http://www.sennix.com taeyiohe Tue, 31 Jan 2012 10:16:49 +0000 http://www.sennix.com en http://www.sennix.com/you-will-grow-on-me http://www.sennix.com/following/sennix.com/you-will-grow-on-me Tue, 31 Jan 2012 10:16:49 +0000 taeyiohe 2369994 <img src="http://payload3.cargocollective.com/1/0/14608/2369994/ubiquitous_pots.jpg" border="0" width="670" height="824" width_o="2048" height_o="2520" src_o="http://payload3.cargocollective.com/1/0/14608/2369994/ubiquitous_pots_o.jpg" align="left" /> Paper clay and human hairs, installation on the wall http://www.sennix.com/Dialogue-Diagram http://www.sennix.com/following/sennix.com/Dialogue-Diagram Tue, 31 Jan 2012 10:16:47 +0000 taeyiohe 663948 <img src="http://payload.cargocollective.com/1/0/14608/663948/dia01.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/663948/dia01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/663948/dia02.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/663948/dia02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/663948/dia03.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/663948/dia03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/663948/dia04.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/663948/dia04_o.jpg" align="left" /> 3 layers of Tracing paper dimension 420 x 594 mm http://www.sennix.com/Lure-of-the-Lawn http://www.sennix.com/following/sennix.com/Lure-of-the-Lawn Tue, 31 Jan 2012 10:16:39 +0000 taeyiohe 162086 }<img src="http://payload.cargocollective.com/1/0/14608/162086/lure01.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/162086/lure01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/162086/lure02.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/162086/lure02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/162086/lure05.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/162086/lure05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/162086/lure06.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/162086/lure06_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/162086/lawn_taey - 8.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/162086/lawn_taey - 8_o.jpg" align="left" /> Commissioned by Kyunggi Museum of Modern Arts (2008) Read text. Review on Lure of Lawn / Kamkacha Blues by Tamarin Norwood http://www.sennix.com/Sleepwalkers http://www.sennix.com/following/sennix.com/Sleepwalkers Tue, 31 Jan 2012 10:16:33 +0000 taeyiohe 160899 <img src="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers01.jpg" border="0" width="670" height="418" width_o="670" height_o="418" src_o="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers02.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers03.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers.jpg" border="0" width="670" height="420" width_o="670" height_o="420" src_o="http://payload.cargocollective.com/1/0/14608/160899/sleepwalkers_o.jpg" align="left" /> The story starts with this hypothesis: 'What kind of conversations might have been happened if Na Hyeseok (1896-1948), a landscape painter who lived through the colonial period in Korea, and Mary Wollstonecraft (1759-1797), the first British feminist, had visited this area?'. I characterise Hyeseok as a traveller, who was compelled to migrate in order to capture the landscape. She would have observed, painted, learned and loved while she travelled. The story is based on virtual and live encounter between Na Hyeseok and Mary Wollstonecraft. I conducted my academic research with Dr Anna Birch. Dr Birch is a Theatre Director, and lives in Stoke Newington. She produced a site-specific multimedia theatre event in 2005 in Newington Green; this was titled 'Wollstonecraft Live'. Hyeseok and Mary emerged from different backgrounds, in consecutive centuries, speaking and writing different languages within divergent cultures. However, I believe they share an artistic gaze upon, and orientation towards, the world; this is in spite of the difficult circumstances of their lives. I was searching for the nature of 'locality' via this fictional meeting. The conjunction of interior and exterior, private space and public space are also called into question. The forces of 'development' and 'redevelopment' are seen to threaten the cohesiveness and history of communities. Within the framework of my research, a tea party was thrown for women from Stoke Newington of various backgrounds; a facilitated discussion of the experience of women from minorities and/or migrant populations in the neighbourhood was carried out. This work is a snapshot of a ghost story, and a travelogue, but also an account of living as a woman in the hidden places in my neighbourhood. I started to travel with my bed to experience to represent transhistorical characters and sleepwalkers. Share http://www.sennix.com/Kamkatcha-Blues http://www.sennix.com/following/sennix.com/Kamkatcha-Blues Tue, 31 Jan 2012 10:16:31 +0000 taeyiohe 154227 <img src="http://payload.cargocollective.com/1/0/14608/154227/kamkacha_blues_imgb 12.png" border="0" width="670" height="376" width_o="1920" height_o="1080" src_o="http://payload.cargocollective.com/1/0/14608/154227/kamkacha_blues_imgb 12_o.png" align="left" /> 3min 30sec, single channel invited public screening at Electronic Visual Arts 2008 in London 'I woke up in the middle of the night, and saw a brown bear. This is my encounter with a brown bear from Kamchatka in my private space and neighborhood.’ Brown bears are known as solitary walkers in the Kamchatka peninsula, Eastern Russia. They are rulers in the volcanic springs of Kamchatka, but chased by hunters illegally. In 1983, Korean airlines flight KAL 007 disappeared without trace from airspace near Kamchatka. Kamchatka is a debatable or 'lost' land where strangers may be at home, and a place where the wind of change blows. The "Kamkatcha Blues" film is part of a larger project, 'Strangers in the Neighborhood', which explores glocality (the commingling of the global and local), nomadic identity and strangerhood in the urban community. (Kamkatcha is spelled wrongly intentionally in the title, and you can notice two different pronunciations in the film.) The recitation within the film asks questions about migration, inclusiveness and the physicality of the built environment as a homeland. Poem in German http://www.sennix.com/Nightscanning http://www.sennix.com/following/sennix.com/Nightscanning Tue, 31 Jan 2012 10:16:29 +0000 taeyiohe 154202 <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning01.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning03.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning032.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning032_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning_out.jpg" border="0" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning_out_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning04.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning042.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning042_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/154202/nightscanning05.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154202/nightscanning05_o.jpg" align="left" /> 5min 57sec, 10 Split HD 16 Screen environment, available on DVD […] "invisible gate in the dark jungle / faded old map for tomorrow / broken promise in the last year in the army / unwashed face in the busy train / thick shout with closed throat. From Fear Note" Nightscanning is a dream-recording photographic diary capturing night-time in East London, UK, Pusan in South Korea, and Marrakech in Morocco. The story is about a lost woman who is trying to find her place to rest but then decided to stay as a wanderer. The camera angle is in the same position as the main protagonist in this night time capturing process. The piece is powerfully rooted in the environment of the artist. It was relocated to Poznan in Poland, being projected into the urban landscape there during the Re:Generacja II exhibition in 2007. The camera angle is the viewpoint of the main protagonist in a night time capturing process. The footage explores different mediums of stillness. Moving images are presented as constituting both an imaginative and creative environment in their own right; multiple perspectives and realities co-exist within each. The piece was created in the form of 16 multichannel screen environments, under the Artist-In-Residence programme 2007, MATRIX EAST, at the University of East London. Media Credits http://www.sennix.com/Embodied-Narrative-The-Virtual-Nomad-and-the-Meta-Dreamer http://www.sennix.com/following/sennix.com/Embodied-Narrative-The-Virtual-Nomad-and-the-Meta-Dreamer Tue, 31 Jan 2012 10:16:27 +0000 taeyiohe 315086 <img src="http://payload.cargocollective.com/1/0/14608/315086/PADM.gif" border="0" width="150" height="211" width_o="150" height_o="211" src_o="http://payload.cargocollective.com/1/0/14608/315086/PADM_o.gif" align="left" /> Denise Doyle, University of Wolverhampton Taey Kim, SMARTlab, University of East London Abstract This article charts the relationship between and the experience of real and virtual worlds. Like the travellers of the earlier centuries who returned with information and curiosities from distant and previously undiscovered lands we bring back with us our narratives, our stories and descriptions of our experience of embodiment in these new landscapes. We find that inhabiting the spaces of these virtual worlds is challenging our relationship to our own. We explore, through the construction of digital narratives, the experience and journey of Wanderingfictions in her metaverse, Second Life and Dongdong’s trans-national travel in the physical world exploring the Web 2.0 environment as metadata to articulate the user’s virtual identity. Data was collected in the form of narrative; each took their turn to write from their world; like a collection of postcards or snapshots of experience. Through the emerging dialogue we discover a combination of dis-ease, fear, but also wonderment of this new shift, this new view, where we are able to live in and embody multiple realities. Exploring these various conditions challenges us to investigate our physical availabilities as travellers in these virtual environments. A non-human body as metadata offers us resources for thinking in more sophisticated ways about virtual technologies. User Generated Contents and 3D Virtual Worlds such as Second Life bring new forms of participation. These two main waves on the net are contributing to the systems of informatics