Dawoon Park

News

groundless

24. 06. – 26. 06. 2022

SUB TEI Berlin, Germany

Exhibition



Microcosmos: Temporal Spaces and
Uncertain Memories

01. 07. - 03. 07. 2022
Kunstraum Potsdamer Straße, Berlin, Germany
Exhibition




Projects

summersnowglobalism.net

Moonage Daydream

Spirit of Kitchen

Solarsound

Face Value

Scenery Between-Window 3

Scenery Between-Window 2
Scenery Between-Window 1

Unstable Mask

Buddha of Capitalism

Waste Does Not Communicate

Skipping Hierarchy

The Self Captured in Absolute Black


Journal

Summersnowglobalism



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Dawoon Park

Dawoon Park is a media artist and researcher born in South Korea and currently based in Germany. She studied Visual Communication Design in Seoul and New Media in Berlin. She is keen to work at the intersection of visual art, theory and practice. Her recent research focuses on the analysis of the hybrid spaces in between nature and culture and social relations of networks made up of human-nonhuman being and things. It takes the form of texts, performances, film and installations. Medium and materials are carefully selected according to the context of the philosophy and media theory on top of which her practice is grounded. Digital technology and electronic components make up a core part of her work.


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Scenery Between-Windows 3 (窓-間의 풍경 3)










Queen Elizabeth II's portrait has appeared on the currencies of numerous countries more than that of any other individual. The faces of great individuals have been carefully chosen and graced their currencies as a tradition and in the interest of enhancing international reputation and relations.

On the other hand, as they are becoming more attuned to the online sharing and exchange platforms, users provide, share and replicate their own portraits. Their engagements of much broader populations function as super extenders for the advancement of computing sectors based on large sums of data sets.

What is called 'latent space' gives great insight into the correlations and patterns between different groups. Overlapped with the portrait on the window of the banknote, one can see its vision as a trained result by a group of faces of banknotes and a group of faces of users.

Were users more empowered and greater? Or did they eventually become a capital itself?


Year of production :
2021

Acknowledgements :
Luiz Zanotello



Mark