“Whoever may hunt” is a story that starts with a phrase in a documentary film on animals ‘Whoever may hunt, they all share the food’ and ends with a phrase ‘One for all, all for one’. As
we put sweet before nothing it means
As we repeat the word ‘sweet nothing’ by putting the word ‘sweet’ before the word ‘nothing’, I worked believing the fact that everything what’s ours is yours could be beautiful.
I felt sense of sorrow and guilt but I hope that this feeling won’t pass on." 

yunhamin
 
In 2012, Art Space Pool presents the solo exhibition of 《yunhamin : Whoever may hunt 》as the second exhibition of 'Pool Production'. Born in 1983, Seoul, yunhamin had started the series of the same title when being greatly touched by a phrase in a documentary film on animals, 'whoever may hunt, they all share the food.' This means everybody has a symbiotic, mutually influential power. Therefore, a community that allows its members to live together through hunting is an altruistic community where an individual lives for the group and the group lives for the individual. If we understand the groups of communities as the modern society, we wonder what this society looks like. Historians often use the hunting culture as the analyzing tool for studying life in the primitive days. The reason is that hunting is not simply an action to satisfy hunger but includes various phenomena related with social class, politics, economy, religion, etc. Therefore, yunhamin's notion of hunting does not comprise of simply collecting materials but of a process of outwardly expressing the gap between an ideal society and the modern society.
 
First of all, the series Stained Glass (2012) has sprouted from the visit paid by yunhamin to a village where only its ruins are left due to urban renewal. The artist has picked up windows among the ruins and has copied maps onto these windows which are painted in pretty colors. In the maps drawn on the windows, we can find the places where we live in. However, these spaces are somebody else's at the same time as they belong to us. Furthermore, the space left with ruins is an empty space without any function until the completion of the renewal construction and this very moment alone allows us or them to be the owners of this left space. Perhaps, yunhamin has collected the windows out of reminiscence, resenting this empty space that will soon be filled with tall buildings. The artist must have felt the urge to decorate the windows, the hunted left space, by drawing maps and painting them. In the similar context, the series National Treasure (2012) again talks about empty space in the daily life of yunhamin. The so-called national treasures designated by the state are also ours and theirs. The artist has created the beautiful series by dividing the space expressed as national treasure with unclear image of it and the space without such treasure, through silk screen method. The images of the national treasures expressed by the silk screening are not printed on typical factory-made paper but are printed on daily products such as flower-print plastic bags, pleated cloth, etc. that can be easily found in everyday life. In our daily routine, we naturally leave things with traces of living on them. yunhamin feels another sort of empty space within these things with such traces. And in between these spaces, a pretty national treasure fills the gap.
 
With the aforementioned two series of work, we could now think about what kind of empty space yunhamin intended to express. An empty space for yunhamin is mutual influence that we encounter in a society. Mutual influence is given through communication. Modern society has a powerful mutual influence due to rapid development of communication technology. Despite such progress in technology, there are more cases of miscommunication than communication without problems and frequent incidents that make us feel despair rather than hope. While miscommunication spreads around the society, our mutual influence becomes somebody else's rather than becoming ours. The amount of progress achieved in communication technology has surely facilitated the mutual approach between the system and the public but it is unfortunate that the current system seems to artfully distort the public's intention or ignore it even more than the days of the military government. Therefore, the modern society perceived by yunhamin can be understood as the society lacking basic communication.
 
yunhamin's last hunting reward One for All, All for one(2012) displays pretty fake clothes. Since they are imitations, creativity is not required. The labor and skill to make the fake clothes are simply visualized. The fake clothes in pretty colors make us cheerful but on the other hand, they make us feel a certain unknown sadness.
In fact, the word 'pretty' in Korean has as its origin, the 15th century word called 'eo-yut-buda' meaning 'pitiful' rather than beautiful or cute. In the current society we live in, full of miscommunication than understanding, the artist's feelings formed while making pretty things pretty, somehow make us sad without knowing why. Nevertheless, yunhamin tries to show us and share with us the booty hunted down; hoping that all the empty left spaces that exist here and there in our lives could become beautiful. When we view these hunted materials in front of us, we could ponder on the meaning of one living for all and all living for one in the modern society and question whether this meaning gives us any meaningfulness.
 
Taerim Hong (Assistant Curator, Art Space Pool)