The structure of a history
Seulgi Lee Kang 在伦敦对冠状病毒大流行的“长期封锁”期间,她在日常饮食习惯中捕捉到。随着盘子和碗一个接一个地叠在一起，熟悉的食物的碎屑慢慢增长，逐渐填满了她用来饮食它们的白色桌子。这是一部横跨64部影像的记录，这段“历史”的结构不断发展，直到屏幕上充斥着一堆残羹剩饭，一个残存物品的目录。
“历史的结构” 但在某种程度上，是为了求助于突如其来的悲剧，这场悲剧使我们建立了新的规则和规范，以及在这种情况下,那些不敢想象的、令人不安的行为和生活模式，这些行为和生活模式现在与我们固有的习惯 截然不同，当我们以不同的形式来呈现，它也会以不同的形式一次再一次地出现。
‘The structure of a history’, is not for, but in part, a recourse to the sudden tragedy that set us on new rules and norms and the uncomfortable behaviours and life patterns that were not dared to be imagined before such a situation, which are now compromised from what we are used to, presenting itself in a different shape, that will show up again, and again, in a different shape.
Seulgi Lee Kang 在餐桌上面对的世界，起初她创造了一个普通、每天、不断变化的环境，现在变成了一个臭烘烘、令人厌恶的地方。然而，当她坐在那里时，她对一个不可预见的情况和环境做出了有限的反应。以及最终我们如何处理一个进化的结构、身体、心理和情感衰退时，我们是否变得面目全非。但同时，生存和快乐，理解和面对，然而在追溯历史结构的过程中，也有它时髦的价值存在。
The world Kang confronts at the dining table, she creates, at first normal, everyday, ever-changing, builds to a now stinking and disgusting place, however, as she sits there, she engages in a liminal response to an unforeseen situation and environment. We become in the presence of how she, and ultimately we, deal with an evolutional structural, physical, mental and emotional decay. But also, survival and pleasure, an understanding and confronting, and in that, there is also a beauty in what prevails, in the process of tracing the structure of a history.
The culmination of filming 2/3 x a day for over a month, recording 66 films with a total length of 6 hours.
Seulgi Lee Kang 是一名表演、录像、装置艺术家，出生于韩国，在伦敦工作。康的作品打破了“每一天”的简单和复杂，因为它是如此的基本、普通或不常见，可以忽略不计。通过“每天”的变化，她质疑我们的环境，结构和潜意识规则的基本平衡，对她来说，似乎已经默认了。她用“平凡”的物体和材料来表达她所处的某个时刻周围的环境，创作出由诗歌、历史和人类情感构成的细致入微的影像记录。她拆除并重建了形式、空间和功能，将意义体现在每个人都参与、任何人都能做或做熟悉的形式和行为。
Seulgi Lee Kang is a performance, video, installation artist born in South Korea, working in London. Kang’s work deals with breaking down the simplicity and complexity of the ‘every day’, which, as so fundamental and common or uncommon, can be overlooked. Through the variation of ‘every day’, she questions our environment, the rudimentary balance of structure and subconscious rules, that for her, seem to have already been granted, by default. Expressing circumstances surrounding a moment, where she is, she uses ‘mundane’ objects and materials to create nuanced performance films that are informed by poetry, history and human emotions. She dismantles and reconstructs form, space and function, embodying meaning to familiar form and actions which everyone engages in, anyone can do, or does.
Seoul’s Coex K-POP Square
London’s Piccadilly Lights
List of main works
2021 Lahore,Lahore Kebab House, Whitechapel, London, UK
2020 The day of doom, Sly St, London, UK
The structure of a history, Ashfield St, London,UK
The very special day, Ashfield St, London, UK
2019 Negotiation, Harlesden high street gallery, London, UK
Home_No.4 Forest and swamps, Harjumaa, Estonia
One chair, Harjumaa, Estonia
Them, Gallery 46, London, UK
Hers, Andrews Rd, London, UK
Nomadic buoy #1, Warburton St, London, UK
Nomadic buoy #2, Ashfield St, London, UK
2018 Your still life, Rund gallery, Seoul, Korea
Home_Unshakable comfort, Winsstrabe, Berlin, Germany
2017 East End Garden, Cavell St, London, UK
You are, Chilsan-ro, Yeonggwang, korea
2016 East Garden (No Exit), Bucheon, Korea
퍼킹어노잉 Kensington Church St, London, UK
No One, Someone, Any signal, Egoist, Kensington Church St, London, UK
안녕하세요 Bupyeong, Incheon, Korea
2015 Relational Aesthetics, Chelsea college of arts, London, UK
사뿐히 즈려밟고 오시옵소서 (Azalea), Chelsea college of arts, London, UK
2014 Welcom project, London, UK
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