Jeol (절, Bow)

Live performance, 2 minutes, 2024

Performed at Somewhere Elsewhere, Lewisham Art House, London, UK, December 2024.

*Jeol (절, Bow): A gesture of respect to another person. The method of bowing varies depending on the level of respect and the situation. In Korea, it is customary to bow once to elders and twice to deceased ancestors.

Jeol (절, Bow) is a live performance staged in front of my other work, The Death of a Potato. In 2024, I had to face the passing of my father, who had walked the path of an artist before me. At the time, I was living in London, and by the time I arrived in Korea after hearing the news of his critical condition, his funeral had already concluded.

By presenting the most fundamental Korean funeral custom—bowing twice to the deceased—in the form of a live performance, I sought to personally hold the funeral for my father that I was unable to attend. On a broader level, the work serves to sound the alarm about the disregard for an individual’s life that is happening in many parts of the world today.

라이브 퍼포먼스, 2분, 2024

2024년 12월, 영국 런던 루이셤 아트하우스(Lewisham Art House), 《Somewhere Elsewhere》전(展)에서 실연.

*사전적 정의에 따르면 ‘절’은 다른 사람에게 경의를 표하는 행동이다. 절하는 방법은 존경의 정도와 상황에 따라 달라지며, 우리나라에서는 어른에게는 한 번, 돌아가신 조상님에게는 두 번 절하는 것이 관례다.

Jeol (절, Bow)은 다른 작품 The Death of a Potato 앞에서 진행된 라이브 퍼포먼스다. 2024년 나보다 먼저 작가의 길을 걸었던 아버지의 임종을 마주해야 했다. 당시 나는 영국 런던에 거주 중이어서 아버지가 위독하다는 소식을 듣고 한국에 갔을 때는 이미 장례식이 끝난 뒤였다.

돌아가신 조상님께 두 번 절하는 우리의 가장 기본적인 장례 풍습을 라이브 퍼포먼스의 형태로 전시함으로써, 개인적으로는 참석하지 못한 아버지의 장례식을 치루고, 더 넓은 차원에서는 한 개인의 생명을 경시하는 오늘날 인류에 경종을 울리고자 한 작품이다.

Second photo was taken by Alexander Tarasenko

Artist’s Public Statement (Released with the Work)

It’s about the death of a potato, the death of a star, and the death of a man.

It’s about my father. My father was a tiger hunter. He went into the mountain to hunt the tiger, leaving my mother and me behind. Now that I have become a tiger hunter myself, it’s not that I don’t understand him.

He painted fast, with any tool, on any subject, in any situation. He was a man who could work more than a team could. But above all, he always put loyalty first. He was an honest man and he always shot straight. I wanted to be like him.
 
He passed away in April, before the Degree Show. When I heard the news and went to Korea, it was the day after his funeral. The gallery space was his mountain, and it became mine as well. I wanted to have his funeral, which I was unable to attend, in ‘our space’ in ‘our way’.

I don’t know what a father-son relationship is. Maybe the relationship with him is much more complicated than I ever believed I knew.
 
But what I can say is that he was my best friend.
 
The ‘Jeol’ performance and ‘The Death of a Potato’ are personal acts of honouring my father’s funeral as an artistic practice. But I hope that it will serve, in a small way, to sound the alarm about the disregard for an individual’s life that is happening in many parts of the world today, including South Korea.

For the death of a man, the death of a star, and the death of a potato.

— 30 December 2024, London