Jin-me Yoon’s photographically based work centers around preoccupations with history, memory, language and cultural identity. Born in 1960 in Seoul, Korea, she immigrated to Vancouver, B.C. Canada in 1968. She has exhibited widely in Canada as well as internationally in the U.S., Korea, Japan, and Turkey. Yoon continues to live and work in Vancouver where she is Assistant Professor in the Visual Arts Area at Simon Fraser University’s School for the Contemporary Arts.
May 31–June 29, 1996
Artspeak Gallery is pleased to present the work of Vancouver artist Jin-me Yoon. Imagining communities (bojagi), is part of an ongoing exploration which examines the relationship between the experience of cultural displacement and the construction of cultural identity. This gallery installation and internet project is an extension of the work, Screens (byongpung) which was especially made for the 1993 exhibition at the Queens Museum in New York entitled Across the Pacific: Contemporary Korean and Korean American Art. Across the Pacific then travelled to the Kumho Museum of Art in Seoul, Korea.
Originally proposed by the artist/activist group SEORO Korean Cultural Network, the exhibition had the potential to address the 150,000 Koreans who call Flushing, New York “home”. Given the specific exhibition context, Yoon privileges the mother-daughter relationship, that is her relationship to her mother by weaving together personal and social histories (from the Korean War to the 1990’s). Using everyday archival images such as the passport photograph and those found in family albums, Yoon questions the supposed realism of photographic images and points instead to the polysemic quality of photographic meaning.
Imagining communities uses the “bojagi” as an organising metaphor to address questions of audiences and communities while focusing on Korean diasporic women. A “bojagi” is a square piece of cloth, often made from scraps, used traditionally to cover food or wrap objects such as clothing, books and blankets. Unlike a suitcase, the bojagi changes shape depending on the object to be wrapped or carried. In the gallery installation, the folded screens are covered with delicate brightly coloured silk limiting the viewer’s access to the photographic images and written text in Korean. The lightboxes, which are similarly wrapped in silk, will be unwrapped displaying some of the on-line comments collected during the project at the closing reception Friday, June 28 at 8pm.
On the web site, photographs and text contained within the folded screens in the gallery are presented digitally as to privilege fragmentation and to suggest the complex non-linear process of memory. Yoon asks whether it is possible to create a provisional community of sorts on the internet when an audience, with a shared history of dispersal from a country dominated and partitioned by external powers, is geographically absent. By creating an on-line component, she expresses a yearning to tentatively gather a virtual audience and to project the possibilities of creating a community of Korean diasporic women.
Despite the implications of using the English language as well as the limitations concerning the issue of access to communication technology for different communities, Yoon desires through the words of Theresa Hak Kyung Cha: “to extract each fragment by each fragment from the word from the image another word another image the reply that will not repeat history in oblivion”. (Dictee)
Jin-me Yoon’s photographically based work centers around preoccupations with history,memory, language and cultural identity. Born in 1960 in Seoul, Korea, she immigrated to Vancouver, B.C. Canada in 1968. She has exhibited widely in Canada as well as internationally in the U.S., Korea, Japan, and Turkey. Yoon continues to live and work in Vancouver where she is Assistant Professor in the Visual Arts Area at Simon Fraser University’s School for the Contemporary Arts.
TERENCE ANTHONY, MISHTU BANERJEE, NICK BANTOCK, FRANK BESSELINK, GEORGE BOWERING, JANISSE BROWNING, BRICE CANYON, MÉIRA COOK, JUDITH COPITHORNE, CHARLENE DIEHL-JONES, DIANNA FRID, HIROMI GOTO, JAMELIE HASSAN, JAMILA ISMAIL, PETER JAEGER, ANDREW KLOBUDA, YASMIN LADHA, TIM LANDER, KATY MCKELVEY, ROY MIKI, EARL MILLER, WREFORD MILLER, MARY ANNE MOSER, ERIN MOURÉ, BP NICHOL, ALEXANDRA OLIVER, EMILY PARKE, ED PIEN, IAN RASHID, RENEE RODIN, SONIA SMEE, ERIN SOROS, HO TAM, CAROLE THORPE, BARB TURNER, ALVIN VIEIRA, FRED WAH, VICTORIA WALKER, TIM WESTBURY, STEPHANIE WHITE, JANICE WILLIAMSON, SCOTT WILSON, KIRA WU, JIN-ME YOON, GREG YOUNG-ING, SYLVIA ZIEMANN, JOHANNES ZITS
November 25–December 17, 1994
The title fo this show might imply some sort of apocalyptic finale to books as we know them. Or it might signify a pair of upstanding objects gently holding in place volumes of knowledge. And it might refer to some teleological good whereby books, these books, situated here in this artistic space, somehow fulfill their purpose. But above all, to me, this show is about transgressions and conjunctions. All the books here are signs of their makers, the book-producers who created these works in order to resist, to challenge, to demarcate, to influence, to engage with, to complement, and to add to their own often private, often public worlds. What seems most important is the subtitle of this show, something I tacked on a considerable time after the exhibition was in the planning, the phrase: “interesting books from interested people”. In this ironically bland language is a strong sense of connection, a way of addressing the issues of bookness without eliding that which makes the book so “interesting”—its producers and its readers. I should add that part of what makes this so interesting to me is the way the west-ness of this show is located. Often showcased as a largely European, American, or at least “metropolitan” art form, book-works exhibitions tend to draw from various, often elitist, quarters. Virtually all the works in BOOK ENDS (WEST) were produced in Alberta and British Columbia, many of them with regional audiences in mind. This in itself, however, does not remove us from the realm of elitism; although much of the work in the show speaks from places of social/political disenfranchisement, it is well worth noting that much of the work being produced today—through mainstream publishers, the small press scene, and even subversive, alternative means—is itself reflective of how power structures operate and reporduce themselves, often with alrmingly exclusionary results within the academic, literary, and visual art worlds. Keeping this in mind is crucial, particularly in the confusing apce we now inhabit, where such artforms as printing a publishing become increasingly easier and more accessible even as the numbers of those who really have full access are diminishing rapidly.
