Korean Arts Management Service (KAMS) (Seoul, Korea)


Non-Sense Music

Curated by Joanne Kim

Hong Beum, Kim Ayoung, Lee Wan, Park Kelvin Kyung Kun



Hong Beum
Kim Ayoung
Lee Wan
Park Kelvin Kyung Kun


The Korean Arts Management Service (KAMS) presents an exhibition on Korean young media artists titled NON-SENSE MUSIC, curated by Joanne Kim. The exhibition penetrates the horizontal landscape of grasslands and ice elds with the vertical transcendence of time through a century of modern Korean history beginning from the micro-history of each artist's own lineage. These four artists – Kim Ayoung, Park Kelvin Kyung Kun, Lee Wan, and Hong Beum – exemplify individualized approaches to transforming specific phonemes and words into songs as an aesthetic device, music of non-sense.

Kim Ayoung's Zepheth, Whale Oil from the Hanging Gardens to You, Shell 1 can be seen as a trial of the integration between language-text data and sound-music image in the form of a choir, a voice performance. Based on the artist's research on petroleum as a miraculous substance that mediates between the Earth and the human race, the world economy and the 20th century modernity, this project has been developed to its third version, exhibited at the 56th Venice Biennale All the World's Futures in 2015. Dream of Iron by Park Kelvin Kyung Kun constructs a veritable visual symphony of steel and iron at work with and without humans at the shipyard, to address the country's history of modernisation via these heavy industries. Lee Wan's lm series Made In sets off from the artist's everyday experience of preparing
his own breakfast. The artist lms the entire process of the performance of "breakfast", including his direct participation in the production of ingredients, plates, and clothes worn in the performance. Through the performance, the artist bluntly shows current international politics and economics, and the progress and recent tendency of Asian Neo-liberalism from an activist's perspective. Hong Beum's installation works Trickling Down Thoughts is based on the artist's childhood memories of moving home: "I remember the numerous sounds coming from the ceiling of that house.

The winter would be rich from the sound of ice breaking, to the indiscernible sounds of wind coming in and rhythmically knocking on here and there as it nds its way out through some crack of the roof." The memory initiated from sounds is translated into painting, and we listen to this painting again through sounds.



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