![]() ![]() ![]() That luminous border between inside and outside, coupled with the impermanent nature of cloth, suggests that “home” is a fragile and ephemeral concept for Suh due to his peripatetic life. Eunhee Parkīathed in a warm light, the sheer fabric walls of this installation simultaneously define interior spaces, while also revealing their surroundings. Ann’s Church in Manhattan, is an exhibit of ghosts, a collection of traces this global traveler remembers and recreates. Many of the drawings and paintings show depictions of people carrying around large empty structures that appear to be emanating from the head: a memory becomes the blueprint to be reiterated, shaping future notions of home. Like shipping containers, these pieces are compartmentalized. The lines in ink and thread on paper become symbols in Suh’s exhibit, and seem to exist apart from context or geography. Everything in this exhibition feels as though it could be untethered and relocated. Photo: Brian Fitzsimmons.Īside from general clues like radiators suggesting cast iron and steam heat, the pieces are shown removed from context: objects encased in glass, images on white backgrounds, and structures with nothing inside. ![]() I was captivated by this edifice of homage-the architectural clashing of past and present.ĭo Ho Suh, Home within Home, 2010. Ann’s, NYU’s gesture was both literally and metaphorically a front. As entities like NYU expand globally, the distinctiveness of the urban spaces they reshape fades, rendering vestiges precious. When I lived near this neighborhood, the dorm struck me as symbolic. In the end, the church was demolished except for the front façade. They worked with the developer to incorporate the church into the new building’s design. Following protests from the Greenwich Village Society for Historic Preservation, NYU promised to take seriously the community’s demands to preserve this historic building. Ann’s Church in Manhattan and announced plans to build a new dorm for New York University (NYU). During a powerful hour long artist’s talk on Friday night, Suh spoke of leaving Seoul, and his longing to find ‘home,’ once he felt he no longer had one. “I try to understand my life through movement,” he said, “I bring my home to your home, and your home becomes mine… the native culture of ‘past,’ to the immigrant culture of the present.” Suh’s work, both at MMoCA and beyond, exists in a kind of liminal place a psychological fringe where memories and places feel plastic, physical and global at once. These homes become transportable, multi-scale spaces, pinned together not only with Suh’s past, but also our own. The Do Ho Suh exhibition at MMoCA, named after the artist, investigates complex and transportable ideas of ‘home,’ displacement, and memory with a collection of remnants drawings, glass-cased ‘specimen’ exhibits, and a spectacular signature piece-a transparent life-sized copy of the New York apartment that Suh once lived in. ![]() The Edge Effects editorial board asked Alexandra Lakind, Eunhee Park, Meghan Kelly, and Kyungso Min-four graduate students from the University of Wisconsin-Madison, each of whom study topics related to those raised by Do Ho Suh- to share their reflections. Editors note: Last Friday, February 10th, the celebrated South Korean artist, Do Ho Suh, opened his latest exhibition at Madison Museum of Contemporary Art (MMoCA), Wisconsin. ![]()
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