Cri­stia­na Cam­pa­ni­ni

The Ko­rean ar­ti­st Do Ho Suh in­ter­pre­ts spa­ces we­re he li­ved re­pro­du­cing set­tings and ar­chi­tec­tu­ral de­tails th­rou­gh fa­brics in un­real co­lours. The Smi­th­so­nian Ame­ri­can Art Mu­seum in Wa­shing­ton is ho­sting a ma­jor so­lo ex­hi­bi­tion of his work un­til 5 Au­gu­st


Gior­na­li­sta, lau­rea­ta in sto­ria dell’ar­te, in­da­ga ai con­fi­ni tra le di­sci­pli­ne, tra ar­te e de­si­gn. Scri­ve per Re­pub­bli­ca e Ar­te. Ap­pas­sio­na­ta di ar­chi­vi, fa con­flui­re le sue ri­cer­che sul mon­do del­le gal­le­rie ita­lia­ne in­ta­­fo. Ha col­la­bo­ra­to con il di­par­ti­men­to di So­cio­lo­gia dell’Uni­ver­si­tà Bi­coc­ca di Mi­la­no, sul te­ma Ar­te, cit­tà e am­bien­te. A jour­na­li­st wi­th a de­gree in art hi­sto­ry, she ta­kes a par­ti­cu­lar in­te­re­st in the poin­ts whe­re di­sci­pli­nes meet, su­ch as the bor­der­li­ne bet­ween art and de­si­gn. She wri­tes for La Re­pub­bli­ca and Ar­te, has a pas­sio­na­te in­te­re­st in ar­chi­ves and pre­sen­ts her work on Ita­ly’s gal­le­ries at­ta­­fo. She has col­la­bo­ra­ted wi­th the De­part­ment of So­cio­lo­gy at Bi­coc­ca Uni­ver­si­ty, Mi­lan, on the su­b­ject Art, the Ci­ty and the En­vi­ron­ment.

A tex­tu­re of marks speaks of the pla­ce, of its hi­sto­ry

Trans­pa­rent and su­spen­ded. Do Ho Suh’s ar­chi­tec­tu­re of clo­th al­mo­st seems to be on the point of va­ni­shing. In his in­stal­la­tions we find cor­ri­dors, cu­p­boards be­low stair­ca­ses, doors, the re­si­dual spa­ces of li­fe, of mo­ve­ment, trans­la­ted in­to fa­bric and mar­ked by un­real, dream­li­ke co­lours. They ho­ver li­ke ghosts. They are the rooms of his me­mo­ry, the stu­dios he has wor­ked in, the hou­ses he has li­ved in, the en­tran­ces he pas­sed th­rou­gh as a mi­grant. The­re’s his chil­d­hood ho­me in Seoul, his hou­se-stu­dio as a young man in New York, and then the one on Rho­de Island, the stu­dios in Ber­lin and Lon­don. Ea­ch work of ar­chi­tec­tu­re is tur­ned in­to a dop­pel­gän­ger: a sen­ti­men­tal re­pli­ca, ab­stract and at the sa­me ti­me hi­ghly de­tai­led, on a sca­le of one to one, crea­ted by laye­ring its si­gns in an ex­hau­sting pro­cess of re­cor­ding. Fir­st the Ko­rean ar­ti­st li­nes the in­te­riors wi­th lar­ge shee­ts of dra­wing pa­per, stic­king them on­to the walls.

The re­sult is not so mu­ch wall­pa­per as a se­cond skin that coa­ts eve­ry sur­fa­ce. At this point he be­gins an ex­tre­me­ly de­li­ca­te work of frot­ta­ge, a re­cor­ding of the sta­te of af­fairs, li­ke a tra­cing. Do Ho Suh uses an or­di­na­ry pen­cil. Wi­th it he rubs, sha­des and re­tou­ches the whi­te sur­fa­ce, cap­tu­ring ed­ges and mi­nu­te de­tails: a tex­tu­re of marks that speaks of the pla­ce, its hi­sto­ry and the pas­sa­ge of ti­me. A hand­le, an old light swit­ch, a crack, a part of a door ap­pears. This ar­chi­tec­tu­re al­so lea­ves an im­pres­sion on pa­per. It’s his way of say­ing good­bye to a pla­ce. Pe­rhaps, or of kee­ping it wi­th him fo­re­ver. At this point, the ar­ti­st trans­la­tes the coa­ting of pa­per in­to iri­de­scent fa­bric, as if it we­re a pa­per pat­tern. The re­sult an in­stal­la­tion that can be ex­plo­red, on the in­si­de and ou­tsi­de. “An ar­chi­tec­tu­re of the soul, a pla­ce of me­mo­ry,” as Do Ho Suh pu­ts it, who was

