You see some things hanging from the ceiling at the end of the exhibition hall. These don’t look “sculptural” at all because they are only thin paper. This is one of the artist’s so-called “plastering projects.” While preparing for this year’s Biennale, YUON visited Japanese colonial houses in Changwon and the houses built from the 70s to 80s, and tore out the old wallpaper with the authority’s approval. As YUON states, if a building is a framework of a society and a product of institutions, wallpaper is the residents’ skin that contains their traces as well as the curtain of a life’s stage on which the residents exist. This is a non-sculpture which made a discovered object into an art piece. This old wallpaper that embodies the traces of the residents was discovered by the artist and such mundane objects of everyday came into an exhibition space by the choice of the artist, and finally was transformed into a piece of art. And now, this work that brings the time and space of the past right into this room poses us a question on the meaning of a house and life.
