Slow room
To bring a life form to a singular lack of motion is to kill it. Museums are repositories of the past. Ideas that lived outside are rendered dead in the careful buildings. Just as dead as the grizzly in the diorama at the Met is the Lichtenstein at the MoMA. The ideas reach a peak and trade their vitality, their life, for an expanded lifespan. The SLOW ROOM was envisioned as an answer to this dilemma… to be in motion to live and die in the museum… to be a part of the system while denying and rejecting the stasis… to embrace the chaos to make the entropy an ally is to understand a fundamental nature of the Universe. SLOW ROOM will live and it will die.

Pasionaria

Pasionaria represents the consequences of our current way of life, as conceived by choreographer Marcos Morau. A future where human beings would have lost their vitality through individualism and transhumanism. The gloomy universe of the spectacle thus seems sanitized of all affect, all passion, and consequently, humanity. All that remains is the labor force that is tirelessly busy vacuuming or handling packages of products. Ringing phones, doors or other objects constantly capture the attention of the protagonists who have become puppets. Manipulated by outside forces, instead of being driven by their deep desires, the humans of this dystopia merge into simple working robots.

La Charme
For Emiko Kasahara, female hair symbolises the ultimate love-hate relationship. To prove that point, the Japanese-born artist has picked eight Australian women, turned most into blondes and filmed them posing on five large circles of synthetic hair. “Hair is a symbol of beauty on the human body,” Kasahara said. “Hair represents vitality of life and sexualities and is precious. “But when you cut off the edge and let it fall on the floor, it’s considered disgusting dirt. It’s the same hair but it’s interesting that it shows both beauty and dirt.”

МИЕОНГБЕОМ КИМ
김명범
tree boat

“I try to examine how my surroundings are perceived and remembered. To do this, I listen to a whisper from the objects within my surroundings. I attempt to have an intimate, private dialogue with the world, trying to concretely present the way things approach me, by using other mediums. To ask what an objects means to me is like asking what being I am. I have consistently experienced my surrounding objects from the perspective of life, growth, and decline, which lends vitality to my work.”