dell’ani­ma, un luo­go del ri­cor­do», spie­ga Doh Ho Suh, na­to a Seul nel 1962 e for­ma­to­si ne­gli Usa, che ha rap­pre­sen­ta­to il suo Pae­se al­la Bien­na­le di Ve­ne­zia nel 2011. «Mi in­te­res­sa la tra­sfor­ma­zio­ne del­lo spa­zio che ha ac­cu­mu­la­to la mia pre­sen­za e la mia ener­gia in qual­co­sa che ha for­ma fi­si­ca e me­ta­fo­ri­ca». Dal 13 mar­zo al 5 ago­sto lo Smi­th­so­nian Ame­ri­can Art Mu­seum pre­sen­ta la mostra dal ti­to­lo Al­mo­st Ho­me. Ol­tre a Hub, una gran­de in­stal­la­zio­ne im­mer­si­va e oni­ri­ca, riu­ni­sce un grup­po di re­pli­che se­mi­tra­spa­ren­ti di og­get­ti do­me­sti­ci dal ti­to­lo Spe­ci­men. In con­tem­po­ra­nea, fi­no al 15 apri­le, re­sta aper­ta l’in­stal­la­zio­ne Pas­sa­ge/s al Bild­mu­seet, pres­so l’Umeå Uni­ver­si­ty in Sve­zia, e su un’in­te­ra fac­cia­ta al 95 di Ho­ra­tio Street cam­peg­gia una gi­gan­to­gra­fia il­lu­si­va, che apre una fi­ne­stra do­ve un tem­po cor­re­va la fer­ro­via. born in Seoul in 1962, fi­ni­shed his stu­dies in the US and re­pre­sen­ted his coun­try at the Ve­ni­ce Bien­na­le in 2011. “I’m in­te­re­sted in tur­ning spa­ce that has ac­cu­mu­la­ted my pre­sen­ce and my ener­gy in­to so­me­thing that has phy­si­cal and me­ta­pho­ri­cal form.” From 13 Mar­ch to 5 Au­gu­st the Smi­th­so­nian Ame­ri­can Art Mu­seum will sta­ge an ex­hi­bi­tion en­ti­tled Al­mo­st Ho­me. In ad­di­tion to Hub, a lar­ge im­mer­si­ve and dream­li­ke in­stal­la­tion, it al­so in­clu­des a group of se­mi-trans­pa­rent re­pli­cas of hou­se­hold ob­jec­ts en­ti­tled Spe­ci­men. Con­cur­ren­tly, un­til 15 April, the in­stal­la­tion Pas­sa­ge/s re­mains open at the Bild­mu­seet, Umeå Uni­ver­si­ty, whi­le a giant bill­board on the faça­de of 95 Ho­ra­tio Street in New York opens an il­lu­so­ry win­dow in­to a ti­me when the rail­way still ran th­rou­gh the­re

Pas­sa­ge/s (det­ta­gli / de­tails) in­stal­la­zio­ne al / in­stal­la­tion at Bild­mu­seet, Umeå Uni­ver­si­ty, Swe­den.


So­pra / Abo­ve, 348 We­st 22nd Street, Apart­ment A, Unit 2, 2011–2015 (cour­te­sy Los An­ge­les Coun­ty Mu­seum of Art): ve­du­ta dell’in­stal­la­zio­ne per la mostra / in­stal­la­tion view, ex­hi­bi­tion In bet­ween, Hi­ro­shi­ma Ci­ty Mu­seum of Con­tem­po­ra­ry Art (2011). Sot­to...

Do Ho Suh, 95 Ho­ra­tio Street, New York, 2017.


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