Sadang B (2019) [multi-component output with contextualising information]
- Submitting institution
-
Bath Spa University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 3255
- Type
- I - Performance
- Venue(s)
- Museum of Modern and Contemporary Art, Seoul, Korea
- Open access status
- Out of scope for open access requirements
- Month of first performance
- -
- Year of first performance
- 2019
- URL
-
https://doi.org/10.17870/bathspa.c.5050382
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- As part of the 2019 Korea Artist Prize at Seoul’s Museum of Modern and Contemporary Arts, Sadang B was an interdisciplinary project addressing sociopolitical inequality by exploring the human-animal boundary. Interpreted through the lens of marginalised female workers in post war South Korea and animals, Hong investigates representations of animality, through performance, musical improvisation and installation. Her research asks:
1.Can the normalisation of extreme social inequality and nationalism past and present be challenged through an exploration of animality?
2.How might the animal human boundary be inhabited through collective performance and musical improvisation and question notions of otherness and hierarchy? 3. How might the reversed role of human to animal in these works suggest the transformative potential of becoming, and propose better ways to exist?
The title of Un-Splitting proposes a reversal to exclusion created by systems of divide and rule. Using archival photos the flash mob performances intertwined choreographed movements of textile workers at work and in protest, with those of animals and birds.
Becoming animal was further explored through collaborative musical improvisation and personification in The White Mask, a 3 screen video work of four musicians seeking ‘another space between human and animal’, using Deleuze’s notion of 'becoming’ as a starting point.
To Paint a Portrait of a Bird features a giant cage, where the viewer inside, is observed by a audio visual projection of birds outside, the centre, resembling a confucian ceremonial space, is full of textile depictions of birds critiquing current power structures. Humanity seen from the bird's perspective, drawing parallels with a
hierarchy of species.
Anthropocentrism has enshrined a discourse of exclusion facilitating an acceptance of human over human. Sadang B’s interpretations of history in turn propose a radical rethinking of the present by becoming animal, seeking different forms of communication and existence.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
