In his exhibition, “Thoughts Hours Hand Minutes,” Min Yoon presents new sculptures and wall works that deal with the paradoxical construction of time and motion within the metabolic technique of artwork making. If the creative course of is ‘artistic,’ that’s, an act that brings one thing new into being, this subsequent being bears no traces of its creation, however as a substitute seems as a vegetating creature, animated by nothing however its personal decomposition. Right here, it isn’t the viewer who digests the paintings, however it’s the paintings devouring itself, presenting its organs within the type of their undoing, leaving us with an abundance of vacancy, an empty dummy, a cloudy tummy.
If the calls for of creation within the artwork world flip time into artworks, Yoon does the reverse, elevating decreation and turning artworks again into time. However maybe it isn’t a lot a reversal as a perversion by which the paintings is damaged down into discrete objects and organs, disorganizing its anatomical and temporal construction, leaving each out of joint.
It isn’t a physique with out organs—as a result of the physique itself collapses into nothingness—however reasonably disassembled organs which lack a physique or a unifying construction. Right here lies one thing like an gut, there a poorly digested noodle, someplace a snail slowly crawls alongside, mice in every single place, and all that in lifeless grey felt. Maybe, the chains, considerably helpless and ineffective, search to carry the items collectively, to get well some type of integrity. However the physique as such, very like a signifying chain, is all the time incomplete, it’s missing the signifier that would full it. Even the mind flees the flesh, and as an adjunct on the hat-head, it’s hooked up to the physique with out ever turning into its natural half, without end protruding as its incoherent, extreme complement.
If the physique’s fragments resist their incorporation into the intelligible complete, the identical applies to the composition of the present: whereas it suggests an inner logic that holds the items collectively, alongside the strains of a complete which is bigger than its single components, it stays elusive, and maybe phantasmatic. Studying gadgets and college stationery equivalent to classic composition books, medical drawings and blackboards displaying mathematical and linguistic equations act as connective hyperlinks, pointing to a grammatical construction that binds the disorganized objects collectively. However the anatomical dummies and pedagogical instruments reveal each nothing and an excessive amount of. And as usually in Yoon’s work, the absence of a complete is compensated by an extra of singular components.
Whereas the tutorial materials is structured by antagonisms and antonyms as studying gadgets, the partial organs and objects defy such a binary logic, hanging out and round as ejected extra, maybe asking: What’s the antonym of time? How can one thing be digested with out first having been eaten?
The phonetic proximity between anatomy and antonym—phrases that originally seem as anagrams however aren’t even false buddies—suggests a relationship between the construction of the physique and that of language. If the anatomy of the physique is structured like a language, its particular person parts now not seem as natural materials however as symbolic signifiers. And as flesh turns into language, the physique turns right into a play on phrases—an anagram that may be disassembled and reorganized in infinite methods, continuously producing new meanings, usually nonsense. Studying time backwards, we get emit: one thing leaks or escapes, leaving a spot. If the signifying chain is all the time incomplete, the failure of language is perhaps analogous to the incoherence of the physique, which can all the time fail to fill its gaps as a result of the lacking signifier is already right here, inside the signifying construction, making its current absence felt on this felt creature.
at Galerie Lars Friedrich, Berlin
till June 3, 2023