Centred around notions of crossings, transmissions and reversibility, Ayoung Kim’s practice builds complex, nonlinear narratives
of modern Korean history using characters that experience the transnational push and pull of technological advancement.
Porosity Valley 2: Trickster’s Plot (2019), a multimedia project, furthers her critique of the anti- Islamic perception of Yemeni refugees in South Korea as malware or viruses. Illustrating and questioning the state’s mythology of ‘pure blood’, Kim presents the incomprehensibility and sense of fiction in their displaced existence.
Also on display are graphic diagrams and portraits featuring three robed and masked anthropomorphised-like figures with uncertain identities who belie convention.