The South Korean artist and choreographer Geumhyung Jeong has explored the depths of the human-versus-other divide from the very beginning. Her new installation centres on five human-scale, remote-control sculptures she cobbled together from metal brackets, batteries, wires, dental study props, and disassembled mannequins.In their default state, the sculptures are frozen and comatose, even if all that wiring and machinery suggests movement.
The installation is the setting for a series of live interactions between the artist and her uncanny others. In the performances, the artist’s body melds with that of her creations as she crawls at their level, lying at the start partly atop an eviscerated medical torso outfitted with crudely taped joystick controllers. She caresses it with such excruciating, slow, and sensual allure that it feels almost too intimate a scene to watch. Fondling the attached controllers, she occasionally uses enough force to elicit movement from a nearby robot, accompanied by a hum and glowing battery-powered lights. Like her exhibition, the artist’s choreographed interactions question the boundaries between animate and inanimate, controller and controlled, flesh and machine.
The South Korean artist and choreographer Geumhyung Jeong has explored the depths of the human-versus-other divide from the very beginning. Her new installation centres on five human-scale, remote-control sculptures she cobbled together from metal brackets, batteries, wires, dental study props, and disassembled mannequins.In their default state, the sculptures are frozen and comatose, even if all that wiring and machinery suggests movement.
The installation is the setting for a series of live interactions between the artist and her uncanny others. In the performances, the artist’s body melds with that of her creations as she crawls at their level, lying at the start partly atop an eviscerated medical torso outfitted with crudely taped joystick controllers. She caresses it with such excruciating, slow, and sensual allure that it feels almost too intimate a scene to watch. Fondling the attached controllers, she occasionally uses enough force to elicit movement from a nearby robot, accompanied by a hum and glowing battery-powered lights. Like her exhibition, the artist’s choreographed interactions question the boundaries between animate and inanimate, controller and controlled, flesh and machine.
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