동성캉캉✧ Can-Can Boys, 2019
Exhibited at artbn, Seoul, Korea, 2019
Glory! Glory! Glory!, 2019, toilet wall, toilet paper case, laser-cut toilet paper, laser-cut acrylic panel, stickers, duck tape.
Installation view (from left to right)
Sungwon Yoo(text) x Seungwook Yang(photograpgh), 인생을 어떻게 살아야 할지는 몰르겟다..(Loads Taken 7, 8..), 2019, digital printed on paper.
Seungwook Yang, Treasure Hunt, 2019, digital c print.
Dew Kim, Glory! Glory! Glory!, 2019.
Glory! Glory! Glory! (backside), 2019
Hurt My Ass Not My Heart (text: 외로움의 조건 by Sungwon Yoo), 2019, glass lighting (produced by Gloryhole Light Sales), towels, sponges, plastic hose, polystyrene boxes, silicone gummy bear, 3D-printed plastic bones, toys, iphone 6s, neon-lighting, mop, chrysanthemum, burial urn, glass bottle, statue of the Buddha, photo frame with selfies, window blinds, adhesive sheet texts.
커밍아웃이란 타인에게 내가 누구인지 밝히는 행위이지만, 그전에 내가 ‘나’라고 생각하는 존재를 먼저 승인해야 한다. 이게 ‘나’일까? 이렇게 생활하는 나를 ‘나’라고 말해도 괜찮을까? 커밍아웃 전에 나에 대한 합의를 먼저 이루어야 했다. 사람들에게 내가 게이라고 말하는 것은 단순히 남자를 좋아하는 남자다, 라고 말하는 것이 아니었다. 내게 그것은 ‘나는 밤새 남자들의 항문에 성기를 박고 즐거워하는 사람입니다, 때때로 남자들의 성기를 빨고 싶다는 생각이 머릿속에 가득 차는 사람입니다’라고 말하는 일이었다. 그들에게가 아닌 나 자신에게 말이다. 나는 현실에선 그렇게 행동하고 있었지만 머릿속으로는 그런 내 행동과 모습이 언어화되거나 구체적으로 그려지는 것을 거부하고 있었다. 하지만 말해지지 않는 모습도 분명히 나였고, 누군가는 그 모습에 대해 알 필요가 있었다. 그게 내가 혼자인 이유이기도 했으니까. 그럼에도 나는 딱히 커밍아웃을 할 계기가 없었다. 커밍아웃을 하고 나서 누군가를 나의 동반자로 소개하거나, 이 사람들이 내 친구들이라고 소개할 수 있었다면, 기쁜 마음으로 커밍아웃을 했을지도 모른다. 그러나 주변엔 아무도 없었다. 찜질방에서 하룻밤 만나고 얼굴도 모른 채 헤어지는 사람들, 화장실 구멍 너머로 오랄을 주고받은 사람들, 그들만이 내 주위에 ‘동성애자’라는 집단으로, 정확히는 경멸을 띤 언어 ‘호모새끼’에 더 가까운 익명의 무리로 있을 뿐이었다.
유성원 <외로움의 조건> 중에서
Installation view (from left to right)
Dew Kim, Hurt My Ass Not My Heart, 2019.
Seungwook Yang, Treasure Hunt, 2019, digital c print.
Dew Kim, Profile Not Found, 2019.
Profile Not Found, 2019, acrylic lighting panel, artificial plants, toys
Photo by Jungwoo Lee
In the exhibition Can-Can Boys, Dew Kim explores queer cruising culture as it expands and mutates in response to physical spaces and individual locations. Queer desires and existence unfold through the uncertainty and hallucinogenic phenomena of gay subcultures such as cruising, BDSM, chemsex, and cybersex.
The installation Glory! Glory! Glory! (2019) is a stall from a public toilet where defecation takes place. Glory holes are drilled into the wall and adorned with stickers. This space, rampant with illicit act, exists in a state of ecstasy engendered by taboo and violation. The glory hole is connected to an adjacent space covered with ghost semen called Hurt My Ass Not My Heart (2019). A corner is littered with tailbones and skeletal remains that burn or break during anal sex. The non-physical death evoked by these bodily objects that have been decimated during the act of cruising is further evoked by the scent of sex and poppers that linger in the air. In the corner is a mop transformed into chrysanthemum flowers.
Through the lens of cruising, where hedonistic desires and personalities coexist, this work probes notions of death and dying as seen in Profile Not Found (2019), a tombstone commemorating the virtual death of anonymous hook ups with whom one has shared body and saliva.
전시서문 <‘사람’을 위한 규칙> 유성원
︎Preface for the exhibition <Rules for 'People'> by Sungwon Yoo
전시리뷰 <크루징의 수행자들> 양지윤
︎ Review for the exhibition <Endeavorers for Cruising> by Jiyoon Yang
The installation Glory! Glory! Glory! (2019) is a stall from a public toilet where defecation takes place. Glory holes are drilled into the wall and adorned with stickers. This space, rampant with illicit act, exists in a state of ecstasy engendered by taboo and violation. The glory hole is connected to an adjacent space covered with ghost semen called Hurt My Ass Not My Heart (2019). A corner is littered with tailbones and skeletal remains that burn or break during anal sex. The non-physical death evoked by these bodily objects that have been decimated during the act of cruising is further evoked by the scent of sex and poppers that linger in the air. In the corner is a mop transformed into chrysanthemum flowers.
Through the lens of cruising, where hedonistic desires and personalities coexist, this work probes notions of death and dying as seen in Profile Not Found (2019), a tombstone commemorating the virtual death of anonymous hook ups with whom one has shared body and saliva.
전시서문 <‘사람’을 위한 규칙> 유성원
︎Preface for the exhibition <Rules for 'People'> by Sungwon Yoo
전시리뷰 <크루징의 수행자들> 양지윤
︎ Review for the exhibition <Endeavorers for Cruising> by Jiyoon Yang
