Tag Archives: Yong Soon Min

“Yong Soon Min: AVM: After Venus (Mal)formation” and “Candice Lin: The mountain” at Commonwealth and Council

Yong Soon MinAVM: After Venus (Mal)formation

Candice LinThe mountain

November 19, 2016—January 7, 2017
New Reception Hours: Saturday, November 19, 5–7PM
Location: 3006 W 7TH ST STE 220 Los Angeles CA 90005
Exhibition Hours: WednesdaySaturday, 12–6PM and by appointment
Closed: Thursday, November 24; Saturday, December 24; and Saturday, December 31
Opening Day Parking: 2904 W 7TH ST

Yong Soon MinAVM: After Venus (Mal)formation
Arteriovenous Malformation (AVM) refers to an abnormal network of blood vessels in which arteries connect directly to veins instead of going through a bed of capillaries. In 2010, Yong Soon Min experienced a massive headache—triggered by the stress of a Korean language proficiency exam—that turned out to be a cerebral hemorrhage. The malformed blood vessels in the left hemisphere of her brain had ruptured, engulfing it in blood. Though AVM surgery removed the tiny abnormality, Min underwent a year-long process of therapy to rehabilitate her affected speech and memory. Even to this day, she confuses pronouns like ‘she’ and ‘he’ and often speaks one word when she means another, disrupting the relationship between the signifier and the signified.

Installed above a printed flooring of Min’s personal library of books and mementos, a decagon-shaped table extends around a partition wall which divides the exhibition space into halves, like the two hemispheres of the brain. The ten sections are cut through with five corresponding pairs of words: pizza/pyramid; diaspora/diarrhea; womb/tomb; happiness/penis; and thank/spank. Across the surface, glass spheres flow along the grooves suggesting synaptic connection between each pair. The benches for the visitors to sit on are carved with phrases based on Min’s memory retrieval of five slogans, including one which she inherited from her parents: 남남북녀 (nam nam buk nyuh), a severe shorthand expression that means: ‘handsome South Korean men are best with beautiful North Korean women.’ In the two corners of the space, wall vinyl of a Vulcan greeting and air quotes connect like a Mobius strip suggesting that cognition is based on a foundation of constructs within which language can elaborate our thoughts, yet becomes susceptible to the slip of the tongue.

“Last Notes and Sketches, Min Tae Yong (1918-2001)” is an homage to Min’s father composed of folded panels in the style of Korean byung poong. The pages are displayed as swiveling windows to reveal marks on both sides. On disposable notepads, her father’s handwritings and diagrams combine complex and sophisticated ideas about physics, revealing an obsessive mind for order and latent cognitive strife. Written in Korean, the panels contain thirteen concepts of the multiverse that defy easy translation. In his “Cognitive Transitive Simulation To Achieve Communication” prose, Min Tae Yong writes about being in a ‘cosmic membrane’ composed of ‘cosmoans, galaxians, starmen,’ and all the anthropic entities whose spirits permeate the cosmos. He ends this page with a series of questions: “Is the spirit strong enough? Is the technology advanced enough? To be able to be on line with them?” This final draft bears the deliberate marks of his revision as he crossed out ‘the’ to replace it with ‘your.’

Candice LinThe mountain

There was a painting of a mountain that hung in the hallway of my childhood. Every evening it would berate me as I lay in my bed, like a cockroach, unable to rise. It called me a silly girl, a cupcake, a deformed puppy, a toenail, and a rock. It told me I was sick and lazy and that I masturbated the wrong way and too much. The painting depicted Humboldt’s mountain and it organized the strata of the world, the plants by their habitual altitude, and the ways that other mountains did or did not measure up.[i]

In the mythologies of the world, flawed superhumans or failed gods are torn apart in fits of rage or jealousy and the fragments of their bodies fall and fossilize, becoming landscape. In plate tectonics, mountains mark the areas where one surface pushes against another fragment of its lost self, a Platonic pansexual Pangeaic dream of earthquakes and never enough. Their grinding is fraught with a mineral desire to change one’s shape, to lose one’s temporary boundaries.

