MA, Contemporary Art Practice
2022-2023 Royal College of Art
Group Show
2024 Entranced Essence, Rupturexhibit, London
2022 Despite the Snow Outside, Imaginary Z, Hangzhou
2019 In and Out, COSO, Seoul
Participation
2024 Issue 3: Strength of Materials, EBB
2023 Screening, Prince Charles Cinema, London
2022 Montez Press Radio, London
2022 Every mosquito feels the same, TINC, Seoul
Education
2022-2023 MA, Royal College of Art, London
2019-2020 Offenbach University of Art and Design, Exchange Program, Frankfurt
2016-2021 BA, Seoul National University, Seoul
Myungmin Liu (b. 1997, South Korea)
Living is an effort. Living beings coexist by necessity, and in the process, traces are inevitably left behind. These traces may manifest as physical imprints or stains, but they can also take the form of memories or thoughts. The visible and the invisible always coexist, shaping how we perceive the world.
At present, I am working with objects and humans that are activated in different ways through external interventions. I seek to explore how humans and objects become external forces to one another, triggering intrinsic energies. My focus lies in capturing the moments just before or after these forces come into play—right at the threshold of an event unfolding. My work engages with the act of responding, reacting, and corresponding to these forces, exploring how we respond to given circumstances—after a certain time, for a certain duration, and under specific conditions.
Here, rather than acting as a performer, I take on the role of a maker, creating objects for movement. Then, as a director, I observe how individuals or groups interact with these objects (or situations), witnessing the movements they provoke. When movement begins to be perceived—when it becomes visible—a distance forms between it and me, allowing for mutual observation. I position myself as a placeholder—one who occupies a space and confronts something new. Perhaps it is the fact that I am not the only active presence within the visual framework of my work that generates this sense of distance. The interplay between my direction and the individual possibilities of participants moves with a particular kind of freedom. It mirrors the relationship between intangible thoughts and the ever-faltering flesh—both fluid, both in constant negotiation with one another. In that moment, the act of seeing becomes inextricably linked with belief and conviction.
Here, the distance between seeing and believing becomes thinner than the thinnest (infrathin), narrower than any visible gap, and more fragile than any meaning that can be articulated.