1 September 2026
A mosquito net arcs over our bed in Seoul like an airy little mountain, or like an upright wishbone. Viewed from below while lying supine, the apex of the net appears to be descending upon you for an embrace with its central webbing stretched outwards by four limbs, almost like a flying squirrel mid-glide. At night this effect is heightened—dimmed light makes the fine netting body disappear around its structure. And the pink curtains in the room, which used to belong to Yena's grandmother, throw a rosy filter over the whole scene.
At the MMCA's Korea Artist Prize show, I spent the most time in Hong Jin-hwon's room looking at a single printed image he made of what appears to be rain and condensation on a window on a gray and gloomy day. Water droplets are foregrounded, the surface acting as the window. In the distance are two dark and blurred shapes; to me they first read as oil pumpjacks, but on closer inspection, one of them looks like a large statue of a figure pointing with an extended arm, and the other looks almost like a large abstracted kinetic sculpture of some kind. On top of all of that (visually) are scattered splotches of what looks like black paint or ink. The effect is an all-over flattening, three levels of perception compressed into an intervening barrier that is inhibiting but porous nevertheless.