Where ‘Maldoror’ penetrates its six lips, the lush sunshine tilts along the floor, briefly overlapping with the etheric plane. Here are the bodies that ‘greet another day, another morning after death.’ They were the farmers who tilled the soil of creativity.
As the birth mother measures her daughter’s energy flow, ‘the endless house’ shudders like an old cuckoo clock that languorously announces every hour. She is vertical only because she is in suspension. Once the bodies that refuse resuscitation match the pitch of the off-beat metronome, the tiny, fairy-skinned motor vibrates toward its anticipated burnout. The empty mother and the lying daughter, the angel with a scythe and the naked firefighter devote themselves to the sexual act of the giver.
The scene after everything is over and ruined; in other words, the scene freed of life and death is rearranged as a deconstructed opera for a short while. Brewed in the respiratory tube of larvae with the curvature of an anal plug, the alcohol undulates among the invited people. The etheric cocktail doped to droop numb eyelids, incite nausea, and disallow death throes. An acrid finish, this fishy-smelling glass. With swollen and biased eyes shut, proudly savor ‘this unbelievable sleep’...
Like the fleeting morning light that remains crisp even in the sunset or the belief that energy cannot be harmed, recollect remnants of the happenings that have returned in latency, and send the threats back to the hidden addresses of the tattered nerves. Overworked sleepwalkers now place moments of precarious immersion atop the autopsy table.
- Kim Eon Hee, Another Day, Another Morning (여느 날, 여느 아침을), 2019. (Hyundae Munhak, July 2019)
- Sibylle Ruppert, Les Chant de Maldoror, 1978. 105 x 85cm.
- Mire Lee, Endless House: Holes and Drops, 2022. Multiple ceramic sculptures on a scaffold, lithium carbonate and iron oxide glaze liquid, pump, motor and other mixed media. Installed in The Arsenale at the Venice Biennale 2022: The Milk of Dreams.
- Sylvia Plath, Lady Lazarus, 1965. Translated by Nari Sohn, 2022.
- Aglaja Veteranyi, Warum das Kind in der Polenta Kocht, 1999. Translated by Suah Bae, 2021.
- Gaetano Donizetti, “Il Dolce Suono” from the opera Lucia di Lammermoor, 1835.
- Gaetano Donizetti, “Una Furtiva Lagrima” from the opera L'elisir d'amore, 1832.
- Éric Serra, “The Diva Dance” from the film The Fifth Element, 1997.
- Original songwriter unknown, “Wheat and Barley Grow (밀과 보리가 자라네).” Adapted children’s song. Arranged and performed by YoungAn.
- YoungAn, “The sun rises (해가 떠오르네),” 2022. Written and performed by YoungAn.
- YoungAn, “Cherub Sedative (진정제 아기천사),” written and performed by YoungAn, 2022.
- YoungAn, “Cut the Throats of the Morose (슬픈 자들의 목을 쳐라 )” 2022. Written and performed by YoungAn. (Includes excerpt from Erich Fried’s “Die Maßnahmen,” 1957)
- YoungAn, “Angel (천사),” 2022. Written and performed by YoungAn.
- YoungAn, “Quickly Return Home (어서 집으로 돌아오렴),” 2022. Written and performed by YoungAn.
- BaekSang, Fire Safety Training Level 2 Certificate ‘Breathing apparatus and emergency rescue breathing,’ 2017/2022. Live performance.
- BaekSang, Fire Safety Training Level 2 Certificate ‘Search and rescue for the rescue requester,’ 2017/2022. Live performance with YoungAn.
- BaekSang, Fire Safety Training Level 2 Certificate ‘Fire hose handling,’ 2017/2022. Llive performance.
- Game engine simulation (Unity)
- Screening (LED panel, 2 x 4.5m, Samsung, LG)
- Sensor system (Perception Neuron, Kinect, Velodyne LiDAR)
- Sound system (Logic, Presonar, GnS, Shure, KLOTZ, KORG)
- Organization/Production/Direction/Development: Yeonså Cha (Host), Sanghwa Lee (Assistant host)
- Performers - Under the Ceiling: Nari(mother), Geumwon(daughter), Bernardino(tenor)
- Performers - Under the Sky: YoungAn (singing), BaekSang (electronic music), Jiyoung(photography), Yeonså(host)
- Virtual body: Mire Lee (from Amsterdam)
- Virtual lecture: Hyosil Yang (from Seoul)
- Mosquitolarvajuice 2022