But what follows is a series of conjunctions that attempt to show how this exhibition is cumulative and how these texts and their producers come together with purpose and longing in the land to the west. The complete list of texts is available elsewhere—the text below is roughly comparable to a selectively random stroll through the show.
and I being with Alvin Vieira and Wing’s Book of Names, a formal book after all, with pages, binding, and text—a difference, though, in that the pages are of seaweed; the binding, a basket; and the text, single-word name-histories of one branch of the artist’s family tree
but how is Patron(age) any different except as a technological telling of the self, an inscription of Andrew Klobuda’s own name caught and replayed in the act of consumer tallying and seeing Kira Wu retell her own image through the telling images of magazined others, imposed and exposed in the 10 Most Beautiful Women or looking at Wreford Miller so carefully handtying his Lyrics for Janisse and how does that move into and over Bikertrucker, scripted and drawn by the hands of Janisse Browning and Terence Anthony
though convention is subverted when Mary Anne Moser boxes a site-specific outdoor art event in theGraceland Art Rodeo, where the pages can be artifacts, memories, or pieces of glass
and glass is where Carole Thorpe is at with handblown pieces sitting around and on top of Vibernum
however, there’s also the book-installation pieces by Sylvia Ziemann, pushing us further from the text, but are these miniatures then not-text, meta-text, or a radically altered text
or are other miniatures, these ones by Roy Miki, single-line poems that become their own books, somehow more texty than minimalism
and what about th unreadabil;ity of Dépaysé from Renee Rodin, unreadable,m that is, without borrowing a microfich reader
but then there’s also an unreadability to the books of disOrientation chapbooks, a project I co-produce with Nicole Markotic, whose Tracking the Game is present here along with other disObooks, the challange here to find new ways to hold these books together, ways to complement the writing with the presentation of the book
although sometimes books are read as unread in Peter Jeager’s bolted-down reading of Kierkegaard
but then we see Brice Canyon and his triad of books, all perfect bound and pushing into and away from the conventions of arist-books
or a glance at the commercially-popular Griffin & Sabine produced by Nick Bantock and the question arises as to what makes a book “work”, that is, sell, in a bookstore and how does this work in our minds as bookmakeers, bookreaders
yet from the other end, produced by Barb Turner as an alternative to the run-of-the-mill public school assignments, is Gates to the Unknown, whose pages reconfigure our ways of reading books
and then there’s Randall Thomas who Abandoned Texts all over Calgary to see which ones would find their way home, all in the name of re-covering books from other publishings
though sometimes returns (read: distribution) comes in different ways as in the postcard project of Jin-Me Yoon’s Souvenirs of the Self and Hiromi Goto’s Tea, whereby the only suitable means of reading seems to be to stamp them and move them along to a friend
however, sometimes publishing is a means away from distribution and more of the process, as in the case with the three-envelope piece, a paper byproduct of a travelling writing workshop led by Robert Kroetsch, Aritha van Herk, and Fred Wah through the badlands of Alberta
or the ongoing wiritngs of Vancouver street poet Tim Lander, whose Ballad of Ronnie Walker is only one of countless works self-published by him and many others
and of course there are others still, working in basements and studios and offices and printshops and just about everyplace else, and some of their works are here but many more are not, and there is still so much yet to produce though the means are often a luxury and the book just a means of production and yet
book ends (west)
~an exhibition of intersting-looking books from interested people~
In November/94, the Vancouver artist-run centre Artspeak will be hosting “book ends (west)”, or what I’m calling ” an exhibition of interesting-looking books from interesting people”. As curator, my intent is to look for work produced, for the most part, in western Canada. I want to emphasize that I’m not necessarily looking for work produced by established artists, or even by people who consider themselves artists. What I am looking for are books of any kind—literary, visual, playful, whatever—which challenge the very idea of “bookness”, produced by anyone who has an interest in the question of making books. Work included in this exhibition may be books produced in multiples or as unique pieces. They may be made from paper, wood, or any other material you can imagine. But most importantly are the producers of the bookworks themselves: to reiterate, I’m hoping to receive work from a range of people, from established artists and writers to those who have never considered themselves to be creati e producers of any kind. Of particular, but not exclusive, interest for this exhibition are “bookproducers” who consider themselves disenfranchised from general cultural/artistic circles.
Please submit work or queries to me c/o English Department, University of Calgary […]
All accepted work will be reutrned after the exhibition.
Deadline for submissions is Nov. 1, 1994
June 26, 1996
In conjunction with Yoon’s show “Imagining Communities” at Artspeak Gallery.