The Shape of People and Objects: Internal Relationships Collected and Organized in Huh Sooin's Work
Konno Yuki
1. Collecting and organizing: Intimately connected internally
Collecting and organizing are distinct activities, yet they are closely related. Consider the example of a museum or art gallery. A museum is a place where art is historically evaluated, categorized, and displayed, seamlessly integrating the processes of collecting and organizing. The results of collecting and organizing are presented visually, allowing us to see artifacts or artworks of historical value. In museums, these processes are closely intertwined. When aesthetic, socio-cultural, or art historical value serves as the criteria for collecting, the process of organization is inherently achieved. Just as an ordinary wristwatch or photograph, which might seem out of place in an art museum, can be collected to preserve the memory of a bygone era, the close relationship between collecting and organizing seems to diminish outside the museum context. For instance, collecting based on my own personal criteria—perhaps even unestablished ones—leads to items being stored in a drawer. It can be shared with others but often appears in a state of disorganized chaos. In daily life, collecting is often perceived without clear definition, existing in an unorganized state. However, just as collectors often know the backstory of each object they gather, organizing operates on different grounds. It becomes a way to achieve psychological stability through forming relationships between oneself and the objects.
When asked about what something collected is or why it was collected, it often involves more of an internal or psychological projection rather than solely the collector's personal taste. The realm of collecting, as we conceive it, can unfold like a wunderkammer, aiming to depict the cosmic harmony. It typically starts with a fascination for everyday objects that captivate our hearts as if they were "stolen" from us. When we feel attracted to objects, the function of organizing shifts from merely categorizing them by material, era, or historical evaluation to seeking understanding and psychological stability. It's a process where the collector pursues an inner harmony. When we preserve the history of objects, we are captivated by the warmth of others or our own past in the midst of the absent present, compelling us to collect and store them. While it may seem chaotic to others, it requires a different explanation than merely attributing it to personal taste in fine art collections. Objects that may appear chaotic to others often conceal a personal history of understanding, even if it's not immediately apparent. Each object preserves its own unique history, encapsulating past experiences, yet they commonly provide a sense of stability to an individual. Emphasized in Huh Sooin's solo exhibition "Collected Connection" (2023) is the approach where her work seeks to explore the internal relationship between collecting and organizing, as an extension of his previous works.
2. Being with the Inner Self: Beneath Objects and Their Surfaces
The gloves, printed images, and documents in the exhibition can be seen as items the artist has collected over time, as suggested by the exhibition title. Unlike works such as "Archaeology of Three Moons" (2020) and "The Lure of the Ordinary" (2020), which emphasize only a few objects in an ordered arrangement, "Collected Connection" features a multitude of small and large items throughout the exhibition space. Despite the appearance, it is difficult to perceive chaos—rather, it feels raw. Photographic materials are stored in trays, and elongated forms are stabilized upright. While chaos and rawness share the same timeline, they manifest differently. Chaos refers to two states: something that was neatly organized but then disrupted, or something that was never fully organized to begin with. Rawness, on the other hand, signifies something not yet refined but on the verge of being processed. It can also represent the final, well-crafted result. In the exhibition, the rectangular styrofoam and fabric symbolically demonstrate this—they are unprocessed, holding the potential to be transformed. Both chaos and rawness can be seen in either the past perfect or present perfect tense. Their forms change depending on whether an action or event causes them to lose shape or take form. Huh Sooin's installation work, which builds on ready-made objects, is not chaotic but raw, representing an internal process of refining understanding.
In previous works, Huh Sooin has often placed ready-made objects on shelves or table-like pedestals. For Huh Sooin, collecting should be understood not only as the act of gathering items but also within the context of readymade art, which combines creation with pre-existing objects. Unlike creation, which manifests or produces what is in the mind, readymade art involves bringing in pre-existing objects. While it can be seen as the opposite of creation, what is crucial here is the context of the objects and how that context is repositioned. In the realm of standardized, equally valued commodities, the distinction among these items becomes subtly imbued when personal histories, seized through collecting, are etched with individual perspectives. As the artist's personal experiences shape the narrative portrayed through the arrangement of objects, what we observe in Huh Sooin's work mirrors the artist's mindset reflected in these items. Understanding every aspect within the artwork can prove challenging. This is because the artist distinguishes and imprints her inner self through objects, especially ready-made items. Each object's placement reflects the refined state of her psyche. As the fluctuating value of these items changes with the times and society, nothing accompanies them more closely than the artist's inner self.
