Self Meditated Portrait of Korean Historical Epic: 이상헌

After a long gap, Lee Sang-hyun’s solo exhibition, held for the first time in five years, presents work that continues the vein of ‘ego-detachment meditation.’ A historical dimension is added to ‘ego-detachment meditation,’ which showed the issue of truthfulness that what appears on the outside is not everything, along with a critical message.

He enters the history with TAPACEMENTOR installed in “Meeting with the Goddess of Fate in Andromeda” in 1988 and “Heart of the Wind” in 1990. This is a self-portrait set against the backdrop of Gungye's old earthen fortress, the ruin of Anapji Pond, a field in Namdo, and the ruined historical relics of Mt. Geumgang.

The backgrounds that appear in the restored photos exist in a more complete or incomplete form than they do now, giving a feeling of a long-time gap from the present. He freely moves through that space, experiencing a little bit of the forgotten vein of time, showing presence and absence at the same time.

At the same time, the From Berlin Now DMZ exhibition held at the Olympic Museum from June 15th will feature a video installation titled 〈76〉, based on the theme of the 76 prisoners who abandoned South and North Korea and went to India in 1954.