"Bravo!"
During the opening of the Taiwan Pavilion at the Venice Biennale on May 7, the performance titled "She seemed devastated, when I was weeping with joy" captivated the audience, drawing enthusiastic applause.
The performance featured South Korean artist Hong Eun-joo and performer Kim Yi-soo, who presented a 30-minute act as part of the exhibition "Screen Melancholy: Li Yi-Pan," curated by Raphael Fonseca. The event attracted over 200 attendees, exceeding the pavilion's capacity of 170, indicating significant interest. Two additional performances are scheduled.
The performers engaged in a dynamic interplay, intertwining their movements. They approached each other, engaged in physical tussles, and alternated between gentle gestures and striking actions. The doll, crafted to resemble the artist, evoked a peculiar tension, oscillating between the realms of life and inanimate existence.
In an interview, Hong Eun-joo shared, "In 2024, I encountered traditional puppet theater during my residency in Taipei, Taiwan. I learned that Korea's traditional puppet theater form has largely disappeared due to the Japanese colonial period." She added, "This intrigued me, leading to the creation of a performance utilizing puppets."
The doll was created using a 3D scan of the artist's own face and body. "The doll sat in my home for months. My face was rolling around. I saw my face while passing by. It was a strange experience, almost like an out-of-body feeling," she explained.
Hong has been collaborating with Li Yi-Pan since 2024, believing their works resonate at the point of 'melancholy.' Their connection led to an invitation from the Taiwan Pavilion curator to perform at the Venice Biennale.
Through her work, Hong aims to pose the question, "What makes us human?" She remarked, "The doll represents a suffering body, discarded on the floor. Although it is plastic, I hope the audience feels compassion when they see it."
"Even if it is not a real body, if we can feel compassion for a being that is dragged on the floor, suffering and wounded, that seems to be one of the conditions that make us human. If we can witness war or the suffering of others without feeling anything, that is inhumane," she added.
The doll could symbolize a human body devoid of all fluids. Hong recalled how her grandfather shed sticky tears before passing away. "Before dying, a person expels all liquids. Both feces and tears are released. In contrast, the plastic doll is a body entirely unrelated to any fluids."
Currently based in Germany, Hong frequently visits the Venice Biennale, often thinking, "Someday, I will be here." Now that her dream has come true, she expresses a desire to one day have a formal solo exhibition.
"I never imagined I would present my work here so quickly. The weight of the Biennale's name was significant. However, I felt surprisingly calm today," she said.
The live performances will take place at the Palazzo delle Prigioni near St. Mark's Square in Venice on May 8 and 9 at 5 PM.
* This article has been translated by AI.
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