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@project.dear.diary

Inside the diorama there’s bunch of plastic people enjoining a walk around the polluted lake and smart phone is live streaming the part of the view to the wall. Weirdly the view from the screen on the wall, it looks like a real not a diorama.

This is an exploration into the digital and physical world overlapping creates scenic and interesting views, projected and made real whilst our eyes are drawn away from tragedy. On one side of a lake a murder, the other a selfie taken for Instagram. The spectacle and the crowd.

“This work is to suggest the gap between reality and digital reality. Making a diorama of my beloved Obersee to live-stream and project the object onto the exhibition surface.”

Lichtenberg

The hard reality, that is confirmed with our senses and what we experience at the moment, and the virtuality that we experience through our memories and the internet coexist in us. As we build on our experiences they settle within us, from reality to our purely mental state in a continuous and seamless flow, every second. When we recall these memories, they are changed and slightly different each time due to our state of mind and perception at the time. To aid us to anchor these fragments of memory we draw upon the internet to provide us with images of places we’ve been or recordings of past experiences to use them to support the framework of memories that we have. They are incomplete experiences lacking the spark of reality. Like Dr Frankenstein, we try to bring to life the lifeless images to re-awaken the complete experience we once had but always fall short. This is the nature of the virtuality and of reality that Juheon displays through the creation of her Obersee memory artefacts. Her aim is to draw upon the virtuality and memories that she has of Obersee and bring them back into reality to experience the memories again and restore them. 

Juheon’s methodology and style of painting is also an expression and restoration of historical practices. The technique that she utilises to paint is a depp colour painting method (진채화법) and is a very traditional technique in Korea. It is a method of adding several layers of paint creating a matte effect. Combined with another style of traditional painting found in Korea called Ideological landscape painting ( 관념산수/ 觀念 山水) it has existed within Korea since 918 CE. It is the painting of ideological landscapes instead of an exact attempt to replicate what the artist sees. This landscape can represent anything that the artist can envision, including dreams, ideas or memories. 

Memories; Obersee is a combination of all the elements of memories, places, techniques. The considerations of the past that Juheon is summoning are done through many layers and lenses. Through the exhibition location, the subject matter, the technique used and the practices employed all come together to create Memories; Obersee. When enjoying the exhibition is it possible that you may be making memories that you will try to recall in the future and looking back will ask questions once more about our relationship with memories, the past and our attempts to trap our experience in the amber of the internet and digital photos. (Juheon Cho)


Memories ; Obersee

The practice is about bringing back the layers of our memories from the experienced reality and digital. The artist Juheon Cho is trying to bring her own sensations and experienced histories with the memories of Villa Heike and Berlin back to our reality. The memory of drawing coral reefs in her childhood at her father's boring laboratory, her Berlin home next to Obersee that has a beautiful scenery that changes every day and Berlin’s memories that are buried in the Villa Heike are continuously carried back with her sculptural painting. She says it was an experience of living the life of ‘Dr. Frankenstein’ that gives skin to the ghost of a memory, the production of the work as a body without organs. Her work is rooted in traditional Korean painting styles and practices. She wishes to invite you to see the traditional ‘Korean deep colour painting (진채화)’ and the ‘Ideological Landscape (관념산수)’ within the form of sculptural painting. (Juheon Cho)

Dazzling memories-0802

Memories; Obersee, Juheon Cho’s latest practice, is an exploration of the memories of places, peoples and events that have been left behind. The feeling of leaving places behind as we move from city to city, country to country is shared amongst an entire generation where moving has become the norm. As the future marches ever onwards we have memories of these places and an ever-expanding repository of memories that we place online and we are left with a sense of loss looking back on them. We may be able to recall memories from a long time ago, but they are incomplete and lack richness. When our social media shocks us with a memory of a long-ago visited place or time we are struck with a moment of joy as we relive the moment, which quickly fades away once we realise it is a ghost from the past, the exhausted ("L'Epuise) version of peoples and places that have been used up that we can’t go back to. We look at them fondly but they are flat, shallow versions of a different reality that doesn’t exist anymore. 

Juheon uses her experiences of her time over the last three years of living next to the Obersee during the pandemic to explore the memories that have formed from the physical experience of being here as well as the combined experience of the internet. With places being posted on social media repeatedly she was able to examine the physical Obersee and the virtual Obersee, seeing the differences and similarities in her experiences and the experiences of other people. One day she will leave Obersee and the sensations she experiences will only be memories and images on the internet and exploring what that means is important as it speaks to the textures of the things that make us who we are. 


Mein lieber Obersee

When considering the location for bringing these memories to reality it was not an accident that Juheon Cho selected Villa Heike. As Juheon’s work explores reminiscing within reality, the restoration of Villa Heike is also connected to her work and the reason it was chosen as the location for her exhibition. She stumbled across Villa Heike and its history during a local art tour (Lange Nacht der Bilder 2019). Originally constructed in 1910 this Prussian 3 story villa was owned by Richard Heike. Constructed in a Prussian style meant that it was drawing on styles and the history of Prussia which harked back to the kingdom’s founding in 1525 up until its official end in 1947. When Soviet soldiers arrived in Berlin they seized the villa from the family and killed Richard Heike in 1945. The surrounding area became a detention camp (Speziallager Nr.3) until it was handed over to the GDR in 1951, which continued to operate the area as a prison as well as making it home to the “Operative-Technische Sektor”. After the reunification of Germany in 1990, the building became abandoned until it was finally restored. The building is a physical memory of the rich history of Prussia and its restoration is the recollection of the beautiful memory of Prussia before the events that took place after. This concept intrinsically links to the works and ideas that Juheon has been exploring. 


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