The exhibition is named after one of the resident artists Soyoung Chung's series of work Traveling without Moving created in 2013. Re-examining the meaning of travel, the exhibition wishes to seek out alternative types of travel especially in this age of the pandemic. If we give up on binary thinking and break the illusion that things are set in stone, what kind of travel would become possible? Would it be possible to travel without moving?
In this exhibition, Soyoung Chung connects herself with Mirok Li (1899~1950) who left his hometown to seek asylum during the Japanese colonial period. Accompanying Li who is on an emotional journey to his hometown through his autobiographical novel The Yalu Flows, the artist visualizes Li's dreamy journey while guiding the viewer to a world of new possibilities by blurring the boundaries between here and there and now and then.
For several years, Soyo Lee has been looking into examples of lifeforms within their diversity of ecological niche. The protagonists in her works are organisms gone 'feral' in urban environments. These examples lead us to notice and speculate upon other ways of living in our anthropogenic environment.
Youngjoo Cho's Humangarten, an installation inspired by care work spaces, is presented as an open stage for an incomplete play throughout the exhibition period, inviting the audience to step on and engage with the work physically. The seemingly empty stage exists as a "probability wave" which earns its meaning only when an observer intervenes. Attempting to unveil different layers of a story about care work, the installation will also function as a stage for a live performance No Human Sprouts Like a Mushroom before the closing of the exhibition.