA Omnibus : At the End of the World Split Endlessly at the Seoul Museum of Art, featuring works by Ayoung Kim, Sylbee Kim, SunJeong Hwang, Lee Bun and more. The exhibition is running until November 17, 2024.
Seoul Museum of Art - 서울시립미술관
Postal Code 04515
61, Deoksugung-gil, Jung-gu
Seoul, Korea (Seosomun-dong)