“The mountain” is the sediment—scar tissue built up in a slow accumulation of flesh wounds—pulling, pushing, and burying what was lost in the call and response. Its remnants of historical violence are arbitrary, relegated to the land of folk. This mythology is barely seen because, like skin, it surrounds us.

“The mountain” is a consideration of matter in four different stages: putrefaction, petrification, surface, and memory. Each stage is presented as a tableau of objects upon a reverse glass painting of various textures, mythological scenes collaged with historical and contemporary images. Many of the objects utilize living or natural processes, such as the mineralization of chemicals onto a taxidermied reptile (petrification) or the growth of edible mold on a tondo of resin-preserved mushrooms (putrefaction).

“The mountain” contains an ecosystem of entangled lives. There are silkworms weaving their cocoons which can be used to cleanse and whiten human faces (surface); their spit becomes a shroud to the familiar word “Father” written in George Psalmanazar’s made-up language—an 18th century foreigner who created an idea of the Orient.[ii] The surface is ever-changing.

ºººººººººººº

Memory 1: On one of the four tables, there are mushrooms used for cultivating memory-production. These are hydrated and kept alive by a fine mist of liquid distilled from our communal piss.[iii]
Memory 2: I came home late last night to find two bottles of urine in a brown paper bag slung over my dilapidated fence. It was bottled so beautifully I could not resist a sniff and then a taste. Don’t worry; I kept it for the communal pool, though I was tempted to drink it all. I would guess that the bottle containing less was a vegetable-eater; its flavor of salt was so punctuated by an herbaceousness that it opened my eyes wide. The other one was softer, more mellow and fragrant like metallic earth with a tinge of ocean.

Memory 3: Before you died, you lived for years with a hole cut into your throat and would pour your whisky into your beer to soften the burn. You said you liked mixing things into beer and once you pissed in a cup of beer and gave it to a collector who was annoying you. He didn’t notice the salty taste. But I did.
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[i] I am reminded of a story of a woman who came in really drunk to the tattoo parlor and revealed a tattoo of a giant penis marked as a measuring stick emblazoned on the length of her torso from the crotch up, with Old English Script written above it: “Measure Up.” She asked, “Can you turn this into the Scales of Justice? I’m a firm believer in the Truth.”

[ii] George Psalmanazar was a European who lived in London in the early 1700s within an invented persona as a “Formosan.” He wrote an ethnographic text about his life, culture, language, and religion, and survived for many years on the proceeds and hospitality of hosts who found him exotic and charming.

[iii] Thank you to friends and members of the Commonwealth and Council community for the generous donation of your urine, including Julie Tolentino, Pigpen, Gala Porras-Kim, Ashley Hunt, Jeanine Oleson, Clara López Menéndez, Patrick Staff, Joel Freeman, Jennifer Moon, laub, David Bell, Cirilo Domine, Patricia Fernández, Eduardo Consuegra, Elana Mann, Tala Mateo, Yong Soon Min, Benjamin Love, Danielle Dean, Young Joon Kwak, Marvin Astorga, Kang Seung Lee, Geoffrey Wall, Jen Smith, Olga Koumoundouros, Michael Ned Holte, and Alice Könitz. Our collective urine will be distilled into a fluid resembling water, but retaining a high mineral content and any pharmaceutical or hormonal properties ingested by the contributors.
LAMOA DS#3 presents podKelly AkashiAnne Cousineau, and Danielle Dean organized by laub

