Inhabiting the Breach : Programming for the Conjunctures within Breach section of the Random Access exhibition
Throughout Paik’s practice and writing, random access can be seen as a strategy that allows for the coexistence of multiplicities of differences. In his writing, Paik states “Freedom must have more than two ways, directions, vectors, possibilities of time.” This liberation from the unidirectional flow of time operates the transformation of the viewer into a participant and opens up a world that is no longer restricted to pre-determined representations.
In resonance with Paik’s thoughts and as an alternative activation of the Conjunctures within Breach part of the Random Access exhibition, Tammy Kim’s sculptural installation, 5 Interloc(k)utors, will be activated as a platform to invite artists to engage with the structure or exhibition space on their own terms.
A continuously rewoven fabric : space production and inscription within the exhibition space
A group of artists from Hansung University have been invited to intervene within the Conjunctures within Breach section of the Random Access exhibition as part of the experimentation with activating Tammy Kim’s 5 interloc(k)utors that has already included a noise performance and a manifesto writing workshop/performance. After each intervention, the exhibition has been altered by materials, used during the events, being incorporated into the display. Confronted with the exhibition as a shifting fabric, each artist will take a position in relation to the structure of the exhibition, discuss the production of space it entails, and then engage with this process (both practically and discursively) by elaborating a series of proposed alterations. These alterations will then be inscribed as an additional layer of complexity to the shifting circumstances that the Conjunctures within Breach space has been actualizing.
Through observing the changing nature of the Conjunctures within Breach space this group of interlocutors will explore the nature and duration of such changes to subvert the notion that only the visitor suffers transformation through engaging with the art or the exhibition. Instead, by proposing that the visitors assist them in inscribing their alterations into the space, this intervention suggests a more organic relationship between viewer and producer that abolishes the dualism separating them. This intervention, taking on the character of a concerted action, will actualize and make visible the conceptual changes in the initial and underlying ‘rationale’ of the exhibition space operated by those engaging with it and within it.
