A figure in the shape of Jesus nailed to the cross was placed against the backdrop of the palace's decorative eaves. A cute cat was painted on the divine-looking miniature altar.
MIn Jun-hong (41), an artist based in London, opened his first solo exhibition in Korea at the 2GIL29 Gallery in Sinsa-dong, Gangnam, Seoul. MIn primarily visualizes contemporary society's anxieties and consumerism inspired by urban spaces and architectural structures.
The exhibition title 'Nevertheless, the windmill runs' is inspired by philosopher Karl Polanyi’s 1944 book 'The Great Transformation,' in which he likens capitalism to 'Satanic Mills.'
MIn, who met at the gallery on the 10th, explained, "The image of the mill turning tells the story of capitalism's continually circulating structure, but at the same time, we live within it and enjoy much happiness and benefits through it," adding, "I expressed the contradictions of capitalism, from which one cannot escape or flee, metaphorically."
After graduating from the Department of Painting at Seoul National University and its graduate school, MIn obtained a master's degree from University College London Slade School of Fine Art and is currently active in London. He has held exhibitions at Saatchi Gallery, London Field Projects Space, Zhou'd Space, and this marks his first solo exhibition in Korea. He is also known as the second son of Millanonna, a YouTuber and fashion icon.
He drew inspiration from both tangible and intangible consumer goods encountered in the city to illuminate the role of urban anxieties and media consumption. By utilizing materials from construction sites, architectural waste, and industrial objects, he artistically addressed the disparity between the reliance on digital content, which intensified after the COVID-19 pandemic, and reality.
'Sleek Altar Series 01-17' critiques the commodification and distortion of the religious elements we once revered in modern society. It juxtaposes Catholic churches, Buddhist statues, and praying hands with drone and war imagery, presenting a snapshot of a modern city where the hierarchies of East and West, as well as old and new, have vanished.
As the exhibition progresses, internet images blend into the urban landscape. 'Retinal Chain Reaction 01-39' visually represents the modern scene where internet images overlay urban buildings and landscapes. MIn stated, "I brought forth images that constantly touch my retina and unfolded them, expressing the state of modern individuals who cannot escape the incessantly flowing information."
The figures in his works wear geometric sculptures without faces. This device represents the anonymity of the city, simplifying countless passersby into one urban landscape.
Born in Seoul and working in London, MIn Jun-hong is a true 'city boy.' He commutes to his studio every day like any office worker, diligently creating art, but confesses that as a 'capitalism kid,' he constantly grapples with conflict. The series of drawings that fill one wall of the underground exhibition space reveals the struggles of MIn as both an artist and an ordinary person. Each line of dialogue attached to his work feels as thrilling as watching a scene from a comic.
"Why? I'm so happy when I buy limited editions.""But have you thought about how long your happiness will last?""Then I’ll just buy the next edition.""In the end, you'll be sucked into an unquenchable addiction.""Don’t gaslight me again."
Each of the icons, while engaging in profound metaphysical dialogues, retorts, "What does it matter to like trends and content? Just live." The icons draw from images seen in war films or romantic comedies. Like the figures in his urban drawings, the characters also lack faces, expressing the characteristics of figures that are forgotten over time.
MIn noted, "As I engage with various Over The Top (OTT) platforms, I increasingly split into two selves. There’s the natural MIn Jun-hong who enjoys the videos, and the artist MIn Jun-hong who worries whether it's appropriate to consume such content indiscriminately, and these two selves fiercely battle each other."
He added, "While I hold critical views of capitalism, I think it is inescapable. Art, in a way, is also a field tied to capital," saying, "I discussed my concerns freely within it."
This exhibition is characterized by the absence of titles next to the works. The intention is for viewers to appreciate the pieces freely without preconceived notions. MIn stated, "There are no right answers in modern art," and added, "Many people find art difficult, but the one who should find it difficult is the artist. The public should view the work easily." The exhibition runs until April 30.