November 19, 2016—March 4, 2017

As we inject our future into the materiality of things, where is our bodily focus? Who are we within our constructed reality? In Jane Bennett’s Vibrant Matters, we are introduced to our not so stranger, discarded selves—stacked within the homes of hoarders, swirled into plastic islands in oceans and clogged inside storm drains. What Bennett encourages is a conversation with the thingness that surrounds us. Similar to Karen Barad’s idea of intra-action, which can be described as “the mangling of people and things and other stuff’s ability to act” from within the relationship rather than from outside of it. Our porous bodies are enmeshed with the thingness of our industrialized, formalized, and consumerized, product-driven, global warming selves. It is amidst this seemingly apocalyptic time that we begin to understand what this entanglement entails for the future of life as we know it.
Kelly Akashi, as artist as alchemist, explores materials that melt, harden, shape and reshape invoking unseen essences of what an object is, was, and is to become. Anne Cousineau works with organic materials that decay and transform, queering notions of permanence, stability, and time. Danielle Dean’s video, BioWhite, materializes social constructs of racism by paralleling Louis Kahn’s excessive use of concrete with the burgeoning of skin lightening enterprises.

Kelly Akashi lives and works in Los Angeles, and has studied at the University of Southern California, Los Angeles (MFA); Städelschule, Frankfurt am Main; and Otis College of Art and Design, Los Angeles (BFA). Her work has recently been shown at the Hammer Museum (Made in L.A. 2016: a, the, though, only); David Roberts Art Foundation, London; Astrup Fearnley Museum of Modern Art, Oslo; The Jewish Museum, New York; Shanaynay, Paris; White Flag Projects, Saint Louis; Tomorrow Gallery, New York (solo); Michael Jon & Alan, Miami (solo); Midway Contemporary Art, Minneapolis; and Château Shatto, Los Angeles. Akashi’s solo exhibition, Being as a Thing, is currently on view at Ghebaly Gallery in Los Angeles until December 23, 2016.

Anne Cousineau is an artist living and working in Los Angeles. Through material investigations, Anne entangles cultural notions of the synthetic and organic to consider questions of the body within nature. They received a BFA in Painting from The Rhode Island School of Design and are currently a MFA candidate at The Milton Avery Graduate School of the Arts, Bard College.

Danielle Dean’s work draws from her multi-national background of being English, American, and Nigerian. Her work explores the colonialism of mind and body—the interpellation of the subject by power structures working through digital media, news, and advertising. She focuses on target-marketing practices that reinscribe markers such as race, gender, age, etc. She is interested in subverting such processes toward a non-essentialized space of being. Solo exhibitions include: Focus, The Studio Museum in Harlem, New York; and Hexafluorosilicic, Commonwealth and Council, Los Angeles. Group exhibitions include: Shifters, Art in General, New York; It Can Howl, Atlanta Contemporary Art Center, Atlanta; What Shall We Do Next, Diverse Works, Houston; and Made in L.A. 2014, the Hammer Museum, Los Angeles. Her video work was recently screened at MOMA PS1, New York. Residencies include: The Whitney’s Independent Study Program, New York; and The Core Program, Houston. Dean is a Rema Hort Mann Foundation and Creative Capital awardee, and received her MFA from California Institute of the Arts and BFA from Central St Martins.
Commonwealth and Council
3006 W 7TH ST STE 220
Los Angeles CA 90005
213 703 9077
www.commonwealthandcouncil.com

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Asian American Literary Review releases: (Re)Collecting the Vietnam War

FOR IMMEDIATE RELEASE                 July 15, 2015

CONTACT: Lawrence-Minh Bùi Davis, Editor-In-Chief, The Asian American Literary Review

editors@aalrmag.org                      www.aalrmag.org

 

ASIAN AMERICAN LITERARY REVIEW RELEASES SPECIAL ISSUE EXPLORING LEGACIES OF THE VIETNAM WAR, COMMEMORATING 40TH ANNIVERSARY OF FALL OF SAIGON

 

April 30, 2015 marked the 40th anniversary of the Fall of Saigon, the end of a war that claimed the lives of an estimated 58,260 American troops and over 4 million Southeast Asians across Vietnam, Laos, and Cambodia. In the U.S. today, “Vietnam” signifies not a country but a lasting syndrome that haunts American politics and society, from debates about foreign policy to popular culture. But what of the millions of Southeast Asian refugees the War created? What, in this moment of commemoration and reflection, are the lasting legacies of the Vietnam War / American War for Southeast Asian diasporic communities?

