The Fifth Secret Song 2012

Playtime, Culture Station Seoul 284, Seoul

Performers: Sung-wan Kim(Saxophone), Gyeong-ho Son(Drum), Kyoung-bin Jung(Viola) and Changwoo Choi(Contrabass)
Costume Design: Hye Eun Kim
Duration: 25 minutes
Venue: Station Master’s Room and Lobby, Culture Station Seoul 284

'Young-in Hong tries to redefine the distance between the space on and offstage and the performer and the audience. She aims to achieve the goal by reinterpreting the modern architecture in Korea and its time and space. The performance is composed of five parts, with part 1 located in the Station Master’s Room and the other parts in different space sporadically scattered outside of the room. While the artist creates a rhythm by tapping her body in the Station Master’s Room, drum, contrabass, saxophone and viola play impromptu in response to the tapping sound. In contrast to the part 1 where audiences watch an invisible performance in an empty room, other parts are one-off performances that are viewed in open/moving space.
The work took its motif from the contrapuntal structure of Baroque music where independent melodies are placed to create a harmony. It tries to induce the space of modern Korean architecture to produce its own structure of sound by applying and appropriating the contrapuntal structure of Baroque music. Practiced in a manner of building a relationship among architecture-music-installation, the performance expresses the constant correlation between the past and present, inside and outside, and resistance and deconstruction. It does so by reconstructing the old Seoul Station building with diverse (or without any) styles, as if the building was built in a complex European style of Baroque-Renaissance and restored in the present. Since the sound of tapping the body differs from different body parts, it generates a certain rhythm. The continuation of the tapping sound expresses the pain that goes along with the duration of the sound. From this point, the current performance aims to take attention to the point where physical space is experienced emotionally. The continuity of the time experienced is also a metaphor of the continuous existence of modern architecture in Korean history... In Young-in Hong’s work, ‘absence’ or ‘non-linguistic codes’ often appear as ways of expression to approach the repetitive occurrence of such modernity. Though the bodily pain can be shared only by imagining it, the artist regards the very ‘imagining’ or fictionality is the essence of the modernity.' (Text from exhibition leaflet.)


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