3. Portraits of Self and Others: The Refined and Established Axis
In "Archaeology of Three Moons," the artist describes three moons—faces, streetlights, and the full moon—as seen through her eyes during a breakup with a lover. Within the exhibition space, there is a sense of tranquility in the arrangement, rather than rupture or fracture. "Relationships with a lover are built on promises and the order needed to maintain them [1] .” Understanding this, the work illustrates the fragile nature of love, delicately balanced on a precarious foundation. Why did the artist choose to portray a balanced image even in the midst of a breakup? While depicting the fragility or rupture of connections might seem more fitting, the artist deliberately opted for balance. This choice likely highlights the paradox that balance becomes evident only at the moment of farewell, revealing a previously unnoticed equilibrium. Additionally, the three moons symbolized a way for the artist to refine her inner self. The three moons each refer to different subjects and distances, but through the artist's perspective, they merge into a single form. In the exhibition, round, sphere-like objects are positioned between long, taut lines that stretch vertically. They adapt to change slowly, like a face; they cast light in nearby areas, like streetlights; and, like a moon rising in the sky without comment, they symbolize the evolving shape of the artist’s inner self. When it is said that “a breakup is both the moment when the axis built with a lover collapses and the moment when a new axis is established [2] ,” the new axis transcends a simple metaphor. It reflects the artist’s own approach to understanding and adapting to the situation. The face, as the most unique and concrete existence, and the round, luminous symbols used for ages, do not merge into a single entity. Instead, they invite us to view people, surroundings, and encounters in a truly ‘three-dimensional way’. This perspective is exactly what the artwork provides.
Ultimately, for Huh Sooin, 'connection' encompasses not just the relationship between objects and the self [3], but also extends to the viewer and humanity as a whole. This notion of connection is primarily about the relationship with oneself. It is particularly emphasized in the exhibition "Collected Connection," where the soundscape, featuring excerpts from psychological counseling sessions, intensifies this theme of connection. The dialogue between the therapist and the patient, which serves as background audio throughout the exhibition, reflects the artist's own experiences. In these conversations, the patient (the artist) discusses personal struggles related to relationships. By assuming the role of the patient, Huh Sooin not only engages with these personal issues but also offers a positive perspective on the reality outside the therapy room, showing a constructive view of the world beyond the therapeutic dialogue [4]. In this way, the upright, three-dimensional forms in the exhibition not only represent the artist’s evolving self-portrait but also, in a positive light, reflect how the artist perceives others with an open and nuanced understanding. In "Collected Connection," the idea of connection originates not from the various relationships between objects, but from the attitude of understanding people, beginning with positioning oneself and observing with ease. The auditory elements in the exhibition go beyond just listening to the collected objects; they reflect an inner dialogue that is attentive to both oneself and others. Huh Sooin’s installation creates a space for this invisible, underlying connection, establishing a place for oneself within it.
4. View of Balancing Between Collapse and Establishment
However, we do not ultimately know the artist’s personal narrative. How should we interpret the world through the arrangement and connections of objects in the artist’s installation? How can one's personal universe connect with the broader universe of the world? Why were ready-made or less refined materials chosen? By engaging with these raw and assembled materials, both the artist and the viewer are invited to a deeper sense of presence. Just as Giorgio Agamben examines the 'living' force between the self and the artwork, rather than merely enjoying it for aesthetic pleasure [5], and as Jean-Luc Nancy explores the technology of existence at the end of art [6], Huh Sooin’s work offers both the creator and the viewer an opportunity to engage with existence and presence. The gap between objects and other objects, as well as the vitality flowing within the artwork among seemingly static objects with distinct histories, is explored when I detach from myself and observe as if I were an other [7]. In this divergence, the search for meaning is realized. Rather than substituting for elements like falls, hierarchies, vulnerabilities, or breakdowns, Huh Sooin’s installation depicts how the world exists within these spaces. The hidden structures and systems experienced by the artist in daily life are suggested through the different flows embedded in the unseen aspects of objects, revealing the potential for transformation in value.
Let's revisit the earlier quote: "A breakup is both the moment when the axis built with a lover collapses and the moment when a new axis is established." This highlights that the tenses of collecting and organizing, as well as the rawness of the process, exist at the intersection between the (future) establishment and the (now complete) collapse. It must be remembered that the gap, which represents the 'opportunity' for existence and presence, can also be absorbed into the structure of a system. Ultimately, 'balance' is sought in the artwork between the potential for transformation in the world as seen by the artist and the constraints of systemic order. The world is not simple, but it is not merely simplified by stereotypes or systems either. At the same time, there is also the opportunity for the value of these structures to change invisibly. In contrast to Joseph Kosuth's “Three Chairs” (1965), which explores the issue of ideal (visible) representation, The “Archaeology of Three Moons” quietly shows how it can challenge frameworks fixed by images and the (invisible) possibilities of imagination.
[1] Refer to the artist's statement.
[2] As mentioned above.
[3] The 'I' that appears multiple times in the text refers not only to the artist but also to the viewer of the artwork (as mentioned later) and, more broadly, to humanity as a whole.
[4] Please refer to the artist's statement for details on this mindset.
[5] Giorgio Agamben, translated by Yun Byung-eon, The Man Without Content, Jaeum and Moeum, 2017, p. 142-144
[6] Jean-Luc Nancy, Les Muses, Galilee, 2002, Japanese Edition, p. 71
[7] Reflecting on the earlier discussion of Archaeology of Three Moons, consider the artist’s perspective when viewing the three moons.