 

(Re)Collecting the Vietnam War, a special issue of The Asian American Literary Review slated for release in late summer 2015, poses these questions to leading artists, writers, and thinkers. Novel in form and approach, the issue is an innovative teaching tool, contemplating the conflict as both remembered and traumatic event through a wealth of original multimedia art, a sweeping flipbook animation running the length of the collection, literary and scholarly engagements, and more.

 

Guest-edited by Cathy J. Schlund-Vials and Sylvia Shin Huey Chong, with guest curation by Mariam Lam, Viet Le, and Vo Chuong-Dai, the issue features contributions by Monique Truong and UuDam Nguyen, Lan Cao, Kao Kalia Yang, Nick Ut, Yen Le Espiritu, Anida Yoeu Ali, Sayon Syprasoeuth, Soul Vang, Bryan Thao Worra, Yong Soon Min, Hoi Trinh, Viet Thanh Nguyen, Phothyzan Bounpaul, Frederic Sanchez, Vandy Rattana, Nguyen Tan Hoang, Cathy Linh Che, Bao Phi and Simrat Kang, Mai Der Vang, Jai Arun Ravine, Bee Vang and Louisa Schein, and Ocean Vuong, among others. The issue also forms the core of a teaching program that will virtually connect university classrooms across the country to teach and learn together about the War and the worlds it created.

 

Sponsors include:

 

Association for Asian American Studies • Institute for Asia and Asia Diasporas at Binghamton University SUNY • University of Connecticut Asian and Asian American Studies Institute • Southeast Asia: Text, Ritual and Performance • Race and Ethnic Studies, St. Olaf College • Asian/Pacific/American Institute at NYU • UC Berkeley Ethnic Studies Department • Department of English and the Division of Arts and Humanities at Queens College, CUNY • Department of American Studies, University of Maryland, Baltimore County • UC Irvine Department of Asian American Studies • Northwestern University Asian American Studies Program • UMass Lowell Center for Asian American Studies • University of Pennsylvania Asian American Studies Program • Mt. Holyoke College English Department • Y-Dang Troeung • Jennifer Hayashida & Benj Gerdes • Ma Vang, School of Social Sciences, Humanities and Arts, UC Merced • University of Minnesota Department of Curriculum & Instruction • Department of Asian American Studies at UCLA • Wesleyan University, Academic Affairs and College of East Asian Studies • UMass Boston Asian American Studies Program • UC San Diego Ethnic Studies Department • University of Virginia Department of English and Asian Pacific American Studies • Viet Le • Diasporic Vietnamese Artists Network

 

To see a sample table of contents, or to order the issue, visit http://aalr.binghamton.edu/recollecting-the-vietnam-war-table-of-contents/. To inquire about the teaching program or institutional subscription, please contact us at editors@aalrmag.org.

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Teaching the Legacies of the Vietnam War — AALR

http://aalr.binghamton.edu/teaching-the-legacies-of-the-vietnam-war/

April 30, 2015 marks the 40th anniversary of the Fall of Saigon, the end of a war that claimed the lives of an estimated 58,260 American troops and over 4 million Southeast Asians across Vietnam, Laos, and Cambodia. In the U.S. today, “Vietnam” signifies not a country but a lasting syndrome that haunts American politics and society, from debates about foreign policy to popular culture. And what of the millions of Southeast Asian refugees the War created? What, in this moment of commemoration and reflection, are the lasting legacies of the Vietnam War / American War for Southeast Asian diasporic communities?

