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林珉旭

Minouk LIM

The Promise of If_Cave (2001–2015) consists of archives of disappearing areas, performances, videos, and installations. Like an abnormal chronicle disturbing the viewer’s memory, it presents a cosmos of illusions and fear with its chaotic and non-linear timeline. It bears witness to an artistic imagination that reflects upon the relationship between the individual, the community, and nature in an attempt to transcend the boundary between the living and the dead.

Articulation—Bone Anonymous (2012), Wearable Road (2015), Home (2012–2015), Monument 300—Chasing Watermarks (2013–2015) and Liquide Commune (2011) are excavation projects to counter urban development. Farewell (2011) encourages viewers to use their imagination to conjure up a remote forgotten presence from the precious artifacts found in the restoration sites.

New Town Ghost (2005), S.O.S.—Adoptive Dissensus (2009) and The Weight of Hands (2010) are Lim’s video installations documenting disappearing places and people. In New Town—Point, Line, Plane (2009), Lim uses linoleum discarded from rooftop houses. Later in Planet (2015), latex is poured into a site scheduled to be demolished due to urban regeneration. With a technique similar to development in photography, the miscellaneous stuff attached to the latex grout then become clues for the remains left behind.

An on-going series of works combining installation and performance art, Portable Keeper creates spatial and temporal chaos by using both natural and synthetic materials, such as a totem pole from a primitive tribe. The work takes the viewer on a trip across time and space where they will encounter a cave, and leads them in search of their memories. A place of absence formed through the flow of time, the cave is where human beings survived through acts of documentation and rituals. In this sense, the cave is an anti-nation site that can never be conquered.