장서영 개인전
<스키드>
신도문화공간
2022. 4. 16 - 6. 12
사진 이지양
Seo Young Chang's solo exhibition
<Skid>
Sindoh Art Space
2022. 4. 16 - 6. 12
Photo Jeeyang Lee
Image courtesy of the artist
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파이프, 알루미늄, 적동, 황동, 플라스틱, 스틸, 2x1.5x15m(가변 설치), 2022
Pipe, aluminum, copper, brass, plastic, steel, 2x1.5x15m(variable in size), 2022
Pipe is an installation that focuses on the relationship between the human body and liquids, particularly the physiological cycle of fluid intake and excretion. We move to a water source to drink and then relocate to another place to excrete, repeatedly connecting to and separating from the flow of liquid. However, bodies that have lost mobility due to illness, injury, or aging become fixed within this cycle—positioned between IV bags and urine collection bags—and function like a conduit.
Pipe metaphorically compares the immobile body to a tubular structure. Viewers engage with the work by walking along the metal-cast and pipe installation, experiencing the flow and temporality embedded in the piece, as well as the physical and metaphorical relationships between the body and systems.
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무제, 종이 위에 카본 카피, 19.5x27cm, 2022, 25ea
Untitled, carbon copy on paper, 19.5x27cm, 2022, 25ea
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스키드, 단채널 영상, 13분 52초, 2022
Skid, single-channel video, 13min 52sec, 2022
As capitalism accelerates the flow of time, the physical decline of the aging body—its reduced mobility and processing capacity—feels increasingly stark. Within a velocity that exceeds human biological limits, the body slips and skids, caught in frictions it can no longer control.
Skid is a video narrated solely through subtitles, describing a fictional ride in a rapidly accelerating vehicle. Without voice or narration, the subtitles create an immaterial, disoriented viewing experience. As the vehicle transitions from an internal combustion engine to an electric car, it gradually loses its “voice”, eventually shedding even its passengers and physical form.
This journey of dematerialization raises questions about the human position at the far end of technological progress. It also metaphorically reflects on how “speed” itself can become autonomous—detached from purpose, yet continuously self-justifying.
햄버거, 단채널 영상, 3분 8초, 2019
Hamburger, single-channel video, 3min 8sec, 2019
드링크미드링크, 단채널 영상, 2분 51초, 2022
Drink Me Drink, single-channel video, 2min 51sec, 2022