As a medium, video facilitates a multi-dimensional composition of images and sounds that allow the viewer to become aware of the progression of time through a set of spontaneous or deliberate motions played on a screen.  Since videos are conventionally played from start to end, their narratives and editing techniques reflect a particular time frame.  Diverging from characteristics that have defined video, Taeyoon Kim’s work depicts time as circular, where the division between beginning and ending is unclear.  Each video sporadically plays different sounds that are combined to form new rhythm through a process of repetitive playing and stopping.  The video and sound featured in Taeyoon Kim’s Erratic Routines invites viewers to experience a spatialization of time.

 

The artist claims that video is a kind of illusion created by a combination of motions.  The illusion in this work refers to a creation of new audio-visual spaces produced by a combination of various movements and sounds.  In Kim’s work there are motions that seem to be repeating, but their patterns are difficult to decipher.  Such movements are maximized when both natural and mechanical motions at once are visible.  The viewer’s gaze travels back and forth over the screens that play clips of trees shaken by the wind, speeding cars, surging water, and blinking lights.

 

While his dynamic video works encourage us to oscillate our eyes between screens, the artist’s print works let our gaze to linger and settle on their static forms as well as their colors and textures. The artist has collected digital images for his print works starting in mid-2013. He crops out the images he found online, magnifies them, prints out these rearranged pixels. Through this mechanical process, the artist produces prints that have distinctive colors and textures of images that are normally viewed on a monitor. The resulting work is both a translation and a translocation of the original work.

 

Through the works featured in Erratic Routines, the artist creates a polyrhythmic landscape constructed of multiple sounds (high/low, loud/soft) and various moving images. Within this landscape we can recognize spatial gaps between each rhythm, and these in-between spaces opens up possibilities for new audiovisual experiences.

 

Curator Kyungmin Lee

 

Translated by Chae Lin Suh