Oblique Time, 2026

Commision: KAIST Art Museum
Collaborator: Suk, Hyeon-Jeong (director), Kim, Moon Sung (support & coordination), (NO-NAME)PRESS (graphic design), unrealstudio (photography), Gom Design (production & installation), Post December (production support), Jee Young Maeng (publication text), Kim Jeong-seon / Dorocy (performance choreography), Kim Jeong-seon, Jeong Ui-young (performers), Rémi Klemensiewicz (performance documentation: sound), Heo Yoon, Cheon Youngdon (performance documentation: film), Jang Young-woong (performance documentation: photo), Na Kim (performance documentation: direction)

Exhibition title: Olbique Time
Venue: Exhibition Terrace 6-7, KAIST Art Museum, Daejeon
Period: 2026.03.03—2026.08.28

/ KAIST Art Museum
/ Body as Witness, opening performance
/ Interview

Oblique Time imagines a moment when sensory elements cross through space, passing through and stirring one another. The rooftop, serving as the stage for this exhibition, is a marginal and open space of the building, which is well suited for solitary contemplation. Here, visitors linger slowly—sit, gaze, and pass through. This structure, loosely open without a single center or destination, generates different densities of time at every moment, depending on how one engages with it. Here, time slips away from a linear flow and becomes distorted.

Wind passing between slender, elongated structures. Close-paced steps ascending and descending the stairs. Mirrors where one encounters the sky and oneself. In this place where the moving and the motionless are placed side by side, fragments from the past layer over the present landscape, folding time and space into one another.

The four works in this exhibition propose a spatiotemporal condition in which the physical boundaries of space and the subjective nature of human memory cannot be separated. Flags fluttering between thirty-six vertical columns visualize the path of the wind while scattering familiar time into the air. Walking through this dense archive of memories, arranged almost like a forest, becomes an experience of entering into the time of others. The spontaneous splashes of color and taxidermied objects on the horizontal staircase reveal how the acts of walking and lingering become experiences of touching the grain of time. The sky contained in the mirrors and the stenciled traces of memory bring different moments into one frame, unsettling a fixed point of view. Traversing all of these installations, the performance acts as a guide within this loose structure, inviting viewers to discover their own position and rhythm while encountering the sensation of shared presence.

Excerpt from the Artist's Note