in their structures, behaviours and interactions of digital knowledge and narrative. The narrative reveals the complexities of dealing with identity politics in the environments of virtual spaces. It observes how our early, though rapidly changing, sensibilities are responding. We are in transition. This article finds that we will only truly become post-human when our memory of being ‘only human’ finally fades. Key Words: Metadata, Non-Human Body, Web 2.0, UGC (User Generated Contents), Embodiment, Virtual Worlds <img src="http://payload.cargocollective.com/1/0/14608/315086/intellect.jpg" border="0" width="170" height="59" width_o="170" height_o="59" src_o="http://payload.cargocollective.com/1/0/14608/315086/intellect_o.jpg" align="left" /> Purchase available at: intellect International Journal of Performance Arts and Digital Media http://www.sennix.com/Let-s-meet-at-midnight-bravo-bitches-1 http://www.sennix.com/following/sennix.com/Let-s-meet-at-midnight-bravo-bitches-1 Tue, 31 Jan 2012 10:16:25 +0000 taeyiohe 326165 <img src="http://payload.cargocollective.com/1/0/14608/326165/bitch_light01.jpg" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/0/14608/326165/bitch_light01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/14608/326165/portfolio_community_art2.004.jpg" border="0" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload.cargocollective.com/1/0/14608/326165/portfolio_community_art2.004_o.jpg" align="left" /> Let’s meet at midnight bravo bitches 12am- 8am Wood, lights, backlight print (100cm x 45cm) Bitch stands for ‘Babe In The Total Control Herself’ in this project. I made a ‘Bitch Training’ course during my artist in residency in Ssamzie Art Space in Seoul, I invited late 20s single women at midnight. Course contained ‘artmaking, history telling, swapping the objects and making poems’ about their lives, it finished at 8am next day, and I issued ‘bitch license’ to people who complete the course. http://www.sennix.com/Commandments-b http://www.sennix.com/following/sennix.com/Commandments-b Tue, 31 Jan 2012 10:16:23 +0000 taeyiohe 154224 <img src="http://payload.cargocollective.com/1/0/14608/154224/commendments01_1.jpg" border="0" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/0/14608/154224/commendments01_1_o.jpg" align="left" /> do not try too hard. 너무 열심히 하지 말자. do not attempt to challenge. 도전따위는 시도하지도 않는다. i am not you. you are not me. 나는 네가 아니고 너는 내가 아니다. walk away. 도망가고, do not remember who you owe. 누구에게 빚졌는지 기억하지 말며, No politics 정치하지마라. do expect rewards. 보상과 상품을 기대하라. no thanks. 감사하지 마라. no men’s land 남자없는 땅, no promise, no regret. 약속이 없으면 후회도 없다. pretend not to know. 모르는척하고, fuck professionalism. 프로는 엿먹어라. be wrong. 틀리고. love crack. 틈난 것을 사랑하며. be fat tree. 비대한 나무가 될것이며 be lazy as much as you can 게으를 수 있는 만큼 게으를것. The perfect plan never becomes reality in my life. I am allergic to ‘correctness towards the power game’. Daily breathing records give me the reason why I have to survive. No matter how hard I try, I easily lose track of why I am doing this. I did not want to obey others’ rules, either. But how do I avoid all of the conspiracy behind the motto ‘this is right to do’? Am I too vulnerable to be a brave feminist? Or am I too curious to be professional? Or am I just enjoying being a ‘womad (woman + nomad)’ and womad evidence? I was unspeakable as an illegal alien. Maybe it’s time to have plan b. Anything goes with plan b. Plan b does not exist when there is the master plan with perfect structures for a certain aim. When Plan b validates a certain strategy, this implies Plan a already fell apart. This depression with anxiety evolves into collective evidences of existence. The exploration starts from small parts of the body and travels to another person’s body and these travels become movements. ‘Commandments b’ is a bitch guide and a Decalogue of an impolite idleness for bitches. One of the commandments ‘do not try too hard’ is the collective photography series of bedrooms. Each bedroom has short episodes or impressions when the artist visited each place. Train to broken dreams is mirror image from inside of train to suburb town, Casablanca, Leeds, Lancaster, Brighton, Marrakech, Paju, Ppusan, and Cheonan. The alien from this journey starts to report about Seoul neighbourhood with another journey to plan b. The performative photography of the title, Let’s meet at Midnight bravo bitches, bitch training course, unveils the stories of an un-conventional good girl / wannabe bitches encounter. Bitch is for ‘babe in total control of herself’ in this project. The artist invites people who are willing to take a bitch course to come at 12 am to the artist’s studio. After 8 hours training, girls get a qualification for being bitches. http://www.sennix.com/Buffer-Coat http://www.sennix.com/following/sennix.com/Buffer-Coat Tue, 31 Jan 2012 10:16:21 +0000 taeyiohe 581117 <img src="http://payload.cargocollective.com/1/0/14608/581117/buffer_coat.jpg" border="0" width="670" height="438" width_o="2048" height_o="1341" src_o="http://payload.cargocollective.com/1/0/14608/581117/buffer_coat_o.jpg" align="left" /> Buffer Coat is made with a stained bed sheet attached to ceiling in the space. This showed at the photography exhibition You Died in My Dream (2008).