홈
50 L, Amsterdam
Kunstpodium T, Tilburg
Bio Gallery with Rench Kee
The Cell
2025
Rooms of Convergence (샤워, 휘슬 공동기획)
dpgp78, Yelim Ki, Kyoungtae Kim, Taeyoon Kim, Magnus Peterson Horner, Jeman Seo, Yuki Gray, Yonsok Yi, Jookyung Lee, Leesop Cho
19 July – 16 August, 2025
Whistle
Seoul, KR
Directed by Yelim Ki
Sound by Ege Sahin
Staring by Evert van Gestel, Cemre Eraslan, Joel Gester Suarez
Music by “Piano Piece(1952)” written by Morton Feldman, performed by Joel Gester Suarez
Location at Bouwman Piano's & Vleugels
"The Cell" originates from my early experiences within a glossolalia-speaking community, where language functioned beyond communication. I witnessed voices trained in ecstatic speech convey transcendental states through involuntary sonic utterances. These performances bypassed cognition to forge collective belief. I later recognized a striking similarity between this phenomenon and the way digital technologies “connect” us while creating profound isolation.
The work explores this overlap between divine communication and technological immersion in the contemporary media landscape. It draws parallels between the speech-like fluency of glossolalia and the subtle, often subliminal ways that screen technologies infiltrate perception. The work suggests an uncomfortable resonance between religious authority and digital capitalism, as both rely on our submission.
Through a cinematic space composed of screens, custom lighting, and sculptural assemblages from discarded materials, I present my interpretations of divine and systematic absorption performed within human disciplinary structures. As Crary notes, "being 'spellbound' in front of the cinematograph was both to be subsumed into a collectivity and to be separated from it in an immersive isolation."*
Two videos toggle at random intervals, suspending the viewer in a disjointed perceptual state where attention continuously shifts, never fully settling. The film features an automated montage of actors portraying an Amish carpenter and an angel intercut with 3D digital reconstructions. Programmed lighting synchronized with the video accompanies Morton Feldman's piano piece performed on six slightly detuned pianos.
The claustrophobic exhibition architecture with privacy glass windows invites viewers to contemplate their relationship with immersive technology. The work serves as a perceptual tool, reminding us that our bodies and minds are structurally engaged with the present moment of losing self.
*Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT Press, 1999)
Exhibition view
List of Works
The Cell, 2025, Two videos alternating with a random interval, programmed with MaxMSP, stereo sound, loop
Slop Trough Blue, 2025, Thermoplastic, LED lamps, Lexan sheets, 45×155×25cm
Clock Hand, 2025, Clock parts, LED lamp, sound sensor, CD, plastic, 22×30×9cm