 

(Re)Collecting the Vietnam War, a special issue of The Asian American Literary Review slated for release in fall 2015, poses these questions to leading artists, writers, and thinkers. Novel in form and approach, the issue is an innovative teaching tool, contemplating the conflict as both remembered and traumatic event through a wealth of original multimedia art, a sweeping flipbook animation running the length of the collection, spreads of critical-creative cartography, and more. Guest-edited by Cathy J. Schlund-Vials and Sylvia Chong, with guest curation by Mariam Lam, Viet Le, and Chuong-Dai Vo, the issue features contributions byMonique Truong, Lan Cao, Kao Kalia Yang, Nick Ut, Yen Le Espiritu, Maya Espiritu,Anida Yoeu Ali, Emily Hue, Sayon Syprasoeuth, Soul Vang, Bryan Thao Worra, An-My Le, Yong Soon Min, Hoi Trinh, Viet Nguyen, Phothyzan Bounpaul, Sovan Philong, Frederic Sanchez, Vandy Rattana, Andre Yang, Nguyen Tan Hoang, Cathy Linh Che,Bao Phi, Mai Der Vang, Jai Arun Ravine, Bee Vang and Louisa Schein, Thi Bui, and Simrat Kang, among others.

 

 

TEACHING PROGRAM

(Re)Collecting the Vietnam War forms the core of a teaching program that will virtually connect university classrooms across the country to teach and learn together about the War and the worlds it created. You teach the special issue, and we’ll provide dynamic resources and opportunities for interaction with other classrooms. We’ll have in place “digital extras,” videos and podcasts by editors, curators, and contributors, as well as a shared curriculum of activities and projects building from the issue, including interactive virtual spaces designed to put students in conversation with one another. We’ll also help seed one-on-one videoconferencing between classes for those interested. The goal is a national conversation that builds academic community, a dialogue among students and teachers across the U.S. and beyond that challenges and grows our understandings of the War and its complex aftermath.

 

HOW IT CAN WORK FOR MY CLASSROOM

To accommodate a wide variety of schedules and class needs, we’re making the commitment open-ended: we’ll have the program live throughout the fall and early winter of 2015, from September through mid-December, with curricular materials and exchange possibilities available throughout—but your class can participate for anywhere from a week to the entire academic term.

 

PARTICIPATING CLASSROOMS

10 professors at 9 universities have already pledged to participate, and we expect many more as the program develops: Cathy J. Schlund-Vials, University of Connecticut • Sylvia Chong, University of Virginia • Mimi Khúc, University of Maryland • Lawrence-Minh Bùi Davis, University of Maryland • Catherine Fung, Bentley University • Y-Dang Troeung, Southeast Asia Research Centre, City University of Hong Kong • Caroline Hong, Queens College, City University of New York • Audrey Wu Clark, U.S. Naval Academy • Ma Vang, University of California, Merced • Sue Kim, University of Massachusetts Lowell

 

SPECIAL ISSUE/TEACHING PROGRAM SPONSORS

This special issue and its teaching program are proudly sponsored by:

 

Institute for Asia and Asia Diasporas at Binghamton University of the State University of New York • University of Connecticut Asian and Asian American Studies Institute • University of Maryland Asian American Studies Program • Southeast Asia: Text, Ritual and Performance • Race and Ethnic Studies, St. Olaf College • Asian/Pacific/American Institute at New York University • University of California, Berkeley Ethnic Studies Department • Department of English and the Division of Arts and Humanities at Queens College, City University of New York (CUNY) • Department of American Studies, University of Maryland, Baltimore County • University of California, Irvine Department of Asian American Studies • Northwestern University Asian American Studies Program • University of Massachusetts Lowell Center for Asian American Studies • University of Pennsylvania Asian American Studies Program

 

If you’re interested in joining the teaching program, sponsoring or otherwise supporting the issue, or learning more, please contact us at editors@aalrmag.org.

 

 

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